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Supplement, British Joubval or PHorooBArHT. Jan. 5, 1894.]
2i
INDEX
PACtE
... 563
... 183
... 259
... 702
88,114
Adams' Twin Lons Ideal Camorft ... ,
Aorial Pei*ppective. By Xanthn.s Smith
Albnmen Bromido Papor. By W. B. Boitou
Ainmininm FlasWight. By T. BoIa« ...
Amateur's Backgrounds and Accessories
American Notes and News 38, 101, 181, 229, 260, 32.5, 373,
493, 542, 668, 735
Amidol 42
Amidol and Metol. By A. R. Dresser 377
Amidol. By A. R. Dresser 56
midol. By George Mansfield 41
Amidol. By J. Pike 296
Amidol for Bromide Work. By S. Herliert Fry ... 86
Ammonia as a Fixing Agent. By M.Wilson 703
Ammonium Picrate for Preventing Halation 90
Amounts of Silver aiul Hypo left in Albumenised
Paper at Different Stages of Washing. By P. B,
Grundy and A. Hadden 511
Angle of View. By P. Everitt 357
Anglo of View. Calculation of the. By P. Everitt... 87
Another Society Wanted 386
Application of Photography to Seismology. By W. K.
Burton ... ^ 203
Artistic Photography, Evolatiou of. By E. Dnnmore
589,608
Artistic Results. Some Contribntories to. By A.
Horsley Hinton 21
Assistants and their Specimens 33
Auxiliary Exposure. By J. Sterry 686
Backing and Blurring. By E. Dnnmore 313
Bedford. The Lite William 36
Bees. Among the, with the Camera. By T. E. Fresh-
vrater 9
Binocular Pictures. Whole-plate, and How to See
them 337
Borderland. Week's Tour in the 578
Breadth. By J. K. Tnlloch, M.B 5
Breadth. By Lux 24
Broken Dishes. By W. H. Davies 56
Bromide with Various Developers. Action of ... 523
Bubbles 585
Camerastind Films. By S. Bourne
Camera and the Pulpit. By Dr. A. W. Patten
Camera Club Conference
Camera Lncida in Micrography.
Place of
... 750
... 642
... 250
Device to take the
... 532
Ca'ticra Studies 602
Camera Supports. By J. Pike 544
Carbon Prints. Obtaining Vigour in 778
Carbon Process. Soft Prints from Hard Kegatives
by the (.09
Celluloid Films, Do they Deteriorate ? 761
Ctdluloid Films. Keeping Quiilities of. By L.
Warnerke 7;<8
Celluloid : Is it Tmstworthy ? By W. B. Bolton ... 79i5
Central Photographic Club 119, 154, 171, 231, 251, 297,
„ . „ 679, «ii9
Cerram. Properties of 358
Changing Boxes tosiw Dark Slides 18, 34
Chicago Exhibition Awards e;7
Chicago. Notes on a Month's Trip to. By J. .1.
Steward 5:jl_ 5,(1)
Chloride Papor lor Printing^)ut or Development ... 71::
Chromate of Silver 50
City and Guilds Institute and Photo-meohanical Work 2i5
Cloud Heights and Velocities. Measurements of ... 9
Clouds til Landscapes. Various Methods of Adding.
By E. Dnnmore 2(>2, 213
Cobalt Printing 722
Colour Photography. Lnmiire's Experiments in ...325
PAGE
Colour Photography. The Lnmiere-Lippmann. By
F. E. Ives 798
Combination Printing 178
Combining Enlargements from Different Negatives
209,257
Compensation in Development for Variation in Ex-
posure. By A. Cowan 390
Conference of Judges of Photographic Exhibitions ... 515
Consecutive Automatic Exposures 729
Continental Notes and News 20, 84, 894, 340, 479, 557,
5S7, 685, 780
Convention Notes 452, 476
Copying Engravings and Dravrings 219
Copyright Photographs. Illustrated Papers and ... 732
Correcting Microscopic Objectives for Photography... 473
Correction of Lenses for Photo-Micrography, Photo-
graphy, and Photo-Astrograpby. Suggested Im-
provement in the. By H. G. Piffard 640
Curled Gelatine Film Negatives 745
Daguerreotyping Redmwus 3"21
Daily Press on the P.S.G.B. Exhibition 623
Dark Slides, Common Defect in, and its Remedy. By
Kentigern 751
Density and Colour in Collodion Emulsion. By W. B.
Bolton 637
Density Ratios and Exposure. By S. Herbert Pry ... 375
D(!pres.sion in Photography 490
Depression in Photography. Some Causes of ... 354
Development. Some Points in Connexion with. By
J. Sterry 456
Developer Experiments. Comparative 474
Developing Photographic Plates without the Use of a
Dark Room. Apparatus for. By Alexander Watt 23
Diffused Definition : Methods of Obtaining it 681
Diffused Light 2
Discoloured Negatives 554
Dish&s and Trays. By J. Pike 40
Divers Subjects. By W. J. Stillmau 169
Dodges. By C. O. Gregory 409, 424, 496
Drying Gelatine Negatives. Rapid 289
By Ellerslie Wallace
Economy in Photography.
Economy in Working
Editorial Table : —
ABC Autotyj)e Guid^ ...
ABC Toning Powder
Adams's Annual
Adams's Changing Box
Aide-Memoire Pratique de PJiotographie
"Amateur Ptuttographer" ^nnuttt, 1893
Amateur Photography. By W. L. Adams ...
American Annuals
Amlreseu's Developing Cartridges
Andresen's Developing Outfits
Andresen's Diamidophenol
Anthony's Internatiorml Annual
Art of Prrjection. By An Expert
Baker's Tourists* Developing Tent
Beresford's Accessories
hiblioter.a de FotOffrafo
*' Birmingham " Dry Collodion Plates
Blackfriars Company's Alpenstock Stand ...
Brilliantine
BalTlSH JoeKNAL PUOTOOBAPHIC ALHANAC
Bnrnet's Art Essays
Ciwlett's Plates
Challipion Folding Lamp
tjhiiago Exhibition Vataloijue
Chrislia ,., ... ... ...
Convention Group
Convention Snap Shots
Vallastype Sh/tfctispcare
Damp Sheet Detector
Die PliOtokm'ain.ik. Kruger & Husnik
Duran's Backgrounds
Eastman Company's Publications
Eastman Mounting Mediums
Eaetmau Roller Slide Films
Kdwards's Film Slides
644
, 570
299
. 364
. 532
613
. 91
, 379
. 2I>1
, 788
, 252
317
. 172
, 219
. 658
. 412
. 299
, 298
. 5«
. 61
. 364
. 13
. 707
. 264
. i91
. 298
. 789
. 497
. 4«8
. 317
. 348
, 219
. 252
. 407
. 516
. 594
. 707
EniTOBiAL Table (am«nu«d) :— P«B
Klementaril Photography. J. A. Hodges ^
England's Film and Dry Phite Varnish 138
Erlarifing. Einta on. By London Stereoscopic
Compiny ^
Fallowfield's Annual 532
Fallowlield's Double Glass Petroleum Lamp ... 61
Flashlight Portraits. By W. E. Debenham
Glycin-Aiidresen
Glvcin-Haufl
Gotz' Iris Diaphragms
Gotz's New Stereoscopic Shutter
Half RoHdaus with the Camer'i. Alfieri
Kaiidbor>k of Regulations for Chicago Bxhihilion
... S7»
.. 412
348,363
... 219
... 380
... an
K. S.
818
... 12
... 380
... 789
... 723
... 707
... 299
... 317
... 75
... 754
... 723
... 299
... 172
... 316
... 219
... 298
... 379
... 802
... 497
... 13
... 7li7
... 251
... 723
... 264
... 204
... 61
... 13
... 13
... 138
... 763
... 348
... 818
... 837
... 412
... 739
Jfandboofc on the Use of Compressed Oxygen.
Murray
Hemery's Medallion Groups
Ilford Exfiosare Meter
Ilford Matt P.O.P
Intensity Coils. By Dyer
Interchangeable Scrap Album
i.tt Fotograjia ...
Lomberg Dry Plates
Lothian Rapid Solution Jar
Lui-ema Finder • .
Magic Lantern : Its Construction and Use .
Marion's Bromide Lamp,.,
Marion's Fixing and Developing Cartridges
Martial AnnaU of the City of York
Mawson & Swan's Eieposure Note-book
Metol-Hauff
Mill's Mountant
Moonlight View
Mountant. P.O.P.
** Name-it"
Negatioe Making. Abuey
Obiin. G''ideto ...
Optimus Film Hand Camera
OptimiLs Opal Printing Frame
Optimus Spirit Level ..
Paget Opal Printing Frame
Paget Print-out Opals
Paulussen's Photogravures
Payne's Crystal Cage
Photographer's Balance
Photographic Mosaics, 1893
Photographic Mosaics, 1894
Photographic Times Christmas Number
** Photography" Annual _
Photography at Night. Duchochois ...
Photography Indoors and Out. Black 836
Pictoriol Effect in Photography. H. P. iobinson... 658
Political Calendar 90
Practical Photographer 61
Primus Air-tight Box 348
Professional Hetouehing Knife 109
t^upen Hand Camera SW
Reliable Ventilator 75
•' Rocket " Plate 802
Roach's Improved Excelsior Hand Camera 171
Sandell Films 580
Simplex Camera Stand 318
Southern Stiidicn. A. G, Tagliaferro 837
Stereographs. By Hoi*atio Nelson King 204
Stereoscopic Views. Catalogue of 90
Talmer Hand Camera 771
The Studio 317
3'roite PrattV|ue de Phoiographie 416
Tyrer's Postal Tube 739
Una Powder 771
View Meter. Adams's 616
Vogel's Practical Pocket-book of Photography ... ',!5a
Watkins's'- Junior" Biposuro Meter 548
Willis's Mounts
Wratteu's Plated ,
Wynne's Exposure Meter
Year-book 01 Photography
Yeo's Photographs of Children
Electrical Action of Light upon Silver ..
Electric Lighting a^ .Applied to Photography.
Elevating the Point of View
Enamel for Iron, New
English Lake Country. By T. 0. Hepworth 886
Enlargements on Prepared Canvas. By W. H. Davies 200
Enhirging 108
Enlarging Apparatus 43
Eqiuvble Temperature 665,699
Equivalent Focus of a Combination of Lenses ... 401
Exhibition, How it Strikes One 817
533
set
13
2S5
537
, 8a
177
, 613
PAOK
316
154
... 812, 829
90
234
227
... 2o
121
784
154
297
689
674
204
751
816
74
171
770
... 363, 65:i
... 309, 620
en
613
251
lii
749
i-l
25
235
119
4-0
Principles
60j
73
61,97
IV
ExniBlTIOKB: —
Birmingham
BUokhesth
Bristol
Ole^eland
Oroyrfon
Oryrtal Palace
Derby
Dnrham
Edinbnreh
Fillebrook Athentsrun
Forfarshire
Hackney
Hamburg
Lfiiof'Ster
Leytonstone
Liverpool Amatenr
Louth and District
Manchester
North Middlesex
Photogrraphio Salon
Photographic Society of Great Britain
Photographic Society of Ireland
Royal Cornwall Polytechnic Society ...
Sandell
South London
Stanley Show
West Kent
West London
West Surrey
Woolwich
Etposure, Development, and Fog
Exposures for Contact Bromide Prints.
involved in the. By V. 0. Driffield ...
Exposure Table. A New
Eye and the Camera
Failure. Primary Causes of. By J. Pike 7 8
Failure. Unsuspected Sources of. By W. Lindsay... 558
Fallacies Concerning Photography in the Pa«t ... 449
Films. Keeping Qualities of 555
Film Working. By W. H. Barnes 623
Finders and Cognate Subjects 601
Fixation of Negatives. The Perfect 322, 386
Fixing and Washing Silver Prints 506
Focus Lamps and other Artificial lUnminants ... 697
Forewords : On Photography as one of the Graphic
Arte 689
Fourteen Years Ago. By J. Eanagaratnampillai ... 787
Frena. No. 2, for Quarter Plates 836
Prilling. By J. Pike 626
Gas in the Dark Room 634
Gelatine Prints. Intensification of 309
Gelatino-chloride Notes. By W. B. Bolton 452
Gelatino-chl'jride Paper. Development of Partly
printed 672
Gelatino-chloride Paper. Development of Partly
printed. By Henry Smith 687
Gelatino-chloride Paper. Double Tones in. By S.
H. Fry 511
Gelatino-chloride Paper. Nature and Cause of
Certain Yellow Stains on. By C. H. Bothamley ... 700
Gelatino-chloride Paper. Rapid Toning Bath for.
By W. D. Wclford 408
Gelatino-chloride Papers. By E. Dockree ^S^
Gelatino-chloride Papers. Development of. By W.
Lindsay 815
Gelatino-chloride Papers. Practical Remarks on. By
T. N. Armstroni; 703, 770
Gelatino-chloride Paper. Treatment of ... 354, 371
Gelatino-chloride Paper. Yellow Stains on. By W.
INDEX.
[Supplement, British Journal of Phoiogbapht. Jan. 5, 1894.
B. Bolton
, 763
Gfilatino-chloride Positive Paper. Keeping Proper-
ties of 521
Gelatin '-chloride Prints. Are they Permanent P ... 309
Gelalino-cbloride Prints. Toning 698
Gelstmii-chloride Prints. Toning without Gold 402, 418
Glass Positives 714
Glass PositiTea on Gelatine Plates. By W. B. Bolton 340
Qlycin. By Colonel Waterhonse 180
Goodwill in Photographic Businesses. Value of ... 81
Gradation. Inilneuce of Development on. By Hurter
■nd Driffield 248
Oraat Telescopes of the Future. By Alvan G. Clark 716
Guiacol and Allied Phenoloid Compounds. By Colonel
Waterhonse 198
Gaou and Glues 274,307
Halation : A Counterblast. ByG. Markham 787
Balaton and Double Films. A Note on. By W. B,
Bolton 1
Halation and Methods of Preventiufr it 506
Halation. Preventives of. B.> J. Pike 361
Hand Camera and its Use in Picture Making. By W,
Ibonuu 57,72,89
Band Camera. Influence of. By W. D. Welford ... 279
Hand Camera Work and Hand Camonu. By J. K.
Xnlloch „, ... 750, 7M
Ha.« Pyrogallic Acid been Displaced ? By Professor
H. W. Vogel W
Heat in the Studio and Operating Room. Counter-
acting the *•''
Heliochromy, Composite. By P. B. Ives ... 328, 344
Historical Mnseum. Plea for 7*7
HoUyer, F. Interview with. By H. Townsend ... 544
How Business may be Revived 1*^
How Louses Act. By J. H. Hargrave 736, 765
"Hydroxyl-Monohydride" ®^^
nford-P.O.P." ByJ. T. Fry 781
I uitation Photographic Engravings. By W. Lindsay 118
"In Darkest Photography — the Way Out." By
Pioneer ^'"'
Infants and the photographer 138, 235
Influence of Development on Gradation. By H. J.
Channon ... 183,197,492
Intensification o06
Intensification. Theory and Practice of. By J. H.
Bildock 217
Interchangeable Lens Screw Fittings. On the Con-
struction of. By W.Taylor 509,524
Interiors, Difficult. Practical Remarks on Photo-
graphing. By T. N. Armstrong ... 311, 360, 513
Interior Work. Photographing Lofty. By Edward
Dnnmore ^
Inversion and Reversion of Images on the Binocular
Focu-f:ing Screen 305
Isochromatio Photography 347
Is the Present Construction of Studios Wrong in
Principle i" By W. H. Harrison
310
Jottings. By Cosmos 53, 85, 164, 245, 326, 454, 526, 655,
7a;, 797
Judging at Photographic Exhibitions 3S5
Kodak Gatlioring and Presentation
Lantern Slide-making 721
Lautsrn Slide Making. By J. K. Tulloch 152
Lantern Slides by Printing-out 106
Lantern Slides. Viewing, by Daylight 353
Leaders : —
Amatfurs' Backgrounds and Accessories ... 98, 114
Another Society Wanted 386
Assistants and their Specimens 33
Binocular Pictures. Whole-plate, and How to See
them 3.37
Bromide with Various Developers. Action of ... 523
Bubbles 6a5
Camera Studies 602
Carbon Prints. Obtaining Vigonr in 778
Carbon Process. Soft Prints from Hard Negatives
by the 809
Changing Boxes oersits Dark Slides 18, 34
Chloride Paper for Printing-out or Development ... 7l3
Chromate of Silver 50
City and Guilds Institute and Photo-mechanical
Work 225
Combination Printing 178
Combining Eulai'gements from Different Negatives
209,257
Consecutive Automatic Btposures 729
Correctintr Microscopic Objectives for Photography 473
Curled GeUtiiie Film Negatives 74S
DaguerreotypinK liedioi ns 321
Depression in Photography ... 490
Depression in Photography. Sniue Causes of ...354
Developer Experiments. Comparative 474
Diffu-ed Definition : Methods of Obtaining it ... 681
Diffused Light 2
Discoloured Negatives 554
Do Celluloid Kilms Deteriorate ? 761
Drying Gelatine Negatives. Rapid 289
Economy in Working 570
Elevating the Point of View 177
Equable Temperature 665, 699
Equivalent Focus of a Combination of Lenses ... 401
Exhibition, How it Strikes One 617
Exposure, Development, and 1 og 450
Eye and the Camera 97
Fallacies Concerning Photography in the Pafit ... 449
Films. Keeping Qualities of 555
Finders and Cognate Subjects 601
Fixation of Negatives. The Perfect 322,386
Fixing and Washing Silver Prints 506
Focus Lamps and other Artilicial Illnminauts ... 697
Gas in the Dark Room 63i
Gelatino-chloride Paper. Treatment of ... .354, 371
Gelatino-chloride Positive Paper. Keeping Pro-
perties of 521
Gelatino-chloride Prints. Toning 698
Gelatino-chloride Prints. Toning without Gold 402, 418
Glass Po>itiives 714
Goodwill in Photographic Businesses. Value of ... 81
Gums and (ilues 374, .307
Halation and Methods of Preventing it 505
Heat in the Studio and Operating Itoom. Counter-
acting the 537
Leaders (continued) : page
Historical Museum. Plea for 747
How Business may be Revived 145
Intensification ;•■ •■• 506
Inversion and Reversion of Im^es on the Binocular
Focussing Screen 305
Judging at Photographic Exhibitions 385
Lantern Slides. Viewing, by Daylight ... ■•■353
Lens Fog ' i?.
Lens Screens j42
Lens Standards ••■ f^
Matt Surface Prints on Ordinary Paper ... 666, b8a
Metal DfTsiM Paper for Photo-lithographic Transfers 417
Mixed Developers ... 161
Mixed Developers again 522
Mixed Developing FormuliB 538
Mounts and Mountants. Testing 585
Multiple-coated Films 198
Multiple-coated Films. Experiments with ... 290, 306
Negatives from Paper Prints. Reproducing ... 49
Negatives. Improvement of 794
Non-alkaline Development ••. 34
Ontdoor Groups 338, 370
Over-Intensification of Negatives 585
Oxygen. Pure ■ 538
Panoramas, Wide Angles, and Perspective 129
Paper in Photography ... _ 729,761
Permanency of Prints. Relative 7.TO
Perspective in Portraiture 257
Perspective. Some Peculiarities of 569
Pctzval Portrait Combination 777
Photo^ceramics 633
Photo-corrector. Van der Weyde's 241
Photo-crayon 649
Photo-plastigraphy 51
Photographic Piracy 745
Photographing Highly Polished Surfaces ... 618, 651
Photojrraphing Horses 98
Photographing Ice Crystals 794
Photographing Stage Scenery 113
Photography and Scientific Recording 402
Photojrraphy as a Business. Past and Present ... 323
Photo"lithography tor Amateurs 146
Photometers for Use in Printing 810,837
Printing Papers without Gloss 825
Rapid Intensification 617
Ratio of Gradation 433
Reflected Light in the Camera 634
Retouching and Varnishing 66
Reversed Neu'atives 17
Sculpturesque Photography 1
Stereo-micrography ..._ ... 65,81
Stereoscope : Impediment in Populai-ising 681
Stripping and Replacing Negatives 290
Sulphite of Soda in Development. Function of ... 489
Supplementary Exposures 650
Tele-photo Lenses. Improvements in 553
Tele-photo Lenses Past and Present 369
Varnishing and lletouching 603
Vignetting by Artificial Light 434
Warm Tones with Iron Development 130
Washing Photographs 130
Washing Thickly Coated Films 210
Welsbach Light for the Stndio 177
Wet Collodion Process 793,810,826
Wide-angle Lenses. Focal Peculiarities of 273
Lenses. Chat on 152
Lens Fog 161, 194
Lens Screens 243
Lens Standards 225
Light, Shajle, and Pietiue Composition 171
Light Waves of the Smallest Wave Lengths. Photo-
graphy of 11
Liquid Air 59
Making Ready for Exhibition. By H. Maclean, P.O. S. 572
Marion's Summer Novelties 330
Matt Effects ou Albumenised Paper. By W. Lindsay. 656
MattP.O.P 800
MattP.O.P. Mr. John Howson on 816
Matt Surface Prints on Ordinary Paper ... 666,682
Mercurial Intensification. A Chemical Study of. By
Chapman Jones 71
Metal versus Paper for Photo-lithographic Transfers 417
Metol and Amidol. By Colonel J. Waterhonse ... 54
Metol. By W. B. Bolton 325
Metol. Curious Experiences with. By W. B. Bolton 684
Micro-Camera. An Improved 687
Mixed Developers 161
Mixed Developers again 522
Mixed Developing Formulffi 538
Morgan & Kidd's Collotype Works. Visit to 73
Mountants. Commercial. By EUerslie Wallace ... 7
Mounts and Mountants. Testing 585
Multiple-coated Films 198
Multiple-coated Films. Experiments with ... 290, 306
Multiple-coated Films in Practice 136
Mnltipotent Camera. By T. E. Heath 263
My First Daguerreotype. By Valentine Blanchard
423,453
Naissance of Art In Photography. By A. Pringle 701, 720
National Association of Professional Photograplieni
108, 363, 738
Siiviilomcnt, BiuTiSH JouBRiLi. or Photoobapht. Jan. 5, ISOi.)
INDEX.
I'AOK
NfituriUislio Phottvmphy. By P. IT. Kiiiorson 211,231
Niitnniliatic PhototrrAphy. Notos cm. Ky G . MauaUold 247
Neaativos. Black and White, by Artificial Liffht. By
T. N. ArmstronfiT 55, 100, 166, 185
Ne^tives. Kxhibition of ^
Nopiitives from Paper Prints. Beproduoing 49
\offativo8. Improvomeut of 7W
N'ogloctwl Developer. By W. B. Bolton ... UG, 149
Now Developer for Oelatino Plates. By W. P. Jenney
Now Studio
Nikko Paper. By J. H. Baldock
Non-alkaline Development
Normal and Solarising' Densities.
37i, lot
38.0
671
»4
By nu(?h Brebner 185
Northern Photojrraphic and Scientific Association ...
Notes from Scotland
Notes from the Capo. By C. Ray Woods
\ ^ ,,,, Peculiarities in the Action of Hydm-
l Pyrogallic Acid, &c. By Col. Water.
Novelties in Cameras
362
On a Failure of the Law in Photojrnipby that, when
tho products of the intensity of the liprht acting
aud of the time of exposnre are equal, equal
amounts of Chemical Action will be produced. By
Captain W. de W. Abney, C.B., F.R.S 422
Optical Lantern, its Constmction and Use 10-t
Optit'jil Lantern. Manipnlations of. By B. W.
Parfitt , 801
Optical Truth and Visual Truth. By H. Dennis
Taylor 530
Optinius Exhibition 187
Outdoor Groups 338,370
Over-intensification of Negatives 585
Oxytren. Estimation of.
Haddou
Oxygen. Pure
By F. B. Grundy and A.
39
538
Panoramas, Wide Angles, and Perspective 129
Paper in Photography 729, 761
Para-am idophenol and Amidol. By J.«B. Bradwell... 11
Permanency of Prints. Relative 730
Perspective in Portraiture 257
Pei-spective. Some Peculiarities of 669
Petzval Portrait Combination 777
Photo-astronomy at the Cape Observatory. By C.
Ray Woods 341
Photo-ceramics 633
Photo-corrector. Van der Weyde's 241
Photo-crayon 640
Photopraphers' Benevolent Association 120
Photograph ical Sophistication : its Truthfulness or
Otherwise. By W. E. Debenham 656
Photographic Congress 673
PuoTOGRAPHicCoNGKESsAuxiLiABT OF THE World's
Colombian Exposition : —
Coarse-grained Negatives. How to Prevent. By
M. A. Seed
Fine Line Screen Plates and their Use. By M.
Wolfe
International Bureau. Desirability of. By W. J.
Harrison
Isochromatic Photography. By G. Onimer
Medical Pliotogniphy. By Ellerslie Wallace
Orthochromatic Photography. By John Carbutt
Photographers* Efforts at Union. By H. Snowden
Ward
Photography as applied to Snrgery. By A. S.
Murray
Photography in a Great HospitaL By O. O. Mason
625.
Photo-mechanical Processes. By W. T. Wilkinson
Posing and Illumination. By E. M. E.stabrooke ...
I*resent and Future Possibilities of Photography.
ByL^onVidal
Winter Photography in the Alps. By Mrs. E. Main
Photographic Convention. By W. D. Welford
Photographic Convention of the United Kingdom 368, 388
Photoghaphic Convention of the United Kino.
DOM: —
Anastigmatic Aplanati^5m. By Dr. Paul Rudolph 481
Artistic Kxptession with the Hand Camera. By
J. Guardia 440
Co in pen wit in g in Development for Variation in
Exposure. By W K. Burton 461
Convention Exhibition ... 437
iJevelopmente. Some Points in Connexion with.
By C. H. Bothamloy 414
Tjante in. slide Makiof;. By C. L. Mitchell 439
Latitude in Exposnre and Speed of Plates. By
Hurler and Driffield 456
Multiple Films. By S. H. Fry 442
Our Pictorial Failures. By Rev. F. C. Lambert ... 466
201
232
480
... 261, 591
745
51
By W. H.
Photoobaphic Cohvektion (con(inu«d) :— page
President's Address 420
Rooont Developers. By E. J. Wall 437
Report of Photographic Club Delt^p^teH. By J.
Gnardia and S. H. Fry 513
Photographio Exhibition. A Painter's View of. By
Palette 670.688
Photographic Exhibitions. Suggestions for Regnlat*
iug Awards at. By Edward Dnnmore 7
PnoTOOttAPHic Inijustuies: —
Mcs.ir.-i. Morgan A Kirld
W.Wra/s Optical Works
York's Lantom-slide Factory
Photographic Metastasis. By H. Brebner
Photographic Piracy
i^hoto-plastigraphy
Photographic Standards. Some Useful.
Harrison os»
Photographing Highly Polished Surfaces ... 618, 651
Photogm piling Horses 98
Photographing Ice Crystals 794
Photographing Paintings by Artificial Light. By
W. K. Debenham 69
Photographing Stage Scenery 113
Photographs iu Natural Colours. The Lippmann-
Lumiere Process. By L. Warnerke 718
Photography and Scientific Recording 402
Photography and the Great Barrier Reef 467
Photography, Application of, to Seismology. By W.
K. Burton 216
Photography applied to Journalism 297
Photography as a Bu.sine.'^s. Past and Present ... 323
Photography at Greenwich Observatory 361
Photography at the Gape Observatory. By 0. Ray
Woods 214
Photogiiiphy at the Technical Schools, Manchester.
By W. T. Wilkinson 6
Photography in Natural Colours 668
Photography iu Physical Research 10
Photography in Relation to the Art of Printing. By
J. H. Alabaster 104
Photography of the Luminous Rays of the Shortest
Wave Lengths. By Victor Schumann. 705, 738, 752,
769, 833
Photography without an Objective. By A. C. Ponton 311
Photogi-avure 52, 120, 135
Photo-lithography for Amateurs 148
Photo-lithography. W. E. Debenham 295
Photometers for Use in Printing 810,827
Photo-telescope, New, at Greenwich 572
Photo-zinco in Half Tone. By W. T. Wilkinson ... 800
Physical Development. By H. Schuauss 314
Pictorial Modification of Photographic Perspective.
By H. Van der Weyde 276
Pinhole Society's Outing. By Tom Coan 26
Plate Speeds. Determination of. By Alexander
Cowan 262
Plate Speeds. Determination of.
V.C.Driffield
Plate Speeds. Determination of.
By F. Hurter and
118
By G. F. Williams
57, 69, 231
Platinotype. By J. V. Brewer 544
Plutinotype Up to Date 74
Portable Stand 658
Printing, Intensification. Copying, and Halation. By
H. N. King 782
Printing Papers without Gloss 825
Printing Process for Amateurs. A Seasonable. By
W.B.Bolton 19,53
Process-work. How to Make Pen and Ink Drawings
for. By A. J. Gough 5
Professional Photography. Position of. By Thomas
FaU 733
Professional to Professionals. By John Stuart ... 830
Rapid Solution Making 100
Rjipid Intensification 617
Rjitio of Gradation on Positive Papers. Bj W. B.
Bolton 476
Ratio of Gradation 433
Reducing Over-printed Gelatine Proofs. By W.
Lindsay 275
Rcfiecteil Light in the Camera .. 634
Restoring Foggy Plates. By W. B. Bolton 214
ReUmchin^ aud Varnif^hes. By Uaynes Welch ... 117
Retouching and Varuishing 66
Retouching. By £. C. Morgan 280
Retouching. By W. Parry 24i
Reversed Negatives 17
Rcverstil Negatives. By George Mansfield 41
Reversed Negatives. By W. Bishop , 389
Rocket Phite 658
Rollabla FilmF. Development of 151
Rough Paper. By Henry W. Bennett 186
Ruled versus GranuUr OratingB. By W. Lindiay ... 1S2
Bye and Winohelsea with the Camera 60
... 719, 737
... I
497
... 313, 327
By Prof. G.
fti2
41
573
150
164
Hinton
Speed of Plates.
Elder
A Criticism and Reply.
Solon. A Painter's View of. By Ptflette
Scnlpturostiuo Photography
Seasonable Novelties
Selections. By E. Dnnmore
Sensitiveness of Photographic Plates.
W. Hough
Silver Chlorides. Notes on. By M. Carey Lea
Silver. Notes on. By M. Carey Lea
Soap Bubbles in the Studio. By Harry Smith, F.I.O.
Solio Paper. Toning of. By J. B. B. Wellington ..
Solution Making. By G. W. Webster
Specialisation in Fine Art Work. By A* Horsley
133
By H. M.
... 785, 799
Spirit Photography (it
Spirit Photography, with Remarks on Flnorest^nco.
By J. Traill Taylor 167
Spots and Pinholes. By E. Dnnmore 559
Statuary Portraiture 85
Stereography. Elementary. By Thomas Bsdding ... 638
Stereo- micrography 66, 81
Stereoscope and Stereoscopic Photography. By J. A.
Bntler 137,151
Stereoscope: Impediment in Popularising 681
Stereoscopic Photography. By W. I. Chadwick ... 454
Stereoscopy. By W. I. Chadwick 529
Stops of Lenses. A System of Measuring and Num-
bering the. By Dr. P. Rudolph 83')
Stripping and Replacing Negatives 290
Studio BaUding. By G. W. Webster 148, 196, 293, 374
Studio Building. Notes on. By W. Coles 358
Studio Heating. By G. W. Webster 37
Sulphite of Soda in Development. Function of ... 489
Summer Novelties iu Apparatus 378, 391, 410
Supplementary Exposures 650
Supplementary Lighting. By K. Dnnmore 508
Tele-photo Lens. New 315
Tele-photo Lenses, Improvements in 563
Tele-photo Lenses Past and Present 368
Tele-photo Systems of Moderate Amplification. By
T. R. Dallmeyer 477
Tele-photography. By T. R. Dallmeyer ... 766, 782
Testing Photogiaphic Objectives. By Dr. A. Miethe 779
Theories of Development. By John H. Janeway . 134
Things in General. By Free Lance 4, 115, 213, 357, 496,
606, 717, 814
Tinfoil as a Support for Photo-litht^raphic Transfers.
By Captain A. M. Mantell, R.K 406
Tour in the Himalayas aud on the North-west Fron-
tier. Notes on. By F. St. J. Gore 515
Transylvanian Alps. ByM. deDechy 832
Variations in the Metol Developer. By W. B. Bolton 604
Various Snbjects. By J. R. Hopwood 309
Varnishing and Retouching 603
Vignetting by Artificial Light 434
Vitro-Enaiuelliug. Preparation of Tablets for. By
A. Haddou 642
Waltham Cross. By Tom Coan ... 531
Warm Tones with Iron Development 130
Washing Photographs 130
Washing Thickly Coated Films 210
Water in Development 363
Watson's Cameras for the Season 347
Weakncs.s of Strong Points. By Hector Maclean ... 132
*' Well " Developing Dish 83
Welsbach Light for the Studio 177
Wot Collodion. By W. E. Debenham 670
Wot Collodion Process 793, 810, 826
Wide-angle and Telephotogniphic Lenses. Com-
parative Advantages of. By T. R. Dallmeyer ... 101
Wide-angle Lenses. Focal Peculiarities of 273
Wilson. The late G. W 165
Winter Phot<^raphy 40
Winter Photography. By W. T. Wilkinson 8
Winter Troubles. By Old Collodion 21
Winter Woes and their Remedies. By 0. B. Bamoa . 833
[Supplement, BhJtise Jopbnai. of Photookapht. Jan. 5, 1894.
AUTHORS' INDEX.
AnsET, Captain W. de W., C.B., F.E.S.—
On n Failure of tho Law in Photogrnphy that, when
the Products of the Intensity of tho Lii^ht acting
and of the time of ExpOBore are eqnal, eqnal
amounts of chemical action will be produced ... 422
Alabaster, J. H.—
Photography in its Relation to Printing
104
Abhstsono, T. N.—
Black and White Negatives by means of Artificial
Light 5t, 101, 166, 185
Oelatino.chloride Papers 703, 770
Photographing DifBcnlt Interiors ... 312,360,512
Baldock, J. H., F.O.S.—
Intensification
Niklco Paper
Babnks, C. B.—
Winter Woes and their Remedies
Baenes, W. H.—
Film Working
Bbddihq, Thomas—
Elementary Stereography
Bbsbtett, H. W. —
Bough Paper
Bishop, W.—
Rerersed Negatives
Blabchabd, Valentine —
My First Daguerreotype
Bolas, T.—
Aluminium Flafihlight
Bolton, W. B.—
Albumen Bromide Paper for Contact Printing
Deiuity and Colour in Collodion Emulsion ...
6elatino.chloride Notes
Gla^R Positives on Gelatine Plates
L Halation and Double Films
Is Celluloid Trustworthy ?
Motol
Neglected Developer
Ratio of Gradation on Positive Papers
Restorinsr Foggy Plates
Seasonable Printing Process
Some Carious Experiences with Metol ...
Variationfl in the Metol Developer
"Well '* Developing Dish
Yellow Stains on Gelatino.chljride Paper ...
217
671
... 623
186
389
B0TLEB, J. A. —
Stereoscope and Stereoscopic Photography..
Carbutt, J. —
Orthochromatic Photography
Chadwick, W. 1.—
Stereoscopic Photography
StereoBcopy
Channon, H. J.—
Influence of Development on Gradation
^lark, Alvan G. —
Great Telescopes of the Future
COAN, T.—
Pinhole Society's Outing
Waltham Cross
Coles, W.—
Studio Building
FADE
137, 151
... 576
... 451
... 529
183, 197, 492
716
24
531
COSKOB —
Jottings
53, 85, 164, 245, 326, 454, 526, 655, 733, 797
423, 453
... 702
... 637
... 452
... 339
... 4
... 766
... 325
116, 149
... 476
... 244
19,53
... 684
... 604
... 83
... 763
Cowan, A.—
Compensation in Development for Variation
Kxposure
Determination of Plate Speeds
Cbaheb, G. —
Isochromatic Photography
Dallueteb, T. R.—
Tele-pbotograpbic Systems of Moderate Amplifica-
tions
Tele-photography
Wide-angle and Tele-photographic Lenses ...
Datibs, W. H.—
Broken Dishes
Enlargements Printed oh Prepared Canvas...
Debenham, W. E. —
Photograpbical Sophistication
Photographing Paintings by Artificial Light
Photo-lithography
Wot Collodion
De Decht, M. —
Trausylvanian Alps
DOOEBEE, E.
Qelatino-chloride Papers
, 578
477
766,782
... 102
56
200
295
670
832
056
Estabrooke, E. M.—
Posing and Illumination
EVERITT, P. —
Angle of View
Fall, T.—
Position of Professional Photogi-aphy
page
... 593
87,357
... 733
Free Lance—
On Things in General 4, 115, 213, 357, 495, 606, 717, 814
Fbeshwateb, T. E., F.R.M.S.—
Among the Bees with the Camera
Fbt, J. T.—
nford Printing'^nt Paper
Fbt, S. H.—
Amidol for Bromide Work
Density Ratios and Exposure
Double Tones in Gelatino-ohloride Papers
Multiple Films
GOUGH, A. J. —
Pen-and-ink Drawings for Process Work
Gbeooet, C. D. —
Dodges
10
7<1
... 375
... 611
... 442
409,496
Gbcndt, F. B. and Haddoh, A.—
Amounts of Silver and Hypo left in Albumenised
Paper at Different Stages of Washing
Estimation of Oxygen
GCTARDIA, J. —
Artistic Expression with tho Hand Camera...
511
39
440
BOTBAHLXT, 0. H.—
Nature and Cause of Certain Yellow Stains on
Gelatino-chloride Paper 700
Points in Connexion with Development 444
BODBBE, 8.—
Camenu and Films
Bbadwell, J. B.—
Par«roidophono] and Amidol ...
Brebner, Huoh—
Normal and SoUrlsing Densities
Photo^phio MetutMis
BRBWm, J. V. —
FlatiBotype 5*4
Bdbtos, Pbopessor W. K.—
Applioatian of Photography to Seismology 203, 216
On the Power of Compensating in Development for
Variation in Exposure 461
DbESSER, A. R.—
Amidol
SS, 377
750
185
261, 493, 591
Driffield, Vero C. —
Principles Involved in the Calculations of Ex-
posures for Contact Prints on Bromide Papers ... 600
DOSMOBE, E.—
Backing and Blurring 3^
Evolution of Artistic Photography 589, 608
Methods of Adding Clouds to LaiuUcapes ... 202, 213
Photographing Ijofty Interior Work 8
Regulatiug Awards at Photographic Exhibitions ... 7
GnAEDiA, J., and S. H. Fet—
Plymouth Convention. Report of the Photographic
Club Delegates S12
Haddon, a. —
Tablets for Vitro-Ennmelling 643
Habgbave, J. H. —
How Lenses Act 736, 765
Harrison, W. H. —
Is the Present Construction of Photographic
Studios Wrong in Principle ? 310
Useful Photographic Standards 588
Harrison, W. Jerome —
International Bureau 543
Heath, T. E.—
Mnltipotent Camera 263
Hepworth, T. C. —
English Lake Country 686
Hinton, a. Horslet—
Specialisation in Fine-Art Work 133
Selections
Spots and Pinholes
Supplementary Lightiug...
Elder, H. M.—
Speed Of Plates :
A Criticism and Reply
Emerson, P. H.—
Naturalistic Photography
313, 327
... 559
... 508
785,799
21.1, 231
HopwooD, J. R. —
Notes on Various Subjects
HotjOB, Prof. G. W.—
Sensitiveness of Photographic Plates...
HUBTER, F., AND DRIFFIELD, V. C. —
Det<.>rmi nation of Plate Speeds
Influence of Development on Gradation
Latitude in Exposure and Speed of Plates
.309
118
248
456
Ives, F. E.—
Composite Heliochromy 328,344
Lumi^re & Lippmanu Colour Photography 798
Bnpplomcnt. IlKiTisu Joi'KKAi. Ok I'HOTOiiEirui. Jaii. S, 1804.] AUTHOIIS' INDEX (Contttmeil).
rAOt
Jasbwat, J. H.. M.D.—
Theoriea of Development 13j
JiHHKT, W. p.—
Kcw Developer for Oelatine FUtot 374. 404
JoviiS. Obapuan—
Ohemiool Study of MerourUl Intensifloation ... 70
XASAOAKATNAUriLLAI, S. —
Fourteen Years Ago 787
KiHO, H. N.— I
Printing, Intensifloation, Copying, and Halation ... 782
Lahbkrt, llRV. F. C—
Our Pictorial Failures 466
Lka, M. Caret—
Notes on Silver Sf
Silver Chloride ■«
LlSDSAT, W.—
Gelatino-chloride Paper. Development of 815
Imitation Plioto-engravinffS llf
Matt Effects on Albumenised Paper 656
KeducinK Over-printed Gelatine Proofs 275
Ruled v«rsu£ Granular Gratings 182
Unsnapec'ed Sonroes of Failure 558
"Lux"—
Breadth 24
MACKir, A. —
Photojrraphy in Wai'fare 748
Maclean, Hector —
Making R<;a ty for Exhibition 572
Weakness of " Strong Points " 132
Main, Mrs. E. —
Winter Photography in the Alps 545
Mansfield, George—
Nataralistio Photography 247
Reversed Negatives — Amidol 41
Manteix, a. M. —
Tinfoil as a Support for Photo-litho Trausfors ... 406
Mareham, 0., M.D.—
Halation : A Counterblast 787
Mason, 0. O.—
Photography in a Great Hospital 625,641
MiETUE, Db. a. —
Practical Testing of Photographic Objectives ... 779
Mitchell, Charles L. —
Ijantem-8lide Making 439
MORItAN, K. C. —
RetouchiDK 280
MoiEB, C. W.—
Statuary Portraiture 85
MnRRAT, A. S.—
Photography as Applied to Surgery 592
Palette. —
Painter's View of the Photographic Exhibition 670,
6e8, 719, 737
Parfitt, E. W.—
Manipulations of the Optical Lantern 801
Paitiik, R«t. A. W.—
Camera ud the Pnlpit S42
PiFFARD, H. G.—
Correction of Lenses for Photo-micrography, Photo-
graphy, Ac 640
?IK«, J.— I
Amidol for Developed Prints 296'
Camera Supports 544
Dishes and Trays 40
Frilling WB I
Preventives of Halation 861
Primary Causes of Failure 718 {
•PlONEEB** —
" In Darkest Photography— The Way Out "
i?ohtoh, a. 0. —
Photography Without an Objective SIJ
Parry, W.—
Keloucbing ...
... 246
?okteb, T. C—
Peculiarities in the action of Hydroquinone, Pyro-
gallic Acid and Water on Gelatine Plates ... 341
PiusaLB, Ahdbew —
Naissanoe of Art in Photography 701,720
IlCDOLPH, Dr. P. —
Anastigmatic Aplanatism and the Zeiss Anastigma-
tic Lenses .. ... 481
Measuring and Numbering the ftops of Photo-
graphio Lenses 830
SCBBADSS, HeRHANH —
Physical Development
314
Schumann, V. —
On the Photography of the Lnminotts Rays of the
Shortest Wave Lengths ... 705, 738, 752, 76a, 833
Seed, M, A. —
Coarse-grained Negatives- How to Prevent them .
57£
687
573
Smith, H.—
Developed Gelatino-chloride Printing-ont Paper .
Smith, H.. F.C.S.—
Soap Bubbles in the Studio
Smith, Xanthos—
Aerial Perspective 183
Sterbt, J. —
Auxiliary Exposure 686
Some Points in Connexion with Development ... 456
Steward, J. J. —
Trip to Chicago 531
Stilluan, W. J. —
Divers Subjects 169
St. Jobk Gobi, F.—
Tour in the Himalayas 515,560
Stdabt, Jobk—
A Professional to Professionals 832
Taylob, H. Dennis —
Optical Trnth and Visual Truth Jia
Tatlob, J. Tbaill-
Spirit Photography : with Remarks on Fluores-
cence 167
Tatlob, W.—
Constrnction of Interchangeable Lena Screw Fit-
tings 509,524
Thomas, W.—
Band Camera and its Use in Picture Uaking 57, 72, 89
rowasEMU, Uobace—
Art In Photography
ruLLocB, J. K.—
Breadth
Hand Camera Work and Hand Cameras
Lantern-slide Making
7ani>ebwetde, H.—
Pictorial Modification of Photographic Perspective. 276
^IDAL, Leon —
Present and Future Possibilities of Photography ... 548
VI;
rAOB
.. 544
... 6
750,764
... 1S2
AOQEL, Prof. H. W.—
Hujs Pyrogallic Acid been Displaced ?
Yall, E. J.—
Recent Developers
Wallace, Ellebslik —
Commercial Mountants
Economy in Working
Medical Photography
Yard, H. S.—
Photographers' Efforts at Union
... 67
... 487
... 7
... 644
... 577
... 561
Vabhebke, L. —
Celluloid Films, Keeping Qualities of 788
Photographs in Natural Colours by the Lippmann-
Lnmiure Process 718
/atebhouse. Colonel —
Glyoin ig(
Gnaiacol and Allied Phenoioid Compounds aa
Developers igg
Metol and Amidol 54
,/att, Alexander —
Apparatus for Development without a Dark Room 23
/ebster, Q. W. —
Rapid Solution Making ...
Solution Making
Studio Building
Studio Heating
Velch, Hatnes—
Retouching and Varnishing
, 101
164
148, 196, as, 372
37
117
Yelfobd, W. D.—
Inllnence of the Hand Camera 279
Photographic Convention 543
Rapid Toning Baths for Gelatino-Chloride Paper ... 406
Wellington, J. B. B.—
Toning Solio Paper 150
Wilkinson, W. T.—
Photography at the Municipal Technical Schools,
Manchester g
Photo-mechanical Processes 623
Photo-zinco in Half Tone gOO
Winter Photography „ ... g
Williams, G. F.—
Determination of Plate Speeds
Wilson, Mattbew—
Ammonia as a Fixing Agent
Week's Tour in the Borderland
Wolfe, M.—
Fine Line Screen Plates and their Use
Woods, C. Rat—
Notes from the Cape
Photography at the Cape Observatory
... 56, 69, 229
... .. 708
578
574
... 170
214,341
(Supplement, British Jocknal of Photographt. Jar. 5, 1894.
THE LANTEEN EECOED
(Monthly Supplement to The BiirriSH Journal of Photoobaphy. )
JANUARY— DECEMBER, 1893.
American and English Lantern Practice. Notes on.
By Edmund Stirling 84
Announcement 41
Archer's Combined Hand or Stand Camera 64
Beard's New Cut-otf Jet 53
Blow-Ihrough Jet. An Improved 48
Brin's Oxygen Works. Visit to 41
Bursting of a Cylinder at Bradford 119
Capabilities of Photography 93
Carriers. By James Lewis 107
Chadwick's Lantern Specialities 78
Cfcaritable Lantern Entertainment Society ... 28, 118
CoUodio-ehloride Lantern Slides. By W. B. Bolton . 100
Colloclion Process. An Essay. By W. B. Bolton ... 106
Collodion Transparencies by Contact, By W. B,
Bolton 26
Colour Photography 85
Coloured Lantern Slides 71
Combination Lantern for the Dark Room 90
Cqpyinff Photographs by Artificial L'ght. By F. W.
Parrott
Catting Lantern Masks.
By W. B. Bolton
50
DissolTor. The. By Ferrers Oxley 60
Double FrintingforTransparencies. By W. B. Bolton. 59
Enlarging by Daylight 94
Enrichment of Coal Gas by the Hydro-oxy Process... 119
Ether Satnrators. By F. E. Ives 28
Explosions. Possible Causes of 90
Explosive Gaa in Hot Water Apparatus 95
Farm-life on the Screen 39
Flexible Metallic Tubing 46
Gas Cylinders and Explosions. By W. I. Chadwick... 118
How Gas Oylindera are Made. By G. B. Baker ... 113
Incandescent Electric Light in the Lantern. By C.
Ray Woods 76
Induration of the Gelatine Film. By W. P. Jennoy . 77
Iron Carbonyl in Compressed CJai*. By Lewis Wright 58
PAGE
Lantern and Stereoscope as Aids to Edncation ... 103
Lantern Apparatus. Recent Novelties in. 31, 101, 111,
116
Lantern Experiments. By W. I. Chadwick
Lantern in Japan
Lantern in Scientific Stage Eifects 88
Lanteioi Matters at the Cape. By 0. Ray Woods ... 45
Lantern Mems. By G. R. Baker. 27. 34, 44, 50, 60, 67,
75, m, 91, 98, 109. 117
Lantern Nights at the Photographic Society's Exhi-
bition 104
Lantern Notes and News 25, 33, 43, 49, 57, 65. 73, 81, 89,
97. 105, 113
Lantern Patents 48, 56,64, 120
Lantern Queries ... ... .32, 40, 56, 64, 80, 88, 96, 120
Lantern Slide and its Relations to Art. By H. J.
Newton 37
Lantern Slide Emulsion 96
Lantern Slide Making in Foochow 31
Lantern Slide Making. Simplicity of. By H. S. Nutt 55
Lantern Slide Masks. Shapes of 33
Lantern Slide Methods. By C. W. Barnes 36
Lantern Slides, by the Wet Collodion Process. By
J. F. Stevens 29
Lantern Slides. How I Make. By H. J. Newton ... 70
Lantern Slides. How to Colour. By G. M. Hopkins 52
Lantern Slides in Summer 78
Lantern Slides of North Wales 39
Lantern Slides on Gelatine Plates 46
Lantern glides. Printing Out. By W. H. Shirley ... 38
Lantern Slides. Print Ont. By S. Herbert Fry 92, 110
Lantern Society 104
Lantern Stereoscope 98
Lantern Trade. State of the 95
Lever Key. New Folding 40
Lighthouse lUnminante. By W. P. Anderson ... 77
Magnesium for Lantern Slides.
Mending Broken Slides
Metol. By W. B. Bolton
Mounting Lantern Slides. By James Ross
Mounting Paste for Lantern Slides
By A. L. Eidemiller 39
PAGE
"N, & G." Hand Cameras 63
Neuhauss' Lantern ,34
Nydia Camera 116
Oil Lanterns — Translucent Screens. By James
Lewis 115
Opaque Lantern Screens 85
Optical Lanterns. Ventilation of. By T. N. Arm-
strong 27
Oxygen. Dilution of 25
53
65
112
Photo -micrography. By A. D. G. Shelley
Photo-micrography. Oi-thochromatism Applied to ...
Photo-micrography Simplified. By W. I. Chadwick .
Photo-micrography. Use of Orthochromatic Plates
in. ByT. F.Smith
Photo -micrography with Artificial Light. By Prooelia
Pompeii on the Lantern Screen ,
Projected Portraits. By Limelight
116
Regulator. Genesis of the. By R. R. Beard ... 51
Rural Technical Education and the Lantern. By
Alfred Watkins 85
Scraps from My Note-book. By a Tourist 95
Search Light. By Raduint 99, 107
Shipping on the Screen 1-2
Silver Intensification. By W. B Bolton 114
Skies in Lantern Slides. By S. H. Fry 45
Slide Making by Reduction 40
Stereoscopic Negatives. How to take 87
Steward's New Optical Projection Lantern 72
Submarine Photography by Artificial Light 104
Tasmania. Lantern in 06
Transluoency of Imag'o in Lantern Slides. By W. B.
Bolton 67
Transparencies and Enlargements without a Con-
denser. By W. B. Bolton 82
Varnish for Collodion Lantern Slides 29
Varnish Useful for Negatives or Transparencies. By
W. B. Bolton 43
World's Fair. Official Photographer at the 80
Zoopraxography on the Screen at Chicago 39
CONTRIBUTORS.
PAGE
ASDtESOK, W. P 77
Abmstbono, T. N 27
Baxir, O. B. 27, 34, 44, 50, 60, 67, 75, SI, 91, 95, 109,
113, 117
Bautbs, C. W 25
BuBD, K. R 51
BoLTon, W. B. 26, 43, 50, 59, 67, 74, 82, 90, 100, 106, lU
Chadwick, W. I. 28, 112, 118
KlDKIILLXB, A. L 39
Frt.P. H 45,92,110
Faemeb, H. E.
Hopkins, G, M.
Ives, F. E. ...
Jkhney, W. p.
Lewis, James...
Newton, H. J,
Nhtt, H. S. ...
Paeeott, F. W.
peoceli.a
Radiant
PAGE
... 46
Ross, Jas
... 52
Shelley, A. D. G. ...
... 28
Shieiey, W. H.
... 77
Smith, T. F., F.R.M.S
107, 115
Stevens, J. F.
37,70
Stirling, B
... 55
Tourist. A
... 88
Woods, C. Ray
.. 69
Watkins, A
99, 107
Wribbt, Lewis
PAGE
... 38
... 53
... 93
... 29
... 8t
... 95
45, 76
... 85
... 58
r'
THE BlUTISH
JOURNAL OF PHOTOGRAPHY.
No. 1705. Vol. XL.— JANUARY 6, 1893.
SCULPTURESQUE PHOTOGRAl'HY— A NEW STYLE OF
STATUARY PORTRAITURE.
For many years an imitation of statuary has been ma<le by
photography. This has generally consisted in double printing,
that is to say, the head of a living sitter is printed upon the
bust of a figure cast in plaster, the head of which is stopped
out in the negative. .Some exceedingly incongruous photo-
graphs have been made in this way, although justice compels
us to say that in the hands of a real artist some good ones have
also been turned out.
An American artist, Mr. C. W. Motes, of Atlanta, Georgia,
has pro'Uiced the finest " statuary " group we have seen. But
he has entirely disrcganled the meretricious aid of plaster or
marble, and has produced his effects solely by lighting. A
reduced copy of a large picture 21 by 17, entitled The Sisters
of Bethany, is given in Wilson's Fh'jtor/raphic Mo.gazine of
last month, and this, as hinted, comes nearer to our beau ideal
of a statuary group than any similar work yet presented for
public inspection.
The Sisters are clothed in white attire, and suitably posed
on a plinth composed of square slabs of granite. We shall say
nothing concerning their b.ire anus, their attire, or their banged
hair, because, after all, the Bethany mentioned may not
necessarily be that of Palestine, but the name of a town,
village, or even a villa residence in Georgia, for in the United
States of America Palestine, no less than Great Britain and the
Continent, are laid under contribution in supplying names for
their rapidly increasing towns and villages : hence a possible
explanation of the costumes and personal accessories of these
Sisters of Bethany. But, apart from this hypercriticism, the
idea is so good and so well carried out, that in the interests of
our professional brethren who are longing for something new to
give a fillip to business wo shall, with the aid of the descrip-
tion of Motes's methods, say a few words more on the subject.
The figure is attired in white and posed against a black back-
ground. A black velvet or a green baize background, we learn
from Mr. Wilson, is used, a ground of this nature conducing
greatly to the effect in general — to the roundness, fulness, and
detail of the figure. It is essential that the drapery as well
as the figure be artistically posed and hang gracefully. This
it is quite possible to do even with our nineteenth century
female costumes. But alas for those of the male sex ! Unless
something of the old time cloak or the Inverness cape be
adopted, and these constructed of some white material, the
photographer has to face an insuperable, if not unsurmountable,
difficulty.
The lightina: has to be very soft and diffused so as to avoid
deep-cast shadows, and yet there must be a dominant light to
prevent flatness. The carrying out of these conditions must be
left to the skill and taste of each individual artist. As the
maximum of softness and avoidance of heavy shadows are
paramount considerations, a generous exposure is necessary.
We have spoken of the background as being black. ■ Where
this is not the case in any special picture not expressly produced
for " sculpturesque photography," it is not a difficult matter to
effect it by a subsequent ojieration. We have lying beside us
a negative as yet undriod, by which we have satisfactorily
demonstrated this, by obliterating every portion of the back-
ground that surrounds the figure. The means adopted were
the making up of a strong solution of potassium cyanide iu
which .was dissolved iodine in such proportion that the solution
would have remained of a permanent purple colour but for the
further addition of a small lump of cyanide, by which it became
colourless. This forms an exceedingly powerful solvent of a
negative image. To prevent its spreading, a little ^m arable
should be dissolved in it so as to impart a body. When, by
means of a camel's-hair pencil or fine quill pen, this is passed
round the outline of the image, the parts thus acted upon
immediately become transparent, all that is then necessary
being to wash it off very quickly before the detergent has had
time to spread and attack the outlines of the figure. Slightly
tepid water dashed on in a spray sen-es the purpose very well.
While on this topic, we may say that striking effects may
often be produced in lantern photographs of portraits by de-
nuding the backgrounds of the negatives of all detail, thu«
causing in the slide the picture to be seen with a black back-
groinid.
In conclusion, we are quite at one with, the editor of our
tr.ansatlantic contemporary when he speaks of the inharmonious
results obtainable by hoisting the bust of a person " upon a
pedestal, which is photographed from a rough pen drawing, and
calling it a photo-sculpture. But when we see living figures
draped in white, so gracefully and so artistically posed as to
represent a work in marble so exactly and faithfully as does
this group, we think we have something that is worthy of
following." This exactly expresses our sentiments, and we shall
be pleased to show the excellent illustration in Wilson's ilagaziiu
to any who call at our oflSce for that purpose.
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 6, Igf).",
DIFFUSED LIGHT.*
The various media employed by photographers for avoiding the
effect of direct light have to be considered not only from their
aspect as regards diffusive properties, but as to their reflecting
and absorptive powers A medium may diffuse light very
effectively, but it may also absorb a large amount and reflect
more than is convenient if transmitted diffusion is made use of.
Thup, one of the speakei-s at the meeting where Dr. Sumpner's
paper was read, Mr. A. P. Trotter, had been interested in the
subject for many years with a view of obviating the glare in
arc lamps. Another, Mr. Addenbrooke, had been impressed
with the importance of the subject when he passed through
America three years ago, and noticed the crude manner in
which electric lighting was there carried out.
The eai-liest mode of diffusing the light from the electric arc
was by means of globes of ground glass, and, afterwards, of
opal glass. . Though Dr. Sumpner's table gives an absorptive
power in ground glass three times greater than that of light
opal, the effective light is greater from the former, owing to
the fact of the more refrangible rays being absorbed to a
greater extent by opal.
Suitable diffusion is the key-note of the successful application
of artificial light to photographic portraiture. An early ex-
hibited mode, avoiding the difficulty of the glare of the arc
lamp for purposes of every-day life, was to hide the light itself
and permit its direct and reflected rays to illuminate what was
in effect a white ceiling, the light diffused from which was the
sole source of illumination in the apartment electrically
lighted. For some reason, probably the great loss by
absorption, it was not a commercial success. But for
photographic portraiture it is the plan best known. The
particular plan first utilised in this direction forms the basis
then adopted by a multitude of followers. It is, in brief,
an arc light (hidden from the spectator) fixed in the focus of
a large whitewashed concave reflector — something like a .huge
movable umbrella whitened in its inner surface — and the lamp
fixed about or near the supporting stretchers meet upon the
stick. The light from the umbrella, and not the lamp direct,
illuminates the sitter. Now^, it is quite obvious that, if a suit-
able diffuser could be placed between the light and the sitter,
a far larger proportion would be utilised ; but, actually, no such
plan has hitherto been successfully devised. The difficult}- lies
in the utilisation of the rays that fall obliquely on the diffusing
surface, few of them are diffused in the direction of the sitter.
We consider it would be by no means impossible to devise a
system of combined reflectors and diffusers which should waste
a minimum amount of the light produced. If there were suffi-
cient demand, there is no reason why a manufacturer should
not be able to produce sheets of glass moulded into sets of
prismatic indentations, the prisms acting as reflectors set at
increasing angles of incidence, as their situation was removed
from a normal from the sheet to the light. If such prisms
were small enough, they would act as diffusers ; if too large,
there could be interposed suitable diaphanous media to act as
such.
Some such method as this, applicable as it would be to gas,
magnesium light, electric arc, or other source of light, would
be an immense boon, and would cause artificial illumination to
become a " boom," to use an expressive transatlantic phrase.
AVe now bring our remarks and suggestions to a close by
appending below the list of media experimented upon by Dr.
• Concladed from vol. xxiiz., page 819.
Sumpner, with their respective reflecting, absorptive, and
tr.insmitting power : —
Percentage Percentage Percentage
Material. ~!^ Beflecting Power. Absorption. Transmission.
Blotting paper 82 138 92
Cartridge paper ... 80 122 11-2
Tracing block 35 15-0 54-4
Tracing paper 22 70 760
Ordinary mirror ... 82
Ordinary foolscap... 50 to 70
Tissue paper (one
thickness) 40
Tissue paper (two
thicknesses)... 3.5
Yellow wall paper 40
Blue paper 25
Dark-brown paper 1 3
Yellow painted wall 20
Black cloth 12
Black velvet 0-4
Arc Lamp Globes. Apparent,
Light opal 15
Dense opal 39
Ground glass 42
It will, of course, be understood tliat the optical, and not the
actinic, effect is referred to in those experimental records.
♦
Patents in 1892. — The number of new patents applied for
during the year just ended was 24,lG(i. This is the largest numher
that has hitherto been applied for in a year, and exceeds by 1288 the
applications for 1891, and by 2803 the year before. Photography, as
our weekly lists have shown, has contributed its full quota to swell
the numbers.
The New Methylated Spirit in Gelatine Emulsions.
— Ijast week a correspondent sent us two negatives made with boiled
emulsions, to one of which rectified spirit was added, and to' the other
the mineralised spirit. Both negatives were excellent in quality, and
fully bore out our correspondent's remark, that the latter spirit
appears to be harmless in boiled emulsions. It remains to be ascer-
tained, however, whether its presence in an emulsion prepared with
ammonia would be equally innocuous.
Exhibition Rules. — Among the rules for competitors in the
forthcoming exhibition of the Fillebrook Athenfeum Photographic
Society, we note that the competition is open to professionals and
amateurs alike, and that there will he no division into classes, with
the exception that photographs, which have gained awards in any
open competition previous to February 24, 1893, or reproductions of
the same, will be placed in a separate class. Fourteen medals " will
be placed at the disposal" of the Judges.
The Electric Xilg-ht in the Studio. — The London Stereo-
scopic Company have recentlj- adopted the electric light in their
Clieapside studio. The power of the light is, we are informed, about
fifteen hundred candles, and it is collected and dispersed by a reflector,
or, rather, radiator, of the usual pattern. The direct light is cut off
from the sitter by means of a small opaque disc placed very close to
it ; but no transparent screen of large dimensions is employed. The
mechanical means for swinging the reflector to any desired position
were devised, we were informed, bj- the Company. Very soft and
admirably lighted effectsjare'lproduced by the light — a fact which
should be instrumental in inducing many photographers to adopt the
electric liglit whore a supply of power is available from a company'
main.
January 6, 189.1]
THE BRITISH JODKNAL OF I'HOTOGRAl^nY.
3
Free Portraits. — The free-portrait echeme, ■which hasso fre-
quently been exposed in thesij columns, iippeara likely to receive
jmotlu'i- check. Tlie Treasury have now taken up the matter. On
Friday lust, three men, one of whom is not yet in custody, tradinf^ as
the Imperiiil Portrait Company, were charged at the Folkestone Police-
court witli conspiring to defraud and defrauding. The Inspector of
Police stated that fhe people had also traded under the titles of " The
.fudge Pubhshing Company," and "The Star Portrait Company."
After certain afHdavits had been read, the Pench granted a remand,
and liberated the accused on bail. It has long been a surprise to most
photographers that the Treasury have not interfered in the matter
before.
Photography and the Oscillation of Projectiles. —
Before the Physical Society of Berlin, on November 18, Professor
Neesen gnve an account of experiments made with a view to the
photographic recording of the oscillation of projectiles. He employed
hollow projectiles, in whose interiors was placed a sensitive plate,
illuminated by sunlight through a small opening. During its rotatory
flight the ray of light described curves on the plate, from whoje
position, taken in conjunction with that of the sun, the oscillation of
the axis and point of the projectile would be calculated. The results
obtained showed that both the axis and point perform oscillatory
movements during the flight which are very different from those
usually believed to take place. In order to study these more
accurately, Professor Neesen is busy with the construction of some
arrangement which may admit of the introduction into the projectiles
of sensitive plates which shall not participate in the rotatory motion.
Enamelled Carbon 'Brints.— Apropos of the article last
■week on a simple method of producing enamelled prints we may men-
tion that, if any uncertainty is experienced in judging of the develop-
ment when plain glass is employed, it may be obviated by very
simple means. A plate of transjmrent glass can, for that purpose, be
rendered equivalent to one of opal very easily in the following
manner :^Clean one side of the glass perfectly ; then soften a piece
of double transfer paper in warm water in the usual way, and
squeegee on to the glass, and allow it to dry ; when dry, immerse in a
dilute solution ofjalum for a few minutes, rinse, and again allow it to
dry. Now, if the print be developed on the other side of the'glass, there
will be no more difficulty in judging of tlie development than if opal
glass were used. The paper backing, being unaffected by the warm
water, by reason of its coating being rendered insoluble, will last for
scores of developments. Indeed, the only deterioration it is likely to
undergo is mechanical injury.
Vellowlng' of Platlnotjrpes.— During the past year several
examples of what have been termed "fading" platinotypes have been
brougbt under our notice. In every case there has been no trace
■whatever of fading in the true sense of the term, though there has
been a decided yellowness in the whites of the picture. Unfor-
tunately, -when a photograph undergoes any change whatever, even if
it is only in the paper itself, it is put down to fading. This is not the
case with engravings. When the papers of these acquire a yellow tint,
as most papers do with age, the print is said to have improved, and
become more valuable, on account of its " mellowness." Now, the
image of a platinotype is practically as permanent as that of an en-
.graving, though the yellowing or the toning of the paper is not looked
upon in the same light, yet the effect is very similar and with
so me is considered an improvement, rather than otherwise. Be that
as it may, there should be no[change ; and, if there is, it is a proof of
carelessness in the removal of the iron salts after the image is
developed. We are aware that many so-called platinotypes that have
been issued during the last two or three years are nothing more than
bromide prints, and, it so happens, the yellowness, so frequently seen
with the latter, is much more objectionable than it is with the former.
■V/ith an albumen print it is even worse.
Copyrlgrht in America.— A case of considerable interest fo
KnglLsli publishers, with regard to American copyright, has recently
been decided in the United States Circuit Court for the district of
New .lersey. It is the first case that has been decided under the new
Copyright Act, by which Knglish publishers are enabM to obtain
copyright in the States. Briefly stated, the case wa» this. Th-i
Woodburytype Company published an engraving from Sant'a paint-
ing, Little Lord Faunt/i-roy. The engraving was duly copyrighted in
the United States. Shortly after the first artist's proofs were placed
in the American market, the engraving was pirated in the form of a
chromo-lilhograph. Upon this the Woodbury Company (Kyre it
Spottiswoode) commenced an action and obtained a preliminary in-
junction, and since decrees have been entered. The final decrees now
entered recognise the rights of the complainants, and provide foi-
perpetual injunctions restraining the sale of the chromo-litbographs.
From this it will seem that English publishers have a remedy agaitLst
the wholesale piracy of their works from which they have so long
suffered, and that the new Act is not altogether so one-sided as at one
time it was thought it would prove.
"We Iilve and learn !"— The PaciJU: Coast Photographer
says : " It is a pleasure to note how often useful machines of service
to the fraternity hail from America. We' make here finer optical
apparatus than can be produced anywhere in the world. Our cameras
are acknowledged to be far superior to those of any other country in
all respects — compactness, lightness, finish, handiness, and rigidity.
Since the McKinley tariff bill placed a higher tax on albumen paper,
a surprising increase in the number of factories manufacturing photo-
graphic papers is seen on every side, and the consequence is that the
photographer, who growled at first from morn till night at what he
was wont to term an unjust enactment, is really benefited tenfold.
No less than twenty-five different collodion and gelatino-chloride
papers have been placed on the American market in the last two yeara,
and it is but a short time ago that we noticed a writer in an English
contemporary in which the author bemoaned the fact that the gela-
tino-chloride papers of England were nowhere near the standard of
those of America. It is estimated that over 300,000,000 eggs wiD
be used this year in the manufacture of American albumen paper. I
while ten years ago the number was hardly worthy of notice ! ! ! " J
The Dag-uerreotype.— While it is an undoubted fact that the
Daguerreotype is, and has proved itself to be, the most permanent ol
all silver pictures, the image is really more delicately constituted and
more liable to suffer injury from disturbing causes than any othej
kind of photograph. This tender condition of the image is often nol
fully realised by those who have only had to deal with collodion and
gelatine negatives, and the prints therefrom, until, perhaps, a valuable
portrait has been irretrievably ruined. We have known of scores ol
such instances. Here is a case in point that has just come under oui
notice. A Daguerreotype, that was as perfect as it was when taker
between forty and fifty years ago, was placed in the hands of a pro-
fessional photogrrapher to copy. The copy was made, but, instead ol
the original being returned to its frame, and that made airtight, ii
was allowed to stand on a shelf for a day or two, where it was ex-
posed to dust and the sulphurous fumes from a coke stove. The
result might well be anticipated by those having but a superficial know
ledge of the process. The image was almost obliterated with tarnish
and, in removing the dust, it was badly scratched. Here was a picture
that bad endured unchanged for nearly half a century, ruined in t
few hours, entirely through ignorance of the conditions. The tarnish
it is true, could be removed, but the scratches never. It may b«
assumed that a Daguerreotype is never required to be copied now un-
lesa great value is attached to it by its owner ; therefore the greates"
care should be taken with it by the photographer. When it is takei
from its frame, if there is any dust upon it that cannot be removed
by blowing, it may be lightly dusted with a soft and perfectly drj
camel's-hair brush, and, as soon as the copy of the picture is made
it should be restored to its frame and at once hermetically sealed u]
as it was originally. The " fading " of a Daguerreotype is simply i
tarnishing of the plate, just as silver or plated goods tarnish b}
exposure to the atmosphere, and is very rapid when sulphurou
vapours are present. Although the cleaning or "restoring" of (
Daguerreotype is a simple matter, it should not, if the picture ia I
valuable one, be attempted by a novice.
I
TO^RITI3IW0OTNAL OF I'HOTOGKAPflY.
[January 6, 1893
.'A NOTE ON HALATION AND DOUBLE FILMS.
It is not my intention to discuss the tlieory propounded by Mr. Gregor
Grant in his communication to the WestMvent Amateur J'hotographic
Society published in last week's Jocbnal, beyond remarking that, if
it be correct, then it seems impossible to produce a negative with
clear shadows on the plates he mentions. With regard, however, to
the use of an under-film containing chromate of silver, alluded to by
liim as having been proposed by Mr. W. K. Burton, I think it is
easy to prove that such would be utterly impracticable.
En passant, I think the writer of the article is scarcely correct
in his facts when he states that Captain Abney was " the first person
to lay down any law "on the subject if halation— to, in fact, point
out 'that it is due, in some cases, to reflection from the back surface
of the glass. Captain Abney would, I am sure, be the last to mak-e
any such claim, iis this, one of several causes of halation, was
first pointed out by Mr. Marlowe as far back as 1«G0 or 1861, and
the remedy— backing the plate— was indicated by the late Major
Kussell in 1864. I myself used annatto in that year, and subsequently
burnt sienna and gum', or dextrine, and few dry-plate workers of that
period and later, until gelatine came in, ever dreamt of using unbacked
plates. As a matter of fact, we have had what is simply a resur-
rection of " backing " in connexion with gelatine plates of late years,
and some people seem to regard it as a new idea.
Turning to chromate of silver, I have not the means at hand of
referring to Trofessor Burton's communication on tlie subject, and do
not remember his suggestion as quoted, though it is very likely it
was made m a suggestion. I recollect his publishing some experi-
ments on the sensitiveness to light of chromate of silver, which I was
unable to rei)eat. Chromate of silver is extremely soluble in ammonia,
and forms double salte with other alkalies. The effect of applying
alkaline development to that salt would therefore be to form a soluble
silver salt, which would necessarily be reduced by the pyro or other
reducing agent unless the liberated chromic acid instantly recombiued.
At any rate I could never obtain any definite reduction that could be
fairly ascribed to the action of light with pure chromate of silver.
But chromate of silver in the presence of a silver haloid is a
different matter altogetlier. Captain Abney was the first person to
point out some fifteen years ago the action of the bichromates, in
destroying the effect of light, and this action has an important bearing
on the suggested application of the under film of silver chromate. Upon
the application of a developer the first effect following, or rather
accompanying, any reduction, however slight, would be the liberation
of bromine or other halogen, which would next combine with the free
alkali of the developer, or, more probably, go direct to the chromate
of silver to convert it into bromide and liberate chromic acid, which
in turn would combine with the alkali of the developer. At the very
outset, before reduction had become visible, in all probability a free
soluble chromate would be present to arrest all further developing
action — to, in fact, destroy the effect of the action of light. How
minute a trace of chromic salt suffices to do this will be familiar to
those who have employed bichromate for the purpose of curing foggy
emulsion.s. Even after a very considerable amount of washing, such
emulsions are often extremely insensitive, although the proportion of
chromic salt remaining is so small as to escape_any but the most
careful tests. •
I have never actually tested the chromate under film, nor, indeed,
have I tried the effect of a developer upon one containing chromate
as well as bromide of silver, but I can describe the effect of an
analogous mixture, namely, bromide of silver and chromate of cadmium,
that is to«ay, bromide of silver in the presence of an insoluble chromate.
At the period of Captain Abney's publication of the effect of
bichromate in destroying the latent image, in the course of experi-
ments having for their object the clearing of foggy emulsions, it
Struck me that we should find bichromate a useful " indicator " in
accurately adjusting the combining proportions of silver nitrate and
soluble bromide. Accordingly, an emulsion was made with excess
of silver, allowed to riptin for the usual period, and then a single drop
of saturated solution of bichromate added, which, of course, changed
it to B red O)lour. Alcoholic solution of bromide was then added
gradual!; until the red tint was just discharged, after which the
«mUlsian was washed in the usual manner.
In my previous experiments in washing the emulsion in solution of
bichromate in order to eliminate fog, 1 had attributed the absence of
sensitiveness to the employment of too strong a solution ; but when I
found that the emulsion which had had so small a quantity as one
drop of aqueous solution in five or six ounces, was absolutely without
sensitiveness even in strong daylight, I was puzzled. The result,
however, was precisely the same after two or three repetitions.
The cause at length dawned upon me, and actual trial proved the
truth of mj' suspicion. The collodion was bromised with cadmium
or rather with the double bromide of cadmium and ammonium, and
the same salt had been used to correct the excess of silver thus
forming by the decomposition of the small quantity of silver chromate,
chromate of cadmium, which remained in combination with tke
silver bromide. The chromic acid was converted to the soluble state
by the developer, or rather a soluble chromate was formed, and this
prevented anv reduction. After a prolonged washing in very dilute-
ammonia, the sensitiveness was partiallj- restored, owing to the
removal of the insoluble chromate, but never completely.
As the result cf that experience, I am very doubtful of the-
possibility of any useful application of chromate of silver as a.
photographic agent. W. B. Bolton,
ON THINGS IN GENERAL.
A Happi" New Year to all my readers ; plenty of business for the
" Pros.," few failures for the amateurs ! I wonder if the last wish is
really a good one ? My experience of the photographers who " never
have any failures " is, that their work is worthless and their opinion*
useless. 1 cannot, however, say the same of some work of letter-
writing, which The Bkitish Jouknal of Photography has
recently had good share of, referring to exhibition matters. Mr.
Hector Maclean has hit the exact blot when he writes : " In most
assemblies, and particularly restricted ones, there is to be found one
man pa paljly taller than the rest — one whose obiter dictum has almost
the force of law, and is in itself powerful enough to prevent the form-
ation of any independent judgment." Exactly so ! Three or four
good men and true in matters photographic, when left bj- themselves,
suffer themselves to be pooh-poohed by one of their number, famous,
perhaps, for his work, his medals, or his general ability, or, possibly,
his loud voice, and scarcely venture to assert their individuality, or
have the courage of their opinions, if traversed by this mental tall
one. The practical result is, that the judging is his, with a reserve
power of throwing the onus of imperfect judging on his fellow-
jurors. It is, virtually, one-man judging, and, as such, has merits of
its own. I entirely agree with Mr. Maclean's suggestion, that the
judging be done by the " mark system."' Only, if so, let it be carried
out in its integrity in the manner he indicates. I well remember one
occasion, when I formed part of a " jury," all the members starting
out with this laudable system in view, but, when notes came to be
compared, the result was, practically, that A, B, and C stated which
pictures they considered entitled to awards, talked it over if there waa
no unanimity, and amicably settled matters. A good English system
of compromise, no doubt, but not the mark system. If well carried
out, there would be no room for such injurious insinuations as re-
cently appeared over the signature of " Young Member," who, so far,
does not appear to have redeemed his promise to the Editor, that he
would reveal his identity by signing a reply letter with his own name.
I have been much interested in the question of magnifiers for
retouching, treated by the Editor and Mr. G. R. Baker, the latter,
as one commercially conversant with the optical requirements of the
public, and possessing further a knowledge of optics, giving advice of
the soundest character. Nothing could bo more timely or nearer the
truth than his remark that " there is no doubt that in many simple
or every-day matters of optics a great deal of carelessness is at times
shown, and consequently that precious organ of sight, the eye,
seriously affected.'" In his comments about astigmatism, where he
states that a great many persons are affected by it, I believe he
might have gone further, and said a large majority possess eyes with
that peculiarity more or less developed. But few are aware of
the defect, or when very marked simply put it down to weak or near
sight, and are always experimenting with spectacles of various
strength, none of which of the ordinary double convex kind, of
January 0, 1893
THfC BRITISH JOURNAL OF PHOTOGRAPHY.
course amend the optical definition to any serious extent. Hut,
turning now to the origin of the matter, the inability of a retouclier
to use a -pair of spectacles of eipht-inch focu.i, tiiuugh a four-inch
diaiuBter mn^rniOer of the same focus was easy and satisfactory to
use, it is singular to find that two such excellent .luthoritie.s as o<ir
esteemed I'2ditor and Mr. Baker have entirely mi.siied the point. The
difference between the use of the above mai^iiitier and a pair of
spectacles is that in the latter the eyes are placed almost close to
the lens. Ill the magnifier the eyes are always i.sed at a distance
of .--everal inches. The action of the lenses and the extent of the
apparent amplification is entirely different. Indeed, a perfectly satis-
factciry result is obtained when (lookinff at the l.rns from a prismatic
standpoint) an object is viewed through a large magnifier in such a
way that both eyes are on one side of the pri.im. This is readily
seen by covering one-half of such lens by a piece of cardboard. Good
results will be obtained whether the cardboard be held vertically or
horizontally across the lens.
But, speaking of optical matters, one of the richest things I have
seen for a long time is an article in the New J '■)•/,• Ph'toiirripkic Timeg
over the signature of P. C. Duchochois, He is correcting an article,
a reprint from the fk-ientijic American, whicii had previously appeared
in the l'/iot'>f/raphic Times. The following sentence from the second
paragraph in his correction is quoted verbatim :" "Objircts at various
distant planes appear in relief when seen at a C'^rtain angle, theoretical
for our vision, one having for its base the distar.ce which separates the
centre of the two eyes, about 2^ inches." The spelling of the word
" centre " suggests that the sentence itself may be a o notation : but, how-
ever it may be taken, it appears to be meaningless. Thee, to explain
matters, he takes two woodcuts of stereoscopically different places,
one the right way up and the other upside down, and calls them
pictures seen by the right and left eyes. He then repeats the two
engravings upside down, and calls them the pictures seen by left ami
right lens. lie ends by stating that a stereoscope '• consists of the
two halves of a bi-convex lens, which consequently give to the rays of
light exactly the same direction : they are convergent.'' This is too
delightful — rays the same direction, and convergent. Finally, he
ought to Icnow that the idea that the lenses should be prismatic in
their section for stereoscopic effect to be produced is long ago
exploded. The best form of stereoscope is one in which whole lenses
are employed and the view looked at through their axes.
Fbke Lance.
BREADTH.
-VMONOsr all the terms imported into the vocabulary of tha photo-
grapher from the artist none is being more frequently used at the
present time than the term " breadth."
That photographers should gradually appropriate the expressions of
artists is not to be deplored. These terms have most of them been
long in use, long before photography was dreamt of ; and the fact that
they still survive may be taken as proof that they fultil their
functions satisfactorily. These terms, somewhat meaningless in them-
selves, have come to have a very definite meaning attached to them ;
and, as the term " breadth " is frequently quoted in an erroneous way,
it might be profitable to inquire into the precise meaning of the word.
While it might be difficult to frame a hard-and-fast definition of the
quality denominated breadth, it is not difficult to explain what it is.
It is that quality which makes for simplicity ; it may apply to out-
line or form, to light and shade, or to colour.'
In an outline drawing whatever deviations break in upon the
general direction of the line render the design mare complex, and
therefore destroy breadth. Again, in light and shade, whatever
deviations break in upon the general tone of a mass destroy its
breadth. Tlie power or effect of a mass of colour depends entirely
upon its being as far as possible unbroken. I do not enter Inby the
question of how far this quality of breadth or simplicity is to be
carried out ; manifestly it might be carried too far. I am only con-
cerned with its identity. Now, to what extent can it be said that
photographs have breadth ?
If we narrow the meaning down to that quality which an artist
puts into his work as deliberate design or intenf.ion, apart from Nature,
I am ready to argue that they have none of ^his quality, notwith-
standing the out-of-focuB dodge. On the other h^id, Lf you a<lmit
• Phnlntirnnhir, Tlmfn. p. fi44 fHn. ,187).
breadtii of effect in Nature, then, of course, a photograph will have
breadth or no, according to what effect was there when tne plate wai
exposed.
But, since the latter statement has never been denied, let the atten>
tion be entirely confined to the former conditions, that is, wher»
Nature herself is rather too complex for either artist or photOjBfraphtir
to treat with succeas pictorially — where, indeed, Art can improve on
Nature, bringing order out of disorder.
Now, let us clearly understand what has to be done. First, in order
that the outlines may be more evident and easily followed, deviationa
from the general direction of the lines must be curtailed. By this
means the eye follows with ease the simpler lines ; in other words,
breadth is introduced.
But photographs from Nature are not merely outline drawings —
they have ligiit and shade, and breadth must be introduced here also.
There is only one way of doing this, and that is by a process analogous
to the former. All deviations from the general tone value of the masn
must be curtailed. Just as nnity is power in social matters, so unity
is power in pictorial matters, and by bringing a host of independent
entities into subjection the design is simplified, and power correspond-
ingly increased. Now, since the artist makes his picture ab initio, he
can, of course, introduce breadth to any extent ; but how about the
photographer 'i
It has become a part of the advanced photographer's creed to put
down want of breadth in a photograph to an over-abundance of
detail. Accepting the objectionable and slipshod expression, it is not
dirticult to show that there is no such thing as detail per te in any
picture, that is, since everything in a picture is represented by out-
line, light, and shade, "^^'hen an individual says there is too muck
detail, he must only mean that both outline, and light, and shade are
too complex for effect. It is now proposed to mend matters, by
putting the picture, to some extent, out of focus ; and, first, whait
effect will this have in simplifying outline ?
It must be admitted that this will, to an infinitesimal degree, cur-
tail deviations from the general direction of the lines ; but note that rt
is at the expense of a hazy outline, which, in place of being mors
easily followed by the eye, is still more difficult. Contrast this with
what one sees in Nature. As objects recede from the eye the outline
gets less and less intricate, but the //encrrt/ outline remains quite sharp,
till at last the distant hills at the horizon, in place of having a
" fuzzy " outline, stand out with razor-edged sharpness against the
sky, and this, too, so long as there is a trace of them visible.
When the artist would introduce breadth into his picture, h*
simplifies the outline by sinking deviations from the general direction
of the lines, not by making a fuzzy outline. In this he copies Nature,
acts on her plan.
I repeat that, in Nature, as the complexity of the outlines gets less
and less by distance, so the general contour gets more and more
definite ; but, bad as an out-of-focus picture is in outline, it is still
worse as to its light and shade, for, since bj' no reasonable amount of
racking out or in can tlie light and shade in any photograph be
materially altered, by robbing the shadows of their detail their
identity is lost, and they become meaningless patches of black. The
same holds true of the lights, of course.
In point of fact, detail, to use the word in its somewhat indefinite
but ordinary sense, may be present in a high degree without inter-
fering with the breadth of a picture at all, the only condition being
that it be invisible from the distance necessary to command the com-
position as a whole, in which case I admit its uselessness, of course.
The distance to which one must retire in order to command the
composition as a whole ought to determine the amount of so-called
detail, for, while more of it may not, if judiciously handled, injure tthe
breadth of the picture, it is at least so much labour lost if it is »ot
visible from the standpoint proper to view the picture. In my opivna
there is only one way of introducing breadth into a photograph-^
choose a subject having the desirable quality in itself.
J. K. TCLLOCH, M.B.
HOW TO MAKE PEN-AND-INK DRAWINCiS FOR
PROCESS WORK.
It will be remembered that in a recent number I explained as far sa
could be done on paper, the process by which phototype illustrations
are produced for tne Press, and the manner in which copies may be
taken from photographs for this purpose. I will now endeavour to
make clear in as precise a manner as possible the way in which the
illustrations, technically known as " line " drawings, are produced.
In the first place, it has often been said, even by men o^upyinx
h'urh positions in the artistic world., that artbts are bora and not
r
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 6, 169.-3
made. To a certain extent this is correct, as no doubt in this pro-
fession as in all otliers, the genius of the first water, the man who
stands head and shoulders ahove all his contemporaries possesses an
inborn talent for his work ; but it is possible for any one gifted with
an ordinary amount of intelligence and capability for hard work to
make a more or less skilful draughtsman. The path to success, how-
ever, is by no means an easy one, continual study and labour being
essential at every stage. In fact, it is impossible to become absolutely
perfect. For the artist of feeling the whole world, animate and
inanimate, affords interesting matter for thought and study ; and, as
one of the chief means of obtaining a hearing in a profession already
overcrowded with men struggling to get a foothold is to strike out an
original line, it is necessary that the student should possess a keen
eye for fresh subjects, and a vivid and retentive memory. Granted
these conditions, the ambitious pupil may commence his studies.
As the general reader is probably ignorant of even the first principles
of an artist's method of work, it may not be uninteresting to state
briefly some of the leading rules by which it is necessary that he
should be guided. It is useless to commence drawing anything unless
you have a clear and definite perception and grasp of your subject,
and thoroughly understand its proportions and have deflned its limits.
As in photography, so in a greater degree in draughtsmanship, a clear
knowledge of the value of lights and shades, and a thorough acquaint-
ance with " perspective " is of first importance, and it is here that a
^eat deal of hard work can be put in. Perhaps the best books for a
beginner are Vere Fost«r'8, where the information is prepared and
arranged in a most careful and commendable style.
For landscape work, after the preliminary courses have been gone
carefully through, the student should endeavour to advance by very
easy stages — that is to say, to choose at first a subject which he can
clearly grasp, where only one line of perspective is required, and
where the background is not confused by a variety of objects.
For instance, we will imagine that the scene chosen is a country
lane, with a wall on one side and an open field on the other, with a
farmhouse in the far distance, and a few trees within the line of
eight, behind the walL It will be easier to attempt this in winter
time, when the branches of the trees are quite bare, as the leaves
very often prove extremely difficult to render naturally. The student
should be careful to avoid standing in a too central position, and
should endeavour to reproduce the shadows only, taking no notice
whatever of the lights, as a much finer artistic effect is obtained by
adopting that course. It is a mistake to suppose that the outUne
itself of the subject should be drawn ; it is the shadows that should
be filled in, and the real outline, as far as possible, merely reflected,
or suggested by broken lines. By broken, I mean that the pen
should be held very loosely, and should be guided so as to produce
a wavy rather than an absolutely straight line, and it should be
lifted altogether from the paper at intervals of from a quarter of an
inch upwards, according to the size of the sketch. Straight and un-
broken lines make a very crude and unnatural impression when the
drawing is finished, and, in fact, a true picture could not be drawn
if contmuous lines were used. Tints are got by varying the thick-
ness of the lines. Thin and open lines must be drawn to depict the
lighter shades, and as the shade deepens in intensity the lines should
gradually increase in thickness and at the same time be placed closer
together. Care should be taken to keep the lines from running into
each other, and to make no attempt at crossing until the strokes are
dry. If this is not carefully watched, the risk is incurred of losing
part of the effect by the confusion and running of the lines, whereas,
in crossing, it is necessary that each stroke should be quite separate
and distinct.
In order to train the eye to appreciate beauty and flow of hue, the
beginner would do well to study the lines used by some of the best
artists whose drawings are reproduced on wood, especially as regards
the angle at which lines running transversely should be drawn, as
nothing is so detrimental to a pen-and-ink sketch as to see the lines
crossing at wide angles. In the case of rural scenes, and, in fact, in any
kind of work, with the exception of architectural subjects, it is desir-
able to avoid using photographs except as an after-guide for the sake
of comparison; but with buildings it would save time and trouble
if the student procured a photograph of the subject chosen. He
would in this case be enabled to obtain a more strictly correct drawing
than if he merely sketched it upon the spot, for in such work the lines
are necessarily longer, straighter, and firmer than in figures or land-
scapes. .\fter carefully copying with pencil every detail as an
architect would do, he should proceed with pen and ink to suggest the
shadows, as stated previously, rubbing out all lines in the high lights.
This gives a very sketchy appearance to the drawing which the novice
is apt to believe is easily produced, but it is, in realitv. only obtained
by taking the greatest care in the first dra^ving oun' ' The pupil, by
studying the works of Joseph Pennell, who is considered the best
artist in pen and ink of the present day, will get a better idea of what I
intend to convey in the foregoing.
Without the aid of explanatory illustrations, it is exceedinglv diffi-
cult to describe exactly the means which are u-^ed to obtain artistic
effect and workmanlike appearance in a sketch ; but perhaps these few
hints will help to a better understanding of artists' methods when
their bearing is taken in conjunction with specimens of work such as
I have described.
Of course, much difference of opinion exists as to the degree of
merit of different artists, but, in the main, it will be seen that they all
work from the same basis and use the same means to obtain wliat, by
virtue of their various methods of execution, gives to the eye an alto-
gether different effect when completed.
Now, with regard to figure drawing, it is worse than useless to
attempt to copy photographs unless, perhaps, those taken by the
stereoscopic process, which, when focussed in the special lens made
for this purpose appear as they would viewed from the figures them-
selves. In order to be able to sketch true tu the life, in addition to
his lessons in pen and ink, an artist should carefully study the prin-
ciples of physiology and anatomy, and endeavour to make a true
delineation of every bone and muscle in the human body. The proper
course to follow to gain this knowledge is to join what are known as
the " Life " classes. Here the construction of the frame is first ex-
plained by means of casts of different portions of the limbs and body,
and the student is gradually led to the higher studies from the nude.
In this connexion also, it may be said that perfection is never reached.
The frame is made up of so many delicate and intricat* muscles and
sinews that to trace, and faithfully copy, every one is the work of a
lifetime.
After finishing the English classes, many of the promising men are
sent to Paris, where, as every one knows, art is supposed to have
reached its topmost pinnacle. Germany and Italy also afford vast
fields of knowledge for the artist who desires to become a true cosmo-
poUtan in his profession. Of course in Italy the schools are mostly
devoted to the teaching of painting, i s in thxt country one is able to
obtain probably the finest scenery in the world. A. J. GotroH.
PHOTOGRAPHY AT THE MUNICIPAL TECHNICAL
SCHOOLS, MANCHESTER.
.4.T the Municipal Technical Schools, Manchester, the optical lantern
is extensively used by the various teachers, and the slide supply is an
iinportant branch of the " preparation." Many, if not most, of the
slides are necessarily made from drawings, diagrams, &c., in the various
text-books, and it is to the reproduction of such illustrations that a
special department has been created, which has been found an immense
boon in many ways. There are two rooms occupied, one containing
the apparatus for making negatives and for finishing the slides, the
other as a dark room.
The apparatus used is that invented by Professors Strode and Barr,
and it is a marvel of compactness and efficiency, the illumination used
being that obtained from two Argand gas burners. The plates used
are " the Castle brand," the exposure varying from one minute to two.
The whole arrangements are brought down to almost a mechanical
operation, as scales are fitted at all points. For instance, we will sup-
pose a diagram nine inches long is to be reduced to lantern-slide size,
the book containing it is placed on the top of the box, the diagram
being hung opposite the camera, or, if a loose diagram, it is pinned
upon a board, which can be hung in situ without trouble. The
camera stand is next pulled away until a pointer on bottom is at
figure 9 on the tramway. The back of camera is also pulled out until
a similar pointer is at 9 on the base of camera, a glance at a scale
running up the side of it perhaps shows that the bottom line of diagram
is eight inches from top, and that the top line of diagram is two
inches from the top. These two added together total ten, so a small
screw at the side is loosed, and the camera raised or lowered until a
pointer on side is at ten. Then, on glancing at the ground-glass screen
of camera, we shall find that the image is the right size, is in centre
of plate, and is in good focus. Remove the focussing screen, insert
the dark slide, and with lOo seconds exposure we shall obtain a cor-
rectly-timed negative.
In entering the dark room strangers always step in very gingerly,
and ask if the floor is safe, because the room has been the' shaft of a
lift ; this room is lighted from the top, being covered in with two
thicknesses of orange fabric for lighting in the evening, or, in dull
weather, a small incandescent lamp in an orange bag hangs con-
vemently over the bench, and the current can be switched on without
any trouble. A special hydroquinono developer is used, and is
January 0, 1803]
THE BUITlSIl JOLKNAL OF PHOTOOltAPHV.
;renerallv allowed to act whilst two more exposures are being made
by which time, as a rule, the iiepitives are fully developed, ready for
washiofif and fixinfir. After tixinp;, they are thoroughly wa«hed in an
automntic appiratus, then pi.t on rack till dry ; when dry, the nega-
tives are examined, and those needing the operation are intensified,
bleaching with mercury, followed by ammonia, or by hypo, if
only a little extra density is required. The slides are made upon
Mawson's lantern plates, tlie exiwsure being made to the light of a
gas-jet at a distance of nine inches, tlie developer being hydroquinone.
\\'hen ordinary photographs are to be copied, about three times the
exposure is necessary, the developer ufwd being pyro soda for the
negatives, and hydroquinone for the slides. Slight over-exposure in
the slides is corrected by immersion of the slide in a mixture of hypo
and ferricyonide of potassium.
The department is worked entirely by Miss Williams, and, although
only of verv recent establishment, the slides produced are of a high
class, and tlie quantity sufficient for tliis unique school. The present
schools (three separate buildings) are shortly to be superseded by a
magnificent pile of buildings, in which photography will be allotted a
good position.
The clas.«es on photography and photo-mechanical processes are
quite new, but up to the present are well attended, and the pupils
show some excellent work. The lectures are practical as well as
technical, and treat of modern methods instead of, as is usually the
case, obsolete or nearly useless ones. W. T. Wilkixso.v.
A SUGGESTION FOR HEGULATING AWARDS AT
COMPETITIVE PHOTOGRAPHIC EXHIBITIONS.
Most will agree that the task of awarding medals and adjudicating
upon the respective values of pictures sent to photographic exhibitions
has hitherto been of a somewhat thankless and unsatisfactory nature.
Why this is so is hard to define with any certainty, for those to
whom the task is entrusted are invariably selected for their known
discrimination and knowledge in matters of the kind. No matter
who the Judges may be, there is always more or less grumbling at
the results, and not always from the non-recipients of the awardsl
I will now suggest what, perhaps, may be when more elaborated
an improvement in the system of judging usually adopted. My idea
is that there should be a kind of standardised opinion, to be settled by
committee as to details, but constructed on the following lines. To
make myself clear, I will sketch how the judging is frequently
managed. The gentlemen appointed for this oiiice examine the
photographs one by one, or ought to, and put down on a strip of
paper a certain number of marks, as representing the value of the
picture under their examination. The higher the number, the more
favourable the opinion ; from one to ten is usually adopted. At the
end of the examination the numbers given by each Judge are added
together, and the photograph receiving the greatest number of marks
is considered the prize picture. It will be seen that this system is
defective, because each of the four or five censors may estimate the
value of the picture from quite ;i different standpoint that can have
little or no connexion with the other. One may appraise a picture for
its artistic qualities, and anotlier for its manipulative excellencies, and
others from standpoints in their own minds utterly distinct from the
rest, with the result that good qualities of different kinds actually
neutralise each other ; and tl\e whole ends in an unsatisfactory muddle,
the Judges themselves being more or less surprised at the result,
although it would seem no better plan could be adopted than the
absolutely unbiassed opinion of capable men so obtained.
My proposition is that, in the first place, definite qualities shall be
adjudicated upon, and these classed under four heads :—
1. Artistic excellence — grouping, ligliting, posing, and form.
2. Manipulative excellence— brilliancv, delicacy, and freedom from
defects of all kinds.
3. Colour and texture.
4. Mounting and framing.
Printed lists should be provided as indicated in diagram. The first
column containing the number of the pictures, and the following ones
headed as above, with a division for remarks.
Remarks.
Suppose each Judge m supplied witii one of these printed lists.
He will examine No. 1 picture, and place so many marks, accordin<r
to his judgment, under the different headings from'l to 5; the higher
the number, the higher his estimate. While, for example, let us say
of No. 1 that .') will express his estimate of the first division, 2 of
the second, 2 of the third, and "< of the fourth. Now, proceeding to
No. 2, his figures might be 1 for the first division, .1 for the second,
5 for the third, and 5 for the fourth. The aggregate total of marks
would be 14 for No. 1, and 10 for No. 2, giving preponderance
to the_ less important qualities; but, as in the first division
No. 1 is of more importance than in No. 2, the excellence of the
picture is estimated to be better in No. 1 than in No. 2, on account
of division 1 being the most impDrtant in picture-making. But it
will be said that this is judging the picture from a solely artistic
standpoint, and making the other divisions of no account'. So it.
would if this was the end of it ; but to remedy this the standard miut
he funned to fix how much more proportional value shall be given to
No. 1 division over No. 2, and No. 2 over Nos. 3 and 4. I would
propose the proportion to be 9 for the 1st, 3 for the 2nd, and 1 for the
others. It would then be very easily estimated which picture was best
accordinff to this standard,2ind by adopting the same at all photographic
exhibitions I think a fairer estimate would be given to the work than by
thepresentsystem. Theaggregatedlistsmight beprepared andexhibited
in the show-room, and would indicate to all tlie points and qualitieii
that influence the Judges in making their award.". The column for
remarks might contain the collective opinion of the censors on the
w-ork in its entirety, or refer to any particular or unusual quality
in it.
There are some who think in giving a decision no reason should be
publicly announced ; but I think in this case the indication of tha
grounds of the award would be both an advantage and satisfaction to
all concerned. This is, however, but a crude notion of a plan I fancy
would work satisfactorily if carefully elaborated, the dominant
idea being t\iQ foundation of a standard that would be the means ot
fairly estimating the different (qualities of a photograph, each of
which may_ be equally good in its way when estimated from
different points of view, but not one that would permit a fair
estimate of the work when taken en gros. Edward DuKMoaB.
COMMERCIAL MOUNTANTS.
[American Journal of PhotogrHphy.]
Thk word mountant has long been adopted as a convenient expression
to denote the mixture made use of to confine paper prints in their
proper position on the cardboard. It is thus one of our technical
terms in photography, but persons sometimes go wrong in the use of
even these simple expressions, and we rememlier once seeing this term
mountant translated into a German photographic contemporary by
language meaning a man who goes up mountains !
The chemical relation between mountants and the fading of mounted
prints is a matter which still commands the attention of practical
photographers, and it is to be regretted that no specific directions
how to make silver prints permanent can be given. It is impossible
for us to say. Make your prints on this or that pper, silvered thus,
toned thus, and fixed and mounted thus, and then they will never
fade. All that we can do is to take the ripened experience of many
years and say. Avoid certain things in making your prints, for it is
known that they cause fading in a comparatively short time.
Commercial mountants may be divided into three classes, the
gelatinous, the starchy, and the mixture of the two together. Now.
nothing i« more convenient than to have a bottle of mountant always
in readiness, so that prints may be mounted at short notice; but i.s
this proceeding a safe one as regards the permanency of the print ?
While we believe that an affirmative answer might be given in the
case of platinum and, perhaps, bromide prints, we certainly condemn
the using of any other mountant than a fresh-made one" for prints
made on silvered paper; moreover, we assert this most strongly
against gelatine mountants of all kinds, but particularly those to
which glycerine has been added.
Some of the less conscientious persons in the photographic calling
do not scruple to mount silver prints with the commonest kind of
glue. AVe merely allude to this matter in order to express our
strongest disapprobation. Almost everybody knows that the differ-
ence between refined gelatine and common glue is one of degree rather
than of kind; but even the finest commercial gelatine is not now
deemed safe. Gelatine is a substance possessing a strong affinity for
water, and this is greatly increased by the addition of glycerine. The
glycerine is very desirable, almost indispensable indeed, in a pure
gelatine mountant, because it renders the mixture less homy, and
more workable. Now, it is open to doubt whether prints mounted
with such a compound ever really dry. We have known prints so
mounted, and kept in a perfectly dry place, to leave their mounts at
the slightest touch, while others framed and hung on a wall began to
fade almost immediately. ,
'THE BRITISH .TOrRXAL OF rilOT03KArHY.
[.IftiuiaryiO, ]S<)3 ;
These remarks will be understood as appljin? to the ordinary silver
print on either alhumenised or plain paper. As we said a moment
ago, platinum or bromide prints could fairly be expected to last better,
bee use neither of them contain that delicate albumeno-silver com-
poand up'm which the beauty and the instability of the silver print
bot 1 depend. It is also well known in jihotography that all developed
imaces are more permanent and lasting than those which are "printed
cut." On this ground alone, better results in permanency are to be
expected from bromide and platinum.
There is a class of commercial mountants partly or wholly starchy
in character. All the forms of parlour pastes rank in this category.
It serms strange that, while plain boiled starch fresh made is the best
and safest mountant, flour paste should have always been in bad
odour amongst photographers. Yet practice and experience— the
safest guides to follow — prove this to have plenty of foundation.
I'lStes made of ordinary wheat flour are very prone to mould; and,
wh\U this tendency can be counteracted in great measure by certain
tdiitions, they themselves have an injurious effect upon either the silver
compounds in the print or upon the whiteness of the paper. Dextrine
also belongs to this class, being a derivative of starch. Gum arabic
is out of the question, being at once too much inchned to turn sour,
and very expensive if good qualifies are selected. ludiarubber was at
one time quite in vogue, and if it played the same trick as gelatine
with glycerine, in letting the print scale off after a time, it was at
least harmless as regarded any injurious effect upon the stability of
the print.
Silver prints of large dimensions are sometimes sized with a gelatine
sizing and varnished. The practice cannot be called a safe one, how-
ever. Kecent experiences point strongly to the danger of using
gelatine in any form with a silver print. This applies also, we regret
to say, to the cementing of prints to glass. It is probable that
Canada balsam could be made to serve for this purpose. If gelatine
must be used, however, we advise" the Ijest quality only, carefully
tested for acidity, and used if possible without glycerine. If the
prints peel off the glass, the glycerine will have to be added.
Cemented prints ought always to be hermetically sealed in their
frames, or at least as nearly so as possible, and hung in a place
perfectly free from dampness.
On talking these matters over with one of our oldest and best
photograpliers, he went so far as to condemn commercial mountants
altogether, calling them " a lazy man's resort." While this may be
an extreme view to take of the matter, so far as amateurs are con-
cerned, we are, nevertheless, sure that it is the correct and safe one
for the professional photographer. Starch paste, the best and safest
mountant, is made in a few moments with little or no trouble and
expense. It should be made fresh every day, and never kept over ;
and the brashes and vessels well washed the last thing at night, to be
dry and ready by morning. Ellebslie Wallace.
rHOTOGllAPIlING LOFTY INTERIOR WORK.
Having read an article in a recent issue of this Joubnal on '• Photo-
graphing Stained-glass Windows," it occurred to me that a plan I have
found useful for, not only windows, but for any other lofty-situated
subject (as capitals of pillars, carvings, and such like), might be useful
if more generally known. All that is required in addition to the usual
apparatus is a supply of siring and a pair of tall steps. Tlie steps are
almost always to be found in churches and cathedrals, or the verger
will sunply them. The idea is to raise the camera, roughly focussed,
centrally as convenient with the object to be photographed, and expose
by means of a cord attached to the lens cap and focussing cloth by
the operator standing on the ground. In the first place, set up the
camera, and a.scertain tlie distance required to get the proper-sized
image. This can be done on the floor of the building witli very little
trouble. This being ascertained, set up the steps in the right position,
and secure tlie camera on the top of them by cords, or by boring a
hole through the top step, which is better, and using th
camera
an extra-long
screw as though it was being attached to the tripod
•crew may be kept for this special purpose.
This .done, the cvact position and focus can be settled by standing
fo the steps, and focussing in the usual manner. The focussing cloth
M then adjusted over the camera, with a lot of loose folds in front, to
the edge of which a long cord has been fastened, so that a slight pull
from below wiU draw it over the lens. The same cord is also attached
to the top of the cap of the lens. The dai-k slide being inserted, the
shutter 18 opened, and the cap of the lens eased almost off, iust leaving
rt sufficiently on for safety. Descend the steps, and when all vibra-
tion has ceased, a slight pull will remove the cap, and make the ex-
I'OBure; another pull will draw the focussing cloth over the lens
• *;hen tno exposure is completed. Mount the steps, cap the lens, close
5he shutter, remove the dark slide, and the operation is completed,
without any shake and without any danger; and vnu have the
advantage of a lofty scaffold platform withoijt any trouble.
JEdWABD DUNMOIIK. -
WINTER PHOTOGRAPHY. '
In cold weather photogiaphy does not, work with the smoothness
and certainty it does in warm. The light is deficient jn actinism, and '
unless the solutions are warm the negative is wanting in detail and
in density. In fact, tlie absence of warmth i.s, more often responsible ,
for poor results than is, the feeble light. 4' ■>
Pyrogallic acid in solution will, in cold weather, discolour far'<.
quicker than when warmer, and this in spite of an increase of a pre-
servative, such as nitric acid, sulphite of soda, &c. . Therefore, wJieu
good work is required, care must be taken that the temperature of the
solutions is not allowed to fall below 60° F. The dishes u^ed for
development must also be warmed prior to use, as it will obviously be
useless to pour warm developer into a cold dish, and then expect that ..
the solution will warm the dish and retain sufficient heat to perform .
its f unctiops properly.
When a negative is developed in a warm solution, not only is it
better, but it is also cleaner and freer from stain than it would be if
developed in a cold solution. Present-day dry plates will bear a
solution as warm as 80° without danger, hut 60° will be as high as ij
necessary for the developer to be before pouring over the plate. A
cold developer, as well as giving poor negatives and causing stains,
also causes frilling and blisters. The blisters sometimes dry out
without leaving marks, but frilling caused by cold solutions is far
more difficult to deal with than is frilling caused by hot weather or
by the useof a developercontainingan abnormalquantity of fixedl alkali.
Cold weather also has a deleterious effect upon printing methods.
The light, being weak, does not penetrate the denser portions of the
negative, consequently the lighter half-tones are deficieht in detail. '
To some extent this may be remedied by extra depth of printing,' but
not altogether, because it is generally "necessary to print somewhat
deeper in dull weather in order to get" a bright print.
For winter printing weaker negatives will always give better re-
sults than very dense ones, but in tliis connexionit is necessary to
observe that the full gradation is present. A negative, whether
strong or thin, must be so, from the highest light to deepest shadow.
An under-exposed negative is bad for either summer or winter. In
washing paper previous to toning, water, with a temperature of at
least 60° Fahr., should be used. After toningi the temperature is of
little importance, but the toning solution should never he below 70° —
that is, wliere good, brilliant tones are required. These remarks
apply as much to gelatino-chloride papers (printing-out paper) as
to albumenised paper; but, if the temperature of the solutions be
too high, the gelatine papers are apt to friU and the image float off •
the paper. They will withstand a temperature of 70° without danger,
but not higher.
A point of great importance in connexion with gelatine-ooated '
papers is this, they must be washed in warm water ((50° to 65°) before '
toning; it is quite useless to wash in cold water (below 40°), then
tonein asolution about 70° ; the tones are poor, and thehalf-tones suffer.
Gelatino-chloride prints, intended for enamelling, will be found to
strip off the glass better if soaked in a solution of aluminium chloride
for ten minutes, and washed afterwards ; in fact, all gelatino-chloride
prints are better for this treatment, as the chloride has such a harden-
ing effect upon the gelatine as to make it more brilliant, and make it
practically insoluble. W. T. Wilkinson.
COLOURLESS ALKALINE PYROGALLOL.
As illustrating a lecture on oxygen or air, says Mr. Alexander Johnstone
m the Chemical News, a strong solution of pyrogallic acid in KHO or
NaHO is often exposed to the gas or the atmosphere to show its great
power of absorbing free oxygen, and its instant change of colour when
exposed to it. This experiment " tells better " if a clear, colmirle^s solu-
tion of alkaline pyrogallol be shown to the class before exposure to
oxygen. This can be done very easily and quickly. Into a rather deep
test-glass, such as is ordinarily used iu lecture experiments, place some
solid pjrogalUc acid, and then a little water, just enough to 'barely dis-
solve it. Next put a small handful of sodium carbonate into a flask, and
cover with HCl to drive the COo off. Ponr the CO., gas into the ghiss
above the pyrogallol, and then add the KHO to the 'latter. The das.-,
will see that the alkaline solution below the CO., remains colourless. To
show the change caused by the presence of O, p'ass the latter from a tub.;
into the lower stratum of the 00^ covering, or incline the glass so as to
throw out the CO. aud admit the au:. The chantje will bo instantaneojs.
Janiinry 0, l'0:l]
THE BiJITISHHIOURXAL OF IMlOTOtmAPllY.
9
MEASUBEMENTS OF CLOUD HEIGHTS AND VELOCITIES.
The Annals of llanurd College Ohservatoni contain a discusaion by
H. H. Clayton of the cloud observations raado at Mr. A. L. Rotch's
observatory at Bine Hill, Massachnsotts. The details ijiven may be of
interest to those who Miakc clond photography a study. One of tlie most
noticeable facta brought out by the measurements of cloud heights and
velocities, which have been conducted with threat care, is the difference
in height between the same clouds in summer and winter, the clouds,
with few exceptions, being lowest in winter. Tlie bases of the oumulo-
nimbas clouds, however, are generally lower in summer, while, at the
fame time, their tops are higher than in winter. The heights of the
different clouds were found to maintain an almost constant ratio to each
other. The mean velocities recorded showed that the entire atmosphere
moves twice as fast in winter as in summer. The mean velocity of the
highest clouds in winter was about 100 miles an hour ; the extreme
velocity amounted to 230 miles an hour, from which it appears that the
upper currents are much more rapid over America than over Europe,
which possibly explains the greater velocity of the storms in America.
As regards the direction of cloud movement, the tables show that from
the highest clouds to the earth's surface the prevailing wind is west ;
about 4000 metres more than ninety per cent, of the observations show
the clouds from some point between south-west and north-west inclu-
five. In |the cirrus and the cumulus regions, and near the earth's
surface, the prevailing direction is from a little north of west, but in the
intermediate levels, from a little south of west, the excess of the southerly
component in these regions being possibly due to the inlluenoe of
cyclones.
♦
AMONG THE BEES WITH THE CAMERA.
[Greenwich Photographic Society.]
Kakly this summer I first made my acquaintance with the bees with the
camera, though I had done a lot of photo-micrography of the anatomy of
the bee, and tlie pictures I shall show are the] results of my various
excursions to Orpington and Bromley, in company with Mr. Broughton
Carr, editor of the British Bee Journal, to whom I am much indebted for
the arrangements of the hives and various appliances that I have photo-
graphed.
A prosperous colony of bees at the beginning of the swarming season
consist of a fertile queen, a few hundred drones, and from 30,000 to
"lO.OOO workers ; the mother bee, or queen, as she is usually called, is a
perfectly developed female, and deposits all the eggs from which the other
bees are produced. These eggs are of two kind.s ; the one develops into
drones, and the other, under ordinary treatment, produces worker-bees,
which arc undeveloped females ; by.t the same eggs, under different treat-
ment and care, produce perfect females, or queens.
The queen usually lives from three to four years, and is distmguished
from the other bees by her form, size, and colour, being longer, darker,
and of more slender structure, with comparatively shorter wings than
either the drone or wo.ker, as but one queen (except in rare circum-
stances) is allowed in a hive at one time, young queens are only reared
when a colony is deprived of a queen, is aoout to swarm, or if she
becomes aged, or her fertility ceases. In from three to five days after
birth she leaves the hive for fertilisation by the drone or male bee, which,
when once accomplished, suffices for life, as ordinarily she never after-
wards leaves the hive, except when accompanymg a first swarm. If her
death occurs, or she from any cause becomes unproductive when there
are ib-ones in the apiary, and young brood or eggs in the hive, the workers
construct larger cells, callediiueen-cells, supplying the larva withabundance
of rich focnl, and the eggs which would otherwise produce worker-bees are
developed into queens. If the queen does no: deposit eggs in any of
them, the bees will supply them with eggs, which they remove from
worker-cells. If they are not able from any reason to become fertilised,
ehc will only lay drone eggs. The queen has a curved sting, which she
uses when contending with a rival ; she is capaljle of laying as many as
from 2000 to 3000 eggs a day, and is in her prime the second season,
After which her laying powers decrease.
The drones ai-e more bulky than the queens, and are larger than^the
•workers. They have no stings, lead an idle life, and, with the exception
•of assisting to keep up the temperature of the hive, do no work for the
support of the hive, but feed upon the produce of the workers. At the
•end of summer, when their services are no longer required, food is with-
held from them, and they aro turned out to perish.
The workers, which are tho most diminutive in size, are too well known
to need description. The slide shows the queen, drone, and worker ;
it is a photograph of the insects set out so that the relative distinctions of
form may be compared. Upon this bee devolves all the work of
collecting and defending the stores, building comb, feeding drones, and
feeding and protecting the queca and brood. They rule and regulate the
whole economy of the hive, and perform all its offices, except those which
have direct reference to the reproduction of the gpeciei. Daring the
8ummer months the workers do not live more than six to eight weeks,
owing to tho hard work they have to perform, but worker-bees hatched
in the autumn usually live through the winter, and commence the work
of the hive in the spring. An egg deposited by a queen in a cell pre-
pared by the workers hatches into a small grub in three days ; it is
cherished and fed until the ninth day, when it becomes a nymph, and is
sealed in its cell to emerge a perfect bee.
Having taken up too much time in describing the three bees, I will
pass on more quickly with the photo-micrographs of some of the parts of
the bee. It will not be necessary to go into the detail of class, order, or
family to which they belong, except to say they are of the order Hymen-
optera, genus Apis, species Mellijica, this being indigenous to Great
Britain.
There are no less than eight distinct hairs on the bee. I am sorry that
I have not a slide to show yon. The most important part of the bee is
its head, which differs very much in form in the three bees.
The tongue consists of no less than five parts. The centre is the
tongue proper ; the two parts on either side form the cover, or sheath ;
the two above form another cover, into which the whole is drawn when
not in use. At the end of the tongue is what is called the spoon, circular
and concave, with a row of pale clavate hairs along the edge, and short,
hooked hairs on the inside. At the narrowest part of the tongue, just
above the spoon, there is a fringe of guard-hairs.
The eyes consist of a pair of large compound eyes and three simple
eyes. In the slide of the compound eye we shall find the outer layer
divided into a number of hexagonal facets, which are convex, and form
the cornea. Between most of these facets are seen long, straight hairs,
which act as protection to the eye similar to eye-lashes, and they are also
sensory.
The second and third segment of the thorax support the wings. The
lower wing, along the upper edge, has a row of booklets, twenty-three in
number, which, when the wings are extended, catch in the fold of the
upper wing, and this gives to the consolidated combination of the two a
greater surface and force in beating the air to accelerate its progress and
carry "its body.
The third legs of workers serve as gatherers and carriers of pollen. The
upper joints are covered with long feathery hairs, the tibia or second
parts, constructed for the conveyance of pollen and propolis, being framed
externally like a little basket. It is smooth and hollowed, and the
lateral edges are fringed with recurved hairs, which retain anything that
may be placed in it. Along the lower extremity it has a row of stiff
bristles, called the comb. The tirst leg, as shown, you will notice near
the upper end, and on the inner side there is a deep curved incision ,
called the sinus, terminating in currycomb. Its function is to keep the
antenniB clean and free from pollen. When the insect wishes to cleaui
one of its anteanie it lays it within the comb, and the velum of the
spine upon it ; the combined action of the comb and the velum removes
anything that is upon it. The operation may be frequently observed,
and it would be noticed that tlie antennie on the right side are cleaned by
the device on the left leg, and the antenna: on the left by that of the
right leg.
A few words here on the breathing apparatus will not be out of place.
If you look at the diagram, you will see that the air enters through the
spiracles at the side of the abdomen into the tracheal tubes or air sacs ;
by means of these trachea- air is carried to every part of the body.
Each spiracle consists of two, opening one behind the other, the inner
one being closed by a valve, and the outer one is i^rovided with short
hairs along the edge of the opening to prevent dust and other impurities
from entering.
This slide (of the sting of the bee) shows the whole of this complex
apparatus with the poison bag, consisting of the barbed lancets and the
divided sheath and the palpi, which are covered with sensitive hairs, so
that the bee can find a soft place to insert the sting.
This slide shows the barb more highly magnified. The lancets have a
fine cutting edge, and are provided along their outer edges with ten deep
retorse barbs, down which the poison (lows. If the bee is not disturbed,
after it has inserted its sting, it can by giving it a twisting motion with-
draw it, but it generally leaves its sting behind, tearing away the whole
apparatus and part of its abdomen.
This shows the skin of the abdomen with its hairs and wax plates.
The salivary gland would take too long to describe now. I will show the
most interesting of my pictures — the outdoor work with the camera
among the bees. This is a photograph of an old cottage apiary, and
shows you how not to keep bees if yon want to keep them clean and
healthy. ^Ye had a great deal of difficulty in getting this photograph, as
there is so very much superstition among bee-keepers. They were afraid
10
THE BRITISH JOURNAL OF I'HOTOGRAPIiy.
[January 6, 1800
something terrible would happen ; either the bees would all take flight, or
the queen die, and they would get no honey ; but I believe, beyond a good
row, nothing has happened.
This shows a modern apiary, all of the newest, up-to-date hives, and is
the property ot Mr. Broughton Carr, through whose kindness and help
all the slides to be shown have been done. It stands with a southern
aspect, with a high bank to shelter it from the north wind, and under
some small trees of apple and plum.
Here we have the bee-keeper tiering a hive. When the honey begins
to flow, and the brood is well in hand, the bee-keeper puts on a tier of
comb or sections for the bees to fill with honey. In these frames are put
twenty-one sections, and when they are nearly completed, twenty-one
more are put on, and the ones nearly full are lifted up and put on the
top of the others, and it is possible to get as many as seventy sections
filled with honey from one hive.
To examine a hive it is necessary to quiet the bees, and the best means
of doing so is to use a smoker. The hive cover is taken off, and the
quilt just turned back at the corner when a little smoke is puffed in.
This is bee dress with veil, which at times is very useful, as in hiving
a swarm, changing the hives, and many other occasions. Having quieted
the bees the cover can be removed, and a frame taken out to see how the
brood is getting on, and that there is no foul brood or parasites about.
Now, to look at the other side of this frame, one has to be very careful, or
else the comb will drop out. It must not be turned over, but must be
kept in a perpendicular position.
Catching the queen. This frame ot comb had been taken out of the
hive to see how the work was going on, and on looking over it we found
the queen. There was a great uproar in the hive during the absence of
her majesty, and, when the frame was replaced, it was curious to note the
change of tone and hum of satisfaction that took place. Had she been
absent a little longer, most likely all the bees would have been off.
Taking a swarm under great difficulties. This swarm was very un-
settled, half the bees were on one tree and the other half on another
tree some ten yards apart. The day was intensely hot, a clear sky and
burning sun, so that the bees would not make up their minds where to
settle, and kept flying backwards and forwards from tree to tree ; at last
they began to cluster on the top of an apple-tree ; so you will see the
diflSculty one had to get this photograph. When they were ready, my
friend got up into the tree and shook them off into the skep, lowered it
half-way down into the tree, and soon all the bees had gone in.
Now comes the process of hiving this swarm. A hive has been go
ready, filled with foundation frames ; a large white cloth spread on a
platform made up in front of the hive, on which the bees are to be
shaken out. This skep was nearly full, and probably contained about
30,000 bees. With one jerk the bee-keeper shook all out. I never saw
such a mass of moving insects. The photograph was taken the moment
they were down, for in less than five minutes all had entered the hive, so
anxious are they to get comfortably housed ; and we were anxious to see
the queen enter, but in the mass we were not successful.
The bees may be driven out of the skep, and the combs transferred
into a movable-comb hive, or a skep may be made to swarm artificially.
To drive bees, this should be done on a fine, warm day, when many of
the bees are away. The skep has been removed to a quiet spot, and
placed on an old tub. Before you remove the hive you blow a little
smoke into it; the bees at once gorge themselves with honey, and
after a few minutes you puff in a little more smoke, and remove the
hive, invert an empty skep over the top, bringing the edges together at
the point towards which the combs run, then prop up the front with
two iron rods bent at right angles at either end ; you then commence
patting the hive with your hands, hard enough to shake the combs ;
after a few raps, the bees will begin to swarm out and go up into the empty
»kep. In about ten minutes all the bees may be driven out ; then they
may be transferred to other hives, or whatever you may wish to do with
them.
It was curious to see how the bee can be subdued and handled without
being stung. After the bees had been driven into the skep, a table was
brought out, covered with a white cloth, and the bees shaken out on it,
when Mr. Carr took them up and threw them over his hands without one
of them stinging him. It will be seen that to make bees harmless it is
simply necessary to frighten them into gorging themselves with honey,
when they may be handled with impunity. The hive having been
brought back and placed on the table, with the bottom just propped up
how quickly they made their way across to the hive, when a few crawled
up the rods, and soon formed two beautiful columns of bees, which soon
agam became a mass. Closing up all the front in this way, the whole of
the bees soon got back into the hive.
A large quantity of surplus honey is collected in sections. These are
made of one long strip of wood, so cut that it will fold over into a square
frame, about 4x4. In the middle is fixed what is known as a wax
foundation, so that the bees, instead of making wax, find it here already
for them. They have only to work it, that is, to pull out the wax from
either side, and build up its cells; and, as it takes from thirteen to
twenty pounds of honey to produce one pound of wax, it will be seen that
the bee-keeper that uses comb foundation must have a great advantage
over one who does not. These sections are sold at about 1». each, and an
many as twenty-one sections are placed in the hive, one sees how very
profitable bee-keeping may be made ; and in a good season three lots of
these sections may be made. The large frames are filled in the samo
way. Only pure wax should be used.
It would take too long to go into the detail of all the work of the bee-
keeper ; but, any one wishing either to study the natural history of the
bee or the practical work of the bee-keeper, I would refer them to Mr.
T. W. Cowan's two books, Tlie Hone;/ Her: it» Natural History, and The
British Bee-keepers' (riiide-book.
This paper is, perhaps, rather disjointed, but it was roughly put together,
and illustrated by some forty-five lantern slides, many of which are not
described here. T. E. Freshwater, F.R.M.S.
THE USE OF PHOTOGRAPHY IN PHYSICAL EESEABCH.
This is the title of a very interesting and instructive lecture delivered
before the Physical Department of the Brooklyn Institute of Arts aud
Sciences, December 13, by Professor Edward L. Nichols, of Cornell
University.
The lecturer began by stating that photography is now used in almost
every branch of physical research ; that it is often used advantageously
as a substitute for drawing when making observations. Professor Nichols
projected upon the scieen a number of views, illustrating the exploration
of the magnetic field, showing the lines of force, and of various pheno-
mena which have heretofore been illustrated by drawings made by the
hand of the observer. In some cases the hand-made drawings compare
favourably with the photographs, while in others they appeared to be in
correct. The lecturer spoke of the value of photography in making long-
continued observations; also in making observations of phenomena
developed instantaneously, as in the case of lightning flashes, electrical
discharges, sound vibrations, Ac. He also showed upon the screen a
plate illustrating difi'raotion fringes formed by a small triangular aperture
in a piece of tinfoil, the figure being very intricate, and altogether dif
ferent from what might have been expected.
An interesting illustration was that of photographs of the manometrie
flame, the flame for this purpose being produced by a concentric burner,
the illuminating gas being supplied to the central orifice while the oxygen
flowed tlirough the annular orifice. The photographic flames produced
in this way were very bright, clear, and sharply defined, and, although
drawings heretofore made compared favourably with the photographic
record, they were not, of course, as accurate as the photographs.
Interesting views of the electric arc were shown, with which the hand
made drawings heretofore used compared very favourably. The photo-
graphs, however, revealed some phenomena which had not been observed
by the eye. Among these were the brilliant particles thrown off from
the arc, also the superior actinic quality of the light given by the incan
descent copper covering of the carbons. A photograph of an arc on an
Iternating circuit showed a succession of light flashes, proving the inter
mittent character of the arc when produced by an alternating current.
Other peculiar features were shown, among them an illustration of the
arc oscillating from one side of the carbon to the other. This the lecturer
supposes to be due to the attraction and repulsion of the earth's mag-
netism. He stated that the singing of the arc was clearly due to rapid
intermissions, and that the pitch of the sound proceeding from the
arc was what would be expected from the rate of the reversals of the
current.
An attempt has been made to produce a photographic record of the
alternating current by means of a telephone having attached to its
diaphragm a mirror, the incident beam being projected on the mirror, the
reflected beam being received on a moving sensitive plate. The result
showed that the fundamental vibration of the telephone diaphragm
interfered with the production of a correct record. For this method was
substituted one in which a stream of mercury carried the alternating
current, the apparatus being so arranged as to allow the stream to pass
between the poles of a magnet. The mercury was oscillated by the
attraction and repulsion of the magnet, the movement corresponding
exactly with the reversals of the current. The mercury stream was
photographed through a slit located at the point of greatest amplitude of
vibration, and the curve produced was the sinuous curve expected trom.
an alternating current produced by a machine working normally.
One of the most interesting illustrations of the evening was that ot
sun spots taken by means ot the spectroscope. This method of investiga-
tion appears to have shown conclusively that the fecula around the
dark portion of the sun spot correspond with the flames projected frouj
the sun.
Janunry 6, 189;i]
THE BRITISH JOUKNAL OF PHOTOGBAPnY.
11
THE PABA-AMIDOPHENOL AND A&UDOL DEVELOPERS.
[Section uf Photograpliy of the Academy of Soieiioei, Chicago.]
TiiESF. developers, although of recent date, are now articles of commerce.
The former was, I believe, first introduced by Dr. Andresen, which, for
brevity, we will refer to as " phenol ; " the " amidol," by J. Hauff. Each
of these developers is considered by many whose opinions ace entitled to
great weight to excel all other developers.
I have used the " phenol " for bromide-paper tr.'xnsparencies, and even
half-tone negatives for photo-engraving, with yood results. I used
generally substantially the following formula: —
Sulphite of soda crystals, C. P. 2 ounces 4 drachms.
Distilled water 12 „ 4 ,,
Phenol 2 „
One grain of bromide of potassinm may be used to each ounce of
developer.
Dissolve the sulphite in the water while boiling, and, when dissolved,
put the phenol in before it cools. I have used this developer thus com-
pounded five months after it has been made without any apparent depre-
ciation of strength or utility.
For use, take one ounce of this stock solution, and add from four to six
ounces of water with about one grain of bromide to each ounce of
developer.
I found upon using this identical formula, except that the developer
was mixed with cold water, that it was an utter failure, hence the im-
portance of using boiling water. In cold weather, unless this developer
is kept at a high temperature, a copious amount of crystals will be
formed on the bottom of the bottle. These cryatals will consist mainly
of the para-amidophenol.
, This 1 consider an excellent all-round developer. It may be used for
any dry plates that have come under ray notice, isochromatic, ortho-
chromatic, or otherwise, for making positives or negatives by contact,
and for making negatives in the camera, for general portrait work, or
behind a line screen for half-tone photo-engraving. It makes a nega-
tive almost, if not quite, equal to the old wet plate. It allows great lati-
tude in development, and should be very fully developed to allow for the
density which it will lose in the fixing bath. It makes a fine-grained
negative, but not as fine as the amidol. It does not require the same
.skill and care to work it as the amidol, and may be used for many
purposes for which that developer is useless. l<\om eight to ten plates
may be developed with a solution of this developer.
1 first used the formula sent out with the amidol as follows : —
Amidol 80 grains.
Sulphite of soda crystals, C. P 800 „
Distilled water 8 ounces.
Then took one ounce of this stock solution, and added from four to five
ounces of water, with a plentiful supply of bromide of potassium. With
proper exposure the image does not appear with undue haste, but after
making its appearance it proceeds to complete development with great
rapidity, but will not be injured by remaining in the developing solution
for a short time. I found by adding seven ounces or more of water to
the ounce of stock solution that the negative or positive developed in it
would be covered with a surface fog or veil so as to make it entirely
oseless.
The above formula I will designate as No. 1. It was made four weeks
ago, and the developer is but slightly discoloured, and works as well as it
did the day it was mixed. On yesterday morning I made a developer
which I will call No. 2, precisely like No. 1, except that it contained forty
grains of amidol instead of eighty. By examining the bottle, which I
have here, it will be seen that the solution is clear, which is undoubtedly
owing to the great amount of sulphite of soda it contains. At the same
time I made developer No. 3, precisely like No. 1, except that it contains
400 grains of sulphite of soda instead of 800, and, after mixing the deve-
loper, it was boiled all together, the sulphite having been first dissolved
in boiling water. The wine colour of the developer may be in part
attributed to the small amount of sulphite of soda, and in part to the
boiling of the solution after the amidol had been added. I would not
recommend the boiling of the solution after the amidol has been added.
It tends to discolour the negative or positive as well as the solution, which
will be seen upon an examination of the bottle which I have here.
I then made developer No. 4, precisely the same as No. 1, except that
it contains 400 grains of sulphite of soda instead of 800, and the amidol
was added after the solution containing the .sulphite had become cold.
It will be observed that the solution is slightly discoloured, which is
probably owing to the small amount of sulphite it contains.
In all of these four developing solutions, the sulphite of soda was dis-
solved in boiling water, as it should be in all cases, and the amidol should
he put in when cold.
The solution No. 1, according to the formula which accompanies the
amidol, as will be seen by six positives which I have here, works well
when used with plenty of bromide of potassium.
The formula No. 2, reducing the amidol from eighty to forty grain.';, U,
for some purposes, an improvement upon the original formula No. 1.
The formula No. 3, reducing the sulphite of soda from 800 to 400
grains, and boiling the developer when mixed, cannot be recommended.
The same may be said of formula No. 4.
In two cases, after exposure, I gave the plates a bath for three minutes
in a ten per cent, solution of bromide of potassium, and then developed
them while wet. It will be seen, by an examination of these two posi-
tives, that the bromide bath improved their density. It did not materially
prolong the development.
Amidol is the cleanest working of all the developers, and gives the
finest-grained positives of any, and, in my opinion, cannot be excelled
for making positives ; but I have serious doubts whether it will ever come
into general use for negatives in the studio of the practical photographer.
The plate developed with amidol loses no density in fixing. The colour
is black and white like a wet plate ; but, while the black is fine in colour,
it is not always opaque enough to make a good printer. Under certain
circumstances, this is the worst of all developers to fog a plate.
Amidol loses its active working strength when it has developed three or
four plates, and should then be thrown away.
I used in making these experiments, Carbutt's " A" Sen. No. 10, and
Cramer's transparency plates. Sen. No. 12. My experiments vfith Car-
butt's orthochromatio and Cramer's isochromatic plates with amidol were
not successful.
I regard a very free use of bromide as indispensable to the successful
working of the amidol developer. It not only keeps it within due bounds,
but prevents surface fog, and adds to the clearness, brilliancy, and beauty
of the negatives or positives, J. B. BBinwEU*
PHOTOGBAPHY OF THE LIGHT WAVES OF THE SMALLEST
W.AVE-LENGTHS.
At the meeting of the Mathematiaal and Natural Science Section of the
Imperial Academy of Sciences of Vienna on November 10, Professor V.
von Lange presented the following communication from Herr Victor
Schumann, of Leipzic : —
"The photographic energy of the ultra- violet rays on collodion and
gelatine plates decreases strikingly at the wave-length 200 ufi, and falls
off to a similar extent towards the more refrangible side. The cause of
this decline in energy lies in the fact which I have established spectro-
graphically; (1) in the impermeability to light of the collodion and
gelatine, in which the sensitive ingredient of the coating of the plate, i.e.,
the silver haloid, is embedded, and (2) in the impermeability of the air
which the rays have to traverse on their way to the plate. If we remove
these two absorbents, the silver haloid shows itself many times more sen-
sitive for the rays beyond 200 /j;i than it was in presence of the collodion
and gelatine, and the photographic efficacy extends far beyond the pre-
vious limit of the ultra-violet light (wave-length 185-2 fift). The produc-
tion of a film of pure silver haloid on the plate offers great difficulties.
A method for this purpose was hitherto not known. After numerous
experiments I found a process by which I have now for two years pre-
pared all the plates which I have required for observing the rays beyond
the wave- length 185-2 fift. The air could only be removed from the rays
by exhausting the spectrograph. In this manner I have hitherto been able
to follow about twenty different spectra far beyond 185-2 ^/j. All of them
develop here an unexpected wealth of rays, but none to so high a degree
as the hydrogen light of the Oeissler tube. I estimate the number of the
hydrogen lines, which I have isolated at 600, and the shortest of their
wave-lengths at 100 /ifi. I have not as yet effected the measurements, for
which, however, I have already made preparations." For illustration the
speaker exhibited a tableau composed of Herr V. Schumann's original
plates, showing the portion of the ultra-violet hydrogen spectrum first
photographed by the latter.
A KODAK GATHERING AND PBESENTATION.
Bloomsbury Hall was, on Thursday last week, filled to overflowing by
the employes of the Eastman Company both in London and Harrow,
from which latter place a special train had been chartered to convey to
London the numerous people there employed in the Company's factories.
Their Paris and Nice branches were also represented, the former by the
Manager and Manageress, and the latter by choice bouquets of flowers
sent in profusion for the adornment of the room and the ladies who were
present, for, in addition to the Chairman and some of the Directors of the
Company, there were a few invited guests and friends.
The occasion was ostensibly a musical and dramatic entertainment,
but it was in reality an occasion for the employes to signify their appre-
ciation of Mr. W. H. Walker's management and kindly feeling towards
them by presenting him and Mrs. Walker with a tangible recognition of
their esteem.
It has for some time been known that this gentleman's health was
giving way under the strain which he has undergone since 1885 in the
establishing of the large business which now crowns his labours, and it
was found that a long furlough from the active duties of the general
12
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January C, 189::
managership was absolutely neoeaaary to recruit his health. His retire-
ment from this post at the cloae of the year was seized upon as a fitting
time to present him with a testimonial.
It is creditable to the Company that the musical and dramatic pro-
gramme was ably supplied by its own officials, in which the Harrow
Kodak Glee Club came well to the front.
At the termination of the first selection of music, Mr. Archibald Rider,
the Secretary of the Company, said he had been asked by his colleagues
to act as their mouthpiece to-night in connexion with that part of their
proceedings to which they had now arrived, and to which they had all
been looking forward with the greatest possible interest for some con-
siderable time ; and it afforded him the more pleasure to do so in that
it gave him the opportunity of publicly testifyina his own personal and
warmest thanks for the many kindnesses he had experienced at the
hands of Mr. and Mrs. Walker.
They were met here to night to do the greatest honour they could to
Mr. and Mrs. Walker, and to present to them a token of their love,
respect, and admiration for their many endearing qualities. As soon as
he learned that Mr. Walker had definitely decided to retire from the
active management of this Company, it occurred to him that the occasion
was the one opportunity they had for some time been looking out for of
expressing in a tangible form that regard and esteem held by all for their
chief and Mrs. Walker. The idea, when broached to his fellow-workers,
was received with the greatest acclamation and enthusiasm. Everybody
wished to go one better than his neighbour; but it would be invidious for
him to mention individuals where all have worked with such a will to
make a success of this movement.
Paris, represented by Mr. De Bedts and Mile. Leonardon, Nice,
Harrow, represented by about 120, and Oxford-street turned out to a man,
were unanimous in their regret at the loss of such a chief, and in their
love for and admiration of his great abilities and attractiveness of character.
They all knew that the result of Mr. Walker's experiments and inves-
tigations in the art, in conjunction with Mr. Eastman, had been the
greatest revolution in photography that has occurred for many years ;
and he felt sure that, when the future history of photography came to be
written, Mr. Walker would of necessity occupy a very high position in the
ranks of those to whom photographers are mostly indebted for their
fascinating and lovely art. His and Sir. Eastman's invention of films
and methods of using them alone has made photography a recreation, a
pleasure, a delight, and last, and most important of all, for without it we
could not enjoy the others, a health-giver to thousands.
They were all well aware that our leading physicians now prescribe a
Kodak to their patients, especially to those suffering from idleness, and
the cure has been pronounced most efficacious. Therefore they would
agree with him that, without any lack of modesty, Mr. Walker might,
with far more justice than many who lay claim to it, pose as a philan-
thropist. But there are other reasons, which for the present more
directly concern us, why he should claim our greatest possible love and
esteem. He did not think it would be here out of place to briefly detail
Mr. Walker's connexion with the business in this country. As most of
us are aware, Mr. Walker came here early in the year 1885 — like all good
Americans, for a few months only, which from force of circumatanoes
invariably turn into years — with the intention of making known to the
photographic public of Europe the result of his and Mr. Eastman's dis-
coveries. This 1m did through the medium of the Inventions Exhibition,
then being held in London. The Photographic Committee of this
Exhibition were so struck by the bold departure and possibilities of these
inventions that, although they had already made up their minds in regard
to the award for the greatest invention of the year in connexion with
photography, they unanimously accorded the medal to the Company
represented by Mr. Walker.
Now, that was a very striking and encouraging success — so encouraging
that Mr. W. immediately opened an office at 13, Soho-square. It was
then the speaker's great good fortune to join him before even the fittings
were complete, and he could picture him now as he then first saw him. He
was sitting in a chair very much tilted back, with a cigar in his mouth,
his feet on the table, superintending the fitting up of the office and
endeavouring to instil into the workmen some of his own great energy.
He soon made a host of friends, and of necessity — being so successful
a few enemies; but they have, with hardly an exception, come to value
liis great abilities and fine character, and are now numbered among his
warmest friends.
The business grew rapidly and continuously, and with it the staff and
oilRoes. From one office and a dark room we blossomed to two rooms
and a dark room. Then were annexed two attics for storing purposes,
but at that point the capabilities as an office of 13, Soho-square were
exhausted. Although the business had developed so rapidly, and was so
highly successful— so successful that most men would have rested on
theii laurels— Mr. Walker, with characteristic foresight, saw that, it the
business was to be that great success he always intended it to be, a larger
and retail establishment must be opened. So, with great energy and
determination, and in the face of almost insuperable obstacles, he finally
obtained the premises at 115, Oxford-street we now occupy. This was at
♦h? end of the year 1887.
" The wisdom of this policy was immediately, and in a startling manner,
shown by the tremendous increase iu the business. In 1889 we developed
from a branch to a tree, and tools firm root in our own soil as the East
man Photographic Materials Company, limited. From this point
we are all familiar with tlie steady growtli of the Company and its
interests.
Again and again have we outgrown our clothes and required new ones.
1. The factory at Harrow was built and started, entailing such an
enormous amount of work on Mr. Walker as would have appalled most,
men. 2. Then he inaugurated a branch at Paris. 3. From that one at Nice.
And lastly, we at 115 have overflowed into 117, Oxford-street. All this
has been the work of one man.
"Ladies and gentlemen" (continued Mr. Rider), "there are now
employed by this Company over two hundred persons, all of whom are
indebted to Mr. Walker's intellect, energy, and business capacity for their
present positions, in most oases for their very livelihood.
" But, as if that were not sufficient to command our grateful love, he
binds us to him with the strongest chains by the kindness and considera-
tion he has always shown to us all. Nobody, however humble his
position, has received anything but the greatest possible courtesy and
consideration. It matters not our position, we are all listened to with
unfailing courtesy and patience, and he has always been most just in his
treatment of us.
" These are but very few of the many reasons we have lor thanking,
him. Time will not peimit me to mention everything he has done for
us, but I am certain that, whatever I have left unaaid, Mr. Walker will
understand that he has our warmest aiJection, and that, wherever he goes-
when he leaves us, he will carry with him our beat and heartfelt wishes
for a long and pleasant life. I am sure that I am but echoing the senti-
ments of all when I say that I feel the greatest pain at Mr. Walker's
retirement ; but, in view of the incalculable benefits he has conferred on
all of us, it would be most ungracious to begrudge him the rest he
needs and has so well earned. There is, you will be rejoiced to hear, a
bright speck in our present somewhat clouded horizon, inasmuch as Mr.
Walker still remains on their Board of Directors ; and, knowing what I do
of him, I feel sure that he will not cease from all active connexion with
the Company, and, doubtless, we shall still often see him among us. I
wish— and I know you are all with me — that I could say more, but
perhaps Mr. Walker himself may think this a fitting occasion to raise our
hopes.
"I fear that Mr. Walker's qualities have caused me to neglect
somewhat the claims Mrs. Walker has on us. Those who have
enjoyed, as I have had the great pleasure, Mrs. Walker's friendship
know how much she has at heart the welfare of everybody in the Com-
pany's service. She has done for a number of us considerably more than
we know of, and I know personally of several instances where her influ-
ence on —and, failing that, scolding of — Mr. Walker has given more than
one of us another chance. Why, if it were not for her sending Mr.
Walker to us in extra good liumour some mornings, where would some of
us be now ? The quality of mercy has been strained very considerably
with some of us, and might have been broken quite but for Mrs. Walker's
kindly intercession." Turning to Mr. and Mrs. Walker, he said, " It is
my pleasing duty, on behalf of the employes of the Eastman Company,
to present to you this small token of our great respect, regard, and
admiration. In your retirement you carry with you our deep regret at the
parting, and our heartfelt desire that you and Mrs. Walker will be spared
many years in which to enjoy your well-deserved rest and new life."
Amid great applause the curtain was raised, and displayed to view a,
larg3 and massive silver salver with a suitable inscription engraved on it,
together with a silver-mounted album, containing groups embracing
every individual in the Co.-3ipany'3 employment both in this country and
on the Continent.
Mr. Walker, in acknowledging, on behalf of himself and Mrs. Walker,
the handsome testimonial, expressed his extreme gratification at the spirit
by which it had been prompted. He had always had the greatest faith iu
the idea which he, assisted by Mr. George Eastman^ had endeavoured to
carry into practical effect, and he could not but feel proud at the result
of their labours as evidenced by the large numbers of those employed by
the Company then before him. In future, although they would not see
so much of him as they had done, he would always be among them in
spirit, and would cherish the remembrance of the geniality of his inter-
course with them and especially of that happy meeting. He concluded
by formally introducing Mr. Dickman, his successor in the managerial
chair. The meeting broke up at eleven o'clock.
(©ur BTJitorial STatJlf-
Since describing the Hemery's Medallion Group System of portraiture
in our number of last week, we have been placed' in a position to illus-
trate what we then said with two blocks, which show the nature of
the invention better than could be given by a verbal description. In
one the number of figures is four, in another, eight, but there is reall^'
Januaiy 0, 189a]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
13
11(1 limit to either the number capable of being- printed on a card or
iheir arranp-ftncnt -:■ '•' . \- w« havo pii'vunislj' said, Messrs.
Marion & Co. are the agents for this useful novelty, which affords
the means of presenting the whole of the members of a family on one
card.
" Nasik-it."
This useful invention of Mr. A. (Jray, 44, Snow-hill, E.C., affords
a means for printing the names and subjects on the negatives in a
really neat style. Previous to its introduction, the lettering of nega-
tives was a laborious proceeding, and few of those who attempted it
achieved anything like success, but since "Name-it" came on the
etage, the operation has become one of extreme .simplicity. It con-
sists of a small box, having compartments for types of letters alpha-
betically arranged, there being enough of each to serve in the compo-
sition of a longer title than is ever likely to be required in the naming
of a negative. There are also figures, spaces, an inking roller, and the
other things which go to the making up of a complete printing outfit,
as shown in the cut. " Name-it " has been subjected to considerable
improvement since it was first introduced, resulting in the ability to
print a clear, sharp title on the negative. For the purpose for which
" Name-it '' has been introduced we can strongly recommend it.
The Year-book of Piwtography, edited by T. C. Hepworth, F.C.S.
(London : Alexander & Shepbeard), comes to us this year printed in
large type^n this respect like the American annuals. In the " Guides
to Practice," Captain Abney leads off with a seasonable article on
" Winter Photography." Mr. Bothamley follows with " Lantern
Teachings,'' and he, in turn, is followed by others of good reputation.
The Editor's article on " Gas Cylinders in Transit " will prove useful
to those who have to carry large cylinders with them for lecturing
purposes. There are two full-page collotype illustrations, by
Waterlow & Sons, and a pon-and-ink reproduction of a photograph,
together with much that is useful reading matter in the shape of
hints by the Editor.
The Bbitish Jouhnal Photogiiaphic Almanac, 1893.
HtUte<l by J, Tbaiix Tatloe. London : Henry Greenwood & Co., 2, York-street,
Goyent Gardou.
Thk editorial article this year treats of " Some Modern Methods of
Rook Illustration." Captain Abney write? on " Shutter Diagrams;"
Mr. Iv. H. Bow on " Achromatism and the Secondary Spectrum;"
Mr. Priugle on "Shutters;" Mr. George Davison on "Mounting:"
Mr. Bothamley on the " Focal Length of Lenses:" Mr. G. W.
AVebster on "Single Lenses;" and there are r early ICO other articles
by the ablest writers in the world of photography. Naturally we are
precluded from indulging in any critical review of the literary con-
tents of the volume; but it is at lea.st due to the various gentlemen
who are responsible for the illustrations that we should here refer to
those admirable embellishments. By consent Messrs. Morgan &
Kidd's machine collotype picture of Miss Vanbrugh us Anne L'olei/n
is remarkably good and effective. The charming and artistic picturen
of Mr. Wellington, Mr. Hastings, and Mr. Woodward lose nothing
in the highly effective manner in which the Meisenbach Company ha*
reproduced them, while Messrs. W'aterlow, with their half-tone pro-
cess picture, exhibit a capital specimen of this now popular class of
work. The half-tone picture by Sir. Sutton's process exhibits ther
latter in a degree of excellence which augurs well for its commercial
success. It may, in conclusion, be noted that the AI,^tANAC is th«
largest so far issued, both in regard to its literary contents and
commercial announcements.
PHOTOGBAVUaKS.
By Herr Paulussen, Vienna.
The common belief that photogravure on the Continent is practised
to a higher degree of perfection than in this country receives con-
siderable support from an inspection of Mr. Paulussen's small
reproductions of some of Mr. Tagliaf^rro's pictures, with which the
latter gentleman has favoured us. Most attendants at the principal
exhibitions are acquainted with the quiet humour and truly artistic
feeling which Mr. Tagliaferro has so long displayed in the prosecution'
of photography. In the photogravure reproductions before us, it may
be fairly said that the excellence of the originals has been admirably
conserved. For technical delicacy and beauty of detail, Herr
Paulussen's work, as those who saw the small exhibition of photo-
gravures at the Great Britain Society a few months ago will allow, is
difficult to excel.
Peinting-out Opals and Lantern .Slides.
Wk have received from the Paget Prize Plate Company samples of
their printing-out opals and lantern slides. In the brief intervals of
sunshine with which the Clerk of the Weather has recently favoured us-
we have ascertained that they print out with about the same rapidity
as ordinary sensitised paper. They are toned and finished in the
same manner, and yield most pleasant warm tones. The Company
are also supplying a special frame for the purpose of printing-out, of
which we hope to report on a future occasion.
MMim^ of SoctetiejS*
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of MeetiQK.
Niime of Society.
January 9 CameraClub
9 Diirlingtou
9 Dundee Amateur
9 Lantern Society
9 Norfolk and Norwich
9 North Middlesex
9 Putney
9 Kichmond
10 Birmiogham Photo. Society
10 Derby (Anuxuil)
10 Great Britain
10 Hackney
10 1 Manchester Amateur
10 Newcastle-on-Tyne&N.Countieg
10 Paisley
10 ] Stockton
11 1 Ipswich
11 Leioester and Leicestershire ..
U Monster
11 Photographic Club
11 1 Southport :.
11 1 Stockport
12 Birkeuhead Photo. Asbo
12 (Camera Clnb
12 ' Cheltenham
12 Olossop Dale
12 ' HnU
12 London and Prorinciai
12 1 North Kent (Annual)
12 1 Oldham
13 { Bristol and West of England ..
13 1 Cardiff,
Place of Meeting.
13..
13..
13..
13..
13..
13,.
14..
Croydon Microscopical .
Halifax Camera Glab....
Holborn
Ireland
Maidstone
West London »
Htai
Charing Crnss<road, W.C.
Trevelviin Hotel, Darlinqton.
Abso. Htndio, Nethergate, Dundee,
20, Hanover'sqnare.
Bell Hotel, Norwich.
Jubilee Hall, Homaey-road, N.
Boys' Gymnasinm.Charl wood- road.
Greyhound Hotel.
Clnb Room, Colonnade Hotel.
Smith's Ilestiiurant, Victoria-sl.
30, Great Russell-st. Bloomsbury.
206, Mare-atrc+'t, Hackney.
Lecture Hall, Athenafum.
Central Exchausre Art Gallery,
9, Gauze-street, I'aisley.
Mason's Court, High-street.
Art Gallery, Ipswich.
Mayor's Parlour, Old Town Hall.
School of Art, Nelson-place, Cork.
Anderton'e Hotel. Fleet-8treet.K.C.
The Studio, 15, Cam bridge -arcade.
Meohanins' Institute, StockporT.
y.M.C.A., Grange-rd., Birkenhead.
Charing Cross-road, W.C.
71, Prospect-street, Hull.
Champion Hotel, 15, Aldersgatd-ft.
Gravesend.
The Lyceum, Union.street,01dhanu
Rooms, 28, Borkeley-sq., BristoL
Pnblic Hall,Georgo-ftre«t,Croydon.
Rooms, 15. Dawson*street, Dublin.
**Tho Palace," Maidstone.
Ohiswick School of Art. Chiswick.
71, Prospect -street, Hull.
14
THE BRITISH f JOURNAL OF PHOTOGRAPHY.
[January 0, 1893
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
Deckuber 29, 1892,— Mr. P. Everitt in the chair.
The Affiliation Scheme.
A letter from the Assistant-Secretary of the Photographic Society of Great
Britain was read, intimating that it was contemplated to have two lectures on
photogravure in February, to be given in London, by Mr. H. Uenmson, ot
Pristing-out Op.vls.
Mr. T. E. Freshwater asked how to ascertain how a printing-out opal or
lantern slide was sufficiently printed? >• , ■
Mr. W. E. Debesham suggested looking through the picture, and judging
the relation which the inten.sity of the deposit bore to the intensity of the
negative. , , ,r ti_ ^ • i.
The Chairman remarked that Mr. Cowan, Mr. Ashman, and Mr. Prestwich
had invented special frames for the purpose. An actinometer could also be
«sed. ,
Mr. J. S. Teape remarked that there was always some uncertainty as to tiie
amount of the deposit that would fix out.
POETRATTrRE BY ELECTRIC LiGHT.
Mr. A. Haddon exhibited a negative (being the portrait of a lady) which he
had that afternoon taken with the electric light. The light was not more than
1000 candle power. In order to use as much as possible of the arc, it was
placed in about the focus of a concave reflector of about two feet in diameter.
In front of the light was placed a screen, covered with tliin tissue paper, a
large sheet of tissue paper being placed on the shadow side. He used a rapid
rectilinear len.s, working .at /-ll, and gave an exposure of ten seconds. The
screen was placed at about a foot from the light, and six from the sitter.
The lighting of the negative was thought excellent.
Curvilinear Distortion with Single Lenses.
The following question from the box was read: "What determines the
OTirvilincar distortion of a single lens, and how may it be modified ?"
Mr. Debenham stated that it was determined by the position of the dia-
phragm, and might be modified by altering it, while it might be entirely got
rid of by making the lens itself the diaphragm. The diaphragm causes certain
parts of the lens to select certain parts of the pictuie. Mr. Debenham illus-
trated his remarks by diagrams on the blackboard.
Impure Oxygen.
Mr. Haddon alluded to a recently published letter of Mr. T. C. Hepworth,
in which it was stated that commercial oxygen was sometimes contaminated to
the extent of forty-five per cent, of nitrogen, and said that, as there were many
lanternists among the members of the Association, it might be useful to them
to know how to be able to test a sample of oxygen for purity. He promised
to demonstrate the test at a future meeting. Mr. Grundy (of the Royal Naval
College) had recently found that a sample of oxygen contained forty-five per
cent, of nitrogen, while another of a special make only contained about eight
per cent. In no case had the percentage been so low as five per cent. Other
samples had contained up to fifteen per cent, of inert gas.
Removing the Developed Image.
A question having been asked as to the best method of removing the
developed image of an unfixed plate, Mr. Thomas Bedding suggested either
chlorising the image and dissolving it off with ammonia, or immersing the
plate in a solution of tannin, to harden the film, and then dissolving out the
image with nitric acid, 1 : 5.
The meeting then adjourned.
Croydon Camera Club.— A discussion on The Best Priniing Process to take
lip was opened by the President at the meeting on January 2 in favour of
bromide jiaper. In the course of his remarks, he emphasised that the lack of
recognition which the said process has hitherto received is mainly due to the
small proportion of men in the front rank who work it, and also that a very
small proportion of those who take it up acquire the requisite experience and
skill in order to turn out prints of the highest attainable quafitj-. In the
resulting discussion various processes were advocated by Messrs. Oakley,
Packham, Letts, Sampson. Garden, White, Hirst, and Neeves, most of whom
showed large collections of prints in illustration of their contentiono. Mr. A.
R. Dresser also sent a number of bromides developed with amidol, to show
that the process in question can be made to yield very satisfactory results.
At the termination of .%n animated debate a vote was taken, with the result
that platinotype and gelatino-chloride tied for first place, and broniide was
second.
West Kent Amateur Fbotograplilc Society.— December 29, 1892.— ITie
President (Mr. Andrew Pringle) gave a demon.stration of the Theory and
Practice of Makini/ Oelalino- bromide JSmulsion. Having described the
process in general terms, and explained the lines on which the operations are
jierformed, he proceeded to make an emulsion, first with soluble bromide and
silver nitrate, and then with ammonio-nitrate, explaining the advantages and
ilisadvantages, in his opinion, of each process. A description was next given
of various methods. Finally, a plate was coated, the speaker stating that, in
his opinion, very few commercial plates were coated thickly cnougli, but that,
•in these days of keen competition among manufacturers, economy must be
observed somewhere.
Dorset Amateur Photographic Association.— The annual meeting was held
at Dorchester, on Monday, January 2. The outgoing oflicers were re-elected
VIZ., President: Rev. W. Miles Barnes.— Pom mi«e« .■ Rev. E. J. Pope'
Meiisrs. D'Aeth and Skene.— i/on. Secretary and Treasurer : Rev. T. Perkins!
The Treasurer reported a good balance in his hands. The quarteriy prizes
given for the best prints contributed to the albums circulated during the pa.^t
year were awarded to Rev. T. Perkins, Mr. Skene, Miss Skiviow, and
Mrs. Perkins. A special prize for a single print, given by Mr. Skene, fell to
Mr. D'Aeth, and the prize for the best set of six lantern slides shown at the
meeting was awarded to Mrs. Perkins.
RECENTLY ELECTED OFFICERS OF SOCIETIES
(Received too late /or the Almanac).
Accrington and District Camera Club. — Established 1892. Meetings,
first Monday in each month. President: Dr. Clayton. — Vice-Presidents:
Joseph Barnes, — Cheney, Dr. Geddig, Rev. J. R. Rendell, — Stanley.
— Hon. Treasurer: John Hanson. Hon. Secretary: Isaac Hanson, Rothwell
Heights, near Accrington.
Auckland Photographic Club. — Established 1889. Meetings, second and
fourth Thursday in each month. Annual Meeting, second Thursday in October.
Rooms, Australian Mutual Provident Society's buildings. President: Dr. J.
Logan Campbell. — Vice-Presidents : Josiah M.irtin, J. R. Hanna. — Committee:
A. J. Hunter, W. C. Fraser, W. G. Churchward, G. M. Maingay. — Treasurer
R. Mason, Gas Company's Office. — Secretary: G. R. Boulton, Bank, New
South Wales.
Birkenhead Photographic Association. — President: W. H. Hunt, D.Mus.,
honioJi.— Vice-Pre.iideiU: C. B. Reader. — Council: G. Latimer, G. E.Thomp-
son, H. B. Millar, W. T. Briggs, G. A. Camithers, W. A. Brown, C. Male,
Thomas Mansell, J. H. Walch. — Lilyrarian: 3. A. Forrest. — Lanternist: F.N,
Eaton. — Auditors: A. Bradbury, H. S. Nicklin. — Treasurer: A. F. Edwards.
— Hon. Secretary: F. Hope-Jones, Prenton, Birkenhead.
Brighton Natural History Society (Photographic Section). — Esta-
blished 1892. Chairman: D. E. Caush, L.D.S. — Committee: A. H. C. Corder,
J. Hunter Graham, G. Foxall, W. Mitchell, J. P. S. Slingsby-Roberts.— //o/i.
Secretary : Walter Harrison.
Bristol Camera Society.— Meetings, second and fourth Thursday in each
month at 10, St. Augustine's-parade. President: C. Bryant. — Council: J. H.
Brock, W. T. CIrank, H. J. B. Davies, M. E. Dunscoimbe, G. A. Evaus, E.
Jakeway.s. — Hon. Treasurer: G. L. Wood. — Hon. Secretaries: M. W. Duns-
combe, H. G. Tasker.
California Camera Club. — Regular Monthly Meetings, first Tuesday
after first day of month. Club Talks every Wednesday night. Illustrateri
Lectures at Metropolitan Temple monthly. Address of Club Rooms, 819,
Market-street, San Francisco, California. President: H. B. Hosmer. — First
Vice-President: H. C. Tibbitts. — Second Vice-President: F. E. Smith.—
Litrrarian: H. C. Owens. — Treasurer: George W. Reed. — Secretary: James
W. DulTy. — Corresponding Secretary : Charles Albert Adams.
Devon and Cornwall Camera Club.— Established 1889. Meetings, or
alternate Mondays at eight p.m. Pl.ace of meeting. The Athenreum, Plymouth.
Annual Meeting in September. President: Lieut.-Colonel R. Barringtor
Baker. — Vice-Presidents: R. Burnard, W. Gage Tweedy. — Council: D.
Aldridge, A. A. Camell, J. S. Hawker, Miss E. Keen, E. H. Micklewood, D.
Roy, Colonel Stewart, R.E. , Captain Waye, R. N. — Treasurer : C. Russel Rendle.
— Secretary : R. Hansford Worth, C.E., 42, George-street, Plymouth.
Llandudno Camera Club and Lahtern Society. — President: The Right
Hon. Lord VioitYa.^Vice-PTesidenls : Rev. John Morgan, B.A. (Rector o
Llandudno) and Mr. W. A. Whiston. — Cmnmitlee : W. D. Henderson, Hughe-
Jones, W. Owen, Waterson. — Hon. Secretaries and Hon. Treasurers : A.
Campbell Paradwys, A. H. Hughes, Rochester House, Llandudno.
Photographic Society of India. — Resuscitated in 1885 from the Photo
graphic Society^of Bengal. President: The Hon. Sir.Conier Petheram, Q.C.-
Vice-Presidents : J. G. Apcar and J. S. Gladstone. — Committee : Colone
Rogers, R.E., P. Donaldson, N. Giannacopnio, B. A. Samuells, B.A., C.S.
J. H. Lane, W. H. Jobbins, A. Tocher. T. H.IWilson, E. M. Showers.-
Treasurer : George Ewing. — Secretary: T. A. Pope, Photographic Society o
India, Asiatic Society's Buildings, Park-street, Calcutta.
Queensland Amateur Photographic Society.— Founded 1888. Meeting
held on first Friday in each month at the Builders' and Contractors' Exchange
Courier-buildings, Queen-street, Brisbane. President: Dr. J. Thomson.-
Vice-Presidents : J. W. Sutton, D. T. Lyons, F. R. Ua.W.—Cmnmiltee : Dr. J
Wheeler, T. W. Bertinshaw, G. R. nohao-a.— Librarian : E. H, Alder.-,
Treasurer: J. J. Campbell.— &cretar!^; A. R. L. Wright, Telegraph-chambers
Queen-street, Brisbane.
Richmond (Va.) Camera Clcb.— Established 1890. President: E. F. C
V)is.v\s.— Vice-President : R. A. Lancaster, I'nn. — Kxecutive : E. F. C. Davis
R. A. Lancaster, jun.. Dr. Phil Tayler, R. B, Blankenship, C. D. Hobliston.
Secretary and Treasurer: C. D. Hobliston, 628 and 630, E Main-street
Richmond, Virginia.
Tasmanun Photographic, Science and Art Association. Hobart.-
Established 1887. Meetings second Friday in each month, at Royal Society''
Museum. Patron : His Excellency Sir Robert G. C. Hamilton. — Via-
Patrons: His Honour Sir Lambert Dobson, Hon. Dr. Agnevi.— President
William Lovett. — Committee .■ Curzon Allport, Russell Young, A. Morton
A. L. Butler, H. Downing, R. Shepperd, E. Robinson, E. Scott, D. Allport
W. K. Morris, R. McGufHe, E. R. Ash, and H. J. MMc'klmA.— Treasurer
F. J. Paterson. —Secretary : Nat. Oldham, Claremont, Hobart.
Toronto Camera Club.— Club Rooms and Studio, Second Floor, comer o
Yonge and Gerrard-streets. President : K Havelock Vf nhh.— First Vice
President: A. W. Groil— Second Vjcc-Fresichnt : W. II. Uo^s.—Committet
Hugh Neilson, N. A. Powell, M.D., Professor W. H. Ellis, M.D., J. G
Ramsey, George H. Gooderham, G. To-miS&nA.— Treasurer : R. G. Muntz.-
Secretary : Ernest M. Lake.
January (i, 1803]
THE BUITISH JOUIINAL OF PIIOTOGRAPIIY.
1-5
ViCTORTA Cameha Club.— Established 1887. Meetings first Monday in each
moiitli. Presiilfnt: Hon. F. S. Dobson, Uj.M. — Vice-Prntident : A. M.
HeniU'rson. — Vommitlee : James IVttigrew, A. Harper, H. B. Clutten, and
J. J. Rouse.— &c;Y/i(ry and Treasurer: Alfred H. Farmer, .M, Elizabeth-
street, Melbourne.
CottejStionirencr*
ObrrMpenlmti ikauU iu««r write m Mh Mn of th< pofw.
INDIA-TINTING PHOTOGKAPHS.
To the Editor.
Sir, — All photographic artists should be grateful to yon for the pro-
minence you have given this subject, and also to the source from whence
it emanated, for undoubtedly it is by similar means true artistic effect
will be secured, effects which are otherwise beyond the reach of ordinary
photographic resources.
To this judicious over-tinting the painter-artist is greatly indebted for
many of his startling results in harmony and atmospheric effect ; it is by
similar means he tones down his work in a marvellous manner, rendering
that which had been previously harsh and without character agreeably
beautiful, and thereby enhancing the effect in creating an individuality
all his own.
The painter names this process rilazing, and, if it is admissible
for painters' work, it surely is equally and legitimately available to the
sun artist, if produced solely by photographic or chemical means, unaided
by brush work, for, unless colour retouching upon the print be admittedly
correct, it would be equally unfair to allow what is technically known in
the dyeing trade as cutting out or dischariring, as it would be only
retouching reversed — i.e., removing instead of adding to the shadows in
order to increase the value of the gradations by unorthodox means, and
not by the ordinary photographic procedure.
But are not similar effects to this proposed India tinting produced by
the ordinary processes of photographing, where the positive delineation of
the picture predominates over the negative ground colour of the paper ;
and was this not pronouncedly evident in several of the more successful
pictures of the year, especially in the landscapes where extensive cloud
effects existed ? And may we not presume that the eye of the observer
frequently supplies sympatlietically the actual India tint demanded,
where no discordant wide areas of inharmonious ground colour exists to
produce a discord ? This effect is perhaps more evident in pictures of a
warm tone, as, for instance, in warm bromides, sepia, and in semi-sepia
platinotypes.
These India tintings must of necessity be of the most delicate character
to be effective, and unfortunately this great delicacy warns us that if
permanency be our aim, great precautions are necessary, for, if the
presumed increased effects are arrived at by this tinting, it would be very
'distressing that their enhanced beauty prove to be only a temporary
excellence.
Knowing how readily all delicate tints are degraded or bleached out
in other words, how readily they fade away — additional precautions
should be adopted in preparing the prints for such tinting, and in
selecting the tinting agent.
The aniline colours are notably of a most unstable character, by no
means suitable for the purpose, and coffee staining, although it may be
of a somewhat more reliable nature, it must be remembered varies in
svery sample, the colouring matter as a dying agent being largely, and in
many instances almost entirely, composed of semi-charred saccharine or
umilar matter. The tea staining may be more reliable, but why not
smploy some colouring matter of a thoroughly permanent and constant
shiu'acter, tannic acid, catechu, indigo, &c. ? There are several of the
3ld-fashioned, and now much disused, dyers' drugs which, in combina-
tion with suitable mordants, are not only beautifully delicate, employed
as tints, but are of acknowledged stability.
One other precaution will in every instance have to be kept oontinu-
ausly in mind. Hypo and all the sulphur salts must be thoroughly
jliminated to secure permanency, for they are powerful bleaching agents.
I am, yours, Ac. , j. p_
January i, 18!I3.
»
ALUMINIUM MOUNTS.
To t)ie Editor.
Sir,— On the appearance of this year's Photographic Al>unac, I
referred to its pages in hope of finding some mitigation in the charges
aaade by our best opticians for aluminium lens mounts, but in vain.
Zan any of your readers solve this problem ? If X has a high reputation
?or optical work, should he charge for metal mounts in the same
proportion ?
As an illustration of the diversity of charges made for aluminium
mounts, I send you the following tabla.
stituted by letters : —
The makcra names are sob-
Rapid Fymmetrical 8erie».
A.
B.
0.
D.
E.
F.
e ». d.
£ ». d.
e .. ii.
£ «. d.
e : i.
£ I. d.
FocoB « inches
16 0
0 IS 0
0 17 6
0 10 0
0 14 0
„ n
17 0
10 0
1 5 0
0 11 3
„ 9
1 9 0
1 5 0
1 5 0
OlO 0
0 18 e
" 3
1 14 0
1 10 0
2 0 0
0 14 5
10*
„ H „
1 14 0
—
—
0 18 10
0 12 0
14 0
„ 14
2 0 0
1 IS 0
1 15 0
1 4 0
0 15 0
14 0
„ 16
S 10 0
2 5 0
2 5 0
„ 18 „
5 0 0
—
1 12 0
10 0
14 0
„ 20
6 0 0
3 10 0
3 10 0
17 0
„ n
8 0 0
5 0 0
< 10 0
15 0
2 0 0
„ 30
10 0 0
10 0 0 8 0 0
— -
Granted that our best opticians are entitled to the full value of their
reputation, as represented by the higher prices they can command for
lenses mounted in brass, it none the less seems exacting, that they should
charge for aluminium by the standard of their optical work. Why should
a monopoly price be placed upon a 24-inch lens mount, represented by the
difference between 8/. and 1/. os. or 21.? But if we examine further, the
charge of SI. for the aluminium mount of a 24-inch lens appears stiU
more extraordinary. This lens is three inches in diameter, but if we
take a Zeiss lens of Series III., diameter three-and-three-quarter inches,
focus twenty-three inches, the charge for aluminium mount. Iris
diaphragm included, is il. Deduct 21. Us. for Iris diaphragm, as charged
by the same optician for a lens of three-and-threequarter inches diameter,
we then arrive at 1?. 5s. for the aluminium mount, tbe same as charged
by the cheapest optician.
If the cheaper opticians have the truth of their advertisements at
heart, concerning the quality of their lenses, I would advise them to
attach full Kew certificates at an extra charge. No doubt they would
then find a large demand for aluminium mounted instruments, especially
in the large sizes.— I am, yours, &c., Philip Evebitt '
January 2, 1893.
"TWO MR. BROWNS,"
To the Editor.
Sir, — May I ask your kind insertion of the following disclaimer?
In the index published with last week's issue you couple an article on
" Photographer's English " with one on " Platinum Toning as applied to
Gelatino-chloride Papers," and credit the two to one author. The latter
article is from my pen, but I should not like any of my friends to believe
me responsible for the former ; hence this note.
Photographer's English concerns me not ; I am only solicitous a? to
the purity of my own.— I am, yours, &c., James Brow.v.
31, Market-street, Newcastle-on-Tyne, January 2, 1893.
[We extend our apolo<ne8 to our friend for having, in the index,
confused him with the " other Mr. Brown." Dare we plead, in ex-
tenuation of the slip, that there is a seducing similarity in the names ?
— Ed.]
MOUNTING GELATINO CHLORIDE PRINTS.
To the Editor.
Sir,— Having several times noticed inquiries respecting the difficulties
many workers find in mounting gelatino-chloride paper so as to retain
the perfect enamel surface produced by squeegeeing on to glass, I am
glad to be able to give a few hints which will enable any one to mount
this paper with ease and certainty. The difficulty I found was to obtain
a mountant that had strong adhesive qualities with but little moisture,
and quick drying. Having found such a one, to use it I hold the print
(just as stripped off the glass and unbacked) face down in the hand, then
brush a thin layer of the mountant along each edge. Next brush over
the centre of the mount with a solution of three quarters mountant and
one quarter water (use as little of the mixture as possible), place the
print in position on the mount, and rub all over with a silk handkerchief.
Do not use any other pressure. I have mounted some hundreds this way
both large and small, and never have one spoilt. The gloss remains quite
uninjured.— I am, yours, &c. , Arthur C. CocKErBN.
22, Sheatley-road, Brondesbury, N.W., January 3, 1893.
The Late Mb. W. R. Hariusox.— The announcement of the death of a
quondam French correspondent of thisjoiirnil is received with regret. For
some time anterior to 1866 Mr. Harrison was our regular French corre-
spondent. He was a gentleman of ripe experience and a colleague of Bingham
and other men of note in those early days. He died on December 28. aged
seventy years.
16
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 6, 1893
iEictange (ffolumn.
*,• No charge is made for inserting Exchanges of Apparatus in thiscolmim;
hut none will be inserted unless the article wanted is defituteli/ stated. Those
who specify their requirements as ' ' anything useful" will therefore understand
the reason of their non-appeara)ice.
Will exchauffe Slingsby's flash stand, with sii Marion's lamps, eqnal to new, for
head.rcst or studio furniture.— Address, Aetbce Whexton, Market-place, Ded-
dington.
"Will exchan|?e my whole-plate, 8Jx84, Stereoscopic Company's portrait lens, quite
new, for a whole-plate rectilinear lens, by any good maker.— Address, P. Tarrant,
Westcott-hill, Dorking.
Engtocrsf to crotrcspottticnts.
Communications relating to Advertisements and general business affairs
'isl he addressed to "Henky Greenwood & Co.," 2, York-street, Covent
must
Garden, London.
Jas. Crbighton. — Received.
Lexs.— We think that tlie lens you suggest will serve the purpose very well.
Thus. Bloe.— A fifteen-grain solution of protosulphate of iron, to which is
added one drachm.
B. D. HiQOiNs.— Remove the bad varnish with methylated spirits of wine, and
revarnish witli a better varnish.
H. FljVTHER.— -Received ; thanks. We had already had a similar commnnica-
tion from another correspondent.
"8tar" Reader.— Mr. Charles Beresford and all his works have frequently
been denounced in our columns. See sub-leaders.
Wm. Harrop.— There is no advantage in the use of a yellow screen with non-
orthochromatised plates. It simply prolongs the exposure.
.Sceptic— We agree with you that it is doubtful whether, in practice, the most
rapid plates of to-day are more rapid than those of ten years ago.
C. UCNCAX. — No special medium is required for working up bromide enlarge
nients in water colours ; if the paper is rough, crayons may be used.
A. Lewis.- The great depth of the shadows is a common failing with bromide
prints when they are much under-exposed and the development is forced.
Electric. — With a light of from 1000 to 2000 candle-power, and under the
circumstances you mention, an exposure of eight seconds, apjiroximately,
would be required.
I'LATEN. — Details of a collotype process, which we are aware was worked with
great success in America, are given in the editorial article of the current
ALMANAC.
N. Farrell. — 1. We are not aware that coUodio-chloride paper is manu-
factured in this country. 2. Dr. Van Monckhoven is said to have been the
originator of the process.
Stanley G. Dicker. — Squire^s lenses had a high reputation in their day.
They were considered as acting rapidly. If the lens is in good condition you
are safe in purchasing at the price mentioned.
C Benson. — In putting your lenses together after cleaning them, the relative
positions of the lenses forming the back combination have not been noted.
Reverse tlie crown glass and all will go on well as before.
R. Bedwell. —If on tlie addition of more liver of sidphur to the old hyposul-
phite of soda no further tui'bidity is produced, it may be safely concluded
that all the silver has been precipitated, and any further addition will do
harm rather than otherwise.
A. M. Z. — You will find the camera referred to described in an article on
page 39 of the volume of this Journal for 1891, which will probably answer
your question more fully than we could devote space to here. The principle
of the camera is as old as it is excellent.
L. Meldon says : " A correspondent last week sent a description of a dip-bath
for development. His letter appeared in the paper, but not the description.
I should be glad to get the description tlierein mentioned."— We shall
probably be giving a full description of the bath in our next.
A. Z. .1. says : " I have seen some pictures on opal of sea-pieces of a peculiar
greenish-blue tone, very suitable indeed for such subjects. I am sure they
are not bromides, unless some developer has been used, the formula for which
has not been published. Can you give me any information on the point '( " —
We have no doubt whatever that the pictures in question were produced by
the carbon process. Although we have not seen those referred to, we have
seen others of similar subjects which answer to the description, and tliey
were printed in carbon.
A. W. F. writes : " Last March I entered into an agreement as printer and
mounter for one year's services. As I learnt that all the photographers in
this place were going to close on the day following Bank Holiday, I asked
my employer if he was going to do the same. He said No, and that I must
be at work that day as usual, and, if I was not, I was to consider myself dis-
charged. As all the other photographers in the town were closed, can he
legally discharge me for not going to work, which I did not ?"— Yes, certainly
he can. The 'IMesday was not a legal holiday, although many houses closed
to enable their employh to have an extra day's relaxation.
L. C. M.— Lu.
phore.scent_ after exposure to strong light. We are not able to inform you
-Luminous paint is an outcome of a discovery made over forty years
Becquerel that the sulphides of strontium and barium became phos-
the method by whicli the paint is manufactured. Sulphide of calcium is'the
phosphorescent agent.
F. E. G. says: "To-day, when developing in the dark room, I unintentionally
placed a number of negatives in a dish of water which had had a small
quantity of strong sulphuric acid left in, and when I let in the daylight 1
found the water quite milky, and each negative coated with a bluish- wliite
opalescence, part of which I was able to wash away (from the surface only).
Several of tlie negatives, however, are utterly spoiled, unless they can be
cleared, as they are irregularly clouded, owing to the negatives which had
been resting on top of them. I shall be much obliged if you can assist me
out of the difficulty."— The negatives, we presume, were placed in the
sulphuric acid solution immediately after being taken from the hy])0. In
that case sulphur was doubtless precipitated, the " clouding " being silver
sulphide, which we fear is irremovable from the negatives.
♦-
Leytonstone Camera Club. — January 25, Members' Liintem Evening.
The West London Photographic Society's annual conversazione and exhibi-
tion of members' work takea place on January 10 and 11 (ne,xt week).
Croydon Camera Club.— January 16, Spanish Slides and lecturette by
Mr. Cembrano. 30, Slide-Making/ by Reduction, by Mr. B. Gay Wilkinson.
PHOTOOKArHic Club.— January 11, Members' Open Night; demonstration
with the amidol develojier. 18, Glass and Fabrics for Bark Room Illumina-
tion.
Professor Arthur H. Elliott has resigned the joint-editorship of
Anthony's Bulletin on account of defective eyesight, being succeeded by Mr.
F. P. Smith, who for the past year has been his assistant.
Newcastle-on-Tyne and Northeun Counties' Photographic Associa-
tion.—Meeting, January 10, 1893. Lecture and demonstration on IHatimtype
Printing, by S. G. B. Wollaston, at Art Gallery, Newcastle, at half-past
seven.
North London Photooraphic Society. — Instead of Wellington Hall, the
meetings of this Society will in future be held in the (Constitutional Club,
Canonbury Tower. The joint Secretaries are Mr. W. T. Coventou and Mr.
Alex. Mackie.
MES.SRS. Fuerst Brothers inform us that they have appointed Mr. L. E.
Morgan (formerly with the Fry Manufacturing Company) for tlie jiurpose of
giving practical demonstrations of the use of tlie amidol developer. They
wouhl be glad to receive applications from any photographic societies or clubs
that may be desirous of arranging for Mr. Morgan's attendance at their
meetings in order to demonstrate development with amidol.
London and Provincial Photographic Association. — January 12, Testing
Oxygen Oas, by Messrs. F. B. Grundy and A. Haddon ; also The " Kolm"
Magnesium Lamp, demonstrated by Mr. J. G. Huilson. 19, Monthly Lantern
Night. 26, I'kotographiiig Paintings by Artificial Light, by Mr. W. E.
Debenham. February 2, Special Lantern Evening, Norv;ay and its People, by
Mr. S. J. Beckett. 9, Opening Lecture of the Technical Series announced
recently. 16, Monthly Lantern Night. '23, Annual Musical and Lantern
Entertainment .ii St. George's Hall, the Chimpion Hotel, commencing at half-
past seven.
♦
FORTHCOMING EXHIBITIONS.
1893.
February 1 *Cleveland Camera Club. Hon. Secretary, J. J. Hallam,
11, Amber-street, Saltburu-by-the-Sea.
,, 7,8 Rotherham Photographic Society. Hon. Secretary, H. C.
Hemingway, Rotherham.
,, 14 Durham City Camera Club. Hon. Secretary, R. Haux-
well. The Avenue, DurhauL
„ 16-18 *Woolwich Polytechnic Photographic Society. Hon.
Secretary, W. Dawes, 145, Chesuut-road, Plumstead,
S.E.
,, 18 Holborn Camera Club. Hon. Secretary, F. J. Cobb,
100 High Holborn, E.C.
March 1, 2 *Fillebrook Athenasum Photographic Society. Hon.
Secretary, Joseph W. Spurgeon, 1 Drayton Villas.
Leytonstone, Essex.
April 17-29 *Photographic Society of Philadelphia. Hon. Secretarj',
R. S. Redfield, 1601, Callowhill-sti-eet, Philadelphia,
U.S.A.
* Signifies that there are open classes.
OONT
FlOB
sculpturesque photography -a
Nhw style oe statoaev por-
TUAITUBE 1
diffused light '. 2
a note on halation and double
FILMS. By W. B. BOLTON i
ON THINGS IN OENEHAL. By FREE
LANCE 4
?,%',-?'^^'^- Hy •'■ K. TULLOCH, m!b."; 6
^,1^„™ ''*KE PEN-AND-INK DRAW-
INGS FOR PROCESS WORK. By A. J.
uOUGH 5
^SS'iS'i''*™'*'' *T the' MUNIoiPAL
TECHNICAL SCHOOLS. MAN-
CHESTER. By W. T. WILKINSON.. 6
*.,?.'l'2?''^*"0N fOR REGULATING
id^I^P^ '^T COMPETITIVE photo-
Sg-NKE''.^"'""™'*^- ''^^''^- ,
"^^1^^ wSi*!^^-: ^^ ,
^?,!^-??.?"*'^"'*>''^ lofty intekiob
-...^IPJS.'i; Ry EDWARD DUNMORE .... 8
WINTER photography. By W. T.
WILKINSON s
BNTB,
ALKALINE
Page
PYRO-
GOLOURLESS
GALLOL "
MEASUREMENTS OF CLOUD HEIGHTS
AND VELOCITIES «
AMONG THE BEES WITH THE
CAMERA. By T. E. FRESHWATER,
F.R.M.8
THE USE OF PHOTOGRAPHY IN
PHYSICAL RESEARCH 10
THE PAHA - AMlDOPHKNOL AND
AMIDOL DEVELOPERS. By J. B.
BRADWELL 11
PHOTOGRAPHY OF THE LIGHT
WAVES OF THE SMALLEST WAVE-
ENGTHS 11
A KODAK GATHEiUNO AND PRE-
SENT.vriON n 11
OUR EDITORIAL TAi UB 1
MEETINGS OF SOCIEiiES 13
RF.CENTLY ELECTED OFFICERS OP
SOCIETIES 14
CORRESPONDENCE 15
EXCHANGE COLUMN 1»
ANSWSaS 10 CORRESPONDENTS
THE BKITISH
JOURNAL OF PHOTOGRAPHY.
No. 170G. Vol. XL.— JANUARY 13, 1893.
IIEVERSED NEGATIVES IN PRACTICE.
The subject of reversed negatives has frequently been treated
of in times past, but it appears, from queries we have to
reply to, that additional interest is now being taken by
photographic experimentalists in the various mechanical pro-
cesses— particularly since the issue of the Almanac — in some
of which reversed negatives, that is as regards right and left,
are imperative. AVe shall not here go into the details of all
the numerous methods by which reversed negatives can be
made, but shall confine ourselves to explaining, for the guidance
of novices in the work, the strong and weak points of those
most generally practised. In the first place, it must be borne
in mind that one of the most important points with negatives
for photo-mechanical work is extreme sharpness in all parts of
the plate. Therefore it will be manifest that this quality is
secured in the highest degree by utilising an original negative
instead of having to reproduce it, whatever be the means by
which this is accomplished.
There are several ways of producing reversed negatives
•direct. The one most generally followed by professional
workers is that of taking the negative with the aid of a prism,
or mirror of plane glass silvered on its surface, placed at an
angle, either in front of or behind the lens, for it matters not
which position it occupies. In some respects the prism is the
more convenient in use, but for large sizes it becomes a costly
piece of apparatus. Hence the mirror is usually adopted for
all sizes, at least in England. The prism is, however, often
used on the Continent. Whichever instrument be employed,
this system of working direct is at once the simplest and the
best method of obtaining reversed negatives, as it involves no
more trouble than making them in the ordinary manner, while
their quality is in no way inferior.
Reversed negatives may also be taken direct by placing the
plate the reverse way in the slide, and exposing through the
glass, allowing, of course, for its thickness in the focussing.
But it will be obvious to every one that any dirt or scratches
■on the glass, or imperfections in it in the form of air bubbles,
Ac, will be reproduced in the negatives, and these defects are
not always discoverable with dry plates. Nevertheless, this
system is universally followed by some houses who work the
" zinco," and what may be termed other rough processes.
There, however, the process used is generally the wet-collodion,
and this gives the opportunity of careful examination of the
glass before it is coated. Where this system is adopted, the
ground glass of the focussing screen is usually fitted with its
«mooth side towards the lens. The carriers of the dark slide
are also supplied with small springs at the comers to press the
plate, from the back, against the wire comers which are fixed
in register with the ground surface of the focussing screen.
Celluloid films, it has often been stated, can be printed from
either side without loss of sharpness. This is practically the
case with those of the thinnest kind, when used for some
purposes. But practical workers tell us that, even with the
thinnest, there is a perceptible loss of sharpness in the grain,
when they are used in some mechanical processes, even when
the greatest care is used with the light in printing.
Here is another method of producing reversed negatives that
is, perhaps, more extensively followed abroad than it is here,
particularly by collotype workers, namely, removing the nega-
tive from the glass upon which it is taken in film form, and
printing from it with the side that was next the glass in con-
tact with the prepared plate. If the negative is made by the
wet-collodion process, the glass is French-chalked prior to
collodionising. Then, when the negative is finished, a thin
sheet of softened gelatine is squeegeed upon it, or the negative
is placed on a levelling stand, and a solution of gelatine poured
on. When dry, in either case the negative can readily be
stripped off for use. Dry plates, specially prepared for stripping,
are now articles of commerce, and the negative, after it is
taken, may be treated in the same way as collodion negatives,
as reg.^rds stripping. If ordinary dry plates — that is, those
not prepared for stripping — be used, the film can also be re-
moved by treating it with very dilute hydrofluoric acid, after
the manner of Plener. Obtaining a reversed negative by
stripping it from the glass of course involves more trouble
than taking it reversed in the first instance. But the stripped
film often possesses advantages over the one on its rigid sup-
port, inasmuch as perfect contact can always be ensured in
printing, a condition not possible if the glass negative be
uneven. If, however, the stripped film be backed with a piece
of plate glass, absolute contact in all parts is at once
secured.
We have hitherto been dealing with negatives taken reversed
or with a view to their reversal afterwards. But in general
practice a large number have to be utilised that were not, and,
more often than otherwise, they must not be tampered with as in
stripping, hence there is nothing to do but to reproduce them.
It follows, as a matter of course, that, if the reproduction be
mode direct from the negative, the greatest possible degree of
sharpness should be secured. There are several methods by
which this can be done. There is, for example, the method of
Colonel Waterhouse, with the thio-carbamides, the reversed
action of light method, and the method of Mr. Bolas, by
treating a dry plate with bichromate of potash before ex-
posure, and some others. As a matter of fact, however.
18
TriE BRITISH JOURNAL OF PHOTOGRAPHY.
[January IS, 1893
although they are all capable of yielding excellent results,
they are but little used, if at all, by commercial workers.
The plan usually pursued by professionals is to work by way
of a transparency, either by contact printing, or more generally,
with the camera. The latter way becomes imperative when^
as is often the case, a size different from the original is required.
The transparency is sometimes made on a dry plate, and some-
times in carbon. The latter possesses some advantages over
the former, inasmuch as, if the negative be on uneven glass,
perfect contact will still be secured through the flexible
nature of the tissue, heace a sharper result. For the new
negative, either wet collodion or di-y plates can, of course, be
employed.
Here is another method by which a reversed negative
from a transparency can be obtained by contact printing
alone. A carbon transparency is made in the ordinary
way, and from this a negative is printed on a dry plate.
It might be surmised in this case that, as the carbon image
is more or less in relief a sharp negative would not be
secured. But this, in practice, is not really the case if the
usual transparency tissue be employed, as with it the relief is
so trifling, that it may be disregarded if tolerably parallel light
be used in printing the negative.
The extra trouble involved in having to reproduce negatives
is often compensated for, inasmuch as then one has the oppor-
tunity of securing in the reproduction a negative having the
characteristics required for the work in hand, and which the
original frequently does not possess. We have not alluded to
nearly all the different ways by which reversed negatives are
obtainable, but we have indicated those most in every-day
practice.
CHANGING BOXES VERSUS DARK SLIDES.
n.
The first idea of the " grooveless " changing box, alluded to in
our last issue but one, was due, we believe, to Mr. P. Mawdsley
— at present on a visit to this country from America — at least,
it was, we believe, in his hands that we several years ago saw
the earliest attempt to utilise this principle. The details
of Mr. Mawdsley's method, so far as we remember, were as
follow : —
The box itself in general construction was upon the same
lines as Hare's automatic changing box and slide, but without
grooves, and weis made of such dimensions as to carry the
required number of plates in contact with one another, thus
saving a considerable amount of space. We have said the
plates were in contact with one another, but this is hardly
correct, as they only came in contact at the edges. Obviously,
it would be scarcely desirable that even the toughest and
hardest of gelatine films should slide in contact with the back
of another plate in changing, and, in order to avoid this, Mr.
Mawdsley attached to the opposite edges of the back of each
plate, by means of glue, a narrow strip of thin cardboard to
form a bearing surface, upon which the next plate could slide
without injury to its surface. So mounted, half or two-thirds
as many more plates would pack into the same space as when
the ordinary grooved box was used.
In working the changing box the dark slide is attached in
the ordinary way, and the box held in such a position that the
first plate is at the top of the pile, and, sufficient " play " being
allowed for the purpose, it then easily passes into the dark
slide. After exposure the dark slide is again attached to the-
box, and the sliding lid moved to the side occupied by the last
plate, which is now brought into the uppermost position, when
the exposed plate can be returned to the box behind the
unexposed ones, and so on until the whole have been
exposed.
On actual trial, we find that twenty plates of ordinary thick-
ness, packed hap-hazard from a pile, will go comfortably into
the space of a grooved changing box intended to hold a dozen,
allowing space also for the necessary number of cardboard
strips, so that possessors of existing changing boxes who may
wish to increase their carrying space for glass may easily do so
to that extent by clearing out the grooves ; but, if films are to
be employed instead of glass, in the same space from fifty to a
hundred may be included, according to the thickness and
character of the holder or carrier. Thus in the simple form of
carrier we shall describe later, if used as a double one, a hundred
films will easily go into the ordinary one-dozen grooved box ;
that is to say, fifty carriers may be used, each holding either
one or two films, as may be decided.
In order to utilise the double carriers, however, some extra
provision must be made, either in the form of a double dark
slide — the ordinary one being single — or, perhaps, better still,
by providing the means of reversing the position of the slide in
attaching it to the box. Such an arrangement was described,
at page 568 of our volume for 1889, by Mr. W. B. Bolton. It
consists of an attachment in the form of a pair of false jaws
fitting on to the box in place of the slide, and into which the
slide itself can be inserted in the reverse position, so that, after
the whole of one side of the film-carriers have been exposed in
the ordinary way, the extra jaws can be placed in position and
the opposite sides exposed in the same manner.
In 1881, provisional protection was granted to Mr. C. Sands
for a changing box and slide in which the principle of the
grooveless box was utilised, though the details of construction
varied from those detailed above. The lid of the box was fixed,
and was provided with two separate openings for the exit and
ingress of the plates. The opening and closing of these slots
was automatic, being performed in the act of attaching the
dark slide by two pins fitting into corresponding holes ; the
slide itself, if we remember rightly, was opened and closed by
means of a sliding strip of metal. The plates were placed in
"carriers" — which, of course, rendered the changing box bulkier
in every way than an ordinary one — and it was adaptable
to either single or double carriers.
As to the respective merits of double slides, and the method
of reversing the single slide, it may be pointed out that the
former has the advantage of only one changing operation for
each pair of plates, though, at the same time, some little trouble
is involved in construction, in order to secure correct register
of both plates in the camera, and at the same time to permit
the carrier to slide freely in and out of the holder. Another
point in favour of the double slides is that the exposures run
consecutively from one end of the box to the other, while, by
the reversal method, they run from one end to the other and
back again, so that the first and last exposures in the box will
be in the same carrier. This is apt to cause some little dif-
ficulty in identifying any particular exposure, if it be desired
to develop before the rest ; but, after all, the same, or a
gieater, difficulty exists in the case of the continuous films of a
roll-holder, and it may be minimised by a careful numbering of
the can-iers in their proper order.
January 13, 1803]
THE BIUTISH JOUKNAL OF PHOTOGRAPHY-
10
Sesults of Solar VhotogTBLV^y' — Mr. George E. Hale
writes in Asfronomi/ and Astro- I'hijsits : " In Tiow of the fact tliat
the study of prominences, facula, and sunspot spectra by photo-
graphic means has now been taken up by several investigators, it
seems desirable to bring together the results of the work in this direc-
tion which has been in progress at the Kenwood Observatory since
April last, 1S91." Tn furtherance of this view he has entered into
an interesting series of descriptions in each department, which, though
concerned with matters photographic, are not capable of useful ab-
breviation, and wo therefore refer our readers to the original paper in
No. 109 of the journal quoted, or as abstracted into the Chemivul
News, p. 4, No. 1728.
A Word of Warning' as to Corrosive Sublimate.—
Though a photographer, perhaps, does not expose his hands so much
as a surgeon does to the effects of solutions of corrosive sublimate,
the fact that this chemical is much employed by some operators
renders it advisable to put photographers on their guard by stating
the experience of Professor Albert. At a meeting of the Vienna
Medical Society he gave an account of tlie ill effects he had
experienced, he having used the solution daily in his work as a
surgeon. He found that he suffered from dyspeptic troubles, and
lately that some of his teeth were falling out, effects which he traced to
the absorption of mercury through the skin. It is evident, therefore,
that photographers have another chemical to add to the list of those
which are injurious to the system, if the hands are immersed without
protection in solutions of such substances.
Pbotogrraphlngr the BXotion of Vessels.— In La Nature
last week will bo found two singular-looking engravings, which,
though of photo-astronomical interest, it would be impossible to
understand without the accompanying letterpress. The illustrations
are, in point of fact, views of an eclipse of the moon taken on board
a vessel with exposures of two minutes' duration. The rolling and
pitching of the ship has caused the image to describe a series of gyra-
tions and convolutions on the plate, which are faithfully brought out
on the negative. M. Gaston Tissandier suggests of them that, as a
method of registering the movements of a vessel when sailing has
often been sought, these pictures furnish a solution of the problem, a
negative of the moon or sun being employed instead of, as hitherto'
one of the horizon.
The Xorth Ziondon Photographic Society. — This
■well-known Society, which represents in its history and connexions
the earlier days of photography, and which has numbered among its
members many of the men whose names are household words among
photographers, is about to move its quarters from Wellington Hall.
Islington (where it has had temporary accommodation since the
pulling down of its old rooms at Myddelton Hall) to Canonbury
Tower, Canonhury-square, arrangements having been made with the
Canonbury Constitutional Club, who occupy the premises, for the use
of the necessary rooms. The first meeting in the new home will be
on Tuesday the l"th inst., when it is expected that there will be a
goodly gathering of members to " warm the house," and greet the
new Hon. Secretary, Mr. W. T. Coventon, of 50 Highbury-park, N.,
the late Hon. Sec, Mr. W. Bishop, having regretfully resigned his
post under pressure of other engagements, though still retaining his
interest in the Society.
Differences in Value between Eye and Photo-
g'raphic Star Maps. — At the last meeting of the Royal Astro-
nomical Society considerable interest was aroused in a discussion on
the new star in Auriga, which now appeared to be becoming brighter
to the eye, though, in the photographs, it was less bright. The ex-
planation offered by Mr. Taylor is as follows, and, as it embraces
points of great importance, deserves to be well studied : — As the
brightness of the new star diminished, and, presumably, its tem-
perature fell, its spectrum would change very considerably. The line
at wave length .OOO.i had become by far the brightest in the spectrum
-^indeed, was the only line recorded by several observers. A similar
cliange of spectrum had been noticed in all temporary stars which had
been spectioscopically examined. This line, which appeared to be the
characteristic nebular line, was in a region of the spectrum to which
ordinary photographic plates were only slightly sentitive, while it
was near the region of maximum visual brilliancy of the spectrum for
ordinary eyes. The line was therefore taken into account in visual
estimations of magnitude, and practically ignored in photographic
estimations, and it was a remarkable fact that the presence or absence
of this line should have made a difference of three magnitudes in
estimations of the Nova.
New nxode of Snlargring' the Telescopic Zmagre for
Fhotog'raphing'. — Mr. Davidson, reported at the above meeting
that he had taken some enlargments of Jupiter, which showed that a
newly proposed method would be very useful. It con-sisted in
applying, after the fashion of the tele-photographic lens, a suitably
corrected concave lens, placed at a distance behind the object-glass.
Mr. Maunder had experimented with such an apparatus, in view of
the coming eclipse in Brazil and the West Coast of Africa, and had
obtained direct images of the moon one and a half inches in diameter.
Coverlngr IMCetal with G-lass. — A successful mode of cover-
ins: metallic surfaces with a durable coating of glass is a problem
which, if successfully solved, would be of vast usefulness in photo-
graphic work generally. In case of any of our readers wishing to ex-
periment in this direction, we give details of a method which has been
suggested for this purpose : — Take 12o parts, by weight, of ordinary
flint-glass fragments, twenty-nine of carbonate of soda, and twelve of
boric acid, and melt. Pour the fused mass out upon some cold sur-
face, as of stone or metal, and pulverise. When cool, make a mixture
of this powder with silicate of soda — water-glass — solution of 60°
Baume. With this coat the metal to be glazed, and heat in a muffle,
or other furnace, until it has fused. This coating is said to adhere very
firmly to steel or iron. We see no reason why if, on a comparatively
small scale even, a method of surfacing iron with glass, either by the
above or other means is possible, it should not be adopted, and thus
be of the greatest value for such purposes as the ordinary steel plate
of rolling presses is now put to. We are aware that plate-glass beds
are supplied to some machines, but it is evident that they are not
applicable where heat is applied. A rolling press, suppHed with a
plate with a glass surface, which would not ssratch or become rusted
like steel, nor break with a certain amount of heat, would be in-
valuable.
A SEASONABLE PRINTING PROCESS FOR AMATEURS.
It is probably owing to the reluctance on the part of the grea
majority of amateurs to venture on to new ground that one of the
best and oldest of our printing methods is almost entirely neglected
by them, in spite of its various advantages, including indubitable per-
manence. 1 allude to the carbon or autotype process, which after
silver printing on plain arid albumenised paper, takes rank amongst
the oldest of our modern printing processes.
The principle of the process is so utterly different from most other
methods, and the manipulations so far removed in their character
from those with which the amateur is familiar, that he may perhaps
be excused for imagining difficulties which a simple trial would soon
dispel ; for, after the first mastery of the details of the exposure and
development, the carbon process is one of the, if not the, easiest and
most certain in its results of the large number that are now at the
disposal of photographers. In fairly practised hands the beauty and
uniformity of the results produced by this form of printing, combined
with the ease in working and the small percentage of spoilt prints, is
really remarkable, and cannot, we venture to think, be surpassed by
any other.
But at the present season of the year carbon printing ofiers special
advantages over most other methods that cannot fail to recommend
it if it be once tried. Its superior rapidity in printing will be especi-
ally appreciated during the short dark days of winter, while the less
liability of the tissue to injury from damp while in the printing frame
gives it the preference over many of the newer processes. From the
nature of the sensitive material there is, of course, an end to all
difficulty in securing satisfactory and uniform tones, but perhaps the
20
THE BRITISH JOURNAL OF PHOTOaRAPHY.
[January 13, 1893
greatest advantage of all is its wouderf ul adaptiWlity to negatives of
greatly varying density and quality. It is scarcely too much to say
that by suitable modification ia the treatment of the tissue, both in
sensitising and development, prints of excellent quality may be ob-
tained from negatives vfhich it would be hopeless to attempt to print
by any other method. It is, in fact, the process par excellence which
does not require a special type of negative, being as well adapted to
dense slow printers as to thin, delicate, and even flat ones.
In connexion with this quality, it may be further remarked that
for getting the best possible result from many of the only half-exposed
hand-camera negatives that form so large a proportion of modern
work, there is no process that can in any way approach carbon, for, by
suitably reducing the strength of the sensitising bath, vigorous and
well-modelled prints may be obtained from the most ghost-like nega-
tives. Again, in the case of small negatives taken chiefly with a view
to enlargement, it is well known that the best results are obtained
from these delicate negatives full of detail ; but if direct prints be
attempted from such negatives in silver or platinotype, the chances
are much against satisfactory results, as these processes require a
more robust type of image. But such negatives are just the ones
that will give the very finest quality of result in " carbon," and there-
fore the process can with still greater confidence be recommended to
the notice of the largj army of users of hand cameras of one sort or
another.
A possible objection to the process may be found by some in the
necessity for sensitising the tissue when required for use, as, although
it may be obtained commercially in the sensitised condition, it re-
quires to be used up within a comparatively short period. This
objection, however, may be put on one side, for the worker who will
not incur the slight amount of trouble involved in sensitising is not
one that is likely to venture far enough out of the beaten track to try
the process at all. But it is, after all, a very easy matter, when a
day's printing is to be undertaken, to sensitise, over night, as much
tissue as is likely to be used, and it will be ready for use in the morn-
ing. Moreover — -and especially at tliis season of the yeai' — the
sensitised tissue may be comfortably kept for ten days or a fortnight,
if iprotected from damp, in one of the ordinary tin cases. The full
extent of its deterioration — if such it can be called — when properly
kept, will be that it will take longer to develop, and will probably
require hotter water; though, as a partial set-off to this, many opera-
tors [claim that a better quality of results, as regards fineness and
gradation, is obtained [with tissue that has been sensitised for some
days.
I do not suppose many of your readers will venture to the extent
of making their own tissue, nor is there any necessity to do so, unless
it be for the sake of producing special colours not found amongst the
commercial samples. These are offered in such a variety of tones of
the usual photographic kinds that for ordinary work there is no
necessity to go to the trouble of preparing for oneself. But if by
chance it should become necessary, there is not the slightest difSculty
in the process, far less, indeed, than in the preparation of an emulsion,
while the quality of the product need be in no way inferior to the
commercial article. It is true that in the manufacture of the latter
elaborate machinery is employed, as well as a large staff of more or
less skilled assistants ; but these are only required by reason of the
magnitude of the operations and the necessity for having everythin"
done in the most expeditious and economical manner possible.
(To he concluded.) W. B. Bolton.
CONTINENTAL NOTES AND NEWS.
Sliver Ziactate Plates.— Before the Antwerp Stction of the
Association Beige de Photographie, the President, Mons. Joseph
Maes, recently gave a demonstration of the development of some
transparencies on plates prepared with lactate of silver. The whites
of the images were said to have been very pure, and the blacks very
int«nse. The plates are rapid enough for reduction in the camera.
" The Question Box."— Before another Section of the same
Society one of the members, Mons. Ed. .Sacr<5, brought forward (as he
had already done several times) a proposition for the institution of a
" question box," so that members might have the opportunity of sub- «
mittiug questions without disclosing their identity. The report does
not state whether M. Sacre's proposition was carried, so that we may
suppose that that gentleman will bring the subject before the Section
again. Among the few English Societies who have a " question
box " we are not sure that, as a means of enabling an inexperienced
member to obtain information upon a matter which he is reluctant,
for fear of ridicule or criticism, to introduce in the usual way, it ia of
any practical use, it being as a rule more honoured by neglect than
by use.
Sodium Sulphate In the Developer. — Herr Pippel, in a
German contemporary, recommends the use of sodium sulphate
(Glauber's salt) instead of the sulphite in the developer, it yielding
clean negatives of a rich black colour. For a properly exposed plat©
he recommends immersion for a few seconds in a bath of —
Pyro 1 gramme.
Saturated solution of soda sulphate .... 20 to 40 c.c.
Water 100 c.c.
to which, being returned to the developing measure, is added
2 to 10 c.c. of a saturated solution of sodium carbonate, develop-
ment then being resumed with the mixed solution. For over-
exposure, bromide ; more detail, an increase of carbonate ; and for
under-exposure, more of the latter, plus 20 to 30 c.c. of the sulphate
solution, are recommended.
A Black Stain for Wood. — The photographer who makes
his own apparatus may desire to know a good and cheap black stain.
According to Science en Famille, the following fulfils those require-
ments : —
Extract of logwood 15 grammes.
Chromate of potash 2 „
Water 1 litre.
The extract of logwood is dissolved in boiling water, and the
chromate then added. The colour of the liquid is a deep violet, which
changes to a pure black in contact with the wood.
Vibration of Photogrraphlc Apparatus, dic. — To-
judge of the steadiness of photographic (or photo-micrographic)
apparatus, &c., a contemporary recommends that a glass vessel,
charged with mercury, be placed on the top of the camera or other
convenient position. The least possible movement of the apparatus
is shown by the numerous and varied little waves which appear on
the surface of the mercury bath. These minute undulations are
immediately perceptible to the eye, which sees, as it were, the images
obtained by reflection on the brilliant surface of the mercury.
Writingr on Glass. — For "matt" inscriptions on glass it is
suggested to dissolve in .500 grammes of water 36 grammes of fluoride
of sodium and 7 grammes of potassium sulphate, and in another 500
grammes of water 14 grammes of zinc chloride, 65 grammes of
hydrochloric acid being added. For use, equal parts of the solution
are mixed, and the inscription made on the glass with a pen or
brush. In about half an hour the lettering so traced will present
the customary " matt " appearance.
Varnishing' Zinc Trays. — When zinc trays, &c., are used
for washing plates or prints, says " Ki-Non " in L' Amateur Photo-
(jraphe, the deposited hypo reacts on the metal, which, it coming Into
contact with prints, stains them. This, he says, may be avoided by
varnishing the vessel with bitumen of Judea (5 parts dissolved in 100
parts of benzol). The varnished vessel is placed in sunlight in order
that the bitumen may be rendered insoluble. He advises two
applications of the varnish, and to repeat the operation as occasion
may require.
Impurities In Bedudng^ Agrents.- As the result of an
examination of the developing properties of gaiacol, as alleged by
Colonel Waterhouse, Messrs. A. & L. Lumiere state that that sub-
January 13, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
21
stance in the purified form does not develop exposares on the silrer
haloids, the developing action being- due to the impurities with which
it is contaminated. Treatinjif of the developinjf powers of certain
substances at a very high degree of dilution, they mention the
interesting fact that an allialine solution of para-amidophenol at the
etrengtli of 1 : 10,000 is sufficient for the purpose.
WINTER TROUBLES.
It may seem something like " locking the stable door after the horse
is stolen,'' to raise a note of warning after an accident has happened,
but as we can scarcely hope that the present thaw closes our w^inter,
the same trouble may occur to others that has fallen within my own
experience. This, though perfectly explicable, is to me, after many
winters' acquaintance with chemical and photographic apparatus,
entirely novel in its form, and, as a very simple precaution will
prevent its recurrence in other cases, I make no excuse for narrating
the circumstances.
Just previous to, or in the early part of the late severe frost, a large
and valuable porcelain dish, after being used for washing a batch of
prints, was roughly wiped out and reared on edge against the wall in
one of my work rooms. The dish, I may say, was, up to this time —
so far as I was aware —perfect, the enamel not even being cracked, as
is so often the case with such dishes, even after comparatively
little use. Judge my astonishment, therefore, when, on going into the
room one day, I noticed a crack extending from one of the lower
comers, as it stood against the wall, to nearly the centre. A rough
examination led to the conclusion that the crack was a new one,
probably the result of a recent knock, though I could not remember
having administered one, and nobody else had had access to the
dish.
The crack at this stage did not appear to be a very serious one, not
sufficiently so to cause the dish to leak or to unfit it for the purposes
of washing to which it was usually applied ; but in order to guard
against further damage, it was placed more carefully in its proper
rack, one of a series of shelves on which it rested in the horizontal
position. Here it remained for probably a week until I required it
for use again, when, on taking it out, I was disgusted to find that not
only had the crack extended nearly right across the dish, but it had
become at its starting-point at the edge nearly an eighth of an inch
wide.
An examination showed that the crack was filled up along its
entire length with ice, and this gave a clue to the cause ; and a sub-
sequent closer and more careful scrutiny proved my original sup-
position to have been coiTect. A very slight crack, possibly not
visible at the time, in the lower corner as the dish stood against the
wall had absorbed a certain amount of moisture, which in freezing
forced the edges of the crack wider apart, and probably opened it up
a little in length, and into the newly opened portion fresh moisture
found its way by capillary attraction, to be frozen in turn and still
further extend the damage, until the wedge of ice, as I have said, had
opened the crack at its widest to nearly an eighth of an inch.
In this condition the dish was perfectly firm, the two portions
being held together by the intervening strip of ice ; but, on pouring
a little warm water into it, the expansion of the material caused the
fracture to extend, with a faint report, to the opposite side of the
dish, and, the cohesion of the intervening ice being simultaneously
destroyed, the two portions fell apart. It required but a brief
scrutiny to show that a crack scarcely two inches long had existed in
the upright side of the dish, and through only a portion of its thick-
ness : this much was evident from the slight discolouration of that
portion. The rest of the fracture caused by the ice was perfectly
white and fresh.
Curiously enough, though this was the first occun-ence of the kind
that ever came under my notice, within a day or two a precisely
similar accident happened in the domestic department ; a large jug,
having been hung up damp, was fractured in the same manner, and
fell in pieces when warm water was poured into it.
The lesson taught is a very simple one, namely, never, but es-
pecially in frosty weather, put poixolain, or similar vessels, away
damp. The danger is greater in the case of dishes, jugs, or other
utensils used for pure, or, at any rate, ordinary water, than those con-
t.^ining solutions of chemicals," as the latter will, to a certain extent,
prevent, or arrest, the freezing of the liquid. Still, the careful man,
who always washes his dishes or measures before putting them away,
would be wise in carrying his care a step further, and making it a
point to systematically dry them before considering his task performed.
Neglect of this simple precaution has cost me a us«ful and valuable
dish.
It will surprise many amateurs who have not tried it, how small aa
amount of heat will " keep the frost out of a dark room. A plan I
have adopted with satisfaction for several years past, consists in
keeping burning, in my sink, when not in use, an ordinary benzoline
lamp, over which is placed, on a retort tripod, a tin can, containing
about three pints of water, which absorbs and radiates tlie heat that
would otherwise be diffused and wasted. The shelves on which my
bottles are stored are in close proximity to the sink, and these get the
benefit of the genial warmth, though the far-off comers of the room
may be below freezing point. With this simple arrangement, not
even " saturated " solutions of oxalate of potash, or sulphate of iron,
need give any trouble in the coldest weather. The cost is less than
a penny yw diem. Old Collodion.
*-
SOME CONTRIBUTORIES TO ARTISTIC RESULTS.
[Hackuey Photoyrapluc Society.]
My intention in engaging your attention to-night, with some of the
minor matters which may or may not contribute to the artistic result
of our work, was not to deliver a discourse of a learned kind, but
rather to select one or two matters, and, having expressed some views
thereon, to have left the thing to general subsequent discussion.
■Those who are sufficiently serious in tneir endeavours for improve-
ment probably have as much solid food as they can digest provided
by the weekly journals, so that I sometimes think our lectures and
essay readings at society meetings are not always the beat possible
appointments for the good of individual members. Thus, for instance,
as a contributary to general good effect, I might have selected frames
and mounts. I should have raked together specimens of mouldings
and cardboards from the four quarters of the earth, and come ladened
like a picture framer's agent. I should then have siiggested the
respective merits of black and gold, white and gold, English gold, and
the gold which, tho«gh it glitters, is made in Germany, dark woods
and light woods, black or brown. Then there would, of course, be
plushes and silks and wondrous fabrics to be considered ; there is the
clear white glass and the greenish glass, with all sorts of specks and
bubbles in it, and a hundred other aspects from which one may use-
fully consider and discuss the framing and mounting of our pictures.
It is an important matter ; a good picture is worth well mounting,
and, in order to decide on the mount most suitable, no ordinary care,
judgment, and taste are needed.
Exhibition Frames.
As it is, however, I have none of these specimens here, nor nerhaps
is it necessary to have such. Most of us have seen a few exhibitions,
and in that case have had opportunity of seeing every kind of frame
which human ingenuity could invent, and we must in many cases have
been convinced that with some competitors the frame was the thing
exhibited, with some apology for a picture thrust in the opening just
to fill it up. I have thought sometimes that in the frames you may
find an index to the exhibitor's character and condition. There's the
man of magnificent ideas, but lacking the means of carrying them
out, glorious in florid gilt, crimson flock inches wide, and he who has
money and loves to spend it, who frames his things regardless not
only of expense, but of the fitness of things. The man of original
ideas is soon recognised, and often his originality gets the better of
his judgment, and the unconventionality becomes affectation, and he
who copies or imitates is apt to imitate blindly, and misapply the
models which he has set up.
And now, if one should say, \\'hat amongst the many ways of
framing and mounting is the best which will secure for me the com-
mendation of those -n-ho judge ? I should say that your good taste in
framing will be best displayed when your frame itself .is not noticed.
No paradox is this, but sohd truth, and hence one advantage of having
every picture in the room framed with uniformity no one attracts
more than another, and so we shall escape that most irritating remark, as
open-mouthed wonderment says, " What a beautiful frame ? " I well
remember visiting Mr. F. HoUyer's exhibition of photographs at the
Dudley Gallery privately, with some half-dozen confreres, and imme-
diately on entering the room each one of our number exclaimed,
or his'looks expressed it, " What capital framing ! " Then we laughed
that we too should have done what so many have been ridiculed for
doing — admiring the frames before thinking of the pictures. But do
not mistake me, the case was very different ; it was not actually the
frames that awakened remark, but the excellent judgment shown by
the artist in using such material, and of such colour that, although we
could if we thought about it tell what manner of frames were there,
yet throughout a walk round the gallery one was never conscious of
frames at all. The pictures might as well have been let into the walls
of the building, and be«n part and parcel thereof. To my mind that
is ideal pictmre-frauing. »
22
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 13, 1893
Thb Right Frame and Mount to Usr.
Can you remember, for instance, some picture, some photograph,
which pleased you a good deal, but, if asked, you cannot remember
anything of the mounting or frame ? Well, then, be sure that was
ju8t the right frame and mount for that particular picture. How
are you to imitate it it you can't remember what it was like ? My good
sir, no one suggests— or, at least, I do not— that you should imitate
that or anything; what suited that picture may not suit yours ; your
only way is to select such a surrounding for your picture that it shall
be wholly forgotten and kept in subjection when looking at the
picture. Someone challenges me by referring to the ponderous mass
of gilt which usually surrounds the best of paintings. AVell, the way
to avoid attracting attention is sometimes to do the time-honoured
ordinary and usual thing, and so it has become customary to put oil
paintings in heavy gold frames. Perhaps the safest thing is to follow
so widely adopted a custom. Still, we may notice already in some of
the newer picture galleries the conventional gold frame does not rule
supreme, quite a number of blackwood mouldings being introduced ;
moreover, the artist's fine contempt for the frame-makers' craft is
seen inasmuch as somewhat shabby and far from new frames are
employed, but with just that amount of good taste which, without
effort or intention, saves the artist from error in the opposite extreme.
I have hinted that the conventional and ordinary may, when we are in
doubt, be the safest course to adopt. I give this as a point for dis-
cussion ; and further that, all things considered— and I must emphasise
this qualification very strongly— all things considered, and allowing for
some exceptions, the safest and best mounting for our photographs, as
taste and feeling goes at present, is the plain wood, oak or dark colour,
and the cream-toned mount on a white board, as has become very
widely used.
But I fancy already some one is beginning to resent my expending
so much time in talking about so dry a subject as frames and
framing.
Cutting Down Pkints — The Knife and Scissors.
Well, then, if I had had proper time to prepare my subject for you
this evening, I should have brought here to-night a printed photo-
graph cut down to all manner of sizes, and I would have discoursed
on the scissors and knife as a powerful contributary to final artistic
result. As it is, I have brought no examples ; I content myself with
submitting to the suggestion that, as a rule, we are all too much
afraid of using the knife. We are too inclined to be influenced by the
standard commercial sizes ; if 124-10 is the size of our plate, we must
flu every inch of it ; this at least seems to be the prevailing idea. Even
those who are thoroughly acquainted with the often-used arguments
in favour of liberty of size and shape, still, as it were, reluctantly fall
into the groove, and strive more than for anything else to make the
subject flU the entire plate.
There is nothing new in all this; our teachers have been pointing
out the advantages of cutting down our prints so as to improve the
composition for years past, still we may notice the same old faults com-
mitted on all hands, for want of a little strength of mind in putting
in the knife and cutting away some pretty little bit, some favourite
comer, because, although good enough itself, it does not help the
picture as a whole — and it does require no small strength of mind, as
I myself know full well. Am I not conscious of being a grievous
sinner myself in this direction ? It is hard to deliberately cut away
and destroy some, it may be, particularly intetesting object, some-
thing especially well rendered, because it does not help the picture as
a whole ; but its good qualities, technically considered, must be no
reason for saving it. By this I do not, of course, mean that the chief
and central object in a composition is to be cut away, though it
sometimes may happen that the object we had intended as an im-
portant item in the scene does not quite come up to our expectations,
and we can secure a satisfactory picture by reducing the size of the
print very considerably. To give you an example, I not very long
ago spent a day with the camera on the marshes below Old Win-
chelsea. Some of you may know the spot, and will remember how
delightfully the abrupt hill on which Winchelsea is built rises from
a vast green level. Here black-faced Kentish sheep browse by
thousands, and I conceived the idea of getting a group of sheep on
the left of the foreground and including the hills in middle distance.
And so I did, yet, when printed and finished, the thing was far
below my expectations, and I could not for a long time decide what
was amiss. I was so intent upon my picture of sheep that it never
occurred to me that the sheep and the hills had no connexion until,
•with a boldness of which I am not often capable, I cut the thing in
halves ! Now, I found I had, by two strokes of my knife, constructed
a picture in the half which still contained the hills, but ; alas I the
group of sheep, which I had waited hours for, which I had wearied
my attendant in driving and coaxing into position, were abandoned —
the object of all my care and patience is cast into the waste-paper
basket.
When producing the first print from a negative, I usually lay it out
flat, and take four strips of brown paper and lay them so as to tem-
porarily frame my print ; then I shift them in a variety of ways,
each time including within their boundaries a different part of the
print. By this means I ascertain what part of that landscape is best
retained and what best discarded, often with the most heart-breaking
results. How often has a 1-5 x 12 view, made with great care, been
reduced to as small as 6x4? And when I have recalled the real hard
work and fatigue which attended the carrying of large camera and
heavy apparatus, it seems a good deal to have gone through for the
sake of a little print.
Size and Artistic Effect.
Closely akin to this is the notion that size has a good deal to do
with artistic effect — an erroneous idea that a large picture is artis-
tically superior to a small. Possibly some scenes are more suitably
produced on a moderately large scale ; but, as a general rule, I do not
hesitate to say that a quarter-plate may be as completely (nay, often
is) a work of art as your 24 x 18. Now, Mr. Chairman and gentle-
men, if I had prepared for this evening, as I ought to have done, a
should have submitted to you occular proof of this by exhibiting I
print 3 x 4 by the side of one 30 x 40 ; as it is, I must put it to you
that size, that is measurement by inches, contributes nothing of
artistic effect.
The completely successful picture is the one which, whilst giving a
pleasant impression, does not make its size felt. A little picture may
be of such a character that the spectator is not made conscious of its
restricted size ; the selection of subject, and the treatment of it, may
convey a sense of breadth and largeness, which, to my mind, is a most
important characteristic.
Why Adopt a Rectangular Form of Picture ?
Why do we usually adopt for nearly all subjects a rectangular
form for our pictures ? The eye does not form a rectangular figure
when looking at nature, but a vignetted ellipse. It was pro-
bably convenience in the first place which decided the matter, and
then custom grew upon this, so that now we use a rectangular form
because, being conventional, it attracts least attention, and the spec-
tator is unconscious of the boundaries. The arrangement or composi-
tion of every picture should be such that its boundaries should not be
felt to be restricting, and there should be such interest within the
conflning lines that trie eye feels no desire to wander, and the mind
no wish to inquire of what else the world was composed, or what
came next in the landscape panorama. I might suggest such arrange-
ments of lines, such combinations or such dispositions of central
objects, and so forth, which I have myself found to assist in this
direction, but beyond this neither I nor any one else can tell you how
to make your small picture overcome its impression of littleness. It
is a thing to be found of experience and observation, and to be attained
as others have attained it — on the steep ladder of many failures.
A Definition of Artistic Effect.
I should not have to look very far back to find the time when it
would have been necessary for me to preface such remarks as I had
intended making, and have already been stumbling over, with a
definition of what I meant by artistic effects : but I am seriously glad
to believe that in some sense we have got beyond that necessity, and
that, in a general manner at least, most of my patient audience have
some idea as to what an artistic picture should be, namely, not an
imitation of nature, or a copy of nature, but rather an interpretation,
that is, a general and broad representation of the impression made
upon the artist's mind by the scene, and containing an e.ipression of the
sentiment or idea xohich it aviakined.
Before exhausting the list of factors which might be considered in
the light of contributories to artistic effect, we should have to dis-
cuss : Figures supplementary to a landscape scene, also cattle and
the like; and we might note how and when they contributed or
detracted from the well-being of the picture; also clouds and the
employment of a second negative ; colour, whether of the image pro-
duced or of the paper used, which may make or mar our work ;
position of Ught and the amount of it, also the relative tone of various
parts ; and we should hardly escape discussing the question of focus
and amount of detail permissible, and you know if we started that
topic to-morrow's sunrise would find us still at it, and this room
bearing close resemblance to a battlefield or the sequel of an Irisli
wake.
"An Evil Reputation."
Has any gentleman here, I wonder, ever had an evil reputation
foisted upon him which he does not deserve ? Has any one who,
being a man of very temperate habits, found suddenly that his neigh -
January 13, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
23
bours have quietly ftffreed amongst themselves that he is much
addicted to wliifky drinking, and that when he goes out of an
evening, professedly to a meeting of the IlnckniAr Photographic
Society, his best friends spread the report that the Hackney Photo-
graphic Society only means a wild bacchanalian revel, or a disguise
for entering on a housebreaking expedition ? If so, he -will be able
to sympathise with ine, for somehow my photographic friends have
decided amongst themselves that I believe in nothing but photographs
put confusedly out of focus, printed on exceedingly rough papers
and in a reddish-brown colour fallaciously called sepia.
A. HOKSLBT HiNTON.
AN APPARATUS FOR THE DEVELOPMENT OF PHOTO-
GRAPIUC PLATES WITHOUT THE USE OF A DARK
ROOM.
1^ Joamal of the Society of Chemical Industry.]
Thb apparatus which I bring before you to-night was in use for two
months before I learned that a " portable developing box," similar to
it in many respects, had been described by Dr. T. W. Harvey in the
International Annual of Anthony's Bulletin for 1888. But as the
apparatus about to be described differs from it in principle, and is
based on the photo-chemical investigations of Messrs. Hurter &
Driffield, I have thought that this communication might be of interest
to the Society.
In the paper which we had the pleasure of listening to last session
(this Journal, IX., 4.55-460), Messrs. Hurter & Driifield have shown
that of all the conditions involved in the production of a " perfect
negative," those relating to the exposure are by far the most im-
portant, and if the exposure factors are so adjusted as to give the
" correct exposure," the development is of secondary importance, as
the density gi-adations of the negative are entirely due to the action
of the light.
It therefore occurred to me that, with a correctly exposed plate,
development might be carried on quite mechanically, as the required
density can be regulated by the length of time of development.
On trying the experiment of allowing plates which had been exposed
by the aid of Hurter & Driffield's actinograph to remain in the ferrous
oxalate developer for different lengths of time, it was found that,
with the same quality of plate, satisfactory negatives could be ob-
tiuned in ten minutes with a strong solution, and in fifteen minutes
when the solution was diluted with an equal volume of water.
AVhen the time required to obtain a suitable printing density had
been ascertained for a particular plate, it was found that there was
nothing gained by watching the progress of the development, and
consequently the dark room might be dispensed with if means could
be found to keep the plate in the dark during development, and in its
transference from the dark slide to the developing vessel.
In order to attain this object I have devised the apparatus which I
have named a dark developing bath.
It consists of a metallic case, A (fig. 1), only slightly larger than
the plate for which it is intended, which can be closed light-tight by
means of the lid B. It is furnished with two tubes, one, C, entering
at the bottom of the bath, which can be connected by a piece of india-
rubber tubing, E, to the funnel D; the other is near the top, just
above the level of the plate P. The former serves to introduce the
developer into the bath, and the latter, F, allows the air to escape and
also acts as an overflow.
The funnel, D, and the indiarubber tube, E, are supported by means
of the hooks K K, which fit into the eye L. The tubes are so bent
that no light can enter the bath. An end view of the bath is shown
in fig. 2, in which a movable hook, I, fitting into the socket, J, serves
to fix the bath to any convenient support.
A section, Fi^. 3, shows the plate P, the film side of which is kept
from contact with the side of the bath by means of the metalUc
strips H.
When the bath is intended for the development of films or paper
prints, it is furnished with a carrier (fig. 4) into which the fihn or
paper is inserted before being put into the bath, and when required
for the development of several plates at one time, it is constructed
with grooves as in an ordinary plate box.
The bath is used as follows : — The dark slide containing the exposed
plate and the bath are placed in a changing bag, into which it is
only necessary to insert the hands. The plate is then transferred
from the slide to the bath, care being taken to keep the film side
towards the back of the bath.
After being closed, the bath is withdrawn from the bag into day-
light, and fixed vertically to any convenient support by means of the
1---1. j^ vessel is placed under the overflow tube, and the inlet tube
hook.
is attached to the funnel, which after being filled with the developing
solution, is raised and lowered several times, to alternately fill and
empty the bath, and so ensure the removal of air-bells from the
surface of the plate. After standing sufficient time to complete the
development, the solution is run off from the bath. The plate_i»
/Oc ^
-^4 -3
washed by running water through the bath (either by means of the
funnel or by attaching the India rubber tube direct to a water tap),
after which it is taken out, in daylight, and "fixed" in a covered
tray.
If it be desired to " fits " entirely in the dark, the operation may be
conducted in the same bath or in a similar one to which the plate has
been transferred in the changing bag.
The final washing of plate may be done either in the bath or in the
usual way.
The best developer for use with the dark bath is ferrous oxalate, on
account of its property of not producing " fog," even when a plate
has been left in it for an hour (Hurter & Driffield, loc. cit. p. 459).
It should be made just before use from the following solutions pre-
pared according to Thomas's formulse : —
No. L
Potassium oxalate 300 grammes.
Potassium bromide 2'2 „
Water to make 1000 cc.
No. 2.
Ferrous sulphate 400 grammes.
Sulphuric acid 3 cc.
Water to make 1000 „
To four parts of No. 1 add one part No. 2, and water to make
eight parts.
When the developer is used at once with Thomas's " Extra Rapid "
plates, from twelve to fifteen minutes in the bath at about 15° C. is-
sufficient to give a satbfactory negative, if the exposure has been
correct.
The time required to obtain a suitable density is found by placing
the exposed plate in the bath and adding the amount of developer
required to till the bath, in four equal portions at intervals of five
minutes. Four densities are thus obtamed by developing for five,
ten, fifteen, and twenty minutes respectively, from which observa-
tions the time that gives the desired density is selected.
A very small bath to contain four plates (a quarter plate cut into
four) is useful for the development of test plates exposed in the
camera on a landscape in order to ascertain the speed of the plate, as
recommended by Mr, V. C. Driffield {Photographic Soc. Reporter,
April 1889).
A developing bath constructed as above, besides enabling plates to
be developed without a dark room, has some other advantages over
the ordinary developing tray. The bath being used vertically pre-
sents a very small surface of liquid to the air, thereby preventing the
rapid oxidation of the develpper. As the solution is introduced at
the bottom, imder pressure, it flows up evenly over the plate, carry-
ing the air before it and so prevents air-bells. The plate is com-
5.4
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 13, 1893
iletely iminersed in the S'olution during development. The bath
ieing quite lightrtight, there is no risk of " fog " from access of light
to the plate, an^ it is therefore especUUy suitable for the development
ef isochromatic and other very sensitive plates. The tubes attached
enable the solution to be readily run off and replaced by one of
altered composition, and also allow of a continuous flow of developer
through it.
As this apparatus has been designed for the development of
correctly exposed plates, any plates developed in it which are either
over or under-exposed will be more or less defective. If, however,
the exposure has been nearly correct, a passable negative will be
obtained, but if it has been wide!;/ different from the correct one, as
no provision is made for remedying the defect, the negative will be a
failure, but if such a result should lead to more attention being paid
to the exposure it will not be altogether to be regretted.
Alexandbk Watt.
"BREADTH."
Mb. Tulloch's letter has started a subject which will bear much
jeflection, and I wonder if nineteen out of every twenty photographers
ever think about this artistic quality in the production of their prints,
or how many understand what it means, and yet it is the one chief
olijection which painter artists raise against photography, that photo-
graphs are so deficient in " breadth."
Thousands of amateurs have taken up, and will take up, photo-
graphy as a pastime who have never had any training in drawing
sr painting in oil or water colours, and therefore have had no chance
of becoming acquainted with terms used in art and their meanings,
and it naturally follows that they cannot apply these principles to
their work in the form of study of composition, light and shade, and
breadth of treatment, and it is mainly here that others who have
enjoyed such opportunities, and have been draughtsmen or painters
lefore they took up photography, step into the front ranks, and show
superiority in their photographic work, and the best thing those who
desire to excel can do is to take a term of training in any of the
Bumerous schools of art now existent in every town of any size, and
«o qualify themselves to see in nature teith educated eyes things they
BOW look at with a pleasing, but at the same time artistically
sneducated, effect.
If I were asked to define in as few words as possible the meaning
i>f " breadth " in a picture or photograph, I should be disposed to say
that it is the absence of spottiness, or the reverse of the effect of
spottiness, and that abundance or minuteness of detail in the picture
or print has nothing whatever to do with it either one way or
another, provided that detail (though microscopically sharp) is kept
in subordination to the general tone of the parts of the picture or print
where it ej:ists.
"Breadth" is a quality of great convenience to the painter; it
enables him to ignore the wealth of detail which would cost him
infinite time and labour to produce with brush or pencil, and which,
if produced, would distract the interest of the spectator and attract
attention, to the detriment of the principal " motive "' of the picture.
Therefore he subordinates detail, or, if painted in, he "glazes" it over
and tones it down with some transparent pigment which, whilst it
prevents undue attraction to the eye, permits it still to be found by
»ny one who seeks for k.
Breadth is so essentially an artistically created quality that it is not
frequently seen in nature, except under special conditions of light and
shade. This is sufficiently evidenced by photography itself, from the
fact that so few photographs possess it. If any one desires to study
the effect of '• breadth " in natural landscape, they must be on the
watch for it soon after sunrise on summer mornings, or in the late
afternoon and evening, when the sun is at a comparatively low altitude,
and how few photographers ever attempt to get their negatives taken
at such times. AVait till the sun reaches an altitude of sixty-five or
seventy degrees, and it becomes very difficult to find " broad'" effects
si Kghting, because every object becomes so generally illuminated
that "spottiness " in the lighting is universal, and it is only by selec-
l«Mi of larger masses of shadowed subject that " breadth " can be
»btsdBed.
_ A«ain, aft«r a shower of rain, when every atom of foliage sparkles
HI. the light with wet reflecting surfaces, the quality of breadth is
absolutely impossible to secure, and such a subject may be taken to
axpress a quality the very opposite of "breadth." The moral is,
Don t take any negatives under such disadvantageous circumstances,
Bowever beautiful the view may appear to your senses ; the result in
the photograph must be general spottiness, distraction to the sight,
md vexation to the perception of artistic friends.
How, then, U " breadth " to be secured in our photographs ? In
two ways — partly photographic and partly artistic. First, by careful
study of the time of day, early or late, when the subject is broadly
Ut, and taking negatives at such times. Second, by imitating the
work of the artist and toning down in the finished print such obtrusive
spotty lights as tend to destroy the breadth of the picture, and which
have been found impossible to avoid in the natural view.
The followers of the fuzzy definition school had the attainment of
this quality of breadth very strongly in view in adopting the " out-of-
sharp-focus " principle, but it appears to me that it is a mistake to
suppose that it can be attained by that means. The broken effect of
spotty lights amongst broad shadows is just as apparent, though not
so strongly accentuated, when they are thrown out of focus, and the
distracting effect is the same, and, therefore, nothing is gained by
diffusion of focus ; but if these disturbing lights, which idll come
where they are not wanted, can be toned down so as not to be
obtrusive, the effect of breadth can be secured icitfumt the sacrifice of
good definition, which has such a charm in photographs when well
managed, and which artists enjoy as much as any one else when kept
down in proper subordination to the general tone and lighting of the
picture.
Another method of securing breadth to a large extent is by giving
full exposures. We all know that the consequence of under-exposure
is great contrast of light and shade, and the more the negative is
forced to bring up latent detail in shadows the more accentuated
becomes the contrast and the spottiness. The reverse is the case with
over-exposure, as the proper balance of contrasts is overdone, and
general flatness is the result, which constitutes an exaggerated and
spurious kind of breadth. Those who delight in so-called " brilliant "
and " sparkUng " negatives, and aim at sufficiently short exposures to
secure them, often err by obtaining negatives deficient in the quality
of breadth by reason of this very " sparkle " and " brilliance," and it
is just the critical point in Correct exposure to obtain the true effect
of breadth without either spottiness on one side or flatness on the
other, and it is only to be got by sufficiently fall ex^oeaxe and restraint
in development. This will secure it photographically, but, allowing
for accidents in timing the exposure, or iinpossibilities in obtaining
perfect natural lighting, it is as legitimate to adopt the artist's
method, and to tone down objectionable lights in the print, as it is
for him to " glaze " or " scumble " his effects on his canvas, and, as a
final resort, is often the only way to obtain the desired effect of
breadth. " Lux."
THE PINHOLE SOCIETY'S OUTING.
It was resolved that the members of the Pinhole Society should have an
outing. Fine weather brightened the heart of the amateur, and he in
return spent many evenings in brightening his beautiful set. Then came
the difficulty, what part of England should be favoured by the Pinholes
on this particular day ? Sixty members each selected, and hard indeed
was the task to get the remaining fifty-nine to go in nnison. All expressed
their objections, and the chairman found it a very lively meeting. Some
had taste for water pieces, others wanted landscapes, a few preferred
figures, while one had a strong taste for trees, and a good house of re-
freshment near. Finally came a mutual settlement, every member
promising to be at the appointed spot, and to bring a friend if possible.
When the morning arrived, the full muster numbered four. The re-
mainder of the society had, in the meanwhile, decided if the others
would not, they would go to the spot of their own choice. So they
went.
The four turning up together were bent upon the real thing — a jolly
day first, and pictures second. Away steamed this little party, all loaded
with oddities connected with, but never separated from, the art of their
heart.
When a party of camera men meet on a rail car, all charged with hopes
and strong tobacco, what talk ! The usual lady andgentlemen passengers
sit by and wonder, and again wonder, at the strange language they hear
flow so fluently from the lips of the.se camera men. The gentle sex are
said to talk, but are not in the running with a merry party of photo-
graphers. Processes and developers containing the whole letters of the
alphabet are rattled off with the greatest speed. A good photographic
gossip is far more gratifying than an outsider can imagine. It comes to
all who ride this hobby horse. And so the four men of the camera sped
on. Each knew the best developer and worst make of plate, and all four
disagreed thoroughly and candidly over each. One's success proved
another's failure, and so trouble came and trouble went. More talk,
more smoking ! Grand old meerohaum ! strong old briar ! all burning
and roaring at full blast. The male and female passengers slowly but
surely become saturated with long words and tobacco smoke. They
wonder, as the train dashes on, where and what are the stations. To
see is iiupossible, and with clatter of triin and language of a country
porter without and confusion of tongues within, they begin to feel uneasy.
They shrink from asking a question of the camera men, as to do so would
break their run of words, for they now think photography a sacred science.
January 13, 189:tl
THR BRITISH JODRNAL OF PH0T03R.\PIIY.
25
and photographers strangely wonderful men, wlule muoh regretting they
had allowed themselves to remain so long in the same coinpartnient.
At last came a pause, the four men knock their pipes on the edges of their
shoe-leather, put them away to the pocket nearest the heart, and, with
camera-case on the tripod slung over the shoulder, each makes a long
down step, and all four, witli packs and hags, are safely landed at their
destination. The two passengers also get out, and push hy with a rapid
farewell glance. After a short halt, oh they go, until the leader gives the
word, " Halt ! present arms, and blaze away 1 " Then, in quick time,
comes the sight of tools in their multiplicity. Here you have demon-
strative proof how some carry the fullest detail in all the likely and
unlikely requirements of his art. One has a range of lenses from decimal
focal length nothing, to that eight times the boundary length of his plate,
with which he says he can "bring down" an object as near as his eye-
lash, or as far off as the moon. Everything he caries opens one into
another, with the ingenuity worthy a Chinaman. He even wears a wonder-
ful suit — all secret drawers and pockets. Touch a button, when out comes
a dark slide. Pull a string, when out hops a pretty little magnifying glass.
From a fob comes the neatest finder possible ; also quite a portable jhoto-
graphic store. If you are in doubt as to the light he, in a jiffy, hands
you the very latest actinometer, supplemented with a thick volume
of closely printed instructions. The standard tables of exposures, position,
and light are also there to the least degree, with such information—
" failures " cannot be thought of, least of all explained. Another of the
four has a rough-looking lot indeed ; he feels some reluctance to open up
beside his elaborately equipped comrades, so, under the shadow of a big
tree, he raises gently and quickly his cheap set to its stand, which is, in
itself, a noble piece of English oak, heavy enough to resist the quarter
or 1 5 X 12 camera, which retains a power, like Sandow, for more weight.
The best-looking thing he carries is the black velvet focussing cloth, and
soon it acts the part of pall to his seedy camera box. How, all day, he
so cleverly and, in a way, seemingly unintentionally arranges this cloth
to always remain without exposing liis lot, is worthy one's admiration.
His slides are stronger than highly polished mahogany ; they require no
brass bindings, being in themselves sheet iron. His exposures are made
by his own judgment — without reference. He takes everything cool and
easy, and seemed thoroughly confident of the results. And so both the
men, with their chums, worked away the day. all getting home well
pleased, and feeling better for the outing, and ready for a good, enjoyable
nighfs rest, as payment lor a day's toil. On the following fortnight, once
more the " Pinholes " met ; all mustered in fair numbers, anxious to
see the results. The four chums sat together. The owner of the
exquisite lot seems to have downcast features. They compared results
— without doubt he owns the worst work. How to account for it he
does not know. Possibly, in the excitement, he mistook /-8 for /-32,
and fogged all by over-exposure. His ideas had become confused by too
many items of detail in his bound book. He got a bit mixed, while the
man with the cast-iron slides had little incumbrance, and turned out the
most successful pictures. It was therefore further resolved, before the
close of the meeting, that the said four should once again take another
outing, and carry as few articles of apparatus as possible, and, for certain,
leave behind the bound volume of tables. Tom Coan.
DERBY PHOTOGBAPHIC SOCIETY'S EXHIBITION.
This Exhibition was held on January i. A local critic writes : — " The
pictures hung numbered .H67, and included some of the finest amateur
works which have ever been brought together in this or any other town.
The specimens included a set of grand platinotypes by Mr. A. H. Bennett,
which won the silver medal presented by Mr. W. Bemrose, J. P., as well
as the series by Mr. F. E. Bemrose, which gained the bronze medal
given by Dr. Kooney. Mr. J. Eiches' collection gained the certificate
given by the Society and were also capital pictures well deserving the
award. We might mention that the merits of tl-e exhibits were decided
some time ago, the judge being Capt. Abney, the President of the Society.
Mr. Councillor W. W. Winter exhibited a number of large photographs,
which were very much admired, especially Ca'^^'ii ani Maiirjie. Mr. E.
Keene had on view some excellent architectural studies, whilst leaving
the professional pictures and coming to the amateur views Mr. E. C.
Green's large collection were very deserving of notice. They were princi-
pally land and sea-scapes and were highly finished works of an enchanting
art. Mr. .1. Scotton's locomotives (silver print process) were highly
meritorious, as all this gentleman's works are, whilst Mr. T. Scotton's
views of interiors of Midland Eailway buildings, were admirable. Mr. J.
Fhnt's On the Trent, as well as his photograph of the fountain in Derby
Arboretum, were striking pictures, taken with car.\ and Mr. J. Eastwood's
frame of eight included a magnificent portrayal of the interior of Lich-
field Cathedral. Mr. F. G. Thurgood had some capital views hung, all
well-known local scenes, and Mr. T. Scotton's picture, .-I Ileary Lihid,
was another work which could not be passed without notice. The same
gentleman had A view near liarut Green, which demanded attention.
Next came some really excellent fruit by Mr. S. C. Ililey, with some high-
class amateur work, by Mr. A. B. Hamilton, in the platkiotype ' A' pro-
cess. One of these, which had been enlarged by Mr. Keene, is a portrait
of Lieut-General Sir John Stokes, K.C.B. The same exhibitor has an
amusing series of small works entitled Where are ijnii going to, my pretty
Maid I Another fine picture is Honjleur. Viewi of Derbyshire are shown
by Mr. C. H. Rourdin, and are very interesting indeed, both scenery,
style, and effect being all that could be desired. The pictures which
won the medals are specimens which speak for themselves, but Mr.
Bennett's are undoubtedly the best. Mr. Riches' comes very near the
winners, and his efforts well deserve the reward they obtained. All the
other works are quite up to the average, and we must not omit to men-
tion those of Mr. G. Walker and Mr. J. Fleet. On Wednesday evening
the medals were awarded by his Worsliip the Mayor (Mr. Councillor
W. H. Marsden), in the presence of a large number of ladies and gentle-
men, including Messrs. R. Keene, T. Scotton (Hon. Sec. to the Society),
J. Scotton, A. B. Hamilton, W. Wilkinson," Ac.
WEST LONDON PHOTOGRAPHIC SOCIETY'S EXHIBITION.
It is a pleasure to visit such an Exhibition as that of the West London
Society, which was held at the School of Art, Bedford Park, Chiswick,
on Tuesday and Wednesday last, as, from former experience, one may
with tolerable certainty rely upon seeing a collection of high-class photo-
graphs ably hung, and with the other details of an exhibition gratifyingly
well managed. No small share of the undoubted success of this year's
Exhibition may easily be traced to the efforts of the President (Mr. John A.
Hodges), who, besides being a cultivated photographer, is also a working
President (and therefore commendable to other [Photographic Society
Presidents for imitation), taking an active part in the work of the Ex-
hibition, and also contributing several of his own pictures thereto.
About 180 frames of photographs were hung, the high average of merit
displayed making it a trifle difficult for the critic to select individual
works for praise, while happily there was little if any room for adverse
comments, unless, maybe, the now inevitable opportunity at photo-
graphic exhibitions for airing a preference for one of the two methods
of focal treatment in vogue be taken advantage of.
A capital exhibit was that of Mr, James J. Adam, his winter effects
being so realistic as almost to cast one into a chill. For one of them,
A Frozen Sii-amp, he was awarded the President's silver medal. A bronze
medal went to Mr. L. C. Bennett for 7/1 tlie Fool, a study of craft below
bridge, and the same gentleman showed studies of The Cnnch Digger, and
The Cress Gatherer (a man gathering cress in an ordinary piece of land-
scape, very cleverly treated to make quite an artistic picture). In Re-
joining their Ship a boat laden with two or three figures is seen making
for a distant vessel, but, to complete, or rather to tell, the intended story,
Mr. Bennett might have made an attempt to show us the faces of the
sailors, and could well have afforded to have been a trifle less fuzzy. Mr.
W. A. Brown showed an excellent rendering of The Brook, a water-cum-
tree bit which the late Lord Tennyson might conceivably have had in his
mind when writing the poem. An untouched, out-of-door Portrait of a
Lady, by Miss Brigg, showed soft lighting, and ease of pose, and in On
the Basingstoke Canal Mr. W. L. Colls was represented by a tender and
harmonious view. Mr. S. T. Chang merits our congratulations for his
continued improvement, his Holland House interiors. Cottage near Witley
and Church near Godalming, showing care in the treatment.
The President (Mr. Hodges) received a bronze medal for Drear
December, a large study of a bit of desolate landscape with trees, which,
to our thinking, would have been more effective had a cold instead of a
slight sepia tone been employed. Anyhow, the same gentleman's Welsh
series. Shallow fVaters, In Conway Vale, and the other pictures of his
which we have noticed before, are, to our thinking, as good as anything
he has ever shown, and much superior in handling and effect to the
picture here medalled.
Mr. George Lamley, a painstaking artist, showed several, including
A Sluggisli Birer (a charming study previously noticed), and received a
bronze medal for a study of trees and loneliness — Solitude. Mr. W. S.
Rogers' small picture of craft. Coaling — Tyneside, and his roadside view.
The King's Highway, were full of delicate detail, and deserve high praise,
as did Sir. H. R. Bainger's small study of Richmond Bridge. Mr.
Rogers' delicacy of treatment pleased us very much. He received a
bronze medal for The Year is Dead, a bleak view of leafless trees. By
the way, a distinct vein of pensive melancholy ran through the Exhibi-
tion, in which there were any number of frost studies, twilights, deserted
mills, departing days, winters, et hoc.
Mr. A. W. Soanlan, with The Return of the Herring Fleet, a large,
breezy study of sea and craft, having a pleasant, warm tone, and an
admirable view. Haymaking, Messrs. H. and L. Selby, and Mr. T.
Tripplin (vigorously rendered, if rather heavy- shadowed, Norwegian
views), all showed good work. Mr. C. E. Whiting's bustling, boldly-
handled views of Seddon Harbour, Plymouth, were very fine in technique,
but possibly would have looked better in a less bilious tone. Mr. Charles
Winter deservedly gained a medal for a capital outdoor untouched por-
26
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 13, 1893
trait of M'l Mother, and showed several winter views of great merit. We
liked a little view of Sprhifi by Mr. George Way, a sharp, crisp study, as
spring effects should be. Two interior views of Hampstead Parish Church,
by Mr. A. A. Boucher, were, perhaps, the best interior work shown, and
one of them gained a medal. _
As we have already said, we have nothing but praise for the Exhibition
as a whole, which may in some degree account for the fact that we have
been able to find so few faults with individual pictures. A happy feature
of the display was the inclusion among the exhibits of a collection of
photographs medalled at previous exhibitions of the Society. The Judges
were Messrs. A. Horsley Hinton and J. C. DoUman, B.I., from whose
report we cannot help making the following extract, which may be of
interest at the present juncture :— " The Judges wish it to be distinctly
understood that they do not consider the entries in the Outing Class are
any of them deserving the distinction of a medal, but, as they are asked
to award a silver medal, they consider Near Weyhrklge, by Mr. L. Selby,
the best of the class. They would like to add that they only award this
medal feeling themselves bound by the printed conditions, which leave
them no option but to award a medal to work which they consider de-
serving or otherwise."
♦ —
©ur IBtiitorial JTatle.
Handbook of Rbgulations and Genkbal Infobmation
segabdino the chicago exhibition.
Thik handbook contains an important mass of well-arranged informa-
tion relating to the World's Fair, and certainly ought to be in the
hands of every one who feels at all interested in it. Among the
drawings are a bird's-eye view of the Exhibition, and a view of the
principal buildings devoted to special departments. The tables showing
the M'KLnley Tariff rates are significant, as showing the heavy duties
to which articles imported into the United States are subject. This
handbook is issued from the offices of the Royal Commission, Society
of Arts, John-street, Adelphi, London, and all communications must
be addressed to the Secretary.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 23,315. — " Improvements in or reLiting to Packs or Series of Sheets with
Notched Riges, more particularly applicable to Packs of the Flexible Sensi-
tised Films in Photographic Usage." Complete specification. J. T. Clark. —
Dated December 19, 1892.
No. 23,378. — "Improvements in or connected with Doublet Lenses for Photo-
graphic Purposes." C. P. Goebz and E. von B.osoa.~ Dated December 19,
1862.
No. 23,434. — "Improved Photographic Dark Slides." S. H. Bbittain and
E. J. Brittaiu. —Z»a<ed December 20, 1892.
No.|23,487.— " Improvements in or relating to Photographic Cameras." Com-
municated by A. C. Kemper. Complete specification. A. J. BouLT. — Dated
Decemfier -20, 1892.
No. 23,630. — "An Improved Frame for Miniature Photographs, Views, or
other Analogous Articles to be used as an Article of Jewellerj'." J. Stevex-
SOV.— Dated December 21, 1892.
No. 23,577. — "The Manufacture and Production of a New Material for use in
Obtaining O.^ygen from Atmospheric Air." H. Wetmersch.— /^a^etJ Decanber
21, 1822.
No. 23,592.— "J.\n Improved Port.able Photographic Developing Sink." B.
Humphreys.— Z»a(«(i Decanber 21, 1892.
No. 23,681.— "An Improved Stand or Rack for Displaying Cards, Photo-
graphs, and other Articles." H. C. Bau,.— Dated December 23, 1892.
No. 23,716.— " Means or Apparatus whereby Photograpliers can Retouch their
Negatives or Prints with the aid of Artificial Light." E. T. Powell —Dated
December 23, 1892.
No. 23,756.—" Improvements m Optical Lanterns." S. W. Allev —Dated
December 23, 1892.
No. 23,772.— "An Apparatus or Means of Illimimating Objects for Photo-
graphic Purposes." H. Sexieb.— i»afed December 24, 1892.
No. 23,797.— "Improvements in or Relating to Mhrors, Screens, Reflectors
and the like, also Applicable to Photographic Cameras." J. Challi.nor and
F. TiDLETi.— Dated December 24, 1892.
No. 23,837.—" An Improved Connexion or Coupling for use in conjunction
with CyUnders, Flasks, and Vessels containing Gases, and Fluids under Higli
Pressure." The Ma>-chest«r Oxvc.bn (Bris's Patent) CoMr.\xy, Ltd., and
W. M. J Acnsos.— Dated December 20, 1892.
No. 23,856 -"An Improved Metliod of Attachinethe Legs of Camera Stands
to the Tops.' W. 0. Twiedv.- iia/cd Dcceinber 27, 1892°
No 23,926.— "Improvements in Panoramic Cameras." R. W. Stewart —
Dated December 2^, i9li% . »*«."aki.
No. 23,942.—" Magnesium Arc Light for Photography." G. W. MORGAN.—
Dated December 28, 1892.
No. 23,944. — " Improvements in Photographic Cameras." A. C. Smith and A.
A. Smith.— Oaterf December 28, 1892.
No. 23,987.—" An Adjustable Clip or Grip for Holding Photogr.iphs. A Vig-
netting Chair and a Stand or Support for a Screen or Background Frame used
in and for Photographic Purposes." H. L. Uorkl.— Dated December 29,
1892.
No. 24,106.— "Improvements in Photographic Apparatus." S.D. Williams.
—Dated December 31, 1892.
No. 6.— "Improvements in Lanterns and Other Means for Illuminating
Photographic Dark Rooms. G. V. Fosbery.— Z)a/«rf January 2, 1893.
No. 202.—" Improvements in Portable or Hand Photographic Appar.itus or
Cameras. " Communicated by J. B. Brunei and A. Reynier. W. P. Thomp-
son.— Dated January 4, 1893.
No. 312.— " Improvements in or Relating to Photographic Cameras." H
B. Sharp and H. C. Hitchmouoh.— Oa^sd January 6, 1893.
SPECIFICATIONS PUBLISHED.
1892.
No. 1635.—" Magic Lantern Slide Carrier." Contbkari.
No. 2852.—" Photographic Cameras." HuQHls.
No. 2879.—" Photographic Cameras." Cricks * Taylor.
No. 3226.—" Lock for Folding Camera Tripod Stands." BiRNlE.
No. 4498.—" Developing Photographic Images." Hauff.
No. 18,836.—" Burners for Lime Light." Anderson & Wrench.
No. 18,919.—" Lenses for Telescopes," &c. GcxN.
PATENTS COMPLETED.
An I.MPROVEMENT IN CARRIERS USED FOR HOLDINQ SLIDES IN MaOIC
Lanterns.
No. 1635. Henry Grant Madan Conybeare, The Hut, Ingatestone, Essex
December 3, 1892.
My invention relates to improvements in lantern-slide carriers, such as those
used for holding slides in optical or magic lantenis, .ind has for its object the
provision of means whereby the lantern slides may be ejected from the carrier,
automatically by, and simultaneously with, the movement of slide within its
frame, in its operation from side to side, thus greatly facilitating the manipu-
lation of the said slides when changing, and obviating the necessity of handling
the .slides so that the fingers come in contact with the faces of the slide, and
thus soil them.
My invention is essentially an improvement of tlie invention described in
Letters Patent No. 20,972, and d.ited December 23, 1890, and consists in the
application to such a sliding carrier of means for the automatic operation of
the ejecting lever by tlie sliding movement of the carrier.
In carrying out my invention I provide a carrier, into which the lantern
slides ara inserted through openings at the toi) of the frames. This slide-
carrier is adapted to slide in .i suitable frame. I pivot a lifting lever on each
side to serve the two slide .spaces. The back end of each lever is operated by a
pusher-rod.
The under side of the top part of the frame is recessed along its centre
portion, such recess terminating at each end by an inclined plane, agains
which the end of the pusher-rods can engage. The recess is made deep enough
to allow the pu.sher-rod3 to move high enough for the end of the lever to occupy
the lowest position when the lantern slide is resting in proper position in the
frame for projection.
When, now, the slide-carrier is moved tow.ird one end of the frame, so that
one of the openings in the carrier, with its slide, corresponds with the opening
in the frame, the inclined plane at one end of the recess in the upper part of
the frame engages the end of the pusher-rod, depresses the shorter end, raises
the longer end of the lever, and lifts the slide into such a position as to allow
of being taken liold of by the hand for removal from the carrier, upon which a
new slide can be inserted. The carrier can then be slid along so as to register
the new slide in position, and the slide previously being shown is ejected
partially from its position at the other end of the slide-carrier.
A suitable recess may be formed in the lower portion of the frame to allow
room for the movement of the levers if thought desirable.
What is claimed is : — 1. In a lantem-slide carrier, a sliding frame having
levers pivoted thereon in combination with means for the operation of the said
levers during, and by the sliding movement of, the slide- carrier. 2 In such a
l.antern-slide carrier, a pivoted lifting lever in combination with an inclined
jilane, upon the frame in which the slide-carrier moves, and adapted to engage
with the said lever to effect the lifting of the lantern slide, substanti.ally as
described,
ImPBOVEMENTS in OB RELATING TO PHOTOGRAPHIC CAMERAS.
No. 2852. Griffith David Hughes, Cheadle Hulme, Chester.
December 3, 1892.
This invention relates to apparatus I have designed for photographic cameras
for holding a number of prepared plates to receive the negatives, one of whicli
will be presented at a time to receive the picture.
It consists essentially in the combination with the apparatus of a rotating
holder or carrier, comprising a number of sheaths, or receptacles, or slides, in
which the photograph, prepared plate, or other object can be placed, a spring
barrel or other motor by which tliese are rotated, and a catch or clip, which
will release one of the sheaths oi receptacles at a time whilst retaining or pre-
venting a forward movement of the others.
In carrying out the invention in a suitable position, in the casing which
surrounds or contains the apparatus I aifix a spring barrel, or other rotating
Jftouary IS, 1803]
THE BRITISH JOURNAL OF rilOTOGRAPIlY.
27
tnechtnism, capable, when set, of a continuous movement for several revo-
lutionc Affixed to, or carrie<l by this barrel, radiating from its centre, are a
niiinber of sheaths, slides, or receptacles to receive cards, plates, or other flat
objects, which can l>e rotated round tlie centre of the drum.
The sheaths, slides, or receptacles which carry the object are preferably
loose on the spring barrel, and free to move about the barrel centre inde-
pendently of any movement of the sjirine barrel. In addition to these, the
barrel carries a projecting finger or catch, which conies in contact with, or
engages with, the receptacles or objects, and carries them round.
A sprini! catch or other clip is nllixed to the frame to retjvin the object or
j.late at the desired position to yield the image or receive the impression, and
which, when moved, will release one at a time, which then drops forwar<l of its
own gravity. A catch, in the form of an escapement or other similar device,
may be employed for the purpose.
The sheaths" or receptacles tor the plates may rotate in a cylindrical chamber,
with a packing of velvet or other light-tight material between the tops ^nd
sides, and an opaque back of blackened wood or other material may be
apjilied to each sheath or receptacle to jirevent the passage of light through
from one plate to another, or to prevent light reaching a plate after it has
been exposed.
Tlie patentee claims : 1. A rotating carrier or holder for a number of sensi-
tised plates for a photographic camera, comprised of a number of sheaths
loosely pivoted to the periphery of a rotating barrel, and held in position, when
not exposed, by a catch, and from which, as the barrel is rotated, they are
released or displaced singly, and move forward in succession at each move-
ment, exjiosing a fresh plate, and withdrawing the previously exposed plate
from the held of light substanti.ally as described. 2. The combination with a
photographic njijiaratus of a holder or carrier for a number of prepared plates
or other sensitised objects comprised of a number of sheaths, in which the
plates are placed pivoted loo.sely by a wire or rod attached to each on a rotating
or movable support, so as to have an independent movement, and provided
with a catch, by which they are held in position, and from which they are
released by the niovementof the holder, dropping forward in succession of tlieir
own gravity from a horizontal to a vertical plane (or vice versA, as arranged),
substantially as describe<l and shown.
A Process kor Developing PHOioaKAPHic Images.
No. 4498. Julius Hauff, Feuerbach, near Stuttgart, Germany.
December 'i, 1892.
Ix the course of ray experiments on substances which may be utilised for the
development of photographic images I have made the discovery that the o-p-
diamido-phenol surpasses by far all other substances capable of developing
photographs. Whereas, with the developing organic substances hitherto used,
it was iilways necessarj- to add thereto caustic or carbonated alkalies in order
to effect the thorough reductions of the halogen silver which had been exposed
to the light, the diamidophenol develops without carbonated or caustic
alkalies, with the aid of the sulphite of the alkalies, in a quite sufficient
manner,' so that the use of carbonated or caustic alkalies may be entirely dis-
pensed with. If only a very sm<all quantity of carbonate of soda is added to a
solution of muriate of dianddophenol, the solution acts upon exposed plates
with such an energy that the imexposed halogen silver is likewise reduced, and
thus the appearance of an extraordinarily powerful veil or shroud is caused.
Further, I have discovered that the develojmient can be delayed by the addition
of diluted acids, whereas hitherto bromide of potassium had to be used under
the same circumstances. It is obvious that the use of the bromides or chlorides
of the alkalies is not excluded in this case, for if the proper doses are used the
desired results can be successfully obtained with those substances.
I am well aware that diamidophenol has been already often mentioned and
introduced for the developuient of photographic images, but it has not yet been
properly taken into consideration and appreciated, probably because the
product used did not jiossess the purity with whicli I am able to prepare it, or
because experiments with di.amidnphenol were not made in this direction.
The properties of iliamidophenol are thoroughly misapprehendeil, especially
there is no information as to its e.xtraordinarily great solubility, which alone
is sufficient to allow of its being used in the manner before stated.
The particular advantages of this substance are its extraordinary developing
power, its practically unlimited durability and utility, its absolute immunity
of action on the fingers, as well as on the gelatine films, and the fact that
onlinary water can be used therewith.
The develojjing process is carried on as follows .—\ salt of the o-ji-iliamido-
phenol, with a sulphite of the alkalies in the proportion of one of the former
to ten of the latter, is dissolved in a sufficient quantity of water, and the
exposed plate is developed therewith, further quantities of a sulphite solution
being added when a powerful development is required, and diluted acids or
bromide and chloride of pottissium for a weak development.
For ordinary portraits the following recipe will be found to answer the
purpose : 0'45 grammes of hydrochlorate of diamidophenol, 4 '5 grammes of
sulphite of soda, and 60 cubic centimetres of water. The action is slowed
either with a few drops of a ten per cent, solution of bromide of potassium or
a few cubic centimetres of a ten per cent, solution of sulphuric acid
strengthened with a sulphite of one of the alkalies.
Concentrated solution may be obviously prepared beforehand, and diluted
according to requirements, for instance, 5 grammes of hydrochlorate of
diamidophenol and ijO grammes of sulphite of soda may be dissolved in 100
grammes of water, and cliluted to the extent of thirty times its volume. A
solution of 0-5 grammes of hydrochloiate of diamidophenol and 5 grammes of
sulphite of soda in 100 cubic centimetres of water will properly develop plates
which have been too long exposed.
I)lamido]ihenol develops, according to the above given directions, without
any veil or shroud being formed, and without colouring the gelatinous film ;
after weeks of exposure in the light and air, the solution with sulphites of the
alkalies takes scarcely a somewhat reddish colour, while the solution, when
mixed witli small quantities of carbonated or caustic alkalies, takes a brown
colour, after about half an hour.
Having now partictdarly described and ascertained the nature of thi;< inven-
tion, ana in what manner the same is to )« performed, I declare th.tt what 1
claim is : — A process for the development of photograpliic ini^iges in l.iycrs
containing halogen silver, consisting in the use of aqueous solutions of a salt
of the pure o-p-diamidophenol and a sulphite of the alkalies in the proportion
of one of the former to ten of the latter, withoiit the siinultaneous presence of
carbonated or caustic alkalies, the action being intensified by a further aildition
of sulpliite and weakened by an addition of diluted acids or diluted solutions
of bromide or chloride of alkalies.
IHFROVEUENTS IN LENSES FOR TELESCOPE-S, PHOTOGRAPHIC CAMERAS, AND
Magic Lanterns.
No. 18,919. MaIurice James Gunn, 1, Priory Villas, Brownhillroad, Catford,
London, S.E.— />temAer 3, ISg'i.
This invention relates to an improved construction of lenses for telescopes,
photographic cameras, and magic lanterns, and has for its object to proviile a
lens whic'li will be less exjicnsive than the ordinary solid lens, the invention
being more particularly applicable to lenses of large size.
In carrying out my invention, I construct a hollow case, as hereinafter de-
scribed, in the form of a lens but hollow, and made mainly of gla-ss or other
transparent material, hereinafter referrcl to as glass.
Within this case or hollow lens is placed water or other clear liquid, the
whole forming a complete lens. Tlie lens is formed by two plates of the trans-
parent substance, one or both of which is or are curved in the desired manner,
and the two are connected together by a metal or other tubular case.
According to one arrangement there is an annuhar projecting part around the
interior for each glass, against which the edge of the glass rests, being fixed by
cement. This annular part Hay be formed by turning in a lathe, or by forming
a channel in the case at the required parts.
Instead of fixing with cement a cap may be employed, screwed on to or into
the tube, and fitting closely around the edge of the glass, and pressing it
.against the annular jirojection. With this arrangement the lens can be reailily
taken to pieces and fresh glasses put in.
Indiarubber or other soft material must be placed Vietween the ledge and the
glass in order to render it less liable to get broken. A simpler form, in which
the parts are not detachable, consists in making the ends of the tub3 slightly
thinner, forming a ledge against whicli the glass would rest, the ends being then
turned over on the glass, fixing it in place. In order that the liquid may be
admitted, a hole is formed in the case, or, in some cases, in the glass itself,
closed by a cap or other suitable means, or, when the opening is in the gh».s.s,
by sealing it after the liquid has been inserted. The tubular case into wliich
the glasses are fitted may be made in two jiarts, one screwing over the other or
sliding over it, the two "fitting tightly together in order that the thickness of
the lens may be regulated to any desired amount. The lens is preferably filled
with liquid at a rather high temperature, higher than it is likely to reach when
in use, so that on cooling a slight space is left with vacuum to allow tor any
expansion that may occur.
This will not interfere in any way with its use, as the sides of a lens are
never used, and the tube or aperture used for filling may be made sufficiently
large to serve for the empty space. A lens may also be formed with a cell
wholly of glass, the two parts being formed with rims, or cylindrical sides,
which are placed together, and joined by a band of glass or suitable material,
liquid being inserted as before.
In order to form the glasses for the lens, I may blow a hollow sphjre in a
mould or box of the required form, manipulating the mould in the manner well
known to glass-blowers, in order to get an even surface and thickness. 1
afterwards, with a cutting instrument, cut the sphere into parts of the required
diameter, the size of the sphere regulating the curvature of the lens, so that a
regular and known curvature is always obtained.
According to another arrangement the glasses are moulded or pressed into
shape. When used in photographic cameras the usual stops .are employed in
front of or between the lenses to reduce the liglit and give the required clear-
ness of image.
[Probably the patentee was not aware that Archer's fluid lenses,
Sutton's panoramic and cylindrical lenses, and some others were con-
structed on this principle. — Ed.]
I.MrnOVE.MESTS IN PHOTOGRArHIC LENSES.
No. 21,933. Thomas Rudolph Dallmeyer, 25, Newman-street, Middlesex.—
December 10, 1892.
My invention relates to a lens for the pro<luction of large prim.ar)- image.s by
the employment of a negative element as a posterior lens, fractional in itj>
focus as compared with the anterior positive lens. This negative element is »
double combination, and is corrected for both actinic and spherical aberration.
The annexed drawing at figure 1 shows a combination in accordance with my
invention.
The anterior positive element represented in this figure is a well-known
jjortrait lens : it is in four p.arts. a' a- a* and a*, and of these the hindermost,
marked a*, can be screwed out a short distance. The focal length of the com-
bination is 8i inches, and its aperture 2^ inches. The negative element is in
four pai-ts, h' i- 6^ h*, which constitute a symmetrical double combination,
i' and h* are similar, and so also Ifl and b*. One of the pairs is shown
separately and in full size in figure 2. The parts 4' and h* are of hard crown
glass (refractive index 1-5179), and Ifi and A" are of heavy tliiit (refractive
index 1-6202). The anterior surface of *' is convex, and the radius of curva-
ture is 4-396 inches. The posterior surface of 6' is concave, and the radius of
curvature is 0-9 inches. The anterior surface of (fl has the same curvature, and
is cemented to the posterior surface of i'.
The posterior surface of i- has a curyatnre of 1 -375 inches.
There is an .air space between the surfaces of 6^ and '■', and'these surfaces
may be separated by a considerable interval, but the study which I have nuule
of the subject since the date of my application . leads me now to pr»fer that
b- and Ifi should be nearly in contact at tlieir edges
28
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 13, 1893
The negative focal length of the element J' J^ i^ J* is 2 inches, and it is so
mounted that by a rack and pinion the distance between it and the anterior
element can be varied.
The correction of this negative element is such that it is complete for an
object 12 feet in front of the camera focussed at a distance of 12 inches. When
any deviation is made from these positions there is a resulting aberration in
the combination, which can be corrfcted by screwing ont the lens a* a short
distance. The measurements which I have given above admit of variation.
For the positive element any (preferably large aperture and short focus)
photographic objective may be employed, but it is e.\pedient that it should
admit of the spherical correction being varied.
The negative element is in all cases to be a donble combination corrected
for actinism and spherical aberration ; it is to be convex on its anterior
and posterior faces and its focal length is to be less than that of the positive
element.
The negative element may be construoted as indicated in fig. 1 of the
drawings accompanying my provisional specification, the heavy flint glass being
external in place of internal, but the arrangement above described is that which
I prefer.
In the use in the camera of the instrument represented by fig. 1, the
focussing glass is first set at any distance from the posterior face of the nega-
tive element, according to the amount of the magnification it is desired to
obtain. Then the focussing is eft'ected by moving the positive anterior element
to or from the negative posterior element by means of the rack work provided
for the purpose. Finally, the sharpness desired is given to the focus by \in-
screwing the posterior lens a'' of the anterior element to the necessary extent.
Having now particularly described and ascertained the nature of my said
invention, and in what manner the same is to be performed, I declare that
what I claim is : — A photographic lens for the production of large primary
images, and consisting of an anterior positive element and a posterior negative
element, the latter a double combination convex on its anterior and posterior
faces, corrected fpr actinism as well as for spherical aberration, and of shorter
focal length than the anterior positive element.
iHeettngd of Soct>tt>iS»
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of
Heetlng.
January 16
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Name of Society.
Camera Club
Dundee Amateur
Fillebrook AthenlBUm
Glasgow & West of Scotland Am.
Hastiiifrs and St. Leonards
Leeds Photo. Society
Richmond
Soath London
Birmin|;fbam Photo. Society ...
Brixton and Glapham
Eieter
Hackney
Keighley and District
North London
Paisley
Rochester
Brechin
Bnry
Manchester Camera Olab
Photographic Club
Sontbport
South&ca
Birmingham Photo. Society ...
Camera Club
Glossop Dale
Greenock
Hall
London and Provincial
Oldham
Oxford Photo. Socio^
Cardiff
Croydon Uieroscopical
Holborn
Leamington
Maidstone
Hnll
Place of Meeting.
Charing Cross-road, W-C.
Asso. Stndio, Nethergate, Dundee.
Fillebrook Lecture Hall.
180, West Regent-street, Glasgow.
Mechanics* Institute, Leeds.
Greyhound Hotel, Richmond.
Hanover Hall, Hanover-park, S.E,
Clnb Room, Colonnade Hotel.
37*>, Colfiharbour-lane, Brixton.
City Chamherrf, Gandy-st., Exeter.
206, Mare-street, Hackney.
Mechanics' Institute, North.street.
Wellington Hall, IsUngton, N.
9, Gauze-street, Paisley.
Mathematical School, Rochester,
14, St. Mary-street, Brechin.
Club Rooms, 13, Apar-strcet, Bnry.
Victoria Hotel, Manchester.
Anderton's Hotel.FIeet-street.E.O.
The Studio, 15, Cambridge-arcade,
3, King's-road, Southsea.
Clnb Room, Colonnade Hotel.
Charing Cross-road, W.C.
Mnsenm, Kelly.street, Greenock.
71, Prospect-street, Hull.
Champion Hotel, 15, Aldersgato-st.
The Lyceum, Union-st., Oldham.
Society's Rooms, l:j6. High-street,
Public Hall,George-street, Croydon
Trinity Church Room, Morton-st.
" The Palace," Maidstone.
71, Prospect-strcet, Hull.
PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN.
January 10,— Mr. T. Sebastian Davis (Vice-President) in the chair.
Mr. H Wilmer was elected a member.
The Chairman announced that the Lincoln Camera Club had been admitted
to alliliation of the Society, and that the annual dinner of tlie Societv would
be held ou Febniary 13 next.
The Chairman also stated that Mr. William Bedford was critically ill.
Auditors .and scrutineers were appointed for the forthcoming annual meeting
on February 14.
Experiments WITH two New Developers.
In the absence through illness of Mr. J. Spiller, his paper on the above sub-
ject was read by his daughter, Miss Spiller, who brougiit a number of nega-
tives developed with both amidol and nietol, samples of which were shown.
With regard to amidol, Mr. Spiller said that, from experimeuts made at
various times during the past six mouths, he was incliueil to think that it is
best to weigh out a certain number of charges, and keep these separate lots of
amidol in dry glass tubes, dissolving them up, one at a time, iu a nearly
saturated solution of sulphite of soda to prepare a concentrated develojjer,
which then only requires dilution for use. For professional practice the mixed
developer, especially if concentrated, will keep in good working order long
enough to justify the preparation of a stock solution. For this take
Water 7 ounces.
Sodium sulphite cryst 14 ,,
Amidol 60"grains,
Mix, as required for use, with about three times its bulk of water and a trace
of bromide, or none, according to circumstances. It is possible to make the
same dose of amiilol do duty for two or three plates in succession, and then to
fortify it and go on again, but it is better to exhaust it entirely, either by
adding weak aliiali — dilute ammonift, carbonate of soda, or borax^and then
throw it away. For over-exposure, a weak developer and free use of bromide
is the best treatment, and for the opposite case, or even for building up extra
intensity in normal exposures, use a stronger solution with an increased pro-
portion of sulphite, if the alkaline method is not resorted to. As a rule the image
should appear in eight or ten seconds, and be fully developed in about four
minutes. The negatives are of a coaly black or pencil-lead colour, more like
ferrous-oxalate than jiyrogallic deposits, and print quickly. As a consequence
it i.s necessary to carry forw.-ird the development to a stage beyoud what is
ordinarily required in brown negatives. Hence an impression is given that
the silver image loses by immersion in the fixing bath, which he does not
think is actually the case, " Metol " is the other new developer refeired to in
the heading, and with this also he had iiiade a good many experiments. Dr.
Eder speaks of it in the highest terms of approval, and predicts that it will
speedily depose all other known developers. Dr. Stolze and Dr. Just report
well of it, and for many reasons he (Mr. Spiller) feels inclined to agree with
them, mainly because metol is so remarkably permanent even in solution, and
certainly superior to amidol in this respect. Ou a recent occasion he developed
a few plates with a stock of developer prepared last June. The deposit is of
the neutral grey colour and free from stains, and can easily be worked up to
any required degree of density. Dr. Eder's formula stands thus :—
Solution A.
Water 1000 parts.
Metol 10 „
Sodium sulphite cryst 100 ,,
Solution A.
Water •. 1000 ,,
Sodium carbonate cryst 100 ,,
Mix in equal proportions, or less of the soda and more water, according to
requirements. For landscapes a more dilute solution is prescribed tliau for
studio work, but the printe<l instructions are, perhaps intentionally, left
rather wide and indefinite, so as to give ample scope for the exercise of
judgment on the part of the operator. The leading princijile is, however, to
use A and B in equal parts for ordinarj' work, diminishing the alkali to get
softer results, and increasing it to obtain hard negatives or those those pre-
senting the greatest amount of contrast. Then, again, it is recommended to
add solution B gradually, using no more alkali than is required to build up the
picture, and so he ready to correct for errors of exposure during the [wogress of
development. It is a good plan to begin with a solution which has done duty
before, and then no bromide need be added.
Mr. FnEi!.ST (Fuerst Bros.), who was present, said that the amidol which
was originally put on the market was a potash salt, and that which had
recently been introduced (a whiter variety) was an acid salt which might be
better to use, although perhaps its action was uot so certain.
Mr. A, R. Dresskr had made a series of experiments with amidol, and had
found it excessively good for negative work as far as instantaneous exposures
went. He h.ad recently given exposures of one two-hundred-and-fiftieth of a
second on the ice, and had developed with pyro, eikoiiogen, and amidol, and
found that with the latter there was a distinct advantage in density and detail.
With over-exposure it was so excessively quick that many who used it came
to grief, but they need not be frighteneil if the image came up fogged, as the
fog, which only seemed to attack the surface, could be removed in the reducing
bath. For bromide work he had found no developer to beat it ; indeed he had
got results with it which he would not have believed possible. He showed a
number of 30 x 22 enlargements from quarter-plates, developed with it. He
had come to the conclusion that the formula put on the market was radically
wrong. With sulphite alone it[did very well as a one-solution developer, but
one great fault of it w.as that it turned brown in a short time. Hence he
decided to try the substitution of metabisulphite. Tlie inventor said that an
alkali was not to be u.sed; he (Mr. Dresser) got the best results with
ammonia, but it must never be used without bromide. He mixed one ounce
each of amiilol and pot.assium metabisulphite iu ten ounces of water ami pre-
pared a ten per cent, solution of bromide and a five percent, solution of jintash
carbonate. He preferred the carbonate at the latter strength, as a saturated
solution varied with the temperature. For bromide work his developer was as
toUows : —
Amidol solution 16 drachms,
Carbon.ate solution, live per cent 14 ,,
Bromide solution, ten per cent 2i ,,
Water 20 "ounces.
A grey colour for uranium toning such as he employed could be obtained by
using a saturated solution of common washing soda. Developing witli amidol
January 1:5, 1803
THE BRITISH JOURNAL OF PHOTOGRAPHY.
20
required the shortening of the exposure is given for iron by about a fifth. It
was better in all i^nscs to use the amidol at full strength — that is, undiluted,
anil commenpe with n weaker solution of the potash or ammonia. The 3an\e
formula was very gooil for lantern slides.
Mr. G. L. Ai)UENunoi)KE had also experimentecl with amidol, which he
found woidd not devclcp alone. Dealing with its properties as a developer
with sulphite, he said that sodium sulphite was formed by passing a stream
of suljiliurous ai'id gas into a solution of the carl>onate ; but, as it was so weak,
it only displaied the carbonic acid with difficulty, hence commercial sulphites
usually luutained alkali, so tliat a developer of .amidol ami sulphite cont.iined
an unknown quantity of sodium carbonate. It had been suggested, however,
that it was desirable to make a developer of known constitution, and that
could be done by the iise of potassium metal)isulphite, which was made by a
patented process of supersaturation with sulphurous acid. There was thus a
certain amount of free sulphurous acid present, wliich acted as a restrainer,
and, although a mixture ol^ amidol and metabisulphite would not develop by
itself, it was well preserved. Tlie same proportion as sulphite, down to equal
jiarts, of metabisulphite to amidol answered well. Nothing could be more
convenient to use than the formula given by Mr. Dresser, and he advised start-
ing with a strong solution of developer, and trusting to extra quantities of
bromide. The less time the plate was in the developer the better and cleaner
the results. Amidol for negative work was as like pyroasit could be, althougli
more energetic. Any one accustomed to use pyro couUl easily substitute
amidol for it, and when it changed colour it did not deposit like jiyro, the
colouration being soluble throughout. It remained clear for hours without
staining the film, and would answer well for dipping-bath development.
A Chemic.vl Study of Mkrcueial Inten-sikication.
Mr. H. Chapsian Jones read a paper treating of the chemistry of the
various forms of mercurial intensification. [Tliis will be given m «'toi«o in a
future number.] He eoneluded by recommending the use of mercuric chloride
followeil by ferrous oxalate, as advised by him in January, 1890. Speaking
of the elimination of hypo from the film, he advised the use of an acidified
alum biith for the purpose, as it was practically impossiMe to remove it by
simple washing, which would always leave enough to spoil many methods of
intensification.
.Mr. W. E. Debenham said it was a very useful thing to have a definite
account of the chemistry of mercurial intensitication, but he regretted
Mr. Chapman Jone-s had not extended his studies so as to include intensifi-
cation with iodide of mercury and Schlippe's salt — a method which he
(Mr. Debenhani) preferred to all others. With several methods the image was
changed by light ; and with tlie cyanide method there was an alteration of the
density ratios, unless hydrochloric acid was added to the mercury. Mr.
Arnold Spiller said some time ago that with iodide of mercury no combination
with the gelatine took place, so that the addition of liydrochloric acid was not
necessary. Much greater increased density was obtainable witli it than with
ordinary methods of intensification. After the treatment with Sclilippe's salt
the ima^e appeared to be thoroughly permanent. It was .sometimes said that
the method stained, and caused a deposit in the clear glass, but that was the
case with all methods if tlie plate were not thoroughly fixed and washed, in
which case it was not the hypo alone in the film that was objectionable.
Photographers generally did not employ perfectly new fixing baths, so that a
certain amount of silver was likely to be left in the film. Mr. Debenhani
showed a plate one half of wliicli was clear glass and the other half a negative
which had been intensified with mercury, iodide, and SchUpi)e's salt, and
drew attention to the clear half, which was free from deposit.
Mr. Chapman Jones, in reply, said he always fought shy of iodides and
sulphides in intensification, as he found iodide intensifiers unreliable. A
drawback to the use of Hchlippe's salt was that, if it produced a thoroi;gh
change on the image, nothing could be done with it afterwards, as it left a
series of compounds wliich were awkward to attack. By his plan nothing
but metallic mercury and metallic silver was added to the image, and they could
do anything with it.
Gaiacoi.
The Hon. Secretary gave a brief precis of a paper sent by Colonel J. Water-
house, in which the author confirmed the experience of Messrs. A. & L.
Lumiere (see '• Continental Notes and News "), establishing the fact that the
developing properties of gaiacol were due to its impurities. The author al.so
stated that old carbolic acid had cleveloping action, whereas new carbolic acid
had not.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
January 5, — Mr. A. Haddon in the chair.
Mr. P. Everitt exliibited a jihotograph taken in a Skaife's pistolgraph.
Mr. H. Snowden Ward sliowed examples of gelatino-cldoride printing by
Mr. Hanna, of Auckland, New Zealand, who had sent them to this country to
learn the opinions of English photogr.aphers as to their quality. They were
considered excellent by the meeting.
The Hon. Secretary drew attention to an article on " Spirit Photography "
in the Forinii/htlu Review by the Rev. H. R. Haweis, quoting the passage
relating to the young lady who w.as alleged to have iliscovered the face of her
deceased lover on a " blurred " plate.
Mr. Dbaoe said Mr. Haweis' contention was this : " May not a surface more
chemically sensitive than the human retina be able to receive impressions of
things which to us are invisible ?"
The Ch.virman having recommended photographers to in future examine
" blurred negatives " before rejecting thein, tlie subject dropped.
PRiNTiNfi-ouT Opals and Lantern Slides.
Mr. W. E. WoODBDRT ilemonstrated the Paget Company's new printing-out
opals and lantern slides, saying that their manipulation was practically the
same as "ehitino-chloride jirinting paper, they being coated with an emulsion
of that character. In printing, as sharpness was so desirable, it was necessary
to print in the sun, and always to keep the frame in one direction ; otherwise,
If it were turned another way, probably a double imago would result. He
exhibite<l a special printing frame (or printing-out purposti, and said
that, for toning and fixing, either the combined bath or the sulpho-cyanide,
followed by fixing, could be employed. With the combined Dath it was
necessary to print a little deeper, as tlio image lost a little in that Imth. The
tones of the lantern plates were to lie judged by transmitted light. In reply
to a question, he said that he had not found the plates print out to a pnrple
tone after having been kept for a few months ; but with the combined bath
the wannth of tone increased when the plate had dried.
Mr. Woodbury was thanked by the meeting for the demonstration.
The Speed ok Plates.
Mr. A. CowAS described how the speed of plates was ascertained by Messrs,
Hurter & Driffield's method, saying that for exposure a standard candle was
employed, at the distance of a metre, and seconds for the measurement. For
practicjil purposes, however, he placed the plates at a distance of two metres,
because with eight plates there would be no error of exposure in the circle
thus made. Eight strips were taken out of the middle of a fair-sized plate, placed
in the slide in which they were to be exposed, and, with a pendulum swung be-
fore the eyes, the strips were gradually covered up, so that a series of exposures
ranging from thirty-two seconds on the most dense parts of the strips to half
a second on the lightest parts was given. A standard developer, for a given
time at a constant temperature, was u.sed, so that the conditions were always
alike. In order to avoid reflections, he used the whole of the apparatus in a
box, while a diaphragm was used in order that only the light from the candle
should strike on the jdate. Mr. Driffield, instead of the fixed frame with the
strips, used a revolving disk with ojienings in it of different sizes at a certain
distance from the candle, which made straight lines of different densities on
the plate. The den.sities of the slips proceeded arithmetically, so that, taking
two strips and superposing them at the point of correct exposure, an equal tint
would result by the combination. Having described Messrs. Hurter & Driffield's
method of measuring the densities by the onlinary slide-rule, Mr. Cowan
went on to observe that, as the standard candle was not very certain, he always
had a standard plate for comparative tests. He had found by experiment that
one of his standardised plates was exactly the same speed after an interval of
two and a half months.
Mr. James Cadett had found a better mean of density with a slow plate
than with a quick one, although there might be ten per cent, less emulsion on
the ordinary plates than on the quick ones.
The Chairman asked whether, in burning the standard candle, the amount
of wax consumed was weighed ? The candle was only const.ant when consum-
ing 120 grains of fat per hour. Did Messrs. Hurter & Driffield weigh the
candle in their experiments ?
Mr. Cadett, in regard to the relation of speed to density, said that when
people compared two plates in the camera, and those plates had different
density factors, the reading of those plates became very difficult indeed. He
had recently sent some lantern and extra-rapid plates to a gentleman in onler
that he might read their comparative speeds in the camera. The result was a
fatal one, as the lantern plates were made out to be four times quicker than
they were. In such a case they might come to a point in the density where
both plates were ex.actly alike, but at what part should the resjjective ilensities
be read ? People usually looked at that part having the very faintest detail.
For a camera test negatives of equal density should be used, otlierwise plates
would be made out quicker than they ought to be. With negatives of equal
density, the Hurter & Driffield reading would be exactly right, the density of
the negative being calculated according to the amount of light it passetl. With
whatever standard light they used, they must read through the succession of
den.sities in that part of the plate where correct exposure took place. The
standard candle was a great trouble, but the system held good with a standard
light. By trusting to the reading of the candle without a test-plate, errors of
as much as twenty-five per cent, sometimes happened. All plate-makera
should use the same test-plate, but who was to settle the point .' Messrs.
Hurter & Driffield had made a great discovery in the proper relation of density
to speed. They were the first to show that there was correct period of
exposure.
Mr. Cowan said he had undoubtedly obtained different readings with the
variations of the standard candle. As many of them might like to know the
standard developer he employed, it was as follows : —
P)TO 1 grain.
Sodium sulphite 12 gr.iins.
Anhydrous carbonate of soda 4 ,,
Potassium bromide A grain.
Water 1 ounce.
Employed at a temperature of 70° for 7i minutes.
The meeting then adjourned.
North Middleaez FhotogTapUc Society.— January 4, the first of a series of
technical evenings for beginners was held, the subject being DevelopnuiU^
The subject being treated in a purely elementary manner, the general body of
members were not invited to attend. A fair number- of gentlemen, amon^
whom were several strangers, availed themselves of the opportunity afforded
them. They each brought two exposed and undevelojied plates, and were, in
their turn, taken in hand by Mr. C. Beadle, who was the instnictor for the
evening. He opened with a brief description of the various developers most
generally in use, their advantages and failings, the correct method of com-
pounding them, and of modifying them to suit the different exposures and
subjects. He then questioned each gentleman as to the exposure giveu to; < »
plates he had brought, and the general conditions under which it was taken^
and advised him as to the Iwst method of developing. He then sent him to
mix the developer, and stood by while the plate was developed, giving advice
during tke process. The meeting was thoroughly successful, the gentlemen
present expressing their gratification, and a desire to attend future meetings of
the same character.
Thb Annual Meeting of members was held on January 9, the President (Ur-
J. W. March.ant) in the chair. The Treasurer presented his balance-sheet*
30
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 13, 1893
■which was the best during the Society's existence, and showed a sound financial
condition. Mr. Pither gave a report of the results of the outings during the
past season, and laid upon the table the Society's album, containing the
selected pictures taken thereat. Tlie certificate for the best collection of prints
taken at those outings was awarded to Mr. Mcintosh, the Hon. Secretary, and
the second award, that of a view album, which could only be won by a non-
iMcnibcr of tlie Council, was secured by Mr. A. J. Hewson. The annual report
was then submitted by the President. He dealt with the satisfactory condition
of the Society generally ; the increased membership, the greater interest taken
by the members in tlie meetings, a.s evidenced by the ready help given by them
in the reading of papers and the opening of discussions ; and especially dwelt
iipon the advance in the quality of the work shown at the late exliibition, as
expressed by the judges. Reference was made to the affiliation scheme, and
the advantages derived therefrom, and thanks were given to those gentlemen,
not members of the Society, who had rendered assistance by their lectures.
Votes of thanks were accorded to the officers for their past services. Mr.
Mcintosh stated that, finding himself unable to give the requisite time to the
secretarial duties, he did not seek re-election. Balloting for the officers for the
«nsuing year was proceeded with, and resulted as follows : — President : Mr. J.
W. Marchant (third consecutive year). — Vice-Presidents : Messrs. C. Beadle
and F. Cherry. — Council : Messrs. H. Smith, Gregory, Walker, Wall, Gill.
Mummery, Pither, W. Taylor, Golding, Wynne, Lathbridge, Treadway, and
Goodwin. — Hon, Treasurer : Mr. F. W. Cox. — Hon. Secretary : Mr. George
Gosling. — Assistant Hon. Secretary: Mr. F. M. Aynsley. Mr. John
Humphries, F.S.A., who was president of the Society during the first three
years of its existence, but who is now resident away from London, was unani-
mously elected an hon. member. Gentlemen desiring in any way to communi-
cate with the Society will jilease address the Hon. Secretary, Mr. George
Gosling, 13, Lausaune-road, Hornsey, N.
Harrlngay Photographic Society.— January 5,'' Inaugural Meeting.— The
Cliairman (Mr. Dudley Towers) showed tlie need was great for a society of
tliis kind in tliis centre of photographic activity. It was proposed that a
librarj- be started, and tliat ladies be eligible for membership. The rules for
the management of the Society were drawn up, and the following officers were
elected: — President: Mr. J). Tosvers. —Vice-President : Mr. Bennett. —
Council : Messrs. N. AVatson and F. Builey.-— Secretary and Treasurer, C.
Frith, 8, Cavendish-road, N., from whom all particulars maybe had.
Rotherbam Photographic Society.— January 6, Dr. Baldwin (President)
in the chair.— The Annual Exliibition on tlie 7th and 8th of February was
referred to, the Hon. Secretary announcing that Lady Abreda Fitzwilliam had
consented to open the proceedings. Tlie exliibition, althougli non-competitive
in its character, promised to be most interesting, and photographically
successful. An appropriate paper on Preparing for the Exhibition was
afterwards given by Mr. K. I. Hubbard, Vice-President.
Sheffield Photographic Society.— January 3, Mr. B. J. Taylor in the chair.
—The ]iictures and negatives sen tj in for tlie annual competition were fully
criticised, and the prizes awarded to Mr. W. M. Toplis and Mr. J. W Black-
well.
Correisiionirencr*
ALUMINIUM MOUNTS.
To the Editor.
Sir,— Like your correspondent, Mr. Everitt, I have been much interested
in the prices charged for aluminium mounts since their introduction, for,
although the metal can now be had in the raw form very cheaply, there
has been no corresponding fall in the mounts for lens. It would have
been interesting had the weights of some of the mounts been given to
show the cost per pound. With aluminium cast at 2s. Sd. per pound, its
low specific gravity and its greater tensile strength permitting of a
lighter cross section, I consider it practically as cheap as good brass for
many purposes. But when I weighed a few lens mounts obtained from a
uholcsale source, I found the metal charged at from 50s. to COs. per
pound ! and spun so thin as to exaggerate the comparison with brass, as
if it were a precious metal, and to the great risk of damaging from dent-
ing or dimpling the true setting of good lenses.
There is no doubt a very heavy outlay on the part of those opticians
■who undertake to supply all their series of lenses in aluminium mounts.
This must be recouped, and no one can blame them if buyers are willing
to exchange gold for aluminium to save themselves carrying a few extra
ounces.— 1 am, yours, &e., Arthur Seat.
January 7, 1893.
»
To the Editor.
Sir,— The letter of Mr. Philip Everett in your last issue has touched a
point which has probably puzzled many of your readers, and it would,
perhaps, not be out of place to try to discover the cause of the anomalies
mentioned by your correspondent. Something is probably due to the fact
that the production of aluminium is still in the hands of a few companies
who can control the market at their own sweet will, and it follows that in
consequence of their operations, those of their customers who have been
fortunate to secure their supplies during one of the low tides in the price
can undersell the less lucky ones who are obliged to buy at high-water
prices ; hut the principal cause is that aluminium is a very difficult metal
to work. Pure aluminium or even ninety-nine per cent, is, for practical
purposes, useless ; it is too soft and inelastic to stand any strain, neither
could it be turned or filed. The commercial aluminium, containing
about five per cent, of silicon and iron, is better in all respects, except
that it tarnishes more readily. The six per cent, copper alloy put on the
market by the Nenhausen Company, is fifty per cent, better than either of
these two as regards tensile strength ; but its leaden colour and liability
to tarnish are against it, besides that it is not much more easily worked.
Some of the other alloys are very much superior in that respect. I have
had some patent alloys, which could be worked as easily as brass, of a
silvery-white colour, and, although somewhat lower in tensile strength
than brass, they are, in point of elasticity and rigidity, quite equal to it.
A probable cause for the slow progress which the metal has made in its
application to the commoner uses, apart from the question of price, is that
the difficulty of working it hitherto has created a prejudice in the minds
of the workmen, which time and experience alone will remove. — I am,
yours, &c., J. V. P.
January 11, 1893.
TINTING MOUNTS.
To the Editor.
Sir,— Your editorial on the use of coffee as a stain reminds me of a
modification of the same thing which I have found most useful, especially
for brown platinum toned prints. Eough or hot pressed drawing-paper is
a very suitable surface for mounts, but a pure white Surface is not always
suitable. I tried an infusion of coffee as suggested for tinting these
mounts, but for my purpose the colour was too bright and obtrusive. I
wanted to introduce a little grey into the brown, and for this purpose tried
the addition of a little common writing-ink with success. A useful stone
colour is the result tending towards brown or grey, according to the
amount of ink added. My method has been to sponge over the mount
with the solution, taking care that the sponge is not overcharged, and
that an even surface moisture results. If the tint is not deep enough the
process may be repeated after drying. The iron in the mixture may be
objectionable for tinting the photograph itself, but it cannot harm if used
for cut-out mounts. Some care and experiment is necessary to get a suit-
able mixture, which should be filtered before use. A very few drops of
ink are sufficient. — I am, yours, &c., Alfred Watkixs.
Hereford, January 7.
>
THE PHOTOGRAPHIC SOCIETY.
To the Editor.
Sir, — I shall be much obliged to you if yon will allow me space to
inform the members of the Photographic Society of Great Britain that
the figures opposite the names of Mr. Traill Taylor and Prof. J. M.
Thomson, in the table at page 90 of our Jours.\l, have been accidentally
reversed, and that Mr. Traill Taylor should have had six instead of two
attendances credited to him.
I would also remind our members that nominations for the new
officers and council should be sent in without delay, the 24th of this
month being the last day upon which they can be received. — I am, yours,
itc, Chapm.an Jones, Hon. Secretary,
Photographic Society of Great Britain, 50 Great Russell-street, W.C,
January 6, 1893.
THE LOUTH EXHIBITION.
To the Editor.
Sir, — I herewith enclose you Circular of Invitation for our third
annual exhibition. I think we are the only Society that run an absolutely
free to the public exhibition, without tickets of admission or some other
check to the influx of the masses.
That it is appreciated by the people is clearly shown by the numbers
visiting. The first year about 500 passed through during the five hours
it was open. Last year, in the same space of time, 1000, out of a
population of 10,000, availed themselves of the opportunity of seeing
work by such workers as Messrs. Gale, Ralph Robinson, Bhedwar, P.
Lange, Cyril S. Cobb, F. Sntcliffe, B. G. Wilkinson, Chamberlain, Wade,
L. Meldon, Edgar Lea, Court Cole, Armatage, Smart, Wright, Pearson,
&c.
This year we go in for two days, and hope to have even a greater
success, as we fully expect to secure the kind support of many of the
foremost workers of the present day. — I am, yours, lic,
S. Fhakcis Clarke, L.D.S.,
Hon. Sec. Louth and District Photographic Society.
Vpgate, Louth, January 6, 1893.
A CORRECTION.
To the Editor.
Sir, — Permit me to call your attention to the fact that your report
of the recent proceedings at Bloomsbury Hall is open to misconstruction,
not only on account of the phraseology used, but for direct statements
as to facts.
January 13, 1893]
THE BRITISH JOURNAL OF I'llOTOGRAPTlY.
31
The cloBiDg parivgraphs of the report are especially unfortunate for me,
as I am there reported as speaking of Mr. Eastman as my " assistant "
— obviously an impossible relationship.
I am sure that you, together with no small number of the 30O
persons present at that time, will not fail to remember that, in my
impromptu response to the address, I very particularly and specifically
pointed out that Mr. Bider had given me far more credit than I was
entitled to in connexion with any of the inventions owned by the Eastman
Comptmies, and that in no sense could I be considered as entitled to any
credit, excepting as co-inventor with Mr. Eastman of some of the earlier
inventions.
I also at that time expressed most earnestly the hope that no mis-
conception of the facts should become current, especially through the
medium of the press.
As it is well known, I have been a resident of London continuously
during the past seven years, and it is, therefore, obvious that my asso-
ciation with Mr. Eastman as co-inventor must have been limited to a
very few of the earlier inventions, and this fact will be further borne
out by reference to the titles of all the patents taken out for many years
past. — I am, yours, &o., W. H. Walker.
London, W., January 9, 1803.
[Mr. Walker is quite correct. He certainly emphasised the part
taken by Mr. George Eastman in the various schemes and inventions
of the Company, and disclaimed his own sole action in such matters.
Our report, instead of saying,' " aesUted by Mr. Eastman," should
have read— Mr. Walker, in conjunction ivith Mr. Eastman, which
would correctly have expressed the tenour of Mr. Walker's remarks
relative to this.— Ed.]
<■ HALATION AND DOUBLE FILMS."
To the Editob.
Sib, — In reply to the opening remarks of Mr. W. B. Bolton in his
"Note on Halation and Double Films" in your issue of the 6th inst., I
should like to say that I think he must have somewhat misread my paper
on " Multiple Coated Plates," to gather from it, or even continuing on
the lines indicated, to conclude that it is impossible to produce a negative
with clear shadows on a " Sandell " plate. I cannot find that I said, and
I certainly did not intend to say, anything leading to such a supposition
— in fact, quite to the contrary, I distinctly stated that if the correct
exposure were given — that is, a full exposure for the shadows — then, so
far as they were concerned, only the top film was used, and in its action
differed nothing from that of an ordinary plate.
This being the case, there is no reason why the shadows should be
rendered less clearly, or, indeed, in any way differently than by any one
filmed plate.
And even where sufficient exposure has been given to affect the lower
film in the shadows, the upper can be reduced till the desired amount of
clearness has been obtained.
As to the historical inaccuracy that Tdr. Bolton accuses me of, I will
only say, without either admitting or denying the accusation, that had I,
at the time of writing, had any idea that the article would be published,
I should have assured myself of the absolute accuracy of any such state-
ment, instead of trusting to the information of one whose authority on
such matters I have never yet had occasion to doubt, for my own limited
experience carries me back far short of the dates mentioned. I may draw
attention to the fact that I did not say that Captain Abney was the first
to discover or notice the causes of halation, my idea being rather that he
collected the various suppositions that had been put forward, and by the aid
of his own experiments, formulated them into a definite theory. If I am
vrrong in taking this view of the case, I shall only be too pleased to be
put right.
With regard to the chromate of silver question, on which Mr. Bolton lays
so much stress, I must still hold that Mr. W. K. Burton made something
considerably more than a suggestion, though, perhaps, the less I say on
this subject the better, for it verges on a question of priority, which has
already been the subject of no little dispute, yet some light may be thrown
on the matter by reference to a letter of Mr. Burton's which appeared
in I'hutography , No. 208, page 702, and to his article in the The British
Journal Almanac for 1888, therein alluded to.
In conclusion, I will only say that perhaps few have read with greater
interest Mr. Bolton's remarks on the dual action of chromate of silver
than yours truly, Gheoob Grant.
The Tower House, Bexley Heath, January 9, 1893.
A VALUATION WANTED.
To the Editor.
Sib, — Would you give us your opinion as to the approximate value of
goodwill and negatives of our business ? The particulars are as follows :
Business established eighteen years ; business done this year, 850/. ;
profit, about 3.50/. to 400/. ; number of negatives, about 70,000 ; size of
town, 13,000, wiih good district, very little opposition (one very cheap
man) besides ourselves ; prices obtained as per list ; eighty per cent, of
business done is for cash. The rent is 30{. a year ; taxes very moderate.
Position of premises good, with ample accommodation. — I am, years, Ac,
January 9, 1893 Seasidb PnoTOOBAPBEB,
S Possibly some of our friends who have had experience in the
uation of photographers' businesses may be able to furnish an
opinion. — Ed.]
^Instoew to (fforrcgpontjcnts.
A. MciRHEAD. — We can add nothing to the information we have already
given.
Jno. W. Spbnceb. — Since the date you name we believe that the firm in
question has failed.
J. H. B. compl.iins of a dishonest canvasser. Such a matter had better be
referred to the police authorities.
F. C. Green (Chihuahua, Mexico) Messrs. Hnrter & DrifBeld have no doubt
already sent you a copy of their pamphlet.
J. L. L. — We have had no oiiportunity of practically testing the apparatus
but it is well spoken of in the American press.
John T. French. — Thanhs for your letter relating to the South London
Photographic Society's Exhibition, but we do not propose to reopen the
controversy.
John Macallan. — ^The fault at first sight seems to be in the plates, but we
cannot, except in one isolated case, discover any nucleus which would account
for the tran.sparent spots.
D. AvANZO (Antwerp). — The article by Mr. J. T. Hackett on " How to Make
a Camera Bellows " appeared in the Almanac for 1876. This answers several
other correspondents who have addressed a similar q\iestion to us.
Cymro Bach. — The precise distance at wliich the back elements of your
cabinet portrait lens should be apart must be determined by experiment. If
you make a ring a quarter of an inch wide, it will be found to be. about the
correct distance.
A. McDonald. — The subject has several times been referred to. Coal gas
compressed in cylinders undergoes deterioration by keeping. Your experi-
ence is by no means exceptional. It will quite account for the batch of
enlargements all turning out under-exposed.
J. W. C. — The bronze powder, with which the mounts are printed, is probjbly
the cause of the spots. If the maker of the mounts cautioneii you against
what might happen, you have no cause of complaint. If you brought au
action — even if you could prove the mounts were the cause of the spots— yoa '
would certainly lose it.
A. W. CURTISS. — If when using a single lens the illumination falls off seriously
at the margins when a very small stop is used, remove the ground glass,
place your eye at the side, and see whether the whole of the light from the
lens reaches the side in an unobstructed manner. If it does not, let the
distance between it and the lens be decreased.
W. A. B. — The yellow patches on the prints arise from imnerfect fixation.
Cold weather may have had something to do with it. When the fixing
solution is very cold, a considerably longer time should be allowed for its
action. Some of the prints have apparently been allowed to stick together,
so that the solution has not had free action. The cause being pointed out,
the remedy is obvious.
A Lancashire Lad. — So far as we have been able to learn, the princijia
towns in Australia are well stocked witli photographers, and in most of
them, if not all, competition is as keen there, both as regards quality of
work and prices, as it is here. Probably, if you were to write to the Secre-
tary of the Photographers' Benevolent Association, he might be able to give
you more definite information.
W. .V. P. and W. Benn ask for directions for making lantern slides by the
wet-collodion process with a copying camera. — It is impossible in the limited
space of this column to give any instructions that would be of service. Our
correspondents should procure one of the several cheap manuals of photo-
graphy published, say, twenty years ago. They all give full working instruc-
tions, and what is said on the process generally applies equally well to the
making of lantern slides.
Thos. Carter. — See a leading article on the subject in the current number.
We do not know the exact cost of a prism of the size mentioned, but it would
certainly be many times that of a mirror. With ordinary care, a mirror will
last a long time without requiring to be resilvered, though it may require to
be repolished occasionally. To retain the instrument in good condition, it
should be kept in a dry place, and protected as much as possible firom the
atmosphere when out of use.
H. H. Holden. — 1. We cannot estimate the value of the gas-bags. But it
would certainly be very little, even if they are in good condition, which i»
very doubtful. As they were the property of a travelling theatrical com-
pany, they are probably of incoveniently large size. Cylinders have quite
superseded bags. 2. If the prints sent are the best the negatives will yield OQ
albumen paper, they will not do at all, for platinotype bromide paper will
.suit them best. 3. It will certainly answer your purpose best to purchase
the tissue ready sensitised. 4. There is little doubt that the picture ij copy-
right. Tlie publisher will, we imagine, help you, or, at least, give you some
information as to the photoeugraver.
32
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Januarj- 13, 1893
W. F. R. — Stereoscopic pictures may be taken quite well by mounting a small
longitudinal table on the stand, and sliding the camera against checks at
each end in succession. If the object to be taken be, say, over eight or ten
feet away, then may these checks be parallel to each other ; but, if it be
close at hand, such as a vase of flowers within a few feet of the camera, then
will it be well that the checks converge sufficiently to ensure the subject
being in, or nearly so, the centre of the plate.
■C. Williams .«ays : " Last week I poured some boiling water into a very large
porcelain dish to warm it before commencing to tone a batch of prints, and
It cracked, and has since come in half. Can you tell me of any cement that
will mend it for toning, fixing, and washing, hot water being sometimes
used?" — We know of no cement that will fulfil these conditions. During
very cold weather hot water should not be suddenly put into earthen dishes,
or the result will be similar to that described.
A CoKHKSPOXBENT, writing in reference to "F. E. G.'s" query as to sulphur
on negatives last week, suggests that the sulphur may possibly be dissolved
out by a solution of sodium sulphite. The same gentleman also raises a
protest against Mr. A. R. Dresser s recommendation in a recent developing
formula to employ saturated solutions of the alkalies. If our friend will
turn to our rei>ort of the meeting of the Photographic Society of Great
Britain on Tuesday, he will see that Mr. Dresser now advises solutions of a
definite strength.
Xeso says : " I was shown some prints by one of my customers which were
said to he platinotypes, but, from the price paid for them, and the time in
which they were produced, I believe they are bromides. My competitor in
this town, I am told by one of his lateempJoySs, regularly sends out bromides
printed at night for platinums. Is there any ready test that will for
certain detect this fraud ?" — If a bromide prjnt be treated with a solution of
bichloride of mercury the image will disappear ; with the same treatment a
platinotype will be unafl'ected.
Shooter says : " A few weeks since I made a silver bath. I dissolved ten
ounces altogether, and made a sixty-grain bath. I have now started
using P. O. P., so I should like to know how to get as much of the silver
back as possible. I only sensitised ten sheets in it." — The silver can be
precipitated in the metallic state by placing in the solution a few strips of
copper. But the more usual v.*ay is to throw down the silver as chloride by
the addition of common salt or of hydrochloric acid, and then add the
chloride to the stock of residues.
W. Stephens. — 1. Although many rapid rectilinear lenses seem to be sym-
metrical— that is, having front and back lenses absolutely alike, yet some are
not so, hence you must return them to their cells, first one and then the
other being placed to the outside, in fact, reversing their position as regards
each other, and by aid of a magnifier note the effect upon the ground glass.
2. The rounded or convex surfaces must always be placed to the outside of
the cells. It is rare that lenses of that type are confined to tlieir cells by
counter screws ; they are usually burnished in.
A. M. Z. asks " if there is much difficulty in accurately focussing pictures with
hand cameras that require the distance to be estimated, the focus being ad-
justed by a scale of distances engraved on the camera ? " — In reply : Some
cameras are so accurately indexed that when the distance of the object is
known a perfectly sharp focus may be relied upon when the index figure is
set. We have tested this point with two such cameras in our possession,
and find it to be so. Of course there may be some which are not so accu-
rate, and with these it would be better to employ a ground-glass focussing
screen.
M. B. S. writes : "In your 'Answers to Correspondents,' please advise me
what I should do with my nitric silver printing bath, which has unfortu-
nately got an overdose of carbonate of soda, so much so that in printing the
paper is quite powdery on the .surface ; filtering has improved it only a
little." — If an excess of carbonate of scda has been added, carbonate of
silver has been precipitated. Tliis will be again converted into nitrate of
silver on the addition of nitric acid. Add nitric acid, drop by dro]i, till
litmus paper is reddened. If the carbonate of silver has been filtered
out, it is probable that the bath will require strengthening with nitrate of
silver.
J. Baktos writes as follows : "I have a lantern with four and a quarter inch
condensers, and the lens is a No. 1b carte. When I enlarge a head and bust,
or a vignette, out of a quarter-plate to 15 x 12, I get on all right, but when
1 try a quarter-plate landscape the comers of the pictures fall off fearfully
from unequal lightings. I have always read that the lens that will take a
negative the size of the one to be enlarged will do for enlarging it. The lens I
use covers a'quarter-plate beautifully. What can be wrong '," —The fault is not
with the enlarging lens, if it will take a quarter-plate negative— and probably
it will — but with the condenser, which is not large enough. No four-and-a-
quarter-inch diameter condenser will evenly illuminate a full-size quarter-
plate. To do that, one of not less than five and a half inches is necessary.
STKiKorTicfS writes: "1. My stereoscopic lenses are three and a quarter
inches apart, my eyes are two and a half inches apart ; consequently the
cntting and mounting glass stereoscopic slides present considerable diflicul-
ties, wliich are increased when copying in the camera. I want a ready
means of making slides in the eamera without cntting my negatives. By
lessening the distance between the lenses, or preferably some other way, this
ought to be easily done, but I do not at present quite see my way to it. 2.
I want a new twelve-feet lantern sheet ; which do you think the best and
most serviceable— pa. ler-covered or flatted in oil?"— 1. Knowing "Stere-
opticus " to be an adept in making transparencies, we assume this to be the
class of slides at which he aims. Tliree and a quarter inches apart is a fair
minimum for the separation of the lenses on the camcm for taking negatives ;
but, if the same lenses and camera are to be employed in transparency print-
ing, it will be necessary to have them mounted so as to be adjustable as
regards distance apart. 2. Both are good ; some prefer the one and some
the other.
West Losdon Photographic Society. — January 17, Technical Social
Meeting.
Messks Spicer Brothers are thanked for their " Driquic " blotting case.
The blotting-paper is exceedingly absorbent.
PhotooraTHIC Club. — January 18, Glass and other Fabrics for Dark Romn
lUmiUnaiion. 25, Annual Lantern and Musical Evenmg. 27, Chil-
dren's Entertainment.
Kensington and Bayswater Photographic Society. — The subject of our
next meeting, January 16, is Development by Amidol, by Mr. L. E. Morgan,
and not as on the syllabus.
Brixton and Clapham Camera Club. — .January 17, The Hand Camera and
its Use in Picture-making, by Mr. W. Tliomas. February 7, The Optical
Lantern with Special Reference to the Ether Light, by Mr. B. E. Pinder. 21,
Stereoscopic Photography, by Mr. J. A. Butler. March 7, Lantern Slides. 21,
Annual General Meeting.
Huddbrsfield Photographic Society. — From .lanuary 1 this Society is
.imalgamated with that of the Huddersfield Naturalists' Society, under the
title of the Huddersfield Naturalist and Photographic Society, with Mr. Alfred
Clarke, of St. Andrew's-rojid, Huddersfield, as Hon. Secretary, to whom all
communications should be addressed.
Forfab.shire Photographic Exhibition, 1893. — This Exhibition is to take
place in the town of Forfar in April. The exhibits will require to be there the
end of March. Sir John Rigby, the Solicitor-General, is expected to open the
Exhibition. The prospectus and rules will be ready about January 20. The
show will be international and open to all, and there will be awards, which
will be made by a Board of Judges consisting of two photographers and one
artist of good standing.
The Louth and District Photogr.aphic Society's Tliird Annual Exhibition
will be held in the Town Hall, Louth, on January 26 and 27. There are not
any medals or other awards, the Exhibition being got up strictly for the ad-
vancement of photography in the locality. To secure that end, the Exhibition
is thrown open on both days free to the public. The Society defrays all ex-
penses, including carriage of all exhibits kindly lent. All jiictures intended
for exhibition must be mounted but not framed. Title, name, and address
may appear on front of mount. Pictures must reach the Hon. Secretary, Mr.
S. Francis Clarke, L.D.S., 8, Upgate, Louth, Lincolnshire, not later tlian
January 23.
On Wednesday evening, January 25, the Photographic Club hold their
Annual Lantern and Musical Entertainment (Ladies' Night) at Anderton's
Hotel, wlien, as usual, a large number of admirable slides will doubtless be
shown ; and, as Mr. F. A. Bridge, the Hon. Secretary, is to be responsible for
the musical portion of the programme, a treat in this direction may be safely
anticipated.lf On the following Friday (January 27) the Club takes a new
departure by providing a children's entertainment, to consist, we believe, of a
selection of suitable slides, music, conjuring, ventriloquism, and other good
things dear to the hearts of the juveniles. This entertainment (a happy
thought in its way) is intended for the children of members and friends, and
should be as successful as it will be novel.
FORTHCOMING EXHIBITIONS.
January 26, 27 *Louth and District Photographic Society. Hon. Secre-
tarj', S. Francis Clarke, 8 Upgate, Louth.
February 1 *Cleveland Camera Club. Hon. Secretar>-, J. J. Hallam,
11, Amber-street, Saltburn-by-the-Sea.
,, 7,8 Rotherham Photographic Society. Hon. Secretary, H. C.
Hemingway, Rotherham.
,, 14 Durham City Camera Club. Hon. Secretary, R. Haux-
well. The Avenue, Durham.
„ 16-18 *Woolwich Polytechnic Photographic Society. Hon.
Secretar)-, W. Dawes, 145, Chesnut-road, Plumstead,
S.E.
,, 18 Holborn Camera Club. Hon. Secretarj-, F. J. Cobb,
ICO High Holborn, E.G.
March 1, 2 *Fillebrook Athen.-eum Photographic Society. Hon.
Secretary, Joseph W. Spurgeon, 1 Drayton Villas,
Leytonstone, Essex.
April *Forfarshire Photographic Associrvtion. Hon. Secretary,
W. J. Anckom, West Port, Arbroath, N. B.
„ 17-29 «Photographic Society of Philadelphia. Hon. Secretarj-,
R. S. Redfield, 1601, Callowhill-street, Philadelphia,
U.S.A.
* Signifies that there are open classes.
OONTXIMTB,
Paob
keversed negatives for mecha-
nical WORK 17
changing boxes yersvs dark
8L1DES,-II IS
A seasonable printing process
fob AMATECRS. By W. B. BOLTON 19
continental notes and news .... 20
WINTER troubles. By OLD COL-
LODION ... 21
90M» CONTIIIBUTORIES TO ARTISTIC
■RESULTS. By A. HORKLEY HINTON 21
AN APPAHATI'" FOR THE DEVELOP-
MENT OF JH 'TOORAPHIC PLATES
WITHOUT I.JK USE OF A DARK
BOOM. By ALEXANDER WATT .... 23
Paoi
"BREADTH." By LUX 24
THE PINHOLE SOCIEmfg 0 JTING.
By TOU COAN t.BBM ^
DERBY PHOTOGRAPiUC SOCIETY'S
EXHIBITION 26
WEST LONDON PHOTOGRAPHIC
SOOIETVS EXHIBITION 25
OUR EDITORIAL TABLE 26
RECENT PATENTS -26
MEETINGS OF SOCIETIES 28
CORRISPONDENCE SO
ANSWERS 10 C0BRESP0NDENI8 21
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1707. Vol. XL.— JANUARY :>0, 1893.
ASSISTANTS AND THEIR SPECIMENS.
We have willingly opened our columns on many previous
(H'casions to the complaints and representations of operators,
retoucliers, and others, of their having,' been robbed of their
specimen pictures by the photographers to whom they had
entrusted examples of work absolutely priceless to the sender.
The heart of every honest man must burn within himself at
the plain, straightforward accounts given by some of the
writers refeiTcd to. Unfortunately, the class of man whose
morality is of so low a grade — if it be permissible to establish
tlegrees of mental turpitude — as to allow him to rob, in this
heartless fashion, those able workers who reply to his advertise-
•ment, and, after having filched their goods, traded on their
Abilities, is utterly insensible to any appeal or reproach for his
•callous and nefarious treatment. The only way to treat him
«nd liis kind is by the strong arm of the law, which, more
the pity, is often too slow for its strength. A short enforced
retirement to study the intricacies of tarred rope, once
applied, if such could possibly be brought about, would have
more effect than jjages of writing.
On this subject we feel more strongly than we care to put
into words ; but at the same time we feel bound to say that
there has rarely been a more cogent instance of the value of the
•old proverb, "Amli tt/temm partem," than is afforded by the cases
of wrong we are now considering. We had i-ecently occasion to
call upon a professional photographer, and, when ushereil into his
presence, were asked to excuse any violent language he might
have been heard to use, for he was busy replying to advertise-
■inents, and much ruffled by tlie labour thrown upon him in
•i-onsequence of the unbusinesslike mode in which the applica-
cations were made. " Yet," said he, " let me but lose or mis-
send one single picture out of all this heap, and it will at once
become the most treasured property of its owner, and there
•will be a howl of indignation from one end of the country to the
other at the infamous way in which I am treating applicants
for a post."
There can be no doubt that the photographs sent in reply to
an advertisement, and the letters of application accompanying
(or belonging to) them were of the most unbusiness-like kind.
Beautiful photographs actually sent with no protection but a
Nsmall piece of cap-paper tied with a piece of string ; others
well tied, but guarded from the sorter's stamp by nothing
stronger than writing paper ; others suitably and sufflciently
'packed ; othei-s, again, with small and large pictures placed
higgledy-piggledy, and no guarding sheets between. A
business-like man would at once reject an untidily got-up
.application if one of equal merit were to hand in which every-
thing was neatly and securely put together. But, as this is
merely by the way, not forming part of our especial object in
writing, we pass on to the next point. Not only are pictures
insufficiently securely packed and tied up, they are actually
sent without any distinguishing mark inside, except perhaps a
piece of paper marked " Portrait of self" Seeing that every
one is a " self" at the time of writing, it is evident that some-
thing a little less vague would be desirable for identification.
In the instance we were referring to, the photograplier informed
us that ho actually had to guess by internal evidence whom
certain of the lots of portraits belonged to. The postmark is
not enough ; more than one may be writing from the same
town, and incontestably it is asking too much of the proprietor
of any large establishment that out of a score or two, or three,
or four applications he should be put in the position of teing
able to find the address or owner of a good proportion of the
photographs sent only by submitting them to a rigid scrutiny
and classification of postmarks, dates, handwriting, and so
forth. What wonder if now and then some employere, of not
over-gentle mien, do retaliate by pitching the unmarked
photographs into the waste-paper basket ! We do not uphold
him in such a mode of dealing with them ; we point out the
possibilities.
Now, as such remarks as these lose some of their value if
not made thoroughly practical, we offer the following advice to
any one replying to an advertisement involving specimens
being sent at the same time : —
Use some judgment as to the probabilities of the cisc, seeing
it is notorious that specimens have been withheld by tho
receivers.
Let the producer of the jiii-ture or retoiu-her who sends
samples of his work write his name legibly on every individual
print, doing ic on the face if he like, so as to avoid temptation
to use it by others for dishonest purposes.
Let the parcel be well packed and covered by strong lx)ard8
to protect it against stamping and damage in transit ; post
officials have no special regard to the contents of every indi-
vidual package that goes through their hands. Let a very
brief descriptive list accompany the prints, setting forth the
number and style of prints, and the fidl name and address of
their sender.
Do not send any original testimonial at the outset. Let the
outer wrappers be in good condition, and be legibly readdressed
(to tho owner on the inner page, so that, when the advertiser
returns the pictures to their various owners, the lea.st labour
may be involved). If it be assumed that an advertiser receives
a score of applications, any one who has any knowledge of such
things will say that, unless some such method as above
84
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 20, 1893
advised be adopted, a half-day's steady, continuous work will
be absorbed by cxiiminiug specimens finding out their
owners' addresses, packing up and addressing the parcels again,
not to speak of the possible courtesy of an accompanying
"declined with thanks."
Finally, we advise that stamps for reply and redespatch bo
enclosed; they are not essential, and some employers do not
look for it, but it is ftir safer.
In conclusion, wc feel justified in saying that, if such a method
of application here shadowed forth had been in general use, we
should have hoard less in time gone by of the robbery of speci-
mens by advertisers.
NOX-ALKALINE DEVELOPMENT.
Of late we have observed in foreign photographic journals more
han one communication implying that, for the development of
the photographic image on the hfiloids of silver in gelatine,
tmany organic bodies recently experimented with were available
which would answer the purpose when allied with an acid
instead of a free or fixed alkali. It is, therefore, with singular
opportuneness that we notice a paper contributed to the Pro-
ceedings of the Si>*-i<'tt- Fraw;aue de Pkofogrnpfiie a few days ago
by those indefatigable experimentalists, Messrs. A. it L. Lumiere,
which has a distinct and valuable hearing on the matter.
Messrs. Lumiere point out that, while hydroquinone, eiko-
nogen, and para-amidophenol, <tc., require to be used in an
alkaline solution, all organic developers are not to be similarly
classed, and they quote Captain Abney as noting that pyro-
gallol, with the addition of sulphite of soda acidified by hydro-
chloi-ic acid, or the acid bisulphite, will develop the latent
image, while acidified hydro(|uinone does not possess that pro-
perty. They recall the circumstance that they have already
alluded to the fact that, while, in general, organic substances
will not develop except in the alkaline state, in certain cases
they found that the image may be brought out by an acid
solution, and thoy now proceed to consider the relations which
exist between the chemical constitution of the latter bodies
and their property of developing either in neutral or acid solu-
tions, rightly assuming that, besides being of theoretical, the
subject is likely to be of great practical, interest, inasmuch as,
during periods of heat, the gelatine vehicle would be less liable
to attack by weak acid solutions than by those in which either
the free or fixed alkalies are employed.
Diphenols, diamenes, and amidophenols, having only two
hydroxyl or amide groups, do not. Messieurs Lumiere find,
fulfil the necessary conditions ; on the other hnnd, substances
having three groups of < • H. or N H.^, are suitable for develop-
ment in an acid state. Thus,
Ik",
I N h;.
' N H..
fOH fOH
pjrogallol C„ II , - OH; oxyhydroquinone C,; H,, -] 0 H
(<'H . (OH
,0H
and diamido-uaphthol C,|,H,
f OH
dianiidophenol C„ H.. - X H.. ; triamidophenol C,., H.,
(XH,
(OH
Anu,
(nu.
are suitable ; the molecule, however, should not contain the
acid group COOH, substances containing it requiring the
addition of a frpc or coustic alkali. The presence of C O 0 H
in gallic acid destroys in some cases its developing powers,
which Mes?rj. i.nmivre proved by ejecting in that group
methyl and ethyl substitutions when the resulting compounds,,
methyl gallate and ethyl gallate, were found to develop per-
fectly.
Amide groups N U., impart certain basic properties to the
molecules in which they are contained, so that the influence of
the acid COOH on the developing power of bodies containing
the amide is less energetic than in those containing hydroxyl,.
amidosalicylic acid, for example —
f COOH
C'„hJ OH
(nh,
developing with an alkaline carbonate, while pyrocatechic acid,
f COOH
C, H„ ] 0 H
(oh
requires a free alkali in order to reduce silver bromide. Hence-
Messrs. Lumiere allege that, in order to arrive at the develop-
ing energy of an organic substance, it is desirable to understand
not only the number and position of the hydroxyl aud amide
groups, but also the presence of the body, COOH, aud the
basic influence of the N H.^ groups.
Messrs. Lumiere conclude their paper by remarking that the
substances containing more than two substitutions of O H or
N H.2, and more especially those which already possess develop-
ing powers, and of which the molecule is free from the acid
grouping C 0 0 H, have a developing action either in neutrall
or acid solutions. Bodies so constituted, and which, besides,
would be freely soluble in water, would appear to them to be-
henceforth preferable to other agents on those grounds.
Although the foregoing resume of Messrs. I^umiere's con-
clusions may seem at first sight to possess interest only to the
chemist and the theorist, it points to some likelihood of the
introduction of acid and neutral organic compounds for develop-
ment, which may conceivably be of advantage to the photo-
grapher.
■ ♦
CHANGING BOXES VERSUS DARK SLIDES.
III.
Periiai's the best, as well as the simplest, application of the-
grooveless box system is one which, although not in the
market, has stood the test of a season's use in the hands of its
amateur maker, aud, combining as it does the best points of
the existing changing systems, may be worth description.
It consists of a plain grooveless box, which may be made to
carry any convenient number of either plates or film-carriers.
It is in the arrangement of the lid that the chief peculiarity
consists. Those who are acquainted with Hare's changing
box will be aware that as the sliding lid is moved from groove-
to groove the rigid top is followed up by a flexible portion,
which packs away in the interior, and gives play enough for
the slide to be passed over the full width of the box. In the-
arrangement to be described, this flexible portion is in dupli-
cate, the top of the box carrying the jaws being movable in^
either direction, and when closed the jaws are in the centre.
Immediately beneath the sliding top is a fixed under lid,,
covering the whole width of the box with the exception of a
narrow slot at each end, just wide enough for the passage of u
plate or iilmcarrier, as the case may be. When the box is
" closed," that is, when the jaws are in the centre, the slot in
the latter is effectually closed by the under lid ; but, when the
sliding top is moved as far as it will go in eithef direction, the
opening in the jaws comes over one or other of the slots in the
*:
e
"^llJIlMV-'IlH-'Iit I
SPECIMENS
OF
TYPE-HIGH
Printing Blocks
PRODUCED BY
SUTTON'S
Process Syndicate
Limited,
4, TOKENHOUSE BUILDINGS,
LONDON, E.G.
Bloc Ms avc uu-
touched by acid,
j^nancp ov hand, and
ai:c pinntcd on tlic
Cylinder hcftci:pi:ess
fHachinc.
licenses w'lU be
granted on peason-
able tepms. See
fldnentisemeni on
anotheiJ page.
7^
•i 4 f
i'fm
iw^f'a^*
.•*.;,' ^ST"
'■':&':' "[
7€^'"'>:*^:^
THE SUTTON'S PROCESS SYNDICATE, LIMITED.
January iO, ISO.'j]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
iir,
fixed lid, and commtinication is made with the interior. The
changing box is thus practically automatic in its opening. The
opening and closing of the slide is effected by means of a spring
back acting in a very similar manner to Hare's changing slide.
A catch is provided, by means of which tlie sliding lid is kept
secure in tlie various jjositions it has to occupy.
In use the box work.s precisely as we have already described.
One side is marked " out," the other " in." When a plate is
required for exposure the slide is inserted in the jaws, and the
sliding lid moved as far as it will go in the direction of " out,"
which is then in the uppermost position, and the top plate
■slides easily out of the box, the jaws of which are then closed.
After exposure the process is repeated, the " in " side of the
'box being then uppermost, and the exposed plate is returned
to the back of the stock.
To prevent the risk of re-exposing any of the plates, should
a miscount occur, a piece of thin wood or millboard, the same
size as the plates, but just too thick to pass through the slot,
is placed behind the last plate or carrier, so that when the
latter has been exposed the refusal of the " dummy " to pass
announces the fact that the stock is exhausted. In order to
guard against the possibility of a plate being taken out of or
returned by the wrong opening, each is provided with a thin
metal flap — which may or may not extend the whole length of
'the slot — which, held in position by a light spring, will open
by the weight of the plate or carrier in only one direction,
and these, being fixed in reverse position over the two openings,
•efifectually prevent the plates being passed through the wrong
■aperture.
Finally, if double carriers arc employed when the whole have
been exposed once, an extremely simple arrangement permits
the dark slide to be inserted in the jaws in the opposite direction
and the reverse siHes of the carriers can then be exposed. In this
■case, however, the safety flaps just mentioned must be removed
at the time the box is charged, and it will be needful to bear in
mind that the directions " out " and " in " bear an opposite
signification.
We had nearly omitted to point out that in employing double
carriers the dark slide must be filled with four separate back
springs bearing on the corners of the carrier, instead of tlie
usual central springs ; and, as these are as easily applied, it is
perhaps better to substitute them in all cases where thin metal
•caiTiers are used.
So simple' is this arrangement that there is absolutely nothing
to get out of order, and scarcely any room for making mistakes
if a systematic numbering of the double carriers — should such
be used — be adopted. It is equally adapted for glass plates
or films, but will no doubt prove most useful with the latter,
the box to carry fifty films in double carriers having a thickness
of little more than an inch and a half.
The film-carriers employed in this apparatus have also the
advantage of extreme simplicity and perfect efficiency, combined
-with lightness, cheapness, and the fact that they are within
■the power of construction of any one. They consist merely of
narrow strips, say a little over a quarter of an inch wide, of
■thin metal bent in the direction of their length, so as to form a
T section. Those are cut to the length of the longer side of
the film, or the direction in which it slides, and others about a
■quarter of an inch shorter than the other dimension. A
number of pieces of opaque paper — ordinary brown paper
answers perfectly — are cut the size of the films to be used, and
these, "sandwiched" lietween two sensitive films, are bound
together at the edges by the metal strips, forming one of the
cheapest, lightest, and l)est carriers we have seen, ^e films
lying perfectly flat, and being protected along all four edges.
'I'licy may, of course, l)e used as single cfirriers if desired, and
tliin metal or cardboard may be used instead of paper for tlie
opaque division if greater stiffness be wanted ; but the metal
edging forms a quite sufficiently rigid frame for all ordinary
purposes.
We have seen another changing arrangement, in which a
separate slide is dispensed with, or in which the slide itself
forms the receptacle for carrying the films. In outward ap-
pearance, it closely resembles the slide of Hare's changing box,
only thicker, and is provided with a changing bag attached to
a sliding plate that fits into the end when a film is to be
changed. AVhen this is necessary, the bag is slid into position,
and a spring catch is released, as in Hare's slide, which, how-
ever, opens li'.'o slots, out of one of which the exposed plate
emerges, to be seized by the operator's fingers ; and, after re-
versing the slide, it is reinserted at the back of the store, and
another surface comes into position for exposure. There are
numerous little details in the internal arrangements necessary
to the smooth working of the affair that would require diagrams
for their proper explanation ; but the general idea we have
given will enable any intelligent mechanician to construct sach
a changing slide.
We have described these forms of apparatus in the hope that
some of our manufacturers may be induced to take up, and
perhaps improve upon, the ideas, and thus supply the want of
a really portable arrangement for carrying large numbers (rf
cut films.
Pbotographers' Risks. — riiotogravhers frequently incur
great risks in the practice of tlieir art. Often they will jeopardise
their lives, sometimes unnecessarily, in positions that few would ven-
ture, in order to obtain a particular view or effect. Here is a ca.se in
point Last week two photographers were taking views in a cave at
Niagara Falls, when a huge icicle became detached and fell upoa
them, hurling them into a chasm below. After a time they werd
rescued and taken to the hospital. One is expected to recover. Of
the other no hopes were entertained. It is to be hoped this may
serve as a warning to over-venturesome enthusiasts in the art.
A Sis' Susiness.- It was stated in the evidence at the Tolke-
stone Police Court tlie other day, re the Treasury prosecution in the
"free portrait" swindle, that no less than eight clerks were employed
in the business. This can be understood when from two hundred to
tliree hundred letters were received daily. What do struggling
photographers think of that." It appears that the police found
nearly 2000 portraits on the premises. This represents the number
of disappointed individuals who expected to receive a two-guinea
picture for nothing. After the frequent exposure of the fraud dming
the past few years, some may be inclined to say " serve them right."
Sutton's Kalf-tone Process.— In the announcement pages
of our present issue will be found two examples of Mr. Henry
Sutton's half-tone process which our readers will remember we
described in the Jounx.VL for November 20, 1891, p. 737. In addition
to rapidity and cheapness of production, these cliches are of a nature
to admit of being printed with ordinary letterpress with fast-running
machinery, which should prove a considerable boon to conductors Of
illustrated periodicals and tliose requiring phototypic reproductions
expeditiou.sly and at a low cost. It will be observed that the results,
of which an excellent example is to be found in our Almanac,
compare favourably in their artistic qualities with half-tone pictures
obtained by other methods that have been employed for some tune
past.
36
THE BRITISH JOURNAL OF THOTOGRAPHY.
[January 20, 1893
Frozen Water Pipes. — In our last issue a correspondent
details his experience of the effect of the frost on a porcelain dish.
We fear, ere this, many of our readers have had a more costly one in
the shape of burst water pipes. It is somewhat surprising at this age
to find that the once popular idea, that the bursting of a frozen pipe
takes place at the thaw, still prevails with some persons. It would
be superfluous to tell our readers that the fracture occurs at the time
of freezing, although it does not make itself manifest until the thaw.
But it may be well to remind them that the fracture can always be
discovered, and the injury repaired, before a thaw sets in. When a
pipe is found to be frozen, it should be carefully examined throughout
its length, when the burst, if any, will be easily seen, or even felt.
If this were done, many annoying and costly floodings would be
avoided.
A False Alarm. — At the conclusion of the meeting of the
l^ondon and Provincial Photographic Association on Thursday,
January 12, Mr. J. G. Hudson gave a practical demonstration of his
Kolm magnesium flash-lamp, when several exposures were made by
Messrs. Teape and Freshwater. In the course of the demonstration
a considerable quantity of magnesium was used, so that a tolerably
large volume of smoke resulted. To allow of its escape, the windows
were opened, which, in conjunction with the unusually large and
brilliant flame of the lamp, so alarmed a civic policeman that he
blew his whistle, with the consequence that in a very few minutes
three or four fire-engines, together with a fire-escape and a crowd of
people, had assembled, under the impression that a conflagration had
broken out on the premises occupied by the Association. The inci-
dent caused much amusement among the members and no little
temporary alarm to the authorities of the hotel.
Strong' versus Feeble Iiig'iit. — There is a point in connexion
with the sensitiveness of different materials to light that just now it
may be well to direct the attention of experimentalifts to, particularly
those with the photo-mechanical methods. Some compounds are
relatively much more sensitive in a strong light than they are in a
■weak one — that is to say, a proportionately longer exposure in a
feeble light is not equivalent to a given one in a strong light.
Notably is this the case with bitumen, so largely used in " process
work," and bichromated gelatine in the other processes. With tl e
former, in a weak winter light, several days' exposure will not bring
about the same result that can be obtained in a few minutes in a
bright summer sunshine. The same also applies to bichromated
gelatine as used in collotype, photo-lithography, and other processes
— a longer exposure in a dull light does not secure the same re-
sult as that obtainable in a bright one. Most carbon printers, for
example, know that in a strong light the tissue is much more sensitive
than albumen paper, but in a weak one it is very much slower. Some-
times, when the light is exceptionally bad, double the exposure will be
required.
Recipes and Recipe Books. — One or more recipe books are
usually to be met with on the shelves of most photographers ; but, as
many have discovered to their cost, not a few of the recipes as given
are by no means to be relied upon, while some are nothing less than
impossibilities in practice. This remark applies not only to cheap
works, but also to the more expensive ones. The compilers of these
works have in many instances adopted formulas that have been handed
down from generation to generation in older works, sometimes with
printer.s' errors, without any kind of verification or comment. This
should not be the case, for nothing is more annoying than, after taking
every precaution to work strictly according to the recipe, that, in the
end, the thing is impracticable. In a technical work now before us are
six or seven different formula; for French polish, a material often
wanted by photographers. In these the proportion of resins to spirit
•vary from one ounce and a quarter to five ounces and a quarter to the
pint. In some only two resins or gums are given, in others there are
half a dozen, some of which are not even soluble in spirit — gum
arable, for example. It is not unusual in some books to find the
same material under different names given in the same recipe.
WILLIAM BEDFORD.
With a feeling of sorrow, which we are sure will be shared by all
our readers, we announce the death of Mr. A\ illiam Bedford.
For some time he had not enjoyed robust health, this having been
noted when, as President of the Bath meeting of the Photographic
Convention of the I'nited Kingdom, he so ably fulfilled the duties
then devolving upon him. Mr. Bedford was a man who was univer-
sally esteemed, and was foremost in every good work appertaining to
the welfare of photographers and the advancement of photography.
For several years he was the Chairman of the Council of the Photo-
graphers' Benevolent Association ; and with what honesty of purpose
and assiduity he threw himself into the work of ameliorating the
condition of his less fortunate brethren only those know who were
associated with him in this beneficent institution, from which no
worthy applicant for assistance has ever been sent away empty.
As a careful, pains-taking experimentalist Mr. Bedford had few
equals, and when in his own singularly modest way he expressed an
opinion on processes or methods based on his own investigations, it
was felt by those who listened to him, with that deference which
invariably attended his utterance, that they might be accepted as
conclusive.
He was an active member of several Societies, including the Photo-
graphic Society of Great Britain, of which he has for several years
been elected a member of the Council; the Photographic Club, of
which be was a Trustee ; the London and Provincial : an honorary
member of the North London Society ; and one of the active pro-
moters of the Affiliation Scheme in connexion with the P.S.G.B.
Individually, he was an artist of great merit, and frequently was
awarded medals at the higher class of exhibitions, the last being at
the recent Pall Mall Exhibition. He received his education in the
science of photography at King's College, the practical part being
acquired in the studios of his father, Mr. Francis Bedford, the eminent
landscape photographer who accompanied H.R.H. the Prince of
Wales on his Eastern tour many years ago. He died of t_vphoid fever
on Friday, January 13 last, aged forty-six years, and was buried at
Kensal Green Cemetery on Tuesday, the 17th instant, amongst those
assembled at the graveside to pay the last tribute of ret-pect to him
being several members of his family ; personal friends ; and employes,
and Messrs. F. A. Biidge, F. P. Cembrano, jun., Alex. Cowan, R.
Child-Bayley, W. E. Debenham, R. P. Dr.ag'e, A\'illiam England, E.
AV. Foxlee, H. M. Hastings, II. R. Hume, Alexander Mackie, E. W.
Parfitt, John Spiller, J. Traill Taylor, G. W. Tottem, Horace
Wilmer, &c.
The large circle of friends William Bedford had made and re-
tained ensures wide sympathy for his wife and son, and for his aged
and esteemed father, Mr. Francis Bedford, in their afliiction. He
will long be remembered for those amiable gifts of character which
endeared him to so many, for it is safe to saj" that seldom in one man
was there concentrated so much kindliness of disposition, courtes}-,
warm-heartedness and generosity, allied with those admirable qualities
of mind which elicited the respect as well as the affection of his
numerous acquaintances.
Our portrait, which was the last one taken of him, was reproduced
for us by Messrs. B. Dellagana & Co. of Shoe-lane, at short notice.
Art Reproductions. — Seeing the extensive sale that photo
graphic copies of some of the pictures in Continental galleries, aud
modern Continental paintings, command in this country, one is natu-
rally led to speculate as to whether reproductions of the works i
English galleries, as well as British modern works^ would not meet
with a similar sale if they were forthcoming. Of course we mean h.
the sizes and at the prices that the foreign productions are to be
obtained here. It is often said that the British public gener.illy dv'
not care for art, but this, to an extent, is disproved by tiie tact of xim
large business done in the foreign copies. English publishtrs di not
apparently care to issue reproductions of paintings in which tiio^ are
interested in anything but large sizes and at high prices, and in tn
they are generally supported by the artists. Foreign publishers, o-a
January 20, 1803]
THE mUTISH JOURNAL OF I'lIOTOUUAi'IIY.
[Supplemeot
WILLIAM BEDFORD.
Died January 13, 1893.
January 20, 1893]
THE BUITISH JOURNAL OF PHOTOGKAPHY.
37
tho contrary, issue several sizes, from cabinet upwards, printed in
silver and carbon as well as collotype, and at pojiular prices.
These pictures are available for either albums or folios, ■wi)ereft8 the
expensive Knglish reproductions are only suitable for framinj^. In
connexion with tliis topic wo are given to understand by print
dealers that the copyriglit in tlie popular Oeriiian picture, 'Aa jl/ot7.-
Ti/rolese' h&a (iroved one of the most profitable of late years. Copies
of all sizes and by all processes have, for some years past, met with
an exten.sive sale, not only in England and the Continent but also in
America.
STUDIO IIE.VTING.
Ocn BSteemeJ Editor, knowing I have had considerable actual
exjierience in this subject, and having asked me to give my views upon
it for the benefit of any reader of the Journal who may be contem-
plating adopting some one or other of the many methods recommended
by persons interested or otherwise, I will do my best to carry out h'n
wishes. So many studios being connected with dwelling-houses, it
is natural that first thoughts would turn to tho open fireplace, and I
may say at once that T share the Briton's prejudice in favour of a
good, hot, coal-fire ; but it has certain disadvantages that render it at
times the very worst heating medium possible. There are few
chimneys which do not occasionally "smoke;" that is to say, the smolie,
instead, of ascending the nice channel made for it, occasionally comes,
instead in putTs into the rooms. This is annoying enough in a living
room, but in a studio it simply means cessation of worl; for a long period
afterwards : for it is difficult enough at this time of the year in the be'st
weather to obtain a sufficiently clear atmosphere to enable one to take
good portraits when the camera is any distance from the sitter, as for
half or full-lengths. It is within the at&ik to say that, with a slightly
foggy air to start with, no good negatives can be taken for an hour
or two after one whiff of smoke, be it ever so slight, has come
into the room. ' Hence, unless the chimney is known to behave
perfectly — and bow few have such a good reputation ?— it will be
better to eschew open fireplaces. Of course, if the draught be con-
fined by restricting the open area of the grate by sheet-iron " blowers,'
or otherwise, there will be less danger of smoke. I have employed
this plan witli a very small fireplace, which I had specially lined with
fire-brick, after finding the ordinary brick burnt out with a few weeks
use. ]5y using a blower coke can also be conveniently employed,
which reduces risks of smoke to a minimum. There is always, how-
ever, the danger of the " boy " — ubiquitous when mischief can be
done — exercising the usual carelessness when lighting the fire. One
further reminder, and we may consider another aspect of the subject
With open fires, even with perfect chimneys, there is always danger of
smoke being blown down by the wafting of a lady's dress or similar
cause. Those only wlio have experienced the ill effect of a slight
amount of smoke in the air of the studio have any idea of the miseries
it causes.
Far better are closed stoves, of which there is an infinite variety to
choose from ; but a good-sized slow-combustion stove, if room can be
found for it, or a couple of them if the studio be a long one, is a very
efiicient mode of warming a studio. Their drawback is the unsightly
flue or stove pipe needed for carrying off the products of combustion,
though in this respect the makers are very accommodating, and now-
adays construct them so as to reduce this disfigurement to a minimum
by carrying the pipe downwards. This, however, implies a chimney
near at hand to lead these portable flues into, and they also need a
good draught, or the stove will not work. Further, there must not
be lost sight of the pleasures of taking the pipes down periodically
for cleaning, with the attendant dust, and dirt, and soot particles.
When 1 had one of these in use, it was generally discovered that the
flue wanted cleaning just when taking down the pipes would produce
the utmost possible upset and inconvenience.
I have had personal experience of the building, in various places, of
not much under a dozen studios, and if I built that number again
I candidly say that I .should be thoroughly averse to any method of
heating that involved the slightest possibility of the entrance of smoke
into any room where a portrait would have to be taken. It is very
probable that throughout the country many a negative is produced
with foggy characteristics all owing to the presence of smoky air, so
slight as not to be noticed by tho inexperienced, and for which de-
fects the unfortunate plate-maker is blamed.
These smoke troubles are by no means confined to the fuliginous
particles that escape from fires in tho studio, for, if there be an open
tire in adjacent dressing-rooms, any smoke wafts entering them will
inevitably result in the ultimate contamination of the .studio air.
Indeed, one of the defects of studios situated over dwelling-houses is
tlie liability to the entry of smoke from any room from basement to
attic in which a fire is burning.
Witli the knowledge of all these possible defects, gained by painful
experience, I advocate most strongly a system of heating by hot
water. I built a very large studio more than twenty years ago and
heated it in this way, and when, after seven or eight years' occupa-
tion, I left the premises I had the very same apparatus removed and
set up in my next studio. They are in use now, apparently as good
as the day they were first put in, and, I think, do not cost any more
than — if as much as— I should have to pay with open fireplace.';. The
heat is produced in a brick furnace in the cellar, and the pipes traverse
the studio, tlie dark room, a dressing-room, and my office, and there
is never any complaint; sitters often say, "How comfortable the
studio feels — just like a sitting-ro»m.'" This is high praise, for one
most important matter in professional portraiture is attending to the
physical comfort of the sitters. Whatever the cost, it is money well
laid out.
Every one, of course, will have his own preferences as to the par-
ticular kind of hot-water apparatus to employ. The one referred to
is on wliat is known as the high-pressure system. Tlie pipes are of
narrow bore, the external diameter is only an inch and a half; there
is no boiler, no safety valve, no water reservoir, all is self contained,
and the last addition of water was about a wineglassful after over two
months' constant use. The pipes for the high-pressure system are
made of wrought iron, and so instead of the utisightly pipes of the
more familiar liiiid occupying space and pulling premise.* to pieces
when they are put into a series of rooms in a building already erected,
there are merely these narrow tubes invisible in comparison with the
others, which can be carried through room after room and requiring
little more wall piercing than could be done with a good-sized auger.
I should like to say before concluding my remarks upon this branch
of the subject that there is much to he gained by keeping the water hot
night and day. In my own premises the tires are never allowed to go
out during the winter ; the furnace was lighted early last autumn, and,
except for a few minutes occasionally while the slags are being laked
out, has been burning ever since. The fire is banked upatnight,and neit
morning is still alight,and studio, dark room, and dressing-r^iom ar»
at a most pleasant temperature however early work begins in the
morning. What this means will be well understood by operators and
others who, during such weather as we have lately experienced, come
to cold rooms first thing and have to wait some hours before there is
any real comfort.
I will conclude my remarks by reference to gas stoves, which are
highly approved of by many. There cannot ))e two opinions as to
their convenience, and, if sufficiently large, and supplied with gas
through-pipes of large enough bore — a very unusual thing — they
are efiicient. They are also rather expensive when used at full
power for large studios, there being usually such a considerable
amount of ventilation, or air change, through the glass rccrf and
otherwise. My own experience of this form of heating has been con-
fined to dressing-rooms of late years. I have one of Fletcher's in use
for that purpose, which can be turned on and off just as required,
and thus is decidedly economical, and free from possibilities of my
/lete noire— smoke. It may be well to point out that the manufacturer
named makes three types of gas fires, in which the incandescent
materials are respectively asbestos fibres, hollow fire-clay balls, and
corrugated iron, tlieir economy of gas being most with the last named,
and least with tho first. There is, however, with the asbestos pattern
power to turn the gas down — when full power is not needed — to »
much greater extent than the others. In them, if the gas be turned
too low, the flame passes down to the inner jet. and then lights, like
a Bunsen with too much air supply. When that happens no value
is obtained from the gas, and, what is still miire important, this jet
becomes coated with soot, the supply of gas is lessened, and it this
lighting down be not noticed and continue for some hours, tho
THE BRITISH JOURNAL OF PHOTOGRAPHS
[January 20, 1893
choking up of the jets is so great, and the efflux of gas so reduced,
that it is with the utmost difficulty that when next required for use
the burner can be lighted properly— the flame will shoot down and
tery little heat is obtained. I allude to this owing to my liaving seen
^as fires in this condition ; it was only a week or two ago that I
■was in a professional friend's studio whose burner was in the condition
I describe without his being aware of the fact.
In concluding my brief survey, I can only say I hope some of my
readers may gather useful hints from it; and, if I can throw light on
any obscure point, I shall be happy to supplement it by details of
personal experiences. G. Watmough Wbbstbk.
AMERICAN NOTES AND NEWS.
The Social Status of Photoeraphers.— In the Canadian
Photo(/i-ajihic Jnurnal, Mr. John Clarke recommends his brethren to
adopt carbon and platinum printing, in order to impart variety to the
contents of their reception-rooms, and bring them pecuniary success.
He adds : " But the exhibition and judicious introduction of such
pictures will do more, it will help to raise the tone of the establish-
ment in which they are produced, probably a more valuable thing.
It will be admitted, and it is true whether admitted or not, that
photographers do not as a rule enjoy the social status to which they
are entitled — are not, socially, on the plane of, say, the doctor, the
llawyer, or the clergyman. It is true that a few who are commercially
Successful enjoy the social position that is an attendant on weal'h
however produced, but the great bulk of the fraternity are, in pull
estimation, merely photographers. Much has been written about the
status of photography, but photography itself is all right enough ;
it is the status of the photographer that needs raising, and anything
that will act as a lever in that direction should be regarded with
favour." The social status of English pliotographers, according to the
foregoing reasoning, is higher than that of their Canadian confi-crcs,
inasmuch as here platinum, carbon, and other methods of printing
only slightly in favour in America are largel}' practised. By the
way, is not Mr. Clarke somewhat rash in assuming that platinum
paper — or, indeed, any sensitive paper — will keep " indefinitely ? "
Semedies for Over and TTnder-prlnting:.— A method
of treating prints which have been over or under-printed has been
recently devised by Mr. J. liuntly, says Antkont/'s Bulletin. Those
that have been over-printed are toned and fixed in the usual manner,
and then immersed in a dilute solutiom of cyanide of potassium until
reduced to the desired shade, when they receive a thorough washing
ib running water. Under-printed proofs are developed with hydro-
quinone in the same manner as a negative, and then finished in the
ordinary way. The results obtained are said to be excellent, and we
would advise our readers to make the experiment.
A " Mew " Ceramic Process. — According to the same
journal, Mr. Geo. G. Rockwood, of New York, has recently invented
a method for burning in photographs on glass which bids fair to
become a very important one. " It is based on the property that
gelatine possesses of becoming insoluble when exposed to light in the
presence of a bichromate salt. Indestructible pigments are combined
with the gelatine, and remain upon the glass after treatment with
warm water, wherever it has been affectad by the light, as, for
instance, exposure under a negative. When dry, the glass is fluxed
and placed in a kiln, and the pigments melted into its surface."
Anti-halation Plates.— Plates spti-ally coated to avoid
haktion in interior work are being introduced by American manu-
facturers of dry plates. ' The .M. A. Seed Plate Company have, it is
Said, such a plate on the market, and the Wuestner Eagle Dry Pkte
Company are also preparing a similar plate. On behalf of English
plate-makers we here take leave to acknowledge the delicate compli-
ment paid to them by our American friends in fallowing the former's
lead.
A Coin-controlled Stereoscope. — A patent (in the
United States) has recently been taken out for a "Coin-controlled
Stereoscope." The claims relate to the special construction and
arrangement of parts for uncovering the object-glass, bringing the
views into position, &c. Electricity, in conjunction with clock-work,
is utilised as the motive power.
A Oivided Interest. — " Watchman " in the Beacon writes :
" 1 learn from WiUoiis Mac/aziue that one of its subscriberi has lono-
divided his attention between photography and grape-culture. I
have known many who divided theirs between photography and
the fruit of the vine, and my observation has led me to believe
that, attractive as photography is, the grape, especially when it has
been corn or rye, sooner or later ousted his colleague." Not always,
we hope and believe, good " Watchman."
"A Useful Dodg:e for Aristotype Printers."— Mr. J. H.
Reuvers, in the Pliatoyraphic Timex Annual for 189."), says : " Users of
aristotype paper very often are annoyed in their printing by having
some of the paper stick to the negative. If not successfully removed,
an entire negative may thus be ruined. I have hit upon a dodge
which removes the difficulty completely without injuring, the nega-
tive in the slightest. Immerse the negative which has thus been
marred in a hvpo solution, and leave it there until the brown spots
or streaks caused by the paper have entireh- disappeared. Then
remove the negative from the hypo bath and wash thoroughly by
aying the negative in clean water, changing the water frequently.
Do not allow the water to run on the negative, ns it would remove
the retouching. When the hypo has been removed from the plate by
washing, remove the negative from the water bath and set it up to
dry in the usual manner. If the process is accomplished with care,
the negative will dry as perfectly as if nothing had happened, aud
the retouching even will not be marred." This reads like a very
simple method of removing silver stains from negatives. Perhaps
some of our professional friends will try and report upon it.
NOTES ON SILVER.
[American Journal of Science.]
Action of Ammonia. — Aqueous ammonia is supposed to be without
action on normal silver, but this is not so ; under favourable conditions,
silver is gradually taken up by this solvent.
The first experiments were made with silver reduced from the
nitrate by the action of sodium hydroxide and milk sugar. The silver
was very carefully purified from any possible trace of oxide. Placed
in contact with ammonia for a few hours, silver was taken up. Its
presence could be recognised either by ammonium sulphide, or by
adding a drop or two of hydrochloricacid, and then supersaturating
with dilute sulphuric acid ; a dense cloud of silver chloride forms,
and this result can be obtained any number of times in succession by
acting with ammonia on the same portion of silver.
A similar reaction was obtained with silver reduced from chloride
by cadmium and hydrochloric acid, removing afterwards all traces of
cadmium. Silver reduced in this way is liable to contain trace's of
chloride. These were removed by covering the silver with strong
ammonia, letting it stand over night, and thoroughly washing out.
This was repeated five times. From this silver, ammonia by twenty-
four hours' contact always took up enough to give a dense white
cloud when treated as above.
Portions of solutions obtained in the last-mentioned manner were
evaporated to dryne.ss over the water bath, and left brownish-black
films. These were non-explosive, and therefore did not consist of
silveramine; they yielded a large proportion of silver to acetic acid,
leaving behind a little metallic silver. The ammonia, therefore, does
not dissolve the silver as metal, but as oxide. The presence of a little
metallic silver in the residue left by evaporation wa^ probably due
to slight traces of oxidable organic matter contained in the ammonia.
This opinion was confirmed by the fact that the solution, when
heated, acquired a transparent red colour.
It appears, therefore, that, in the presence of ammonia, silver has
a tendency to oxidise, for when the silver was plar-ed in a vial with
an air-ticrht fitting stopper, fiUing it about half full, and was then
completely filled with liquid ammonia and tightlv closed, it was
found that in twenty-four hours a mere trace of "silver was taken
January 20, 18931
THE BiUTISH JOURNAL OF, PHOTOGRAPH if.
80
lip. Oil tliu otJiflr hand, whon the silver was plnced in a flat
Imsin and murely inoistiMied with amiiiDnia, moro silver was
taken up in five minutes than in the preceding' case in twenty-four
hours.
This act ion of ammonia in proraotinpr oxidation recalls its behaviour
with cobaltou.s salts and with copper. It is probably the only case
in which silver is oxidised (at ordinary temperature) by atmospheric
oxygen.
Action nf IHMc Siilplmrw Acid. — It is jronerally held that silver
is insoluble in cold dilute sulphuric acid. Almost any form of silver,
provided it is finely divided, is slijfhtly soluble in sulphuric acid
diluted with four or five times its bulk of v/atcr. With more dilute
acid, different varieties of silver net very differently. The most easily
attacked is that which is obtained by reducing' the o.tide with alkaline
hydroxide and milk sugar; from this a distinct trace is dissolved by
sulphuric acid, diluted with 1(H) times its bulk of water. From silver
reduced from the chloride by cadmium, this very dilute acid takes up
nothing.
Xitric Ill-ill. sp. gr. 1'40, diluted to ten volumes, and allowed to
stand for an hour with finely divided silver, took up an extremely
faint trace.
HyihiH'Moiic iiriil, sp. gr. 1'20, was totally without action. The
silver, after being well boiled with water to remove every trace of
acid, dissolves completely in nitric acid.
Acetic mid has no action upon metallic silver.
\"AmoPs KEA.crio.vs of Normal Sii.veu.
Normal metallic silver, even in a state of very fine division, does
not abstract the .slighte.st irace of nitric acid from perfectly neutral
cnpric nitrate obtained by acting on pure cupric sulphate with barium
nitrate. After fifteen hour.i of contact, not a trace of silver had been
dissolved.
But silver easily reduces cupric chloride with formation of purple
photochloride. If the copper salt is present in slight excess, the
silver is so thoroughly acted upon that nitric acid does not extract a
trace of it from the purple photochloride.
Metallic mercury instantly reduces silver nitrate, but metallic silver
takes chlorine from corrosive sublimate, The precipitate contains
calomel and blackens with ammonia.
Silver in fine division slowly reduces a neutral solution of potas-
sium permanganate.
Silver nitrate, as is well known, is deduced by ferrous sulpliate or
ammcmia ferrous sulphate, the iron at the same time becoming per-
oxidi.sed and the silver assuming the grey metallic form. On the
other hand, silver powder rapidly reduces a netural solution of
ferric sulphate. A solution of iron alum readily dissolves metallic
silver without the aid of heat ;* in a few seconds the solution strikes
a blue colour with potassium ferricyanide, and if the iron alum is in
excess the whole of the silver is di.ssolved. It has been before
noticed that the reactions between silver salts on the one hand and
iron salts on the other are to some extent reversible : the obser-
vations just described place the matter in a somewhat clearer
light. AVith a view of itscertaining whether ferrous sulphate
could be completely oxidised by argentic oxide, a portion of the
ferrous i-i>lution was treated with successive portions of tho oxide
until the latter was no longer affected by it. Hut when this stage
was reached the .solution no longer contained a trace of iron, the
whole of it had entered into combination with the silver. This com-
bination is perfectlv black, and m:i3' probably have consisted of the
compound described by II. Itose as AgjO, 2FeO Fe.^O^, and obtained
in the same way.
When ammonia iron alum is placed in contact with finely divided
silver in considerable excess in a tightly closed vial, the solution, after
a few days' standing, with frequent shaking acquires a deep red
colour. This may last for a week or more. The solution then de-
colourises, and becomes greenish, but still contains abundance of ferric
salt. Thus it appears that, although silver has a powerful reducing
action on ferric salts, the action is self-limited, and ceases long before
complete reduction is effected, for, after many weeks' contaet in a
closed vial, there are abundant indications of the presence of ferric
salt, although silver has been present in large excess.
M. Cabei Lba.
ESTIMATION OP OXYGEN.
I_l,<»udon autl Provincial Photoffraphic Association.]
I.v bringina; before you such an out-of-the-way subject as the
estimation of oxygon, we are chiefly influenced by the hope that it
* Tliestiitemeut in the new En-yclopldk ('himi-iiie that heat is rei|uired and
that the metal separates again on cooling (tome iii., cahier 15; p. 248) apiiears
to be incorrect.
may be of .some use to the largo section of photographers who
practiso lantern work, and who use oxygen compreM.secl in cylinder*.
Tint this oxygen may be of more than doubtful purity, -was poiotetl
out recently by Mr. Ilopworth in a li-tter to Xature, and who had
obtained results showing from .'5 to •t-'i per cent, of impurity, which
has also lieen the experience of one of us. We need hardly point out
that not only has tho amount of impurity present in oxygen a verv
bad effect on tho light given out— when used for producing tho lime-
light— by coohng the flame, but also on tho pocket of the lantemist,
by his having to use more gas than he would otherwise have to do if
the osygen were pure.
VaHIOUS Wa-JTS of ESTIMATIJfO OxYGEN.
To estimate oxygen very accurately, complex apparatus such no
Bunsen's, or modifications thereof, in which mercury is the trapping
fluid, must bt) used, but for ordinary purposes llempel's, or some
such apparatu.s, in which water is the trapping fluid, may be em-
ployed.
The estimation of oxygen in a mixture may be carried ont in
several ways, of which the two most important are, finit, by mixinpr
the gas to be analysed with an excess of hydrogen, exploding the
mixture hy means of a spark from an induction coil, and measuring
the decrease in volume. One-thir'l of the contraction, due to the
combination of the oxygen with the hydrogen, will be the volume of
oxygen present in the original gas. Second, by bringing the gas to
be tested into contact with a solution of pyrogallic acid and caustic
potash, and noting the decrease in volume which occurs. Tlie
diminution in volume gives the amount of oxygen present in the
original mixture, and the unabsorbed part the diluent.
W^e have chosen the latter method as being tho most convenient
and easy of manipulation, and it possesses the advantage that both
pyro and caustic potash are well known to, and most probably on the
shelves of all practical nhotographers.
We have bought a Hempel's apparatus to show how oxygen would
be analysed in a chemical lahorat iry if the greatest accuracy were not
needed, and also a modiScation dttsigned for the use of lanternists.
The IIempki. Method.
The Ilempel consists of two parts — the one the measuring apparatus,
and the other the absorption bulbs. The former coa.-ists simply of
two glass tubes about three-quarters of an inch in diameter aod
eighteen inches long, connected together at their lower ends by india-
rubber tubing. One tube is open at the top, and the otiier is closed
by a glass stopcock and gradua'ed. To start an analysis, tho
graduated tube is filled completely ivith water ; whju conne.xion has
been made with a supply of gas, tlii stopcock is opened, and as much
gas as necessary is introduced ; tli i communication is then cut off,
and the level is made the same in both tubes and the volume read.
The object of making the level of the water in both the s.ime is to
avoid reducing to constant pressure. The graduated tube is then
connected by means of capillary tubes to the absorption apparatus,
which consists of two bulbs, joined together, one terminating in a
capillary I' tube. The bulb nearest the graduated tube, is filled
with a solution of pyro and caustic potash in water. All th^
capillary connecting tubes and indiarubber tubes must, be filled with
water in order to eliminate errors. The following is the best propor-*
tion of pyro and caustic potash for the absorbing solution : —
Pyro 1 ounce.
Caustic potash 24 ounces.
Water 20 „
The gas under analysis,. after Ij.'ing passed into tho bulb, is brought
into intimate and renewed contact with the alkaline pyro by constant
shaking, three to five minutes being generally sulRiuent. Tho gas is
then dr.iwn back into the burette, and again measured as before ; the
decrease in volume represents the amount of oxygen in the gas. In
order to make sure that no oxygen is left unabsorbed, it is again
passed into the pipette, and if there is no decrease in volume on again,
measuring, the analysis is complete.
.■\. Stmi'le Plan of Estimation.
The other piece of apparatus we have here is of very simple con-
struction, and could be procured at a small cost; or, if you have
practised gla^s-blowing from the practical lessons given you by one
of us, j'ou could easily make it for yourselves. It consists of a tube,
three-quarters of an inch in diameter, eighteen to twenty inches long,
and drawn out at each end. To each end is attached a short length
of indiarubber tubing, provided with a pinchcnck. Beyond the lower
pinchcock is another piece of glass tubing, which enables the tube of
large diameter to be connected to a funnel, or other containing vessel,
by means of indiarubber tubing of suitable size.
In order to use it, the tube is first cooipletely filled with water
40
THE BRITISH JOURNAL OF PHOTOGRAPHY,
[January 20, 1893
Connexion is then made with the vessel containing the gas to be
analysed. Both pinchcocks are pressed, the one to allow the gas to
enter, and the other to allow the water to escape. The lower end
might, with advantage, be plunged into a tumbler or beaker full of
■water- As soon as the tube is full of gas, both pinchcocks are allowed
to close the tubes, and the supply of gas disconnected. The funnel,
or other convenient vessel containing the supply of pyro solution, is
now, by means of the indiarubber tubing, connected, making sure
that the tubing is completely filled with liquid. The bottom pinch-
cock is now opened, and if the reservoir of pyro be raised, a sufficient
pressure will be obtained to force some of the pyro solution into the
tube containing the gas to be tested. At once absorption of oxygen
will commence ; and, in order to facilitate this by increasing the
surface of the liquid, the tube may be tilted or shaken, the pinchcock
being opened occasionally in order to prevent too great a reduction of
pressure inside, and thus cause a probable leakage of air into the
apparatus, but this danger can be removed if the indiarubber tubing
is wired on. AVhen the absorption is complete, place the vessel of
pyro, with the pinchcock open, so that the level of the liquid is the
same in both tube and reservoir.
The tube must either have been graduated before, or, if only a few
measurements are to be made, and the operator does not care to go to
that trouble, the volume of the tube can be ascertained by completely
filling it and measuring the contents in an ordinarj* graduated measure,
then turn the tube upside down and till with water up to the mark
occupied by the unabsorbed gas.
The percentage of diluent can be easily obtained by dividing the
Volum« of the residue in drachms or cubic centimetres by the original
Tolume and multiplying by 100. Thus, suppose the volume of the
unabsorbed gas to be 1" drachms or c.c, and the volume of gas
operated on ^0 drachms tir c.c, then the percentage of diluent will
be il X 100 = 1700 -^ 80 = 21 -So.
There are one or two precautions to be observed in using pyro and
potash. First, it is no use to try and absorb oxygen with a weak
Molution of pyro ; it must be about the strength given above. Secondly,
it must not be used too often, or left exposed to the atmosphere, as
after a time it begins to give otT carbon monoxide, which would
teriously vitiate the result of the analysis.
Rr.SOLTS OF A.VALYSES.
Hie results of the analyses of various samples of oxygen, which
faave been obtained during the last fortnight are as follows : —
N°;„ 0°;
No. 1 15o 84 5°1
No. 2 39-4 .... 60-0 |
No. 3 . . . . -IS'l .... .j6 9 J> Same maker at ditTerent times.
No. 4 4^1-8 •■;6-2 I
No. ."J 2r>-4 74-6 J
No. C 7'0 93-0 Another maker.
7\o. 7 3-8 96-2 Made from chlorate and M.,0., at
RN.C. for limelight.
In conclusion, we hope that every one who uses a limelight, for
whatever purpose it may be, will, if he wishes the light to be at its
Tiesfc and constant, take the small amount of trouble that is necessary
in order to master the few details, so as to enable him to test the gas
«ent in, and, if it should contain more than a certain percentage of
diluent, either return the gas as unsatisfactory or demand a reduction
in the price, as, under these circumstances, not only is the article
supplied bad, but apt to cause the user to acquire a bad reputation,
which i« of far greater importance than the cost of the gas.
We trust that the time will soon come when makers will guarantee
that tbe percentage of purity is between certain limits, and then, if it
is not, a remedy can be easily obtained. Salts of the precious metals
are usually guaranteed of a certain percentage of purity, and, if any
one took the trouble to analyse them, and found tliey were not so,
we think he would be perfectly justified in seeking redress in a law-
court. To issue as oxygen a mixture of air an4 oxygen, so that it
eonUiiB thirty or forty per cent, of an inert and flame-cooling gas, is
no better than the act of a publican who adds water to his beer and
dilates hi^ whisky below what is allowed by Act of Parliament, and
«ells them as unadulterated. The one is certainly as much of a fraud
OK is the other- F. B. Geu.ndy and A. Haddon.
DISHES AND TRAYS.
It is not an impossible task, the repair of a broken porcelain dish ;
It mu.st he a small one indeed that is not worth the trouble. A
careless operator broke clean off one corner, the spout of course,
of a 24x20 dish; this was very satisfactorily repaired with
" coa^ulme." The parts should be carefully cleansed and hot, the
hot cement applied to the edges, the latter then brought together, and
while so held a second pair of hands may attach strips of gummed
paper along the line of fracture ; the paper, contracting as it dries, holds
the piece very firmly at the most critical period, iJurm;/ the drying nj
the cement. To make the repair more certain and reliable and to
prevent a mishap during use, the outside of the dish was at this corner
taking in a good four inches outside the breakage, covered with a
piece of stout linen, the same being applied with a strong solution of
shellac in methylated spirit. The dish has, since this repair was
effected, gone through some eight years of use.
For a breakage right across I should still use coaguline carefully,
applied hot, the edges to be held with gummed paper. By the time
union is considered perfect we can consider what best to do to make
assurance doubly sure. If the dish were lo x 12 or so, I should apply
broad tape saturated with the shellac over the outside bottom and
sides of the dish, putting it on in the •■ame way as upholsterers affix
the broad tapes to the seats of chairs, then all round outside, covering
the endf of the cross pieces with a long strip of tape. I rather think
this would hold the thing together. If prefen-ed, we can, after
cementing the pieces and bringing them together and drying, get
made a shallow wooden tray, well put together at the corners, and
big enough to hold the tray with a space of half an inch or so all
round. Give it a good coating of the shellac varnish, and, when this
is dry, mix plaster of Paris to a creamy consistence with water, adding
the plaster to the water. As this stuff sets very quickly, we must
make a rough estimate of the quantity required in order not to run
short. The creamy plaster is run into the wooden tray, which it
should cover to the depth of at least an inch ; now lower the dish
into the tray, one side or end a little in advance of the other, and, if
enough of plaster has been mixed, the sides and ends will be comfort-
ably filled, any excess running over, the plaster to be nicely bevelled
off, and the whole allowed to set and get thoroughly hard. When
quite set (and if made hot) it will be well to apply a good coating of
the shellac varnish ; the plaster, if dry, will absorb a good lot of this,
and will be all the better for it.
On one occasion, while repairing a rather small dish in this way, I
well soaped the bottom of the di<h before dipping, so that, when quite
set and hard, tlie dish was readily removed trora the plaster bed ; this
latter was then well dried, and received three coatings of shellac
varnish, and it made a very useful dish.
I have for some time now used almost exclusively wooden trays,
three of which, measuring re.^^iectively 20 x 16, 22 x 18, 24 x 20, cost
ItJs., well made, dovetailed, and screwed. I gave them three coats
each inside and out of the shellac xarnish, and finally the insides re-
ceived two coats of enamel paint, bath enamel preferred. They are
carefully sponged out after use, and wiped with a damp leather.
They are light, easy, and comfortable to handle, take up little space,
and are likely to last for years. J. Pike.
WINTER PHOTOGRAPHY.
Many of our amateurs (says Anthony'-^ Bulletin) lay aside camera
and tripod with the advent of the winter months, confining them-
selves to lantern work, bromide printing, enlargine, and the vari(iu8
other especially winter branches of the art. To these we would say.
You are making a mistake ; you are closing your eyes to Nature in
some of her grandest forms ; keen winds. Jack Frost, and even snow
and ice, are well worth facing for the prizes that she offers at this
time of the year.
When the leaves first begin to turn, and the green still predominates
— enlivened here and there with a patch of yellow or I'ed, or with
edges just tinted, make an exposure, and see the increase of detail in
the foliage that the picture will show. Are you near the water, where
the rich warm browns of the sedge stand out in strong contrast to the
still green foliage and grass !•' It is at these times more than ever that
we long for the photographic millennium, a true reproduction of
colour, obtainable with the same ease its the present monochrome
results.
At this season of the year are visible huge banks of fleecy and
ominous-looking clouds, infrequent at other times. Just before sunset
these cloud effects are particularly fine, masses of brilliant colours,
light and shade, that produce most desirable cloud negatives for
printing in with such pictures as need it, and there are few that can-
not be improved by treatment in this way.
There is a treatment of ground^ known to landscape gardeners aft
" platiting for winter effect " or " winter landscape " It consists in
breaking tlie sky line or foreground with a judicious mixture of ever-
green and deciduous trees. A landscape properly selected to produce
an effect of this kind in the picture will be found" a task worthy of the
January -20, lf:03]
THE BUITISH JOLKNAL OF I'HOTOORAPliy.
41
«kill of the artist. Hold, henvy mnsscs of li^fht and shade may in this
■way be utilised, while the delicate tnvcinp of the leafless branches
against the sky serves to remove what uiij^ht otherwise prove too
sombre an eflfect. Allow the white trunk of a silver birch to stand
out sharply against some dark object in the background, while its
upper l)ranchea are changed to dark slender threads against the high
light of the sky.
1 1 lias fallen to the lot of many of us after a heavy snowfall to try
an exposure, tempted by the gfistening drops and icicles, tiie bright
Bunliglit retlecteil with dazzling brightness from the Miow-covered
ground, and the trees overladen and bending far down under the
■weight of tlibir buiden. The first time we watt witli impatience for
the negative, but wliat a disappointment the first print brings us.
" Nothing, with a few black sjiecks floating aimles.«ly around in it,"
■was a disgusted verdict once rendered by a disappointed worker, and
one which seemed to describe the result remarkably well. I'nfortu-
natelv, this is too often the case, and yet there is no good rea-son why
it should be. IJ-meniber, that in a composition of any kind balance
is needed and conditions must be carefully considered. It is unreason-
able to e.xpect that detail in the shadows can be obtained from an
e.xposure sufhciently short to properly render tlie intense high lights
of such a picture. Any object to appear clearly ajjainst such a back-
ground must be more or less in the nature of a half-tone or shadow,
and to secure detail in it under such conditions without hopelessl}'
over-e.xposing the high lights is an impossibility.
On the other hand, if the high lights are over-exposed and detail
obtained in the shadows, these same high lights will be weak in the
negative and appear as greys in the finished print. Now, grey snow is
somewhat of an anomaly, save in our citie.s, when it is frequently
black, and a picture representing it as such in bright sunlight is
manifestly an absurdity and a failure.
It is by the careful study of our failures that -we learn more than
by our successes. Success mu<t never come to be looked on as
synonymous with perfection. As our experience grows, our ideal
must expand with it. To-day's success must mean only something
better than yesterday's attempts, otherwise we have reached the
egotistical stage, and, no sooner do we become thus perfect than we
begin to retrograde.
But rei'enoim a non moutom and let us see what our first snow scene
failure has taught us. Evidently strong sunlight is not permissible,
and the balance between high light and shadow must be perfectly
observed, letting the half tones and the blacks predominate in such a
way as to remove that patchy unfinished look. To do this carefully
they must be connected rather than isolated, and here Uame Nature
steps in and beckons us to the recesses of her woods, by the side of
some sluggish brook, rebelling against and half breaking its frozen
bonds, with glimpses of mirror-like surfaces reflecting the overhanging
boughs of brush and tree heavily laden with their ermine coat, yet
preserving their graceful outlines, their under sides coming out sharp
and distinct, as black lace upon a foamy surface.
That gnarled and knotted tree trunk, hslf covered in its white
mantle, gives the requisite boldness to the right in the foreground,
and serves to accentuate the feathery det.iil of the undergrowth,
while the patches of dwarf hemlock, cropping up everywhere through
the snow, break what would otherwise be a foreground of monotonous
white.
Select a cloudy day for a picture of this kind, stop the lens down
well, and let the exposure be ample, say, three seconds with /-32. It
will be found advisable to reduce the amount of sky to a small pro-
portion, that seen through the branches being all-sufficient. Grey
snow, under circumstances such as these, will not be anomalous, and
thus the correct rendering of the lights and shades is rendered easier.
There is something exhilarating about such picture-taking as this:
the crisp biting air, of wonderful clearness after the storm, the almost
absolute stillness, even footfalls are muffled in the snow, and the
occasional sharp snap of a twig, breaks on the ear almost like a pistol
shot. Warm clothing, thick gloves and rubber boots are necessaries
which make all the difference between discomfort and a sense of
defying the elements, and keeping dry and warm withal.
If you can find some bold masses of rock, with summits .snow-
covered and .sides only slightly touched here and there, you will have
an excellent opportunity for marked contrasts. Secure a surface
which the water from the melting snow has darkened, and aim to
secure the effect of looking into the sombre and unlighted depths of
a forest from some point where a momentary rift in the vegetation
overhead only serves to accentuate the gloom beyond. Be careful to
avoid a few dark spots of rock cropping out from a snow-covered mass,
otherwise the patchy effect will appear again, and the whole picture
will be marred.
Let the summit be covered and the snow, patchy if you will, upon
the dark background of the rock, or the few remaining leaves of some
vine or creeper, together with its tendrils standing out in bold relief
with the snow which they have retained upon then).
Isn't it nearly time that camera was unpacked, those rubber boot*
looked up, and some spot in the country (you need not go far to find
what you want, especially if you live in this city) decided upon, where
the next day off is to be spent ? 'J'ry it once, rememljer the cautions
Ave have given you, and see if the reward is not meet for the deed.
REVERSED NEGATIVES— AMIDOL.
Theuk are some subjects touched on in the last issue of Thk British
.lonnNAL OK Photooraphy on which I should like to state my ex-
perience. The question of reversed negatives is one that is bound to
come to the front now that carbon printing and photo-engraving are
becoming such important processes in the reproduction of negatives.
I am very inclined to think that celluloid films will much facilitate
the production of these reversals. I tried last summer printing on
ordinary silver paper through celluloid negatives, and found the
falling off of definition exceedingly small : indeed, quite insuf-
ficient for the purpose I had in view, viz., to produce a soft,
slightly out-of- focus effect. Should, however, it be necessary for
some reproduction processes that there should be wo falling off of
definition, it is easily accomplished by taking the negative through
the film ; if the lens is fairly stopped down, the loss of fo3US
imperceptible, and, in any case, it only requires a slight turn of the
focussing screw to set things right. I found the films perfectly
free from blemishes, and the backs without the sliglitest traces of
emulsion on them. I think there was a slight falling off in rapidity,
and the image came up a little- slower in development. The result-
ing negative could be printed as a reversed negative with absolute
sharpness, or as an ordinary one with very little falling off in defini-
tion. There is another advantage in exposing films in this way, that
there is no danger of the sensitive surface getting scratched by the
shutter, as sometimes occurs, and, when printed on silyer paper, there
is no danger of staining the film.
I read with pleasure the debate on amidol, and particularly
Mr. Dresser's experience, as he is such an authority on instan-
taneous exposui-es. He does not, however, say whether the
formula he uses for these exposures is the same as the one he gives
for bromide work. My experience with amidol, used according to
the formula issued with it, does not agree with his. I find that
amidol gives less detail than eikonogen, and altogether a harder
negative : density comes quicker, but with patience I get as much
with eikonogen. George Man-SFIEld,
NOTES ON SILVER CHLORIDES.
[American Jonmal of Science]
ExpRRiMBNTS made by J. J. Acworth* at the suggestion of
E. Wiademan showed that by heating silver chloride to a temperature
of iiO° C. it passes into a modification that was insensitive to light.
I think this change may be due to the complete driving off of
moisture. Abney showed by a well-known experiment that silver
chloride, when exposed perfectly dry in vacuo in a glass tube, was
totally unaffected by light; but I have shown that fused silver
chloride, poured into petroleum and placed in the sunlight ■without
removing it from the liquid, was instantly darkened.
These three experiments taken together lead to the following con-
clusions : —
1. Silver chloride dry and perfectly isolated is insensitive to light.
(Abney's experiment.)
2. The presence of atmospheric air does not restore the sensitive-
ness if the silver chloride has been absolutely dehydrated at 220° C.
(Acworth's experiment.)
,'!. The presence of oxygen is not necessary or important for the
darkening of silver chloride. The presence of moisture is not essential ;
its place may be taken by another substance capable of taking up
chlorine. This follows from my experiment above mentioned.
There is no doubt that silver chloride retains the last portion of
water with great obstinacy. I have frequently tried to dry silver
chloride in hot air, so that it should lose nothing further by fusion, but
never quite succeeded. There is always a loss, which may be roughly
taken at half a milligramme, and from thence upwards to nearly one
milligramme, in a gramme. When the water is thoroughly driven
off, it is probable that the silver chloride is left in an insensitive con-
dition. Acworth's experiments seem to show this.
So long as moisture is present the molecule of silver chloride easily
• Wied. Referate, 1890, p. t>\f>.
42
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 20, ISO.T
breaks up, not merely by the action of lig-ht, but by fhn application of
ain' form of ener(ry. The part played by moisture in chlorine reactions
is somewhat remarkable. It has been lately stated that absolutely
dry chlorine has no action upon copper foil. As soon as a trace of
moisture is introduced, energetic action sets in.
M. Carey Lba.
AMIDOL.
[Putney Photographic Society.]
Thuiwiiay, .January 12.— Mr. L. E. Morgan, representing Messrs. Fuerst
Bros., gave a lecture and demonstration on Develojinwiit with Amidol.
In a short preface Mr. Morgan claimed for amidol the following important
advantages : — tiood keeping qualities in its dry state, ready solubility,
cleanliness during manipulation, great energy in bringing out detail with-
out the addition of free alkali, power to give the necessary density, and
absence of stain, even in prolonged development. Comparing amidol
with other developers, he said that exjierieneed workers might perhaps
be prejudiced against it, as practically being a one-solution developer;
they miglat think they were sacrificing some of the power which they
possessed in older developers of readily modifying the proportions of the
constituent parts to meet the requirements of varying subjects and of
over or under-exposure. He would, however, prove that amidol also was
quite capable of sucli modification — ia cases of over-exposure, by using a
weak sokition and an extra quantity of bromide ; for under-exposure, a
strong solution and only a small quantity of the bromide. For uncertain
exposures it was desirable to begin with a weak developer, and gradually
increase the strength as occasion required. The ordinary stock solution
(2 per cent.) is made up as follows : —
Amidol 10 grains.
Sodium sulphite, cryst 100 ,,
Water 1 ounce.
This solution will keep well in full bottles, well corked, and although
after a time it may discolour, it does not lose its developing power to
any extent, nor does it stain the negatives or prints in any way. For use,
dilute the stock solution with three to four times its bulk of water, 5
to 20 drops of a 10 per cent. Kolution of bromide of potassium being
added tor each ounce of stock solution. This diluted solution may be
used successively four or five times without losing developing power to
any extent. For his own >ise Mr. Morgan preferred to keep the follow-
ing stock solution, which will keep for any length of time : —
Sodium sulphite, cryst 1 ounce.
Water 20 ounces.
For use, 8 to 10 grains of amidol powder, and a few drops of potassium
bromide 1 1 : 10) are added to 4 ounces of the above solution.
Mr. Morgan then proceeded to develop a negative which liad purposely
been given a somewhat short exposure, using the ordinary strength of
developer : the image appeared in about thirty seconds, showing full
detail in that time, development being allowed to proceed. The necessary
density was obtained in about three minutes ; the result w,is a brdliant
• and soft negative of a good printing quality. As showing the capability
of amidol for developing bromide paper, he exposed a piece under a land-
scape negative and proceeded to develop with a solution of the same
strength as that used for the negative. In this case also the result was
extremely satisfactory, tlie tone of the print being veiy like a good
platinotjpe. No clearing bath was necessary, and the 'manipulation
throughout of the simplest. To prove that amidol is really a good all-
round developer, Mr. Morgan proceeded to expose two lantern plates,
giving the one tin exposure of one minute, and the other six minutes!
still using the same strength of developer, but in the latter case with an
additional quantity of bromide he produced two very brilliant and satis-
factory slides.
It was apparent as the demonstration proceeded that the members
were agreeably surprised at the powers of amidol, particularly as the
experiences of some of them with other developers recently introduced
with great flourish of trumpets were of a disappointing nature, only
confirming them in their preference for their old and tried friend,' pyro.
Sfr. Morgan brought several bromide prints for inspection, but a portrait
of a native of Morocco, a very fine enlargement by Mr. (iorin, and
developed by him with amidol, showed most strongly that good results
can be obtained with it without previous experience by an amateur, this
having been Mr. Gorin's first attempt with the new developer.
A hearty vote of thanks to Mr. Morgan concluded an enjoyable and
mstructive evening.
[Kemini; ton ami Bajswatcr Photoffmphic Soiioty.]
Monday, January If..— Mr. Morgan gave a demonstration on develop-
ment of negatives, bromide paper, and lantern slides, by that chemical
He showed bromide prints from one negative which liad received ex-
posures varying from one minute to ten minutes, each of which was
considered a good print. The leading points he claimed for this developer
are its freedom from producing stain, when dissolved, either upon the
Hands or tlie plate or paper, though the crystals themselves, if allowed to
remain in contact with the hands, will produce a brown stain
Mr H. K. Davis (of the Camera Club), who has lar^^ely experimented
with the new developer, especially for lantern slides, gave his new formula
for development (for warm tones only). He stated that he considered
the ordinary formula used for the development of lantern plates by amidol
made a too active developer, veiling the plate before development was
complete. His practice is to use a struiii/ developer irdl rrntrabied. Thus : —
Amidol 160 grains.
Metabisulphite of potassium 2 ounces.
Water up to 20 „
This is the stock solution. Of this take half an ounce, and add to
it 1 ounce of a 10 per cent, solution of bromide of ammonium, and
water up to 2.j ounces, then add a quarter of an ounce of a 10 per cent,
solution of carbonate of potassium. This will develop twelve or fourteen
lantern plates.
The following are the official instructions for the use of amidol : —
I. — Concentrated Stock Snluiioii.
Water 7 ounces.
Sodium sulphite, cryst., pure IJ ,,
Amidol 60 grai ns.
May be kept for a long time in full bottles well corked.
For use, mix one ounce of this concentrated solution with three ounces
of water, and according to the make of the plates, add a small quantity,
at most twenty drops, of potassium bromide (1 : 10). In this state the
solution may be used four or five times successively, without muihlossof
developing power, hut it is not advisable to leave the developer standing
too long, nor to prepare more of it than necessary for the work in hand.
For landscapes, or strongly lighted subjects, the developer may he
employed in a still more diluted form.
II. — Twd-Solulion Developer.
Water 20 ounces.
Sodium sulphite, cryst., pure 1 ounce.
This solution will keep for any length of time.
For use, eight to ten grains of amidol powder, and a few drops of
potassium bromi :le (1 : 10) are added to four ounces of the above solution.
To be saved the trouble of frequent weighings, keep a little horn or bone
spoon for measuring the required quantity of amidol. To retard develop-
ment, use a ten per cent, solution of bromide, and to accelerate it add a
twenty per cent, solution of sodium sulphite. On very hot days, or for
plutes inclined to fog, it is recommended to add a few drops of citric
acid (1:10). With normal expo.^^ures the image should appear in from
eight to ten seconds, and be fully developed in about four minutes. Over-
exposure is recognised by the immediate .appearance of the picture, in all
its details, as soon as the developer is applied, the deep shadows becoming
veiled, and all more or less fogged. For over-exposure it is necessary to
use a weak developer, and to increase very largely the quantity of bromide,
using, in extreme cases, even up to one-quarter bulk of the amidol solu-
tion. In every case of unknown exposure it is advisable to begin with a
weak developer, or one which has done duty before, and increase the
strength, when, from first indications, it is found safe to do so. For
under-exposures, a strong developer, or a large addition of the sulphite is
recommended, and these also help to give greater density, which end may
likewise be secured by prolonging the development. The degree of
intensity is best judged of by transmitted light, remembering always to
make allowance for reduction in the fixing process.
III. — Siieriiil Derclopev-I.
Solution A.
Water 20 ounces.
Potassium meiabisulphite 2 ,,
Amidol 1 ounce.
This solution will keep for a very long time if well corked.
Solution U.
Water 20 canoes.
Soda crystals 2 „
Solution C.
Water 20 ounces.
Sodium sulphite, cryst., pure i „
Eesults similar to pyro may he obtained with
Solution A 10 parts.
B 6 10 „
Water 70 ,,
Bromide (1 ; 10) 3 „
But this formula may he considerably modified, according to require-
ments ; it is not, however, advisable to increase the quantity of alkali, for
fear of induciug fog.
For over-exposed plates, add the solution B in the above formula lilt'e
by little, umil the desired effect is obtained, never exceeding the amount
above prescribed.
Images of a softer chavjcter are obtained as follows : —
Solution A 10 parts.
B 20-10 „
Water 70 ,,
Bromide (1 : 10) J-J part.
Janufvry :.'0, 1893]
THE BRITISH JOIKNAL OK I'lIOTOGRAPHY.
43
IV. — Separate Dercloper.
Solution D.
Water 20 ounces.
Sodium sulphite, pure cryst i| ounce.
Amidol 2 ounces.
Tliix solution keeps colourless for a long time in full and air-tiglit
ossels. When opened it goes from yellow to red. which, however, do.s
lot iiflect the developing power, or colouration of plates.
Solution C.
Water 20 dunces.
Sodium sulphite, pure cryst 4 „
For use take —
Solution D o parts.
Water 50-70 ,,
Solution C 20-30 „
Bromide (1:10) IJ ,r
This formula also has the advantage, by gradually adding solution C,
f controlling development np to the point desired, which is specially im-
I ortant for over-exposed plates.
As the image loses on fixing it is recommended to "develop more
(rongly.
For Bromide Paper,
l'>oth for prints and enlargements either of the above formula' may be
wsed, and the freedom from stains will prove of great advantage. With
diluted solutions clear grey tones are obtained.
For Chloride Platen and Lantern Slides.
Transparencies of the blackest tones are developed with : —
Water 20 ounces.
Sodium sulphite, oryst., pure 1 ounce.
Amidol 40grains.
W^armer tones are obtained through longer exposure and the liberal
addition of bromide, even up to one ounce in the four ounce developer.
^ — . .
THE WEST KENT AM.\TEUR PHOTOGRAPHIC SOCIETY'S
EXHIBITION.
This Society held its first Exhibition (members' work only) on Thursday
I'ith, at the Public Hall, Sidcup. The President, Mr. Andrew Pringle,
opened the Exhibition with a short address. Mrs. I'ringle then pre-
senied medals to winners. Class A — Lantern slides, set of twelve. Any
subject. President's silver medal, E. .J. Crowe ; bronze, Gregor Grant.
Class B — Enlargements. Vice-President's silver medal, E. Hawkins ;
Society's bronze, C. J. Crowe ; diploma, G. I. Gill. There were a large
number of entries in this class, and a very tough contest. Class C — Set
of four prints. Society's silver medal, E. Hawkins ; bronze, Gregor
Grant. K. H. Pickell was awarded an extra special diploma for photo-
graph of lightning flash taken June last. Class D — Not sufBcient entries
for an award. E. Hawkins very highly commended. The Judges were
Messrs. Cembrano, Pringle, and Uresse'r. The programme of the even-
ing consisted of a good selection of music, with lantern shows at intervals.
Slides by Messrs. Carpenter, Kdgar Lee, Pringle, Dresser, and members,
were shown and much appreciated by audience.
ENLARGING APPARATUS AND THE ILLU.MINANTS FOE
SAME.
At the Manchester Photographic Society, on January 12, the President
(Mr. Heywood) in the chair, Mr. H. M. Whitefield gave an address on
Eulanjiiiri Apparatus and the IlluiiiinantH for same. At the outset he
remarked that most of what he had to give the meeting had appeared
from time to time in Thk British Jouhnal oi' Photook.^pht, a source
Id which nearly all things photographic could be found. Assuming
that daylight was generally not available to the bulk of amateurs, his
remarks would be confined to artificial lighting of the negative. He
passed in review the various methods suggested to obtain this object,
most of which he had tried. The plans to obviate the employment of
condensers, by rows of gas jets, magnesium wire, diffusion of the light by
opal or ground glass, itc, he considered unsatisfactory, as not giving
evenness of illumination, and gave uncertainty of exposure. The threo-
wick lamp, used with a condensing lens, was also faulty for the same
leasoiis.
He considered the limelight the best, both for enlarging and reducing ;
; but, for those who did not care to go in for this illuminant, he highly
I recommended the " albo-carbon " gaslight, as advocated by Mr. Traill
• Taylor some years ago. This was an inventioa to increase the illumi-
nating power of gas for ordinary lighting purposes, and in its simple form
consisted of a reservoir above the burner containing a supply of naphtha-
► line, over which the gas passed before reaching the burner, taking up the
[vapour from the naphthaline, which was very slowly evaporated by the
flame of the light itself, the recult being a Hmall bright light. To atlapt
this for working in an enlarging lantern, he added a second burner,
placing the two jots one behind the other, with the flat sides towardit the
condenser. The flames mu.st be separated just auflicicnt to prevent them
joining. This arrangement gave a more solid light than a Ringle burner.
The whole of the flame was not required, and be enclosed the burners in
a tin box having suitable air inlets at the bottom and a dark chimney at
the top, a circular aperture, about three-quarters of an inch in diameter,
being made opposite the brightest part of the flame and covered with a
piece of glass. He found that the albo-carbon light was very actinic, and
the difference in the exposure of a print as compared with that by the
limelight was not as great as many might suppose (experiments given
showed the advantage of the naphthaline very markedly), and the use of
the light no more trouble than an ordinary gaslight.
Mr. Whitefield showed his enlarging lantern, which differed little from
the usual form, and explained the necessity of having a condenser large
enough to include the whole of negative without using the extreme edges
of the lens, and practically demonstrated the working of the lights.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 468.—'' Improvements in J-ighting Apparatus for use in Photography."
S. 0. Tatloh — Dated Jamiary 10, I8y:3.
No. 014.—" Improvements in Photographic Dark Slides.'' .S. J. Levi, A J.
Jones, aiul E. Hoi.mks.— /ta<eti January l\, 1893.
No. 686 — " Improvements in the Construction of Stereoscopes." W.
i,ln>l>\M>Ms,&.~hatcd January 12, 1893.
No. 741. — "Improvements in and Apparatus for the Manufacture of Films
especially intended ibr the Production ot Trausp.ireiit Films for Photographic
pur|.oses." W. H. Walkkr.— Aate/ January 12, 'idm.
PATENTS COMPLETED.
Improvements in Appahatus for C'HAXGiXfi anu FoctrssiNu and Exi-osinq
Photographic Plates ok Films.
No. 3680. Thomas Edwaiid Heath, Oakbridge, North-road, Cardifl'.—
December 10, 1892.
This invention is intended principally to be used for that class of lamera
known as hand cameras, but it may "be used for others. It enables a large
nninberof plates to he carried in a very small camer.i, and the plate^ to be
seleet?;<l and exposed in any required order, and it allows a focussing screen
being used when desired, and the focussing to be adjusted either to the uictnre
sliown upon the screen, or to an estimated distance, or to what is known as
" fixed focus," and it also allows of an approxunately equ.al exjiosurc being
given all over the plate, or a greater exposure being given to the foreground
than to the sky, and I am enabled to use a rising front and swing back.
In order that my invention may be better understood. I will explain how I
sliould apply it for taking the ordinary "quarter plates," and assume the lens to
bea lajiid rectiline.'ir of lourand a quarter inches e<iuivalent locus. For this size
I construct a rectangular camera box, which need only be about six and a half
inihes lone, five and one-eiglitli inches wide, and fe\-m and a half inches liigh,
and yet it will carry about two dozen plates besides a ground-gla-ss focussing
screen. If a lens of longer focus be used the camera box must be longer, but
then more plates can be carried. In the upper half of this camera box I have
the exposing chamber. I lix a lens to tLe front wall, and at the back 1 have a
door which is light-tight when closed. Along this exposing chamber travels an
exposing frame which is carried by a l>ase plate, which is pierced with a slot so
shajied as freely to admit a sensitive plate. The sides and top of the exposing
frame are grooved, so as to allow the plate to slide freely in and to bold it
approximately in position. The base plate travels in suitable grooves, which
extend from end to end on either side at the bottom of the exposing chamber.
To tlie base plate I attach, at the front and at the back, binds of leather or
other suitable material which may be stitl'ened by narrow strips of wood.
These leatlier bands extend to the grooves on either side of the exjiosing
chamber, and slide in them so that all light from the exposing chamber is
excluded from the lower half of the camera box. In the lower part of the
camera, and extending from very nearly under the baek of the lens to nearly
to the plane of eqnivalent focus, I have a store box, which is groove<l on either
side to hold the plates. For the size under consideration, the store box may
be about three and five-eighths inches long, so that it will hohl about twenty-
four sensitive and one focussing jilates. The bottom of the store box has a
light-tight cioor, through which the plates are inserted.
The leather bands which pull the exposing frame to and fro arc carried
over suitable rollers all round the lower half of the camera box and Ijelow the
storage box. The end of each liand is liere secured to a plate, and the
two iil.-ites can be drawn together by a bolt or otherwise. The plates also
carry pointers, which slide in a long slot at the bottom of the camera, and the
bottom of the camera may conveniently be formed by doors hinged to each
siile, and leaving this slot when the iloors are closed, .\long the slot 1 h.ive
a marked and numbered scale which corresponds with the grooves in the store
box, and the scale extends further, and is marked to show the jwsition of the
focussing screen. By pulling the pointers backwards or forwards, the
exposing frame is moved in a like liegree, but in an opposite durection,
and thus any recpiired plate can be selected, and if the ranieni is inverteil
it will tall into the exposing frame. The camera being then turned on its side,
the exposing frame can be moved baik to foens position. The gmnml glass
plate can be selected, and the door at the back of the exposing chamber Iwing
opened, the picture can be focusseil by moving the pointers backwards or
forwards, the position of the pointers on the scale is then noted, the door
44
;THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 20, 1893
closed, the ground glass returned, and a sensitive plate inserted, and the
pointers moved back to the position noted. This plan of focussing is only con-
venient when the camera is firmly held upon a stand — when it is held in the
hand it is more convenient to use what is Icnoivn as " fixed locus," or to
estimate the distance of the principal object. For this p\irpo'!e 1 provide a
screw which passes tlirougli a bearing in the door at the back of tlie exposing
chamber, which carries on its inner end a tlat plate which is adjusted so that
it will just make contact with the back oi' the sensitive plate when the latter
is in the plane of " (i.\ed" or equivalent focus, and the screw is screwed home
on its bearing— and the distance of the object which is in exact focus when
the screw lias been moved through one — two three or more revolutions is
found by experiment and noted for future guidance. The storage box must
not extend so far as to be under the slot of the exposing frame when the latter
is at equivalent focus — but below the focussing range must be a jdane surface
making a light tight joint. It is advisable to blacken about one-eighth of an
inch on the top and bottom of the focussing plate, and to keep it in the nearest
groove. The front of the camera which carries the lens is made so as to rise
when required, i?lidiug up in suitable grooves which may be notched at
intervals to permit renjoval, and it has a circular recess cut in it in which
works a thin disc with a drum on the middle to which two cords or wires are
attached and wound in opposite directions. Tlie disc can be revolved upon
suitable bearings. The cords are catrieil down to opposite ends of a rocking
lever passing freely tlirougli holes therein, and thence over guides to the end of a
lever or trigger, which is attached at right angles to the rocldng lever, and which
extends a little below the bottom of the camera front. The cords are tied or made
fast to the trigger in any suitable manner. I have a spring which engages in suit-
able catches to j.revent the trigger being accidentally pulled over. The trigger
may Ik- pulled over by the finger or by a sijring, or elastic band for rapid exposures.
The disc is ]ierforated, so that when tlie trigger is pulled fully to one side or
fully to the other side the lens is completely covered, but between these points
it is more cr less open, and upon one side of the disc I shape the jjerforation
so that the exposure is approximately equal all over the plate, whilst on the
other side the perforation is so .shaped as to give more ex]iosure to the fore-
ground than to the sky. If one side of the disc has been in use, and it is
desired to use the other side — and the trigger is fully over on one side — the
over is held firndy and the cords are untied, and the trigger can then be pulled
disc (the cords .sliding through the holes). Then the cords are pulled tight and
again secured to the end of the trigger, wlien it will be found that the other
half of the disc is now in use. There are suitable stops in connexion with the
rocking lever or trigger which prevent its ever pulling the disc more than half
a revolution.
The exposing frame may be attached to the base plate by suitable springs at
each side, which normally keep it at right angles thereto, but allow of the
exposing frame being jiulled over to the front or to the back by suitable cords
or other devices. I may have a set screw or other catch to prevent the leather
band from moving when required, 1 have a slot in the top of the camera box
with a sleeve attached lined with velvet, tlirougli which the diaphragms (which
are pierceil upon each end of a long flat plate) are let down into the lens, and
there may be a loose apron secured to the back of lens to ensure perfect dark-
ness. Films can be used in suitable slieaths as well as plates, and, if desired,
plates can be used in sheaths, in which case the storage box will not require
grooves, but to be covered at the top excejit for a slot at each end. The plate
in its sheath being raised by a suitable lever, rack, or other device into the
ex]iosing frame, and, when used, returned by gravity to the other end. This
does not allow the plates to be selected conveniently.
Lmprovejients ly or .Applicable td Photogr.vphic Cameras.
No. 2S79. George Howard Cricks, Woodford-green, Essex, and Gf.oroe
Ai.FRKD Taylor, 53, Norcott-road, Stoke Newington, London.— De-
cernber 17, 1892.
Our invention relates to photographic cameras, and comprises improved means
lor successively releasing a series of sensitised plates after exposure, and it also
comprises an improved shutter.
According to the first part of our invention, the sensitised plates are carried
in suitable frames, upon tlie exterior edges of which are projections designed to
pass through slots formed in stoi>s at the front end of the chamber in which
the said plates are placed. The plates are pressed forwards towards the stops
by a spring, Init the slots in the said stops are so placed that the projections
upon the frames cannot pass therethrough until the plates are .sliifted to the
required position. In order to effect this movement of the frames carrying the
plates, we provide a slide of the same thickness as the plates, and designed to
be operated from the exterior of the apparatus.
When one of the frames is moved by this slide to bring its projections oppo-
site to the slots, the spring presses the series of plates forward, the front plate
falling into a receptacle designed to receive it.
Onr improvements in lens shutters comjirise a sliding frame carrying the
plate cr diajihragm for closing the aperture of the lens. This sliding frame is
normally retained with the shutter in a closed jiosition by means of a spring,
and is opened for the exjiosure of a plate by means of a rotating cam operated
by clock mechanism, and arranged in conjunction with an escapement in such
a manner that when the cam is relea.sed by the escapement it will make half a
revolution to open the shutter, the closing thereof being effected by the spring.
In conjunction with the cam. we provide a stop which serves to arrest the
rotation of the cam when the shutter is open in order to enable the said shutter
to be used for time exjjosures.
Improved Altojutic Lock or Sprls-q Catch for Folding Camera
Tripod Stands.
No. 3226. Alexanukb Birnie. 118, Perth-road, Dundee, Forfar, N.B.—
December 17, 1892.
This invention relates to folding tripod stands for camera", its object
being to retain the parts of each leg securely ami firmly in position when
unfolded for use, and also to allow of the said legs being readily folded up
when desired.
In carrying out iny invention I employ an automatic lock or spring catch,
consisting essentially of a cross bar in combination with or part of a bent
spring of suitable design, tlie whole being fixed to one section of the leg of
the tripod stand. On tlie other ami adjacent section of the leg is fixed a
cross bar, witli a recess for receiving the releasing knob of the spring when the
two parts of the leg are unfolded — that is to say placed in line— the remainder
of the spring, when it has passed the recess, springing out and catching the
said cross bar.
IMPR0VE.MENTS IN Bl'RXEP.S OR JETS FOR THE LiMELIGHT.
No. 18,836. James Edward Andkrsox, 9, Crawfonl-passage, Farringdou-
road, and Alfred Wrench, 50, Gray's Inn-road. — iMcembcr 17, 1892.
This invention relates to biirners of the kind used in magic lanterns for the
production of the limelight. Such burners as hitherto usually constructed
are providcil with a spindle, upon which the block of lime used with the
burner is adapted, to be raised and also rotated, and in some cases such
burners are adapted to be adjusted bodily both vertically and laterally rela-
tively to the socket, by means of which the burner is supported upon the
supporting jiillar, thereby avoiding the necessity of moving the said socket
relatively to the pillar.
The means heretofore adopted for adjusting the burner relatively to the said
socket have been defective, inasmuch as the vertical adjustment of the burner
caused the spindle carrying the lime block to be moved more or less out of a
vertical position.
The object of this invention is to provide for effecting the adjustment of the
burner without affecting the perpendicularity of tlie said spindle.
In carrying out the said invention we eiiijdoy a socket adapted to be fixed
to the pillar in the ordinary luaiuier, and having its upper end screw-threaded
and provided with a nut. The burner projier is carried by a second socket,
which .slides upon the first-mentioned socket, and is acted upon l)y the said
nut, a spring lieing placed between the second socket and the fixed socket in
such a manner that when the nut is turned in one direction the burner will be
moved downwards against the jiressure of the said spring, and that when
moved in the leverse direction the spring will raise the burner to keep the
second socket in contact with the nut.
To ett'ect the lateral movements of the burner, the rear side of a collar upon
the second socket is provided with gear-teeth, with which a pinion carried in
bearings upon the fixed socket is designed to engage, the said pinion having a
knob or handle for operating it.
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of Meeting,
January 23 ....
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Name of Society.
Camera Club
Dundee Amateur
Lantern Society
North Middlesex
Putney
Uiclimond
Birmingham Photo. Society
Great Britain (Technical) ..
Hackney
N e wcastle-on-Tyne & N .Counties
Paisley
Bath
Burnley
Phot(^raphic Club
Southport
Stockport
Camera Club
Glossop Dale
Hali fax Photo. Club
Hnll
Ireland
Liverpool Amateur
London and Provincial
Oldham
Cardiff
Croydon Microscopical
Holborn
Maidstone
Swansea
West London
Hull
Place o! Meeting.
Charing: Cross-road, W-C.
Asso. Stndio, Nethergate, Dnndee.
20, Hanover-.square.
Jubilee Hou.so, Hornsey-road, N.
Boys' Gyinna^inm,Charlwood-roa(l.
(ireyhound Hotel.
Club Room, Colonnade Hotel.
50, Great Kussell-st., Bloomsbury.
206, Mare-street, Hackney.
Central Exchau^je Art Gallery.
^, G an 7,0- street. Paisley.
Roy. Lit. &;Sc. Inst., Terrace-walks.
Bank Chambers, Harffreaves-street.
Anderton's Hotel, Pleet-street, K.C,
The Studio, 15, Cambridge-arcade.
Mechanics* In.stitute, Stockport.
Cbariiig Cross-road, AV.C.
Mechanics' Hall, Halifax.
71, Prop pec t. street, Hull.
Rooms, 15, Dawson-street. Dublin.
Percy-buildings, Eberlf>-street,
f'hampion Hotel, 15, Alders^ate-st
The Lyceum, Union-street, Oldham.
Public Hall.Goorge-street, Croydon,
"The Palace," Maidstone.
Tenby Hotel, Swansea.
Ohiswiek School of Art. Chiswick,
71, Prospect-street, Hull.
T.ONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
January 12, — Mr. J. Hay Taylor in the chair.
ANiiLK OF View,
Mr. P. EvEKiTT criticised the rule lor finding the angle of view included on:
a given sized plate which Mr. Haddon states in an article appearing in the
current Almanac. The rule is, with a given plate, to take its longest dimension^
divide it by the focus of the lens, seek the corresponding or the nearest corre-
sponding tangent, read off the arc, double, and that will give the angle in-
cluded on the plate. He (Mr. Everitt) thought that Mr. A. Haddon was not
altogether correct, as the angle would be determined by the centre of vision on
the plate. Mr. Haddon should have taken the point of intersection nearer the
margin. According to his (Mr. Everitt's) idea the rule should be to measure
the Jurthcst focus from the optical centre, divide by the focus of the lens, and
then seek the nearest tangent and read off.
Mr. W. E. Dkbenham pointed out that the angle varied with the position of
the plate in relation to the axis of the lens, hence he thought both Mr. Everitt
and Mr. Haddon right.
January 20, 1803]
THE BIUTISII JOURNAL OF PHOTOGRAPHY.
Mr. HaDdon iimiiitainml that the rule be had given was the correct one,
anil after some l'\irtlier diaciission the subject dropped on the understanding
that it would be Iirought up again.
The Rstim.vtios ok Oxyoen Gas.
Mr. H.MWON read a paper, by himself and Mr. Grundy (of the Koyal Xaval
College, (Jreenwieh), on this subieot (.see page 3i>). At its conclusion, Mr.
Haddon remarked, in reference to the tibulatcd percentages given, that, if one
took oxygen diluted with only five percent, of oxygen andmixedit with its own
volumeof atmospheric air, a result would be nbtaiued ju.st about the me.in of
No". "J, 3, ai;d 1 in the table. A practical denion.stration by the llempel
!iiethod, .as described in the paper, w;is then given, the parople of oxyjjeu
tested being found to contain fj-!' per cent, of nitrogen, the O-vygen being
considered a very good sample. .Vnother samjile was then tested by the
secoHfl method deserilied in the paper, and found t<i contain 4(i'8 per cent,
of nitrogen. Mr. Haddon claimed for both tests that they enabled one to
estimate the puritv of oxygen to within one or two points of its true vahie.
Mr. ,7. B. SriRUK said 'that the tests u.sed as teiAuical analyses were all that
coulil he desired. As reganls the llempel method he iised an extra bulb, .so
that the atmosphere did not get in contact with the gas.
Rlr. T. K. Frkshw.vter always understood that o.\ygen made from chlorate
of jiotash was mucli better than tliat made from common air, and gave a great
(leal more light. People who used compressed oxygen in optical entertain-
ments often found it necessary to increase the pressure nearly double on
account of its admixture with atmospheric air. There was a question of price,
of course, as lantemists who could get a gas for a penny or three halfpence a
foot would not use the chlorate of jiotash gas at a much higher price. Chlorate
of potiish Huctuateil so much in cost that some oxygen- makers; found that it
made as much as 100/. ditference to them in the course of a season, though
there was no gas to come np to that made in an ordinary retort over a fire and
carried into a bag. For experimental jmrposes, jdiotographic or otherwise,
if they did not mind the trouble of making and washing the gas, they would
get tetter results with the chlorate gas than with that in cylinders ; or if peo)ile
did not care to prepare it, and would pay a little more for the gas, they wouM
find it a very great advantage. It was remarked that with the Association's
lantern people often said that they got a beautiful light. This was a great deal
to do with the gas they useil, which was a chlorate gas. He would like to ask
Mr. Haddon the loss in percentage of light when using oxygen containing forty-
six per cent, of nitrogen .as compared with a gas only containing six per cent. .'
Mr. Haduon ha«l not studied that subject, but the light would certainly be
very much inferior where the smaller i|uantity of oxygen was present ; the
nitrogen, of course, also pulled down the temperature.
Jlr. K. A. Bbid(;k had never tested oxygen but once, and that accidentally.
He always used it for enlargements, drawing it from a g,as-holdcr, the gas
being prepared by the chlorate method. He was making some enlargements
when his gas ran short, so that he refilled his holder from a cylinder of gas
which lie happened to have by him. He gave subsequent enlargements the
same exposures as lie had already made, but he found, upon ilevelopment, that
they were much under-exposed.
Mr. Fbkshwateb asked if oxygen deteriorated by being kept in iron
cylinders ?
Mr. Haddon said, No. He also hoped that members would not run away
with the idea that oxygen, kept for some time, would change into nitrogen.
Jlr. Tho.mas BOI.AS said that all lanternists were indebted to Messj-s.
Haddon and Grundy for their paper and demonstration. The methods of
testing were simple enough to any one who had had practice in handling gas
apparatus, although, perhaps, people unaccustomed to that work might make
failures in connecting. They could always verify their results by analysing
samples of air.
In reply to a question from the Chairmai.',
Mr. HaddciX said that both the samples of gas that Mr. Grundy and himself
had analysed that evening were commercial samples. He might point out that
they had checked the accuracy of the apparatus by analysing air with it, and
it came out as containing twenty-one [ler cent, of oxygen. In reply to a
question from Mr. Boi.a.s, he said that the chlorate gas could be got even purer
than three per cent, of nitrogen.
Mr. BoLAs observed that there was, then, no excuse for the commercial maker
in sending out oxygen with a higher proportion of nitrogen.
Mr. Haddon said the proportion of the latter shouhl never ever exceed five
or six per cent.
At the conclusion of the discussion a vote of thanks was passed to Mr.
Haddon and Mr. Grundy.
Mr. Paget (of C. A. Rudowsky & Co.) exhibited samples of mica plates to
be employed as sujiports for carbon transjiarencie?.
liefore the meeting closed Mr. J. G. Hudson exhibited ami described his
" Kolm " magnesium tlashdamp, by wliich both the intensity and the duration
of the light are under the control of the operator, and, several groups of
members having been taken, the proceedings terminated.
Hackney FhotogTaphic Society. — lanu.ary 11, Mr. .1. Traill Taylor presid-
ing.— Mes.srs. H. Siiowden Ward ami W. Harvey were nominated for member"
shi|>. Mr. Hu<lson sliowed a lanteni-slide printing arrangement of design
originally given by him, and Mr. it. Beckett handed round a Ross Concentric
lens. The Chairman said the chief advantage of this was its extreme flatness
of field. From the question box : " If a short and long- focus lens are both suit-
able for a subject, which is best to use ? " The Chairman said for this time of
year .short focus was perhaps the best : at any rate, it would be for copying.
Generally, however, a long focus was best for most purposes. Question 2 : ** Is
there any ditl'erence in working .solio paper in winter or summer?" Answer:
"None." Questions: " Can a bag (gas) that has got stiff Iw softened ?" Answer:
" Best to keep bags in fairly warm temperature." No other answer was forth-
coming as to how to renew. Question 4 : " Is there any advantage in using the
Monocle lens f " Mr. Horsi.ev Hintun- said it depended whiit result w.as
required. The word wanted properly defining. Mr. (irant thought it suitable
for fuzzy pietnres. The Chairman, however, did not quite agree. Mr. TK-an
showeil a frame of lantern slides, and asked what wa.s the best meann of back-
ing them in place of opal glass ! The Chairman ailvlscd a mixture of coIlo<lion
and ordinary spirit varnish. Mr. Paukt (of C. A. Rudowsky 4 Co. ) explained
tlieir flash lamp, and stated that to olitain a continuous flame a double ball
was necessary. The Chairman then called on .Mr. Horsley Hinton for his
paper, Simie Contrihutirriea to Arlislic K(fect. Mr. Hinton at length went
into the question of suitable frames, mounts, &c. Photographers nowa<Iays
thought too much of si/e of plate, and were ufraiil to use knife and scissors
enough, so that often what would have been a good picture was spoilt ly not
taking out objectionalile pieces. Among his rcmarKs, he said he was looked
upon as a champion of fuzzy effects, but must disclaim it. He could ailmire a
sharply defined picture, and often used a small stop. A very great contributory
was reflection. Too much hurry was the case nowailays. The Chairman
asked what Mr. Hintons ideas were about the hand camera. Mr. Hinton said
it was to the camera proper what the sketch-l)Ook was to the artist. The
Chairman said that, with respect to gilt frames, he had some pictures in
common gilt frames, and which he preserved by the use of a solution of cellu-
loid in acetone (amyl). In answer to a question raised about lantern slides,
Mr. Hinton said the uncontrollable result produced on the screen stood in the
way of their always being complete pictures. Mr. Hinton then summeil up
generally on remarks. He could not give a rule as to when pictures should b«
broadly treated — experience and judgment must decide that. The idea was to
interpret nature as it appeared to impress one. Excursions were generally
hurried over. It was more advisable to go, but leave the camera at home until
details were fully thought out.
Lejrtonstone Camera Club. — .January 11, Mr. A P. Wire in the chair. —
Mr. Tciii JsVMMONS gave a leeturette. Small versus Large Cameraa. In the
larger sizes be thought that there were a number of drawbacks. First, the ex-
pense of the outfit ; second, cost of materials ; third, owing to the weight, the
great difficulty in getting about. He, having had experience with large cameras,
would not a<lvise any beginner to exceed whole-idate ; in fact, if only one
camera to be purchased, that should be half-plate. The recent Exhibition had
proved that enlargements were to be had from small negatives that were equal,
and in some cases better than direct prints, owing to the facility of dodging
and getting better effect in the process of enlargement. He next urged the
great importance of getting the best of ap])aratus. In the disenssion which
followed the general verdict was in favour of small cameras.
Greenwich Photographic Society.— -January 4, Mr. G. S. Criswick pre-
sided.— The Chairman announced tliat Admiral Sir R. Vesey Hamilton and
Professor Reinold, M.A., had been elected honorary members of the Society by
the Committee. Mr. E. J. Wall delivered a lecture on Isochrotnutic Photo-
'jrapliy. By means of an electric-light spectrum the use and effect of yellow
screens of varying density was clearly demonstrated. Mr. Wall illustrated
his lecture by many line pictorial comparisons of his own results in isochro-
matic and ordinary photography.
Croydon Camera Cluh.— January 16, the President, Mr. H. Maclean,
F.G.S., in the chair. — Upon his proposition, seconded by Mr. B. Gay Wilkin-
son, the following members were appointed \'ice-Presidents : — The Honourable
Sidney Herbert, M.P., and Mr. T. F. Edridge, J.P. Mr. Cembrano then pro-
ceeded to exhibit his tJranada and Alhambra slides. These have already been
described in our pages, and allusion has also been made to the haiipy and
attractive items of archieology and history with which this lecturer intersperses
his more technical remarks. Respecting the latter, Mr. Cembrano strongly
criticised the contention that a slow plate should be used for interiors, he him-
self having obtained his results upon extra rapid ones. Considering that the
views shown were all taken witliin the space of six winter days, it is obvious
that, if slow jdates had been employed, whatever other results ensued, only
about half the negatives would have been secured in the limited time at the
disposal of the operator.
Birmingham Photographic Society. —January 12, .Annual Meeting, Sir
•T. B. Stone (President) in tlie iliair, — The Tbeasurkh reported an exceedingly
gratilying condition of the finances of the Society, and drew attention to the
fact that more new members had joined the Society in 1892 than in any
previous year. The Phesidknt, in the course of his address, said that the
Birmingham Society had made for itself a permanent place among the publi*
bodies of the town, and a foremost place among photographic societies.
He pointed out the desirability of each member having some definite
object in his work, and instanced the photographic survey of War-
wickshire. A prominent Society such as the Birmingham Photographic
Society couhl not, he said, skirk its responsibilities and obligations, and
after explaining that, through the medium of sight, information was
more readily conveyed than i>erhaps by any other means, he e.xhorted!
the Society to use to the full its power of educating those who had not the
means of educating themselves by extensive free exhibitions of pictures, and
by widened enterprise in connexion with the lantern entertainments. The
following gentlemen were elected olficers and members of the Council for
18SI3 •.—Premlcnl: Sir J. B. Stone, J. P., F.G.S., V. ll.G.S.— Viu-t'residents :
Messrs. J. J. Button, .1. T. Mousley, J. H. Pickard, W. Jones. — Council :
Messrs. F. S. Goofle. A, R. '..ongmore, E. Underwood, A, J. Lee.son, Geo.
Tliomason, G. B. Miller T. Taylor, E. C. Middleton.— Trert-sKi-er; Mr. W.
Rooke. — Lihi-anwn. : Mr. W. S. Horton. — Ihm. Secretary: Mr. James Sim-
kins. — Assistant Secrttaii/ : Mr. Ernest Winn.
Bristol and West of England Photographic Association.— January 13,
Annual Meeting. — Mr. H. .\. Hood Daniel was re-elected President ; Colonel
Playfair and Mr. Ed. lirightman, Vice-Presidents : Mr. F. Bligh Bond, Secre-
tary, with Mr. H. A. Hutchin.son as Assistant Secretjiry ; and Mr. W. Molineas
Treasurer. The existing members of the Council were re-elected.
Shropshire Camera Club.— January 11, Annual General Meeting.— The
following officers were appointed: — J'resiileHt : Mr. W. W. Naunton. — Vice-
Presidents : Messrs. .1. R. Greatorex, G. Bidlake, W. S. Buddicom, M. J.
Harding.— C'ownc/V ; Messrs. W. Alltree, W. Bowdler, Dr. Cureton, S. L.
Delia Porta, R. .1. Irwin, W. G. Preecc, I. Pyefinch, F. W. Williams.—
Treasurer. ' Mr. W. Barson. — Hon. Secretary : Mr. Martin J.Harding. — Assia
40
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 20, 1893
lani Secrrlar)/ r Mr. W. Heath. A special vote of thauks was passed to Mr.
Xaiinton for his valuable services as Secretary since the formation of tlie Cliili,
and to Mr. Irwin for his services as lanternist. A Sub-committee was ap-
pointed to consider a scheme for acquiring permanent Club rooms, including
dark room, and five new members were elected. The meeting was adjourned
to the "2iith inst. for the purpose of revising rules, &c.
I
Carrcspmimts should tu-vcr ivrite on hoth'sidcs of the impcr. No notice is taken
of comvtunication^ unless tlie names and adrf>-t?.ss(?s of the v:riters are giwn,
HALATION, DOUBLE FILMS, AND CHROMATE OF SILVEE.
To the Editor.
Sir,— I have to thank Mr. Gregor Grant for his reference to Mr. W. K.
Barton's article in the Ai,5iak.\c for 1888, which I find pretty well
corroborates what I have already said. My own recollection of Burton's
experiments with ohromate of silver is that they date much further back ;
but I cannot at the present moment refer to them, but the article alluded
to will for the present sutEce.
In that article Mr. Burton himself says his experiments with chromate
of silver as a preventive of halation " did not succeed," the chromate
being rednoed by the developer ; and then proceeds to make what I
believe to be merely a suggestion as to a method by which this result
may be avoided, namely, soaking the plate before development in a weak
solution of bromide of potassium. I conceive it to be a suggestion merely,
for two reasons : first, because no actual statement is made that the
experiment has been made ; and secondly, because, if it had, the result
seems scarcely likely to be any more of a practical success than before,
though from a different reason.
Mr. Burton seems to have overlooked the fact of which he, of all
men, is perfectly aware — the fact I alluded to in my previous communica-
tion as having been just pointed out by Captain Abney, that the soluble
chromates destroy the effect produced by the action of light upon a
sensitive film. If we imagine such a duplex film as that alluded to by
Mr. Burton and Mr. Grant, silver bromide upon silver chromate, to liave
been exposed to light, we can readily believe that it will have an image
impressed upon it ; but it is not so easy to see how that image is to be
developed, even by Mr. Burton's plan. The immersion in solution of
potassium bromide will certainly convert the substratum of chromate into
silver bromide ; but, at the same time, it will, by double decomposition,
form potassium chromate, which cannot but have full access to the over-
lying film of bromide of silver. What, then, about the image ?
It is true that the bichromate is far more powerful in its destructive
action on the latent image than the neutral chromate, on account of the
loose atom of chromic acid, and it would be the neutral chromate that is
formed under such circumstances. But the latter salt alone, and more
particularly in the presence of a soluble bromide, is quite powerful
enough to destroy any image with which it may be brought into contact.
I should not like to say that it is impossible to obtain any sort of image
by development under such conditions, but it seems quite impossible that
a practically useful one could result. By using a very weak solution of
bromide, and a great volume of it, so that the chromate would be con-
verted slowly and a little at a time, the bromide film would be submitted
practically to the action of a very feeble solution of potassium chromate,
which might possibly not exert the full effect.
One other point I may note in pas.=ing. If the chromate film referred
to by Mr. Burton is made in the same manner as that he recommends in
another place as a substitute for ruby glass, namely, by adding silver
nitrate and potassium bichromate to solution of gelatine to form an
emulsion, from which the soluble matter is not subsequently washed, I
am afraid there would be still further reason for failure. Even supposing
the equivalent proportions of the two salts are so. exactly hit that there is
no excess of either, there would still be a soluble silver salt present in
the form of dissolved chromate of silver. When the two salts just men-
tioned are mixed, neutral chromate of silver is formed together with
nitrate of potash, and nitric acid is set free ; and this latter dissolves a
small quantity of the silver chromate. The experiment is easily made of
adding silver nitrate in excess to solution of potassium bichromate, when,
after the precipitate has subsided, the supernatant solution will be found
to be higlily coloured. A drop of the chromate solution will give a
further precipitate of silver chromate, showing tliat the colour does not
come from excess of that, but it the supernatant liquid is poured off, and
treated with a solution of carbonate of soda until no further precipitate
occurs, it will be decolourised, and the red precipitate will show that the
colouration was due to chromate of silver held in solution by the liberated
nitric acid.
It such a film were treated with an alkaline, or, indeed, any developer,
it is not difficult to believe that reduction would occur without any
question of exposure, and that may explain the first of Mr. Burton's
failures, but does not affect the general question of the practicability of
the plan suggested.
If any of the -eaders of the Journal are desirous of testing this plan,
he best way to proceed is to employ the neutral chromate of potassium in
conjunction with nitrate of silver, the former slightly in excess, and to
wash the emulsion so formed. Or carbonate of silver may be emulsified
in the usual way — by precipitation and decantation before adding the
gelatine — and then converting by means of chromic acid or bichromate of
potash.
A still better plan was published by M. Paul Eoy, of Algiers, some ten
or twelve years ago for forming an emulsion of pure chromate of silver.
It is based upon an alleged action of the soluble chromate in excess to
precipitate gelatine in conjunction with chromate of silver. The process
consists in dissolving one part of gelatine in 100 parts of water, to which
ten parts of silver nitrate are subsequently added. When this is dissolved,
a saturated solution of ammonium or potassium bicliromate is added with
vigorous stirring ; the first result is of course the formation of chromate
of silver, and when the soluble chromate is in excess, the gelatine in com-
bination with the silver salt is said to separate, and may be washed and
redissolved by heat.
I fully agree with what Mr. Burton says in the article I have referred
to in regard to the probability of chromate of silver being found eventually
to be a useful photographic salt. But I am afraid we shall have to find
an altogether new developer first.
It was far from my intention to criticise Mr. Gregor Grant in a carping
manner. My allusion to the impossibility of getting clear shadows with
the double films was aimed at the theory propounded rather than the plates,
and I must adhere to the belief that if such a " proper " exposure is to be
given as to reverse the image of the more sensitive film, then there iiiiiHt
be a deposit in the shadows.
Again, when Mr. Grant says that Captain Abney was "the first person
to lay down any law," &c., and "the theory just adrani-ed hij hint "—the
italics are mine — was the reflection theory in fact, 1 naturally thought he
meant it, and therefore gave the date of an earlier publication. Now, as
he denies having stated that Captain Abney " was the first to discover or
notice the causes of halation," I am in doubt as to how he came to be
the first to " advance " them. Captain Abney has done a very great deal
in connexion with the investigation of the various causes of halation, but,
I repeat, Marlowe was the first to draw attention to refiection from the
back surface as one of them. — I am, yours, <S;c., W. B. Boi.ioN.
Janudi-'i 17, 1893.
"KEEPING OF CAEBON TISSUE."
To the Editor.
Sir, — Every now and then I see it stated that carbon tissue will keep
about a fortnight after sensitising.
It appears, therefore, not to be generally known that it may he pre-
served, in good condition, for a much longer time if stored in a calcium
tube.
I am using some to-day, received from the Autotype Company about
the 2nd of December, which has been so stored, and is in the same con-
dition now as when it came to hand. — I am, yours, etc.,
Watford, January IG, 18SI3. Willum Coi,es.
OPTIMUS COMPETITION.
To the Editor.
Sir, — We have just received the enclosed awards for the Optimus
competition, and shall be glad if you will announce them in your Jolhxal.
—We are, yours, &e., Perken, Son, & Batwext.
99, Jlatton-gariJen, Londou, January 18, 1893.
Class I. — Landscape, with and without figures. Sub-class A, The
Haunted Cottage ; sub-class 1!, White Star.
Class II. — Seascape. Subclass A, Per-son-ray ; sub-class B, De-
tective.
Class III. — Portraiture and Figure Study. Sub-class A, Mezzo ; sub-
class B, Joan.
Class IV. — Instantaneous Work. Lannul.
Having opened the envelopes bearing the above nomsde plume, we find
thit the following are the successful competitors : —
Class I. — Landscape, with and without figures. Sub-class A, C. Field,
West Bromwich ; sub-class B, W. D. Welford, Birmingham.
Class II. — Seascape. Subclass A, Mrs. M. E. Marriott, LiveriK)ol ;
sub-class B, Charles M. Berry, Belfast.
Class III. — Portraiture and Figure Study. Sub-class A, John H. Gear,
London ; sub-class B, John Wickeiis, Bangor.
Class IV. — Instantaneous Work. James W. Morgan, Tunbridge
WeUs.
THE VENTILATION OF OPTICAL LANTERNS.
To the Editor.
Sir, — I read in last week's Bun ish Jouiin.al of Photography an article
by Mr. T. N. Armstrong on the " Ventilation of Optical Lanterns," which
refers to one at Edwards' establishment which was placed at his disposal.
I would just like to call your attention to the following : The very lanteri
he refers to was made in White's workshops, to my design when I thi
1
January I'0, 189a]
^Hbprpsented the firm in tlieir falc shop. Now that the firm has no retail
^HK>'>n6sB, I nn my own account, at the address helow, make and use
^Manterna of the same kind. I may say that the Inntrrn Mr. .\rmBtront;
refers to was made about two and a half years apo. There is not ninoh
in the idea further than that the bottom lantern is ventilated at the side.
All the above facts are well known to Mr. Armstrons, but it is wonderful
wlint some folks will do for a little favour.
Trusting you will see your way to coneet such mistakes, and feeling
>ony to trouble you over such little aifairs, which are better corrected.
- I am. yours, Ac, Jamks Mimik.
77, nenrielil-street, Gla^ioir, Janiiarii 10, IHttJi.
THE BRITISU JOUKNAL OF I'HOTOGIiArilY.
A VALUATION.
To the EDrroK.
Sill, -RespectinR the inquiry of your correspondent, "A Seaside
I'hotosrapher," I should be disposed to say that, it there ore no other
I on«iderations of weight beyond tho.se mentioned in his letter, the
.siness would be cheap at lOOH/., and if bought at 1100!., the transaction
,i..uld be fair on both sides. — I am, yours. *c., K. S. V. 1'.
rawiaty 17, 18".ta.
-^•~
A BUSINESS MYSTEEY.
To llir Emtok.
Sill, — How do the enclosed assimilate ? I cut them out of two papers
O'. last week. — I am, yours, &c.. Sceptical.
.Tiuiiinvij 17, 189.S.
[The following are the confiictinfr announcements to which our
correspondent refers. — Ed.]
From the Slocl.j'Orl AiUtrli'i-r, January (>.
DAY AND ELKCTRIC LIGHT STUDIOS.— Mons. Sauvy (of Paris)
has just returned from his usual visit to Palis, and w^as successful
in procuring a FIRST-CLASS FRENCH ARTIST, who will attend to the
customers, as well as himself personally as usual, from 10 a.m. to li p.m.
daily. 22a, King-street, Manchester.
From the Mniuheflfr CUij Xeirx, January 7.
MRS. KATE HAR(iREAVi:S begs to intimate to the public that she
has purchased the entire PHOTOGRAPHIC BUSINESS of
Monsieur Sauvy. 22a, King-street, Manchester. All the eminent Artists
formerly engaged have been retained.
Mrs. Hargreaves can assure her patrons that the same high-class work
will still be produced, and that the whole of the Negatives of Portraits
taken at 22a, King-street are in her possession, and copies can be had at
any time. Every branch of the business is under her personal super-
vision.
Mrs. Hargreaves draws particular attention to and invites inspection of
her Speciality (recently introduced), viz., the highest class of (Jpal and
Ivory Miniature Painting.
THE WEEKLY HALF-HOLIDAY.
To the Editor.
Sii;, -The adoption of a weekly half-holiday, which has been occupying
the attention of various trades for the past few years, is worthy the
com-ideration of those engaged in the photographic business. When
originating the movement in Glasgow and Paisley, we found that all the
principal members of the profession aci-cded to the proposal, and strictly
cairied it into practice. As the spring is drawing near, it is expedient
for a successful issue that those concerned interest themselves on the
mbject, and by their energies establish the movement, much to the
Baiisfaction of those capable of recognising its advantages. — I am,
yours, Ac, Bks.iamin R. F.u;i.KNEr..
10, St. James-street, Vahleii. ■Tnnnnni 14, 1893.
iSichanoc Column.
Will i;xi^bansr(' 13L single lantern for a 12x10 camera.— Addresa, Feank Loblit»
Ilanlijy, Staff.>rdshire.
DHllratyer's in lens in excbanjre for ceiitorlev«»r pnlftrjfipff Inn*em. eiffht and a quarter
iiuh coii(lcnsofs.--A(lf1rePS, A. Sim.mows. 'll-, ■\Vestmiiister Hfidjfe-road, S.K.
Kxchaiiffo Thomtau - Pickard";* "Spwi.il" plintter, ixUo "Cyclist" tripod, for
Wa*Ron's b:ilf-plnte tnru-table and tripod.— Addrei-s, T. Bkrsard, 101, Goldfaawk-
road, W.
'Ex^'bangro six-inch Weston biimisher and laimor, backgrourdf', 12x10 camnra and
^lides, rtaff, Pnmihrej's telescopic staud. for anytbiag uteful.— Address, A. Hollis,
harrow -in- Fnrness.
W)K>!.\vicH PnoTO<:u.\PHic Society.— January 26, Lantern Xight.
Wkst London Photographic SociKTV.—Jnnnary 24, The Itoyal Palaccx of
Kitfjfand, illnstrateii by Ittiiterii. by Mi-. H. X. King.
Pj|(»ti>(;rai'HIC Sof iktyok (;rkatBhitaj.\.— Technical Mcetin?', JnTinaTy24.
«t U), (;rL'»t llnssL'U sti-cet, W.l". J'/totolil/iof/T^qiht/, a dLiiionstrutiou I-y
Mr. \V. IC. l>ebcubain.
anstoers to CTorrrspontients.
*,* AH matters inteTuUd for the text pnrtinn of thi» Joi.'RSAL. inrhidinrf
iliierirn anil Exchanges, mttat lie oililrensed to ' Thk Editor, Thk BbitIsM
JoiRNAi, OK PHoTOdHAPRy," 2, York-street, C'orent (JarUen, London. In-
attention to this ensures delay.
*,* (ni respondents are in/ormed that i« cannot undertake to answer eom-
mnnirations through the post.
*,* Communicntirms relntinij to Advertisements and general business affairs
sUniiU lie addre.tsed to Mensrs. Hknbt GwilurwooD & Co., 2, York-street,
Covent Garden, London.
.\. .). — .Me.s.sr3. Hurter <t Driflield'-: actinograph may be useil for ascertaining
studio exposures
Ai'ciiST liAKH. — We sliJill be very pleased to receive the commnnication.
Thanks for the enclosure.
T. N. — The Vergara films are not made now. The Company ha-i ceased to exist.
The slides will havv. to be modilied to take glass plates.
W. (J.— We do not know tlic name of the publisher of Mr. .Joseph Pennell's
works. Your local bookseller would obtain the information for you.
Horace .Tack.son. — Vou may tniploy either of the two lenses as a single
combination. The focus will be much longer and the covering power
greater.
C. Rav. — Obtain what is known as masticated rubber, and no dilticulty will
be met with in its solntiun in benzol. Vuloaniseil rubber has been the cause
of the trouble.
STor. — There is no necessity to use a wide-angle lens for making lantern slides
liy rediu'tion. I'se a lens with a narrower angle (one of tin: rcotilincar type),
working at a larger aperture.
n. Leitch. — So far as we are aware, no camera answering to the description of
Dr. Marey's chrono-plmtograpliic ajiparatus is to be hsS commercially. The
camera would have to bt- specially made.
Nn. 'MO." — 1. Citric acid lia-. the double action of being a restrainer and of
keeping the whites pare. 2. The new jiaper is probably twice or three
times more rapid than the other rapid jiaper.
BoLi. — 1. The studio will answer very well,, but we prefer a ilirect side light
in addition to the top light. 3. You may atrejit Mr. Brother's teachings as
(inite sound. Procure his book by all means.
A. K. T.wi.OH. — Unless you can tell us the composition of the cement in
question, we can give no opinion whatever as to the jirobable effect it may
have on photogniphs. Its nature indicates nothing.
M. J. E. TiLNKV..— Amidol is not employed for tlie purpose of developing under-
jiriiited images oii chloride. Study two articles on the subject by E. Valenta
at |Ki;.'es 247 and 279 of the last vohimc of the Jouiinal.
.\r Ho.ME. — We are not aware of any books having been published on the
subjects referred to. Carte or i-abinet portrait lenses will lidlil your re<inire-
nients for rapiil indoor portraiture under the rnuditions named.
Laxsdowx. — 1. A gooil single lens, or, by preference, a doublet, will answer.
2. We do not know the nature of the head-rest mentioned, 'i. See two
forniul.T for the P.O. P., page 79J, in our Ai.max.\c for cnrrent year.
A Si'iis<BiBER (Basingstoke). — If you can colour other photographs, we see no
reason why yon should not colour bromide prints. The same colours,
whether oil or water, that are used for ordinary prints will do equally well
for bromides.
A. K. W.— Your reading of the Act is quite correct, and, as you say, it is very
unsatisfactory. The Copyright Act, as it stands, is very unsatisfaotorj'
inilecil. and we fear that at present there is but a very small prospect of its
being aniendeil.
A. M. Z. — A little practice in .judging of the distances when focussing willi a
hand camera having a focus scale will enable vou to do so with sutticient
accuracy for the purpose. There is no rule available. Both the hand
cameras you naiue enjoy high re])iitatioiis.
H. D. — 1. A ten per cent, solution is one in which in every ten ]nrts there is
contained one i>:irt of the salt. 2. A view-finder, if constructed for the
jmrpose. will show precisely what is to be seen on the ground glass. 3.
There are no books published on such simple mutters.
E. R. B."lf, instead of suspending the prints on a line to dry, they arc dried
in a blotting-book, they will net curl u]i, and will he much more convenient
for mounting. Greater distortion occurs from expansion, and the stretching
of the paper in mounting, when the pictuies are mouute<l wet than when
they are mounted dry.
W. Baiiti.ett. — Slides such as those .sent will not do at all for the lantern.
The lights must be perfectly clear glass. In your shdes they are represented
by a thick veil of fog. Moreover, there is a deoideil trace of giten fog.
Better purcha.se commercial plates and get prolicieut with them, then go
back to making your own.
.\. I..i:ach.-— 1. Working in an experimental way with bichromated gelatine,
there need he no fear of any harmful ett'ects from the chromium salt. It is
only with long and extensive working that any ill effects need be anticipated,
and not then even if care be taken. 2. The tilms were probably over-dried,
and too high a temperature used.
KODNEi.. — The rooms where you witnessed the demonstration of enlarging are
now closed, th» firm having since ceased to exist. So lar as concerns
ajiparatus for enlarging, some notices relative to these have recently
appeared in tliis Joi KNAI.. If you desire to know anything technically
concerning enlarging appliances, we will be happy to give you any farther
iulormatiou.
48
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 20, 1893
S. Bateman.— It has frequently been suggested to immerse albumen prints in
a mixture of alcohol and glycerine to urevent their curling when kept un-
mounted. But we cannot recommend the nietliod, inasmuch as glycerine
has always a tendency to take up moisture, and that is conducive to fading.
Roll the prints under very heavy pressure, and they will have little tendency
to curl afterwards.
S A. W.—As you have not a lens of the "rapid " type, the best amongst those
' you have for taking a large group will be the orthographic. As it is twenty-
jour inches focus, we should imagine it would cover a 15 x 12 plate with its
full opening. Then it would be quite as q\iick, or, indeed, quicker, than a
"rapid" of sixteen inches focus stopped down to make it cover that size plate
with equal marginal definition.
Fi.EXlBLE.—Coiled-wire .spring, suitable for a flexible chimney to convey away
the smoke from a niasnesium lamp, cannot be obtained in commerce, so far
as we can learn. Solomon, of Red Lion-square, wjio first introduced such
chimneys, had then) made to order. Get a round rod of wood and wrap
hard iron wire arouud it, and you will have just such a spring as we have in
one procured from the late Jlr. Solomon.
T. H. Price \vrites: "Kindly inform me if anything c.in be done to get oil
out of a photographic print. Only a portion of the print is saturated with
oil. I think from the smell it is linseed oil."— Pour a little pure benzol on
the print, and .allow it to soak for a short time, then blot off with clean
blotting-paper, and apply more benzol and again blot off. Repeat the
operations till the grease "is entirely removed.
C. Bai.laud.— Evidently the plates were kept too long after they were pre-
pared. Collotype plates should be used within two or three days of their
preparation. It is not surprising, if they were kept for a fortnight, that
they behaved as stated. After the plates are printed, and the bichromate
washed out, they may be kept for months before they are printed from in
. the press. Possibly that is what you were told, and you have misunder-
stood the matter.
C. E. T. Teury. — Prisms would certainly take up less space than mirrors.
But why not fit the mirrors behind the lenses as you propose to do the
prisms '. 'lliat will do away with part of your difficulty. Any of the leading
opticians would supply the latter to order. So far »s we know, they are not
mentioned in any English catalogues. The only quotation we can find is in
the list of Steiuheil & Son, Munich. There they vary in price from 4/. to
601. , according to size.
R. A. M. — After an apprentice has served two years of his apprenticeship it
seem a little unreasonable to expect him, after the usual business hours, to
act the part of an errand boy in delivering pictures and parcels, and we are
not at all surprised that he and his friends are beginning to rebel. Surely
this employmeut is not teaching the young fellow the business his friends
paid a premium for him to be taught. The friends would no doubt succeed
in their tlireatened proceedings.
W. Pennekather (St. Austell) says that he is desirous of studying retouch-
ing in London during occasional visits which he has to make there on busi-
ness, and asks for our guidance in recommending him the best course to
pursue. — In reply : One could not do better than apply to Mr. Redmond
Barrett, whose services as a teaclier of retouching we, from the testimony
and skill of many of that gentleman's former pujuls, are happy to recom-
mend. Mr. Barrett is also, we believe, instructor in retouching at the
Camera Club.
1. A. GuEEx complains that he cannot get the chloride of silver from the
washings of prints to settle down. He says with the washings of paper of his
own sensitising he has no trouble, but the difliculty is with tlie ready-sensitised
and i)rinting-out paper. We have heard the same complaint many times
before. The best way is to add to the refractory residue, when it will not
settle down after the addition of the salt, an ounce or two of nitric or hydro-
chloric acid, and then stir it np vigorously for several uunutes. In a day or
two after tins treatment it will generally settle down.
A. B. (Belfast) writes : "I often see it iu print, and often hear it stated, that
the best slides for the lantern, and also for the stei'eoscope, are those by the
old albumen process. Is this the case, and if so, why is it that the process
is not worked more than it is, both by amateurs an<l professional slide-
makers ? If the process is as good as some claim that it is, why is it so
neglected ?" — The albumen process is undoubtedly an excellent one for
transparencies, but it involves more trouble in working, and also re(|uirc3
more skill than other methods that are ca]table of giving excellent results.
Hence amateurs fancy it is too troublesome for them, and professionals
prefer the more expeditious process of wet collodion.
A. ,1. Henderson (Thames Ditton).— We cannot undertake to advise you as to
the selection of particular makes of lenses, cameras, enharging apparatus.
&c. To this rule we make no exception. Consult a photographic friend in
whose advice you have confidence, or, failing such, place yourself in the
hands of one of the dealers advertising in this JounNAi. or its Almaxac, and
state your requirements. With respect to your other questions ; Messrs.
Percy Lund k Co., Memorial Hall, E C, or any dealer will supply you
with all the books named. In our Alsianac for 1892 is contained a series of
-articles for beginners. When enlarging with the lantern a bellows camera
is not required. There is not necessarily any dift'erence in quality between
daylight and artificial enlargements on bromide paper. Their sharpness is
dependent (1) upon the degree of sharpness on the negative ; (2) upon
accurate focussing of the enlargement, and (3) upon Uie qualities and
proper use of the enlarging objective.
Photooraphic Club. — January 25, Annual Lantern and Musical Entertain-
ment (Ladies' Night). 27 (Friday), Children's Entertainment. February 1,
The Limelight and other Illuminanis for the Lantern.
Mr. H. a. Chapman, Photographer, of Swansea, who was elected to the
Town Council twelve years ago and an Alderman three yeirs ago, has been
promoted to the Civic Chair of that town for the coming year. We congratu-
late Mr. Chapman on the distinction conferred upon him.
The Blackheath Camera Club will hold an Exhibition of Photographs and
Photograpliic Apparatus in the Hall of the Art Club, Blackheath. on Friday
and Saturday. March 3 and 4, when medals will be ofl'ered for competition in
the following classes : — A (for members only) : Prints, any subject by any
process. B (for members only) ; Lantern Slides, any subject (set of four).
C (Open); Prints — landscape, seascape, architecture, &e., any process.
D (Open) ; Prints — portraiture, animal and genre, any jirocess. E (Open) ;
Lantern Slides, any subject (sets of four). F (Open) : Hand-camera Work,
any subject, taken with camera held in liand, not on tripod (sets of four
prints). G (Championship) : Any subject by any process, open only to pic-
tures that liave taken first and second-class prizes in any previous exhibition.
Awards : Silver and Bronze Medals in Classes A to F, .and a Gold Medal iu
Class G, will be placed at the discretion of the Judges. The Judges are
Messrs. F. P. Cembrano, jun., George Davison, .Andrew Pi-ingle ; and the
Hon. Secretaries Messi-s. Thomas B. Earle. The Cottage, Handen-road,
Lee, S.E., and C. W. Piper, A.R.I.B.A., 46, Shooter's Hill-road, Black-
heath, S.E.
Richmond C.\MEi!A Club Conversazione. — The Riclmiond Camera Club,
which last year held its annual ccrnrersar.innc in very moilest fashion at tlie
Cottage Hall, this year launched out in much bolder style, taking the
Richmond Theatre Royal for the purpose on Monday, January 9. The
venture was a distinct success, both as regards the numbers that attended
(over 350) and the character of tlie entertainment that was given. A feature
of the evening was the arrangement of the ground fioor of the theatre, which
we heard remarked by mauy visitors looked "quite like a drawing-room."
Tlie seats were removed, only a few velvet-covereil stalls being retained and
placed here and there in such positions as to allow free pas.sage for those
present to view the select exhibition of pliotogr.aphic work done by members
of the Club, which was displayed on screens along the sides of the arena.
Refreshments were served at two tastefully arranged counters under the
gallery, which were partially curtained off from the main body of tlie theatre.
From' the neatly got-up programme we see that there were seven musical
selections, sandwiched between four optical lantern clisplays, in which
altogether some ISO slides were shown on a sixteen-foot screen .at a distance
of sixty feet from the lantern. For those whose memories go liack to the
Photographic Exhibition held in Richmond in 1889 in a part of the same
building, the improvements arrived at during the intervening period, especially
in the way of artistic effect, were very noticeable. The Mayor and Mayoress,
many of the Town Councillors, and the Hiie of the neighbourhooii, honoured
the soiree by their presence. We are informed that H.H. the Duke of Teck,
G.C.B., &c., has kindly consented to become p.atron of tlie Club.
Aston Natural History and Photoorapbic Society.— The numbers of
this Society are increasing, but any who are desirous of becoming members are
a.sked to communicate with tlie Hon. Secretary. Mr. Fred. W. Pilditch, 133,
Wills-street, Aston.
FORTHCOMING EXHIBITIONS.
January 26, 2" *Louth and District Photographic Society. Hon. Secre-
tary, S. Francis Clarke, 8 Upgate, Louth.
February 1 *CleveIan(l Camera Club. Hon. Secretary, J. J. Hallani,
11, Amber-street, S.altburn-by-the-Sea.
„ 7,8 Rotherham Photographic Society. Hon. Secretary, H. C.
Hemingway, Rotherham.
,, 14 Durham City Camera Club. Hon. Secretary, R. Haux-
well. The Avenue, Durham.
„ 16-18 *Woolwich Polyteclmic Photographic Society. Hon.
Secretary, W. Dawes, 145, Chesnut-road, Plumstead,
S.E.
,, 18 Holborn Camera Club. Hon. Secretary, F. J. Cobb
ICO High Holborn, E.G.
March 1, 2 *Fillebrook Athemeum Photographic Society. Hon.
Secretary, Joseph W. Spurgeon, 1 Drayton Villas,
Leytonstone, Essex.
,, 3,4 Blackheath Camera Club. Hon. Secretary, C. W. Piper,
46, Shooter's Hill-road, Blackheath, S.E.
April ^Forfarshire Photograpliic Association. Hon. Secretary,
W. J. Anckorn, West Port, Arbroath, N.B.
„ 17-29 ♦Photographic Societv of Philadelphia. Hon. Secretarj',
R. S. Redfield, ICOl, Callowhill-street, Philadelphia,
U.S.A.
* Signifies that there are open classes.
OONTBNTS,
Paoe
ASSISTANTS AND THEIB SPKCIMESS IM
NON-.tLKALINE DEVELOPMENT M
CHANGING BOXES VEliSVS DARK
SLIDES.— Ill 84
WILLIAM BEDFORD Uli
STUDIO HE.ITINO. By G, WATMOUGH
WEIlSTEIt 37
AMERIC.\N NOTES AND NEWS m
NOTES ON SILVER. By M.. CAREY
LEA .18
ESTIMATION OF OXYGEN. By F. B.
GRUNDY «XD A. HADDON 89
DISHES AND TRAYS. By J. PIKK 40
WINTER PHOTOGRAPHY 40
PaOI
REVERSED NEGATIVES— AMIDOL. By
GEORGE MANSFIELD «
NOTES ON SILVEP. CHLORIDES. By
M. CAREY LEA 41
AMIDOL 4»
THE WEST KENT AMATEUR PHOTO-
ORAPHIC SOCIETY'S EXHIBITION .. 4.1
ENLARGING APPARATUS AND THE
ILLUMINANTS FOR SAME 48
RECENT PATENTS 4«
MEETINGS OF SOCIETIES 44
COliRESPONDENCE 48j
EXCHANGE COLUMN' 471
ANSWERS TO CORRESPONDENTS 47 J
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1708. Vol. XL.— JANUARY 27, 1893.
EEPEODUCING NEGATIVES FROM PAPER PRINTS.
We have lately been retrying the old experiment of reproduc-
ing negatives, which have long been lost or destroyed, from
prints that have been taken many years since, and the success
attending the effort has been such as to warrant our bringing
the subject before such of our less experienced readers as may
not be awai'e of this method of reproducing a negative.
It is very curious that, in prints produced from some of these
iiegatives, there is to be found more detail than is to be seen in
the prints from which the negative was made. This is not
difficult to understand when we consider that in a strong print
— one obtained from an intense negative in which much of the
liner details in the shadows had to be sacrificed, in order that
the lights might not be altogether chalky, and thus get
•buried in the substance of the paper, presenting only a
Tinifonn blackness on the surface — such details are still
found to exist if the print is examined when held against a
strong ligiit. Make a print on albumenised paper from any
intense negative, continuing the exposure until nothing but
the highest lights remain visible on the surface, and when held
Tip against a etrong gas flame, and viewed as a transparency, the
•details that are lost under examination by reflected light are
still to be seen when the light is transmitted through it.
Tlie print selected for making a negative of ought to be as
\'igorous a one as possible ; and, from what has just been said,
it will be seen that it is not an objection, but quite otherwise,
that the deep shadows are clogged or seemingly obliterated.
The way by which the prints are removed from their mounts
■is to place them in lukewarm water for a few minutes, until,
■upon raising up one comer of the print from the mount, it is
fonnd to strip off. It is sometimes necessary to increase the
heat and pi'olong the time of immersion to ensure this, as much
depends upon the nature of the paste by which it was mounted^
When removed, the back of the print must be carefully sponged,
80 as to remove any adherent paste. It must then be dried
between sheets of blotting-paper.
The printing frame that is to be employed in reproduction
must be fitted with a plate of stout and flat glass. On this
the print is laid, face up, and a dry plate superimposed, face
down, of course. It is not easy to indicate the exposure that
should be given, but five seconds to a common gas flame with
an ordinary slow plate proved ample in the last trial we made.
A slow-acting weak developer has been hitherto preferred by
<is, but the selection of this depends upon the softness or the
intensity of the print. When the negative thus made has been
.fnished, it is ready for being printed from.
The method here described presents important advantages
over the reproduction of a negative by the camera. By the
latter nothing is copied . but what appears on the surface,
whereas the method advocated reveals what is concealed in the
texture of the paper. We have one reproduction which forcibly
illustrates this. The scene is one in the Maraposa Grove,
California, and in the original print one portion is presented in
such deep shadow as to reveal no detail whatever. It was first
copied by the camera without showing more than was originally
visible ; but, when copied by transparence as described, a group
of figures not hitherto seen in the print became plainly visible,
and now forms an addition to the pictorial value of the print,
more especially now that a lantern slide has been made from it
sufficiently crisp and sharp as to betray no suspicion of its
having had a paper origin.
Without having yet tried it, we can scarcely suppose that a
print on a gelatine emulsion paper will show the same dis-
criminative power in the burying of detail that one on
albumenised paper will, seeing that in the former case the
image is confined to the thin pellicle which contains the silver
haloid, whereas in the latter the silver nitrate not only sensi-
tises the albumen film, but penetrates beyond it — a fact that is
easily proved by the stripping off of the albumen and observing
the vigour of the image still visible on the denuded paper.
With a view to facilitating the printing and destroying
granularity in the paper, we have rendered one-half of a
precisely similar pair of stereoscopic prints translucent by
Canada balsam varnish, .allowing the other half to remain
in statu quo, but have not found any advantage to arise. It
may, however, prove advantageous with thick and uneven
paper.
While on this subject, and correlative to the foregoing, we
may remark on a useful application of the principle of produc-
ing a negative from a paper print with which, several years
prior to the advent of modem dry-plate photography, the
names of Valentine Blanchard and Claud Leon Lambert were
associated. Given a negative imperfect from whatever cause,
a print is produced from it which, when fixed and washed (it
need not be toned), has the lacking detail put in with a pencil
or a brush or the too dark shadows lightened by any of the
reducing agents now so well known. This then forms a cltc/ie,
from which a negative is printed on finely surfaced paper, and
which in turn, after further retouching if re(|uisite, is employed
as a negative to reproduce perfect impressions of the original.
Some sixteen or eighteen years ago this system fomied the
means of producing many excellent prints, v.hich were justly
much admired. We mention this, as the method appears to
have fallen into abeyance.
60
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 27, 1893
CHROMATE OF SILVER.
The question having arisen of the sensitiveness of chromate of
silver or its jjower of forming a developable image, it may not
be out of place here to state a few facts which seem, so far
at least as our present knowledge goes, to set the matter at
rest.
There are two chromates of silver analogous in their compo-
sition to the neutral and acid chromates of potassium, but it is
the neutral or monochromate with which photographers will
have more particularly to deal. This salt is formed when solu-
tions of nitrate of silver and of a neutral alkaline chromate are
mixed, or when carbonate of silver is treated with an acid
chromate. It is also formed when bichi'omate of potash is
added to a solution of nitrate of silver, but in this case nitric
acid is liberated and a portion of the silver chromate remains in
solution, owing to the solvent action of the free acid. The
neutral chromate is insoluble in water, but is soluble in nitric
acid, especially when hot, and particularly so in ammonia.
The acid chromate is formed when a solution of bichromate
of potash, acidified with sulphiu-ic acid, is added to one of
nitrate of silver, or when carbonate of silver is acted upon by
the same compound solution. It forms a reddish-purple preci-
pitate, almost identical in appearance with tlie neutral chromate,
but, unlike the latter, it is slightly soluble in water. A more
detailed description of these salts will be found in an article on
" Chi'jmate of Silver and Chromates," at page 190 in our
Volume for 1886, to which we must refer those who desire
further information.
Up to the present time, chromate of silver has found little
practical application in connexion witli photography ; one or
two attempts have been made to use it as a stepping-stone to
the formation of the gelatino-bromide emulsion, and an emulsion
of the chromate itself was suggested some ten or twelve years
ago by Mr. W. K. Burton as a means of forming a substitute
for ruby glass for the dark-room window, and also, as will be
seen from recent correspondence, as a preventive of halation.
In connexion with the first application, it was pointed out that
the chromate emulsion films were of little actiial use in day-
light, owing to the fact that, being sensitive to strong light,
they quickly darkened, and soon became too dense to transmit
light, and from this it came to be imagined that the chromate
of silver was itself sensitive to light.
This, however, is not the case, so far, at least, as we have
been able to discover, the discolouration that talies place beinc
really due to the action of light upon the bichromatised gela-
tine of the emulsion. As all our readers are aware, the soluble
chromates and bichromates in the presence of organic matter
are sensitive to light, one of the results being a visible image
due to the reduction of the chromic salt. Thus ordinary
paper, floated in a strong solution of bichromate of potash and
dried, becomes sensitive to light, forming a brown image on a
yellow ground, which only requires washing in water to " fix " it
or render it permanent. If the paper is sized with gelatine,
the sensitiveness will be greater, and the colouration proportion-
ately deeper. Solutions of gelatine, gum, dextrine, glucose,
sugar, or other similar organic substances in combination with
chromic salts, also darken under the action of light, or even
spontaneously, and it is to this action alone that the deterior-
ation of the ruby -glass substitute must be attributed, we
think.
If, to a solution of gelatine, bichromate of potash and nitrate
of silver be added, a deep red emulsion is formed, the pigment
being chromate of silver ; but, in addition to the silver chro-
mate in suspension, there will also be a minute quantity in I
solution, owing, as we have shown, to the presence of free '
nitric acid. If the equivalent proportions of the silver nitrate ^
and bichromate have been pretty closely adjusted, such an
emulsion will not possess a very high degree of sensitiveness —
that is to say, it will not discolour or darken very rapidly,
owing to the very small quantity of soluble chromate present,
though that small quantity is sufficient to cause it to change
eventually. Moreover, the fact of there being a salt of silver
also in solution forms another cause of instability ; l:)ut, if, as
is most likely to be the case, an excess of bichromate has been
used, then the sensitiveness will be very materially increased,
and a comparatively short exposure to daylight will produce an
appreciable change of colour.
It will be readily understood, therefore, how it is that an
emulsion of this kind darkens under the action of light ; but,
if before it is spread upon the glass it be " washed " in the
same way that a negative emulsion is, to remove the soluble
salts, although the appearance of the resulting film is in no way
altered, it will be found to have practically lost its tendency to
change under the action of light — to have, in fact, lost its sensi-
tiveness. We say " practically," because the absolute desensi-
tising will depend upon the thoroughness of the washing.
In other words, what we wish to convey is tliat chromate of
silver, ]}e>- se, is insensitive to light, or, at any I'ate, incapable
of forming a visible image. The experiment is easily made
witliout the trouble of forming an emulsion by floating paper
upon a solution of nitrate of silver, and, after drying, refloat-
ing on bichromate or, preferably, neutral chromate of potash,
and subsequently washing very thoroughly to remove all excess
of either salt. It is important that the paper in the first
instance and the water used be free from soluble chlorides,
otherwise chloride of silver will be formed, and may lead to
false judgment. If the layer of chromate of silver be
thoroughly freed from soluble matter, and be clear of silver
haloids, the paper so prepared may be exposed under a nega-
tive without producing any trace of an image. If, however,
any traces of chromic salts remain in the paper^ more or less
discolouration will occur, and, if an excess of silver should have
been used, a similar result will accrue.
So far we have only dealt with the capabilit}' of chromate
of silver for forming a visibly or direct image ; let us now turn
to the question of development. It is an easy matter to say
that it is sensitive if we only knew how to develop tlie image
formed ; but wliat we have particularly to deal with now is
whether with our known methods of development it is possible
to produce an image. So far, we have not found it possible.
For the purpose of experiments made some years ago, and
which we have repeated quite recently, an emulsion of pure
silver chromate was prepared. In order to avoid as far as
possible anj- secondary action that might arise from the action
of silver salts or excess of cliromic salts on the gelatine, the
enmlsion was made with jjrecipitated carbonate of silver con-
verted into chromate by the cautious addition of a weak solu-
tion of chromic acid, followed by washing in distilled water.
For all practical purposes tlie film of chromate of silver thus
obtained was as pure as could be.
So far as actual trials were concerned the results were
identical, and afforded no opportunity of varying the condi-
tions under which they were made. With evei-y kind of
developer used, including the most recently introduced, the
chromate was blackened, whether exposed or not. Further
than this, the same result followed the employment of plain
Janimiy -27, 189.1]
THE BRITISH JOUKNAL OF PHOTOGtlArHY.
r,i
solution of pyro, without any alkali whatever. In fact,
chromate of silver is reduced without exposure to light by
any of the developers in ordinary use.
Acting on the suggestion originally made by Mr. Burton,
lul rofen-ed to in the recent correspondence on the subject, the
experiment was made of converting the chromate into bromide
of silver before development, but with little better success.
Before development the films were immersed in a solution of
bromide of potassium of the strength of half a grain to the
ounce until the red colour of the chromate was completely dis-
charged, and the developer then applied in the ordinary way.
The result was invariably the same, the film appeared abso-
lutely insensitive, no matter what exposure was given, and it
was only on the application of an abnormally strong solution —
sufficient to produce fog — that any result in the way of develop
inent could be obtained.
It is, of course, possible that with other fonns of develop-
ment— acid silver, for instance — a better result might be
obtained ; but, looking at all the circumstances, we are
scarcely encouraged to hope so. At any rate, for the present
we may rest content that chromate of silver is of no practical
use as a photographic agent.
PHOTO-PLASTIGRAPHY.
A FEW weeks since, it will be remembered, we devoted a de
scriptive article to a new style of sculpturesque portraiture by
an American artist. Although there is but a comparatively
small demand for that class of picture in this country, there is,
we believe, a greater demand for it in America, also in some
parts of the Continent. Seeing that statuesque portraits are
still being produced here as well as abroad, and that, notwith-
standing their frequent incongruities, they meet with a certain
degree of favour, it is not inopportune to consider whether or
not genuine statuettes would not, at the present time, meet
with commercial success if they were forthcoming.
It will possibly be new to many of our readers to learn that
veritable statuettes — bust and full-length — were produced com
mercially by photographic means in the earlier days of photo
graphy. The first process — that of Mr. Fran<;ois Willeme, of Paris
— waspatented in this country just thirty years ago. We wellre
member seeing at the time some really very fine examples of the
work, alike in Parian, plaster of Paris, and bronze, that were
made by the inventor himself, and also by the late Mr. Claudet,
of Regent-street. Mr. Willeme's process was this : —
The studio in which the negatives were taken was circular,
and about thirty feet in diameter. In the centre was a raised
polygonal platform with twenty-four faces, numbered con-
secutively from one to twenty-four. In the centre of this
platform the sitter was posed. Round the studio were placed
twenty-four cameras, one exactly opposite each of the faces of
the polygon. A negative was then taken, simultaneously, or
as nearly so as possible, with each of the cameras on wet
collodion, so that twenty-four different views of the sitter were
obtained. The negatives were then numbered according to
the face of the platform fi'om opposite which they were ob-
tained. These negatives completed the actual photographic
portion of the work.
The statuette was made in the following manner : — On a
block capable of being rotated on its axis was placed a cylinder
of soft modelling clay. This block waspolygonal in shape, and
its faces were numbered from one to twenty-four ; in fact, it
■was an exact counterpart in miniature of the platform on which
the sitter was posed. At a certain distance from the clay was
fixed a ground-glass screen, >ipon which the enlarged image of
one of the negatives was projected by mean of an enlarging
camera. One of the sides of the Iilock, whose number corre-
sponded with that of the negative, was then brought opposite
the image. The outlines of it were then gone over with the
tracer of a pentagraph furnished with a cutting style or knife,
which cut a corresjwnding outline in the clay. Then a second
negative was taken, this time by preference one obtained at
right angles or nearly so to the first, the clay being rotated to
the corresponding number, so that the cut then made by the
style would intersect that previously made, by which a wedge-
shaped piece of clay was set free, and could then be removed.
This operation was repeated with all the negatives in turn, so
that in the end a perfect transcript of the contour of the
sitter was obtained. All that now remained to be done
to complete the statue was to touch out a few of the
hollows and scrape away the trifling edges left between
the various incisions made by the cutter of the pentagraph.
Instead of projecting the image on to a ground-glass screen, it
was sometimes thrown on to white paper or card, and the out-
line then traced with pencil. This tracing was then used with
the pentagraph instead of the grouud-gla'ss imago. When the
clay model was obtained, any number of duplicates could be
produced in plaster of Paris, Parian, or bronze in the ordinary
way. As illustrating the practicability of the process, it may
be mentioned that Mr. Willeme used to supply a full-length
statuette, fifteen or eighteen inches high, for three hundred
francs, equal to twelve pounds English.
A couple of years after the date of Willi'me's patent Mr.
Claudet patented another method of working. In this metiiod
the pentagraph was dispensed with, the enlarged image being
thrown direct upon the modelling clay, and then manipulated
by hand. The clay was fixed on a rotating table, as in the
process just referred to ; but it was capable of being moved back
ward or forward by means of a slot, as required. Thin plates of
metal were placed in the clay, upon which the outlines of the
figure could be seen as the clay was cut away. Such are the
brief outlines of, at least, two practical methods of producing
sculptures by photography, and others will suggest themselves
to the ingenious.
At the time these processes were introduced only wet-
collodion was in use for portraiture, and all familiar with
its working know quite well the difficulty there would be
in obtaining a couple of dozen negatives with long exposures
from the different points of sight at the same time, particularly
in hot weather, when the plates will only keep a few minutes
after preparation. No such difficulties would be encountered
with dry plates. Twenty-four cameras were formerly employed ;
but if the platform upon which the sitter is placed were a turn-
table, and he were posed on its axis, one camera could
practically be made to answer the same end, provided it were
rotated for the different views. Two cameras might, however,
be found more convenient in practice. In this case they might
be placed so that they were opposite alternate sections of the
platform. The exposures could be made simultaneously by one
operator with pneumatic shutters. The cameras would be fur-
nished with repeating backs carrying, say, half a dozen quarter-
plates each, so that two slides for each would suffice for the
twenty-four negatives, supposing that number were required.
Some portraitists, suffering from stagnation of business, often
sigh for a novelty or new style in portraiture. Here is a style
which, though it cannot in any way be termed new, would cer-
52
THE BRITISH JOURNAL OF PHOTOGRAPH!.
[January 27, 1893
taiuly now be novel to the public generally, and it requires
very little outlay for its practice in any ordinary studio. It
may be said that photo-sculpture when introduced did not prove
a commercial success. That is true, but the same may be said
with regard to other things in connexion with photography on
their first introduction, though they have proved successful
later on. It may be well to mention that at the time photo-
sculpture was introduced the carte-de-vidte furore was at about
its full, and only small pictures that could be put in albums
were entertained.
As regards cost. Of course, statuette portraits cannot be
produced so cheaply as paper pictures ; but there is no reason
why a sculptured portrait should not be very profitably supplied
for the same price as that usually charged in good establish-
ments for well-finished enlargements, while duplicates could
be supplied for infinitely less than duplicates of finished
enlargements.
The Proposed New Central Photographic Institu-
tion.— We are informed that consideraUe progress has taken place
ki the preliminary discussions necessitated by the suggested formation
of a new broad-based photographic club or institute, several meetings
of the originators having been held. At the present moment a very
strong and representative committee, counting some of the foremost
men in all departments of modern photography, is in process of com-
pletion, of M-liich a meeting is to take place at an early date. We
under.-tand that the attitude of the principal London Societies, and of
large numbers of photographers, is distinctly favourable to the
scheme.
Photomicrographic Stereograms.— An alleged novelty
in stereographic photographs was described by Dr. Ilausemann at a
recent meeting of the Berlin Physiological Society : he stated that he
had obtained photographs of microscopic objects which, when placed in
a stereoscope, gave the impression of solidity. They were produced,
he said, by taking one photograph of the ohject in focus for a given
level, and then a second photograph at a different level, the two when
united in the stereoscope giving the impression of solidity. This
method, among several others, has long been employed by us in pro-
ducing micro-stereo-photographs, and ought to be well known to
attentive readers of this Journal, seeing that it has been published
more than once.
Absorption of the Sun's Xladiations. — Professor
Langley and others have, during their investigations of the solar
radiations, come to the conclusion that " the heat reaching us from
any point of the sun's limb is only about half that reaching us from its
centre ; but the Astronomer Royal for Ireland and Mr. W. E. Wilson
have been engaged upon a farther investigation of the sun's rays, and
have almost proved that the sun's own atmosphere absorbs fully one-
third of the sun's heat. To fully sustain their argument, the two
named astronomers suggest the use of photography. They would
have photographs taken from time to time through an entire sunspot
cycle, and all reditced in a precisely similar manner, from which
deductions could bo drawn as to anv real change in the absorbing
power of the sun's atmosphere, and change of condition in the sun's
surface, which would he entirely lost in direct observations, owing to
our atmosphere varying so continually in its optical properties.
The XSclipse of April next. — M. de la Baume I'luvinel has
made a commuDication to the Astronomical Society of France
indicating the points he considers of most importance to be investi-
gated|during the period of the shadov/ing. The ever increasing
prominences, he says, can he studied any time, and therefore should
be left alone, and the brief moments put to other uses. The corona
is most important, and should he photographed to show^ its general
aspect with various exposures; its spectrum also should be photo-
graphed. Several plates should be used, as, owing to the various
degrees of brightness of different parts of the corona, it will be im-
possible to obtain all the details in one exposure. He recommends'
isochromatic plates for the spectrum work. Mr. Lockyer proposes to
obtain a special image with each portion of the spectrum by using an
objective prism which would give monochromatic rings. Instan-
taneous photographs are wanted to possibly set at rest for ever the
problem of the " reversing layer."
The Electric Iiig'ht in Practice. — The cost of producing
the electricity is the one cause why its use for illuminating the sitter
is not almost universal in large portrait studios ; but it is true that
the continual progress of discovery has already resulted in cheapening
electric lighting, and a communication to the Institution of Civil
Engineers by Mr. J. Emerson Dowson on Gas Potver or Electric-
Liyhtiny, is one of the most practical contributions to the study
of its cost and practicability yet brought forward. We need not
here quote his paper beyond giving the conclusions he arrives
at, the following being a summary : — "1. When town gas was
used for driving the engines of an electrical station, the con-
sumption was about fifty per cent, less than the volume of gas
required to give the same amount of light by ordinary burners.
2. When town gas was used neither boiler nor firemen were re-
quired, and there were no ashes to be removed; less space was needed;
no accumulators were required, except such as might be necessary
to equalise the load of the engines, and to provide for a small
amount of storage. The engines could be worked in the most
crowded districts, close to where lights were required, and whert-
boilers were not allowed. 3. When ' generator gas ' was used, the
consumption of fuel under a full load would be at least fifty per cent,
less than with steam power, and the loss due to steam boilers iijot
being fully worked could be almost entirely avoided.''
LECTURES ON PHOTOGR.IVURE.
In" connexion with tlie affiliation of Photographic Societies with the
Photographic Society of Great Britain, we are happy to announce
that two lectures, together with a practical demonstration of photo-
gravure or photo-etching on copper, will be delivered by Mr. Herbert
Denison (of Leeds), at Bloomsbury Hall, Hart-street, Bloomsbury,
London, W.C., on Friday, February 17th, and Friday, February 24th,.
at 8 p.m., when Mr. J. Traill Taylor will preside.
The syllabus of the first lecture is as follows : — General introduction
and the principles of the process ; appliances and materials required;
the negative ; the reversed transparency and its preparation for the
printingof the resist ; printing the resist ; and that of the second lecture :
— Resume of first lecture ; preparation of the copper plate ; laying
the ground ; fixing the ground ; transfer of the resist to the copper ;
development of the resist ; drying off ; protecting the margin ; the
etching : finishing and retouching the plate ; pulling a proof. A
practical demonstration will be given of each step in the process after
the verbal description.
Admission to members of affiliated societies is by tickets, to be
obtained beforehand from the Hon. Secretary of their Society, one
shilling the two lectures. Non- members will be admitted, by tickets
obtainable at the doors, or on application to Mr. R. Child Bayley,
Assistant Secretary, P.S.G.B., oO, Great Russell-street, Bloomsbury,
W.C., two shillings and sixpence for the two lectures. Bloomsbury
Hall is within two minutes' walk of the British Museum, Mudie's
Library, and the Bloomsbury Tramway Terminus.
There are now, we believe, something like thirty societies affiliated
to the parent Society, and during the past year a joint committee, of
which the late Mr. William Bedford was one of the most active
members, has been constantly at work in the endeavour to ascertain
the best means of giving beneficial effect to the scheme. It will be
remembered that members of the affiliated societies were conceded
admission to the Society's Exhibition at reduced rates; that several "f
the papers read at its meetings were placed at the disposal of IjoJies
affiliated ; and that other minor advantages were either promised or
bestowed. The lectures on photogravure about to he delivered are
the further outcome of the desire of the affiliation committee to couf-.' r
.lanuarv 27,1803]
THE ERITISIl JOURNAL OF PHOTOGRAPH V.
advantages of a practical uature upon members of societies that have
supported the parent society by seeking afliliation to it.
The opportunity of witnessing a practical and complete demonstra-
tion of photogravure does not often occur, and tlie present one there-
fore shoultl be seized by all those interested in the subject. We
appeal to members of affiliated societies and to our readers generally
to support by their presence the two to be given next month, which
we hope will be so successful that they will be but the forerunners of
many practical demonstrations on other subjects.
68
A SEASONABLE PRINTING PROCESS FOR AMATEURS.*
In the matter of pigments the amateur can avail himself of the
finely ground and carefully prepared artists' colours in tubes, but
on a large scale, in such an establishment as the Autotype
Company's, it is necessary to grind the colours on the premises, and
this, togethei- with their thorough mixing in large quantities of
gelatine, absolutely necessitates costly and extensive mechanical
arrangements. Again, the coating of the continuous rolls of tissue
can only be performed by means of elaborate machinery, whereas the
amateur may in a single evening coat sufficient paper or tissue to last
him for a very long while, and with no more complicated arrange-
ments than a sheet of plate glass and a levelling stand.
One word of caution may be offered to any of your readers who
may embark in the preparation of tissue for carbon work, namely,
that the samjiles of gelatine that are sold for eraiUsion purposes, and
whicli answer best when so employed, are qttife unsuite'd for our pre-
sent purpose. It cannot be too strongly borne in mind that the treat-
ment such gelatines undergo during the process of manufacture in
order to harden them, confers upon them the very opposite charac-
teristics to those required for carbon work, where a perfectly soluble
and yet sound gelatine is a sine qua non. Many of the artificially
hardened gelatines become spontaneously insoluble in contact with
bichromates, or may even be actually precipitated, and the employment
of such can only lead to the most complete failure. Nelson's photo-
graphic gelatines Nos. 1 and 2, and their No. 1 Flake, are suitable
kinds, but the " X Opaque " of the same makers, together with most
of the foreign brands specially made for emulsion work, are to be
shunned.
Beyond the careful and thorough diffusion of the finely divided
pigment throughout the mass of gelatine, and the subsequent straining
througVswan's-down or similar material to remove accidental particles
as well as air-bubbles, there is no special care required in the
preparation of the tissue. The paper employed may receive some
little attention, as it is important that it be readily penetrable by
wator, without partaking too much of the bibulous character. The
various papers sold for photogi-aphic purposes will answer well, but
are of unnecessarily good quality for the purpose. A stout and fairly
good sample of printing paper will serve every purpose ; but highly
surfaced and sized papers should be avoidcjd as not permitting the free
access of the water to the under side of the film in development.
In coating with the pigmented gelatine it is only necessary to
thoroughly damp the paper and squeegee it on to a sheet of levelled
plate glass, removing all superfluous moisture. A measured quantity
of the coloured gelatine is then poured on and allowed to set, after
which the sheet is tacked by two of its edges to light laths, after the
style of a map, and hung up to dry, which it will then do without
much cockling or distortion. It is absolutely impossible to give any
definite proportion for mixing the coloured gelatine, as the pigments
themselves vary so considerably, and actual trial is the only safe plan.
The best course to adopt is to first mix a quantity of colour to the
desired tint. ii>ing as the basis liquid Indian ink or China ink and any
of the more permanent of the tube colours to produce the modification
of tone. Then, having prepared a solution of gelatine of the strength
of from eighty to one hundred grains to the ounce, add the colour
gradually until the correct depth has been obtained. It will probably
be necessary to prepare, sensitise, and develop one or two sample
pieces of tissue before the exact depth is reached, but there is in this
process as in others considerable latitude.
I do not advise the preparation of sensitised tissue for the reason
• Concluded from page 20.
already given that it keeps too short a time. Besides this, in the absence
perhaps, of very perfect drying arrangement*, if the operation should
be, in consequence of the presence of excessive moisture in the atmo-
sphere, a protracted one, the presence of the bichromate would very
probably lead to partial or total insolub'dity of the tissue before it was
ready for use. The unbichromated gelatine, however, runs no such
risk, and the operation of drying it after sensitising is a far shorter
one than the original dessication.
That tissue making is not a particularly difficult process is proved by
a series of prints that were shown to me a few days ago, the production
of an amateur on home-made tissue. Compared with duplicates in
silver the carbon prints were in every case superior, although the
negatives were all of them fairly good ones for silver printing.
W. B. Bolton.
JOTTINGS.
Thamk you, Mr. H. M. Whitefield, for your handsome acknowledg-
ment that The British Joubxal op Photogb-vphy is a " source in
which nearly all things photographic can be found." The high
falutin', in which some recently established photographic journals are
fond of indulging, and by which alone they exist, looks very funny to
old students of photographic journalism, who must derive great
amusement from the frequency with which, in those papers that are
constantly telling their unsophisticated readers that they never
publish intelligence after their contemporaries, item? of photographic
news are reproduced weeks, months, and sometimes years after their
original appearance in these pages. More than one of your con-
temporaries not only conveys your matter, but also the style of it ;
and, as for the genial journalist who a year ago accused you of copy-
ing his "side headings," and more recently said that the Almax.vc
imitated his annual in the matter of illustrations. I am sure he
would not have said such things had he known what was done in
photographic journalism long, long before he entered it.
The Editor's warning as to the danger to health lurking in the
careless use of mercuric chloride should be laid to heart by photo-
graphers, who, however, I should like to point out, when employing it
for intensification purposes, have no need to immerse a greater portion
of the hands than the finger tips in it. This reduces all danger to the
minimum. I have, nevertheless, watched photographers, when using a
tolerably large volume of the solution, place their hands as freely in it
as if it were merely plain water, and not attempt to dry them after-
wards.} I do not know how surgeons treat their hands after they have
had them in a mercury solution, but not long since I was present in
the laboratory of a friend who was conducting some experiments
necessitating the sterilisation of the substance he was working upon,
and after the hands had been bathed in the mercurv they were care-
fully dried and then rapidly passed through a gas flame to " sterilise "
the hands and possibly to remove the last traces of mercury.
There are undoubtedly some good points about the piece of apparatus
for developing plates in a vertical position without the use of a dark
room which Mr. Alexander Watt describes ; but the fact, that such a
system is useless except for correctly exposed plates, at once places it
out of court as regards practical utility, except, of course, to the
experimentalist, who works on different lines and for different objects
to the average professional or amateur photographer. Until we have
all learned to expose our plates with absolute accuracy, such attempts
to obviate the necessity of using a dark room must naturalh' be just
so much wasted labour. As regards vertical development, however,
1 think that, if ever I desired to employ it, I should not search further
for the necessary piece of apparatus than one of those grooved vertical
porcelain baths to be had of the dealers. These, I believe, are made
to hold three, six, or a dozen plates, and would answer just as well
for developing as they do for fixing or washing.
Reading all that has been written about amidol — ^r, at lecst, a
considerable part of it, for to an old hand a new developer ou
54,
THE BRITISH JOUENAL OF PHOTOGRAPHY.
[January 27, 1893
paper will only go down in homoeopathic doses— one conclusion is
irresistibly forced upon me, and that is, that, after all, pyro has out-
lived the rivalry of hydroquinone, eikonogen, and para-amidophenol,
and Jtakes rank aa the standard developer by which newer sub-
stances must be judged. I have submitted amidol both with and
without alkali to a series of trials, but save and except that it is
extremely energetic in cases of under-exposure, cleaner in working,
and conserves its power for a longer time than other compounds,
I can discover no advantage in it over pyro and ammonia sufficient
to justify the abandonment of an old friend where it gives satis-
faction. At any rate, for negative work I can get all that I require
with the latter, and so long as that is the case I shall not relinquish
its use. For bromide work, however, amidol is, I think, superior to
iron, as I find it does not clog the shadows, gives a nicer colour,
and requires no subsequent acid bath.
I have often wondered whether any practical advantage could be
taken of the phenomenon of shearing stress — that is, the fact that
the application of a developer to a plate of gelatino-bromide of
silver which had received mechanical pressure produced reduction to
the metalhc state, and more recently, on the publication of Mr. Carey
Lea's experiment proving that great mechanical pressure alone suffices
to darken the silver salt, the same thought occurred to me. There
seems to me to be some feasibility of utilising the idea for reproduc-
tion purposes, and I commend it to the attention of experimentalists.
I should like to know why (1) Mr. Henry Crouch believes that
ordinary cameras are being gradually superseded by the hand camera,
and that sooner or later the former will be a thing of the past.
(2) Mr. A, R. Dresser believes that stopping down the lens does not
increase the definition for enlarging purposes, although it may appear
to do so. (3) Mons. Sauvy has resumed business at Manchester,
and advertises the fact, when " Mrs. Hargreaves " also advertises
that she has bought the business. (4) Retouching by electricity is
regarded by some men as practicable, (o) Whether, judging by the
financial success of the " free portrait " scheme, there are not more
fools than Carlyle imagined in the population. (6) Why Mr. Horsley
Hinton does not like his friends to say that he believes in " nothing
but photographs put confusedly out of focus, printed on exceedingly
rough papers, and in a reddish brown colour, fallaciously called
sepia ;" and (7) why (by the kindness of the Editor) I have received
several letters containing all sorts of painful threats against
Cosmos.
FURTHER NOTES ON METOL AND AMIDOL.
Journal of the Photographic Society of India.)
I HAVE not been able to work much more with metol and amidol,
but the following few notes in continuation of those in last month's
Journal may be of interest.
Mktol.
Metol, I find, seems to work best with potash carbonate, but it
has a decided tendency to give veiled images, and may require a
little l/omide to give the best results. The stock metol solution with
sodium sulphite keeps well, and it is altogether a clean developer.
The electrolysis of metol solution presented some peculiarities, and
made up as a developer with carbonate of lithia it has shown itself
more active in evolving hydrogen than any other developing agent
yet tried except ferrous oxalate. I have not yet been able to try a
metol-potash solution in the voltameter.
A solution of metol at 1 to 200 of distilled water was electrolysed
in a tube voltameter with platinum electrodes, using 4 gravity cells
giving a fairly constant current of half an ampere under a pressure
of 44 volts The current through the voltameter at starting was
about 10 milliamperes, with a pressure of 28 volts ; but after about
10 minutes it sank to 6'.5 milliamperes, with a pressure of 2-3 volts,
and remained steady at that for the next 20 minutes. The yield
of hydrogen was about '3 c.c. in o minutes ; 'o c.c. in 10 minutes ; '1 c.c.
in 20 minutes; and about I'o c.c. in 30 minutes. A purplish sub-
stance formed round the anode, colouring the solution in the oxygen
tube and working out into the body of the solution, which at the end
of the experiment was of a purplish brown inky colour.
With silver electrodes the result was very different. The current
through the voltameter at starting was about 8'o milliamperes, with a
pressure of 25 volts, and in about 30 minutes it had slightly increased
to 8'75 milliamperes with a pressure of 2'o5 volts. The yield of
hydrogen was greater than with platinum electrodes, being about
3 c.c. in 5 minutes ; '7 c.c. in 10 minutes ; 1'3 c.c. in 20 minutes ;
I'D c.c. in SO minutes. In this case the solution round the anode
and in the oxygen tube remained quite clear, while the purple sub-
stance was formed about the base of the cathode, discolouring it and
the solution in the hydrogen tube. The anode was covered with a
pulverulent deposit of silver, and very finely precipitated silver was
also diffused in the solution. In both cases the hydrogen formed a
brownish froth at the top of the hydrogen tube, and it was difficult
to estimate the amount of gas liberated. A second experiment with
a battery of three dry cells gave a similar result.
A solution of metol and lithia carbonate —
Metol 1
Lithia carbonate 2
Sodium sulphite. , 10
Water 200
was electrolysed with platinum electrodes, and a current from 4
gravity cells. The current through the voltameter at starting was
3.J milliamperes with a pressure of 32o volts, and remained fairly
steady. In 5 minutes 1'8 c.c. of hydrogen were given off, and in
15 minutes 6 c.c, which is a very much larger proportion than usual.
Some gas was also given off from the anode, but not in measurable
quantity. The hydrogen was frothy as before. After lo minutes
the solution was only slightly yellow. The anode was surrounded by
a deep yellow solution, and the solution in the oxygen tube was
yellow. In the hydrogen tube it was quite colourless.
Amidol.
A plain solution of amidol at 1 to 200 of distilled water was
electrolysed with platinum electrodes and a current from 4 gi'avity
cells. At starting the current through the voltameter was 10 milli-
amperes with a pressure of 2'1 volts, which decreased to 9 milli-
amperes and 1'75 volt in 30 minutes. The yield of hydrogen was
•5 c.c. in 6 minutes; 1 c.c. in 10 minutes; 1"8 c.c. in 20 minutes;
and 23 c.c. in 30 minutes ; about '5 c.c. of gas was also evolved from
the anode. The anode was stained brown, and the solution turned a
deep claret colour. No decolourising action was noticed in the
hydrogen tube.
With silver electrodes and the same battery and general arrange-
ments, the current at starting was 23 milliamperes with a pressure of
3'1 volts, and at the end of 30 minutes it was 19 milliamperes with a
pressure of 3 volts. Hydrogen was given off more freely than with
the platinum electrodes, the yield being in o minutes '6 c.c. ; in 10
minutes, 1"3 c.c. ; in 20 minutes, 24 c.c. ; and, in 30 minutes, 3'5 c.c.
No gas was set free from the anode. The anode was covered with a
compact deposit of dark purple on the outside and greyish inside,
which separated afterwards in flakes, probably an oxyehloride.
The cathode was quite clean. The solution was very dark but
clear, and no decolourising action was noticed in the hydrogen tube.
It may be noted that, if a solution of amidol be added to a solution
of silver nitrate, a thick white deposit as of chloride of silver is at
first thrown down, but the solution speedily takes a rich crimson
colour, and the precipitate is redissolved, silver being reduced.
The voltameter used on the above experiments consits of a glass
vessel holding about 4 ounces of solution, closed at one end with
a cork ."bout Ij inch in diameter. The electrodes are of platinum
or silver about f inch wide, 1 inch long, and about 1 inch apart,
the wires from them passing out through the cork below. The-
gases are collected in graduated measure glasses divided into tenths
of a cubic centimetre.
The galvanometer used is one of Edelmann's absolute unit galvano-
meters reading up to 12 volts with 1000 ohms resistance, or to 12
milliamperes with 100 ohms resistance ; with 10 ohms resistance up
to 120 milliamperes, and with 1 ohm resistance up to 1200 milh-
amperes. It also has a separate shunt of O'l ohm resistance, by
which stronger currents can be read up to 12 amperes, and an extra
resistance of 9000 ohms, which enables pressures up to 120 volts to
be measured. I find it a very useful and convenient instrument, and
it is quite portable. Colonki, J. Waterhousb, I.S.C,
Assistant Surveyor-General of India.
rON THE PRODUCTION OF BLACK AND WHITE NEGA-
TIVES BY MEANS OF ARTIFICIAL LIGHT.
I.
At some time or other it generally falls to the lot of most workers,
be they amateur or professional, to copy a subject in black and white,
such as a manuscript, engraving, a page of printsd matter from a.
January 27, 1896]
THE BMTISH JOURNAL OF PHOTOGRAPHY.
K
book, or some other similar subject. With expert workers, such ao
those liaving- experience in the production of negatives for photo-
meclianical work, this is at all times an eany matter of accomplish-
ment, for, as a rule, they beinj? conversant with the working of
collodion (a process especially suitable for this class of photography),
the work offers no difficulty ; but among the great army of non-expert
workers, even including' professionals, collodion work has been dis-
carded long ago, the aroma of which is now but seldom felt even in
studios. It is the dry plate, the dry iJate on all hands, for all pur-
poses, no matter how fittle such be suited for many of the commis-
sions a professional may have to execute. Many have been the
attempts, therefore, on the part even of experienced workers, to
utilise gelatino-bromide for black and white work, as against the
undoubted claims of collodion when properly understood. Nor
have plate-makers been slow to recognise the importance of catering
specially for this class of work, the outcome of which has been that
at least one finn has for a considerable time placed on the market
a very excellent plate for photo-mechanical purposes. There is, how-
ever, a very wide range of work outside that of photo-mechanical in
which it is desirable that black-and-white negatives of special features
be produced, such as the copying of black-and-white subjects for the
purpose of producing lantern slides for lecture sets or the reproduc-
tion of such subjects by printing on bromide or platinotype, the latter
in either paper or textUe fabric, whereby an amateur may experience
much pleasure in prosecuting such work by means of a gelatino-
bromide dry plate, provided certain well-defined lines are followed in
their manipulation. In making these remarks, I do not wish any one
to imagine that I in any way advocate the use of gelatino-bromide for
this branch of photography in preference to collodion. 1 am a true
lover of ray silver bath, and with me such is always kept in a
working condition (and a very handy thing it is to fall back upon
on many an occasion) ; but there is no use Winking the fact
that not one amateur in 500 knows an3-thing about collodion work,
and until such time as we have schools of photography, or the
heads of our large amateur associations arrange for regular courses
of instruction in this and many other almost forgotten branches of our
science, it is not likely they will know much about it ; for I fear
professionals are fast " keeping much up their sleeves," as the saying
goes.
To such workers, therefore, as are desirous of producing black and
white negatives by means of gelatino-bromide, I offer the following
suggestions, and they are the result of much close study on my part,
and, I believe, point out, as good if not the best, lines to follow when
it is desired to copy black and white subjects by means of gelatino-
bromide.
Undoubtedly some of the first considerations, when undertaking this
workare : What arethebestsourceof illumination to employ; and, what
is the best method of using such in lighting the subject it is desired to
photograph ? A worker having no practical experience may very likely
imagine that, to obtain the best results, it is necessary to employ day-
light for the exposure of the plate ; but, although daylight is in many
ways preferable to artificial light when following most branches of photo-
graphy, experience has shown me that quite as good results are to be
obtained by a well-arranged system of artificial lighting as is possible
with daylight. I desire, however, to qualify such assertion to thisextent
— that there is undoubtedly a limit to which artificial Ughting is applic-
able. In eases where such work as the copying of large maps, plans, and
framed engravings of very large size are concerned; there is no doubt
that better or more even illumination is obtained by means of day-
light than is at all possible by artificial light, but it seldom happens
that amateurs or non-experts have such extreme sizes to deal with.
The more commonly met with sizes will run from about four inches
up to fifteen, and such are perfectly capable of being dealt with by a
system of artificial lighting. Having said so much may be accom-
plished by means of artificial light, a student would do well to give
some thought to a few very important factors in the matter of what
is the proper amount of liglit to employ, or in other words, to under-
stand thoroughly the difference between the intensity and quantity of
light he is to use.
I sometimes think that there is not sufficient notice taken by
workers of the difference which exists between these two important
factors when practising photography in many of its branches.
Somewhat recently I happened to remark to a gentleman that as
regards the quality of the resulting picture it mattered a good deal
whether t lie exposure was made with the aid of a bright light and a small
stopj or a weaker light and a larger stop, the exposures being calculated
corr ectly for the different stops. My friend could not see that there
would be any difference, say, in the case of taking two negatives of a
landscape, aliko in every other respect as regards colour, &c., but
different in light. Suppose the first negative was made at a moment
<rf bright illumination, and a stop of small dimensions inserted in the
lens 80 as to give a correctl v timed exposure in to many seconds ;
while in the case of the other plate the lighting of the view was
say, four times weaker, to make up for which a stop just double the
diameter was employed, so as to make equal exposures, the plates, of
course, would or ought to receive equal impressions as regards
the light that reaches them.
This is a very commonly accepted theory, but the fact is that
the results are by no means the same as regards the quality of
the picture obtained. In the one case the picture is obtained
by an intense light stopped down, and in the other case by a less
intense light with less cutting off. Ijet any worker try a few
experiments in this line, and he will not be long in finding
out that very different results are obtained, according to the
mature of the light employed in conjunction with different stops.
With some workers the knowledge of such difference obtained by
this means is taken advantage of in their style of working, and here
we have just a one very important factor that must be taken into
consideration when making black and white negatives, or, in other
words, negatives that are strong in contrast. When, therefore, it is
desired to gain the utmost amount of contrast possible, so far as the
lighting of the picture is concerned in conjunction with the employ-
ment of a certwn stop, the light should be of the utmost intensity in
the first place, and a small stop used so as to gain contrast.
Of course, the reverse of this is the employment of a weaker light
and a larger stop, the result being less contrast.
Of the different methods of lighting such subjects, numerous have
been the trials made, sone advocating the burning of magnesium
ribbon, some paraffin lamps, others common house gas. I don t know,
however, if other workers' experience in any way agree with mine.
As regards magnesium, I always found it troublesome and messy in
a greater or lesser degree, and by no means so easily controlled as the
working by means of house gas, and therefore I discarded it entirely
for a distinctly jrracticahle method, the first essential of which is
certainty in the results obtained, with the utmost comfort in its
USB. In common house gas we have all that is required, pro-
vided a proper arrangement of burners be provided, and these so
fitted as to permit of their being placed easily in a desired position in
front of, or to the side of, the work that is to be copied.
Of the various forms of gas burners, perhaps as yet no more useful
form has been provided for good, sensible, hard knocking about than
the ordinary Argand pattern, such as give a light equal to about
sixteen candle power. With four of such attached conveniently to
ordinary gas pipes, much may be done in the way of conducting
photographic operations even on a large scale. For smaller work two
of such will be found ample.
In utilising such burners, a very convenient method to follow is the
attaching of them to an upright stand in such a way that the lights
can be elevated or lowered at will. Any one can easily make such an
arrangement themselves. The first necessity is a good baseboard to
carry the burner. This is easily made by utilising a piece of board one
inch thick by six inches square ; to the centre of this baseboard screw
an upright support eighteen inches high, having a thickness of half
an inch and width of three inches. Right down the centre of this
upright support cut out a slot so that the stem of the gas burner will
slip up and down easily. The burner is clamped and held in position
on this upright by means of two wooden collars, kept tight by a
small bolt and nut. It does not take much ingenuity or trouble to
rig up an arrangement of this sort. My own apparatus is home-
made, and I can testify to the perfect manner and comfort with which
it works.
To the end of the pipe on the burner is attached a length of rubber
tubing, which brings the gas from any convenient source. The great
advantage of this arrangement is that the lights can be placed in any
desired position, up or down, or to the sides. I fit on to each burner
a reflector made of plaster of Paris, in form similar to the opal cover
of a microscope lamp. This has several advantages over every other
form of reflector I have ever met in with, and works admirably.
On a future occasion 1 shall describe more in detail the manner in
which these reflectors are made, for they are well worth the small
amount of labour and trouble it takes to construct them.
T. N. AnMSTRONa.
AMIDOL.
I NOTE what Mr. Mansfield asks in your paper of the 20th inat., and
no answer it, and give my opinion on amidol.
I stated, when I spoke on amidol at the Photographic Society of
Great Hritain, that I could not speak with any authority on the use
of amidol for negative work, as I had not had a chance to give it a
fair trial, only having used it two or three times, but that for very
fast exposures I had found it work very well in the few 'rials I gave
66
TSE BRITISH JOURNAL OF PHOTOGRAPHY.
[January -7, 1893
it. I do not use the formul® that are sent out by the maters, as 1 did
not like them, and much prefer the formulas I use ; and, again, they dis-
tinctly stated that no accelerator is necessary, and I have found just
the reverse, as the formula I use for amidol I find works best with
carbonate potassium, carbonate soda, or ammonia, and for very fast
exposures, so far, I have found that either carbonate potassium or
ammonia works best.
The formulae I use are as follows : —
No. 1.
Amidol 1 ounce.
Metabisulphite potassium 1 »
Mix and make up to 10 ounces.
To use with this, I make up the following : —
No. 2.
Carbonate potassium 1 ounce.
Water , oounces.
No. 3.
Carbonate soda 1 ounce.
Water 5 ounces.
No. 4.
Bromide 10 per cent.
No. 5.
Ammonia (-880) : 1 ounce.
Water 2 ounces.
And use the various accelerators as required, as I, for one, am quite
sure that a one-solution developer cannot give good results, as one
wants to alter the strength of the developer according to exposure
given.
The way I use the formulse given is as foUows : —
For instantaneous work (one-hundredth to two-hundredth of a
second).
Amidol (No. 1) 1 drachm.
Carbonate potassium 40 drops.
Water 1 ounce.
The image -will appear at once (if it is there), but requires some
time (ten to twelve minutes) to get up the density. After image
is well out I add twenty drops more of carbonate of potassium, and if
very much under-exposed go on adding carbonate of potassium (No. 2)
till the developer turns quite black ; and, although developer may
turn black, it wiU not stain the plate, but on no account must it be
used again after potassium has been added to that strength. I have
tried to fog a plate with amidol by increasing the accelerator (potas-
sium), but have not been able to do it ; if the potassium was added
little by little, say, five minutes apart, but if you add an excess at
' once it will fog.
. When using ammonia with amidol, it requires a good lot. I begin
as a rule with —
Water 1 ounce.
Amidol 1 drachm.
Ammonia (No. 5) 4 to o drops,
and add ammonia as required. I have added up to forty drops
•without fogging.
I use no bromide if I think the plate is under-exposed much, but if
the exposure has been over the yjcth I use a little bromide, as amidol
works so much better with it.
I was hoping to be able to say for certain what 1 thought of
amidol for negative work, but the weather has been so bad I have
had no chance to get any negatives. I have found it work well, as 1
said before, with what few instantaneous shots I have been able to
get (skating views), and studio work; but, so far, I have not managed
well with it for negatives that have been over-exposed (although I
knew they were so), and cannot recommend any one to give up
eikonogen for amidol, although I believe it is quite as good, but being
fond of eikonogen for negative work I shall not give it up in a hurry.
For slides amidol works well, but I gave my experience with it in
an article elsewhere, so there is no need to repeat it.
For bromide papers I consider nothing can touch amidol, as I
am astonished at the certain results one can get, not spoiling one en-
largement out of a dozen with the development. The chief point
one has to consider is not to over-expose if possible, as one can get as
good results on bromide papers with amidol (formula! I use) as with
iron, and only have to give one Quarter the exposure. I have now
had about three weeks' steady work at enlarging and developing with
amidol, and so can speak with certainty as to the results to be got,
and, wliat is more, 1 can show them. When I first used amidol I
worked with formulae sent out by the makers, but found if you
over-exposed you were sure to lose the picture, and so gave it up for
that reason ; and also the developer would not keep, but turned a
dark brown in a week or ten days, which I did not like, so set to
work to try amidol with metabisulphite of potassium, and can safely
recommend it to every one.
The formula I use for my enlargements is the one you published as
given at the Photographic Society of Great Britain, but it makes
little diflEerence if you vary it a little ; but on no account make it
weak, or you will get grey tints and not good blacks. For good
blacks one must u.se a stronff developer and a short exposure. To
give an example, I have just been enlarging up to lo x 12 from part of
quarter-plate with limelight and portrait lens, working at /-6 on
Eastman rapid bromide, with a fair negative, not thin, but a good
silver printing negative. I only gave ten seconds' exposure, and it
was fully exposed.
The formula for bromide paper is —
No. 1.
Water 3 ounces.
Amidol , •'5 drachms (or 2i least).
No. 2.
Carbonate of potassium 2 drachms.
10 per cent, bromide 30 to 40 drops.
and if the image does not come up fast enough add more of No. 2.
I think these few remarks may help my brother amateurs, and I
can only say I shall be glad at any time to help .any of them along if
able by any answers I can give to questions they may ask, and some
future day I hope to be able to write with some certainty on amidol
for negative work. A. R. Dbbsseb.
« •
BROKEN DISHES.
Apropos of that broken dish of your correspondent " ( 'Id Collodion,"
and the answer to correspondent "C. Williams," to repair broken
photographic earthenware dishes— if they are anything of the
kind of size suggested by "Old Collodion," say for 24x20— is an
absolute impossibility. The material of such dishes, and, indeed, all
dishes of the class indicated, not being thoroughly fused, a? old china,
glass, or porcelain is, remains in a state of tension, and when broken
it will be found that an absolutely close joint is impossible, the
material itself shrinking or changing shape, and so preventing a true
joint. In this case the strongest jointing material I have had
experience of is the zinc white sold in tubes by artists' colourmen.
Before using it try whether the edges of the break adhere to the
tongue or otherwise absorb water in any degree. If so, saturate its
desire for damp by coating the edges with the thinnest photographic
varnish once only. After this is quite dry, plaster the edges of the
broken dish withtlie oil zinc white, press them together as firmly as
possible, and set to dry in a warm place. Clean off the surplus in
about a week after, and let stand for another week. This is the
strongest way I know of mending (for use) a broken dish.
W. H. Daviks.
^
DETERMINATION OF PLATE SPEEDS.
• I.
Those who remember with what a flourish of trumpets Warnerke's
sensitometer came before the photographic world will probably have
reason to think that history repeats itself, and very quickly too, if we
may judge by current events. I have referred to the Warnerke
instrument by way of reminding my readers of how exultiugly we
hailed this little invention as the very ideal and perfection of a speed-
measuring system, for had we not at last hit upon a " standard fight,"
and had we not got a perfectly gi-aduated screen ? Tlie standard
light was soon found to be utterly fallacious ; and, as for the screens,
why I have now in my possession a couple of screens which to the eye
differ in densities by twentv-five per cent. ! So one event in photo-
graphic history has" been tlie complete discrediting of the results
shown by the Warnerke sensitometer, and we shall probably not have
long to wait before we see a similar fiasco.
Let me say here that no one would more appreciate a really reliable
system for measuring the speed of plates than myself. My love of
instruments of precision causes me to delight in the delicacy and
beauty of such apparatus as is employed for minute and exact
measurements in the kindred sciences — electricity, for example — and
it has occasioned many a longing in my mind when I have seen with
what exactness and nicety measurements can be made by other
scientific appliances, whilst in photography we have none. Whether
it will ever be so, 1 cannot venture to predict ; but, when we consider
the varying factors with which photographers have to contend, it
would almost seem hopeless that our dreams could ever be realised,
January 27, 1803]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
«7
because, to begin with, we are about as far off the realisation of a
standard light as over we were, and until we can hit upon a standard
that, shall be equivalent to dayti;/ht in its properties it appears to me
almost wasting time to attempt to construct any system for measuring
the speed of plates if reliable accuracy and incontrovertible readings
ara to bo obtained. I hold that to submit plates to any artificial
light with the object of ascertaining their speed is tantamount to
arguing upon false premises. As ninety-nine per cent, of our plates
are subjected to exposures (within a camera) with daylight as our
illuminanf, it appeals at once to our common sense as being wrong to
attempt tirst to ascertain the speed of those plates by any standard
in which an artificial light is the prime factor.
Various attempts, more or less crude, have been made to reduce
dayhght to a standard by the use of comparatively insensitive sur-
faces, which, when exposed to light, will assume a tint more or less
rapidly; this tint has then to be compared or matched with some
arbitrary or fixed tint, and the time occupied for the attainment of
similarity is taken as a measure of the light force, and forthwitli
made a factor. But I am sure I need scarcely appeal to the older race
of photographers, who have already seen such things come and go, to
receive their confirmation of my view, that such rough and inexact
appliances (in which it is at all times possible to multiply the error
ten times or a hundred times) can never be seriously put forward
with the hope that we could recognise them as even approaching
■what we seek in a standard.
When the unreliable readings of the Wamerke sensitometer became
apparent, our plate-makers quickly relinquished the issue of plates
be.iring any actinometer or sensitometer nuralier, and a pretty general
return set in to the older nomenclature, which held good during the
earlier years of gelatino-bromide photography. It is almost needless
to repeat what those names were, but I may just give a few of them,
viz., " Ordinary," " Medium," and " Instantamous." With some
variations, such as " Landscape," " Studio," "Rapid," " Extra Rapid,"
" Special Rapid," " Drop-shutter," &c., these terms have remained in
vogue, it being deemed ample description to apply some one of these
to the two or three rapidities of plates issued by most makers. I
think the use of the terms twenty times, thirty times, or sixty times
— meaning those many times the speed of wet collodion — have nearly
■died out, and, for all practical purposes, the relinquishment of the
Wamerke sensitometer numbers has resulted in the adoption of such
appellations as serve the requirements of distinguishing the use of the
plates ; for instance, any one who uses various rapidities of plates will
feel that, when he exposes, say, " Ordinary " plates (of any good
brand), he will employ them on such subjects, and give them ex-
posures which would be likely to yield him results of a satisfactory
nature, not requiring the use of quicker plates. The description
given to their plates by makers of good brands is such as probablv
nils every present requirement ; the name fairly indicates its speed,
and, in the absence of any other reliable method, is actually preferable
to misleading numbers.
Some few weeks ago I noticed a statement that six plate-manufac-
turers had adopted the Hurter & Driffield method of determining the
speed of plates. Probably I need not recapitulate here what that
method is ; the statement, however, created some surprise, in which
I share. I think 1 do not stand alone when I say that I do not concur
with the general accuracy of the "Investigations" of Messrs. Ilurter
& Driffield. With the method they adopt to ascertain the speed of
plates I am decidedly at issue, and for the reason I gave above, viz.,
that I consider it is based upon wrong premisses. However, an oppor-
tunity presented itself whereby 1 could devote the requisite time to
■carry out a series of experiments, and I was enabled to enter upon
the inquiry with deliberation. I ascertained from the dealers tnat
only two makes of plates could be had marked with the speed
numbers according to the Hurter & Driffield method. I obtained
plates marked 37, 80, 9.5, 100, 135, and 140, with which I forthwith
commenced my experiments.
The basis upon which 1 began is as follows : —
Daylight exposures, in a twin-lens camera, on such a subject as
«hould embrace deep shadow, and therefore require a long exposure.
Each exposure checked (to verify accuracy of lenses and stops) by
placing the competing plates first right and left, and then left and
light.
Development effected in most instances by a normal developer, such
«s the maker recommends for his plates. Large quantities of normal
constituents of developers were mixed (forty ounces at a time), in
order to obtain uniformity as far a.s possible. The subject contained
high lights, as well as abundance of shadows, but necessitated an
exposure of from thirty to sixty seconds, at /-16, according to tlie
day. In every ca.se exposures were given that would ensure tlie
shadows remaining clear up to the very end of development, even if
that was necessarily prolonged to give the slower plate every chance.
The pairs of nlates were developed together in one dish, where the
developer would permit, and the principle acted upon was that of
allowing a slow or sluggish plate time to go on developing until such
times as that function was exiiausted ; m other words, getting the
most out of every plate.
The method of employing a twin-lens camera is probably less open
to error than any other. For the purposes of this experiment Messrs.
Ross & Co. furnished me with a pair^f portable 8ymmetrical.s, which
were specially selected, and adjusted so that their foci and their stops
should be identical. Before using them I carefully measured the stops,
to assure myself of their accuracy, and I am prepared to speak with
certainty of their exact performance. As most of the experiments
were duplicated (alternating right and left), any inaccuracy would be
checked.
Before I describe the nature of the experiments, I had better men-
tion that, in competitive experiments such as these, when we come
to develop pairs of plates of different makes, it is frequently found
that one make of plate will start much before the other; indeed, it is
not unusual to see one plate well out before the other starts. There
is nothing in this disjuivantageous or the contrary, as it is the final
result that has to be looked for, and the condition of things, when
both plates have stopped and all there is to come has been obtained,
then has to be estimated. Inexperienced developers might jump at
the conclusion that the plate which springs up first is the quicker
plate ; but this is by no means so, often it is the very reverse.
G. F. Williams.
THE HAlND CAMERA AND ITS USE IN PICTURE-MAKING.
[Brixton and Clapham Camera Club.]
On this subject there seem to be the most absurd misconceptions abroad,
among both the non-photographie public and a large number of those
practising photography. It appears to be assumed immediately one
leaves oil using a tripod, the millennium has come ; and no matter what
the subject, conditions of time, light, or plates, <fcc., every exposure can
satisfactorily be made in fractions of a second fearful to calculate, and
the results turned out in one unbroken string of successful negatives,
from which prints may be produced that, for freshness, beauty, and truth-
fulness to nature, will outrival, or, at any rate, hold their own, side by
side with pictures produced by any of the best methods in monochrome.
This is a state of things which may hereafter be brought about, but it
will be far away in that dim and distant future when, perhaps, Lord
Lytton's Comtn/t Race are dabbling in the black art.
The Hand Casiera not a Toy.
Now, I propose to-night directing a few remarks to the real irork to be
done with a hand camera ; and if any among you look upon it merely as
a toy, to be taken out to shoot oS a few plates with, I am going to try and
convince you that just as good pictures can be done, and are being done
with it as with cameras worked on a stand. With certain classes of work
excepted, as, for instance, interiors, and, in fact, just those kinds of work
that require a more or less prolonged exposure, when, of course, a tripod,
or some arrangement for holding the camera is absolutely necessary —
and I do not agree with those who claim that the hand camera is super-
seding the so-called ordinary camera — each method of working has its
uses, and so it will remain until the speed race has placed in our hands a
workable plate, capable of being taken into the dim, mysterious cloisters,
and of such a speed as to be sufficiently exposed with a second or less.
Tliis time has not quite arrived yet, and the tripod will still remain with
us. Personally, I fail to see any pressing reason to ■wish its early demise ;
there is room and work for both.
Vabious Classes of Hand Casieras.
I do not think we should be spending our time with profit by going
through the long list of hand cameras now on the market, and considering
the details of their construction or methods of working ; any ot the trade
lists will fully describe them, and, in case further information is desired,
the makers of any particular one would be certain to make every possible
point in favour of his camera absolutely clear to intending purchasers,
with, perhaps, some favourable points it should possess thrown in.
There are, broadly, two classes of hand cameras— one in which the
plates are held in a magazine, and the other in which ordinary dark
slides are used, neither being the best method, but simply one of con-
venience.
When one speed of plate is used, and rapidity in working desired, then
the magazine form is convenient ; but if plates of different speeds were
taken out to be used as circumstances required, then the dark slides
would undoubtedly answer better. It is a matter each worker must
decide for himself which system will be most convAiient, it making
S8
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 27, 1893
absolntely no difference to the quality of the results as pictures whether
the plates are carried in a magazine or ordinary dark slide.
I will show you one example o£ each system, and would only obserTe I
am claiming nothing for either of them as to their being better or worse
flian others of a similar character, but merely use them to show you
the broad difference between the rival systems.
The Impoktani Poikts.
Briefly, the important points in any camera intended for use in the
hand are first and foremost (1) the lens, (2) the shutter, (3) the focussing
arrangements, (4) the finders ; and then you have this further question,
whether plates or films are to be used. And on this I have nothing to say
to-night beyond that it is a matter each must again decide for himself,
■ffiere being very substantial points in favour of films both on account of
their small weight and convenience in packing, and if used in a roll-
holder, one cannot close one's eyes to the fact that it certainly is of
enormous advantage when perhaps you have tramped ten or fifteen miles
out into the country or along the coast, to' have the means of making
from fifty to one hundred exposures instead of being limited to twelve, or,
at most, twenty, as when using plates. On the other hand, the very
advantage offered by being able to make a number of exposures (in excess
of those under ordinary circumstances made when using the camera and
tripod), and done with so little trouble, has been one of the weakest
points about hand-camera work, and is largely responsible for the mass
of utter rubbish produced by it.
The Lens.
This is the most important item about the whole apparatus, if you
intend, as many of us would, that one lens only should be used, and used
on all classes of subjects that may have to be dealt with. Then it is of
vital importance that the quality of such lens should be of Jthe very best
The question arises. Which is the very best ?
The hand camera will undoubtedly be used upon subjects of varied
character — marine, landscape, figure, and subjects in which buildings ap-
pear, and in which it is desirable that straight lines should be kept
straight, and not appear as if they had been keeping Christmas festivities
■up not wisely, but too well. It is certainly an advantage, in my humble
judgment, to use a good rectilinear lens.
I am aware many workers advocate the use of a single lens for general
landscape work, and, although I am far from saying the rectilinear lens
is absolutely necessary, I myself fail to see any quality possessed by a
single lens that is not equally possessed by the rectilinear ; and one does
find very marked advantages possessed by the latter type — one instance
among others, in dealing with architectural subjects, or anywhere straight
lines appear ; and hence I would prefer the rectilinear, and in my own
work have, daring the last eighteen months, used exclusively one of
Wray's, of which I cannot spealt too highly.
Whichever kind is used, there is the question of its focal length to be
considered, and here I am at arm's length with those who insist upon
the necessity of a lens of short focus being used in handjcameras. I fail to
see any sound reason for departing from the same rule that applies when
using a camera on a stand for the purpose of picture-making — -that the
lens should not be of so short a focus as to reproduce a view otherwise
than as seen in nature by the human eye when looking at it under
normal conditions.
It appears to me the best results all round will be got by using a lens
•on a quarter-plate, or 5 x 4 camera, of five to six inches focus, my own
'being five and a half inches, used on a quarter-plate.
Then there is the diaphragm to be considered, and here another ad-
vantage arises in using a lens of the character just named — Wray's,
■working up to full aperture of f-5-li — and, although it is not often
necessary to use it at that large aperture in my own practice, for reasons
that appear later on, still it is an advantage that costs nothing to keep,
and now and then is the means of allowing a picture to be obtained that
could not otherwise be successfully done. It is needless to say the Iris
form of diaphragm possesses distinct advantages over the older form,
allowing, as it does, of quicker changes being made, and, what is of not
less importance, by its sticking to the lens closer than a brother, prevents
you finding, when too late, that the stops have preferred stopping at
home.
The Shutter.
The forms of this are innumerable, but the important characteristics
for it to possess are that of being easily adjusted to different speeds and
working without vibration.
Whether it is in front of the lens, between, behind, or immediately in
front of the plate in the form of a blind, personally I care not a jot.
The Thornton-Pickard time and instantaneous shutter answers all my
zequirements.
The Focussing Abb.\noement.
This is an arrangement the need for which is by some hotly contested,
but, although a so-called fixed-focus camera does away with any trouble
and need for judgment in this direction, and at first, in using one, allow-
ing of alteration in focus, there are some sad mistakes made in judging
distance, yet it is a difficulty that must be faced, and by care and practice
overcome, like many others, when one desires to get the best possible
results under all circumstances.
Whatever the arrangements be— whether by lever, as in the one present,
or by rack and pinion — it should be in such a position as to be easily got
at and attended to, in case, as often happens, of a change being required
in a hurry. Needless to say, it should be correctly scaled, if the focussing
is done to distance.
Ftndeks.
And now there is only one more feature in connexion with the camera
I need allude to, and at the commencement I {do not hesitate to say
a camera is, for the purposes of being used as a means of procuring
pictures, practically useless unless it contains some efficient kind of
finders. It is asserted by some they are needless, a great nuisance, and
quite unnecessary.
With every respect I say it, anything more misleading cannot well
be imagined.
That you may' quickly be able to point the camera and lens so as to
insure the object— say, a man or woman walking — shall be on the plate,
one can understand ; but, without wasting time over it, finders are abso-
lutely necessary if you desire to ascertain that your main object of
interest takes its proper position, and that the whole composition is
properly balanced — in fact, there is no difference in arranging and com-
posing a picture, whether to be copied with a camera held in your hand
or used on a tripod, it requires the same care and constant attention.
It would be equally absurd to say that a ground glass was useless and
of no assistaijce in composing a picture when using a camera and tripod.
Any hand camera to be of use needs good finders (which, by the way,
are, as most if not all of you are aware, simply small camera obscuras).
There should be either one or two, so that you can see at once how the
picture looks both upright and horizontal. They should give you just so
much of the view as will be taken in by the lens taking the photograph,
and no more. They should also be well sunk in so as to render it possible
to see the image easily on the small ground glass.
They are better if covered with a lid, as in one shown, that can be
raised partially or as desired, and forms a very effective screen.
One more thing about the finders. They should be as large as possible,
so as to be more easily seen.
There is nothing farther about the apparatus itself I can usefully
occupy time in describing. I pass by swing backs, risinglfronts, levels,
side swings, and all the hundred and one other things you find on cameras
nowadays, half of which are rarely used, and the purpose of the others as
often as not misunderstood. That they are some of them useful, more
especially the swing back when doing architectural work, one knows ; but
in the hand camera, although in theory they would be equally necessary,
in practice that is not so, and, to sum up, it should be as light as possible
without sacrificing strength, it should be compact, it should be simple in
its movements, and certain in its action.
The Kind of Plate to Use.
Turning from the apparatus to its use, the first thing to settle is the
kind of plate to use. At present I, for one, do not feel disposed myself
to throw over the glass support tor films for various reasons. Mr. Butler
could suggest one or two, and I know our friend Mr. Goldby has made some
wonderful discoveries with them in the shape of new stars and planets and
comets, but he fails to appreciate their true value. When they in their
eccentric fashion are found on his negatives starting out of mountain
sides, and the comets wandering up and down the plate in an altogether
unaccountable fashion peculiar to such things, he objects, and perhaps
most of us would do likewise ; and, although films have been very much
improved of late, yet glass support stands the favourite, and it will be of
such plates I shall say a few words, at the same time my remarks being
equally applicable to films.
This question of plates is a matter in which different workers appear
to follow paths widely apart. Some, and among them bemg names
well known as successful hand-camera workers, advocate the using for
general purposes plates of about the same rapidity as Hford Ordinary.
This may be all right during the short period of the year (May to
August) when the light is at its best, but even then I don't find they are
by any means rapid enough when used on subjects contaming any great
amount of shadow. Of course, if they can by any means make certain
of suflicient exposure being given to all subjects as they arise, then by all
JtBuaryST, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
59
mcftns use a comparatively slow plate, since the dovolopment is much
simpler and the coat quite fifty per cent, less than that of plates of extreme
rapidity ; and, all things being equal, perhaps the average results obtained
from slow plates would bo higher than when handling more delicate
ones. But, and here's the rub, can we get full exposure on the bulk of
subjects such as I am dealing with to-night (examples of which are before
yon in form of prints, and later on some will he shown you through the
lantern) on ordinary plates?
Rapid Plates to be Pbefebred.
I think not, and from inquiries made of those with whom I have come
in contact, I am certain the greater number who use the hand camera
successfully wisely provide themselves with a plate rapid enough to meet
all reasonable calls that may be made on them in, say, a day's work ;
and, after all, if you use plates a trifle quicker than are absolutely
necessary for xome subjects, yet the remedy is so simple, either to stop down
a little or quicken the shutter. I used this last year mostly the Mawson
plate, and some of the Lumifire ; and, as you will observe from the
prints and negatives, the subjects are of a varied character, and were taken
at times ranging from four a.m. to eight and nine p.m. You may find
traces of slight nnder-exposure, but none of the frantic results you would
expect from over-exposure, when I tell you a smaller stop than /-ll
was rarely used, and the average exposure given about one-tenth to one-
fifteenth of a second, and in developing them they were done eight or a
dozen at once in a large dish, and dealt with on the assumption that if
wrongly exposed it erred on the side of under rather than over-exposure,
having a dish of strongly restrained pyro developer at hand to bring up
density, and as each negative came fully out in detail they were, if
reciuiring it, transferred to the second dish and left till complete, this
method being a revival of the old wet-plate method — detail first and then
density.
It may be taken as pretty safe advice that, as regards speed of plates to
be used in May, June, July, and perhaps early part of August, good
results may be looked for with a plate of similar speed as, say, Ilford Rapid.
I only mention that make of plata because it is so well known and forms
a good standard to judge by. Daring the remaining portion of the year I
would strongly advise a good plate, and by that I mean one rich in silver,
and just as quick as can be got ; this is, I ought to say, when using a
camera of the magazine form. Of course, if using one with ordinary
slides, then plates of two or three speeds are available, and can be used as
desirable.
That it is usel^s placing these very sensitive plates in the hands of
beginners goes without saying, and it is equally true that, with rare ex-
ceptions, it is worse than useless to place the hand camera before them
and expect any other result than failure. W. Thomas.
(To he concluded.)
LIQUID AIE.
Wbitixo of Professor Dewar's recent experiments on the liquefaction of
tiir, the Times says : —
" Liquid oxygen, until quite recently, was a curiosity produced in
quantities of a few grammes, too small and too evanescent to admit of
any exact and systematic examination of its properties. Professor Dewar
produces it by the pint, and demonstrated its more obvious physical
properties — its beautiful colour, the blue of the sky, its high magnetic
quality, and its characteristic spectrum — with as much facility as if he
had been dealing with water. But all this, simple as it perhaps looked,
has only recently become possible, and that through a very beautiful dis-
covery of Professor Dewar's, possessing equal practical and speculative
value. Liquid oxygen, boiling at 182° below zero, is at ordinary tempera-
tures [always in a state of violent ebullition, which, in the first place,
means very rapid dissipation, and in the second interferes seriously, and
for many purposes fatally, with the determination of its properties. The
double problem, therefore, was to find some means of preventing the
waste of a costly liquid and of obtaining it in a state of quiescence suit-
able for experiment. All the ordinary non-conducting devices proved
useless ; but the problem was solved by the discovery, that by surrounding
the vessel containing the liquid with a very high vacuum the influx of
heat from outside could be reduced to one-seventh, as was proved on
Friday by actual measurement of the escaping gas, or by other refine-
ments not shown on Friday, to a yet lower point. The result is liquid
oxygen at a temperature below its boiling point, tranquilly and slowly
evaporating, as water evaporates at moderate temperatures. No ordinary
vacuum is of any use. It must be a high vacuum, and Professor Dewar
has given a new significance to the phrase ; for he has produced vacua
measurable in hundred-thousand-millionths of an atmosphere, and by
means which exhaust the largest vessels more quickly than the mercury
pump exhausts the smallest.
•■Many remarkable phenomena were shown on Friday, but none was
more worthy of attention than the little bulb of liquid oxygen, something
between a walnut and a golf-ball, which hung in a clip upon the lecture
table. It was filled and hung up at an early period of the lecture, and it
remained four-fifths full at the close. If a conjuror had made his ap-
pearance with a large vessel of boiling water and a brisk fire beneath,
and if in that water ho had boiled for half an hour a piece of ice as biff
as a golf-ball without reducing it by more than one-fifth, every one would
have been vastly astonished. But the little bulb full of liquid oxygen
was far more wonderful. The difference of temperature between the
conjuror's ice and his boiling water is 100° Centigrade. The difference
between the temperature of Professor Dewar's bulb and the air of the
theatre was not less than 210' Centigrade. Yet, though that scorching
blast necessarily had free access to the oxygen in one direction, the liquid
was so perfectly protected by its vacuum jacket as to retain that rela-
tively high degree of permanence.
" Not only is liquid oxygen rendered thus susceptible of complete and
leisurely examination, but it becomes a valuable means for pursuing
further research. It was shown that atmospheric air can be condensed
into a liquid at ordinary pressure by the cold of liquid oxygen boiling
under the air-pump. Liquid air, which was also shown in quantity
produced by other means, enables us to effect a further reduction of
temperature, and, therefore, an approach to the solution of the tre-
mendous problem of liquefying hydrogen. A gas which occupies weight
for weight nearly fifteen times the volume of air, and requires for lique-
faction a temperature twenty degrees or thirty degrees lower than the
lowest yet produced, obviously offers difficulties of an unusual kind. If
they are ever overcome, it will be due to the great advance we have just
described in the methods of storing and manipulating liquid air.
" An interesting illustration was given of the essential difference
between a liquid and a gas of identical composition. Air liquefies as a
whole, the liquid containing oxygen and nitrogen in the normal atmo-
spheric proportions ; but, when the liquid is allowed to boil, it follows the
laws of mixed liquids, the nitrogen with its lower boiling point disiiUing
off first, and showing no appreciable admixture of oxygen until half of
the mass has evaporated. It was also shown by various experiments
that liquid air behaves in the magnetic field and in the spectroscope
simply as diluted oxygen. Its colour is to the beautiful blue of oxygen
as the watery sky common in this country to the azure we see through,
breaking clouds after a storm."
COMPOSITE HELIOCHEOMY.
[Jonrnal of the Photograplii^ Society of PhiladelpMa.J
The following ig an extract from the report of the Special Committee
appointed by the Board of Directors of the Photographic Society ol
Philadelphia, September 1, 1892, to take into consideration the advis-
ability of some form of recognition by the Society of Mr. Ives' w^rk in
connexion with composite Heliochromy : —
" Mr. Ives' system of colour photography, which he has named ' Com»
posite Heliochromy," consists —
" 1. In the production of a triple photograph or chroraograra, one
image of which represents, by its light and shade, the ett'ect of light
from the object upon the fundamental red sensation, another the effect
upon the fundamental green sensation, another the effect upon the funda-
mental blue-violet sensation, in accordance with the Youna-Helmholtz
theory of colour vision, and the actual measurements by Maxwell and
Abney of the relative power of different spectrum rays to excite the re-
spective fundamental colour sensations.
" 2. The optical superposition of the three images of the chromogram,
either by means of a triple optical lantern, or in a table instrument
known as the Heliochromoscope, in which the image of the red sensation
is seen by red light, the image of the green sensation by green light, and
the image of tlie blue-violet sensation by blue-violet light, but with the
three blended together to form a single image, which reproduces the
light and shade, and colours of the objects photographed.
" The triple photograph is made by a single exposure, on a single
sensitive plate, and from a single point of view, by means of a special
camera of Mr. Ives' invention, in which the incident light is divided by
the partial reflection and partial transmissi in of light by transparent
mirrors, ingeniously arranged to secure the projection of the three images
on a single plane, with identical perspective. The sensitive plates em-
ployed are sensitive to all the visible spectrum rays, which are made to
act in the production of the three images in proportion to their power to
excite the respective fundamental colour sensations. This result is
accomplished by filtering the light which goes to each image through a
selective colour screen, which has been adjusted by experiment in photo-
graphing the spectrum itself, to secure in the spectrum photograph a
density curve corresponding to the graphic curve of the same sensation
in Maxwell and Abney's diagrams. The adjustment of such a camera
can only be made by a scientific expert, familiar with the laws of optics
and the use of the photo-spectrograph and the photometer ; but when the
adjustment is once made the successful operation of the process is
brought within reach of any skilful amateur photographer, no more
operations being necessary than for the production of an ordinary negative
and lantern slide.
" The Heliochromoscope is a neat table instrument, containing the
60
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 27, 1893
same system of reflectors as the camera. By its use the chromogram is
seen as a single picture, reproducing the natural colours as readily as a
stereogram is seen in the stereoscope reproducing binocular vision.
" The first suggestion of composite colour photography was made, we
believe, by Henry CoUen, of England, in 1865, and improved upon by
Dn Hauron and Cros, in France, in 1869 and after, but without recogni-
tion of certain principles of colour vision, the application of which Mr.
Ives holds to be essential to success. Mr. Ives has been charged with
making claims that are unfair to Du Hauron and Cros ; but a careful ex-
amination of his publications upon this subject has satisfied your Com-
mittee not only that he has stated the claims of his predecessors in this
intricate and not generally understood field of research, fully, clearly,
and fairly, but he has repeatedly given the references to the original
publications of Collen, Du Hauron, and Cros, in order that the accuracy
of his statements might be readily verified, and has stated his own claims
so clearly that if his predecessors had had the same ideas the facta could
readily be proved. On the other hand, we have been struck by the fact
that writers who have charged Mr. Ives with unfairness have, themselves,
either through ignorance or with intentional unfairness, failed either to
describe his process or to state his claims, and have ignored altogether
points of difference which Mr. Ives has insisted upon, for reasons which
he has given, as being absolutely essential to success.
" The following is a brief statement of Mr. Ives' claims, which he has
communicated to this Committee : —
"1. 'A triple photograph, one image of which represents by its light
and shade the eiiect of light from the object upon the fundamental red
sensation, another the effect upon the fundamental green sensation, an-
other the effect upon the fundamental blue-violet sensation. This claim
dates from November 21, 1888 {Journal of the Franklin Institute, January,
1889), previous to which date no one else had made photographs answer-
ing to this description, or recognised the principles involved. Such
photographs are oliitained by a method of precision in accordance with
actual measurements of the effect of different spectrum rays upon the
separate fundamental colour sensations.' (Umted States Patent, No.
432,530, July 22, 1890.)
" As bearing upon the above claim, Mr. Ives points out that making
photographs ' through red, green, and violet glasses,' or ' by red, green,
and violet rays,' as finally recommended by Bu Hauron and Cros, is
either positively and fatally wrong, or else the names of colours are used
in such an indefinite sense that the statements have only a vague mean-
ing, indicating no definite principle or system of colour selection, and
that nobody working with such vague ideas ever accomplished anything
of value.
"2. 'A camera producing the triple photograph on a single sensitive
plate, by a single exposure, from one point of view.' (United States
Patent No. 475,084, May 17, 1892.)
" It is a well-known fact that many unsuccessful attempts were made
to devise such a camera, and that several provisional patents were taken
out for ideas that failed to accomplish the desired result.
" 3. ' The Heliochromoscope, the only successful device for optically
reoombining tbe three images of the chromogram to form one image on
the retina of the eye, reproducing the colours.' (United States Patent
No. 475,084, May 17, 1892.)
" Mr. Ives also points out that it is important to recognise that his
system makes photographs by the action of all visible spectrum rays, but
shows them by means of three kinds of spectrum rays only, and that
nobody else saw the necessity for such a procedure, although no other is
possible in accordance with the modem theory of colour vision.
" It is farther claimed that the above - mentioned improvements
have —
" 1. Solved the problem of reproducing the natural colours by photo-
graphy.
" 2. Simplified the procedure so much as to make it possible for any
good photographic operator to make the photographs, when supplied
witli the special camera, even if he have no knowledge whatever of colour
science.
" It appears to this Committee that Mr. Ives' claims are sustained, not
only by argument and references, but also by his exhibition of results,
which may fairly be said to be wonderful improvements upon anything
obtained by his predecessors. In fact, while the results obtained by
Du Hauron and others are described as crude and unsatisfactory, Mr.
Ives shows, by his process in the Heliochromoscope, reproductions so
perfect that it is sometimes difficult to realise that one is not looking at
a reflection of the object itself, instead of a photograph.
" Mr. Ives has pointed out that the results have one defect, which
exists in all photographs, as has been already indicated, although it is
less noticeable in the absence of colour. This defect, as has been said, is
an increase of contrast in the middle shades of the picture at the ex-
pense of both ends of the scale. Ordinary photographs are relatively
too flat in the high lights and wanting in detail in deep shadows, and in
the colour photographs the colours are apt to appear somewhat bleached
out in the lighter shades and too dull in the shadows. This defect is
not noticeable in reproductions of some subjects, but quickly attracts
attention in others. For instance, a bright sky will in some in-
stances not be as blue in the reproduction as its own reflection in a
body of water, because the greater light intensity of the sky itself pro-
duoes the effect of bleaching out by over-exposure. Since this is the
result of a defect inherent in all photographic processes, it should not be
charged against the system of colour selection.
"It is also stated that delicate shades of colour will go wrong in the
high lights when the sensitive plates are unevenly coated, especially
if the coating be thin. The remedy is obvious, and lies with the plate-
makers.
" In conclusion, your Committee submit that, in view of the great im-
portance of the results achieved by Mr. Ives, the Society of which he has
long been an active member should use its influence to secure to him
just recognition for his scientific labours. To that end we recommend
the adoption of the following : —
" Kesolved, That the Hoard of Directors recommend to the Society the
adoption of the following preamble and resolutions : —
" Whereas Frederic E. Ives, of Philadelphia, has, by the application of
his new principle in composite heliochromy (dating from November 21,
1888), made a practical solution of the problem of recording and repro-
ducing by photographic means the colours of nature ; and
"Whereas Mr. Ives has, not only in this connexion, but in many
other ways, notably in the field of photo-mechanical printing processes,
orthochromatic photography, and optical projection, made distinguished
contributions to the progress of the art and science of photography ; and
" Whereas the Photographic Society of Philadelphia is incorporated for
the special object of increasing and diffusing ' the knowledge of those
natural laws which relate to the action of light, and particularly to
promote improvements in the art of photography ; ' it is therefore
" Resolved, That, as a special recognition of the eminent scientific
labours of Frederic E. Ives, a gold medal is hereby awarded to him by
the Photographic Society of Philadelphia."
EYE AND WINCHELSEA WITH THE CAMERA.
Under the auspices of the Hastings and St. Leonards Church Institute, a
lecture on the above subject was delivered in Hastings on Tuesday
evening, January 18, by Mr. Algernon Brooker, Hon. Secretary to the
Photographic Society there. Notwithstanding the severity of the
weather, there was a large audience, the hall of the Brassey Institute
being quite filled. The lecture was illustrated by the exhibition of about
150 photographic lantern slides of very fine quality, both technically and
pictorially. Having conducted his audience through some very charming
scenes by way of the Cliff-road to Winchelsea, taking Fairlight and Pett
on the way, the lecturer dived into the ancient history of the old sea-
ports, and was able to put on the screen several slides bearing on his
subject, which showed the great pains he had taken to unearth the
antiquities of the ancient township. Dealing with his subject from a.
pictorial point of view, Mr. Brooker then showed that the locality offered
great possibilities as a happy hunting-ground for the photographer, with
artistic instincts. Some of his pastoral scenes were very beautiful,
and, as pictures, are equal to, and in some cases surpassing, some of the
most highly honoured work of our best exhibitions.
PHOTOGRAPHIC SOCIETY OF IRELAND'S EXHIBITION.
The Exhibition included, in addition to the work of the members, a large
number of photographs by English and Scotch proficients in the art.
The Exhibition was substantially divided into five classes : — (1) Enlarge-
ments ; (2) Landscape views ; (3) Lantern slides ; (4) Hand-camera
work ; and (5) Historical or archasological subjects (exclusively confined
to Ireland). In the class for enlargements the silver medal was awarded
to Mr. Victor Smith for a fine enlargement from a quarter-plate print.
The second place and bronze medal was won by Mr. Inglis for two
excellent enlargements, 15 x 12. They were most admirable photographs
of Foley's JIurlce and Goldsmith. Mr. L. E. Strangeways, M.A., was
commended. In the section for views, Mr. George Mansfield, J.P.,
President of the Society, obtained the silver medal, and the bronze medal
was given to Mr. John A. C. Euthven. The centre picture of this group,
Kilchurn Castle, is, says a local critic, one of the most faultless and
exquisite photographs possible to conceive. The suggestion of atmo-
sphere, the singularly fine gradations of light and shade, and the
perfect realisation of the perspective, combine to make this little print
one of the gems of the collection. In the class for lantern slides Miss
White won the silver medal, second place being secured by Mr. Joseph
Kelsall, of KUliney. For hand-camera work the silver medal was
awarded to Mr. A. W. Geddis, and the bronze to Mr. J. White. In the
archaeological class, Mr. L. R. Strangeways came first for photographs
taken by the aid of the magnesium light at Lough Crew, county Meath,
the subject being rude stone carvings. The bronze medal was gained by
Mr. A. A. Geddis for a set of photographs taken at Monasierboice and
Mellafont Abbey.
There was a very good coUeetion forming the Loan Gallery. This in-
cluded some flashlight photographs by Mr. John Stuart, of Glasgow,
who also sent in large portraits of Bishop Dowden and Professor Blackie.
The Autotype Company sent in very large reproductions — one of Ludlow
Castle and one of Durham Castle being especially good. Messrs. Morgan
& Kidd contributed a large full-length portrait of Miss Mary Anderson
Jmimry 27, 1893]
THE BRITISH JOUUNAL OF PHOTOGRAI'IIY.
01
and a bnst of Sir Edwin Arnold. Mr. Bichard Ecene, of Derby, also
contributed some very interesting examples. The Eastman Photographic
Company contributed an enlargement on their bromide paper and studies
on glazed paper. Mr. Oambier Bolton showed a very good photograph
of the lion in the liondon Zoo. Mr. Walsh, of Belfast, had a nice
collection ot views of Irish antiquities ; and Mr. Werner, of Orafton-
street, and Mr. Robinson, of (irafton-street, were also amongst the con-
tributor.'!. The FreciiKin'x Journal and Xiitional PrcHx Company exhibited
the different processes of producing a zinc illustration block.
During the week lantern exhibitions were given to a large audience
each evening, the lantern being ably managed by Mr. J. Carson, C.E.,
and very interesting slides by Messrs. Buthven, Oeddis, Inglis, Strange-
ways, and Smyth were thrown on the screen, the yacht series of Messrs.
Inglish and Smith evoking much admii-ation, and Mr. Strangewaya'
"Ignition and Fruition" unbounded merriment.
Some fine slides lent by Messrs. Hastings and Cembrano, many of
them recalling scenes in the Photographic Convention of 1892, were
given, and one evening was devoted to medical and scientific work, when
many medical gentlemen were present to see Mr. A. Pringle'a uniciue
collection of microscopic glides.
Anions; exhibitors of lenses and apparatus were Messrs. Boss A- Co.,
Taylor, Taylor * Hobson, Gotz, Mayne, Robinson, Curtis, and Lonsdale
Brothers.
The Exhibition Committee are to be congratulated warmly on the
success ot their undertaking, which, financially and otherwise, has sur-
passed their expectations.
THE EYE AND THE CAMERA.
Before the Dundee and East of Scotland Photographic Association on
Thursday, January IS), a paper was read by Dr. M'Gillivray on The Eye
and the CinitfTa, in which after comparing the structure of the eye with
that of the photographic lens and the mechanism for focussing in both
cases, he went on to speak of colour blindness. He recommended strongly
the adoption of the tests approved by the Royal Society, and urged fiie
necessity for railway and marine otiicials being carefully examined with
a view to discovering 'vhether they were affected with the disease. He
held that all lads entering the service of railway companies should be
subjected to a rigorous test of their eyesight, and that at stated intervals
they should be medically examined to discover whether their sight was
becoming impaired. He pointed out the extreme danger of employing
drivers, signalmen, or steer.smen who were suffering from colour blind-
ness. One of the chief symptoms of tobacco blindness was that the
patient was unable to distinguish red and green, the colours used on
railways and at sea. The disease might be acquired in a few weeks, and
there was no class of men more given to smoking and more afflicted with
colour blindness than signalmen or steersmen.
The BL.UKFBIARS Alpenstock
W.vi,KiX(; - STICK Tripod. — The
Blackfriars Photographic and Sen-
sitizing Company are issuing a
handy st.ind in the form long
known as the Alpenstock. The
three legs are closely jointed, and
are readily opened by removing
the ring at the centre which
binds them, and the metal ferule
at their base. The stands are
extremely light, compact, and
rigid, anil are made in two sizes,
38J and 4(1 inches.
y,-y?'— -
London and Provincial Photographic Association.— February 2, Calcu-
lation of till- Angle of View, by Mr. P. Everitt. 9, First Technical Lentin-e of
the Series, The Lens. 16, Demonstration of tht- Air liraah, by Mr. W. H.
Harriso'.i.
At the Llandudno Police-court List week two respectably dressed young
men, named Vincent Johnson, alins BrmikOT, and Leopold Geoffrey Harding,
were coiiiiiatted to the as.^izes on a clmrgo of obtaining money by false pre-
tences, y\/.., by advertising for sale in THE British Journal of Photoobaphv
a camera for the sum of 5/.
©ur IBtJitotial JITablf.
The Paget Company's Framr for Peintino out Opals and
Lantebn Slides.
The special frame which the Paget Company have proTided for u*e
with their printing-out lantern slides and opals has many points of
great excellence. The negative is held in position on a glass bed by
means of four adjustable screw catches, various sized negatives below
that of the maximum bang available. The opal, or transparency, is
then placed in position in another frame, being held thereto by a
revolving circular catch, contact and registration being secured by the
second fitting on to four small uprights and clamped down with the
usual springs, so that it raaj' be moved, and the progress of the image
watched with the certainty that on again being placed in situ no
doubling of the image will residt. The system in our bands has-
answered admirably.
F.^llowfxeld's Double Gl.vss Peteoleum
Lamp.
jMe. Jonathax Fallowpikld has brought out a
really neat and convenient dark-room lamp, the
nature of which will be seen from the illustration.
The burner is an Argand, and gives a bright flame
by aid of a yellow chimney with contracted neck.
Overtopping this is a ruby chimney, which is capable
of being raised when a flood of yellow light is desired —
a position shown in the cut. The lamp is well made,
and cannot fail to prove useful.
The Magnesium Campany, 7, Auckland-road, Battersea Rise, S.W.,
have submitted to us a sample of what they designate " Smokeless
Magnesium Dust." On making trial of it we find that it ignites
readily, gives a clear bright flame, and emits less smoty fume.s than
any other sample that we have tried. This latter quality will be
appreciated by all flashlight men.
Mk-ssrs. Pbrct Lund & Co., Memorial Hall, have courteously
favoured us with a neatly bound volume of their Practical Photo-
grapher, being all their monthly issues of last year. It contains
numerous illustrations.
We are indebted to the Scovill & Adams Manufacturing Company,
New York, for a handsome Ottice Calendar for 189.3, got up in that
ornate style characteristic of the calendars issued by them for several
years past.
" SPIRIT "'PHOTOGRAPHT.
A lecture on this subject was delivered by Mr. F. B. Cbadwick before
the Cardiff Amateur Photographic Society at the meeting on Friday
evening last. The lecture, which was listened to with great interest,
dealt with the scientific aspect of the question, and maintained that, if
only one case of photographing the "Spirit" could be indisputably
proved, it ought to be sufficient, however easy and numerous the counter-
feits, to awaken the interest of the photographic world. It was a mistake
to suppose that the various authorities that would be quoted were ignorant
of the methods of imitation — quite the contrary — and that this alone
should be a guarantee of tlieir ability to guard against fraud and decep-
tion in their experiments. Illustrations were then given from experi-
ments witli various mediums, notably Mrs. Mellon, Mr. Duguid, and
quotations from authorities such as Mr. Alfred Russell Wallace, Mr.
William Crookes, F.B.S., and various American scientists, and concluding
with quotations from several of the last numbers of current literature,
expressing anticipations of a near future when the photographic art
would play an iniportHnt par: in solving the most stupendous question
of human life and existence.
One of the interesting features of the evening were the albtuns kindly
lent by Mr. James Burns, the Editor of the Medium ami Daybreak,
containing a large number of suitable photographs illustrative of the
subject.
62
THE BRITISH JOURNAL OF PHOTOGRAPHI.
[January 27, 1893
♦
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of Meeting.
antiary 30
. „ 30
» 30
.. 31
„ 31
„ 31
„ 31
„ 31
.. SI
31
„ 31
FebroiU'y 1
fi ■*■
1
1
1
Name of Society.
Camera CInb
Dundee Amateur
Eichmond
Birmingliani Photo. Society .,
Hackney
Halifax Camera Club
Lancaster
Leitb (Annual)
Paisley
Rochester
Warrington
Edinburgh Photo. Society ....
Photographic Club
Sontbport
South&ea
Wallasey
Birmingham Photo. Society .
Camera Club
Dundee and East of Scotland .
2 1 Glasgow Photo. Association....
Glossop Dale
Hull
Leeds Photo, Society
London and Provincial
Oldham
Tnnbridge Wells
Brighton and Sussex
Cardiff
Croydon Microscopical
Hoiborn
Leamington
Maidstone
HuU
Place of Mee^j^g.
Charing Cross-road, W.C.
Asso. Studio, Xethergate, Dundee.
Greyhound Hotel, Richmond.
Club Room, Colonnade Hotel.
206, Miire-street, Hackney.
Springfield Ban-acks, Lancaster.
165, Constitution-street, Leith.
9, Gauze-street, Paisley.
Mathematical School, Rochester.
Museum, Bold-street, Warrington.
38, Castle-street, Edinburgh.
Anderton's Hotel.Fleet-street.E.C.
The Studio, 15, Cambridge-arcade.
3, King's-road, Southsea.
Eeremont Institute, Egremont.
Clnb Room, Colonnade Hotel.
Charing Cross-road, W.C.
Lamb's" Hotel, Dundee.
Philoso. See. Rooms, 207, Bath-st.
71, Prospect-street, Htdl.
Mechanics' Institute, Leeds.
Champion Hotel, 15, Aldersgate-st.
The Lyceum, TJnion-st., Oldham.
Mechanics' Inst., Timbridge Wells.
Public Hall,George.street, Croydon
Trinity Church Room, Jlorton-st.
"The Palace," Maid.stone.
71, Prospect-street, Hull.
PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN.
•January 24,— Technical Meeting, Mr. T. Sebastian Davis (Vice-President) in
the chair.
Before the formal business of the meeting commenced, the Chairman made
reference to the great lo.s.s the Society had sustained by the death of Jlr. William
Bedford, who was a member of the Council.
PHOTO-LITHOGBArHY.
Mr. W. E. Debexham read a paper on Photo-lithography (this will appear
in a future number), which he supplemented by a practical demonstration of
the process. He showed various examples of negatives suitable for it, as well
as transfers, stating that wet collodion was recognised as the best for the
former.
Tlie C'HAIKMAN, in reference to the lithographic stones used, said that, forty
years ago, a kind of magnesium limestone came from Germany, and it had
been found that the character of the stones somewhat modified the nature of
the prints, their various uses depending upon the extreme fineness of the
outline to be impressed on the stone, which he presumed would apjily in the
ordinary practice of lithography. It occasionally happened, after jirinting a
certain quantity of impressions from the stone, that the ink filled in the inter-
mediate spaces between the lines, which would become clogged. He used
turpentine to obtain the original fineness.
Mr. DEBKNHASt had never found any difficulty with regard to the selection
of the stones. In .answer to Mr. Solas, he said he obtained the roller he was
then using from Albert in 1877, and it had not deteriorated. In reply to Mr.
Archer Clarke, he said he did not think photo-lithography was suitable for tint
subjects. It was suitable, however, for pen-and-ink subjects, which was the
natui-e of the pictures he was then reproilucing.
Mr. .J. D. EiJGLAND said he diluted the lithographic ink considerably with
turpentine, and rubbed on with a sponge, and then afterwards with a piece of
cotton wool he rubbed off as much of the ink as possible.
Mr. T. BoLAS thought Mr. Debenham had got hold of all essentials, and had
emphasised the points between success and failure. People did not realise how
small a quantity of iuk should remain on the transfer ; the image should show
through the ink. One point, however, might lead to a little difficulty. Com- I
mercial transfer ink was sometimes pigmented comparatively highly, and
others comparatively little, and one must allow for this. A highly pigmented
surface would possibly darken all over. It was scarcely possible to rub off the
ink so completely that there was not enough for the transfer. There were
more failures from putting on too much ink than from all other causes.
Mr. ENca.AND showed results on gelatine plates which he considered suit-
able for photo-lithography.
Mr. Debenham thought them fine results, but 'he himself recognised wet
collodion as the best.
A vote of thanks was passed to Mr. Debenham for his paper and demonstra-
tion, in acknowledging which Mr. Debenham took occasion to tliank ilr. G.
Ruthven for the assistance he had given him in the practical work that
evening.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
January 18,— Mr. A. Maokie in the chair.
The Late Me. William Bedford.
The Chairman made a brief reference to the late Mr. Bedford, who
was a member of the Association, remarking that there was nobody in the
photographic world so well liked.
Mr. T. E. Fhe-shwater, in moving a vote of condolence with Sirs. Bedford
and the family, said tliat the late Mr. Bedford was one of the best men for
listening to anything that was said to him. In him the Photographers'
Benevolent Association had lost a great friend.
Mr. W. E. Debexham, in seconding the motion, said that there was no one
in photography so mnch esteemed as the late Mr, Bedford,
A New Jet.
Mr. Pv. R. Beard, in exhibiting his new jet, said that its novelty w.is the
improvement of the cut-off and regulating .arrangement of the gases, wliich is
effected in the following manner : —In place of the usual two taps, one taji of .i,
special construction is substituted, the shell of which has the two supply ami
delivery tubes to the mixing and Y chambers respectively, to either lui.xeil or
separate burners, as usual. The plug of the tap lies horizontally, and has a pro-
jecting lever at right angles. In both ends of plug of t!ip are fitted screw-down
valves, one for each gas, oxygen and hydrogen. With these valves the supply
of gas is regulated to burner. Having regulated the g,ases, they can be cut off
entirely by raising the lever of plug ; a small adjusting screw is attached to
the shell, which arrests the movement of plug, and therefore any amount of
by-pass can be left on. It will be seen that this arrangement takes the place
of the ordinary four-way dissolver, having a decided .advantage, as the whole is
constructed in the jet itself, and can bo got at outside the lantern, and
there being no wheels or delicate parts to get out of order, or separate pieces
of tubing, making unnecessary joints. Also tlie gases are regulated by
the fine-threadeil screw-down valves. The mixiiig chamber is of the most
modern pattern, having discs alternately perforated iit edges and centre,
thereby ensuring perfect mixing. The nipple is large and taper. Tlie
jet-holder is likewise improved. In place of the usual round tube, with the
boss and thumbscrew — so unsatisfactory, owing to the pins of trays seldom
fitting them — a pear-shaped hole is made, the thumbscrew binding, as it
were, the pin into the wedge, thus fonning a triangle of forces so necessary to-
make rigid. The position of this is adjustalile to suit the various sizes of
lanterns, the jet being made the maximum length. The lime-turniuL; arr.ange-
ment is fitted witli screw gearing ; this enables the rod to be parallel with the
tubes, anil any alteration in position does not interfere with worl;ing of
gearing.
An Electric Rpioucher
Mr. H. Snowden Ward exhibited Messrs. Anthony's electric retouching
pencil, in which an ordinary retouching pencil was held in suspension by a
spiral spring, actuated by a small electric motor, and guided by the hand.
The pencil has a slightly eccentrical motion, making a series of arcs on the
negative. It had been in practical use in several studios for some time, the
opmion being given that the work of retouching could be got through much
more rapidly with it.
The meeting concluded with a display of lantern slides, among which were
several of various electric discharges taken by Mr. A. A. Campbell Swiuton bv
means of an induction coil, and showing most beautiful markings, also several
slides of composition subjects by Mr. Benham, in which a number of skeletons
were posed as boxing, taking tea, sieging, &c., with very humorous effects.
North London Photographic Society.— January 17, Mr. Douglas in the
chair, adjourned general meeting, held at Canonbury Tower. — The agenda
paper contained only routine business. The officers and council for th'; year
were finally agreed upon. President: Mr. J. T. Taylor.— C'oH/ioV .■ The Rev.
E. Healy, and Messrs. W. Bishop, J. Brewer, J. Douglas, and E. W. Partitt. —
Curator : Mr. W. Few. — Hon. Secretary : Mr. W. T. Coventon, 50, Hi^ilibury-
park. The members present were well pleased with the accommodation
obtained in the above-named historical building. In addition to the looms
specially allotted to the Society, the members may use the reading-room,
known as " The Compton Oak Room." This apartment is wainscoted with
finely carved oak from fioor to ceiling, and is a very perfect and interesting
specimen of interior decoration of the age in which it was executed, viz. , the
latter end of the sixteenth century.
North Middlesex Photographic Society. — The first Lantern Night of the
new session, was held on Tuesday, ■24th inst., at Jubilee House, Horusey-road,
about ninety members and friends partaking of the fare. Slides were shown
by various members. The advantages of the affiliation scheme to the Photo-
graphic Society of Great Britain was further demonstrated by the loan of a.
splendid collection of slides wliich evoked considerable applause, the fiower
studies of Mr. Carpenter and the cloud effects of Mr. Dore being particularly
admired, and afforded the members present a standard up to which to work.
The next meeting will be on February 13, when a demoustration by Mr.
H. M. Smith, of the Eastman Company, on Enlargements, will take place.
Harringay Photographic Society. — January 19, Mr. C. Watson presided. —
The following gentlemen were announced as being patrons of the Society ; —
Rev. W. Frith, F.R.G.S., and Messrs. Valentine Blanchard and Cliarles W.
Hastings. A vote of thanks was passed to Mr. C. Frith for the interest he
had taken in the Society since its formation.
Hackney Photographic Society. — January 17, Mr. G. Hankins in the
chair.— Tlie Treasurer gave a short account of the finances respecting the recsnt
Exhibition. The Hon. Secretary showed some smokeless powder of the
Magnesium Company, Battersea, which was tried in Messrs. Rudowsky's laniii.
Comparatively, there was great advantage over ordinary magnesium powder, as
it seemed to" clear very much, Mr. Beckett observing that firemeu were not
necessary, as recently they were at London ami Provincial. Mr. Pag-t was
thanked for his attendance with the lamp, and was informed by Mr. iSeckett
that their retouching desk (electric), which he was requested by the Society to
try and report, on, did very materially save time, .and gave a very fine stipple,
wliich he thought .advantageous. Tlie Hon. Secretary showed Marion's-
eikonogen cartridges, and the form they were sending out cartridges of hypo,
and thionine. Mr. Carpenter showed Reiidell's laiiternslide printing frame,,
and a box lid with a ground-glass plate in, to view lantern slides through.
From the question box : " What would be the probable exposure at /-8 for
snow scenes / " Mr. Grant said he would give a full exposure, and use veiy
little pyro. Mr. Herbert Smith held the same opinion, but said judgment was
required. Mr. Deane and Mr. Gosling had recently taken some snow pictures^
and had given ten seconds, /-32 slow plate, and reported a pretty coirect re-
January 27, 1893]
THE BRITISH JOURNAL OF PIIOTOORAPHY.
68
suit. Mr. R. Beckett said the exposure would dojiend yery mucli on the
lighting. The Chairiuaii then calleil on Mr. S. J. Beckett for his paper nn
Lantern SUde Cohiiring, Imt, as the evening was somewhat advanced, he was
■nnahle to deal verj- fuUv with the subject. He thought very little attention
had belli given, generallv, to this interesting subject, and expressed, in a con-
cise and lucid manner, the way to colour slides, choice of colours, nmteriiils,
Ac, after whicli, slides he had coloured were put through the lantern and
commented on l)y him. Birds were frci|uently made of dii.st spots on tlie
])lates, and so helped to hide what sometimes wonld be a fatal defect to an
otherwise good plate. Colours looked to the naked eye more bright than
-when shown through the lantern.
Klcbmond Camera Club. — January 16, Mr. Davis in the chair. — Mr. (!. W
Kamsay read a paper entitled, A Vompariaon of Different Printing Procexnes.
After a short historical sketch of the evolution of modern iirinting processes,
and a few remarks upon combination printing, Mr. Ramsay proceeded to
notice in detail the principal makes of paper, bitli for printing out and for
development, now in the market, showing specimen prints on every variety.
He summed uii his "comparison" by quoting the toper's judgment on
whiskeys — " All are good ; but some are better than others."
Brlzton and Clapham Camera Cluti. — January 17, Mr. W. H. Harrison in
the chair. — Mr. W. Thomas read a paper en The Hand Camera and its Use in
Picture- inaking {.see page 57). The Chairman said that it was an e.xcellent
paper, and that the )iictures shown upon tlie screen were of unusual artistic
merit. Cameras without rising and falling fronts might usually do in tolerably
level country, but in mountainous regions, and occasionally elsewhere, rising
and falling fronts were a necessity. He also advocated the use of a lens of
long focus ; tlie rule was th.it the focus of the lens should be of the same length
a.s the distance at which the print would be most liable to be viewed by the
eye to give a good recognisable picture of the original scene. He also advised
the use of a single lens where possible, and so avoid two reflections from the
surfaces of the glass. When a photogiapher went out with only one small
■camer.i, it should be ii stand camera primarily, and a hand camera secondarily.
Messrs. Butler, t'oade, Uockree, Goldby, and Haward took part in the discus-
«ion, cue point being the necessity for tinders, upon which opinion was divided.
Croydon Microscopical and Natural History Club (Photographic Sec-
tion).— January 20. — The " 1893 Convention " Slides were shown. These have
■been lirought together by the Devon and Cornwall Camera Club, in view of the
fact that the next Photographic Convention of the United Kingdom is to be
held at Plymouth in the summer. In addition to the general views of the
town, aiid'of the principal places of interest in tlie neighbourhood, to which
excursions would probably be arranged, there was an interesting series of some
of the prehistoric remains — stone crosses, cromlechs, cairns, &c. — so numerous
In Devon and Cornwall, concerning which the several theories that have been
put forward to account for their erection were lucidly explained by the
Presi<lent (Mr. Lovett).
Leicester and Leicestershire Photographic Society.— .January 17,
Annual .Meeting, Mr. J. Porritt (Vice-President) in tlie chair. — The following
gentlemen were elected as otKcers for the ensuing year ; — President ; Mr. J.
Porritt. — Vice-President : Mt. A. Wilson. — Cvuncit: Messrs. F. Pierpoint, G.
Bankart, S. Partridge, F. JoUiffe, ami J. Cook. lion. Treasurer : Mr. A.
"Wilson. Hon. Secretary : Mr. H. Pickering, High Cross-street. On January
20, an adjourned meeting was lield, when it was decided to present the Hon.
Secretary with a lantern and a ]iair of interchangeable lenses of long and short
foci, as a small token of the appreciation of his past services and the courteous
and iUilefatigable manner in which he has carrieil out the arduous duties of
this otlice from the earliest days of the Society. It was also decided to hold a
two-days' Exhibition, on March 22 and 23, in the Co-operative Hall ; the Ex-
hibition to be free, and non-competitive in its character, when we hope, in
addition to the members' work, to secure the kind support of many of the
ablest workers of the day, The Presiileiit announced that Mr. S. B. Webber,
of Bromley, Kent, had consented to read a paper on Isochroinatic Photography
at their next meeting, Febniary 8.
■ 1 ♦ I — —
FORTHCOMING EXHIBITIONS.
Febniary 1 'Cleveland Camera Club. Hon. Secretary, J. J. Hallam,
11, Amber-street, Saltburn-by-the-Sea.
,, 7,8 Eotherham Photographic Society. Hon. Secretary, H. C.
Hemingway, Rotherhara.
,, 14 Durham City Camera Club. Hon. Secretary, R. Haux-
well. The Avenue, Durham.
„ 16-18 "Woolwich Polytechnic Photographic Society. Hon.
Secretarj-, W. Dawes, 145, Chesnut-road, Plumstead,
S.E.
I, 18 Holborn Camera Club. Hon; Secretarj-, F. J. Cobb
ICO High Holborn, E.C.
March 1, 2 *Fillebrook Athenaium Photographic Society. Hon.
Secretary, Joseph W. Spurgeon, 1 Drayton Villas,
Leytonstone, Essex.
I) 3,4 Blackheath Camera Club. Hon. Secretary, C. W. Piper,
46, Shooter's Hill-road, Blackheath, S.E.
•April *Forfarshire Photographic Association. Hon. Secretary,
W. J. Anckorn, West Port, Arbroath, N.B.
I, 17-29 *PIiotographic Society of Philadelphia. Hon. Secretary,
R. S. Redfield, 1601, Callowhill-street, Philadelphia,
U.S.A.
* Signifies that there are open classes.
— - — - — I » I
PhotookaPHIC CttTB.— February 1, The Limelight and other lUuminants
for tJie Lantern. 8, Members' Open Night.
BALL PB0GRAMME8 BY PHOTOGRAPHY.
To the EuiTon.
Sir, — We have thought it might interest yourself and your readers it
we sent examples of a recent application of photography to the festivities
of the season.
An artist friend or brother of the house where a dance is to be held
sapplics a pen-and-ink sketch about 0 >: 4 to reach us on the morning of
a given day, and on the following morning fifty or 100 copies reduced to
programme size are in his liands for attaching to the dance list.
Though such orders are executed in so short a time, it is obviously
better to allow forty-eight rather than twenty-four hours in case of postal
delays. — We arc, yours, &o., J. Mabtin it Co.
4 and 3 Park-villas, Neic Southgate, London, N„ January 23, 1893.
AMIDOL FOR LANTERN SLIDES.
To the Editob.
Sin, — My attention has just been called to a letter in your issue of the
23rd of December, 1802, by the Rev. E. Healy, in reference to the use of
amidol for lantern transparencies. I must apologise to the writer for
having overlooked his query.
If he will refer to my paper in the Almanac, he will see that my remarks
are suggestive and tentative, and give those results which in practice I
have found the best. Mr. Healy can easily vary the proportions and
find if his experiments prove me to be somewhat in error. — lam, yours, <tc.,
Camera Club, January 18, 1893. Henry E. Davis.
P.S. — Metabisulphite should be six parts, not three parts as quoted by
Mr. Healy.
LOUTH PHOTOGRAPHIC EXHIBITION.
To the Editor.
Sir, — Thinking yon would like to see the progress our list of promised
exhibitors is making, I have pleasure in sending it, to date. Of course,
there are yet several days to send in, so it may yet be extended. It is as
follows : —
Messrs. J. E. Austin, H. S. Tonkins, G. Lewis, Paul Lange, A. G.
Tagliaferro, Bernard Alfieri, Lewis Jleldon, Edger G. Lea, A. B. Dresser,
H. P. Robinson, B. G. Wilkinson, jun., J. C. Thompson, A. Tiviuer,
Adam Diston, Karl Greger, Ralph Robinson, S. N. Bhedwar, J. D. Pear-
son, H. W. Bennett, Alfred Maskell, Ernest Spencer, Thomas Mansell,
A. L. SpiUer, H. Symonds, Elliott & Son, G. Davison, W. B. Post,
Charles Keid, Richard Kecnc,iM. J. Harding, F. Seyton Scott, J. Chamber-
lain, A. Burchett, A. Ilorsley Hinton, Birt Acres, W. B. Cassingham, F*
J. Bright, Frank Howard, Lyonel Clark, E. Calland, W. Scorer, and A.
Debenham. — Yours, &c., 8. Francis Clarke, L.D.S., Hon. Sec.
8, Upgate, Louth, Lincolnshire, January 20, 1893.
COATING WOODEN DISHES— REMOVING SILVER STAINS.
To the Editor.
Sir, — With reference to Mr. J. Pike's suggestion for visinx enamel
paint for coating wooden dishes, mentioned in his article on " Dishes and
Trays" in last week's Journal, I should be glad if you or he would
answer the following queries with reference to same : — 1. Would it be
safe to, and would the paint stand, the following solutions being used in
the dishes (not in the same dish, of course) : hypo, ferrous oxalate
developer for bromide work, or dilute solutions of acid and water?
2. Would not the coatings of shellac varnish be likely to make
the paint liable to crack, and therefore peel away ? I have several
wooden frame dishes, with glass bottoms, that I find it somewhat dillicult
to keep water-tight, and thought that, if the paint would have no dele-
terious effects on above solutions, it would be a good thing. If, therefore,
you will insert my queries or a reply in the correspondence column, I
should esteem it a favour.
With reference to " A Useful Dodge for Aristotype Printers," I have
often found the method described, viz., "to immerse a negative to
which paper containing silver has stuck in hypo solution direct.'
one of the simplest methods of removing silver stains from negatives
— in fact, I think it is the only method that is desirable. The chief
point to observe in this method is that the negative is not put in
water before the hypo, especially where the paper has stuck, as iu tii*t
case it only releases more of the silver out of the paper, which is abs jrbed
by the gelatine films, making the stain larger than if put straight into
the hypo. Like all other remedies for accidents, it is not always as
efficacious as one could wish, but in practice I have found it the simi^le^t
and safest course to pursue in the circumstances. — I am, yours, Ac,
H.u«Bi W. NEwrox.
Sefton House Studio, Bridge-road, Kait Molesey, January 23, 1893.
P.S. — Should the negative be varnished and get stained, the varnish
can be removed without affecting the retouching, provided the spirit is
allowed to work spontaneously, and no rubbing resorted to iu the way ui
helping it, and the negative then placed in the hypo as described.
64
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[January 27, 1893.
Enstoew to OTotresponTijnts.
*»* All matters intended for the text portion of this Jouenal, inclicding
mimes and Exchanges, imist he addressed to '' The Editob, The British
JouKNAL OK Photographt," 2, i'ork-street, C'ovent Garden, London. In-
attention to thi^ ensures delaj/.
\* CWTespondenls are informed that we cannot undertake to answer com-
mimicaiions through the post.
*»* Communications relating to Advertisements and general iusmess affairs
should be addressed to Messrs. Henky Gkeexwood & Co, , 2, York-street,
Covent Garden, London.
'Photograph Rbgistekkd :
Graystone Bird, Bath. — Grand transformation scene.
ExcHAUGEs next week.
J, Salt. — Received. We note the contents of your letter.
P. Hall. — We have no recollection of the catalogue referred to.
S. B. — Ivory for miniature painting may be obtained of artists' colourmen.
A, Werner. — Thanks for the enclosure, of which we liave utilised a portion.
J. J. McQuillan. — We do not give opinions on particular makes of cameras.
F. & A. Hill. — We have not received either of tlie Societies' reports to which
you refer.
r. Hall. — Treat the cloth stained with bichromate of potash with a solution of
sulphurous acid.
W. A. — You can register the design for the mount. It would not be the
subject for a patent, wliich would be more costly.
J. C. — Ordinary water colour, blended to match the tone of the picture, is the
only thing required for working up bromide enlargements.
Snap-shot. — A lens working with an aperture of /-16 is not quick enough for
very rapid e.xposures at this time of the year, even with the most sensitive
plates.
S. Woolton". — Tlie cause of the prints stickuig in burnishing is that they were
not sufficiently dry. Lubrication will not protect too damp prints from
injury.
Dr. H. Zerenkr. — M.auy thanks ; we do not think, however, the matter'
would be of sufficient interest to our readers to warrant us in accepting your
kind offer.
J. Thojipson. — The print, and not the negative, must be registered at Stationers'
Hall. It is not imperative that the word " registered " should be printed
on the photographs.
W. B. liA-RRTSGTON.— Modern Dry Plates (by Dr. Eder), published by Piper &
Carter, is tlie only other English work, beside Abney's, which deals with the
subject exclusively.
Bitumen.— 1. The book is published by the author, at St. Louis, U.S.A. 2.
Mirrors suitable for the purpose may be ordered of those who make the
silvering of glass a specialitj".
LlON'EL Hartman. — We would suggeat a radius of jibout eight inches. Tlie
lenses are correctly placed in the drawing. Fix them with an interval of
two inches between the curved si^faces.
Haerold, — Colours for spotting prints that are to be burnished have been
advertised in the Journal, by different makers, during the past few months.
It is against our rule to recommend .any p.articular maker's goods,
C. W. H. — The changing box strikes us as likely to work e.xtremely well in
practice, and we therefore advise you to protect it before ofleriiog it to
any trade house. We cannot recommend any one particular firm.
''•„J';^'"^''^-~-*^'l P'^'t'oulars with regard to tlie sending of exhibits to the
Chicago Exhibition can be obtained at the oflSces of the Society of Arts,
Adelphi. We can, however, tell you that it is now too late to apply for
space.
A Cousins.— Ordinary shellac, whether in its natural state or bleached, when
dissolved in spirit, is always turbid. The insoluble portion will, however,
settle down if time be given ; or it may lie filtered out by the usual methods
of filtration.
■^ ^- ^\~^^^ ^'^^ patent in connexion with the pktinotype process has
expired, but subsequent ones were taken out. How many of tliese are still
in force we cannot say. The register at the Patent Office is the only reliable
source of information.
A Z.— As you sent the money with the order, and cannot get the pictures after
waiting a month after the time thev were promised in, and no reply to your
letter.s, enter an action in the County Court for the money paid and the
value of the negatives.
Anxious One.— Messrs. Percy Lund & Co., of Memorial Hall, E.C., publish
The Practical Fcrrolyper, which might suit vou. Tlie materials for ferro-
type work may be had of Mr. Jon.atlian Fallowfield, Charing Cross-road,
W.C, and other dealers.
R. Miller.— In cotiying a painting the point to be eonsidered, with regard to
the lens, is not the size of the original, but the size of the copv If the re-
productiou is to be, say, twelve by ten, a lens that will cover tliat size plate
will suffice, no matter whether the original be thirty feet or three feet.
■^'V"^j"i"''~''^ sixteen-inch focus orthoscopic lens will certainly answer for a
S X 4 hand camera ; but care will be required in the .idjustment of tlie focus,
this being so to a far greater extent than with the short-focus lens We
caMiot advise you any farther unless we saw the oitbo.«coi>c in <ji:est:on.
■in
Methyl. — Messrs. Jones & Mason, Regent Wharf, Copperfield-road, Mile End,
are methylators from whom you can obtain the old spirit by permit.
B. J. R. — We can suggest no improvement in the design for the studio. It
might, however, be made three or four feet longer with decided advantage.
Ordinary twenty-one ounce sheet glass will do quite well. " Colourless " glass
would be more expensive, and very likely would become yellow by the
action of light.
Essex, — 1. So far as we can see, neither the paper nor the toning formula are
at fault. It is the negative that is the source of the trouble. It is of mucli
too feeble a character to give prints that will tone to "a strong black colour."
If you require black tones from that class of negative, the only way to
obtain them is to print on bromide pajjer. 2. The negatives are too thin for
platinotype. 3. 'The same remark applies to carbon.
W. E. asks : " Can you give me nuy idea of the exposure necessary in Madeira
during March and April as compared with those on the Italian lakes during
the same months ? " — Subject to the presence of light, tieecy clouds, which
are likely to be present over the Italian lakes, you would find a shorter
exposure necessary in the latter case than at Madeira, where, however, on
bright days, ** instantaneous " exposures, ,is we are aware, are practicable,
Parisian Amateur. — If the focussing telescope is adjusted for one sight, it
will not do for another and different siglit without sep,arate adjustment, a
the ])ersonal equ.atiou is introduced. It will then require a su]iplementary
eyeglass through which to view the image, A suitable way to obviate all
difficulty would be to make the eye tube travel in a jacket .attached to tlie
camera, and engrave thereon a few marks representing long, medium, or
short-siglited, then tightening the jacket when the adjustment was made.
This would meet every difficulty.
G. W, C. — The projiosed studio will do quite well for working on a small scale
if the new addition be carried three or four feet further out to the westward.
If made according to the sketch, after four feet or so of the direct side and
light are stoppeil ofl', there will only be about four feet avaihable for the
illumination of the sitter. The addition we suggest should not be glazed.
No glass will be needed in the soutli side. Have jiale blue or green curtains
to draw .at the sides, and blinds to pull down from the roof. Make the
whole of the west end a plain background.
Municipal Technical School, Manchester. — A .series of lectures on photo-
graphy will lie given at the Whitworth-street Branch, Room C, of tiiis scliool,
by Mr. W. T. Wilkinson. Course 1 Is devoted to elementary pliotosraphy,
and commenced on Wednesday, January 25, 189-3, 7 to 8,30 p,m. Course 2
embraces }»hoto-mechanical processes of pliotograpliy, and commeiu-es on
Friday, January 27, 1893.
On Wednesday evening last, Janu.iry 2'>, the Pliotographic l.'hili held its
Annual Ladies' Night and Entertainment, when, in addition to the disjilay of
a large number of excellent slides by members, some capital vocal and instru-
mental music was discoursed by Miss Minnie Kirton, Mr. A. F/ Kipps (piano),
Mr. F. A. Bridge, and Mr. M. C. Gaze. A large company assembled in
response to the Club's invitation, and a thoroughly enjoyable .and successful
evening resulted.
Photographers' Benevolent Association. — A meeting of tlie Committee
was field in the rooms of the Photographic Society of Great Britain on Friday
last, Mr. Mackie in the chair. Before opening the business of tlie meeting the
Chairm.an feelingly referred to the death of Mr. William Bedford, the Chair-
man of the Committee, which had occniTed tliat morning. An application
from a pliotograiiher who had previously been assisted by the C'omniittee, but
who had only been able to secure odd jobs during the winter, and who was
again in difficulties, was considered. The sum of 2/. 10«. was granted, and the
Secretary was also instructed to pay the applicant's rent for several weeks if
that should be necessary, A second application was from a iihotograjiher who
had been in business thirty years, but now incapacitated by blindness. Ap-
plication for a grant to assist in refurnishing part of his house, so that his
family might eke out a subsistance by letting furnislied apartments. Tlie sum
.asked for was granted, subject to the statements being verified and references
satisfactory. "The case of an applicant to whom a loan had been granted some
time ago, and repayment of which was overdue, was discussed. From investi-
g.atioiis made, it seems as if the defaulter was attempting to evade repayment.
The Secretary was instructed to pursue the inquiries further, and, if it appeared
that the defaulter was now able to jiay, to take immediate legal proceedings
for recovery. The report and b.alaiice-slieet were discussed, and the Secretary
was instructed to call the annual meeting for February 3.
OONTSNTS,
PAa«
BEPBODCCIXO negatives FROM
PAPER PRINTS' 49
CHHOMATE of SILVKR SO
PHOTO-PLASTIGRAPHY M
LECTUHISS ON PHOTOGRAVURE 62
A SEASONAIlLE PRINTING PROCESS
FOR AMATEURS. Ev W. B. BOLTON 5S
.IOTTINGS, Dv COSMOS 53
FURTHER NOTES ON METOL AND
AMIliOL. Uv COLONEL J. WATEK-
HcirsE, ISC 54
ON THE PKOIlUCTION OF BLACK AND
WHME NEGATIVES BY MEANS OP
ARTlFICIAl, LIGHT.— 1. By T. N.
AliMSTRONG .i4
.JAItrini,, II,- A. R. DRESSEK .■.^
i;i;o:;:;n i;:i;iEs. Bj- w. i:, iM.v;rs.. ;.;
Faob
determination of plate speeds.
—I. Bv G. F. WILLIAMS 5«
THK hand camera and its USE IN
PICTURE-MAKING. By W. THOMAS.. .17
LIQUID AIR 611
COMPOSITH HELIOCHROMY 59
RYE AND WINCHELSEA WITH THE
CAMERA CO
PHOTOGRAPHIC SOCIETY OF IRE-
LANDS EXHIBITION f.O
THE EYE AND THE CAMERA (U
"SPIRIT" PHOTOURAPHY 61
OUR EDITORIAL TABLE, (51
MEETINGS OF SOCIETIES 62
FORTHCOMING EXHIBITIONS fl-l
ConUKSPONDENC-" 61
A.\S,\Xi;a TO CORRESPONDENTS 01
THE BKITISH
JOURNAL OF PHOTOGRAPHY.
No, 1709. Vol. XL.— FEBRUARY 3, 1893.
STEREO-MICROGRAPHY.
There are indications that, on the Continent the highly useful
and attractive system of photographing microscopic objects
as stereoscopic slides is likely to be once more brought to the
front.
The superior attractiveness of binocular over monocular
microscopes is evinced by the immense numbers of these that
are now made. We do not, however, purpose here to institute
any comparison between these two methods of microscopic
examination, but shall at once assume the desirableness of
seeing on an enlarged scale and by photographic agency these
minute objects in all the solidity of nature.
Impfimis, a micro-stereograph does not by any means imply
that a binocular microscope must be employed in its production,
for some of the most effective of these pictures we have seen
have been obtained by the usual instrument having a single
barrel — nay, for most purposes it is to be preferred. Again,
there are many organisms so exceedingly minute as to render
it difficult to conceive of them as capable of being photographed
under circumstances conducive to showing stereoscopic effect,
any more than they would be amenable to direct visual binocular
examination under a microscope bearing what may be termed
an excessively high power.
The conditions under which a microscopic stereograph must
be made are identical with those of an ordinary binocular
picture, such as a portrait or view from nature, and the methods
applying are similar in both cases, size of appliances alone ex.
cepted. The one, however, is an enlarging, and the other a
reducing, method. Uoth pictures must, in either case, be taken
from a slightly different point of view, with a single exception
to which we shall presently allude.
One method, and a very simple one it is, for making a micro-
stereograph is to place a cap over the front lens of the
microscopic objective, which we may assume to be one of an
inch or less in focus, one half of this cap being cut away, so as
to allow the light from the object to be transmitted by either
one side of the objective or the other, according to whether the
cap is rotated to one side or the other. This will give dis-
similar views of an object, which must be photographed by
two successive operations. According to the distance of the
sensitive plate from the objeotive, so is th-^ magnification ; but
on this merely elementary topic we neeil not dwell, it now
being well recognised by al.'. The pair t f enlargements thus
obtained, when printed and mounted sde by side on a card,
present true stereoscopic relief when viewed in a stereoscope.
The defining power of a microscopic objective differs altogether
from its penetrative power. Take a well-mounted object
possessing depth and transparence, such as the head of a crane-
fly, with which, as a test-object for this special purpose, we have
of late been conducting several experiments. With an inch
power we see the frrmt of the eye, but fail to discover the hack.
With a two-inch objective the performance is more satisfactory
as regards this quality, while with a still lower power we see
both front and back. By sufficiently stopping down the one-
inch objective we reduce its angular aperture to such an extent
as to enable us to see both front and back of the insect's eye,
and this is the condition we require for a stereoscopic photo-
graph of this object.
Observe now the image shown in a common monocular
microscope, and the following anomaly will be apparent.
Having noted the relative positions of the front lines of the
eye with those of the back, .shift the light a little from one side
to the other without disturbing, even in the slightest degree,
the microscope in any other respect, the relative positions of
object and the lens remaining the same ; when, behold, the
relative positions of the front and back of the eye are changed.
Taking advantage of this, pictures having a true stereoscopic
effect may be most easily obtained by the very simple expedient
of a slight motion from side to side of the concave mirror by
which the object is illuminated, this, of course, being done
previous to the making of the second exposure. This method
was well known to a few of the hahltues of the now long extinct
Photographic Society of Scotland thirty years ago, but we
much doubt that it has long been forgotten.
The conditions for micro-stereography with a monocular
microscope are also fulfilled by a system we described in
1877, and which, together with other methods, we brought
before the British Association of that year. It consists in
having fitted to its main stage a super stage capable of being
influenced by the mechanical adjustments of the instrument
and also of oscillating from right to left within a limited
sphere, for which purpose the slide-holder is pivoted in such a
manner that tbe axis of motion nearly coincides with the
object to be photographed.
A picture having been obtained of the object when in one
position, the oscillating stage is tilted in the opposite direction,
and a second photograph obtained. These two form a pair
which, when combined in the stereoscope, show the object in
all its natural solidity.
It will readily approve itself to the reader that, with regard
to this latter method, the oscillating motion must be slight
and the microscopic objective of very small angular aperture ;
else, if the object be large, its sides will be lacking in sharpness.
In another article we shall treat of methods of making stereo-
micrographs by binocular projection.
60
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[FebrnarvailSgS
RETOUCHING AND VARNISHES.
A CORRESPONDENT, whose letter we publish in another column,
puts a query which, no doubt, has often required an answer
during tbe practice of other workers. He wishes to know how
to prevent the retouching from moving when the retouched
negative is varnished. The question is by no means so simple
a one as at first would appear, and the reply will necessarily
not be devoid of complications.
First, let us take the mode adopted by the best workers in
actual practice, which we believe we are safe in saying is to
work upon the gelatine film itself before varnishing. Where
the amount of pencilling is slight, the fine grain of the unpre-
pared negative usually gives sufficient tooth to enable the
pencil to bite without extraneous aid. Whei-e the e.xtent of
retouching needed is beyond slight tints, it becomes requisite
to prepare the surface. Some workers use a solution of gum
arable, or other similar substance, for the purpose, but by far
the larger proportion use one or other of the various "mediums"
that are advertised for sale, or they make their own — a tere-
binthinous solution of some resin being the standard formuln.
There are hundreds of formula; to be found in photographers'
note-books, no doubt each believed to be better than any other
owing to its possessor being familiar with its working. There
are also many different makes issued by dealers, and, of course,
it is no part of our work to recommend one or other of them,
or decide upon the merits of rival makers. We will simply
present our readers with a recipe given to us in 1874 by one
of the best and one of the earliest retouchers in this country.
We have given copies of it to many workers, who have ex-
pressed their satisfaction with it, the prevailing opinion being
that the resin should be in larger proportion ; that, however, is
a mere detail, which each can manage to settle for himself. The
recipe is as follows : —
Gum dammar 30 grains.
Venetian turpentine C „
Rectified turpentine 4 ounces.
Dissolve a little to be rubbed on the negative, and tlie surplus
wiped off with a pledget of cottoa wool after a few seconds.
At the date that the above was communicated to us, the
gelatine plate was a thing of the future ; hence it will be seen
that the medium was intended to be used upon the varnish.
We may say, however, that (when made stronger) it has been
in frequent use for worki^ig direct upon the gelatine.
We will assume that anegative has been fully worked upon after
the manner intimated, and that it is necessary then to varnish it.
En passant, we may repeat advice often given by us, namely,
that every negative from which more than one or two prints
are needed should be varnished, otherwisesilver stains are so very
liable to make their appearance. If the above medium be used,
the experimenter need have no fear whatever of the retouching
shifting or becoming blurred when varnished with ordinary
alcoholic varnishes and by heat. If, however, a needlessly thick
and sticky medium be used, there will be danger of its being
dissolved and the retouching floated out of its place. To this
extent our correspondent's (piery is replied to. But, when tlie
retouching is performed upon a varnished negative, troubles
set in and multiply fast. Many will say, " What is the need
of varui.-ihing ?" and it may he at once said that its advantage
is only a])[>arent when a large number of prints are needed, or
when the negative has to be stored away for future use when
required. Under other conditions we would say decidedly,
" Leave varnishing alone." The drawback in printing from a
retouched negative not protected by a second coating of
varnish, is that the combined friction from the paper placed in
the frame to print and the necessary brusliing or dusting to
keep the surface clean, abrades and gradually removes a portion
of the work, tdl at last its delicacy is quite lost.
Wheu the question of varnishing is to be faced, difficulties
arise quickly. Many use liquids, with benzol as the solvent,
and with a suitable resin the plan is good. But some photo-
o-raphers strongly object to the use of benzole in anj' form, from
an objection, first to its smell, and secondly, to the danger of
fire its presence gives rise to. As for ourselves, we have tried
methods of protecting the retouching in such a way as to render
possible the giving a second coat of alcoholic shellac varnish, so
as to involve the smallest amount of trouble in routine work.
We have tried collodion, solutions of gelatine, spraying with
sundry liquids devised to protect the first varnish from being
sottened and dissolved, and so causing the pencillmg to shift
or run. We are not in a position to say that any of the
methods tried have been invariably successful ; for, just when
we have come to the conclusion that our plans had succeeded,
a number of plates having been varnished and the work left
intact, we have found a fresh plate, apparently identically
treated, quite spoiled, through the softening of the varnish and
the runumg together of the pencilling. Hence, although,
beyond the objectionable benzole varnishes, we have had suc-
cesses, they have not been so uniform as to warrant our recoui-
nieniling a particular process to our readers. Wu have still
further experiments in view, the results of which we hope to
communicate at some future period. Meanwhile, no doubt, our
readers would be pleased to have the experience of workers
who find themselves able to re varnish a retouched noga-ive
with ease and satisfaction.
The 18S)3 Convention. — The date of the ISO-'! Convention,
which is to be held this year at Plymouth, has been fixed for the
week commencing J ulv 3 ne.xt.
An Invitation. — The Hon. Secretary of the St. Louis Camera
Club writes : — " If any of our English cou.-iiis should happen this
way on their visit to the World's Fair at Chicago duiing the
coming vear, we trust that they will remember that our ' latch
string always haugs ou the outside,' aud they can rest assured that
we V ill do our beat to make their stay in St. Louis a pleasant oue."
Painters versus Engravers. — Photographic engravers frf-
quently jret into disagreement with artists in the reproduction of their
works. Usually the work has to be done to the satisfaction of the
painter, aud he is often a " faddist," and luxs strange ideas as to how
his different colours should be rendered in monochrome. Often ii mis-
conception of terms as used by the painter and the engraver exists, and
this sometimes leads to unnecessary alterations, to the serious deteriora-
tion of the work, in order to conform to tlie painter's ideas.
Provisional Specifications. — Over 24,000 provisional
.speciticiitions for patents were accepted lust year, but possibly not
une tithe ot' this uumber will be furtlier proceeded with. A pro-
visional specification onjy costs a pound, and many are lodged with
no idea ot the patent ever being, completed, but merely to use the
term for adverii-ing purposes. This remark applies to photography
us well as other things. When a provisional specification is lodged,
which may be done for anything-, no inquiry or investigation is made
as to the originality or the practicability uf tlie .lUeged invention for
which protection is claimed. As a proof of this, it came out in evi-
dence in the case of Wells, who stands charged wiih fraud, that.
February .3, 1893]
tHE BRITISH JOUKNAL OF PHOTOGRAPHY.
67
during the last few years he has filed no less than 102 specifications,
lliough lie only completed one patent. A patent can be obtained for
almost anything in this country, unless it be opposed on the sealinff.
Such is not the case in most other countries.
Another Fatal Aooident from Ether.— In September
last, we referred to an accident tlint happened in Paris at the house
■of a photoirraph enameller, through the breaking of a bottle containing
■collodion, by which several persons lost their lives. The vapour from
the ether, mixed witli tlie atmosphere, reached a light, and then exploded.
A very similar accident has occurred in London, though, fortunately,
here only one life was lost, but there were some narrow escapes.
The facts, as stated at the intjuest last week, are these. One evening
the enameller and his wife heard a hissing noise in a cupboard where
a bottle of ether was kept. This was found to be the vapour from it
■escaping, and presently, so it was stated, the bottle exploded. A
lamp on the table was at once extinguished, and the wife commenced
to wipe up the spilt ether, when iU vapour must have become
ignited by the fire in the grat-j, and thus set tire to the unfortunate
woman's clothing. In all oases where ether is spilt, as we pointed
out when referring to the fir:<t accident, burning lights that are low
down should receive attention before those above, because the vapour
from ether is so very much heavier than the atmosphere. Many
modem photographers and their assistants, who use collodion for
enamelling prints, are not fully aware of the dangerous nature of this
material when exposed to only .t moderate heat. Ether boils at a
temperature of 98° F., and gives off inflammable vapour at all tempera-
tures. If a little ether, for example, be poured in the palm of a
warm hand, it will boil at once. Ether and collodion for enamelling
si ould always be kept in well-stoppered or corked bottles, and stored
in the coldest place available.
Chromo-photography.— Several times during the past few
years it has been our by no means pleasant duty to call attention to
the general backwardness of meclianical photography in Great
Britain, as compared with most other countries. It is true that con-
siderable advance has been made here of late, yet it must be admitted
we are still behind. Xotably is this the case witli colour work, which
is now advancing rapidly abroad. It will be remembered that a
couple of years ago a number of very fine examples of chromo photo-
graphs, from different parts of the Continent, were on exhibition at
the rooms of the Photographic Society of Great Britain, and others
at more recent shows. Xow they are to be seen plentifully enough in
the shop windows of London and all large provincial towns, but they
are all of foreign production. It may be mentioned that chromo
work has been produced here, but only in small sizes. The majority
of the pictures now in the market are of large sizes — twenty inches
and upward s^ — for framing, and we are told they command a ready
sale, though their prices are high. If this be so, no better proof of
the commercial value of this branch of the art is needed. Photo-
graphic copies of paintings by the best artists are in demand all over
the world, but there is no question that if they were in the exact
colours of the originals they would have greater value. It has been
aaid that some of the photographic chromos in the market are too
highly coloured, but it must be borne in mind that the majority of
them are from modern foreign paintings, and that Continental artists,
-as a rule, are more lavish with brilliant colours than are English
j)ainters.
Official Photographers.— It has on .several occasions been
suggested that an official photographer should be attached to certain
public institutions — such, for example, as the British Museum — whose
business it would be to take from time to time such negatives as
might be required by the authorities, or for outside purposes. Quite
recently the subject has again been mooted, and, so far as depart-
mental requirements are concerned, the thing may be highly desirable ;
but it may be a question if the desirability extends beyond that. The
British Museum is now provided with a studio and dark rooms, which
are at the service of any one desirous of making copies of any of the
objects included in the Museum by making formal application to the
authorities. This system, 80 far as we are aware, works well aa
regards the public. But will what has before been suggested and has
again been mooted — an official pliotographer who will produce nega^
tives at a fixed price for those who require them — work equally as
satisfactorily ? Thi.s is open to question. A negative that will be an
excellent one for some purposes may bo just the reverse for others.
Under the present arrangement, a pliotographer can go and secure a
negative suited to his particular requirements, although it might be con-
sidered an inferior one from some standards ; but this end may not so
easily be attained if there is an official photographer to do the work.
Even now authorities are divided in opinion as to how an ancient
manuscript should be reproduced^whether as it is in its present, ai)d
often dilapidated, condition, or as it was when in its pristine state.
Paleologista say the former, while others, in the interest of historical
students, say the latter. Ancient documents have been reproduced
both ways, the negatives being taken specially for each purpose. If
an official photographer be eventually appointed, the privileges pub-
lishers and the public now enjoy in the matter of copying the objecta
in the public collection should in no way be curtailed.
\
Coloured Xiantern Slides. — A well-painted slide, of modem
production, is only seldom to be met with. We mean such as
those of the highest class that used to be produced some twenty
or thirty years ago by skilful artists, and for which a what would
now be considered high price was charged — half a guinea and
upward. Photography, we know, has had much to do with this.
The subject of lantern-slide colouring was, however, brought before
a recent meeting of one of the suburban societies, and it proved
an interesting one. Those who are in the habit of attending
lantern exhibitions, at which the audience is composed more of
what may be termed the general public than photographers, know
quite well how slides in colour are usually received, although they
may be very inferior in quality. There is no reason why the colour-
ing of photographic slides should not receive more attention than
it has hitherto done on the part of amateurs. In an ordinary slide
we obtain all the fine detail and truth of photography ; but when
such a slide is coloured, however skilfully that may be done, it
can never equal, in purity of colour, one that has no photographic
basis. In a coloured photographic slide, the colour has to be seen
with the photograph imposed upon it, whatever colour it may be,
and this gives it a more or less muddy appearance. In fact, a
coloured lantern picture is precisely equivalent to a photograph,
coloured from the back, such as those called " Crystoleums."
This trouble might be partially met by making the photograpliic
image exceedingly thin, and not of the usual photographic tint —
say, in pale yellow, blue, green, &c., according to the subject. The
carbon process lends itself to this end. Here we should secure all
the truth of the photograph, and the artist a greater value in the
colour he applies.
HAS PYROGALLIC ACID BEEN DISPLACED ?
In the presence of numerous new developers, such as rodinal, amidol,
eikonogen, &c., the question whether pyrogallic acid has been altogether
displaced has been repeatedly raised.
This question has already been answered several times in favour -of
pyrogallic acid, as by W. J. Stillman {JPhotographic Times, No-
vember 25, 1892), and, again, in Photor/raphische Mittheilungmi
for December (p. 283), where side by side with the mention of the
newest developers, various practical workers emphasised the pyrogallie
acid developer as the best.
I have often and repeatedly worked in the Imperial Technical
College with the most varied developers old and new, and have
unreservedly recognised the claims of the new developers — the so-
called amidophenols, which give pictures without addition of car-
bonate of soda — in cases where instantaneous plates are to be
developed, where, generally, a rapid effect is desired.
For such purposes the amidophenols will be welcome, especially to
the amateur, as well as sometimes in portrait work where short ej^
posures are desirable and no great density of the plate is necessary.
68
THE BRITISH JOURNAL OF PHOTOGRAPHl.
[February 3, 1893
On the other hand, experience has shown that the pyrogallic acid
developer possesses more universality of application. According to
the amount of alkaline carbonate added, it can be made to work softly
and rapidly, or slowly and hard. The density can be increased to a
degree unattainable with the new rapid developers, so that, in all my
colour-sensitive exposures where I developed plates with pyrogallic
acid and with amidophenols for purpose of comparison, I abandoned
the latter because the density progressed only to a certain degree and
then remained unaltered, while I could push it to any desired extent
by the use of pyrogallic acid. There can be no doubt that amidol
develops more quickly, but the action of pyro can be accelerated
by addition of more alkali or potassium carbonate, while with the
amidophenols such additions may readily cause fog.
For the rest, slower development is in no way detrimental ; as a
matter of fact, it is emphasised as an advantage of hydroquinone,
because the development can be more easily watched.
At the same time the pyro developer has the advantage over hydro-
quinone that it remains active at low temperature. In separate
solutions (alkali by itself and pyro with sulphite of soda in another
vessel) it keeps for weeks, and, under a layer of vaseline, even for
months.
On the large scale, therefore, I use the pyro developer exclusively,
and resort to the other developers only when speed is a desideratum,
or a case of under-exposure is concerned, or for certain interim
exposures.
My solutions are prepared as follows :—
No. 1.
Distilled water 500 ccm.
Sulphite of soda, cryst 100 grammes.
Sulphuric acid, cone 8 drops.
Pyrogallic acid 14 grammes.
The pyrogallic acid is added only when the other constituents have
been perfectiy dissolved.
No. 2,
Distilled water 1000 ccm.
Carbonate of soda, cryst 50 grammes.
To prepare the developer, one volume of No. 1 and two volumes of
No. 2 are mixed together.
The potash developer, which works much more rapidly, I use
seldom, although it is preferable for instantaneous exposures. In the
case of normally exposed plates I add, as a rule, three drops of ten
per cent, potassium bromide solution to each ounce of the mixed
developer.
For the potash developer I take twice as much of potash as of soda
for the soda developer. I prefer the latter the more because the
soda keeps unchanged in well-stoppered bottles, while potash very
readily deliquesces. Suljjhite of soda should also be kept in tight-
closing vessels, and not in paper parcels.
It has been long known that several plates can be developed one
after the other with a mixed pyro developer.
I am accustomed, however, to employ a fresh quantity of the
solution for each plate. The low price of pyrogallic acid justifies the
slightly increased expense.
It has also been known for several years that softer negatives can
be obtained by dilution of the developer with the half or an equal
H. W. VooKL, Prof.
Tolume of water.
PHOTOGRAPHING PAINTINGS BY ARTIFICIAL LIGHT.
[Ixmdon and Provincial Photographic Association.]
In photographing paintings by artificial as by any other light, some
of the things most important to be observed are the avoidance of
reflections which would dim the shadows, and, so far as possible, to
avoid bringing into prominence the irregularities of surface of the
picture. The general principles of lighting the subject to be copied,
»nd particularly that of the angle at which light should fall upon the
picture, in order to escape interferences from both the causes men-
tioned, have been dealt with in a paper {Avoiding Reflections and
Granularity in Copying*) read before this Society in 1884, and pub-
• Thk Buitish Joubn'al ok Photooraphy, vol. xxxi. p. 808, and
Photogbapuic Nkws, vol. xxvii. p. 104.
lished in the journals of December 10 in that year. There are some
points, however, in connexion with artificial lighting that should be
particularly noticed.
Thf. Anglk of Illumination.
When photographing a picture of moderate size by daylight in a
studio of fair dimensions, the difference of angle at which the varioua
portions of the picture receive the light falling upon them need not be
great. With artificial illumination it will often be thought desirable
to economise the light by bringing it near the picture, and then
the various parts will receive the light at very different angles ; so
much so, that it may be difficult or impossible to so arrange it that
some part shall not suffer from either reflections or a lighting up of
the prominences caused by irregularities of surface. With oil
paintings particularly, there is a great liability to the reflection from
the aide of each irregular elevation of surface that is inclined towards
the source of light, and which has been mentioned in the former paper
as the blankety texture sometimes seen near the top of a copy,,
or along the edge which is nearest the light. It was pointed out that
reflection occurs when the angle of incidence of Ught falling on any
part of a picture having a glossy surface, is such that the return-
ing angle will fall upon the lens. It was shown also that the angle
must not be taken merely from the general surface of the picture, but
from the inclined surfaces of the irregularities existing upon it, and
that this consideration involves having the source of light at a greater
angle from the axis of the lens than would otherwise be necessary.
The Sot'BCB of Light should bb as far fbom the
PlCTUBK AS PKACTICABLE.
When working with the light near any but a very small pic^
ture, two kinds of difliculty arise. In the first place, as the light!
must not be close to the lens, on account of the reflections that would
be introduced, but must come from a considerable angular distance, it
is obvious that the part of the picture nearest the light will receive
more illumination than the opposite side. This difficulty may be mini-
mised where the direction of light will not interfere with the painter's
intention, by a second light from the opposite side. Another difficulty,
however, is, that with a near source of light, the angle at which it
falls is very different at different parts of the picture, so that, if we
get a sufficient angle at the side nearest the light, the illumination
will fall very obliquely indeed upon the opposite side. All this points
to the desirability of having the source of light as far removed from
the picture as is reasonably practicable. The two consideration*
which will permit of a nearer approach of the light are, first, a small
size of picture to be copied, and, secondly, though not to so great an
extent, a greater distance of the lens from the subject. This end
is secured by using a lens of long focus compared with the size of
plate, and this is also desirable for another reason — i.e., that the image
will be in a flatter field, and so much stopping down will not be
necessary. The main objection to a distant source of artificial light
is the length of exposure that would, with some illuminants and in
some subjects, be necessary, and hence, no doubt, compromise wUl
frequently be tolerated.
Vabious Lights.
The necessity for placing the light near the picture and the
difficulty arising therefrom, only come into play (except for limitation
of space where no large room is available) when the photographic
activity of the light is low. Where the electric arc is obtainable, the
difficulty ceases, and on various accounts with such a light available I
should prefer to instal a copying establishment with that, rather than
with day light, especially in London, where we are so much dependent
upon weather and season. Magnesium light is also good if a chimney
can be fitted to carry off the fumes. With any artificial light (except
the magnesium flash) it is easy to interpose a glass to intercept the
rays that should be cut off by the yellow screen in orthochromatic work,
a plan which obviates any optical interference with the working of
the lens, and does not necessitate specially optically ground glass of
the colour required.
Paraffin Illumination as Compared with Day Light.
A source of light everywhere obtainable, and one which will suit
most amateurs, and be quite sufficient for copies from small paintings,
especially water colours and such oi paintings as have not much
yellowed by time, is that given by paraffin or gas light. Light of this
character may be used without a coloured screen, and gives about the
same result as the use of a moderate yellow screen in the lens with
daylight illumination.
I have here a few photographs illustrating the copying of paintings
hy a paraffin illumination as compared with daylight. The light used
v,i3 the lamp from an ordinary three-wick lantern of the sciopticou
February 3, 1893]
THE nuiTISfl JOURNAL OF PHOTOOitAPHY.
0B
80 „
C miautes.
30 „
4 hours.
30 minutes.
kind. The condenser was removed on account of the image of the
flame which it gives. The distance from the ttamo to the picture
was about forty inches. The lamp was first placed nearly in the
line of the camera, and gradually removed to one side until the re-
flection first visible on the side nearest the lamp had disappeared.
The photographs .\ to G, representing a female head and a quantity
of flowers, are copied from a print in colours, fairly representing a
water-colour drawing in photographic power, whilst those marked M
and onwards are from an oil painting about twenty years old, and
pretty well mellowed in tone.
The plates used were of an ordinary commercial make, and for the
orthochromatic series Ilford isochromatics of the instantaneous brand.
The lens used was one of Suter's extra rapid aplanatics, full aperture,
equal to No. 2 on the universal sjstem for exposures.
The exposures given were, for the female head and flower subject,
three seconds by day light for both kinds of plates, sixty seconds for
ordinary plate and yellow screen, and twelve seconds for the ortho-
chromatic plate and yellow screen. For paraffin illumination the
exposures were : ordinary plate, four minutes ; ditto, with yellow
screen, one hour ; for the orthochromatic plates, thirty seconds sufficed
without the screen, and four minutes with it.
For more ready comparison of the results, I have put them into a
tabular form : —
Exposures.
Representation of Oil painting, some-.
water-colour drawing. wnat mellowed.
/'Ortho. plate 3 seconds . . 20 seconds.
I Ordinary plate .... 3 „ . . 20 „
Day light.. <0''^°■ P'»'« ^'^^ ,„
■' " J yellow screen .... 12 „ . .
I Ordinary plate with
V yellow screen .... 1 minute , .
rOrtho. plate 30 seconds..
I Ordinary plate .... 4 minutes. .
Lamp light <0'*^°• P'""^ ^'*^ „
'^ " J yellow screen .... 2 „
I Ordinary plate with
v. yellow screen .... 1 hour.
The same screen was used for day and lamp lisfht, but in the latter
case it was placed in front of the lamp ; and, with day light, in front
of the lens. The use of colour-sensitive plates is very strongly indi-
cated for lamp-light exposure on account of their much greater
rapidity in that case, as well as for truer rendeiing of the blues and
yellows.
Advantage of Lamp Light oveb Day Light.
An advantage of lamp light (even with an oroinary plate) over day
light, unless a deeply tinted screen is used, is seen in the clearness and
brightness of the copies of the oil painting. In the day-light rai ro-
ductions (without screen) the whole surface seems to be covered by
a mistiness, which is almost absent in the lamp-light copies. The ex-
planation is that the colours of the painting have been so yellowed by
time that their photographic effect is very much less than their effect
on the eye. The reflections from the surface of the picture are not
affected by this yellowness, and, being disproportionately strong, dis-
guise in the photograph the work of the painter. It is on this
account that it has been justly observed that the orthochromatic
methods (by which expression coloured light and coloured screens are
included as well as specially sensitised plates), the cracks and surface
disfigurements of old pictures, so very evident in reproductions by
other means, are now no longer so obtrusive.
The figures given in the table must be taken as representing the
exposures actually given, which were only approximately correct.
The ordinary plates exposed to lamp light would, in several cases,
have been the better for even a more lengthy exposure than was
given.
Ordin-ahy PARAyFiN Lamps may^ be used.
When a " lantern " lamp is not at hand, ordinary paraffin lamps
may be used. Two of the larger kind of tin-back lamps, placed one a
little higher and behind the other, may be used on one side (generally
the left), and one on the other side. With a smooth surfaced water-
colour or fresh painting, very fair results may be obtained in this
way.
I have not thought it desirable to go into the question of many
sources of illumination. The general principle is the same, but, with
suoh lights as magnesium or the electric arc, yellow screens will have
to be used as with day light; but conveniently between the ilium innnt
and the picture, instead of in the lens. Reflectors or weaker litihts
•may also be used on one side, or below the picture, if without them
the grain or irregularities show otherwise than the artist intended.
There are, I believe, many, especially amateurs, who have paintings
of which they would like to have photographs, but who cannot spare
day-time for the work. For such subjecta as have been indicated I
hope some will find pleasure and success in working with artificial
ligfit. W. E. Debbnham.
P.S.— One point I omitted to mention until reminded by a question.
The lamp-light copies of the oil painting, on plates of bofli kinds,
came out of full intensity, and in fact, if anything, required reducing,
whilst the day-light copies of the same subject without screen required
a considerable amount of intensification.
DETERMINATION OF PLATE SPEEDS.
n.
The first score or so of my experiments were directed towards
ascertaining whether the spectroscope would enable any clue to be
obtained of slight differenc •s in sensitiveness. As the spectroscope
reveals the sensitiveness to ■ oloured rays, and, as we know very well
that any or all plates are too sensitive to violet, indigo, and blue, it
our investigations are not in the direction of a'certaining sensitiveness
to gi-een, yellow, &c., the spectroscope will scarcely be as reliable as
side-by-side camera exposures, especially when examining plates by
different formulae. I therefore begin at the first of the camera ex-
posures. I will distinguish the two makes of plates examined by the
letters x and z.
No.
Experiment.
18. PI. X, speed 135 ) ,,^ on .«„.
„ X, „ 95 1 /-16, 30 sees.
18". Repeated.
26. Pl.x,speedl00)^.22-6.30secs.
26". Repeated.
27-^l-^.«P«edl35j^.l6,60secs.
27". Repeated.
28. PI. X, speed 80 I ^.16, 60 sees.
S8». Repeated.
29. PI. x,spd. 87,/16 lcog„„g
„ z, „ 80,/-22-6('^'*°'-
29». Repeated.
30. PI. X, speed JOOj ^16, 60 sees.
„ z, „ 80 (■
30». Repeated.
32. PI.x,speedl40| 5o^^^3
32". Repeated.
Resnlt.
Identical negatives as to detail';
135 gave rather more density.
The same in every respect as
above.
The pair of negatives as exactly
alike as it is possible to make them.
Theoretically, the 100 plate ought
to have shown 25 per cent, more
exposure.
A similar pair of identical nega-
tives.
The X plate shows about 10 per
cent, more exposure than the z
plate. Theoretically, the 135 plate
ought to have shown 60 per cent,
more rapidity.
The above confirmed. Error in
speed, 50 per cent.
The X plate showed 10 per cent,
in advance of the other. Theoreti-
cally, they should have come oui
alike.
The above exactly confirmed.
The X 37 plate shows 10 per cent,
more exposure. Theoretionlly, as
the 37 plate had just double the
exposure of the 80, it ought still
to have been behind in the ratio of
74 to 80, or 74 per cent, slower.
The combined differences show an
error of at least 15 per cent, in
estimating speeds by two makers.
Exactly similar re-^ult.
The 100 plate has Hbout 10 per
cent, in its favour. Theoretically
it should have showed a mean
difTerenue of 22} per cent. It
proves that two makers cannot
agree in their determination of
speed, and this remark applies also
to No. 28.
As above. Had both plates been
equally coated, probably their speed
would have been alike.
A pair of identical negatives.
Theoretically, there should have
been 40 per cent. diSerenoe, but
tlierc is not 1 per cent, discoverable.
So alike are they that they might
have been out of one batch of
emulsion, density and detail being
exactly alike.
Perfect accord with above. 40
per cent, error. ..
70
THE BRITISH JOURNAL OF PHOTOGRAPHY.
rFe>iviinvv3. 1>^9.'1
Wo.
E.xperiment.
38. PI. X, speed 1401 ..22.G,60secs.
„ X, ,, BU J
34. PI. X, speed 140 l^_22.gg0gg^g_
„ X, „ OaJ-'
Eesnlt.
The pair of negatives differ by
10 per cent. only. Theoretically
the difference ought to have been
75 per cent, in favour of the higher
speed plate. Practically the error
in speed determination in thia case
is no less that 65 per cent.
The pair differ by under 10 per
cent. Seeing that the difference
should have been nearly 50 per
cent., it proves that here again
there is an error of 40 per cent.
34». Eepeated. Exactly confirms above.
I miij'ht go on enumerating several other examples of these enor-
mous discrepancies, but am sure it will suffice it I instance errors of
from ten per cent, to sixty-fi\e per cent, to convince my readers that
there is .something alarmingly wrong in this new-fangled method of
determining the speed of plates. I refer for one moment to the
experiments, and I point out No.s. 18, 21',, :'>2, 33, and :U. These, it
will be noticed, are comparisons of speed of one make of plate, which
I have called x. What do these experiments show? That 37 is
under-estimated by about twenty per cent. ; that 80 and 100 only
differ by ten per cent, in speed ; and that between 9.") and 140 there
is really only about ten per cent, in favour of the 140, while 100, 135,
and 140 are for all practical purpo-ses alike in speed.
During my treatment of the plates in this series of experiments, of
which the foregoing are a few selections, I hive been much struck by
the great influence the thickness of the coating has upon the final
re.=ult. For aught one could tell, some of the plates miglit have been
coated from the same batch of emulsion (although bearing different
speed numbers), the real or apparent difference cinsisting of a thicker
or thinner coating. Again, some of the plate* started under the
developer sooner than others, without, however, causing any dis-
tinguishable difference in result at the finish. .Vny one who has had
much experience in emulsion-making will bear me out wheni say
that a difference of one or two per cent, of gelatine iu two similar
emulsions will account for this.
I have no space at my disposal to discuss here the rights or the
wrongs of the method known as that of Hurter &; Driffield for
determining the speed of plates. At the moment it does not concern
the purport of these remarks ; all I intended to show is the utter
unreliability of the system, and to prove that such speed numbers are
fallacious and deceptive. I have shown tliat the half-dozen speed
numbers of a given maker resolve themselies into two, or at most
three, rapidities. For any other or roughe;- purpose than that of
determining the speed of plates, possibly the method might be found
suitable ; for instance, it might tell us what were the proportions of
particles of carbon in a carbou print, but it will not do for plates.
Probably I shall give my reasons for this anon.
G. F. Williams.
♦
A CHEMICAL STUDY OF JklERCURIAL
INTENSIFICATION.
1 Photographic Society of Great Britain.]
In January, 1890, 1 read a pa])er before this Society On Control in
the Density of Negatives {Photographic Journal, New Series, xiv. 40),
and therein described the action of mercuric chloride upon a silver
image and of ferrous oxalate upon the bleached image. Trie effect of
sodiiini sulphite, instead of ferrous oxalate, was also shown, so far a.s
the cliaracter of the resulting image is concerned. Since that time I
have further studied the changes taking place during mercurial in-
tensification, and I beg to lay before the Society those of my results
that are of practical interest to photographers. I have obtained
further evidence that the action of mercuric chloride upon metallic
silver gives a double salt, and not a mere mixture of silver and
mercurous chlorides, which, with other matters of a purely chemical
interest, will probably be published elsewhere.
The action of mercuric chloride upon the silver image is perfectly
definite, but in practice it is found difficult, if not impossible, to pre-
vent the mercury salt from combining with the gelatine when it is
employed in a plain solution, and to prevent this it is usual to add a
little hydrochloric aci<l. The small amount of acid generally used —
and it cannot be increased, or frilling will result — is very desirable,
but it should be applied with the mercuric chloride, and not after-
wards, because, in the absence of mercuric chloride, it is liable to
affect the bleached image. Hydrochloric acid, when strong and hot,
dissolves out all the silver and half the mercury from silver mercurous
chloride, leaving half the luercury in the metallic state, thus: —
2A«HgC),^Hg + HgCl, + 2AgCL
If the acid is weuk, the silver chloride remains aim; >st entirely with
the mercury, and the effect is practically a loss of mercury. This
change, however, cannot take place in the presence of excess of
mercuric chloride ; therefore the acid generally added to the mercury
solution employed for intensification is harmless to the image.
It has been suggested to add ammonium chloride to the mercury
solution, presumably for facilitating the solution of the mercuric
chloride. This addition is not to be recommended, because mercuric
chloride is quite soluble enough in water alone, and ammonium
chloride, if it sliould have opportunity to act upon the bleached image
in the absence of mercuric chloride, would lead to a loss of mercury.
Its final effect, when hot, is to dissolve out two-thirds of botli the
silver and the mercury, leaving the rest in the metallic state. There
is not tlie same safeguard in the u.se of ammonium chloride that there
is in the case of hydrochloric acid, because large quantities may be
present without injury to the film, and, as it is unnecessary, it is
better to avoid the possibility of irregularity that results from its use.
1 have investigated the action of several reagents up(m silver
mercurous chloride to elucidate the changes that take place when
the image, after bleaching it with mercuric chloride, is blackened by
the various methods that have been proposed.
Action of Sodium Sulphite.
In the previous piper the action of sodium sulphite was expressed
thus :—
4AgHgCL=3HgCI., + L'AgCl + AgJIg.
Dissolved by the
sodium sulphite. ■ '
To this I can now add the statement that the mercuric chloride dis-
solved forms merquric sodium sulphite, thus : —
HgCl., + 2Na,S03=Hg(NaSO,,).,+ 2NaCl.
The silver chloride is doubtless changed into sulphite, which is dis-
solved by combination with sodium sulphite, but the proportion of
the sodium salt required is not so certain as in the case of mercury.
One molecule of silver chloride appears to require, as a minimum,
about four molecules of sodium sulphite to dis.solve it, but practically
more must be used to avoid secondary changes.
The action of sodium sulphite may therefore be written : —
4AgHgCI., + 7Na„SO, + ,iNa..S03 =
2 Ag + Hg + 3Hg(NaS03). + Ag.,SO.„ .rlSi a.,SO, + 8NaCl.,
where x is equal to seven or more. The large quantity of alkaline
sulphite necessary to dissolve the silver chloride doubtless leads to
the leaving of silver chloride or sulphite in the image when an in-
sufficiency of sodium sulphite is employed. This may account for
the thinning action of hypo upon an image intensified with mercury
and sulphite which has been observed, though I have never myself
noticed this effect.
As stated in my previous paper, if the sodium sulphite solution,
with the salts that it has dissolved, is allowed to remain in contact
with the metals left as residue, the mercury in the residue will dissolve,
and metallic silver will take its place ; but, if intensificiition is carried
out in the ordinary manner, this action is not likely to take place.
It may be remarked in passing how greatly inferior sodium sulphite
is to sodium hyposulphite as a solvent of silver chloride. The figures
given above indicate that, taking the two crystallised salts, the former
is only about one-third as efficacious as the latter, weight for weight.
But this proportion must not be relied upon too implicitly for prac-
tical purposes, because a considerable excess of the sodium salt must
be taken in both cases to avoid secondary changes, and it is probable
that a larger excess is needed in the case of the sulphite. Nor does
this comparison include any difference iu the rapidity of action of the
two salts. It appears that sodium sulphite acts more slowly than the
other, and that, for this reason also, a greater excess of it would be
desirable if it were to be used for practical purposes as a fixing agent.
In the continuation of the investigation of the action of sodium
sulphite, I have been ably assisted by my colleague, Mr. W. Kirman
to whom I offer my best thanks.
AciiON oE Sodium Hyposuluhite.
Sodium hyposulphite rapidly blackens silver mercurous chloride, and,
if an excess of it is used from the first, the change is of a simple,
cha a;ter, and may be expressed thus : —
3AgHgCL=Hg + Ag + L>AgCl + 2HgC)„.
That is, one-third of each of the matals is left in the metallic state,
the two-thirds being dissolved. The silver chloride is, of course,
changed into the double hyposulphite, as is well known, but there is
no sufficiently definite information about the hyposulphites of mercury
February.*!, J 89a]
THK BUITlSn JOOUXAL OF PHOTOGRAPHY.
71
to pnabln one to state in ■whnt form it is flissolred. If the sodium
Lypi>~iil[iliite is not in excess from tlii" tirat, tlu'ii Kulpliides of tli«
niftals urc produced, und also sulphuric iicid, which ciiu.«e< tliw pre-
cipitatiiiii of sulphur from the solution. My prolonginjf th» action of
the hypo.sul])hite, the metallic mercury dissolves precipitating silver
from tlm solution.
AcTiox OF Potassium Cyanide.
Potns^iuTn cyanide in solution lilacVens .silver mercurou? chloride
with frreat readiness, and yives, like sodiuin hyposulphite, one-third of
each of the metals in the re.-idue. Its action may be written thus : —
.-JAg+IgCL + 8KCy =IIg + Ag + 2KAgCy„ + 2HgCyj + 6KC1.
But the action of tlifl resulting solution upon the residue is different
from that observed in the previous cases, for the metallic silver dis-
solves precipitating mercury.
Potassium cyanide is of no use as a follower to mercuric chloride in
intensification, on account of the rapidity with which it attacks both
silver and mercury wlien they are so finely divided as they are in
gelatine film.s. It is probable that it was to avoid this solvent action
that potassium cyanide was first s.aturated with silver cyanide, and
this addition certainly does prevent the loss of image, but it also pro-
foundly alters the reaction that takes place.
Action of Potassium Silvkh Cyanidk.
Potassium silver cyanide is produced by adding silver cyanide (or
silver nitrate) to a solution of potassium cyanide until there remains
an excess of silver cyanide which the solution is unable to take up.
The use of such a solution, after mercuric chloride for bromide) has
often been commended, since H. J. Burton described the process in the
Year liooh for 187.i (p. fl7), and it gives a vip-orous intensification of a
pood black colour with the minimum chance of staining, or like trouble.
Mr. Burton very wisely and properly recommends this method for
negatives of line subjects only, but others have since applied it to
negatives of all sort*.' I have been bold enough, however, to con-
demn such intensification of half-tone negatives, chiefly because the
nrolonged application of the blackening solution thins the image.
Some time ago I pointed out, and Messrs. Ilurter & Driffield have
subsequently confirmed mv observation, that reduction of the image
by such a process changes the character of its density gradation. But,
even if there were no change of gradation, the reduction following the
intensification leads to uncertainty, and the perfecting of technical
photography demands the elimination of uncertainty. I am now in a
position to condemn this method of inten.>ification more emphatically,
Txjcause also of the composition of the resulting image, and because of
ita want of uniformity.
The primary action of potassium silver cyanide upon silver mercur-
OU9 chloride may be expressed thus : —
AgHgCl + KAgUy. = Ag -i- AgCl -i- HgCy + KCl.
The residue contains, therefore, as metal, all the silver originally
present, and to this has l>een added an equivalent quantity of silver in
the form of chloride. This result is highly desirable, and, if only we
could stop here, tlie method would be worthy of the highest appre-
ciation, because it would only remain to reduce the silver chloride, and
the image would be of pure metallic s-ilver in double the quantity first
present. But there are secondary reactions whicii appear to be in-
separable, or, at least, inseparable with any degree of certainty, from
the primary change.
The silver chloride, by reaction with more potassium silver cyanide,
is replaced partially by a double equivalent of silver cyanide, thus : —
AgCl -I- KAgCy.,=2 AgCy + KCl ;
and the tilver chloride that remains holds to itself some of the mer-
* Suice writing tliis paper, Mr. H. J. Burton has kimlly iiifomieil niu tliat
the cyftuiile method of intensiti'-ation was told to liim tweuty-four years ago by
ail operator workiii); at the British Museum, wlio learncil it from another
operator. Mr. Burton adds tli.it " the metliod was worked in tliia way. A
portion of the ordinar>' lixing bath of cyanide of potassium was put into a glass
measure, aud a little of the intensifying solution addeil, and this was i>oiired
over the negative alter treatment witli mercury liirhloride. Finding that, if tlie
1 cyanide of potassium was in excess, the action was irregular, I prepared it in
the manner publishe*! l,y nie. i'or many years I have oeen in the haljit of
adding to the solution, after the whole of the cyanide of potassium has coni-
biue<l with tlie silver, a small ]>iece of hyposulphite of soda. This addition
* ^ives tile ues.'jitivt. an intense Iila-'k colour instead «f an olive black." So far,
therefore. a« I lia\e tieen able to get at the facts of the ense, it appears tliat the
cyanide nnthoil of inteiisiticatiou ought to be cal'ed Burton's, and not Monck-
lioveu K, if any name is to be attached to it.
curie cyanide so tenaciously that prolonged washing only slowly
removes a jiart, the remainder resisting, apparently, any amount of
washing.
The residue, therefore, consist? of the metallic silver originally
present, with silver chloride, silver cyanide, and mercury cyanide.
By prolonging the action of the pota-ssjum .silver cyanide, the silver
chloride and the mercuric cyanide will decrease, the silver cranide
will increase, and the metallic silver will tend to dissolve. By pro-
longing the washing, the mercuric cyanide will decrease. Thus one
cannot tell what may be finally present, and the composition of the
images of different negatives intensified by this proce.ss cannot be
expected to be identical. The image itself is not permanent ; it is
affected by light. It is obvious that this method of intensification
may be repeated on the same negative, but this is scarcely an advan-
tage, because one application of the process is likely t > give too much
density.
Sodium hyposulphite thins the intensified imnge, leaving only the
metallic silver, and it appears that it is po-sihle in this way to remoTe
all that the intensification has added to the image. But it would not
be well to rely too mucli upon this, because finely divided silver i«
readily attacked by alkaline cyanides, and there might, therefore, be
an accidental loss of metal.
Action of Alkalies.
Ammonia readily blackens silver mercurous chloride, and the
general idea appears to be that the silver chloride is dissolved, and
that mercurous ammonium chloride remains. This is not the case,
for, though some silver is dissolved, the greater part remains in the
residue. I have not yet completed my examination of this reaction,
but ray results point to the probable production of two compounds
in varying proportions, namely, NHoAgllgCl and XHAgHg,Cl.
Almost the whole of the merniry remains in the residue.
Caustic soda immediately Idackens silver mercurous chloride, re-
placing chlorine by oxygen, liut the action is very diflicult, if not
impossible, to complete. It i-^. without doubt, the .silver chloride that
is so tardily affected. I'he residue consists of mercurous oxide, silver
oxide, and silver chloride. If the alkali is allowed to absorb carbonic
acid by exposure to the air, mercury will be dissolved.
.Sodium carbonate acts more tardily than caustic soda, and dissolves
a considerable quantity of mercurj'.
PbaCTICAL CONCLirSIOKS.
Whatever methods of intensification may suffice in occasional
emergencv, I submit that we should have, for regular use, a method
that worts in an exact and definite manner, that can be allowed to
proceed to completeness without the possibility of any other change
setting in to make the final result uncertain, one that does not produce
too great an increase of density, and that leaves a permanent image
of .simple and definite composition, which can, if necessity arises, be
treated for further intensification, or other effects, with the same
facility as the original image. This is the mori' important, because it
is impossible to be sure of getting the density required by simple
development when various subjects have to be photographed under
various conditions. It is also impossible, without falsifying the gra-
dation, to develop too dense, and afterwards reduce to the desired
condition. By the use of mercuric chloride, followed by ferrous
oxalate, the conditions stated are realised, and I do not know of any
other intensifier of which this can be said. Since I drew attention to
this matter three years ago, the method has been varied by one and
another in the replacement of the ferrous oxalate by alkaline de-
velopers. This change is not desirable, because of the uncertainty
introduced as to whether or no the alkali has produced its charac-
teristic change to a certain extent. Ammonia leave an image of a
complex and variable composition, and sodium carbonate has a
tendency to dissolve m -ury ; therefore, allowing that oxides as well
as chlorides are reduc ' by the developer to the metallic state, the
presence of any alkali im kes the change uncertain.
I Iwlieve that any jiiotographer who takes the trouble to master
the few difficulties that attend the use of mercuric chloride, followed
by ferrous oxalate, will be very loth to use any other method for half-
tone negatives. Tlie two chief precautions necessary are to eliminate
the hypo that remains after washing before treating the negative
with mercuric chloride, and to wash awav the excess of mercuric
chloride before using the ferrous oxalate. The first is done by a few
minutes' soaking in an acidified alum solution ; and by applying the
ferrous oxalate in a dull light, such as is used for manipulating carbon
tissue and printing-out papers in; if a little mercuric chloride is left
when the ferrous oxalate is added, its only effect will be to retard the
blackening of the image. CHArwAJt Joxrs, F.I.C., F.C.S.
72
THE BRITISH JOUHXAL OF PHOTOGRAPriY.
[FMhriinrr .".. IPf).*?
THE HAND CAMEBA AND ITS USE IN PICTUKE-MAKING.'
The Causes of Failubes.
It needs a good photographer to use a hand camera with any proper
measure of success, but this is just what yon have a considerable number
of among the members of this Brixton and Clapham Camera Club; and to
such of you as may take up hand-camera work this year, and I trust to
see some who will, and if used intelligently, I can promise you much
pleasure, and, I am bound to say, some disappointments, but that will
not be unexpected by those who have had any experience with the camera
and tripod, as, even with this method— allowing time for consideration m
all the stages up to actual exposure — yet failures are many with most of
us, and when working the hand camera, it will soon dawn on any one
taking it up for the first time, that the conditions are very diEferent—
requiring a quick and decisive judgment as to what to take and what to
leave, the proper moment to let the shutter fly, and, what often is of
equal importance, a strong self-control, in order to hold back from letting
it go just too soon. All this sounds formidable, and yet it is soon ac-
quired by practice, and expenditure of a little thought over the pro8 and
cons of the whole thing.
I am afraid we amateurs give far t30 much time and attention to dash-
ing up and down, making exposures ad lib., but very little time to sitting
quietly and working out in our own minds not only what have been our
successes, but, what is of infinitely more importance for future advance-
ment, what are the canxe-t of our failures. Whether they be technical
or pictorial failures, we might often spend a little more time over them
with profit, and, it not understood at the moment, put them away, and
afterwards something may turn up to explain the cause, and so enable
one to guard against similar mistakes occurring.
This question of failures is looked upon with different opinions by
different people. The ruler of my household entertains strong opinions
on the matter, and whenever I am just getting a choice collection
gathered, she makes a rapid calculation of £ s. d. they represent, which
calculation is generally of a generous nature, no stinting about it, and is
a sure sign that at their next visit the dustmen are certain of finding a
richer harvest of glass than usual (it may be some of you have a guardian
angel ministering over you in a similar fashion).
Find a Good Plate and Keep to it.
lu leaving the question of plates, let me strongly advise all in doubt to
tackle a good sound plate, and, having once found a suitable one, stick
close to it. "It is better to deal with ii rogue ijou kninv tJioii one you don't
know," so goes the old saying, and, striking out rogue and substituting
plate, makes it a sound bit of photographic advice. So much for the
question of pUte. It must be good, and rapid as possible if only one
kind is used. It might be expected something ought to be said respect-
ing colour-sensitive pates, but, beyond what is generally known of them
and their special uses, we need not trouble to-night. They are useful,
and of assistance when dealing with work having much yellow or red, as
landscape in autumn, and may be of assistance in dealing with skies
containing much blue, in contrast to light, fleecy clouds, and where any
fog is about, but for ordinary work they are by no means an absolute
necessity.
Having disposed of the apparatus, how to use it is the next matter to
claim attention. Any one commencing hand-camera work will, on be-
coming possessed of one, naturally be eager to try it ; and, although it
would be better to sit down and look the thing over for yourself, and
arrive at a correct understanding of the purpose and working of its dif-
ferent parts — infact.tborougdly make yourself master of its mechanism —
yet no great harm will come from rushing off and trying it at once, beyond,
perhaps, spoiling a few plates and indulging in the luxury of a few mild
observations on some pe )plfc's stupidity, especially hand-camera makers,
and then sitting down and going through the directions and looking over
the camera, and finding the fault was all your own, and which materially
adds to your 8ati^faction sometiwe<.
Studyinq the Cambra — Some EEMISIsCJ:^c tf.
This qneslion of studying the cumera and its working is a matter of
far greater moment than at first would appear. The whole movements
(it ii have an>) ma,-t be so understood and practised that they become a
kind oi second nature, anj it is also necessary to work with system ;
for instance, it is belter to change each plate immediately after the
exposure, and then at once set the shutter ready for the next picture.
By this means you avoid exposing twice on the same plate. After a little
practice, it is done mechanically and as a matter of course, and there is
no trouble on that score. I remember in my early working a hand
* Conliaued from po^e 59.
camera going off one afternoon to Greenwich and taking the boat to
Blackfriars for the purpose of getting barges sailing. Well, it was a day
in the week when even barges seem to go on strike, and the result was
only one was met the whole way ; but it was a beauty, and, after getting
everything ready while she was in the distance, I fixed myself in the
bow of the steamer and waited. It is exciting work sometimes this
waiting. You cannot tell which side you will pass her on, and the
element ot uncertainty makes it enjoyable enough when things come
right. On this occasion I had judged matters correctly ; the distance
between us was rapidly narrowed ; one look at shutter and focussing
lever, to see both were set right, and then the camera was held up, the
picture composed on the finder a second, and the barge was near enough.
And what a picture ! The sun shining brilliantly behind the top sail,
throwing masses ot dark reflections in the water, relieved by touches
of glittering light. The moment had arrived ! Shutter released, and
much joy reigned in the breast of yours truly.
The safety shutter inside camera was next to do its duty while setting
shutter again, and on tenderly proceeding to carry out the necessary
movement, I found it had faithfully been doing it all along. Never having
been opened, and not having been coated with a sensitive film outside,
but a good coat of black varnish, the picture had passed away, and its
shadow also, instead of remaining on the trusty plate eagerly waiting
behind that blackened door to receive it. I studied that camera in the
evening in a desperate mood, hut to sohi'j 'pHr2ios^ — that mistake never has
happened again.
Work with System.
Study the mechanical arrangements of your hand camera and work
them with system, always doing the necessary movements immediately
after each exposure, and rid yourself of one trouble — unccrtainti/ — and
leave your mind free when called upon to arrange and take a picture.
You will find, if aiming at the best results, you require every atom of
undivided attention devoted at the moment to securing the picture
desired, whether it be animals (human or otherwise), marine, or pure
landscape.
The knowledge of, and command over, your instrument is a matter of
grave importance, and cannot be neglected without paying the penalty of
frequent and needless failures. Hand-camera work is difficult enough,
and to obtain good technical results is not the simplest thing in the
world ; it behoves one to do everythin;,' possible to minimise the chances
of failure.
Well, we have got it all off by heart, and after putting some
plates in, out we go into the park or lane, and, behold, some sheep are
being driven along. A good Ught, suitable surroundings— everything
promises well. We choose our standpoint, all being ready, shutter being
set, &c., we wait until they are getting near enough, and then the ques-
tion is. Where shall we hold the camera ?
Whehe sbaIjL wk Hold the Cameka ?
There are two things we must be certain of. First, holding it without
movement during exposure ; and, secondly, so that we can see the finders
plainly. Now, where is the position most likely to succeed in both these
points ? After trying all methods, I prefer holding it to one's chest (like
this) ; it enables you to see the finders perhaps better than in any other
position ; you are able to get a firm hold ot the apparatus, and by holding
your breath during the short time taken up with the exposure, run little
or no risk of movement.
There are other ways advocated — under one's arm by the side. This
method, personally, I do not like, as I cannot get so clear and convenient
a view of the finders. You may now understand my reason in advising
that finders should be as large as possible ; it is a matter you will find
have a serious effect on your results if not attended to. One last word.
Great and unremitting care is needed in holding the camera steady,
movement of a slight character being sufficient to spoil what otherwise
might be a perfect production. It is almost entirely a question of practice
and care.
We will assume, please, you saw the composition on your finders satis-
factorily, and made the exposure, and probably repeating the operation
on other subjects. And, now we are b ick at home, and, naturally enough,
desirous of seeing the wonderful results this new method ot working is to
give us, so for the the dark room and the developer. What is this tj be ?
The D..vi.loi'.:b.
Personally I must confess at prese it to s.ick ng to the dirty but useful
oil friends, pyro, ammonia, and bromide, and the use ot a little common
sense. I should not presume to talk to you about development, many of
of you having, no doubt, forgotten more than I ever knew upon the
subject ; but this, and this alone, I may s ly respecting development of
February 3, 189.5]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
73
hand-camera plates. Go for the detail, and keep back density — that can
lUnays, and at any time, be obtained. Having got oat such detail as may
be desirable, then go for density.
I have tried within the last few days flashtng out the detail by using
amidol stock solution dilated to six times it'* bulk with water, and
one drachm of ten per cent, ammoniii added us accelerator — getting
density by using stock solution full strength afterwards. This promised
80 well that 1 shall experiment further with it, trying other alkalies,
and redeveloping with pyro and ammonia for density.
Whatever developer is used, the method should be the same— detail
first and then density, and thus produce negatives worthy of platinum
or carbon printing. On this (luestion of printing, the thanks of all
amateurs are due to Mr. Willis for placing in our hands such ar delightful
process as his new cold-bath platinum paper, which is simplicity itself to
use, both in printing and developing, and the results obtainable charming.
I can strongly recommend any and all of you who may not have done
80 yet to try it.
The notion entertained by many that negatives produced when working
rapid exposures are only suitable for gelatinochloride emulsion, and that
class of paper, is quite erroneous. Use a rapid plate, develop for detail
and then density, get a good cold-bath platinum print, and you have
something to look at with pleasure now and in after years if you are
lacky enough to be able to keep it.
[To he conclvdetl.)
♦
A VISIT TO MESSRS. MORGAN & KIDD'S COLLOTYPE WORKS
AT RICHMOND.
On January 30 a large number of members of the London and Provincial
Photographic Association accepted the invitation of Mr. F. de P.
Cembrano, the President of the Richmond Camera Club, to witness
a practical demonstration, to the members of the latter Club, of
collotype, under the superintendence of Mr. R. L. Kidd and his
manager, Mr. Berghaff. After a very courteous welcome by Mr. and Mrs
Kidd, and inspection of many fine examples of the work as exhibited
in the showrooms, all adjourned to the large new building adjoining,
the aspect of which (filled as it was with a magniticent plant and machinery,
comprising all the latest improvements, and all the machines at work,
under the guidance of a large staff of busy workers) went far to prove the
assertions of some of the gentlemen present that Messrs. Morgan & Kidd,
by their business enterprise, had placed themselves well abreast of any-
thing of the kind in existence in this country.
In introducing the subject to the gathering, Mr. Kidd gave the follow-
ing description of the working of the process: —
" An ordinary quarter-inch plate glass is ground on one side with the
finest emery powder. It is then thoroughly cleaned, and well washed
with water to get rid of the emery powder. When dried, it is coated
with a substratum composed of solution of beer and silicate of soda :
some prefer sugar and water instead of beer, but our experience is thai
beer is preferable. The beer should be slightly warmed before mixing it
with the silicate of soda. Without the substratum the printing composi
tion would not adhere to the plate glass.
" After the plate is carefully coated with the substratum it is then
placed on a plate-rack, and allowed to dry spontaneously. When
thoroughly dry, it is washed in clean water for a quarter of an honr, and
then placed again to dry as before.
" It is then put into the drying oven, perfectly levelled, and heated up
to about 120' Fahr. It is then coated with a bichromated solution of
gelatine and water, which must be of the same temperature, viz., 120
Fahr. This must be done with the greatest care to avoid dust particles,
and secure a perfect and even costing. It is now left to dry for about
two hours in u uniform temperature, which should not exceed 125° Fahr.,
care being taken to avoid draught or any unevenness of the drying, which
would cause markings to appear in the printing of the plate. There are
some workers who dry tbem in a temperature of 150 Fahr., but our
experience is that this temperature is too high, and the results are
inferior ; the higher the temperature the coarser the reticulation or grain
will be, and this would interfere with the delicacy of detail.
" We may point out that the printing from a coarse-grained plate is
much easier than from a fine- grained plate, though the results are
inferior. The coarse-grained plates are more used for commercial print-
ing, as a much greater number of prints can bg pulled from the plate.
The finer-grained plates are adapted fur high-class illustration*.
" There are many formulii', and every co.lotyper has his own pet
formula ; there are a great number published in the various photographic
inperB,
•■ A formula which will give good results by carefully working is as
ollowB : —
Middle hard gelatine lOOparts.
Water (distilled) 1000 „
Bichromate of potassium 22 „
" Some workers prefer bichromate of ammonium instead of the potas-
liam salt ; in this case only twenty parts of bichromate of ammonium
ehoald be taken.
"When the plates are thoroughly dry they are allowed to cool down
gradually and are now ready for exposure in contact with the negative,
which must be reversed, except where the reversal of the image is of no
consequence.
"The negative is placed in an ordinary printing frame. The collo-
type plate is then brought into contact face to face with the negative
under heavy pressure, and exposed by day or electric light in the ordinary
way. The right exposure is known by examining the image through the
back of the plate glass until all details show in a light brown tint.
" After the exposure is completed the plate is washed in clean water
nntil all the bichromate has disappeared. This is known by the absence
of the well-known .vellow tint of the bichromate salt.
" It is then allowed to dry spontaneously at an ordinary temperature.
When dry it is ready for the power machine or hand press, but it is ad-
visable, if possible, to keep the plate about two or three days ; the gradua-
tion and half tone would be found more perfect.
" After placing it in the printing press it is necessary to moisten the
printing surface with a solution of glycerine and water, which la generally
called the etching solution. The parts where the light has not acted the
gelatine will absorb more moisture ; where the light has acted the gelatine
has more or less hardened, and will resist the etching solution. It is
kept on the plate about fifteen minutes, and then taken oH with a sponge
and blotting-paper. The plate is then inked up with a gelatine or leather
roller charged with stiff, greasy ink, similar to the lithographic process.
The parts where the gelatine has absorbed the etching solution now
refuse to take greasy ink, whereas in the parts upon which the light has
acted the gelatine surface has hardened, and made them more or less in-
soluble. They will not absorb the etching solution, and will readily take
the greasy ink ; in fact, the greasy ink is repelled more or less in exact
ratio to the amount of light acted on the plate, hence we obtain an image
in all the graduations true to nature.
" A considerable number of impressions can then be token off the plate,
but after each print the plate must be inked up again ; and from time to
time a fresh application of the etching solution is needed, otherwise the
plate would gradually lose its power of repelling the ink. The printing
part of the process requires a great amount of skill and experience to
secure the finest results."
At the conclusion of Mr. Kidd's address the various details of the
process were all gone through in a thoroughly practical manner, from
grinding the plate glass with emery to coating the plates with substratum,
the drying of same in the large, accurately levelled drying chambers, the
coating with the bichromated gelatine, and the printing by means of
negative films stripped from the glass. The films having been previously
coated with a solution of three ounces Coignet's gelatine to twenty ounces
water, with ten drops glycerine added, stripped very readily from the
glass plates (especially prepared for stripping by Messrs. Morgan & Kidd).
The electric light was used for printing, after which the etching proce.-is
was gone through and various wrinkles explained.-
Great stress was laid on the necessity for proper inking, Mr. Kidd
stating that very many proofs were taken sometimes before a perfect
result was obtained, but when the right effect was gaiued a very large
number of impressions could be pulled without any variation in quality.
He pointed out that, for specially fine work, the hand machine was most
suitable ; but, when using thoroughly good negatives, best results could
be obtained by the larger machines, and as many as 100 impressions per
hour could be produced when everything was in good working order. The
leather rollers were used for inking the plates, and the gelatine roller for
working the ink well over the impression.
At the conclusion of the demonstration Mr. Cembrano called on every
one present to testify their thanks to Mr. Kidd for his hearty reception of
them that evening, and for the large amount of instruction every one
had received.
Mr. W. E. Debenham, on behalf of the visitors from the London and
Provincial, endorsed Mr. Cembrano's remarks as to Mr. Kidd's kindness,
and remarked on the public spirit shown by Mr. Kidd in making every-
thing appear so clear and straightforward. Nothing at all appertaining
to the process seemed to have been withheld, thus strongly contrasting
with otner so-called demonstrations, where an inquirer, seeking for real
information, often had to go away no wiser than he was before.
Mr Kidd, in reply, said how pleased he was to have imparted any in-
formation that evening, and how gratified he was to observe the attention
that had been paid to the various details by all present. He would, how-
ever, venture to remind gentlemen that, with all the instruction they had
received that evening, perfection in the process could not be attained
wiihoat a considerable amount of practice.
A NEW EXP0SUR3 TA3LB.
Messi'.s. Elliott & Sons, of Bamet, are issuing a system of exposure
tables for use with their plates, of which they say : '• One of the leading
features is, that we give f.>ur ^^ma!l illustrations of typical views, lettered
respectively A, B, C, and D. A is a distant view witliout dark objects in
forcgcouna ; B is also a vie.v with dl^taace, But there is liea'y foiia^je lu
foreground ; C is a near architectural subject ; whilst D represents a
moderately well-lighted interior. Portraits out of doors wouH require the
same exposure as C, whilst portraits in ordinary rooms would require
about the same exposure as D. The tables are calculated for 8top}-32,
74
THE BRITISH JOURNAL OF PHOTOGRAPHS.
[February 3. 1893
but an additional table is given ahowinp; at a glance comparative exposure
for any other sized stop. To use these tables, all that is necessary is to
compare the subject to be photographed with the illustration, note the
letter marked on picture that appears to coirespond with view, also note
time of day and year ; then, referring to Table 1, under group of columns
headed with corresponding time of day, follow down the column headed
with letter on illusrHtion similar to view, until the line marked with re-
quired month is reached, when the approximate exposure will be found."
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Dirrctunis. — Compare subject to be photographed with illiiatrations,
DOlfi time fil dny iiud month, refer to Table 1 under group of columns
heuiled with conesponiiirc time of day, JoUow linwn the c.iliinin headed
with the letter on i.lustr ition similar to view, until the Hue marked with
lequireil month is reached, when the approximate exposure will be found.
PLATINOTYPE UP TO DATE.
Before the Bristol and West of England Photographic Association, on.'
.January 27, Mr. Ed. Bnghtman in the chair, Mr. hlnclianan Wollaston,
of the Platinotype Company, gave a demonstration of the working of the
new cold bath paper, showing the great advances on the old hot bath
process. The old paper cculd only be kept a few months, while the new-
cold process paper in proper calcium tubes will keep for a year, and the
Company had some which had kept perfect for twenty-three months,
being longer than any other printing paper.
A great advantage is the wide latitude in printing, so long as the paper
is not under-printed, as even in a very much over-printed proof the result
is quite under control by the help of glycerine in the developer. More-
over, a print can lie artistically developed from a poor negative, by local
manipulation. A complete black-and-white print (for copies of maps or
plans) is obtained by the addition of a few drops of oxalic acid in the
strong normal developer. Printing is carried out until the detnils in the
highest lights are just visible in well-gradated negatives, and con-
sequently printing is deeper than with the old hot bath paper. As long
as any curl remains in the undeveloped print, after removal from the
calcium tube, the paper is dry. The development witli normal exposures-
of prints and normal solution takes thirty to forty seconds, but by adding
glycerine and diluting solution with water, development can be much
slower if desired. However long the print may be left in the developer,
the image will not be damaged, but the ncid clearing must be mor&
thorough. No means of destroying the image except hot iiqiii reffia has
yet been discovered, and this proves permanency. The prints can be
developed by immersion, by brushing developer on, and even by one's-
fingers rubbing the solutions on, as touching any part of a print pre-,
maturely with developer leaves no mark on tini^h ot development- With
plain strong oxalate developer, inky blacks and cold tones are obtained.
By diluting developer with two parts of water, slightly warmer tones.
By taking one part of oxalate solution, one part of glycetine, and two-
parts of water, and brushing solution on, much warmer tones. While by
rubbing glycerine all over print first, and still further diluting the oxalate
glycerine solution and using brush, the richest and warmest tones are
obtained.
To keep print flat during development, pour glycerine on a vulcanite-
slab or sheet of glass, lub all over, and place print face upwards on slab,,
smooth down, and it will stop there. Should the sky print through-
with a thin negative, rub the sky and otber high lights in print with^
glycerine, brush on developer as usual, and the whites will be pure after
clearing in acid baths. Hydrochloric acid (which must not be " com-
mercial," but water-white) i^ better than citric acid, as the latter is hard
to wash out of the paper. Platinotypes print three times as fast as-
albnmen in summer time, and twice as fast in winter. Thin negatives-
should be printed under pale-blue glass, and this produces blight, plucky
prints. To get brilliancy, keep solution in motion with brush on print,
and blot off after clearing and washing. To secure breadth in a flat-,
print, brush foreground over with strong solution, middle distance with
weaker, and far distance with still weaker solutions. To get soft efiecta-
from a hard negative, take one part water, and nineteen parts glycerine,
paint over print, which will absorb water, and develop as usual. In this-
way half-tone can be secured from a negative which has none. The
glycerine must be free from an admixture of citric acid, as sometimes-
what is sold as pure glycerine by chemists has as much as thirty per cent,
of citric acid in it. The acid wipes out the image as the clearing bath
would if print were placed in it before development. Pictures dry a little-
darker than they appear when wet, and this should be allowed for at the^
end of development.
LOUTH AND DISTPJCT PHOTOGKAPHIC SOCIETY'S
EXHIBITION.
The Louth and District Photographic Society's Exhibition was openeJ!.
on Thursday alternoon, January 2(i, to the invited guests of the Society,
when there was a large attendance. The arrangements were cairied out
by the Hon. Secretaries, Mr. S. F. Claike and Mr. Herbert C. Bentley,
who were mateiially helped in their arduous duties by several members-
of the committee. The pictures represented all departments of photo-
graphic skill. In addition to a large non-compeliti-»e exhibition, to which.
most of the best-known photographers of the day contributed, there
was a members' competition for which Mr. S. F. Clarke announced that-
thirteen members had entered. The Judge's awardswere as follows: — Silver
medal (given by Mr. Mark Smith), Mr. H. S. Forman ; 2nd prize, Mr.
E. II. Forman ; 1st certificate, Mr. Herbert C. Bentley ; 2nd certificate,..
Mrs. Fawssett. Mr. E. J. Wall, the editor of the Amiitmr Phnloqnipher,
who acted as Judge, added the following to his award : — " The average
quality of the work was decidedly high, and if the other two prints by
' Ominon ' (Mr. O. Burdett) had been equal to ,-1 liin iu the Clouili
(another of Mr. Bnrdetfs) the set would have been very near the lirsu
bes*."
The Exhibition is said to have be^n a great social and photograp'iic
success, the chief credit therefor being due to Mr. aud .\Ii-j. S. F. Clarir,.
• whose illorts on its behalf were unremitting.
Februory 1, 1891]
THE BRITISH JOUKXAL OF PHOTOGRAPHY.
75
«©iir iBUitorial tHath.
TiiK •• Rkliablk " Vkntilatoh.
Mb. Hbniiy .Jonrs, II, Albion-stre»t, CovRntry, has sent us a sample
of a ventilator he has introduceil for fixinir in {)hoto((rHphic dark
looms for keepiajr up a supply of fresh sir, mucli iiesfled in some of
the little 8tufTy pliices in which m\nv photo^iraphers are compelled to
work. It consiat.i of a mill- board oblnno- cn-ie about ;i foot in lenfrth,
an inch in thickness, and three and a Jialf inches in width, with a row
of holes en the two opijosite sides ])>'rmittin2f free ingress and egreS't
of air without the pissibilitv of li^rht heiuir transmitted, this beiiiff
ensured by a lonpritudinal divisioa piec^ inside. It is attached to the
•door or a piirtition in thediirk ro 111 l)v (t!inu:e-( ar each end, a spa"e
beinir cut in such to c:)rre<p)nd with the holes in the ventilator. Fie
recotnraeiid-i that cue should be fi.^ed near the ceiling and another
near the Hoor.
TiiK " LoTHiAx" Rapid Solution- .Jab.
?Ir. .V. n. nAinii, 15, Lithian-street, Edinburgh, sends us a new
rapid solution jar he is makinsr. Its principle is similar to that
broujrht before the London and Provincial .-Vssociation som'j time since
by Sir. \V. M. Ajres, who, as a practical man, advocated it strongly
Mr. Baird's jar is of white porcelain, perforated with holes in sides
and bottom, and is of such dimensions as to be easily suspended in the
mouth of a jug or jar of water, as shown in the diagram. To use it,
all that is necessary is to place therein the crystals, such as hyposul-
phite of .soda, that are to be dissolved, and lower it into the water.
One cannot speak in too high terms of the utility of this simple piece
of apparatus.
Messrs. Thomas Illingworth & Co., the enlargers, who have lately
removed from West Hampstead to more commodious premises at
Willesden, have sent us a view of their new house. The picture is a
good example of Messrs. Illingworth's technical skill.
MKSSR.S. 0. & W. WiMPBY, of Goldhawk-road, of whose artistic
floral and landscape backgrounds for enlargements we have previously
spoken in a favourable sense, have submitted to us a specimen of
their work in water-colour painting on ivory from photographs. The
results are charming and artistic.
KECENT PATENTS,
APPLICATIONS FOR PATENTS
No. 963.— "Improved means for Colonring and Tinting Photographic I'rints.
K. HooKEK. — Dated Januart/ 16, 1893.
No. 9S9. — "Improvements in regard to Washing and Draining Racks lor
Photograjihic and other purposes." F. T. Pahsons. — /luted Januari/ 17, 1893.
No. 1000. — "A Photosraphic Hand Camera." H. G.vmwell and C. Gamwell
—DcUai January 17, 1893.
No. 1065. — " Iinprovements in Coin-operated Photograph Machines." P.
VAX W. Welsh and W. F. Fkek.man.— i>a<erf Januari/ 17, 1893.
No. ll.')].— "An improved Photographic Camera." G. I. Si'Ai.Dlsa and
R. L. Hawkins.— Ofrferf Januar;/ 18, 1893.
No. 1192. — " Improvements in the production of Photographic Images."
a K. loyiVKisa.— hated January \%, 1893.
No. 1195. — " Improvements in Grooved Metallic Strips for Boxes for Carrying
■and Storing or Packing Photographic Plates and other Plates, and for other
like pnrpo««s, and in th« method of, and tonlii for, making the lald Groovfd
Metallic Strips." W. H. Duoard and G. H. WuK^u.—OatedJanuury \9,
1S93.
No. 1581. — " Improvements in and relating to Photographic Camera*." W.
Watson. — Dated January 24, 1893.
No. 1(J84. — "Improved Coin-freed Apparatas for Exhibiting Photograph*,
Pictures, Advertisements, and the like. F. J. Cocks. — DatM January iS,
1893.
No. 1696.— "Printing Photographic Plates." E. A. Basebe.— D«/«rf
Jciiuary ■2,'j, 1893.
No. 198.i. — " Improvements in and relating to Frames for Holding Platan or
Films in Photographic Apparatus." E. A. Veltkk. — Dated Jatuuiry 28, 1893.
Mtttixi^^ nf Soctettt^.
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Diit« of Meeting.
February fi
Namo o( Society.
Camera Club .
6 Thindee Amateur..
Peterborough
Bichmoml ,
Sonth London
Stereoscopic 0!ab
Birmingham Photo. Society
/ .. .. ; Bolton Photo. Society
7 Bhxton and Clapbam ,
7 Exeter
7 Hackney
7 1 Herefordshire
7 ! Keifrfalej and District
7 I Lewo.? .
Place ol Meeting.
North London
7 1 Oxford Pboto. Society
7 Paisley ,
7 Rothorham
7 Shetfield Photo. Society
7 York
^ \ Ipswich
•^ j Leicester and Leicestershire
S Munater
S ! Photographic Club
i^ Southport
S I Stockport
9 Birkenhead Photo. Asso ,
9 ...... Camera Clnb
9 Cheltenham f.
9 1 Glcssop Dale
ft ! Hull
9 1 London and Provincial
9 North Kent
9 Oldhim
10 Bristol and West of England .
10 1 Cardiff
10 ! Croydon Micropcouical
10 ... . Halifax Camera Club
10 Holbom
10 ' Irehind
10 Maidstone
10 West London..
II
Hull 71, Prospect-street, Hull.
Charinc Cross-road, W.C.
Aran. Studio, Xether^at*, Dundee,
Mnst^iim, Minster Precincts,
Greyhound Hotel, Richmond.
Hanover Hall, HHnover-i>ark, S.fiL
Brooklands Hotel, Brooklands.
Club RfKim, Colonoadfl Hotel.
10, Rnehton-Btreet, Bolton.
376, Coldharbour-lane, Brixton.
City Chamborn, Gaudv-gt., Exeter.
206, Mare-strtct, Hacitney.
ManBion Uoncte, Hereford.
Mechanics' Institute, North. street.
Pitzrov Library, Hi^h-st., Lewts.
Canonhury Tower. Tfd'nvton. N.
Society's Rooms, 136, High-street.
9, G an xe-. street, Paisley.
5, Frederick-street, Rothtrham.
Masonic Hall, Surrey-street.
Victoria Hnll, (Toodnimpate, York.
Art Gallerv, Ipswich.
Mayor's Parlour. Old Towu Hall.
School of Art, NeUou-place, Cork.
Anderton'a Hotel. Fleet-street, K.C.
The Stndin. 15, Cambridge-arcada.
Mechanics' Institute, Stockport.
y.M.C.A.,Grange-rd.. Birkenhead.
Charing Cross-roail, W.C.
71, Proppec*- street, Hull.
Chajnpion Hotel, 15, Aldersgat«-st
Graresend.
The Lyceum, Union-street, Oldham.
Eooms, 28, Berkeley-sq., BristoL
Public Hall,George-8treet, Croydon.
Rooms, 15, Dawson-street, DnUln.
"The Palace,'* Maidstone.
Obifiwick School of Art. Chi»wick.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
January 26,— Mr. Walter D. Welford in the chair.
The Hon. Secretary read a letter from Mrs. Bedford thanking the members
for their expression of sympathy witli her and her family in the death of
Mr. W. Bedford.
Pl.vtinum Toxinq on Ir.FORD "P.O.P."
Mr. LtmiUMER drew attention to the following remarks in the January
number of Photu<jraph»c Scrap.'* : — " We have frequently expressed an opinion
that P.O. P. prints toned by this method were not siLtisfactory in result. There
was an absence of purity in the whites, and a general degratlatiou over the
whole print that we did not admire, :uul which seemed to us to indicate u
general stain rather than a deposit of platinum on or in substitution for the
silver. We tested prints made by every formula which lias been given for
platinum toning, and found that absolutely no platinum nxts tUposited on the
ii/iape. Prints made by others were tested in the same way with the same
result." Mr. Lorrimer went on to say that he had expo.sed some pieces of the
Ilford printinq-ont paper to liglit until they were thoroughly bronze<l, ami,
having washed them, j-laoed them in a platinum toning bath, and subsequently
treating the print with nitro-hydrochloric acid, obtained a precipitate of
platinic chloride, which showed that platinum must have been on the image.
Mr. A. H.\Di>ON inquired whether there was a i>ossibiIity of the platinum
being substituted for the silver. The Platinotype Company were not able to use
gelatine for sizing their paper in conse<iuence of the combination of platinum
with the gelatine, one-fiftieth of a grain being sufficient to (zive a deep shadow
over a square inch. Most probably there was not half that amount deposited
on the whole of the print. It was extremely difficult to substitute platinum
for ►silver. In boiling down residues, they might have a certain combination of
potassium chloride and platinic chloride which might escape detection.
" Photographing Paintcnqs by Artificial Light,"
Mr. W. E. Debenham read a paper on this subject (see page 68), showiog
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[February 3, 1893
several prints from negatives made by the light or an ordinary petroleum
amp.
In the course of the discussion which followed,
Mr. W. H. BAKNE.S said that for copying paintings it was sometimes
advantageous to use a medium isochromatic plate in preference to the rapid,
the question of time being not of much importance.
In reply to a question, Mr. Debenham said he did not advise taking old oil
paintings from a different point of view to what they were painted, unless one
could have sufficiently powerful light to get a great distance from them.
Mr. Barnes said the colour of the yellow plate used was most important, as
it made the light so much slower. He would recommend a plate of a selected
yellow-red tint.
Mr. P. Evp;urrr observed that some samples of yellow glass acted in different
proportions compared with gas and artificial light.
Mr. R. Beckett asked whether different glasses should be used with different
paintings ?
Mr. Debenham thought the same glass was required throughout. As to the
disadvantage of two lamps for lighting the picture, a painter painted so that
liis picture looked all right from the side in which he had painted. He had
often used two or three ordinary tin-backed lamps, and the common oil
obtained from the oil shops at sixpence a gallon. He did not recommend
having more light on one side than on the other of the painting, but he would
get such a distance off as to obtain even illumination all over. Many people
got better results by artificial light than by daylight.
Mr. Archer Clarke said he had found a tendency to under-expose oil
paintings by daylight, and thought that with some pictures the lumps of paints
would show as black shadows in the print, and therefore he considered a light
both sides advisable.
Mr. J. S. Tbape asked Mr. Debenham whether he obtained proper density
by development alone ?
Mr. Debknham rejilsed that he did not at all require to intensify negatives
made by artificial light.
After furtlier discussion the meeting terminated.
Hackney Fhotograpbic Society. — .January 24, Mr. Charles W. Hastings
in the chair. — Mr. Carpenter presented a number of his lantern slides to the
Society. Mr. Reynolds presented the Society with an album. Both gentlemen
were thanked. Mr. Lewis Medland then gave a lantern lecture on the Zoo.
The lecturer explained that the slides were nearly all from hand-camera
negatives, here and there supplemented by drawings of animals by Buffon,
which (latter) caused great amusement. A composite picture of a lion in
Epping Forest was funny. All kinds of animals were spoken of by Mr.
Medland, who has travelled a great deal, and consequently the lecture was the
better rendered. When at the Zoo, Mr. Medland was especially favoured, and
has been successful in obtaining some capital negatives of the animals there
and of some now dead and gone ; such as Jumbo and Sally were shown. The
lantern was manipulated by Mr. A. S. Newman, assisted by the Hon. Secretary.
From the question box — 1 : "Can A Ipha paper be toned after fixing and drying ? "
It was said that Mr. Howson, at a previous meeting, said, " Yes, it could be."
Question 2 : " Is it nece.ssary to varnish a negative previous to retouching ?"
Mr. R. Beckett said, "Do all the "retouching, and varnish after, then mend
any defect on the varnish."
West London Photographic Society.— January 24. The evening was devoted
to Mr. H. N. King's paper on the Royal Palaces of England, illustrated by
over 100 lantern slides, the quality of which evoked great admiration. Owing
to the greatly increased pressure of business on the time of the Hon. Secretary
(Mr. Bennett) he has been obliged reluctantly to resign oflice and Mr. W. S.
Rogers (Assistant Secretary) has taken over his post, Mr. J. Stein filling the
post of Assistant Secretary. Mr. Rogers' address is 13, Addison-road, Bedford
Park.
Bath Photographic Society. — January 25, Mr. Austin King (President) in
the chair. — Mr. W. Pomphrey gave an illustrated lecture on the Channel
Islands. By way of preface he said his photographic slides were all reduced
in the camera (wet collodion) from half-plate gelatine films. Only by the
means adopted he thought it possible to secure some of the pictures to be
shown. He then proceeded in his well-known felicitous style to display and
explain a number of pictures representing views on four of the principal
islands, some of which were obtained with difficulty and .'<ome personal risk.
Liverpool Amateur Photographic Association. — January 26, Mr. A. J.
Cleaver (President) in the chair. — Fifteen new members were elected. The Presi-
dent announced that a series of lectures and demonstrations had been arranged,
which would take place every Thursday until the middle of April. Two
prints were exhibited by Mr. Rogers, a member of the Association, showing
the great difference obtainable from the same standpoint following out the
principle of tele-photographic lenses. Messrs. Ross's twin-lens hand camera
was exhibited and fully explained by Messrs. Sharp and Hitchmough. The
prizes gained at the 1892 annual competition were presented to the successful
members.
Newcastle Photographic Association. — January 24, Annual Meeting,
Mr. Alexander S. Stevenson, J. P. (President of the Association), presiding. — ■
Mr. Iliomijson, in the absence of tlie Treasurer, submitted the financial state-
ment, which showed that the balance in hand at the beginning of the year was
3Z. 18s. 9rf. , and, after paying out during the year 31/. \6s. 6rf., there is a
present Ixvlance in hand of 5/. 9s. &ti. The report was adopted. The Hon.
Secretary (Mr. Edgar G. Lee) read the annual report, which stated that the
Council again hail pleasure in l)eing ivljle to congratulate the members on the
continued and increasing jirosperily of the Association, the membership now
standing at 168, being an increase of forty as compared with the previous year.
The meetings, both outdoor and indoor, had been much more numerously
attended. The acquiring of new premises at the Art Gallery undoubtedly con-
stituted one of the most important events in the history of the Association,
and the Council hoped that, with the increased facilities for useful work which
it now possessed, the Association would continue to progress in the future.
Outdoor meetings h,ad been held at Stocksfield, down the Tyne, and Naworth
and district, and on the whole were well attended. The Council, in comclusion.
expressed their extreme regtpt, in which the members would join, at the loss
the Association would sustain by the removal of the President (Mr. Stevenson)
from the district. The report was adopted. The result of the election of
officers was then announced as follows -.—President : Mr. J. Pattison Gibson. —
Vice-I'resideats : Messrs. Alexander S. Stevenson, J. P., L. Sawyer, M. Auty,
and H. G. Ridgway. — Council : Messrs. W. Parry, W. P. Brewis, J. Watson,
J. H. Robinson, G. L. Snowball, T. 0. Mawson, J. Kirkwood, L. Williamson,
W. E. Cowan, and G. Uall. —Treasurer : Mr. Freiierick Park. — Secretary:
Mr. Edgar G. Lee.— Assistant Sicretary : Mr. James Brown.
Tiinbridge Wells Amateur Photographic Association. — January 26,
Annual Meeting, Mr. E. R. Ashton in the chair. — The Treasurer presented
the accounts, and the Hon. Secretary read the report, both of which were
satisfactory. The following gentlemen were elected officers for the ensuing
year :— President : Mr. F. G. Smart. — Vice-Presidents: Rev. A. T. Scott,,
Messrs. E. R. Ashton, and George Lewis. — Committee .• Messrs. J. W.
Morgan, A. W. Pearson, and E. Catchpole. — Auditor : Mr. W. E. Brampton.
— Treasurer : Mr, B. "Whitrow. — Secretary : Mr. Joseph Chamberlain. The
Chairman then said he had a pleasant duty to perform. They were all
agreed that the time had arrived when they should recognise the valuable
services the Secretary (Mr. Joseph Chamberlain) had rendered the Associa-
tion, and he had much pleasure in lianding him a gold watch on behalf
of the members as a mark of esteem for the indefatigable way he had
conducted the arduous duties of the office. The Secretart said he
wished to thank them all for their handsome present, and for all the kind
things the Chairman had been good enough to say about him. He was very
proud to feel that anything he had done for the Association should meet with
such unanimous approbation. The watch in years to come woidd remind him
of the kindness and consideration he had met with from all the members, and
he thought there were few Societies so fortunate in having a patron like Sir
David Salomons and a President like Mr. F. G. Smart, who took so much
interest in the actual working of the Association, and which was one of the
main secrets of its success, coupled with the great cordiality that existed
betweei himself and the other officers, to whom he tendered his best thanks
for their kind co-operation in the work which had been carried out, and he
again thanked them for their kiud present, which he should always value. It
was a gold keyless watch, having the recipient's monogram on the bank, and on
the dome was engraved, " Presented to Joseph Chamberlain by the members
of the Tuubridge Wells Amateur Photographic Association in recognition of
his valuable services as Hon. Secretary, 1893," and it hail a Kew certificate,
having been tested there. Letters had been received from Sir David Salomons,
regretting his inability to be present, and from the President, and all regretted,
the cause of his abseuce, and wished him a speedy recovery to convalescence.
Edinburgh University Photographic Society. — A meeting was held in the
Secretary's room, Bristo-street, on the evening of January 20, at which Dr.
Logan 'Turner delivered a technical lecture, illustrated by slides and the
lantern. The subjects were : Series 1, comprising surgical eases from the
patients ; 2, microscopic slides ; and, 3. naked-eye specimens. At the close he
was awarded a hearty vote of thanks.
FORTHCOMING EXHIBITIONS.
February 7, 8 Rotherham Photographic Society. Hon. Secretary, H. C.
Hemingway, Rotherham.
,, 14 Durham City Camera Club. Hon. Secretary, R. Haux-
well. The Avenue, Durham.
,, 16-18 *Woolwich Polytechnic Photographic Society. Hon.
Secretary, W. Dawes, 145, Chesnut-road, Plumstead,
S.E.
,, 18 Holborn Camera Club. Hon, Secretary, F. J. Cobb
ICO High Holborn, E.C.
March 1, 2 *Fillebrook Athenaeum Photographic Society, Hon.
Secretary, Joseph W. Spurgeon, 1 Drayton Villas,
Leytoustone, Essex.
„ 3,4 Blackheath Camera Club. Hon. Secretary, C. W. Piper,
46, Shooter's Hill-road, Blackheath, S.E.
April *Forfarshire Photographic Association. Hon. Secretary,
W. J. Anckorn, West Port, Arbroath. N.B.
„ 17-29 •Photographic Society of Philadelphia. Hon. Secretary,
R, S. Redfield, 1601, Callowhill-street, Philadelphia,
U.S.A.
* Signifies that there are open classes.
♦
CorrejSiiontrence,
M* Correapondfnts ahould nf.ver write on both aides 0/ the paper. No nofica is taken
of comnuinicatiom uitioss the Tiamcs and. addrAnsex of the writers ars gioen,
FOX TALBOT S PHOrOlJLYPHIC PROCESS.
To the Editor,
Sir — My attention has been called to a notice of my father's photo-
glyphic process at page 506 of The Britlsh Journal Photogbaphio
Almanac for the present year, from which it would appear that a fact
which I published in 187S has failed to become generally known. This
was the latest and best method winch he devised for producing a grain,
or, ae he termed it, " an aquatint ground." The earliest method was by
the use of crape, as described at page 513 of the Almanac, which I think
he termed a photographic veil. The powdered resin was an improvement
on the crape. There were other methods tried, but the one to which I
February ;!, 18931
THE BKITISH JOURNAL OF PHOTOGRA.PIiy.
77
refer was within my knowledge, though not published by him. He most
have devised it after taking out his last patent, and would not allow me
to divulge it, under the impression, I auppose.t hat it nii^^ht possibly bo
included in some future patent. I took the earliest possible opportunity
of making it known after his death, which opportunity arose in my
liaving to complete for Messrs. IjOw & Co. the Appendix A o! . he second
edition of the translation of Tissandier's Handbook of I'lu>tO(iraj'hy. At
page 372 of that Appendix, after noticing the powdered copal or resin
method, I said, " This method of producing a ground, however, was
uncertain and troublesome, and was superseded by a much better and
very ingenious method, discovered since tlie enrolment of the specifica-
tion in 18.^8, and never yet published. Common resin and camphor arc
dissolved in chloroform in proportions which may be varied. At the same
stage of the process as before, namely, when the plate bearing the photo-
graphic image is removed from the copying plate, some of this solution is
poured upon it. The chloroform immediately evaporates, leaving a film
of resin and camphor on the surface of the gelatine. The plate is then
warmed over a spirit lamp, which causes the camphor to evaporate, leaving
the resin in minute particles adhering to the surface of the gelatine. This
method ensures a much more even distribution of the resin than the
former."
According to the greater or less proportion of resin to camphor, the
ground was, I believe, coarser or finer. There were occasional small
explosions of the camphor vapour during the plate-warming. You have
yourself seen the beat results of the photoglyphic process of date 18U6,
and I doubt if those results could have been obtained without the employ-
ment of the above method. Also, my father's latest practice was to
employ, not steel, but copper plates, and to have them afterwards coated
with steel. I am not sulficiently familiar with the present use of photo-
graphic words to know whether a cHche would be understood to mean a
positive transparency in contradistinction to a negative. It is, of course,
essential in the photoglyphic process that the exposure should be under a
positive transparency. — I am, yours, Ac, C. H. T.vlbot.
Lacock Abbey, Chippenham, January 29, 1893.
DETERl^INATION OF PLATE SPEEDS.
To the Editor.
Sir, — Mr. G. F. Williams, in his article on this subject last week, goes
out of his way to attack the accuracy of actinometers similar to the one
associated with my name.
Allow me to point out that, as far as I am aware, such actinometers
never have been " seriously put forward with the hope that we could
recognise them as even approaching what we seek in a standord," the
standard referred to being an exact light standard for a standard speed
system.
The purpose for which such actinometers have been so extensively
and successfully used for the past three years is to estimate the value of
daylight falling on the subject as a guide to the length of exposure to
give a plate. For this purpose hundreds of practical photographers,
including some well-known names among the "older race of photo-
graphers," have found the use of a bromide of silver actinometer far
more reliable than the old rough and inexact method of estimating light
by the eye, aided with experience.
A very small amount of investigation shows that simlight, as it reaches
the earth, varies in its properties from time to time quite as much as
many artificial lights vary from average sunlight. It is plain to me that
an artificial light will have to be used if a standard system of speed
determination is desirable, and I should be the last to advocate the use
of an actinometer in this connexion. With a reliable standard light the
amount of light received by the plate should certainly be judged by the
standard of time, and not by the readings of an actinometer, which, how-
ever accurate, would be a useless complication.
Of coarse, this artificial light should be as alike as possible in its
spectrum to average sunlight.
Mr. Williams' statement with regard to supposed errors caused by the
use of actinometers, that " it is at all times possible to multiply the error
ten times or a hundred times," is absolutely untrue.
If an actinometer is used as a guide, either for time of exposure or for
speed of plate, and there is an error in the estimation of light of, say,
25*/,, the resulting error in the time of exposure, or in numerical speec"
of pUte, will be 25 °/„, no more and no less, unless error from some other
source is introduced.
Surely it is unnecessary to point out that an error of one second in
a tour-second exposure, is identical in value with an error of ten seconds
in a forty-second exposure, and the same thing applies to speed numbers.
I do not think Mr. Williams does justice to the importance of Messrs.
Barter & Driffield's investigations. It is very easy to pick out the weak
parts in their method as now applied (I have done it several times), but it
u only right to recognise that they were the first to point out the way in
whioh the graduation sensitiveness of a plate could be ascertained, and
their method, although perhaps in some other form, is certain to be
utilised in the standard method of the future.
It will, in my opinion, be necessary to recognise that the quality which
we sum up in the word " sensitiveness " is a complex one, and cannot be
accurately expressed by one numerical value.
Just as Warnerke's system made the mistake of presuming that the
ilemity-ijiv'mg speed of a plate is all we want to estimate, so Hurter *
Driffield wrongly presume that the photographer only wants to know the
graduation speed of a plate.— I am, yours, <tc., Altbid Watkiks.
Hereford, January 28.
THE PHOTOGRAPHIC SOCIETY'S LATE EXHIBITION.
To the Editor.
Silt, — Permit me to register a complaint as to the management of the
late Exhibition of the Photographic Society of Great Britain of your citv.
The circular sent out promised that wall space for foreign exhibits would
not be charged, but that the Society would /rame and liang such exhibit»
free, and then return them after the Exhibition closed. My own ex-
perience will be, doubtless, concurred in by the many whose photographs
were treated in a manner similar to that accorded mine. On arriving in
your city, I naturally called at the Exhibition to see the display, and draw
my shortcomings by comparison with the work of better photographers
than myself. Imagine my feelings to find, after searching a long time
in company with a friend, my pictures thrown loosely in a so-called port-
folio with numerous other foreign contributions, and the whole lot so-
fingered and thumbed over as to be a disgrace to any collection. To add
insult to injury, instead of returning my contribution in the wooden case
in which they were sent well packed with tissue separators, I reoeived
them from the Express Company roughly tied together with a piece of
cord, and tlie edges of the cards all broken and cut, thus finishing the
ruin so well in hand when I left them in London. Performances of this
kind are not apt to induce foreign contributions, particularly on the part
of those who, like myself, attended the Exhibition and witnessed the
manner of "framing and hanging " the Society performed. — I am,
yours, &c., Rouert E. M. Bain.
515, Pine-street, St touis, January 16, 1893.
EXHIBITION RULES.
To the Editor.
Sir, — Recent events and discussions have conclusively demonstrated
the great need which exists for reform in the rules of photographic ex-
hibitions. Photographers of all schools are agreed that the system of
classes, and the distinction between amateur and professional, are
arrangements both undesirable and unnecessary. Yet each new pro-
spectus which comes to hand reveals the same antiijuated rules ; only
one exception has come under my notice, viz., the rules of the Fillebrook
Athemeum Exhibition, with which I have the honour to be connected.
We are, therefore, so to speak, pioneers in this direction, but I am con-
vinced that it will not be long before our example is generally followed.
The encouraging letters which have come to us, quite spontaneously,
from several well-known workers, and the numerous applications for
entry-forms, show that the new principles meet with general approval,
and prophesy for us a most successful show. This being the case, one is
inclined to wonder why other exhibition committees have not adopted
similar conditions. It would certainly be interesting to know the reasons
for their reluctance to relinquish the old traditions. — I am, yours, &o„
Leytonstone, Essex, Jaiutitry 30, 1893. Joseph W. Spubqeo:).
WOODEN TBAYS AND PORCELAIN DISHES.
To the Editor.
Sir, — In reply to Harry W. Newton, I have used all the solutions
named without any "peeling off." I may add, the preliminary varnish
coating should be more to satisfy the absorbent qualities of the wood
used — iwt to leave a bright surface — one coat of enamel might do if this
could be laid on evenly. The way to make the trays of permanent use
is, however, to see them properly rinsed out every night after use, being
put away dry.
With regard to the (;/<w.< bottom trays, my experience is limited, but
shellac varnish mixed into a thin paste with prepared chalk and run
well round the edges might answer ; melted paraffin wax may be used
with advantage.— Yours, J. Pikk.
Leicester, January 30, 1893.
To the Editor.
Sir, — Mr. H. W. Newton will find paraffin wax ironed well into the
wood, using a heated smoothing iron for the purpose, much better than
varnish or paint.
Large trays can also be lined with ordinary oil cloth of the white
marble kind. Glue with the woolly side next the wood, fold the corners,
and don't cut the cloth. Let tlie edges of the clotli lap over the outside
of the ends and sides, fastening them with a row of tacks. — I am
yours. Am., Willums Kbknah.
35, Dame-street, Dublin, January 30, 1893.
78
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[February 3, 1893
To Ike Editor.
SiK —As I have for years gleaned much useful information from the
Journal and The Bmiisu Joukxal Photographic Almaxac, let me explain
for the benefit of your readers how I repaired a valuable porcelam dish.
These dishes are only lightly glazed, and are not hard baked, and may be
drilled with the tang of a three- square file ; and the way to commence to
mend such a dish is to first make up a good fire, let the dish lay in front
until it gets quite warm, then smear the edges with Prout's elastic glue,
get all as hot as possible, and bring the parts together, and keep them so
until quite cold and set. Now make the tang end of a file in the form of
a drill, harden this, do not temper, press the point into the dish, and it
will be found to cut easily through the enamel ; use a little water. Work
this drill gently until a hole is bored quite through the dish. The bonng
is sooner done than one would think. Xow make another hole at the
other side of the crack, then take a bit of copper wire, soften by getting it
red hot in the fire, and pass this through the two holes, and gently make
a twist on the under side of the dish. Do this wherever it is needful
■This having been accomplished, take a hot poker, not hot enough to burn
the elastic glue, but to melt it into the holes and cracks. Having made
it waterproof and wired the parts together, let all get quite cold, then
gently scrape off the surplus elastic glue, and your dish will, it it has
been mended with judgment, last, as mine has done, for years. Elastic
glue may be bought at ironmongers, leather dealers, &c., and is known as
Prout's Elastic Glue, Id. and 2d. per stick.— I am, yours, &c..
J. H. AlMLZY.
426, Loiulon-road, LoirjieUh; Sheffield, January 30, 1893.
THE BENEVOLENT.
To the Editor.
igm, Will you allow me space to state that, although the Committee
of the Benevolent arranged at the last meeting reported to hold the
Annual Meeting on February 3, it has been found impracticable to do so?
The Annual Meeting will therefore not be held till Monday, February 20.
The usual notices will be sent to all subscribers. — I am, yours, &c.,
Memorial Hall, E.G. H. Sxowden Ward, Hon. Secretary.
AMIDOL.
To the Editor,
Sir, I have had my attention drawn to a mistake in the amido
iormula I gave at the meeting on January 10, at the Photographic Society
of Great Britain. I do not see how I managed to miss it, as it was very
careless on my part not to notice it, as the formula as given would not
work, so I want you to please publish what I say. On page 95 of the
■Society's Trunsa'ctioiis it says carbonate potassium (5 per cent, solution),
but what I said, or, anyway, intended to say, was potash solution, 1 to 5,
viz. : —
Potash carbonate 1 ounce,
Water 5 ounces,
which is very different, being a 20 per cent, solution. I can only say I
am sorry I did not see the mistake, as it has led those trying the
formulie all wrong, for which I am to blame for not speaking plain.—
I am, yours, &c. , A. R. Dresser.
Hprinyjield, Bexley Heath. Kent, January 31, 1893.
■ ELECTRIC LIGHTING FOR RETOUCHING.
To the Editor.
Sir,- I, and no doubt many other readers of The British Journal of
Photogiuphy, was very much interested in the article by Mr. R. W.
Harrison, on " Retouching with the Incandescent Light," on p. 826 of
your issue for December 23, 1892. Can any reader inform me what the
cost of a thirty-two candle-power lamp, complete with suitable battery,
Ac, for working it ? also how many hours the battery would be likely to
keep the above light going ; the cost of having it recharged ; also how
long the lamp would last if used for, say, four hours a day?
I should also like to know it Mes'^rs. Anthony's electric retouching
pencil can be bought in this country, and what is its price ; also where is
it to be obtained, for, from what is stated upon p. C2 of The British
Journal of Photography for January 27, 1893, it appears to be much
Appreciated in several studios.— I am, yours, cVc, J. T. Hackett.
The Victiiria .Studio, Albert-Street, Fleet, Hantx, January 31, 1893.
tried hot water without any good. I did not try boiling water, as, however
an amateur can use it, it is rather out of the (luestion for a toning of over
100 10 X 8 or 12 X 10 prints. I have tried borax in hypo with some fair
results for some short time, but then found it only a cure for very small
blisters, but not for large ones.
I was told a few drops ot ammonia in hypo would cure ; but no. The
only good result was obtained with the new methylated spirit. 1. Now
what I want to asl; you is. Do you not tliink that this methylated spirit
may in time act injuriously to the print ? The smell remains even after
the print is mounted, and then another trouble sets in. When dry there
appears on some partx of the print some very dirty marks, a kind of skim
(or scum) as if touched with very dirty hands. These marks disappear
almost altogether when rubbed oft very hard with the hand. 2. What is
it? 3. Will it injure the print?— I am, yours, (Sc, A.Levy.
4, Areniic Pinel, Asnieres (Seine), January 29, 1893.
PHOTOGRAPHING AT THE CHICAGO EXHIBITION.
To the Editor.
Sir,— As a good many inquiries have been made as to the regulations
under which photographs can be taken of the grounds and buildings ot
the Chicago Exhibition, I should be much obliged to you if you would
give publicity to the enclosed communication, which has been forwarded
to me by the Chief ot the Foreign Affairs Department of the Exhibition.
—I am, yours, &c., H. T. Wood, Secretary.
Society of Arts, John-street, Adelphi, London, W.C., Jannai-y 30, 1893.
[Copy.]
"World's Colombian Exphsitihn, Departmbnt of Foreign Affaiks,
Walker Fearn, Chief.
"Chicago, U.S.A.,
" January 14, 1893.
".s'lV Henry Tr)i,eman Wood,
"Royal Commission of Great Britain for the World's Columhian
" Reposition.
" Dear Sir Henry,
"Rejilving to your letter of November 23, receipt of whicli was
acknowledged Decemljer 12, I have now to eiiclo.se a opy of a communica-
tion, dated January 11, which I have .just received from the Secretary of the
Ways and Means Committee, and which gives the iiiforiuation you desire.
" Faithfully yours.
(Signed) " Walker Fearn."
, 1893.
[Copy.]
" Office of the Ways and Means Committee.
"{R.) Chicayo, January 11,
' ' To the Honored Walker Fearn,
" Chief, Fortiyn Affairs.
' ' Dear Sir,
"lu reply to vour comiimnioation of December 12, will say tli.it same
has been considered "by the Ways and Means Committee, and I am instructed
to inform you'.that .it present no one is iierniitted upon the trroiinds to take pho-
tographs except the OlKcial Photographer of the E.\position, :ind such persons
as may care to use hand cameras which are fitted with single lens, and take
pictures upon a plate not to exceed 4x5, and provided that they shall pay
to the Exjiosition the sum of ,?2-00 per day for said privileges.
"The Kxposition proposes to operate under this organization until the 1st of
May. anil it is not likely that it may be continued during the Exposition.
''Tlie Official Pliotographer will be very glad to take pictures of such views
as he may be re<|uested by outside parties. These parties, of course, to pay
for same at uniform rates, which have been established.
" Very respectfully,
(Signed) "S. A. Crawford, .Secretory."
THE NEW METHYLATED SPIRIT AND SILVER PRINTS.
To the Editor.
Sir,— After h.aving used for a great many years ready sensitised
albumen paper without any trouble, I have been blessed since about one
year with the now universal trouble, I think, blisters. As different cures
appeared in your esteemed Journal I have tried them, but without any
certain results up to date except with one, and that is alcohol. I have
VARNISHING RETOUCHED NEGATIVES.
To the Editor.
Sir,— Can you tell me the best way of preventing the rotouching from
moving when it is varnished? — I am, yours, &c. , In a Fix.
[Tliis subject is referred to in a leading article. — Ed.]
A DEVELOPER QUESTION.
To the Editor.
Sir, — Mr. F. Miall gives, in the 1893 Almanac, a formula for a soda
developer, thus : —
Anhydrous sodium carbonate 1 ounce.
Sodium sulphite 1 ,,
Water 20 ounces.
And i to 1 grain pyro to each ounce of above.
Surely the carbonate should not be anhydrous, one ounce of which is
equivalent to 2-70 ounces ot soda crystals ! The usual soda developers —
such as that recommended by the lltord people, for instance— contain one
ounce ot soda cryitaU in twenty ounces ot developer, whereas Mr. Miall
uses, apiiarently, nearly three times that proportion of tlie accelerator.
I
February 3, 1693]
THE BRITISH JOURNAL OF I'llOTOORAPHY.
i^., h» nses the equivalent of 2-70 oonoeB soda crystals against the usual
one ouDci". — I am, jonvs, itc, Johm H. Hield.
Jl, Dartmouth I'arU-road , N.M'., JattmaTij 25, 181):!.
ANOTHEB VALUATION.
To the Editor.
But,— The given particulars are 70.000 negatives in eighteen yean, or
about 4000 negatives a year. Expenses are about :—
400 dozen dry plates, say,
IC'Al') Cabinet at liV.
£475 Cartes at 7«. M.
£850 (as given)
33 (juires sensitised paper
Six cheap workers, viz..
1 Negative Retoucher
1 Printer
1 Lady for waiting-room
1 Lady Spotter
1 Assistant Operator...
IBoy
5000 cabinet mounts \
15,000 carte „ \
30
15
15
15
30
£
45
30
52 weeks wages at £5 10
Kent and taxes (cheap)
Small expenses \l. per week
Chemicals : f,'old, hypo, pyro, A-c.
Paper, books, cardboards, &.a.
Yearly returnishinR
Coal, gas, water, &c
Expenditure
Alleged business done
286
40
52
30
20
40
685
850
265
Worth given by " R.S.V.P." = llOOL at 4 per cent.... 44
221
Eeal goodwill
Leasehold ...
Negative value, two years reorders, about
Valuation of fittings, stock, and furniture
100
?
Pieal value ?
Or, a business thit does not pay is not worth a goodwill.— I am,
yours, lie, Opeiiatou,
Jdiiuarij 23, 18'J3.
i£a:c1)anrjf GToIumn.
*»* JVo charge is made Jor insa-tinrf Exchanges of Apparatus in this column;
but none u-ili be inserted unless the article v-anted is defvnitely stated. Those
who specify their require-uignts as 'Utnything vsp/uI" will tliei'efore understand
ffie reason uf tfieir non-appearance. The full name of the advertiser luusf.
in all cases be yiven for 2>uhlication, otherwise the Exchanges will not he
inserted.
Will "xfibanye SCO) aivh-de-vinitemowatn for a eight or nine-inch condenser.— Address
L. Ward, 2, 6ta.tiou-road, West Croydon.
Will t'xchanee eisrht-incli ca.'? bnrnisher as jrood as new for whole-plate camera.— Ad-
dreris, J. Behhett, 38, James-street, Swansea.
Wnnted to oxchansfe two microscopes (DoUoud'f) for 12x10 ontftt.— Addreas, J. G.
Pa«r, H, Richmond-gardens, Shepherds Bush, W".
Kxehanire 10 xH burnisher by Rock, ■ heffield, for 5x4 rapiil rectilinear.— AddreBs,
J. Taylor, 19, Castle-street, Dulltown, Baiitfghire.
Wii; exchange British Journal of Photoukaphy, over peven yeara, for haU>plate or
lar(r.'r earner*.— AdJresH, T. Mi;iR, 43, Nethcr^tte, Dundee.
Harfwich'a Vho^op-n^ihir Chemi-fi-ij in exehange for Taylor's Photographic (>}>tic:^.—
Addie^i-, J. A. O. MuKUAT, 3, Kightiujirale-tiJi-niee, Sutton, Surrey.
Wanted lirgt-chi.s? lantern or hand camera for HaliKf's ten-jruinoa medical electric
Itattery.— Addres.s, Akthve Pearck, 11, Waterloo-crescent. Dover.
iBinnial (foni-inch ooudi-usersj, portrait IcuriPfJ, dissolver, and jets, fffts bag'. &c., ex-
chausre for c-imera or leui-es. — Addruss, H. Allbkkjht, 135, London-road, Orojdon.
Stove, powerful and h»n<l.some. Bnit *tudio or public buildinjr. foat SOOa.. »-xrhango for
li*l'-plate camera, or photo •nndries.-Addrt'ss, H. Ai.LiiuiwaT, l;J>, Londou-road,
Croydon.
Will exchfiupe burnisher, nine-inc!i rolI*-r, fcr a rollinc pres«, or will make enlarjire-
ineiitsand tiaisH in oil ur black and white for same.— vVddreo.-, A. Hamilton, Artist,
Kmsrsd.iwii, BrJBtnl.
I will eftchan),'c a 5x4 qack-aftinc portrait lens by Ro^« for a 7x5 optimns eury-
i Mope, iris d»«pkragm.— Adares*, Williamson Eu^lei. Whitelandg, Little London,
' ttAivdoii, near Leeds.
IWill exchange Tue British Joirnal ok Photo'ibaphy from April 1390 to end of
^ 189- (141 nuinbertj) tor phun baUftKrunnd or burnicher,— Adcrets, C. GoDyuEY, 23,
f LiLvae-road, Pouge, S.K.
Ill excharme an eiirhtkeycd flute (by Monzani). silver Iters and fittinps. for a
cabinet porr I ait Wm hy jood n.ukur.— AddretK, H. & A. f i.OAiir, PLotouitiphtrt>,
a»0, Mi;rli-ji.n-tr, yirrttio»-d.
|Ela]iancre for a4i> Dallmeyer lens equivalent value of th« fnllowtne len»ef>:— 2b Dall-
meyur; 1a Dal.muytr wideautfle lens, patent ; a Orubb p. lent landscape lens.—
«il'U-et>*, MclsAAC & RiiiULir, btudio, i;bau. '
Will exohango lanre rapid 10x8 portrait lens for 9x7 Optimne XnryMOpc 1«im wttb
Waterhouw stups, or 7x5 as u above with Trts diapbrMfrms. Spcoimeo of work
.tent.- Addrefl^t, J. R. Hmitx, rhotc^apher. Little London, Kawdon, near L»6d«r
Yorks.
Wanto<l, iiiHtantaneonn shutter to fit hoo'^! /me and a half inrh«*i',pn»»urnaf ■
Pickard ,preferre<i, .sonud, in oiohanire for Thk ItniTiHH Jwiknat
tiitAi'iiT, iMirj, unbound.— Address, B. Bukhlkh, 2, Windi«>r-road, ,).
Thames.
Will exchaufre a uearlv new Russian iron nia^c lantern, with travelling ra^e, ftttinf(»
for oil or liraeliphl; al«o French cabinet portrait lens, good for large head*, for
Lancaster's faalf-plato 3392 or 1893 inst&ntugrapb set.— Address. W. BoKb, Aank
Plain, Norwich.
Will exchange Harrison's patent head and body rest, and Fcholzig's graduated bn.it
vignette Viackground and stand, both new, for half-plate Instantoirraph, or other
outdoor set. Good pocket revolver taken. — Address, J. MA<iEE, 30, Parmw-crescent,
Lavender Hill, S.W.
Camera 15x12, conical leather bellows, reversing swiog front, throe donble dark
•li'Jes, book lorm ; wjiehftnge for first-class 10x8 camera, all movements, long ex-
teniion, and three o- four double dark slides.— Address, J. T. Picjclch, UeMan
Bridge, via Manchester.
Will exchanso The Briiish Journal Photographic Almattacs for 1S69, 1870, 1875,
and from 1877 to ISSl ; Carhon Printinij; and Burrows & Colton's Setovching, fot
Materia PhMogfttfilnca axtd Burnhank's Photograjyhic Printing Methoth. — Address,
R. McF. iU'RE, 35, Underwood, Paisley, N.B.
Wanted, wnole-plate Rosa's or Dalhneyer's Universal rapid-symmetrical or rapid-
rectiliuear lens, in exchange for first-class whole-plate camera, square bellows, long
extonsion, a:; new, three double slides, and tripod, total worth $1. 10s. or Gl.—
Address, J. T. Picklks, Hebden Bridge, viii Manchester.
Wanted, safety bicycl**, in exchange for magic lantern (foni-inch condenser), balnstrade
and pedestal, four plate-gla-ss shelves and l)rackets ibrass), cork flower stand, cabinet
burnisher, oak spec-men frame, and three volnines of The British Jocrnal or
pHorofjRAPHY, 1890 91 92.— Addresi*, H. Manisthe, 5, Hhyl - .ittreet, K«mi«h
Town, N.W.
Cabinet lens, by Derogy, two and thi*ee quarter inches in diameter, seven inch focoflr
exchange for DallmeyerV 1b long; interior background, new, for another interior
or good plush curtain ; Ross's lu x 10 ca'iera, long focussiuff screw, for posing.chalrr
two or more backs ; traveller's Mnltnm in Parvo ivalking-stick, patent, for pedestal
or balustrade.— Addres.s, J. Horton, Central Studio, CaroIine->treet, Cardiff.
EnstocrsJ to tforrespontients.
*,* All matters intended for the text portion of this Journal, including
gneries and Exchanges, must lie addressed to '' Thk Editor, The British-
Journal ok PHOTOOHArHY," 2, York-street, Covent O'arden, London. In-
attention to this ensures delay,
*»* Correspondents are informed that ice cannot undertake to answer com-
munications through the post.
*,* Communications relating lo Advertisements and general business affairs-
should be addressed to Messrs. Hkhky GUEENWOoii & Co., 2, lurk-street,-
Covent O'arden, London.
Photoukaph Kkoistkkkli :
T. S. Hicks, Sheffield.— Photop-apli entitled, Jolm Buil and his Pal.
G. S. D. — A single lens can be used in the manuer and for the purpo.se you
describe.
E. M.— The electric retouching desk can be obtained of Mr. C. A. Jtudowskji-
of Guildhall-chambers, E.C.
Qux. — We have had no experience in that class of busines.s. Better conanlt
some one conversant witli the practical working of the system.
J. H. Bow.MAX. — Mr. E. Duumore has an article on " Lauternslide Colournig"
in this JoiiiXAr. lor November 4 last (see Supjilenient, page 10).
W.M. Fknton Jones. — Metol is not, so far as we are aware, on sale in this-
comitry. Po.ssibly Messrs. Fuerst Bros, would procure you a small quantity
irom Germany.
T. Molten.— The most rapid lens for lautern-alide negatives is what is known
as the instantaneous stereogr.ipli. It Is a moditication of the Petzval len.s,
and has an aperture of about y'-iJA.
May (Ayr) writes : ■' Would you kindly tell me in your leanied coiTesjiondenca
the lirst day of spring in England ; "— Accordiiig to the almauiics, the first
day of spriug in Eugland is Marcii 21.
PiiiNTKit.— Possibly Mr. Buchanan WoUaston's remarks on the subject in the
present numlier of the Journal will assist you. We have not heard of any
previous complaints of granularity with the new paper. ,
Sandown. — Any view that is taken direct from nature cuu be made copyright,
notwitlistanding that it may have been pliotographed scores of times Iroiii-
tile same spot and each of tiie photographs maae copyright.
A. Pkahce. —We cannot account for your failure. We do not think there is •
any advnntaze in the use of recrystallised carbonate. Give us fuller details
ot your met lod ol working, and we may be able to assist you.
A. J.— 1. Tlie addition of Venice turpentine to starch usetl lor mounting is net
likely to act injuriously on the lihotograph. 2. The frames can probably be
had from Marion 4; Co., or any of the other dealers iu photographic gootls.
E. GooDKKLLow.— If, upon the addition of a little permanganate of jiotash to
tlie water, the red colour of the permanganate is convertetl to one of lirownish
hue, then is the water coutaniinated with organic matter, and uut tit lor
drinking purposes.
A. Bkn asks : " Cm you tell me how to put the gilt line on the outside of cut
njounts. usually about a halt an inch Irom the opening ;" — The gold is put
iu with a ruling pen charged with gold paint. Uold pamt ready lor lue is
supidied liy all artists' colourmen.
G. W. ANDliEW.s.— Vou had l)etter get a m.innal of the carbon process, sucll
as that i.'.sued by tlie Autotype Company. That wUl give you the iuforma-
tioii leipured. riavinggot ugener.il idea of the principle.', of the i>roce.i3,
you wjil then haxe no dllHculty lu jtrodticiog carbon pictures.
80
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[February 3, 1893
Anxious. — By no mean-s go to South Australia, where we have reason to
believe things are in a had way. Possibly you would find South Africa a
better locality in which to secure photograiihic or picture-frame-making
employment. Ask your doctor if the climate would be suitable.
O. Osborne. — As cochineal colours, such as crimson lake, &c., are fugitive by
exposure to light, and they were used in matching up the tint for spotting
the prints and working up the enlargement, the fading, or changing of
colour, after six months' exposure in the show-case, is fully accounted for.
J. H. G. — Eighteen or twenty inches will be a suitable focus for such a lens as
you need. Not knowing the focus of your 9x7 lens, we cannot give you the
measurements desired. W'itli reference to the electric queries, Whittaker
& Co. publisli several cheap works devoted to tliis topic. Write for a list.
C. H. — One of the best papers to be had for the purpose — that is, the best an
amateur can obtain in small quantities — is Whatman's or Hollingworth's
rough drawing-paper. 'Hiey have not exactly the surface of the sample
enclosed, but the papers themselves are otherwise better suited for
photography.
E. Gregson \vrites : " Could you inform rae of a recipe for imitation of ground
glass for studio top and sides — one that can easily be cleared off in winter ?
I am very much troubled with tlie sun." — Make a mixture of starch paste
and whiting, and stipple over the glass with that. It can easily be removed
with water at any time.
Kalph. — 1. What you say is perfectly correct. Every one knows that a clear
white sky in a lantern slide is better than badly put-in clouds, hence there
is no necessity to insert your letter. 2. Enlarged portraits, if they exceed
life size, are very unsatisfactory. 3. Make an enlarged negative, and print
either in carbon or platinotype.
Carpathian. — We think tliat either of the cameras mentioned would suit your
purpose quite well ; but if we recollect aright, " A " is not adapted for a roll
holder. Your supply of lenses is quite sufticient for every purpose. These
is no difficulty in producing enlargements from films, any more than from
glass negatives. We have always used No. %
Leg.vl. — So far as we are aware, there is no special law relatiu" to photographic
stiulios. If premises are taken on a repairing lease, and a photographic
studio is p.art of them, of course that is include<t, the same .as the others, un-
less tliere is any special agreement to the contrary. If tliere is any dispute
in the matter, better submit the agreement to a solicitor, as all is dependent
upon its wording.
H. A. — 1. If you will refer to page 776 of this Jouhnai, for December 2 last,
you will see we have an article dealing with cresco-tlynia. 2. Hydrofluoric
acid may be obtained of operative chemists ; it is a conmion-enough article.
3. A saturated solution of liypo cannot be expressed in definite proportions,
as the amount of salt tlie water takes up varies witli the temperature. When
the water will dissolve no more salt, then is the solution saturated.
D. McKenzie asks what amateurs usually charge their friends for i>ortraits ?
He .says lie often takes the portraits of his friends, and they ask him for
copies, and wants to know how mucli to chiirge so as to make a little profit
on the work for his trouble. — In reply, amateurs make no charge whatever
to their friends ; if they did they would cease to be amateurs and Ijecome
professionals in disguise, such as is our correspondent. In arranging his
charges, he should be guided by the price lists of boiiA-fule professionais of
his neighbourliood, witti wliom he appears to be competing.
P. Smith says : "1 .am an old amateur, and am tolerably familiar witli wet
collodion, with whicli I was able to take very fair negatives. I have recently
gone bacli to that process for lantern slides, though I never made any by it
before. I get on very well, but the slides, wlien dry — tliey look all right
while wet — are more or less oiialescent in ajipearance. It is not fog. Can
you suggest a remedy {" — This appearance is by no means unconmion. It
can entirely be got rid of by varnishing the slides witli oniinary negative
varnish. They will then be the same as they appeared wliile wet.
A. W. Neame says : "I am only an amateur, and was called from home for
three weeks the day after making up a new acetate touiug bath. Wlien I
went to use it a few days ago, tlie sides of the bottle were covered with a
dirty, bronze-like coating, and there was a mnddy deposit at the bottom of
the Ijottle, and tlie jirints will not tone with an hour's immersion. No
prints had been toned in the solution, so the paper could not have injured
It. Why is it in this condition ?" — The reason is that the gold has, by some
means or other, become reduced Ito the metallic state. Impure water, an
imperfectly cleansed bottle, &c., may be the cause. A long exposure to
light will also bring about a reduction of the gold.
CooNTRVMAN writes : " I Iiave been consulted about supplying a dozen en-
largements, 15 X 12, of a deceased person, one of a group on a little glass
positive. They will retpiire a great deal of working uji by an artist to make
them at all good, and this, 1 tear, will make them too costly forme to secure
the order. I can make the enlargements myself, liut it is the finishing that
troubles nie. Can you give me the benefit of your advice ( " — We should
suggest that an enlargement be made, sty, twenty or twenty-four inches,
and this be well finished by an artist. From this a negative should be made
the size required, then the prints would require no work upon them. It is
i|uite possible that some of the friends of the deceased would purchase the
finished enlargement.
Thos. LaMbeli. writes as follows: "Canyon give me any information with
regard to the enclosed print, and how 1 can restore it and about a dozen
others like it to its original condition, which was that of an ordinary albumen
print ; The facts are these. A cu-tomer of mine, who has tieen travelling
on the Contiuent, brought home a number of views mounted on cabinet
cards, and I undertook to take them off and remount them in a scrap album.
Three or four dozen came off all light as usual, but about a dozen, after
soaking with the others, liecaiiie opalescent in appearance like the enclosed,
and, as you see, this hides the iletail. These jiarticular jirints I noticed
before I put them into water seemed to have a more artificial gloss than
albumenised prints usually have. Any hints you can give will be appre-
ciated, as I fear I shall get into trouble with my customer." — The ])rint in
question is not a silver one, but a collotype on "surfaced paper" that has
been glazed with an aqueous solution of lac. The only treatment we can
suggest is to remove the old glazing by soaking the prints in spirit, and re-
glazing or varnishing tliem.
West London Photographic Society.— February 7, Technical Social
Meeting.
Photographic Club.— Febniary 8, Members' Open Night. 15, Bmne-mmle
Apparatus,
Mr. William Tylar has removed to new premises at 41, High-street,
Aston, Birmingham.
Messrs. 0. Sichel & Co. have removed to new West End show-rooms at
47, Oxford-street, W.
We also announce the death of Mr. Henry Dixon, the well-known photo-
grapher of Albany-street, in his seventy-third year.
We are sorry to learn of the death of Mr. John Harmer, of Littlehampton,
who for many years past was a frequent contributor to this .Ioubnal and its
Almanac.
Hackney Photographic Society.— February 7, Ladies' Night ; A midol de-
nwtistratioii and J'rir^ Slides. 14, Photographic O/iemicah, bv W. H. Sodeau.
21, Lantern-slide CoZowrtnj (adjourned), by S.J. Beckett. 28 Prize Slides.
Leytonstone Camera Club. — February 8, Lecturette, The Optical
Lantern : its structure and Its icses, by Mr. A. P. Wire. 15, Demonstration.
Lantern Slides and how to make tli^m, by Mr. H. E. Farmer. 22, Members'
Lantern Evening.
London AND Phovincial Photographic Association.— February 9. First
Technical Lecture, The Lens. 16, Demons'ra'ion of the Air Brush, by Mr W.
H. Harrison. 23, Annual Musical and Lantern Entertainment. Ladies' night.
Mr. J. Traill Taylor in the chair.
The premises at Kingstonon-Thamas, lately occupied by the Fry Manu-
facturing Company, will be sold by auction at the Southampton Hotel,
Surbiton Station, by Messrs. Maddox & Son, at four for five o'clock on
Wednesday, February 15.
Messrs. Arthur Schwarz & Co. inform us that from this date they are
the sole agents for the products of the photographic department of the
Actien-Gesellschaft fiir Atiilin Fabrication, Berlin, who are the manufacturer'
of Dr. M. Andresen's developers — eikonogen, rodinal, and diamidojihenol.
On Friday evening last, January 27, the Photoeraphic Club g.ave an enter-
tainment to the children of memliers and friends, which was numeron.'ly
attended by the small people invited. The bill of fare included slides humour-
ous and otlierwise, singing, pianoforte-playing, ventriloquism, conjuring, ^"•.
all of which gave unmitigated delight to the audience, each member of whioli,
on departing, was presented with a parcel of sweets contained in a box having
the form of a hand camera.
The Londov County Council and Bill-posting. — The action taken bv tlie
London County Council in reducing the height of posting hoard'n?" to twelv>"
feet hrs had a widesjiread and disastrous result, and at a recent meet iig of tie
Manchester branch of the Amalgamated Society of Lithographic Artists.
Designers, and Writers, and Cojtperplat* and Wood Engravers, if was resolverl
"Th.it this meeting is of opinion that the restriction made by the Loudon
County Council is cilculated to do a serious injury to business not only in
London, but in many large establishments outside London."
We are informed that the National Association of Professional Photo,
graphers will hold their second annual meeting at the Grnsvenor Hotel-
Manchester, Thursday, February 9. Chair to be taken a' 7 p.m. liv the
President for the year, Mr. Thomas Fall of London. The Council will meet
at 2 p.m. same day, and same place. Only members whose subscripti'ni-' are
paid \\\i ar.^ privileged to attend and t.ake part in the procee<liags. Ini]>nrtant
matters will be laid before the meeting, whi :h it is hoped in the iutfrests of the
jirofessioii will be a large and influential one. Conmiunications to be addressed
to the Secretary, D. J. O'Neill, 47, Charlotte-road, Birmingham.
The annual onrersaaione of the emplo^ifs and friends of Messrs. Georgo
Mason & Co. took place in the Assembly Rooms, Glasgow, on the evening of
Wednesday, 25th ult. With Mr. Mason us chairman, whose .1bi'it^■ in a
social function of this kind is well known, with Mrs. Mason's kind lielp and
the aid of un energetic Committee, the "uccess of the reunion was a-sured.
" All went merry as a marriage bell." The music was excellent, the floor in
maiiniticent order, and the forty couples who tripjied the light fantastic till
well on in the morning left with a decided sorry-to-part-happy-to-mfet-agaiii
feeling. Songs were given during the evening by sever.al ladies and gentlemen,
Mr. J. L. Cox excelling himself in the delivery of "True till death" ami "A
warrior bold."
OONTBNTB.
Paok
stereo-micrography 115
retouching and varnishes 6f.
has PVROUALLIC acid BEEN DIS-
PLACKD? Ill H. W. VOGEL, PROF... 07
photographing PAINTINGS by;arti-
FICIALLIQHr. By W. E. PEBENHAM r,S
determination of plate SPEEDS.
—11. Bv O. K WILLIAMS 09
A CHEMiCU. STUDY OF MERCURIAL
INTENSIFICATICIN. Bv CHAPMAN
.T(>Np;s F.l C. F.C.S 70
THK HAND CAMERA AND ITS USE IN
PICTIUE-MAKIXG. By W. THO.MAS. . 72
Paob
A VISIT TO MESSRS. MOBGVN D,
KIDIIS COLLOTYPE WORKS AT
RICHMOND 71
A NEW EXPOSURE TABLE Ti
PL.\TIN0TYPE UP TO DATE 71
LOUTH AND DISTRICT PHOTO-
GRAPHIC SOCIETY'S EXHIBITION.. 7 1
Ot:R EDITORIAL TABLE 7 .
RECENT PATENTS
MEEriSGS (^F SOCIETIES 7
FORTHCOMING EXHIBITIONS '■•
CORKKSPONDENCP '■'''
F.XCHANGE COLUMN '
AN8WEB8 TO COBbESPONDEMIS 7,i
THE BEITISH
JOURNAL OF PHOTOGRAPHY.
No. 1710. Vol. XL.— FEBRUARY 10, 1893.
VALUE OF GOODWILL IN PHOTOGRAPHIC
BUSINESSES.
An inquiry appeared in our correspondence columns a few
weeks ago as to the value of the goodwill in a business at the
seaside. In reply thereto one correspondent, on the data
given, values it at from one thousand to eleven hundred pounds
— or equivalent to about the stated profits for three years.
Another correspondent estimates its value, practically, at nil.
The discrepancy is great. Three years' purchase certainly
seems a very high estimate for the goodwill of any pboto-
gi-aphic business at the present time, and we have little doubt
that many photographers would be only too glad to dispose of
their businesses on much easier terms than these.
The con'cspondent who gave the low estimate, last week,
quotes figures, in a businesslike way, to substantiate his idea
of the profits on a return, as stated, of 850/., and it must be
admitted that he has not been over-liberal in the matter of
expenses — wages in particular. The salaries of a lady for the
reception-room and a printer, for instance, are only put down
at fifteen shillings a week each, and a boy at five shillings.
The computation leaves about 220/. only as profit — about the
salary of a really good operator. If this return be accepted, it
8ho\*8 that the goodwill is not worth buying, as the profits do
not exceed the salary a purchaser would receive as an employe.
Since the query first appeared we have made some inquiries
amongst those we consider competent to give an opinion on the
subject, and we find a great diversity of ideas amongst them.
One and all, however, agree that, for an ordinary portrait
business, anything like a three years' purchase would be quite
out of the question, and that one year's profits, in the present
depressed state of the profession, would, in some cases, be too
. much, and in others the stock, plant, furnit<n-e, <fec., at a valua-
tion, would be quite sufficient. One gentleman went so far as
to say that there was really no marketable goodwill in a
portrait business, as it depended entirely upon the artist him-
self. He asked where is the goodwill in the business of an 11. A.,
although he may derive a large income from portraiture?
: The same might be said with regard to a medical practice.
; That is entirely dependent upon the doctor himself. Still there
is a goodwill in a doctor's practice, but it is always estimated
much lower than many other businesses — if a medical practice
may be styled a business. With a business in marketable
commodities, say a grocer's, for example, its success depends as
much upon the employes as the principal, Iience the goodwill
in it is of a somewhat, jnore substantial character than it is
either in a medical or a photographic one. In estimating the
value of a medical practice, we believe it is generally taken
to be equal to from a year to a year and a hairs receipts, but
then it is usually arranged that the seller still continues nomi-
nally as a partner for a considerable time, to introduce the
purchaser to the connexion. This system of transfer has also,
in some instances, been followed in photographic businesses,
though it is by no means general ; but, where it is done, a far
more liberal sum may well be paid for the goodwill than where
it is not done.
As regard^ the value of photographic businesses, there is
no actual standard to go by, and what businesses have realised
in the past cannot be taken as a criterion, for it must be ad-
mitted that they are not, proportionately to the returns, worth
now so much as they were some few years ago. Com-
petion is keen, and prices are lower, while labour and material
remain much as before. Hence more business has to be done
to make a corresponding profit, and this involves a larger
working capital. In calculating the worth of an old-established
business, an average of the profits for the previous three or
five years is usually taken ; the last year is, however, really
the most important for the purchaser's consideration. If its
gross returns and profits are less than the preceding ones, it
indicates that the trade has fallen off. If, on the other hand,
it shows an increase, then it has greater value than in the
other case. It is obvious that a declining business is propor-
tionately less valuable than an increasing one, be the returns
what they may.
In buying a business, the way it has been conducted should
always be considered. It often happens that an enterprising
business man starts, a concern in a smixll provincial town, and,
during two or three years, does an excellent trade and makes a
bond fide good profit, as the books prove ; but during the
time he has by his energy, so to speak, exhausted the business
— the inhabitants of the place have become so well stocked
with portraits that only a limited number more will be required
for years to come, particularly if the so-called club system has
been a feature. This some purchasers have found out to their
cost. Some businesses in pleasure resorts are largely de-
pendent upon extreme energy for their existence, such as
intercepting visitors and excursion parties in waggonettes and
like conveyances on their way to neighbouring places of interest,
photographing them, and then submitting proofs of the picture
on the return journey, and thus obtaining orders for copies at
a low price. A business of this kind, worked on what we have
heard termed the " high pressure system," is not equal in value
to one the returns of which are secured solely from sitters
visiting the studio. Neither are the negatives so obtained so
valuable as regards their demand for future copies.
Here is another point for purchasers' consideration. In
82
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[February 10, 1893
some country businesses, particularly branch ones, their
management has largely devolved on the operator. Now,
if such a business be disposed of, and, say, the operator opens
one on his own account in the same town — not an unknown
circumstance — the value of the original one will be greatly
depreciated. A photographer when selling a business is
usually bound by agreement not to be engaged in another
within a certain radius ; but that does not, of course, apply to
any of his employes, and some of those may be better known
amongst the customers than the principal himself.
In former times the stock of negatives was always an im-
portant item in a valuation, but we are told that they,
except in the case of publication pictures, are not proportion-
ately of the same value now, as photography has become so
much more general aud less costly. Therefore people, ladies
especially, instead of ordering from old stock negatives, now
prefer to have fresh sittings in more modern costumes. In the
case of deceased sitters, too, it is usually the last-taken portrait
that is preferred. All this tends to depreciate the value of
stock negatives. Except in the case of celebrities, an old
photographer remarked to us that a stock of negatives which
had been taken over about two or throe years may now almost
be considered a white elephant, as they were scarcely worth
the storage, and the glass they were on is . worthless. A
bvisiness in a quiet country town, which is entirely dependent
upon the residents, is, of course, on a different footing from
one at a fashionable watering-place, where its main support is
derived from visitors.
In the foregoing remarks no attempt is made to fix a
standard for the goodwill of photographic businesses ; neither
has allusion been made to what will be obvious to all as to the
continued success or otherwise of a transferred business, namely,
the relative merits of the vendor and buyer as artists, photo-
graphers, and last, though not least, as business men. The
object has been to point out a number of collateral circum-
stances that should be taken into consideration in estimating
the value of a photographic business in which portraiture is
the principal feature. Our columns are open for further dis-
cussion on the subject.
STEREO-MICROGRAPHY.— II.
In the previous article on this subject last week we confined
ourselves to the production of micro-stereographs by successive
operations, and, without anticipating what we have yet to say,
we may observe that the system is much simpler than can be
adopted by any binocular means, although the latter possesses
the advantage of simultaneous exposure. As, in viewing an
object in a binocular microscope, only one-half of the light
transmitted through the objective reaches each eye of the ob-
server, so, in the simultaneous methods now to be described,
no more than half of the light will reach the sensitive plate.
Probably the least complex of the various systems to be
noted is one which, on an exceedingly minute and totally
inverted scale, is analogous to the Wheatstone stereoscope. It
is a method by which the two photographs may be taken
either simultaneously or successively. It consists in mounting
two small mirrors at a right angle to each other, and placing
their point of junction in as close proximity to the posterior
element of the object-glass as the mounting will permit. The
light from the object on the stage, instead of passing on in
direct lines, is deflected — one half to the right and the other half
to the left, where the focus is received on the sensitive plate.
The adjoining cut shows the principle of the arrangement.
We have not thought it necessary to draw the camera itself,
or the stages ; suflBce it to say the former is merely a long,
square, wooden box, to the centre of which is affixed the object-
glass, a quarter-plate dark slide fitting each end. We had the
frame which carries the mirrors made so as to be capable of
being withdrawn, for the twofold purpose of cleaning the
polished faces of the mirrors when dusty and also of examining
and placing the object by direct vision from above. To this
end we had a hole cut in the top of the box in which to insert
the tube of the microscope with its eyepiece. This was for
facilitating the arranging and lighting of the object ; the focus-
sing was, of course, effected on the obscured glass of the cameras.
Although the arrangement here described permits of the
simultaneous photographing of an object, this is really not at
all necessary, as the subject will remain still in perpetuo, while
with a good lamp a considerable period must elapse ere there is
any change in the lighting.
Respecting the construction of the mirrors, which need not
each exceed the dimensions of a postage-stamp, we have made
them in three different ways — first, of speculum metal, which
we cannot recommend on account of the time involved in
giving them an absolutely flat and polished surface. However,
if any one chooses to do so, let him in using this metal make
allowance for grinding away a more or less considerable portion
around the edges to allow for marginal error, for unless one is
familiar with such optical work as involves the grinding and
polishing of prisms, or with the polishing of flat steel in con-
nexion with the watchmaker's art, in both of which the
marginal rounding of a flat surface is avoided, errors arising
from such rounding, although not readily detected by the eye,
will seriously affect the accuracy of the enlarged image.
We succeeded better by silvering the surfaces of a small
rectangular prism of exquisite flatness, and using this as the
reflectors, but eventually decided upon forming an obtose
wedge by cementing two plates of flat glass and silvering them.
This is what we recommend in preference to other reflectors-
for this purpose, and it does not require the services of a skilled
optician in its construction.
Pieces of optically worked glass can be obtained at the philo-
sophical instrument makers or through any firm who supplies
that trade. It is not necessary that the glass be thin, but it
must be flat. One edge of each piece must be bevelled by
rough grinding, so that when the two are placed in V-fashion,
and cemented together, the junction shall present a fine edge.
The silvering of this is effected in the way so often described
in the Almanacs of this Journal.
We have tried other methods for producing stereoscopic photo-
graphs, including the employment of the prisms and systems
of Nachet, Wenham, and Stephenson, but have so far found
the balance of advantages to lie with those now described.
February 10, 1803]
THE BRITISH JOURNAL OF PHOTO(iRAPHY,
8-3
" Oiven away with a Pound of Tea."— Thn Itirminp-
ham Dailij Mail of Saturday list contains tiio following parajfraph : —
^' The system of presont-jjivinj? bas been in operation in Birmin^bam
tea shops for a lonjf period, and various improvements in the system
have been tried by enterprising proprietors. Quite the most original
variation, however, is the one recently introduced by the manager of
■a large shop in the centre of the city. In lieu of the stereotyped
Tase or cradle, this original individual places his cu.stomer8 before a
-camera, and in due course woll-finished vignettes are forwarded to
them.''
A New Bunsen Burner for Alcobol. — Ilerr G, Bar.shcll
has devi.'ied a new burner as above, wliich gives a higher temperature
than that given by the gas-burner of this pattern. It is supplied
through a tube from a reforvoir placed about a yard higher than the
hurner, the supply being regulated by a screw-tap just below the
air holes. It consists of a thick-walled tube fitted into an iron foot,
the tube being divided horizontally into two parts. The lower part
18 filled with a metal network, and serves to vapourise the spirit.
Just above the division are air holes similar to those in an ordinary
BuDsen. A piece of wire gauze in the upper part of the tube assists
in the production of a steady flame.
Strengrtb of Acetic Acid.— Although this chemical does
not occupy in many studios the important position it held in the old
wet-collodion days, it is still of the greatest value in photographic
work, and a ready means of estimating the strength of a particular
sample would be useful. It is customary with the glacial acid to
state its specific gravity; but we must point out that this is an
entirely misleading method, for the specific gravity of solutions of the
acid increases with the strength only up to eighty per cent. A\'ith
still greater concentration the gravity begins to fall instead of rising.
To overcome this difficulty, Herx E. Nickel takes the specific gravity
as usual, then dilutes with water, and retakes the specific gravity. If
it rises, the higher value must be assumed to be correct, but, if it falls,
the lower.
Photog-raphic Atmospheric Absorption. — Professor
Schaeberle has been making investigations on the very important
<luestion as to the extent to which our atmosphere absorbs the sun's
rays at various heights of the sun. His memoir on the subject is
being published by the iJniversity of California, but meanwhile, has
issued a table, which we append, giving the final results. The
a,bsorption is e.xpressed in photographic magnitudes, and must be
t-dded to the unknown atmospheric absorption at the zenith.
ith Distance.
S"
10°
Photo. Absorption.
0-00
001
004
Zenith Distance.
.50°
65°
Photo. Abso
. . . 0'44
. . . 0-.56
1.5°
60°
6o°
. . . 0-71
''0° ..
. . . 007
. . . 0-89
2.")°
Oil
70°
76°
. . . 112
30° . .
016
0-21
. . . 1-46
35° . . . .
80°
. . . 1-94
40°
0-28
0-35
a5°
. . . 2-68
45°
90°
. . . 500
be extinguished for a moment, the air eupply leaaened by the regu-
lating band that encircles the air holes, and relighted. Tliia 13 a
simple thing, hut by no means generally known.
XZow to tJse a Bunsen. — It is singular to notice how few of
the many experimenters in the habit of using this popular burner are
acquainted with the proper mode of using it. In the first place, we
may say that the cheapest form in which it is sold is of very limited
use, for the great value of the burner is in its economy ; hut it cannot
be economically employed unless there is power to lower the flame
when needed. This lowering cannot be done beyond a certain point
\mles3 the air holes are supplied with an adjustment for cutting off a
portion of the air supply. The secret of use is to reduce the air
supply as the gas is lowered ; then, if there be insufficient air, the
flame will be white ; if the air is in excess, the flame will " blow
down " — that is to say, ignite inside the tube at the point where the
gas issues— mndcr which circumstances it is useless. It should then
Photog'raphic Drolleries.— Some of our older readers will
remember the rage there was some quarter of a century ago for de-
picting such subjects as a man shaking hands with himself, carrying
his head on a plate, and suchlike apparently superhuman appearances,
the effects being obtained by making two exposures on one plate by
means of a pair of hinged shutters meeting in front of the plate. Our
ever-lively contemporary. La Nature, published a year or two ago
engravings from photographs of similar effects produced by other
means, and a week ago had two pages of illustrations from still other
photographic vagaries of the kind. Wo have a man wiping a sword,
and just in frout of him a decapitated criminal, whose head lies on a
block ; next is a headless body, with knife in hand, surveying, if it
were possible, a table bearing a head on a plate ; in another we find a
man wheeling a barrow holding the head only of a giant ; still another
has a full-length representation of a gentleman in outdoor costume
bottled up in a huge glass bottle, and so on. The chief ditlerence
between the old and the new mode of producing these effects lies in
the use of a black background for the most important portion of the
subject, which thus permits of an exposure being made a second time
without fogging the first impression, though the sitter may have
moved away entirely, and perhaps reseated himself opposite the
place occupied by his first pose. For the rest, the writer states that
the system employed is that of a deep natural black obtained by the
open doorof a darkened space, combined with screens cleverly arranged
within the camera between the lens and the plate. This, he says, is
the surest means of obtaining the desired effects with the greatest
sharpness and without the junctions being visible. The screens should
be placed from about an inch and a quarter to an inch and a hal£
from the ground glass in the last folds of the camera bellows.
A " WELL ' DEVELOPING DISH.
In these days of " one-solution " developers used over and over again
for a succession of plates, there are many ways in which we may
with advantage modify the old system of development, and one of the
first is in the style of dish employed. The old form of dipping bath
has been recommended in place of the dish ; but, while almost its
only advantage is the smaller surface of liquid it offers to the atmo-
sphere, it is clumsy, and, owing to the necessity of a dipper is
inconvenient in actual use. The " well " dish or bath, sometimes
used in the old wet-plate days in place of the dipping bath for
sensitising large plates, possesses numerous advantages over the
ordinary dish at present used, while it is free from the faults already
mentioned, being little bulkier than the vessel it is intended to super-
sede, and requiring no dipper.
There were two forms of the dish or bath in question, in one of
which the " well" portion stood at a considerable angle with the rest
of the vessel, the dish proper ; and this, though it may possess some
points of advantage as a sensitising bath, is, like the dipping bath, a
clumsy contrivance for developing. The other form, which is to be
preferred, consists of a fiat dish somewhat longer than the plate it is
intended for, and having the lengthened portion at one end covered
in, so that, when the dish stands upon one end, a well b formed, in
which the solution rests.
The advantages of this form of dish are numerous, and a few may
be briefly enumerated. In the first place, if the same quantity of
solution has to be used for several plates as is now the fashion, it is
surprising how rapidly it decreases in bulk in pouring backwards and
forwards into the measure from an ordinary dish, whether after
development is complete or in order to examine the negative. With
the " well" dish it is not necessary to pour the solution out at all, the
dish is simply placed on end in the sink or other convenient position,
where it may rest until required for another plate, and the negative
lifted out to he washed and fixed. If constructed with a glass bottom,
the negative may be examined for density by simply turning the dish
up to the light, the motioos required in examining the image and
84
THE BRITISH JOURNAL OF PHOTOURAPHY.
[February 10, 1893
recovering it with the solution being so quickly performed that there
id far le33 chance of fogging the plate from exposure to the atmo-
sphere and oxidation than when the solution is poured off into a
measure, and there is tio loss.
And then advantage in the rapidity of motion will be found in other
than the one-solution system of development when it becomes
necessary in cases of over-exposure or the reverse to modify the
developer ; the dish is tilted, the necessary quantity of bromide or
alkali, as the case may be, is dropped into the well and the solution
returned in a wave over the .plate almost in less time than it
could safely be poured into the measure in the ordinary way. Many
timilar points might be urged in favour of the well if it were
necessary, but these seem sufficient to recommend it.
The fact alone of there being no diminution in the quantity of solu-
tion used, except to the extent of what clings to the surface of each
plate, must add considerably to the uniform character of the results
obtained. It would be idle to attempt to argue that the action of the
solution is identical in the case of successive plates, since the very
process of development reduces its energj^ and adds to the quantity of
restrainer it contains after each plate. Starting with a quantity of
solution little more than sufficient to cover the plate, the loss of bulk
when using an ordinary dish renders it necessary to augment the
quantity with fresh .solution after each development, and in this
manner each operation is performed with a mixture of utterly un-
known proportions. But where there is no loss, and consequently no
necessity for fresh additions, the action of the solution may be expected
to change in a regular manner ; that is to say, it may be anticipated
that each successive plate, supposing the exposures to have been equal,
will take a little longer time to appear, to show its detail, and to gain
density, than its predecessor. This being so, the operator knows per-
fectly well what to do, without any feeling of uncertainty as to
whether the plate is under or over-exposed. With the well dish, and a
fairly liberal volume of solution to commence with, the best possible
chance is afforded of successfully developing half a dozen, or even a
dozen negatives, with the least expenditure of material.
Until this dish becomes an article of commerce, for so far as I am
aware it is not so at present, it will remain with those who wish to
adopt it to use the home-made article, and fortunately it is not a
thing that will severely task the skill of any ordinary amateur
mechanic. Many photographers I know, both amateur and pro-
fessional, already construct their own dishes from a variety of
materials, including paper, cardboard, metal, glass, and wood, but for
present purposes a combination of the two last seems the most
suitable.
The sides of the dish should be of quarter-inch baywood or ma-
liogany,dovetailed at[the corners ; the bottom of glass, and the covered
portion forming the well, may be of any sort of thin wood prepared
for fretwork. The corners should be preferably dovetailed, or, if that
be beyond the skill of tlie amateur joiner, the ends may be let into
a rebate in the sides and secured by means of screws. A deep rebate
fhould be made to receive the glass bottom, deep enough for the glass
itself, as well as a fillet of wood a quarter of an inch deep to secure it
in place, and to allow the glass to stand clear of the table when in
uie. The cover of the well is simply laid on and fixed with small
screws.
Tlie woodwork if dovetailed should, of course, be put together with
glue; but, if the rebate joint is made, it will be better to use white
lend mixed with a little dry red lead, the whole thinned down with
turps to the consistency of cream. The same may be used for putting
in the bottom, and also for rendering the joints of the well cover
water-tight. If the framework be put together first so as to find the
proper places for the screw holes, it can be taken to pieces, the joints
Cemented and screwed together again, at once forming a perfectly
water-tight junction.
Before, however, finally screwing together, the wood should be
thoroughly impregnated with paraffin wax by repeatedly rubbing it
in, holding the wood to a hot fire in order that the wax may be
absorbed, or the paraffin may be cut in shreds and rubbed in with
a hot flat iron. After the dish has been put together, the whole of
t*-" inside woodwork, and especially the joints, should receive one or
0 eostings of thick shellac varnish, the first being allowed to dry
thoroughly before applying the second ; or two or three coatings of
good Brunswick black slightly thinned with turpentine may be applied
in the same manner, and to the outside as well.
As regards dimensions, much will depend upon taste, but for con-
venience and symmetry combined, if the well be about one-fifth the
total length of the plate and the depth of the dish be arranged so that
it will hold the requisite quantity of solution comfortably, the con-
ditions will be fulfilled. For instance, for 7i x 6 plate the dimensions
I adopt are length nine inches, width six inches, depth one and three-
eighths of an inch, the well cover extending one and a quarter of an
inch all inside measurement. It is an additional convenience if a strip of
glas^ is cemented across the bottom, inside, to form a rest for the
negative and prevent its slipping into the well when the dish is raised.
W. B. Bolton.
CONTINENTAL NOTES AND NEWS.
Avoiding- Reflections on Polialied Surfaces. — A
foreign contemporary remarks that the photographer who wishes to
photograph objects of polished metal,Iporcelain, glass, &c., is gene-
rally troubled with surface reflections, which solarise parts of the
negative and also reproduce images of surrounding objects, including
sometimes the camera and the photographer himself. The best
remedy given to obviate these reflections is the old one of smearing
the object with suet or fat, a little of which placed on a piece of
linen should be applied to the surfaces.
Blue-stained Megratlves for Winter Printing'.— In a
recent number of his journal, M. Liesegang points out that, owing to
the yellow stain of some negatives, printing through them in winter
is often a matter of great difficulty, and he recommends the con-
version of the yellow stain into the more actinic one of a blue violet.
This may be effected, he says, by immersing the plate for a few
minutes in an old combined toning and fixing bath, as used for
aristotype paper.
Some Properties of metol. — -In the Wochenblatt Ilerr
Lavroff, of St. Petersburg, says that matol hardens the gelatine film
to such an extent that it requires longer than with other developers
for fixing and washing. Notwithstanding the clearness of the solution,
plates therein may be exposed to a candle light at a distance of fifty
centimetres without fear of fog when the image has appeared and before
development is complete. He tried the experiment with hydroquinone,
but the plate was badly fogged. With metol and sulphite (without
alkaU) he covered up halt of a thin image which had taken ten
minutes to appear, for twenty minutes, exposing the uncovered half
the while to candle light, without fog supervening, the latter holding
good although the plate was left in the developer all night.
Another ItXetliod of Preparing Platinotype Paper.
— We have from time to time indicated several formulae for this
purpose as published by foreign experimentalists, the latest addition
being that provided by Herr Watzeck in a recent number of the
Rundschau. Paper is coated with a solution of
Arrowroot 1 gramme,
Cold saturated solution of sodium oxalate 50 c.c,
fhe solution being boiled until the sediment dissolves, and, according
to the degree of porosity of the paper, being applied to the latter two
or three times. For black tones the dried paper is sensitised in
Saturated solution potassium chloroplatinite . . 5 c.c.
„ double oxalate of soda and iron 8 „
„ potassium chlorate 3 drops.
For sepia tones the following quantities of saturated solutions are
taken :—
Potassium chloroplatinite 5 c.c.
Double oxalate of soda and iron 4 „
Neutral oxalate of soda , 3 „
Mercuric chloride 1 „
Potash chlorate 3 drops.
More chlorate increases contrasts and a smaller quantity of mercury
February 10, 18%]
THE BRITISH JOORNAL OF PHOTOGRAPHY.
86
gives darker tones. The solutioa of double oxalate of iron and soda
bein;. sensitive to light, it should be preserved accordingly. Both
solutions given above suffice for coating a sheet of paper 40 x 50 centi-
metres. For the best results the paper should be dried at a temperature
of ar C.
A Kegrlected Property of Oelatino- bromide of
Silver. — At the meeting of the Societo Fran^aise de Pbotographie
on January 0 last, the following letter from M. Balagny was read : —
"In The British Journal op Photography for November 18
there appears an article on ' A Neglected Property of Oelatino-
bromide of silver.' At the previous meeting of the Photographic
Society of Great Britain, the President, Captain Abney, remarked
that, ' if the gelatine film was more experimented with, there were no
end of possibilities which would open up in photographic printing. It
was sufficient for them to consider the behaviour of a bichromatised
gelatine film when submitted to the action of light.' This is a
remark which I submitted to the Society Franijaise de Pbotographie
nearly three years ago, and it is on that idea that I based a method
of collographic printing which I use daily. When a film of gelatine
containing a silver haloid is bichromatised, two great advantages are
obtained over the old process of coUography — greater rapidity and
better facilities for inking. Since the English journal (Tub British
Journal or Puotography) speaks of the matter, permit me to
state that I brought the matter before this Society in the year 1890.'
Austrian Copyrlgrht I>aws. — The Austrian photographers
are up in arms against a movement to limit the time of protection
to pictures produced by means of photography to a period of five
years, and in a recent number of the Photof/raphische Correspondenz Dr.
Eder states that, having at different times been approached by photo-
graphers as to his views on the subject, he regards five years an
insufficient time. He is, and always has been, of opinion that not
only photo-mechanical positives, but all other kinds of photo-
graphs, should enjoy (i longer period of protection, and he denies that
he has ever expressed a contrary opinion.
Photo-mlcrog'raphy and Industrial Hygrlene. — The
Imperial High School of Photography in Vienna has, it is said, com-
pleted some photo-micrographic work of great importance to the
hygiene of industry. It has been sought to study and determine the
influence of metallic dust, &c., on the health of workmen. Micro-
scopic examination was made of the several kinds of dust to be found
daily in factories and workshops, and the High School, at the request
of the authorities, took photo-micrographs of all the samples examined.
The pictures, with explanatory text, have been published by the
authorities. The negatives were taken by Herr Valenta, and comprised
forty-eight photo-micrographs, which were reproduced in phototypy
and are said to be of great interest to those studying the diseases of
workmen contracted in their labours.
Conunon Salt In Mercurial Intensification. — Before
the Soci«to Fran9aise, MM. Torres Freres, of Mexico, lately brought
an intensification process which allows the plate to be bleached with
mercury without having been submitted to jierfect washing after
fixing. It consists in the avoidance of the yellow stain, which would
thereby be produced, by placing the fixed plate slightly washed in a
solution of common salt 1 : 100 for about half a minute. Intensifi-
cation then proceeds as usual.
STATUARY PORTRAITURE— HOW MR. C. W. MOTES OF
ATLANTA, GEORGIA, WORKS.
I ERCEiVBD to-day your Journal of the 6th inst., in which I find
your leading article describing the illustration in Wilmu's Mayaztne,
"Sisters of Bethany." I desire to thank you for your excellent notice
and for your high endorsement of my effort to produce something
out of the " threadworii paths " of photography. I assure you I
appreciate your opinions of my humble effort, and will place a higher
estimate on the picture than heretofore, and it stimulates me to make
stronger efforts to advance. I have mailed to you an unmounted print
from the original negative, which I trust will reach you eafely.
In regard to your criticisms you are right, but I desire to say we
cannot always control our subjects as to styles. If bangs are in style,
they cannot be induced to pose without bangn, as was the case in this
picture. The style of the dress I had to leave with them, and they
msisted on short sleeves, and the one standing, on plenty of under-
skirts. I tried to persuade her to remove her skirts so as to get rid
of the bungling drapery behind, and show her form by having the
drapery cling, but she would not, so I had to do the best that couU
be done under the circumstances. The one fitting obeyed my sugges-
tions, and I think did her part well.
I do not claim the grouping to be entirely original. I had frequently
seen and studied an engraving similarly posed, and had it in my mind
when I made this. I mention this, fearing some one might accuse me
of claiming originality in the composition.
Now, a word as to my methods in making this class of work. For
background I prefer black velveteen ; it is important to have the oap
run upwards, so that the reflection of light is prevented. Incline the
ground from the light, and the result (if not over-exposed) will be
almost clear glass. I have three widths in my ground, seams running
up, and am nevor troubled with seams showing if, as stated, the
ground is inclined slightly from the light. In order to produce satis-
factory results, it is absolutely necessary to use a black ground ; and,
if by unavoidable circumstances there is reflection on the ground, it
can be removed by the method you describe without giving the cut-
out appearance, which will invariably be the case if made on an
ordinary background, especially around the head. Again, when made
on black ground, I have frequently removed all the ground with a
knife cutting around the figure. Frequently parts of the drapery
that may be objectionable can be cut away, and made to conform ts
the taste of the operator. In this case I use a very sharp knife to
bevel the edges of the film, to prevent it printing too sharp. For the
pedestal I use wooden boxes covered with musUn. Coat with glue,
and, while wet, sprinkle with sawdust ; when set, knock off excess,
and paint with colour to suit taste to represent granite. I then paint
name or title on box, and shade so as to represent the letters cut out.
In my exposure I work for the shadows with a strong diffused
light. Time with great accuracy — too much time will sure ts
produce flatness ; too little black shadows are very objection-
able in this style and lose the effect of marble. I have taken the
liberty to be rather lengthy, as there seems to be some misunder-
standing as to the methods I use ; so, in the event you have occasion
to refer to the matter, you can condense such as suit your purpose.
Atlanta, Ga., U.S.A., January 27, 1893. C. W. Motes.
[We have received the unmounted print of the group, which
is excellent. From the number of communications we are
having, we are warranted in surmising that statuary por-
traiture is a subject of considerable interest to professipual
photographers — in England, at any rate — and doubtless the
practical details of working, with which Mr. Motes supplements
our article of January 6 last, will be highly appreciated bj
them. — Ed.]
JOTTINGS.
On January 27 I remarked that I had often wondered whether th«
phenomenon of shearing stress could be turned to practical account,
and I added that the same thought had occurred to me on the recent
publication of Mr. Carey Lea's experiment proving that great
mechanical pressure alone was sufficient to darken the silver salt. A
writer in a contemporary publication says that on October 12 last he
said, " the experiments pointed to new possibilities in the way of
priating. A slightly photo-engraved plate may give a developable
image by simple pre.ssure." Now, any one having the least photo-
graphic knowledge can see that these quotations are not at all parallel ;
but, as the writer appears, from the context of his remarks, to be
deluding himself with the grotesque belief that his pages are the
source of my inspiration, and, notwithstanding that I studied and
wrote on the phenomena of shearing stress shortly after Captain
Abney published his experiments some years ago, I hereby make over
to the writer in question the full, absolute, irrefragable, undiminish-
able honour of antedating me by three months in the suggestion that
shearing stress or darkening by pressure might be useful for repro-
duction purposes. .\t the same time I regret that, having no time
to dispose of in the habitual perusal of the periodical upon which hit
86
THE BRITISH JOURNAL OF PHOTOGRAPHS.
[February 10, 1893
literary and scientific acumen confers a distinction that requires to be
much more widely known to be appreciated at its proper value, I had
no means of discovering that modern knowledge had received this
epoch-marking addition on October 12, a date which henceforth should
be printed in red letters in every scientific calendar and almanac.
" It signifies nothing," plaintively proceeds the gentle scribe, " this
perhaps unconscious assimilation of our matter, unless one has regard
to the fact that an affected ignorance of even the existence of other
photographic (sic) journals is a flattering unction much indulged in by
our aged contemporary," &c., &c., and so on. I am unacquainted
with the peculiarities of the process by which a journal, youthful or
aged, "indulges" in "a flattering unction;" but it is quite plain
where the shoe pinches. You " affect " ignorance of " other photo-
graphic journals," his amongst them, and so, because like a sensible
Editor you do not give free advertisements to all or any of the obscure
hangers-on to the coat-tails of photographic journalism, the dictionary
is ransacked for such laboriously manufactured epithets as " uncon-
scious assimilation," and a whole column of the valuable space of this
self-styled " vanguard of technical progress and invention " is taken
up with a laughably hysterical denunciation of you and all your
works. " Well, well," as the burly farmer said when his wife and
mother-in-law, as was their custom sometimes, gave him a good
drubbing, " what matters ? It amuses them and doesn't hurt me."
And 30 you may say ! But, alas ! that the world should " know
nothing of its greatest" journals, and that the " vanguard of technical
progress and invention " is condemned to make the welkin ring with
lamentations, because its more aged contemporaries will not fold it to
their manly bosoms !
It is fortunately a cariosity of journalism that mud should be cast at
the forty years editori^ reputation of a paper simply because the jottings
of an occasional contributor do not gain the approval of the editor of
another journal, and I should not have ventured upon this rejoinder
had I not beeusthe unwitting cause of the screaming and foaming at
the mouth in which your contemporary has indulged at your expense.
But, besides this, I have another object in view, and that is to discover
the actual writer and the cause of his animus. He commences some
twenty lines of unprovoked and clumsy Billingsgate with this re-
mark : " But, of our own knoivledge " (these are my italics), " we have
not the slightest hesitation in comparing the accumulated tomes of
the above quoted journal" (that is, Tub Bhitish Joubnat, of Photo-
graphy) " to a waste-paper basket of antique and ample build — the
repository of an unequalled weight of cameristic verbiage," &c.
I wish to direct the attention of the reader to the italicised passage.
Such a degree of knowledge, especially when it is read by the light of
subsequent remarks by the writer, implies' an acquaintance with the
" accumulated tomes " of this Jouknal such as cannot be possessed by
anybody save its Editor, or somebody who has been compelled to make
a close study of those volumes for, let us say, bibliographical purposes.
Again, the writer dubs himself " an energetic inquirer into photo-
graphic facts." What kind of facts, I should like to know ; scientific
or historical ? I can scarcely believe that the deplorably immoderate
language I have quoted is the utterance of any self-respecting editor,
or that he could have been aware of the nature of the copy he was
passing. It could only be the work of somebody who nourishes some
private resentment against this Journal and it« staff ; some disap-
pointed would-be contributor; some lurking bandit, like the " English "
journalist who was recently exposed in these pages for a series of
underhanded attacks in an American paper on English photographic
men and things ; some " Talbot Archer," in fact, of whom I wish
your contemporary every possible joy.
I am glad to see that Mr. W. Thomas, in his able and practical paper
on The Hand Camera and its Use in Picture-^nakiny , emphatically
challenges the contention of many writers that a finder with a hand
camera is unnecessary and useless. Some users of a hand camera
are, 1 know, fond of airing their cleverness by saying that they can
tell or guess when the object, moving or otherwise, they are pointing
the camera at is in the field of view ; but in the former case a great
deal of skilful judgment is required to ensure anything like reasonable
certainty that the picture has not " passed the plate." As Mr. Thomas
says, " finders are necessary if you desire to ascertain that your main
object of interest takes its proper position." In hand-camera work
all uncertainties should, as far as possible, be eliminated, and there-
fore I endorse all that he says on the subject. As well do away with
a focussing scale in a camera of variable focus as a finder.
Mr. Chapman Jones, at the conclusion of his paper on mercurial
intensification, points out that the success of his process of intensifica-
tion with mercury and ferrous oxalate depends upon the removal of
the hypo that may remain in the plate after washing, which he says
can be done by soaking in an acidified alum solution. On the assump-
tion that hypg alone is present, has it been demonstrated by experi-
ment that the solvent powers of water are insufticient to effect its
removal, or is the acidified alum necessary for taking out the silver
hyposulphite, which is possibly present wherever the hypo is ? Would
Mr. Jones recommend acid alum in preference to peroxide of hydrogen
as a hypo eliminator ? In connexion with the stain caused by intensify-
ing a film from which the hypo had not been thoroughly i-emoved, it
would be interesting to know whether the hypo j^er se, or sodium hypo
and silver hypo, are the cause of the stain. If the presence of the
latter is essential to the production of the stain, then imperfect fixation
is at the bottom of the trouble, and a fresh bath and hypo is neces-
sary, unless silver hyposulphite is soluble in acidified alum. It seems
to me that our information on these points is very meagre.
Cos.Mos.
1 ♦ I
X0TE3 UPON THE USE OF AMIDOL FOR
BROMIDE WORK.
Whilst it may be said of the use of pyrogallic acid for negative
work that not one of its competitors has ousted it from the foremost
position, it is still more true of ferrous oxalate that up to the moment
no other reagent produces finer results for bromide work, or produces
them more easily. The use of an acid fixing bath in place of a simple
solution of hyposulphite of soda does indeed enable good results to
follow the development of bromide paper by hydroquinone or eiko-
nogen, but it only substitutes one great difficulty — the use of an acid
clearing bath previous to fi.xing — for another, viz., the doubt as to
the stability of prints made by its aid.
The use of an ante-fixing acid clearing bath has always appeared to
me the weakest point of bromide work. I have never been able to see
my way to advocate its use, although I am quite ready to admit the
excellent results attained by its aid, and even tempted by the fatal
facility of the means to resort to its aid at times. But, notwith-
standing this inconsistency on my part, I regard as a distinct, evil the
practical necessity of its use to prevent an iron deposit and stain on
the paper when the oxalate developer is used, for it is indispensable
that this acid solution should be entirely removed from the pores of
the paper and film before the picture is placed in the fixing bath.
This complete removal seldom obtains in practice. It is true that by
careful working a considerable degree of purity of colour may be
secured without the ante-fixing clearing bath, but the results are
more difficult to obtain, and hence I assume that it is largely used.
My point — a strong objection to the use of an acid clearing solution
before fixing — is admirably enforced by the printed instructions issued
with a popular make of bromide paper : " All the acid must be
removed, or fading of prints will result."
It seems reasonable, then, to welcome the advent of any developer
which offers a chance of escape from this inherent weakness of the
process of development by ferrous oxalate, and I tried a sample of
amidol with which the agents in this country had supplied me. I
must say that doubt possessed me on the ground of the somewhat
fulsome praise bestowed upon the last new thing, which for negative
work I feared less useful than pyro. Besides this, a one-solution
developer always raises one's prejudices. Following a custom more
honoured in the breach than the observance, I made up a quantity
of solution strictly in accordance with the maker's instructions, and
using a sample of sulphite of soda which they supply for use with
their developer. This is an excellent idea, as considerable variations
occur in different samples of sulphites, and if a caution were added
to the instructions to use the maker's own sulphite, it would be better
still. I did not meet with success with the solutions so weak as the
makers recommend. The pictures were flat, and always appeared to be
over-exposed. Temporarily, therefore, I abandoned making pictures,
and, instead, exposed several pieces of paner behind a Spurge's sensito-
Februaiy 10, 189.'J]
THE BRITISH JOURNAL OF PIIOTOOaAPHY.
87
meter, a useful little instrument, which enables one to save much time
in experimental worlc wlien it is doubtful in which direction success or
failure lies. It was now quickly apparent thnt the scale of f^datiim
wns not marked enough. Intensity of deposit was lacking in the
long exposures, and there seemed some indications of the action of
light right up the scale, as if the developer were extremely active to
the least-exposed parts — as, indeed, I think it is— and insuiiiciently so
to the others. My experiments were interrupted at this point, and,
as the bottle of amidol developer was accidentally left without a cork,
I was able to observe that the action of the air for twenty-four hours
was to slightly colour the solution, a state of things which might be
e.xpected with a one-solution slightly alkaline developer. It did not
appear, however, to have lessened its developing powers, or to have
rendered it liable to stain the paper — points which I noted with
surprise.
Taking up the experiment again, I now tried th» maker's formula
undiluted. This stands as follows : —
Sulphite of soda . .4 .^ 800 grains.
Amidol : 80 „
Water 8 ounces.
Allowing for the increase in bulk by the addition of the solid consti-
tuents to the water, this approximates to an eight-grain solution of
amidol.
In my earlier attempts this had been diluted with three times its
bulk of water, in accordance with the printed instruction. With the
stronger solution I obtained much better results. The deep shadows
were richer, the high lights purer. But development was too quick :
in fact, the picture rushed up and was over-developed " in a hurry."
Compared with pictures developed with ferrous oxalate, I found the
gradations of the negative rather steeper, by which I mean the print
was more brilliant with^he amidol than with iron. This I considered
a very satisfactory feature, as a flat (over-exposed) negative had pur-
posely been chosen to test this point. By slightly diluting the amidol
solution, the gradation could oe lessened, but one soon gets to a
greyness of colour (which is to be avoided) by adopting this
expedient.
With a correct exposure, which I have not found to vaiy from
that for iron developer, the result.? now compared favourably with
others from a ferrous-oxalate developer working in conjunction with
an acid clearing bath. But development was too hurried and under
little control, which the addition of bromide hardly improved. The
results were, however, exceedingly brilliant and very pure and
white.
Encouraged by the promising nature of the results, I made a series
of experiments with the idea of making the developer more permanent
in character before use, of rendering its action more deliberate (whilst
still speedy), and last, and not least, of giving some control over the
development. The result is as follows : — Divided into two solutions,
for convenience in preparation and for storage, the acid sulphite
and amidol makes a bright and clear solution, without deposit, and
which I find keeps well. The colour of the deposit (in the picture) is
at least as good as when the solution is prepared with sulphite of
soda, I think better, and compares favourably with iron. The
bromide does not seem to increase the exposure, and only makes
development slow enough to be under reasonable observation and
control, whilst it is still quicker than it is with oxalate, which is itself
a quick-acting developer. The carbonate of soda solution is to be
added quantum suff., and should be used with discretion, but the
amount of bromide restrainer removes all tendency to fog or veil, to
which defect this developer, however, seems little subject.
Amidol Solution,
Acid bisulphite of soda 8 grains.
Bromide potassium 1 grain.
Amidol 8 grains.
Water to make 1 ounce.
Accelerator.
Carbonate soda .^ 48 grains.
Water to 1 oimce.
For use, add a few minims (four or five) of the carbonate to each
otmce of the amidol solution. The completed developer may be used
several times, especially if the bulk of the solution be maintained by
additions of newly mixed, fresh solution. This is a noteworthy
feature of amidol. The general experience with other developers, and
for all purposes, is that, for successful and certain working, a de-
veloper can only be used once. This is not my present experience
with amidol. To sum up, amidol, in my opinion, is the most dan-
gerous competitor of the iron developer for bromide work, and is well
worth a trial. It prombes to remove the necoasity, and eren the
advantages, of an ante-flxing acid clearing bath. By increasing tlie
strength of solution, much greater contrast can be obtained upon
occasion than has hitherto been possible, and vice versa. Of the com-
parative cost, I cannot yet speak. It does not reduce the exposure
and it is not a dirty developer. S. Hkbbebt Fby.
CALCULATION OF THE ANGLE OF VIEW.
[London and ProTincU Photoj^pliic Auocuition.]
In the British Journal Photoobaphic Almanac for this year
there is to be found, for the first time, a table of natural tangents by-
Mr. A. Haddon, by which the photographer may calculate the angle
of view included on a given plate by a given lens, or, conversely,
the focus of a lens to include a given angle on a given plate. Unfortu-
nately, the rules^formulated by the author of the article accompanying
the table are incorrect. As they may lead into error those who acce^
them without question, I offer this criticism and correction in the
hope that the tanles may thereby be made of value.
According to the first rule : for calculating the angle, half the
length of the plate must be divided by the focus of the lens ; the
nearest natural tangent to the quotient should then be sought in the
table, and the arc opposite it, multiplied by two, will give the angle.
A B C. D. Pictare plane.
£ F. Horizontal line.
G. Centre of vision,
B H I. Base of cone of raja 60*.
By Mr. Haddon's rule :—
L. Centre of virion.
F M N. Base of cone of rays 60*.
H. Cgtiect station point, or focns.
O. Incorrect station point, or focns.
P K. Difference, inches e^SS abont.
Angle G K H =30', 30' x 3 ^
„ GPH=44. «x2 =
:60'
Error 28
The error is, the direction to take half the length of the plate. To
demonstrate this in a simple way, compare the procedure with that
of a draughtsman, who wishes to moke a drawing, in perspective, of
a room twelve feet wide by ten feet high, to scale of one inch to the
foot. In the diagram, E F is the horizontal line, which must be at the
height of the spectator's eye — say, four feet above the floor. Suppose
the centre of vision removed two feet to the left of the middle of the
horizon. Next describe a circle to represent the base of a cone of
rays including the picture plane A B C D, no more and no leas. Thia
88
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[February 10, 1893
is done hj taking the centre of vision G as centre, and the line to the
farthest corner as radius. It is a rule in perspective that the line of
ilirection shall be at right angles with the horizontal line, and ter-
minate in the centre of vision. Assume the cone of rays to include
60*. The base of this cone is the circle B H I. The draughtsman
eouH now determine the exact position of the spectator. From G,
at right angles with the horizontal line, draw Q K, the line of direc-
tion. By means of a protractor, connect H with K, so that the angle
G K H includes 30°. G K is now the principal ray of a cone of 60°,
and represents on the plan the distance of the spectator from the
pictare plane. This line is seventeen one-third inches long, very
nearly. As the picture formed by n rectilinear lens is in true per-
spective, and conforms to the same conditions, it can be said that a
12 X 10 plate, with the centre of vision removed two inches to the
Mt of the centre of the horizon, at a height of four inches, will include
«n angle of 60° at about seventeeen one-third inches focus.
Next work the problem by the method of the article in the
Almanac. Divide the horizontal line EF in half at L. With L
as centre and L F as radius, describe the circle F M N. From L at
right angles with F E, draw the line L O. With a protractor connect
F with L O at an angle of 30°. The circle F M N is then the base of
a cone of rays of 60°, and O is the station point. But the circle
FMN|does not include the whole picture, and the point O trans-
ferred to the line G K shows a minus distance of about 693 inches.
The photographer consequently would have used a lens of about
lOf inches instead of 17?, inches focus. Connect P with H and
measure the angle. It will be found that from this station point
nearly 88° have been included instead of 60°.
book on Pictorial Effect in Photography, also warns the reader against
the use of the centre of the picture as the centre of vision.
The worthlessness of the rule becomes more apparent when we
apply it to pictures of equal length, but different height.
Take the series 12 x 4, 12x6, 12 x 8, 12 x 10. The rule would give
all these different pictures as taken under the same angle, regardless
also of the fact that the centre of vision might be different in each
case, an assertion which is obviously incorrect. Take a twelve-inch
line at ten inches focus. With the centre of vision midway, the
angle included is 62°, but, removed four inches to the right or left, it
is reduced to less than .57°. A line of given length may, therefore,
include more or less angle, according to its position on the picture
Jilane, as may be proved by the scale produced. This scale is divided
ongitudinally and latitudinally into spaces representing inches.
From one corner, as centre, radii are drawn, representing the ninety
degrees of a quadrant. The numbers from right to left represent
inches focus, and those from top to bottom inches distance from centre
of vision to extreme limit of picture, or farthest corner of plate. By
means of this scale the angle of view, or focus of lens for a given
angle, may be found without calculation for any picture, which
method some photographers may prefer.
Having demonstrated the error in the rule, it will be seen the
following correction must be made. The rule to find the angle of
view should be : — Ascertain the position of the centre of vision ; from
this measure tlie distance to the farthest corner of the plate, and
divide it by the focus. Seek the nearest natural tangent to this
number in the table, and read oH the corresponding arc. Twice this
arc is the angle required.
THe nature of the error will be found in the assumption of a fixed
centre of vision, at the centre of the horizontal line, with the horizon
as diameter of the base of the cone of rays. In the example given,
the centre of vision was removed two inches to the left, therefore the
radius L F was from the wrong centre and much too short. Artists
rarely u.se the middle of the horizontal line as the centre of vision.
They prefer to avoid it, because the centre of a picture is its weakest
point This may be proved by examining the pictures in our gal-
leries, or, to come nearer home, consult the lecture before this Society
by the late Mr. Norman Macbeth, printed in Thb Bbitish JornNAL
»B Photogbaphy for January 6, 1888. Mr. H, P. Robinson, in his
To find the focus the rule should be : — Divide the angle we wish to
include by two, which will give the arc. Find the natural tangent
opposite this arc in the table; measure the distance between the
centre of vision and the farthest corner of the plate, and divide it by
the natural tangent found. The quotient is the focus.
One word of caution in conclusion. Should it be necessary to
photograph on a plate of given dimensions under a given angle, first
ascertain the length of the principal ray, and then select the lens
which will give the image at that focus. In most cases this will be
difficult, as the lens stock will rarely be found to include one which is
suitable. It is preferable to photograph the subject approximately to
February 10, 1893]
THE BRITISH JOUKNAL OF PHOTOOIUPHY.
89
size, UMng a plate of somewhat larj^er size, and a lens of rather shorter
focus, to allow for the necessary adjustment for objects in the fore-
nund. I'lace the camera in position to inchide the correct angle for
s and subject, and trim the print. 1'hilip Evbeitt. ,
THE HAND CAMERA. AND ITS USE IN PICTUKH MAKlSTG.*
EXPKKIENCES IN CatTLK STAbKIN.l.
Or the various kinds of work eminently suitable to the hand camera, I
may mention pictures composed of animals — covh, horses, sheep, and so
on.
U any here have had experience in trying to secure this class of picture,
we shall be at one when I say, to obtain a well-composed picture, with
the idea (if there is one) fully carried out, is a matter of difhculty when
working in the ordinary manner with tripod ; especially is it so it one is
ont alone. Cattle have, under such circumstances, a beattli/ desire to see
the picture on your ground glass for themselves.
My first experience in cattle stalking was my last for some years-
Being out on the prowl, seeking what I might devour, photographically, I
came across a fine herd of young bullocks in a field, and in my innocence
and usual good nature, undertook to immortalise them. Over the fence I
went, quickly got into position, and, everything in readiness, focussing
done, and dark slide ready for taking its place — but, what on earth had
happened ? Everything possessed of four legs was as fuzzy as fuzzy could
be, and over it all had to be done again, this time being more trouble-
some ;lthe vain things evidently each desiring to obtain a better position
for showing themselves off, and were constantly on the move to the front,
so much so, that I thought it desirable to go further away, and begin
over again. They unanimously agreed to the former part of my pro-
gramme, but disagreed in Into with the latter portion, and whether it was
they shrewdly guessed I was only a new beginner, and not likely to do
them justice or not I never knew, but one thing was certain, they had a
preference for my room rather than to my company ^and meant having
it, for it was simply from that point a question of going out, or being put
ont, of the field. I fancied the former, and they the latter.
I went, and how camera first, and then myself, got on the opposite aide
of the iron fence I never knew. There was a shortness of time about the
whole affair that was bewildering ; but this is certain, on looking round I
noticed several of these new-found friends offering their services through
the fence in a very energetic fashion. Photography and art were at a sad
discount for the rest of that day.
I was down in the same part of Yorkshire this last summer, and passing
the'same field, turned the tables on my old friends, and got one good
cattle picture and another of a more amusing character, when one was
trying to stimulate his memory with a good scratch, very likely having
heard of my last visit from his great-grandfather ; however, there was no
difficulty this time, everything was changed, and the operations over in a
■very few minutes.
Then, again, with sheep, no bother after getting stand, &o., ready, and
picture arranged and focussed, to find they have had enough of it and are
off. Now the other method is to decide on position, quietly walk to
within requked distance, just be ready, and when they are kind enough
to line up as you desue, off goes the shutter, and so do you ; everybody
pleased — they at your departure, and you at the medals already secured in
imagination, that is if you go in for such wicked deeds as trying for
medals.
The Pleasures of Hand-camkra Work.
Then, again, it is undoubtedly capable of being used with satisfaction
on the sea amongst the shipping, and along the shore for real picture-
making. Hardly any subject, whether storm effects, cliff studies, or, in
fact, anything you desire to deal with on the coast, comes amiss, when
nsing a good rapid plate and a lens such as I deaeiibed ; these and all the
odds-and-ends met with can just as well be done with the hand camera
as with one used on a tripod, with a heavy balance in its favour on score
of convenience in carriage and working. A goodly proportion of land-
Bcape work comes well within its scope, and, in fact, as I liave said before,
anjrthing requiring an exposure of not more than one second can be got
with certainty, and none of the trouble connected with the use of the
ordinary camera and its numerous accessories.
It would be possible to continue the list of advantages it possesses, and
ihe pleasures derived from its use, for a considerable time, but I do not
propose doing so, except to say it is a real godsend when ont skyinn, being
ready at the instant, and be the changes ever so rapid none need be
allowed to escape this friend ; and this is, as I hope to show you, one of
• CoBclnded from page 73.
the strongest aids to picture-making. If it was of no other nse than that
of getting sky negatives, it would be deserving of our careful attention; as
it is, you will find it a good friend and faithful servant if you first under-
stand it and use it properly and vitli care, not expecting the impossible,
or calling upon it to do that which in our present state of advancement is
within the province of the camera and tripod and protracted exposure.
Bi.iTK Sp>;ctacles a Useful Aid.
There is one small but useful aid in outdoor work.
You may often have found a scene that carried you away with its
beauty, and a plate or more having been carefully exposed and developed,
only to find the resulting negative bring disappointment and disgust.
Now this has been perhaps a scene full of variety and contrast, but
variety and contrast of colour, and this, when reduced to monochrome by
photography, has disappeared.
Here you will find a pair of blue spectacles of immense use by
giving you a better idea of how the scene is apart from its colour, and so
often save both your packet and temper ; they are also of use and com-
fort in watching a sky effect, with the sun glaring at you. Without them
you are quickly blinded, but with them on you can stare away at the
sun, moon, and stars without inconvenience, and so see just the effect
you are waiting for at the precise moment most suitable for your pur-
pose, and thus add one more good sky negative to yoar stock.
You will see a few slides kindly lent me by my friend Mr. Bright, of
the Camera Club, and I use them to show some of the varied kinds of
work to be done with a hand camera. After they have been shown I
shall be glad to answer any questions as far as possible, and still more
glad to hear the opinions and experiences of members who may have
devoted themselves to this branch. We have not at our disposal to-night
sufficient time to go into and deal fully with the matters more intimately
connected with the making of pictures- -composition, light and shade,
and so forth, but I hope to take up this subject again on some future
occasion, if you care to devote another night to it. W. Thomas.
ELECTKIC LiaHTING AS APPLIED TO PHOTOGE.APHY.
An example of the way in which the electric light can be adapted to
photographic purposes has recently been brought to our notice. The
mstallation was fixed for Messrs. Andre A Co., of Bushey, by Mr. Henry
J. Kogers, M.I.M.E., electrical engineer of Watford, and consists of an
Elwell Parker dynamo of 105 volts and 28 amperes, driving 1-2000 o.p.,
and 1-4000 c.p. Brockie-Pell Arc Lamps. The peculiarity of the installa-
tion is, however, in the methotf in which the arc lamps are arranged for
convenience in focussing the light on the " study." The lamps are hung
on brass rollers running on copper rails fixed in grooves in wooden
frames, the positive and negative cables being attached to the ends of
the copper rails, and the circuit being closed from one rail to the other
through the carrying wheels of the lamps. The lamps thus have a
travel of about six feet longitudinally without any movement of the
cables. The frames on which the lamps are suspended can also be
raised and lowered by shifting cotmter balance weights hanging from
cords passing over a series of pulleys, and, as the framework upon whioh
the lamps hang is also suspended on pulleys running on transverse tee
irons, the whole of the lighting apparatus can thus be moved on one side
out of the way of the operator. It will be seen from the above description
that the lamps can be moved vertically, longitudinally, or transversely ;
thus every requisite for successful photography has been attained in this
installation.
The dynamo is driven by a four h.p. Otto gas engine, witli two fly-
wheels, and there arc the usual resistance cottii, switch board, cut-outs,
and volt meter.
Mr. Rogers is about to fit up an incandescent installation on the
same circuit as the arc lamp circuit for lighting Messrs. Andre's
studios.
NOTES FROM SCOTLAND.
Photography .and School Boards.
The Edinburgh School Board, which has spared nothing in its desire to
render their new schools not only perfect so far as that can be done in
the internal arrangements for teaching and matters connected therewith,
but in external architectural effect, has erected several of the finest
examples of building in that city. They have further commissioned
Mr. Aytoun to photograph for exhibition at the Chicago World's
Fair exterior views of several of the schools, among them Jorphicen-
street and Sciennes (the latter name derived or corrupted from an old
Catholic foundation near its site, St. Mary di Sienna, circa 1200 to
to 1300 A.D.). There are also interior views in the latter of the workroom,
with boys at their joinery work, and girls amusing themselves in their
swimming dresses in and around the swimming bath attached to the
90
THE BRITISH JOURNAL OF PHOTOGKAPHi^.
[February 10, 1893
Bchool. There are also pen-and-ink drawings of the school furniture-
which is of a superior type, by the pupils. The fine bit of architecture
by Playfair, of the High School, has also, in spite of its difficult position,
been beautifully rendered in several views. These wiU form a part of the
Board's contribution to the Fair.
That rather conservative body, the Boyal Scottish Academy of Arts,
has not thought it beneath its dignity to borrow an idea, and from a
photographic source. It will be remembered by those who were privi-
leged to see it that the Exhibition of the Edinburgh Photographic
Society, 1890-91, was held in the galleries which the Academy is also allowed
to occupy, and that the hanging of the pictures and the draping of the
walls gave a very fine effect to the general show as a whole. The more
august body, the Boyal Academy, has this year in its annual Exhibition
departed from the usual maroon-coloured barn or auction-room style of
hanging. As one of the dailies puts it, "We have changes in the mode
of hanging, in the decorations, and in the arrangement of the galleries,"
and these are but a reflection of the good taste and example shown them
by the organizers of the Edinburgh Photographic Exhibition.
A New Depakture.
A proposal has been brought before the Edinburgh Photographic Society
to change its annual time of appointing Council and office-bearers from
the beginning of the session in November to its later meeting in June.
This seems so valuable a suggestion that we think it well worthy of con-
sideration by that wider body, that photographic public which associates
into societies with various designations extends all over this country, we
might say the world.
The Council and ofBce-bearers are elected at present in November, and,
as a third at least of these are ineligible for re-election, a continued and
desirable change of officials occurs annually, and before these new mem-
bers get into working order a large portion of the early part of each
working year is wasted ; they therefore propose that the appointments of
those officials should be the last work of the last meeting of the session
in June, thus leaving them the whole of the recess to arrange and mature
plans for the following year, and also to begin that in October instead of
November.
This seems to be one of the most sensible proposals we have seen for
the business working of photographic societies, which always make of the
summer and autumn months a holiday for outdoor work, rest, and recrea-
tion. The adoption of it need not disarrange the ordinary terms of the
beginning of the session, and of payment of subscriptions and other
matters of that nature, for, although it might be better were the two
periods simultaneous, yet they are by no means a necessity. As the
names of the officials of all such bodies are carefully registered in the
various almanacs, annuals, and year-books, those published at the
beginning of each year would be certain of being correctly posted up to
date.
We commend the idea to the consideration of those engaged in the
work of carrying on the business of such societies as one likely to
be of considerable help to them in their sometimes arduous duties.
Determination of Measurements by Photooeaphic Means.
In a contemporary an anecdote is related as to the origin of the mode
of doing this, and as it seems newly imported, and " Made in Germany,"
it may be as well to scotch it at once. It is, shortly, that Dr. Stolze says,
in a recent number of Photoriraphische NachricJitcn, Dr., or Mr.
Meydenbauer, architect, conceived the idea in the summer of 1862, during
the restoration of Wetzlar Cathedral, and told him of it at that date.
All the world knows that this had been done long before that, and by
nobody more exactly or perfectly than by Charles Piazzi Smith, then
Professor and Astronomer Koyal for Scotland, in his memorable work at,
in, and on the Great Pyramid of Gizeh. Previous to that date, also, the
present writer was employed by Mr. David Kinnear, architect, inven-
tor of the Kinnear camera, and an accomplished photographer, to
photograph to scale, and with measuring rods set in various parts, the
Free Church (St. George's) of the late Rev. Dr. Candlish, preparatory to
its removal and reconstruction, on an improved design, in Stockbridge,
Edinburgh, a mile away from its then site, and where it now stands, an
ornament to the locality. Nothing was thought of it more than an
ordinary bit of work.
AN EXHIBITION OF NEGATIVES.
The Birmingham Photographic Society had a very instructive and in-
teresting meeting on the evening of Tuesday, the 31st ult., when a
non-competitive Exhibition of members' negatives was held. The object of
the Exhibition was to place before the general members, and especially
the beginners among them, a standard of good work, and it is gratifying
to report that, so far as the quality of the work on view is concerned, the
Exhibition was eminently a success. Upwards of 100 negatives were
shown, the work of sixteen members, and these were displayed to the
best advantage on racks running down each side of a long table, a row of
lamps being placed down the centre, and the light diffused by the inter-
vention of tissue paper. It wonld be no exaggeration to say that there was
not a second-rate negative amongst them, but the exhibits of Messrs. E.
C. Middleton, E. H. Jaques, J. T. Mousley, J. H. Pickard, WUliam Kooke,
and E. Underwood called forth unstinted admiration. Mr. W. _S. Horton
also had on view a very fine series of collodion negatives, copies of cele-
brated pictures, taken many years ago, which were much admired.
Altogether the Society has just cause to congratulate itself upon the
success of the Exhibition and the good to the general members which
will undoubtedly accrue from it.
■ AMMONIUM PICBATE FOE PREVENTING HALATION.
Before the Photographic Society of Japan on December 2, Messrs.
W. K. Burton and K. Arito showed the results of a set of experiments
with plates stained with picric acid neutralised with ammonia (presumably
really picrate of ammonium) to prevent halation. Mr. Burton had,
some years ago, tried the effect of staining films with various dyes to pre-
vent halation, but had not been very successful. As a rule, if halation
were prevented, the plate was very much slowed, or there was great
difficulty in getting density. With picric acid this was not so. The
sensitiveness was somewhat reduced, but not much ; whilst, so far as
density was concerned, the difficulty had, up to the present, been that too
great density had been got in every case. The picrate did not seem so
much actually to slow the plate as to act as a retarder in development.
This necessitated a developer strong in alkali, and, even with very small
proportions of pyro, or of eikonogen, the density came up too great
Doubtless further experiments would lead to the discovery of a remedy.
The next were to be made with plates coated with emulsion with which
picric acid (or picrate of ammonium) had been mixed. Both halation
and solarisation were completely prevented.
Several hundred lantern slides were shown on the screen, and it was
decided to hold a lantern evening in Yokohama at an early date.
CLEVELAND CAMEEA CLUB EXHIBITION.
The first conversazione and exhibition in connexion with this Club was
held last week in the Co-operative Hall, Middlesbrough, when some very
pretty sets of photographs were exhibited both by amateurs and pro-
fessionals. The judging was in the hands of Mr. Frank M. Sutcliffe, and
his awards were as follows :— Set of six pictures : 1st prize (silver medal).
Dr. Stainthorpe, Saltburn ; 2nd prize (bronze medal), Mr. Jobling, Yarm.
Single picture : 1st prize (silver medal), Dr. Stainthorpe, Saltburn; 2nd
prize (bronze medal), Philip Bulmer, Chester-le-Street. Lantern slides :
1st prize (silver medal), Mr. Taverner, London ; 2nd prize (bronze medal),
Mr. J. W. Huggins, Hexham. The Mayor (Mr. C. Lowthian Bell) opened
the exhibition, and a very large and exceptionally fine collection of
lantern slides were exhibited by means of the limelight under the
management of Dr. Stainthorpe.
©ur Biritotial STaftlr.
A Catalogue of Stekeoscopic Views.
We have received the catalogue of stereoscopic views issued by
Messrs. Underwood & Underwood, of Liverpool, Chicago, &c. It
contains particulars, with numerous illustrations, of many thousands
of stereoscopic views of the chief places of interest on the habitable
globe, together with, in many cases, e,xplanatory notes. To lovers of
the stereoscope unable to obtain views ( f distant places this catalogue
affords the means of gratifying the most variegated tastes in stereo-
scopic views, and is besides admirably got up and printed.
Political Calendab.
The Meiscnbach Company have sent us a specimen of their improved
process of photo-engraving in the form of a Calendar for 1893. The
subject, entitled Queen of Flowers, has been engraved from the
coloured supplement to the Lady's Pictorial Christmas number, a
picture of twenty-one printings, and is a charming and delicate
example of monochrome reproduction from paintings and colour work
by their " special orthochromatic process." The border consists of
over 600 portraits of the members of the present Parliament, and,
notwithstanding the minute size of the portraits, each is distinct and
clear, and can be at once recognised by those acquainted with the
original. The fineness of detail is remarkable, and we agree with the
Company that it is questionable whether it would be possible to pro-
duce a type printing block giving equal results by any other known
method of engraving. We esteem the Calendar as a unique speci-
men of process engraving, and both as regards the quality of the
reproductions, large and small, and of the successful preservation of
the enormous number of likenesses included, we congratulate the
Company on a most admirable piece of process work.
February 10, 1?93]
THE BKITISH JOURNAL OF rilOTOORAPIlY.
01
Aidr-M^;moibk PnATiQra dk I'hotobraphis.
By Albert Londe. Paris : J. B. BallK-ro ot I'iU.
Thr excellence and variety of M. I^onde's desultory photograpliic
writingrs, as well as his official pliotographic position at the I'aris
SalpOtriere, is suflicient guarantee that any -work on photography
from his pen is sure to be distinguished by carefulness of execution.
The handbook under notice treats both theoretically and practically
f mwt branches of modem photography, and is profusely illustrated.
A chapter devoted to colour-photography includes a detailed de-
scription of M. Lippmann's experiments.
» ♦ I
KECENT PATENTS,
APPLICATIONS FOR PATENTrs.
Xo. 1972.— "The 'Biunio' Photographic Leus." .'. li. Nkwman.— Dato2
Junuari/ 30, 1893.
No. 1991. — "An Improvement in Photographic Lenses, also applicable to
Jlicroscope and Lantern Objectives." H. D. T\YWB.—/>cited January 30,
1893.
No. 2035.— "Improvements in Photographic Cameras." J. G. Goosey. —
Dutcd Janiutri/ 30, 1893.
No. 2202. — " Improvements in Photographic Printing by Electric Light and
in Apparatus therefor." J. E. A. Gwvnne. — Dated Fehrvarij 1, 1893.
No. 2226. — "An Ini)irovement in Photographic Ciniera.s." G. E. Ali.ely,
A. E. Allely, and T. E. Asroy.— Dated Febnuiry 1, 1893.
No. 2288. — "Improvements in Photographic Caiiier.as and in Apparatus
connected therewith, t'. D. McKeli.en. — Dated Febriiayij v., 1893.
No. 2328. — "Improvements in Photographic Studio Acces.«ories." 11. L.
Morel. — Dated February 2, 1893.
SPECIFICATIONS PUBLISHED.
1891.
'Photographic Apparatus." Sleduk.
" Magic Lantern Slide-carrier." Reed.
1892.
" Magic Lantern Slides." Masoh.
" Photographic Cameras." GoTz.
" Printing Photographic Plates." HiN&s.
— " Pliotographic Dish." Ratnbr.
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No.
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No.
4668.-
No.
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No.
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No.
22,63.3.-
ilteettngd of Siotttiit^.
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MEETINGS OF SOCIETIES FOR NEXT WEEK.
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Name of Society.
Camera Clnb ,
Darlington
Dnndee Amateur
Lantern Society
Norfolii and Norwich
North Middlesex
Putney
Richmond
Birmingham Photo. Society .
Derby
Great Britain
Hackney
Manchester Amateur
Newcastle-on-Tyne&N.Counties
Paisley
Rochester
Stockton
Brechin
Bnry
Leytonfctone
Manchester Camera Olnb
Pbotographio Club
Soutbport
Southsea
Birmingham Photo. Society
Camera Club
Glossop Dale
Greenock
Hull
London and FroTincial
Oldham
Oxford Photo. Society
Cardiff
Croydon Microscopical
Holboru
LeamiuGfton
Maidstone
HuU
Place of Meeting.
Charing Cros.'i-road, W.C.
Trevelyau Hotel, Darlington.
Asso. Studio, Nethergate, Dundee.
20, Hiinovorsquare.
Bell Hotol. Norwich,
Jubilee Hou.'ie, Homsey-road, N.
Boyi**(ryiiiiiasinm,Charlwood-road.
Greyhound Hotel.
Club Room. Colonnado Hotel.
Smith'H Ri'staarant, Victoria-sl.
SO, Great Russell-st. Bloomsbury.
206, Mare-street, Hackney.
Lecture Hall, Athcnajum.
Contnal Exchaufje Art Gallery.
9, Gauze-»treet, Paisley.
Mathematical School, Rochester.
Mason's Court, Hi<?b-street.
14, St. Mary-Rtreot, Brechin.
Club Rooms, lo. Aff:ir-street, Bury.
The Aa»C"ibly Rooms, Hish-road.
TictorLv Hotel, Manchester.
Anderton's Hotol, Fleet.8treet,K.C.
The Stndio, 15, Cambridge-arcade.
3, Kiiig's-road, Southsea
Club Room. Colonnade Hotel.
Charing Cross-road, W.C.
Mn-scum, Kelly-street, Greenock.
71, Prospect-street, HuU.
Champion Hotel, 15, Aldersgatc-flt.
The Lyceum, Union-st., Oldham.
Society'.. Uoom.s, 136, High-.itreet.
Public Hall.Oeorg&fltreet, Croydon
Trinity Church Room, Morton.st.
" The Palace." Maidstone.
71. P^OMpe^.•t-^l^^•et. Hull.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATBON.
FEsnuARY 2,— .Mr. G. W. Atkins in the chair.
Messr.s. Robert Debenhani, G. D. Sargent, and L. N. Tyndall wore elected
members.
PRnrmto-ocT Opau.
Mr. A. Haddon said he bad tried the ojials recently sent for dlstrihiitinn by
the Paget Company, and liad obtained most lieantiful positives. There wa« one
ailvantage in the ii»e of the smooth surface over the matt-surface kind, in that
with the former one would obtain a gradation in the shadows which most
jirobahly wotdd be lost in the matt surface, on which, as compared with the
gla/ed, the half-tones would .suffer to a certain extent. He would most
certainly select the smooth surface in jirefercnce to the matt.
" Haddon'h Reducek."
Mr. F. A. Bridge said that, at the meeting of the Pliotographic Club on the
previous evening, Mr. H. W. Sanfonl showed a print on gelatino-chloridc
paper wliich liad been over-printed, toned, and fixed. Being found too deep,
it was reduced by Mr. Hadilon's reducer (potassium ferridcyanide and
ammonium Huljihocyanide), the image entirely disappearing. The paper was
then washed and an amidol developer applied, with the result that a beautiful
warm-toned print was obtained.
Mr. Uaddon said it wa.s well known that sulphocyanide would dissolve the
silver salts, and that the ferridcyanide would attack the metallic silver.
Mr. J. S. Teape had once toned with uranium until the image had dis-
appeared, but it redeveloped perfectly.
Mr. Haddon said that ])0ssibly the bromide in the developing solution con-
verted the deposit into silver bromide, when development would be carried on,
reiluction most probably having taken jilace in the presence of light.
Mr. W. E. Debknhasi said that possibly such a proportion of the constituents
of the reducing solution was used as not .absolutely to dissolve the image, there
being, perhap.s, not quite enough sulphocyanide jiresent.
The Late Mr. Wii.ua.\i Bedford.
Mr. W. F. Slater presented the Association wilh a portrait (handsomely
framed) of the late Mr. Bedford, as presented with this Journal of January 27
last.
Albo-carbon in Paraffin.
Mr. J. E. Smith asked for information as regards albo-carbon in parafTin.
Did it aid the illumination, or would it cause an explosion ?
Mr. It. Child Bayley bad tried albo-carbon, and could not get it to dissolve
in paraflin.
Mr. Haddon said that oamiihor was often recommended and used. It
required the use of a much longer chimney to consume the carbon, otherwise it
would be smoky. There was no fear of an explosion.
Mr. Charles H. Oakden said that albo-carbon was slightly soluble in
paraffin. It was formerly recommended for microscopic lamps, but its use
had been abandoned. There were two or three qualities on the market.
Mr. T. BoLA.H said it was difficult to see any possible danger by the nse of
albo-carbon, but, as Mr. Haddon had observed, a somewhat better draught
would be required.
In reply to Mr.^Smitb, Mr. Haddon, remarked that heating the oil was to
court an explosion or conflagration. There was no danger, provided the
reservoir of oil was properly filled. They only had exjdosious if the reservoir
were partly filled and oxygen from the air eutered to form an explosive
mixture.
Calculation of the Angle ok View.
Mr. P. EvERilT read a paper on this subject (see page 87), at the conclusion
of which
Mr. Haddon said he had been accused of having attempted to deceive
the 20,000 readers of The British Journal Photographic Almanac for
1893, and for having given a rule which was utterly absurd. He had given
that rule in order to remove the ciuubrous methods adopted by some to obtain
tlie angle of view on a given size plate with a lens of given focus. He had not
invented the term "angle of view" as given by him in his Almanac article;
it had a quarter of a centurj's authority. He was not an artist, and knew
little or nothing of perspective, and he was perfectly sure that the first gentle-
man who used the term "angle of view" in the sense it had been nsed for
twenty-five years w,is not an artist or teacher of perspective, but rather an
optician or mathematician. In ninety-nine cases out of a hundred, pictures
were taken with the axis of the lens very nearly opposite the centre of the
plate, and the angle was calculated between two extreme rays drawn from the
sides of the plate. It was absurd to give a picture a fictitious value on account
of a few trees, or twigs, or rocks at a corner, and so dignify it with an angle of
52^, instead of, say, 4"2°. His article did not claim he to a method for calcu-
lating the maximum angle of view, but of that included on the base line of the
plate. Mr. Everitt himself had to some extent adopted the same rule, as he
had drawn his line from the extreme corner of the plate, but had calculated
from a position at the side opposite to which the axis of the lens pointed. He
did not see why the angle obliquely to that position should be taken. He
would like to refer Mr. Everitt to some slides shown at a lantern evening, and
ask him if their pictorial ettect would have suffered by the corners being loppeil
off. He (Mr. Haddon) would answer. Not in the least. In a seascape there
was a large amount of sky, but should that be dignified with an increased
5° or 10° because it had so much blank paper? When one admired a view, one
did not look from corner to comer, but horizontally, and that gave the angle
of view included. He had not used the term dift'erently from what it had been
used for twenty-five years. Having quoted Hardwicli & Dawson, Moncklioven,
Grubb, the Editor of The British Journal Photooravhic Almanac for 1888,
Mr. J. Traill Taylor (the author of the Optics of Photography and Photo-
graphic Lenses), and Dr. Clarence E. Woodman as giving practically the same
method of ascertaining the angle of view, Mr. Had<lou asked, Wa-s that rule,
from a mathematical point of view, correct or incorrect, or had he given a rule
which was, mathematically, nonsense ? Was it true that one got the tangent
of tlie angle by dividing the base line of the plate '. He diil not think he nad
gone wrong as regards that. The term angle of view liad had a new meiining
given to it that evening which, up to the present, in photography had never
been accepted, or, if accepted by some, ho (Mr. Haddon) had decidedly never
seen it in print. It was a question for the meeting whether in the future they
were to throw overboard the old method or a(lopt the mode suggested by Mr.
Everitt.
92
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[February 10, 1893
Mr. Debenham said the great use of tables was to know whether with a
certain lens one could do certain work. As to the base line of the picture, they
would get the angle only for the base ; but, in so far as it was desirable to know
what a lens would do, it was necessary to go to the corners, and if we wished
to have our comers we must measure for them. With regard to the actual
angle included, he supposed Mr. Everitt meant the angle necessary to have in
the plate ?
Mr. EVEBITT replied that the angle which the lens of seventeen inches focus,
as given in the diagram, should subtend, in order to take so much of the
picture as indicated, should be 60°.
Mr. Debenh.\>[ said that was a mistake. It was desirable that the ]plane of
the field should lie in the focus, but all that was necessary was that the angle
should be the jiart of the circle covered. He thought Mr. Haddon's table
required correction to the extent that "base" was understood where they must
reckon half the diagonal of the plate. It was not necessary that the axis of the
lens should be directed to the line of vision. In using a wide-angle lens, the
axis should be at right angles to the plate, so that the plane of definition
should be in the same plane as the plane of the plate.
Mr. EvEHiTT a.sked Mr. Debenham if he would take such a picture as he had
drawn in the diagram with a shorter-focus lens than seventeen inches, and
obtain an angle of 60" ?
Mr. Debenham said that a lens of 30° angle was not required. He would
get the same perspective with a lens placed at the same place with less than
60°, angle included. An angle of 48° degrees would do.
After further discussion,
Mr. Teape remarked that Mr. Debenham liad said that it was not necessary
to have a lens that wouM cover more than the part of the circle included by
the angle, but he (Mr. Teape) thought that, if the sliding front were used, it was
necessary for a lens to cover more.
Mr. Debenham agreed that one must have a lens which would cover from
opposite the centre of the sliding front to the side of the plate. That was
desirable for including the amoimt of picture, but not necessary.
Mr. Teape said that a mistake was made in saying angle of view when we
wished to know the angle of view; the term sliould be "extreme" or
"maximum angle of view." As a matter of fact, every portion of a picture
was viewed under a different angle.
Jn replying to Mr. Haddon, Mr. Everitt said that gentleman had quoted
certain authorities on liis side of the question, and triumphantly said that for
twenty-tive years his rule had stood, and now photographers were confronted
with a new one. Tlie art of perspective was considerably older than twenty-
five years. If those gentlemen who devoted their attention exclusively to
books wished to include the largest angle with a lens of a certain description
and gave rules, he (Mr. Everitt) could quite understand that they would value
the method of Mr. Haddon, and naturally would transfer that method to the
calculation of an angle on a plate without noticing that the corners were not
covered. Mr. Haddon had tried to minimise the difference in angle made by
the sky, or trees, or twigs in the corners of a picture ; but, if such were of no
consequence, why not confine your angle to the object of interest, and trim the
print down ', By Mr. Haddon's rule there was an error of 28° in the
angle and of about 33^', per cent, ia the focus of the lens, according to the
example he (Mr. Everitt) had shown. Photography had recently been putting
forth claims to be recognised as one of the graphic arts, and they should there-
fore adopt the parlance of draughtsmen and artists.
Harring:ay Photographic Society.— February 2, The President, Mr. D.
Towers, gave a demonstration of Bromide Mnlargiiig, Mr. F. Bennett
occupied the chair. — The demonstrator used a restrained ferrous - oxalate
developer, with Morgan & Kidd's paper, the result being a perfect enlargement.
Three new members were elected, and the Secretary read the re<iuest for
afliliation from the Photographic Society of Great Britain.
Hackney Photographic Society.— January 31, Mr. (i. J. Avent in the
chair. — The Hon. Secretary passed round an arrangement for fixing on any
ordinary gas jet for use with limelight. It prevented the tube buckling, and
was readily applied. From the question box: 1: "Do the fumes of
ammonia cause permanent irritation to the mucous membrane of tlie throat,
eyes, and nose ?" Mr. Debenham said in olden days he had used strong,
large quantities of it, not in connexion with photography, and he had had
chronic pharyngitis through it, but with the small quantities and weak solu-
tions used in photography he did not think there was much danger. Mr.
NuNN said he had been troubled «nvith a sore-throat, which his doctor
attributed to the use of ammonia. Mr. Gear said he had killed a inwise
with it in two or three .seconds. Question 2: "What is the efl'ect of a
sample of hy]JO on prints after toning?" It was said that a liad sample
would probably be acid, and set free sulphur, which ammonia would correct.
Question 3 : " Which is the better light for reproducing a faded iihoto-
graph- artificial or daylight?" Mr. Debenham said if the half-tones had
faded daylight would be the best ; lamplight would add yellow all over
and defeat its own end. He had used a violet-blue light to increase the
non-orthochromatic effect where the faded half-tones were yellow. Mr.
Debenham then proceeded to give his demonstration on Transparencies
by the Carbon Process. The first thing to do is to get the tissue,
which is coated with gelatine mixed with a pigment, unsensitised ; sensitise
before using with one ounce of bichromate of potash to one quart of
water, with or without ammonia, preferably without. The gelatine and
bichromate acted on by light jiioduce an insoluble substance, which does not
swell in water. The pigmented film must be developed from the back, other-
wise it would wash oft' the paper, unless for transferring ; then apply a new
support, cemented by indianibber varnish to film, and wash away the first
paper. The lecturer preferred red-chalk tissue. Colours were various, and
by subsequent treatment different ones could be obtained. In drying, gla.ss
w_as perhaps better, at any rate would keep better, as there was less chance
of bichromate remaining, and less chance of distortion. It was very slightly
sensitive wliilst wet, may be dried some distance from the fire, edges nmst be
covereil during printing, and a photometer was necessary to gauge it. He
showed one lie had had with about three dozen pliotographs on it.
Kca-chalk tissue may be toned and iuteositied by staining the gelatine
with ordinary ink or other dyes. Mr. Debenham preferred permanganate
of potash (ten grains to one ounce). Transparencies were then made and
handed round. Mr. Gear had used transparency tissue, and preferred it to the
red chalk. He preferred ordinary bromide plates to oarbon, and thought that
with the latter there was a slight blurring. Mr. Beckett said he thought thi»
was hiirdly correct, as the Woodb^rry lantern plates were most admired of any.
Mr. Gear said he cleaned his glasse^) with nitric acid and washed them before
talcing. Mr. Debenham said the talc must be thoroughly rubbed in, and if
they were jiroperly talced over, the pores, so to speak, of the glass would fill
up and remain so.
Leytonstone Camera Club.— February 2, Mr. A. K Bailey in the chair.—
Mr. L. E. Morgan, from Messrs. Fuerst Bros. , gave a demonstration on the
uses of tlie new developing ag<;nt amidol. Having previously exposed a plate,
he developed same most successfally with amidol, giving every advantage with
half-tone and density possessed with pyro, but without the stain. Bromide
paper and lantern plates were next dealt with, and all with a one-solution
developer, and with the same success ; after which Mr. Morgan was deluged
with inquiries, to all of which a most lucid explanation was given. It was the
general opinion of the members present that amidol has a great future before it.
Leeds Photographic Society.— February 2, Mr. Warburton in the chair.—
Mr. T. Ulingworth, of Halifax, gave a demonstration on development. In the
first place, he advised amateurs to fight shy of rapid plates, and stated that he
found ordinary plates serve him for almost all purposes. He developed several
"Barnet" ordinary plates v;itl; Mawson & Swan's pyro-ammonia formula;
plates exposed in the studio — one five -seconds and one fifteen seconds — he used
12 drachms pyro solution, 8 drachms ammonia solution ; three minutes to
develop. One twenty and another thirty seconds, 12 drachms pyro solution
and 6 drachms ammonia solution; seven minutes to develop. One forty,
another sixty seconds, 16 drachms pyro .solution and 6 drachms ammonia
solution ; fifteen ininutes to develop. He then made a transparency, same
plate, forty seconds exposure, five feet from ordinary gas-burner, developed
with 12 drachms pyro solution, 8 drachms ammonia solution, all of which
proved complete successes.
Lewes Fbotegrapbio Society.— February 2. — Dr. Collins gave a lecture on
his visit to tlie north of Scotland, illustrating it with a number of lantern
slides of the Island of Hnndeii and neighbourhood, showing the rocks covered
with innumerable sea-birds which come here to breed.
Liverpool Amateur Photographic AsBooiation.— February 2, a lecture
and practical demonstration by Mr. R M. Tunstall on Lantern Slide-making.
— All points of a nature likely to lead to failure were fully explained, including
suggestions as to the best negatives, e.'iposure, and development. The lecturer
strongly urged that the developer recommended by the maker should be used ;
he, however, preferred hydroqiiinone as the simplest, and as a good all-round
worker. After several exaniple plates had been treated, at the suggestion of
Mr. Tunstall, Mr. G. A. Cairuthers was asked to show the members his
method of making slides by reducf ioii by artificial light. This was done in a
Pearson & Denham's reducing camera by an exposure of six inches of
magnesium ribbon burnt behind tlie negative (a 5 x 4 film), with a sheet of
ground glass between the negative ami the light, and by moving the magnesium
ribbon about while burning to ;nsnre even lighting, the result being a perfect
slide, with not the slightest sign of uneven lighting. A Mawson plate was
used, this, in the opinion of the lecturer, being one of the fastest and most
reliable plates for the experiment.
Dundee and East of Scotland Photographic Association.- February 2,
Mr. J. D. Ciix presiding. — A beautiful and interesting series of scientific
experiments with the lantern were shown by Mr. Peter Feathers. Mr. Feathers
demonstrated how the apparatus could be used for illustrating chemical and
physical plienomena, sucli as the decomposition of water and fef metallic
solutions by electrolysis, the refraction of light in a soap bubble, the action of
sound, waves, &c. Mr. Murray I'eathers followed with a lectnrette, entitled
A Holiday Trip io the Channel Islands. A splendid series of photographic
views of the Channel Islands were displayed on the screen. Mr. Feathers gave
a racy account of life in the Island^, and described in glowing terms their
pictures(|ue towns, delightful T'iiw] scenery, and the magnificence of the coast
scenery, with its towering cliffs and yawning chasms.
QIasgow Photographic AsBOCiation. — February 2, Mr. Wm. Lang, jun.,
F.C.S., President, in the chair. — Mr. John Stuart gave a demonstration of
jirinting in platinum and gelatino-chloride papers. Of both processes a large
series of prints were developed or toned, and finished ready for mounting. At
the close Mr. Stuart was thank-d for his demonstration, which was much
appreciated by those present.
Leith Amateur PhotograplLc Association— January 31, Annual Meeting,
Mr. Wm. M. Smith in tlie cli.'iir.— The Treasurer and Secretary read their
respective reports, the one as to the financial state, which was pronounced
satisfactory, the other gave a record of the work done during the past year,
which was also approved of. The following gentlemen were then appointed
for the ensuing year; — President: Mr. William Dougall. — Vice-President.-
Mr. William M. Smith.— Co«.ni:iZ .• Messrs. Guthrie, Ewart, Hunter, Chapman,
Dewar, ,las. Hisloji, H. W. Hislop, Dr. M'Creadie, J. Lamb. — Treasurer : Mr.
M. Campbell. — Secretary : Mr. Alexander Pitkeathly. The Secretary after-
wards intimated that in the recent National L;intern Slide Competition two of
their members had been successful exliibitors — Mr. Smith, who Lad been
awarded the silver medal ; and Mr. Guthrie, a former medallist, had received
honourable mention.
Photographic Society of Philadelphia. — January 11.— The jiaper for the
evening was read by I>r. John H. Janeway, U.S.A., his subject being S^nne
Tlwui/hts am the Chemicul Dirti.j"nent of Dry Plates. (See a' future number.)
Dr. Janeway remufked, in oonnexiou witli the reference in his paper to .sound
produced by the action of light, that )ie had noticed, while on duty on the western,
plains, sounds proceeding from telegraph wires — just after dawn and before sun-
rise—which he believed were due to the action of light rays. Mr. James WilsoS
sked if most of the fog referred to by Dr. Janeway was not caused by decom-
February 10, 1893]
THE BRITISH JOURNAL OF PHOTOORAl'lIY.
03
iiosition of the ]>yro or itiaterial used in development, ami whether, if fresh
developer hail been usmi at repeated intervals, instead of iidiling more alkali,
thLi log would have lieen pro<luceil. Dr. Jankway said that where freshly
prepared pyro developer had been addeil, instead of more alkali, fog had
ensued, lie did not think it wa« duo to decomposition. Pyro might cause
discolouration, but not fog, and discolouration could be remove<l. Mr. Earle
exhibited the "Perfection Magazine Klaah-lanip," lor buruiuK' pure magnesium.
The prominent feature of thislani]) was its adaptability for either instantaneous
nr time exposures. The lamp was constructed on the principle of the Argand
nrner, with the purpose of ensuring complete combustion. Mr. Rosenoaktkn
ipiired whether any member, in experimenting wish flashlight, had used
•wdered alununium. He had been given a formula the other day— a mixture
aluminium, chlorate of potash, unil some other highly oxidisiug substance.
\ jiarty in one of the Jounials claimed that it was <iuite as valuable in its
ji.iwer as magnesium, and not explosive in auy way. Professor .Sadtler stated
that he had used aluminium in the form of a very thin foil, and it burned with
lully 03 vivid actinic light as magnesium, but was a little slow in ignition.
Dr. Jankway suggested that the celluloid dilfuser sometimes used in flashlight
work couhl be protected from the daiger of ignition by coating it on both sides
with silicate of soda — liquid water ghiss. Piofessor SaDTI.Eh asked the Doctor
whether he got the preparation to ailhere uniformly. Dr. .Ia.veway said the
only requisite was to dilute it one-half and apply with a flat brush. It flowed
very readily and dried in a few moments. Mr. Earle thought the reason why
the celluloid took fire in Dr. .lanew.iy's aise was because of the dampness of the
magnesium jiowder, burning particles being blown against the screen, instead of
being consumed. The powder should always be dried before using. Mr.
LuoKRs asked if the moist breath blown into the lamp would not account for
the dampness of the magnesium. Mr. Earle said that it mi^ht.
FORTHCOMING EXHIBITIONS.
February 14 Durham City Camera Club. Hon. Secretary, R. Haux-
well. The Avenue, Durham.
„ 16-18 *Woolwich Polytechnic Photographic Society. Hon.
Secretary, W. Dawes, 145, Chesnut-road, Plumstead,
S.E.
,, 18 Holborn Camera Club. Hon. Secretary, F. J. Cobb
ICO High Holborn, E.C.
March I, 2 *Fillebrook Athen;eum Photographic Society. Hon.
Secretary, Joseph W. Spurgeou, 1 Drayton Villas,
Leytonstone, Essex.
„ 3,4 *Blackheath Camera Club. Hon. Secretary, C. W. Piper,
46, Shooter's Hill-road, Blackheath, S.E.
April 17-29 'Photographic Society of Philadelphia. Hon. Secretary,
R. S. Redfield, 1601, Callowhill-street, Philadelphia,
U.S.A.
M.ay "Forfarshire Photographic Association. Hon. Secretary,
W. J. Anckorn, West Port, Arbroath, N. R
* Signifies that there are open classes.
CorreiponienU sliould never virite on both »ides oj the pap^i*. Xo notice i» token
of commnnicatiom unXea the names and odireAie* of the writefi are gtcert.
ADJUSTING LIMELIGHT JETS.
To the Editor.
Sir, — 1 have never seen the following simple method of adjusting
limelight jets, in use or in print. Having found it effective, I send it
lor what it is worth.
The rod supporting the jet tubes has a screw cut on it and milled-edged
nnts above and below the socket.
To adjust the jet, loosen the top nut and screw the lower one np or
down as necessary, at the same time moving the jet to and fro till in
right position, then clamp with the upper nut.
I see jets advertised with endless thumb nuts to adjust, but never one
in which the lime can be set out of vertical, by which the light may often
ke improved. — I am, yours, &c., H. G. M. Conybeare.
Camera Club, Charing Crot.t-road, ICC, Fehnianj 1, 1893.
FLEXIBLE STEEL TUBING.
To the Editor.
Sir,— My excuse for troubling you with this letter is that the above-
mentioned tubing seems to be unknown to the majority of lanternists,
yet I think if they knew it they would be glad to discard the troublesome,
evil-smelling rubber tubing now in general use, especially those users
who, exhibiting in large rooms with blow- through jets, have to carefully
lead the rubber pipe from the gas jet to the lantern, and yet are always
in fear that some careless person may step on the tube and extinguish
the flame. The smaller bores ((fuite large enough for lanternists) can be
ooiled in a circle of eight-inch diameter, and require a pressure of tweuty-
aeven hundredweight to crush them. They arc perfectly gas-tight, and
free from any smell ; and, being galvanized internally and externally,
will not rust. Lastly, and not least, the price is considerably lower than
that of the best rabber. No serious objection can be raised as to the additional
weight, five-sixteenths weighing only two and a half ounces, and three-
eighths throe ounces per foot. Connexions are made with pieces of
rubber tubing two or three inches long, as usual. The comfort of
working the lantern without any fear ol kinks, or the doubling up of the
piping, is great. I say. Try it, and X don't think any one doing so will
give it up. — I am, yours, *c., Frask Haes.
28, Ilasietl-road, W., February 3, 1893.
[Mr, Haes, some weeks since, showed us a sample of the tubing in
question, which we should think an admirable substitute for rubber-
tubing'. —Ed.]
FINISHING GELATINO-CHLOBIDE PAPEBS.
To the Editor.
Sir, — There has been a diversity of advice given as to the finishing of
P.O.P. and kindred papers. I have often wished to finish P.O.?. by
burnishing as albumen would, but at first could not succeed at all. One
writer says, "Have the burnisher " (I refer to a bar instrument) " very
hot," but in this way I spoilt prints wholesale. After considerable ex-
periment, and when I had almost decided to get a roller enameller, I
discovered that if the burnisher was only heated to a degree that the hand
could hardly bear, the prints went through easily and with a splendid
finish. This may be useful to those who are still using bar burnishers. —
I am, yours, <fec., Othello.
THE PHOTOGBAPHIC SOCIETY'S EXHIBITION.
To the Editor.
Sir, — I cannot but express regret that Mr. Bobert E. M. Bain should
have any reason to complain of the treatment of his photographs at our
last exhibition. Immediately on reading Mr. Bain's statement that he-
received them roughly tied together with a piece of cord instead of in the
wooden case in which they were sent, I inquired of our agent concerning
tlie matter. He is emphatically certain that these exhibits were returned
in the box in which they were received. I can only suppose, therefore,
that the case was opened after leaving our agent and before arriving at
its destination. — I am, yours, cfec, Ciiapmak Jones, Hon. Secretary.
Photoijraphic Society of Great Britain, 50, Great Rnxiell-street,
Bhomsbiiry, London, W.C., February 4, 1893.
A DEVELOPER QUESTION.
To the Editor.
Sir, — The formula for a snap-shot developer that I gave in the
Almanac has, in my hands, proved a practical success, as the various
makes of plates that I developed with it have stood the quantity of
anhydrous sodium carbonate mentioned without fogging. — I am, yours,
&c., F. Mi.\i.L,
13, Slielgate-roail, Clapham Junction, S.U'., Feb. 4, 1893.
THE DUBLIN EXHIBITION.
To the Editor.
Sir, — In the report of the Exhibition of the I'hotographic Society of
Ireland, published in The British Journal of Photography of 27th ult.,
I find an error has appeared, by which Mr. John Stuart, of Glasgow (who
sent some admirable flashlight pictures), is also credited with the pro-
duction of the very fine portraits of Bishop Dowden and Professor Blackie,
while those works, as well as several other splendid photographs not
mentioned in the report, were very kindly sent by the eminent portraitist,
Mr. W. Crooke, of Edinburgh.
I trust you will kindly publish this communication, giving honour to
whom honour is due.
Thanking you on behalf of the Exhibition Committee in anticipation
of correction. — 1 am, yours, &o., Aj.kred Werner.
38 and 39, Gru/toti-street, Dublin, Feb. 4, 1893.
DETERMINATION OF PLATE SPEEDS.
To the Editor.
Sir, — Mr. Williams has favoured your readers with the results of some
comparative trials he has made with plates marked in accordance with
our system. As, however, his conclusions are arrived at by mere ocular
inspection, we trust Mr. Williams will pardon our saying that wo do not
attach any importance to them, nor do we believe that he could possibly
decide, by ocular inspection, that one plate had received ten per cent, more
or less exposure than another.
The eye is quite incapable of estimating such ditferences, and eren
when the difference is suUiciently marked, the eye is altogether unable to
assign to it any numerical value. Quite recently we showed prints from
two negatives, one of which received twice the exposure of tlie other, to
91
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[February 10, 1893
two practical photographers, and they were quite unable to decide which
print was from the more, and which from the less, exposed negative.
We, ourselves, advocate quantitative methods, and our object in writing
is to ask Mr. Williams to be good enough to send us the negatives to
which he has referred. We will then compare them by actual measure-
ment and report upon them in due course. — Yours, &c. ,
Appleton, Widnes, Feb. 6, 1893. F. Hurter & V. C. Driffield.
To the Editor.
Sir, — In your issues of January 27 and February 3 appear two article'
by Mr. G. F. Williams on the determination of plate speeds by the
method introduced by Messrs. Hurter & Driffield. It is clear that one of
the makes experimented upon must be of our manufacture ; we therefore
wish to say a few words on the subject. We do not consider that it is
our province to enter into any defence of the scientific aspects of Messrs.
Hurter & Driffield's method of speed determination, or whether the law
they lay down as to the action of light be correct or not — this we feel can
be better handled by them. Our object is to defend and assert the
practical reliability of the speed numbers which we affix on each box of
plates of our manufacture.
We sec by Mr. Williams's own statement that he has experimented with
five batches of one make, and with only one of another. Of the two
makes which he letters X and Z, the latter we take to be ours, for we have
never issued any plates over actinograph number 130. In the experi-
ments, our plate Z has never been tried against another plate of our make
of a different speed, thus the whole argument based on these series of
experiments falls to the ground as regards our speed numbering. Knowing
the value of the system from more than twelve months' daily working we
are most desirous of offering the utmost facility for its trial . We should
be pleased if Mr. Williams or any committee of experts would take the
matter up with us.
We invite Mr, Williams to favour us with a visit at Southgate and in
conjunction with our Mr. Cowan practically test the speed numbers. We
are inclined to believe that be may see good grounds for changing his
present opinions.
We may add, five English plate-makers, besides ourselves, one
American, and one Belgian, have purchased Messrs. Hurter & Driffield's
photometer for determining the speed of plates. — I am, yours, &c.,
22, Soho-sqimre, London, February 7, 1893. Marion ct Co.
To the Editor.
Sir, — I make it a rule not to be personal, so I will do my best not to
ruffle Mr. G. F. Williams's equanimity more than necessary.
I do not remember any particular flourish of trumpets with regard to
the Warnerke sensitometer, and from the first I think that most of the
dry-plate makers were aware of the difficulties attending its use ; but its
numbers were used simply for the want of eomething else ; instance the
fact that, to this very day, three of the most important dry-plate makers
print the Warnerke numbers on their labels. Quite apart from the
difficulty of getting two Warnerke screens exactly alike, sensitometers of
all kinds have failed for the want of that very knowledge of the laws of
photographic exposure which Messrs. Hurter ifc Driffield have tried so
hard to bring within the understanding of photographers generally ; and
also, for the same reason, camera-testing also fails, excepting under
favourable conditions, which are rarely understood.
Mr. Williams speaks of his love for instruments of precision, and
mentions those used in the science of electricity. Doubtless he knows of
the characteristic curves of dynamos. Will he say why photographic
exposures should not have their characteristic curves also ? Has he ever
used a Hurter & Driffield photometer, and will he venture to deny that
this beautiful instrument is one of precision ? May I inform Mr.
Williams that it would compare favourably with a great number of
electrical measuring instruments in general use ? I must not, however,
wander from the true point of discussion in Mr. Williams's article.
I venture to think that Mr. Williams has been a little hasty in speaking
of Messrs. Hurter & Driffield's classical labour of years as an utterly un-
reliable, new-fangled method. Abuse is no argument, and I also venture
to think that Mr. Williams will be sorry some day that he did not give
the Hurter & Driffield system a little actual investigation before writing
about it in the way he has done. He may take my word when I say that
this system is not going to be & fiasco in any sense of the word.
I ask Mr. Williams it he has any right to judge Messrs. Hurter & Drif-
field'a system by the interpretation of any dry-plate manufacturer ? Is
this fair? Has he ever actually investigated the Hurter & Driffield
system ? Has he the right to presume that, on his bare assertion, he is
going to sweep away the work of years of patient investigation ? Eeally,
Mr. Williams, I tliought better df you !
Not once does Mr. Williams speak of the relation of density to speed.
This point, the very essence — the soul— in fact, the all of the Hurter &
Driffield system, is completely ignored, or not noticed by him. Has he
really gone through the "investigations" he speaks so slightingly of ?
I can scarcely think so. It seems to me that Mr. Williams's notion of
the Hurter & Driffield system consists in the use of a candle for testing.
This does not constitute their system. In consists in reading sensitive-
ness through all the densities of the plate in the period of correct repre-
sentation, and does Mr. Williams think that he can read sensitiveness,
even in the camera, without the proper consideration of density ? And if
he does not think so, will he say how he values this consideration ? Here
we have the very pith of the matter, and yet there is not a word in the
article about it. Has Mr. Williams considered the true meaning of sen-
sitiveness ? Mr. Williams will agree that it is by the opacities in a nega-
tive, caused by exposure and development, that every one must in some
way give a value for sensitiveness. Will he tell us what precautions he
took against reading a mere development factor for sensitiveness ? Can
he distinguish under-development from under-exposure ? I question this
very much. I have tried experienced men on this point, and they fail,
but the Hurter & Driffield photometer would not fail to easily show the
difference. If Mr. Williams is prepared to deny that there is a period of
under-exposure, one of correct exposure, and one of over-exposure in any
given plate, perhaps he will state what he considers the true law of the
case. If, on the other hand, he is prepared to admit that these periods
exist, he has, in defence of bis testing, to say what provision he took to
distinguish them and give their proper value in the estimation of speed.
I say without hesitation that no comparative camera tests are worth a
straw, unless exposure and development be such as to produce identical
negatives in the correct period, and as this correct period varies con-
siderably in different makes and qualities of plates, camera-testing is
really rery difficult. Let me tell Mr. Williams that there are gentlemen
who make plate-testing by the camera a profession. Some little time
ago, I gave two of these gentlemen some plates of considerably different
sensitiveness for comparative testing. What was the result ? In one
case, 500 per cent, error, and in the other 400 per cent. Further camera
tests proved the error, whfen identical negatives were demanded. In the
case of plates having a relative sensitiveness of two to one, an error of 30
to 75 per cent, is easily made by camera-testing, owing to a widely
different developing factor under the same conditions being likely to
exist.
In ordinary portraiture, the photographer is kept in check by the
necessity of producing a negative of suitable printing quality and this is
where a rapid plate is properly estimated ; but let such a photographer
take to mere plate-testing, he immediately proceeds to do the very thing
he ought not to do, he does vjhat Mr. Williams tells us he did in getting
the most out of every plate. No regard is paid to comparative printing
quaUty, and therefore, as tiie true relation of density to speed is not
taken into account, camera-testing, under such conditions, is a mere
farce. Before the second chapter of Mr. Williams's article appeared, I
foretold what he would do, viz., that he would over-rate the slower
plates and underrate the quick ones, and this is just what he has done.
I now come to the candle question. It is manifest that, provided that
all makes of plates obey the same constant in the relative sensitiveness
to candle-light and daylight, it does not matter a fig what that constant
may be. Do plates obey that constant, generally speaking ? All that I
can say is this : that, after hundreds of tests, neither Messrs. Hurter &
Driffield, Mr. Alexander Cowan, nor myself are able to say that plates
vary in this respect. Even orthochromatic plates for ordinary landscape
work obey the same constant very well, though, of course, it is easy to
see that, under certain conditions of screen and light, such plates would
require a different constant.
There is, however, a grave charge against the standard candle. It is
not to be relied on as a standard, for its light ia variable to an unexpected
degree. I confess that, until I knew better, it misled me on two occasions
to the extent of twenty-five per cent. ; and, as I wish to be perfectly
honest in letting your readers know the truth, I may say that, to my
sorrow, the plates marked 135 and 140 were marked higher than they
should have been. This was well known to some of the dealers whom we
informed of the mistake, and, in justice to Mr. Driffield, I wish to say
that he was the first to call us to account. Such, however, was the
latitude in working that several people told us that the plates worked,
very well to the marked speeds, so that the error was not serious.
I am actively engaged on a better light for standard purposes, mean-
while we are working now to the same carefully standardised check-batch
as Messrs. Marion & Co., through tlie courtesy of their Mr. Cowan.
Un'til we get a reliable standard light, the only way is for makers to
combine in the use of a check-plate. I can assure your readers that for
all practical purposes they can rely on the speed numbers. This matter
has been thrashed out by so numy camera tests, that the few trials made
by Mr. Williams go for nothing in deciding the Hurter & Driffield.
Men who, by pure calculation, can, as I have seen, produce a transparency
which will entirely obliterate a negative into one even tint, know what
they are talking about. I have no doubt but that Mr. Williams would be
liorrified if he knew the errors in his own readings. If, as I gather from
his article, he has ignored deusity in relation to speed, his tests must be
entirely unreliable.
It is waste of time to argue the length of one's foot, when it can be
measured. Please, Mr. Williams, go and measure your negatives. — I am,
yours, &c., Jajies Cadktt.
Oreville Workt, Ashtead, Surrey, Feb. 8, 1893.
February 10, 1893]
THE BRITISH JOURNAL OF PHOTOGRA-PII Y.
OS
A CORRECTION.
To the Editor.
Sin, — In your report of the discussion wliich followed the reading by
Mr. Debenham of hia paper on I'hotniiraphintj Paintinga by Artificial
Light, before the London and Provincial Association, I am erroneously
reported to have recommended for isochromatic work a screen of a
itelUm-red tint, wheieas my remarks were directed to call attention to the
necessity of choosinR one of a pure yellow colour, because with a screen
of an unsuitable tint the time of exposure was likely to be unduly pro-
longed with a minimum of isochromatic effect. I shall be much obliged
by vour insertion of this correction. — X am, yours, Ac,
" February S, 1893. W. H. Barnes.
♦.
PHOTOGKAPHING AT THE CHICAGO EXHIBITION.
To the Editor.
Sir, — Yonr always valuable and welcome Jocrnai, came to hand, and
as you are always trying to keep your readers well posted, you should
add a P.S. to Mr. S. A. Crawford's letter (p. 78) to the effect that Mr.
Official Photographer, C. D. Arnold by name (very glad to take pictures,
Ac, against pay, Ac), does not even answer my inquiry to effect.
Personally I have written three times to him without being able to obtain
an answer, my first letter dating November 12 last. The above may
prove interesting to other parties who may be tempted to ask Mr.
C. D. A. for any reference or negatives.
By the way, Mr. Editor, what do you say to the American generosity
towards allowing photographers on the Exhibition grounds ? You were
at tiie time very hard against French meanness in 1889. Let me remind
you of the rules that existed then. Twenty francs, or 10»., for one day's
work, and no restriction to sizes or cameras — permission renewed if
weather unfavourable, or 300 francs {121.) for the whole time the
Exhibition was open. — I am, yours, &c., Albert Levy.
4, Avenue I'inel, Asnieres, Seine.
P.S. — Is there any practical and easy way to wash film negatives after
hypo, say, one dozen at a time, same as glass plates ?
ansstoew to ©orrespontitntg.
%* Alt matters interuled for {he text portion of this Journal, including
series and Exchanges, must he addressed to '' Thk Editor, The British
Journal of Photography," 2, i'ork-street, Covent Garden, London. In-
attention to this ensures delay.
%* Correspomlents are inforined that we cannot undertake to answer com-
munications through the post.
*,* Communications relating; to Advertisements and general business affairs
should be addressed to Messrs. Henry Greenwood & Co. , 2, York-street,
Covent Garden, London.
Seiks. — We shall probably be having such an article shortly.
F. E. G. — The most suitable colour for the curtain would be a dark grey.
Luke Healet. — Possibly one of the rapid types of lens would be the better
for "all-round work."
KiNNOUL Hill. — Your local gasfitter we should think could obtain an albo-
carbon burner for you. We do not know the cost.
Gordon Paterson. — The specimens are very good, and we should think by
their aid you would not have much difficulty in securing a jiosition as
improver.
Carpathian. — A seven-inch is, perhaps, abnormally long in the focus for hand-
camera work, but could be u.sed successfully if the near objects are not too
prominent.
Professor Sterbino. — Presses for the Woodbury process are, we fear, not
obtainable second-hand, but we will inquire. Thanks for your greetings ; we
reciprocate.
Harold Glasiek. — Messrs. J. J. Atkinson, Liverpool; Messrs. Holmes, Sadler.
& Holmes, of Manchester ; and, we believe, other dealers can supply you with
the Air-brush.
J. HiGHFlELi). — fnstructisn in all branches •f photography is given at the
Polytechnic School of Photography, .309, Regent-street, W., and the fees are
moderate. Write for particulars to Mr. E. Howard Farmer at that address.
Hadley. — The euryscope has a larger aperture than the rapid rectilinear lens.and
consequently works quicker. But it will not with its full opening cover so
large a field with the same definition, nor will it possess the same ' ' depth of
focus. "
W. A. T. — At pp. 790-2 of the Almanac you will find formul.-c for sensitising
albumenised paper, and for a liard negative varnish. Opalines may be
, obtained of most photographic dealere. Use gelatine or starch as the
mountant.
6. Phillips. — For the purposes of enlarging and reducing, the focal length of
the lens is less material than its power of covering the negative to be enlarged
or reduced. Either a single or doublet lens may be used — the latter by
preference — for both purposes. '
R, A. — Asphalt, such as that used for roadways, is not the kind nsed in photo-
graphy. The right kiml can be obtained at most photographic warehouses,
and, for certain, at llopkin k WiMi'ims', Cross-stri'et, Hatton Garden. It in
generally sold under the name of bitunjen, and not a-vphalt.
W. B. Hherk (Waterloo, Ontario). — Tlic Photographic Convention of the
United Kingdom for 1893 will be licld at Plymouth in the week commencing
July 3 next. Full inlormation can be obtained of the Hon. Secretary, Mr.
F. 1*. Cembrano, jun., 10, Cambridge-gardens, Kicbraond, London, S.W.
M. D. — For such subjects as your desire an objective of somewhat longer
focus will be best, say an inch and a half or two-inch power. The ordinary
stand will do quite well if used in the way shown in the sketch. Extra,
rapiil plates will not be necessary, unless with unusually opaque subjects.
Ali.kgro.— A studio built as described will answer very well, though we much
prefer, particularly for groups, one of the riclge roof or the " lean-to " form
—that is, with the vertical side-light and sloping roof. We do not know the
addresses of any professional photographers who are working studios of
the form referred to.
W. E. Bright. — We have never seen a case of injurious action of hydroquinone
on the skin. It is true that we have heard that it has a pernicious effect,
but that is all. However, in working, there is no reason why the solution
should come in contact with the skin if a little neatness and care be exercised
in the manipulations.
Studio asks : " Is a studio with only a side-light (eleven feet high and about
thirteen feet long) as useful and as eaady worked with a satisfactory result
with even lighting as the ordinary studio with top and side light?" — Y^es,
for single figures or studies, or groups of two or three ; but for general all-
round work the ordinary studio, with top and side light, is preferable.
Henry Jones writes : " Will you kindly inform me how I can obtain informa-
tion as to the composition of the mucikge placed on the back of postage
stamps V — The majority of the English and Colonial stamps are produced
by Messrs. De la Kue, Bunhill-rOw. They may possibly supply the desired
information if written to. We believe dextrine is the adhesive employed,
witii, perhaps, some additiou.
Alfred Jackson. — 1. Probably the spots are due to imperfect washing, and
the negatives not having been varnished with a sufficiently protective varnish.
2. A lens of two to four inches longer focus would be better for inch and a-
half heads than one of eight inches. 3. We have had no experience with
that particular brand of plates. We should adrise you to try the experiment
yourself with a couple of ]ilates.
Engineer says: "Could you tell nie if any large firms of engineers keep
photographers ? If so, must they understand engineering, and what branches
of engineering would they be required to know?" — We believe many
engineers employ their own photographers. Probably a thoroughly good
knowledge of practical photograjihy would be more useful than an acquaint-
ance with engineering, although the latter would be no disadvantage.
F. Mackenzie writes : " With a pair of lenses of portrait type, such as stereo-
graphic, is it necessary to retain the hood when they are being used, or can
they be use<l without it successfully ? If not, when using a Thornton-
Pickard shutter, could it (the hood) be dispensed with .' " — A Thomton-
Pickard shutter could be used with the hood, and for non-shutter work they
may or may not be dispensed with, according to the position of the sun.
E. E. T. says he has some sensitised opal plates that work very well up to the
time of washing, then they commence to frill. He says the washing i»
nearly, if not quite, completed before the trouble commences.— The remedy
we should suggest, as the trouble does not begin until the major portion of
the "hypo " is removed, is tliat before the frilling point is reached the plates
should be innuersed in a solution of alum, and the washing then com-
pleted.
S. Hardy. — Eikonogen, hydroquinone, and ferrous oxalate are all good
developing agents, but they do not suit some persons' working and their
taste so well as jiyrogallic .acid. With regard to amidol, the same may be
said. We produce good work with every one of them. Why not try them
all for yourself instead of being confused with other people's ideas < A little
experience is far more valuable than a great deal of " hear say " in practical
matters.
J. Hamilton asks : " Would you be so kind as to inform me the best method
of making enlargements on artists' stretched canvas for painting in oil .' I
do not want to take canvas off stretcher, if possible." — The most satisfactory
processes for producing photographs on canvas are the carbon and the
dustingon processes, as they yield permanent results. In either case it will
be necessary for convenience in working to take the canvas off the stretcher
and replace it when the photograph is finished.
R. Goddard says: "Would it not be an advantage and an improvement if
we liail tinted glass covers for lantern transparencies, say, shades of green,
blue, yellow, purple ? The eyes would theu aid the 'im.ogination. ' The
public are tired of the monotony of the cold, unpainted slide ; they want
warmer tones, and the various solutions offered for this puri)Ose are a very
doubtful success." — Such tinted glasses have long been articles of commerce,
although they are not used as cover glasses, but as supplementary glasses.
A. E. Nodes. — It is impos-^ible for us to give any opinion as to whether you
have or not received full value for tlie residues you sent to the refiners. Th»
weight of the residue is nothing to go by ; it is the amount of silver that it
contained that has to be considered. We have frequently described how
residues should be treated for sending to the refiner, and also for estimating
their value. Where these directions have been followed we have never heard
of any dissatisfaction with the returns when the waste has been sent to a
respectable refiner.
96
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[February 10, 1893
OTHELLOsays : " I have a cabinet portrait lens, no name, but apparently of I
French manufacture, which, use how I will, will not give a clear negative.
The camera used I have ascertained to be perfectly light-tight ; in short, it
■works all right with other len.«es ; but when this portrait objective is put in,
the image om the ground glass is misty and the negative slightly fogged, even
if under-exposed. I have tried screening from studio light, but with no
effect. Can you suggest the cause ?"— No. Send us the lens, and we will
endeavour to ascertain why it will not give a clear negative.
T. W. — 1. The lens with the medium focus will be the most useful for general
purposes. A wide-angle lens should never be employed except in cases of
necessity, such as when the amount of subject required cannot be obtained
with a longer-focus instrument. Wide-angle pictures are usually unpleasant
on account of their violent persjiective. 2. For copying purj'oses a camera
focussing from the back will be far more convenient than one focussing from
the front, as in the latter case the front conjugate focus is altered with every
movement, which makes accurate focussing extremely inconvenient.
Omega complaints that, a few moutlis ago, he engaged a canvasser for club
work. He says : " He offered to come and work the thing entirely on com-
mission. I agreed to this, and ]iaid him a much higher percentage than
■would have been the case had he had a weekly salary. He left abruptly last
week, and I do not know where he has gone. I now find that he has taken
several subscriptions, and not accounted for them. The police say it is not
a case for them. What can I do ?" — The only thing is to find the man and
sue him in the County Court — that is all. Had the man been paid a .salary,
however small, he would have been a servant, and could be prosecuted for
4mhez2leiuent.
Waterproof says : " I have a quantity of carte-de-vi'site mounts which are
waterproof, and I cannot get the prints to adhere to them with ordinarj'
mountants, such as starch and gelatine. After the prints are dry they peel
oft quite clean. Can you recommend a good mountant — one that will not
cause the prints to fade ? I can manage all right with thin glue, but am
afraid to use that." — If our con^spondent can succeed with thin glue he will
succeed equally well with thin gelatine, provided the gelatine be similar in
physical characteri.stics to the glue. Such a gelatine is Nelson's " No. 2
soluble," or Cox's soup gelatine. Both these gelatines may be accepted as
having no injurious action on the photograph. With common glue this is
not the case.
!<QC/ERO says ; " I have recently been much troubled from spotn (see enclosed
print), caused by dampness in the sensitised paper when in contact with the
negative during the process of printing. I notice some brands of paper are
much more given to this fault than others. Is there any known process
whereby I can remove these spots from tlie negatives, or are they entirely
spoilt for further use ? Any information will be thankfuliy received." —
Several methods have from time to time been suggested in the back .ToUBX.\i.
and the Almanac, though in some cases they have not proved altogetlier
successful. Some little time a<;o Mr. H. N. King, in our pages, announced
that he would restore any negative sent to him, gratuitously, to illustrate a
method he had devised. Better communicate with him.
-Stereo ■writes: "Can you tell me what should be the appearance of an
albumen transparency plate after sensitising? After reading Mr. Hodges'
description of the process, I have been trying to produce them, and, after
following out the instnictions which he gives in his Lanlcrn Slide Annual
most minutely, I have not been able to get more than the merest ghost of an
image, after considerable forcing and very prolonged development. The
exposure I gave was ample, and I am certain the fault is not there. My
plates, when ready for printing, are quite transparent, like clear glass.
Should this be so ? I notice the developer that Captain Abney gives for
practically the same plates contains fifteen times the amount of pyro that
Hodges' does." — The appearance of an albumen plate after sensitising is
opalescent, but much less so than a wet-collodion one. With the albumen
process there should be no difficulty in obtaining any degree of density.
The albumen process is a slow one, and it therefore requires a long exposure.
The development is also a slow operation. We now refer to the albumen
process such as that which has been frequently described in our columns
and in the Almanacs,
Messrs. Fueest Bros, inform us that they now sell metol as well as
amidol.
Photographic Club.— February 15, Hmne-inade Apparatus.
Lantern Meeting.
22, Monthly
Photoobaphic Society of Great Britain. —The Annual General Meeting
•will be held at the Society's rooms, at eight o'clock, on Tuesday, the 14th inst.
West London Photographic SoctETY. —February 14, A Paper on Art and
Plwtography, by Mr. A. Horsley Hinton, President of the Holbom Camera
•Club.
London and Provincial Photographic Association. — February 16,
Dem07iatration of the Air Brush, Mr. W. H. Harrison. 23, Annual Musical
and Lantern Entertainment, Mr. J. Traill Taylor in the chair.
North London Photographic Society. — The meetings for February and
March are :— February 21, Lantern Night. March 7, Photo-lithography, by
Mr. A. E. Smith, 14, Special Lantern Night in Eeading-room.
Messrs. 0. Sichel k Co. write us to say that, although they have opened
show-rorms at 47, Oxford-street, for the convenience of their customers, they
have not remove 1 from their old adSresi, 52, Bunhill-row, to which all com-
.mmucatious shoul 1, as hitherto, be addressed.
AmLiATio:? oj-,f hotooraphic Societies with the Photographic Society
OF Gbeat J{Rif*\iN.— The first of the lectures and demonstrations by Mr.
Denison on Photogravure will be held on Friday, the 17th inst., at Bloomsbury
Hall, Hart-street, Bloomsburj', W.C, at eight o'clock.
We have received from Mes.srs. Arthur Schwarz & Co. samples of Dr.
Andresen's diamidophenol. We shall take an early opportunity of testing its
developing power.
Tooting Camkba Club. — Next meeting, February 19, L.intem Night. It
has been decided to change the headquarters to Upper Tooting, and the tem-
poiary place of meeting for this night will be at the Bell Coflee Tavern, Upper
Tooting, when photographers re.siding in the district will be welcome.
Arhangements are in active progress for the holding of an important local
exhibition by the Croydon Camera Club, at the Braithwaite Hall during
Easter week, to be open during five days and evenings. Prospectuses will be
out during the current week. Applications for space for showing apparatus,
&c. , and for terms of advertisements in catalogues, should be made to the Hon.
Sec, G. K. White, 55, Albert-road, Croydon.
The Annual Exhibition of the Dunedin (N.Z. ) Pliotographic Society took
place in November last. The Society was joined this year, as last, by the
Nelson Camera Club, who sent a nice collection of pictures, cliietly in bromides
and platinotypes. The total number of exhibits was smaller than before, but
the quality of the pictures shown was higher. The plan tried of two societies
exhibiting together had been found to work well, not only in making a better
display, but also in creating a fraternal feeling between societies in different
parts of the colony.
Annual Dinner op the Photographic Society ok Great Britain,
Captain W. de W. Abney, C. B. , R. E. , F. R. S. , President, in the chair.— The Fifth
Annual Dinner of the Above Society will take place at the Cafe Royal, Regent-
street, on Monday, February 13, 1893, at half-past six. Tlie whole of the
Council, as far as possible, will attend, and ladies will be cordially welcome.
After dinner there will be music, songs, and recitations. Tickets 6s. each, for
which an early application is requested, may be obtained of Mr. W. England,
7, St. James's-square, Netting Hill, W.; Mr. Bayley, Assistant Secretary, 50,
Great Russell-street, W. C.
Wb learn from the " Foreign Notes " of a New York contemporary that the
Amateur Photographer has started a Lantern Supplement, and that The
British Journal of Photography, " not to Iw too far behind the times,"
also publishes a similar supplement. This comes of our transatlantic con-
temporary drawing liis inspiration from a tainted source. As a matter of
fact, the Sui^plement idea originated with this Journal three years since,
although we sufl'ered it to lie perdu until recently, and even then it was the
first to cany it into effect. Our New York friends must select an •' historian "
possessing, at least, a reasonable amount of historical honesty.
We are sorry to learn of the ileath of Mr. G. M. Whipple, Superintendent of
the Kew Observatory. The deceaseil gentleman had a distinguished scientific
career, and his connexion with the chief mateorological observatory in the
country dated from 1858. He had made important contributions to the study
of solar physics, the determination of wind force and velocity (a still only
partially solved problem), assisted in a series of pendulum experiments to
determine the force of the earth's gravity, and contributed to the Royal
Meteorological Society a large number of valuable papers on rainfall, cloud photo-
graphy, and kindred subjects. The m.agnetic part of the report of the Royal
Society on the Krakatoa Eruption and subsequent phenomena was written by
,Mr. Whipple. He was only fifty years of age.
The following are the Judges' awards at the exhibition of the Photographic
Society of India, held in Calcutta a few weeks ago. It ■will be observed that
many very well known pictures by English exliibitors secured recognition : —
Class 1, Landscape, Architecture, Interiors : Amateurs — Gold medal, Mr. T,
M. Browurigg, Evening, Denoenlicater. Silver niedals, Captain BuUen, R.E.,
Foot of Kedarnaeth Glacier, Gangutri ; Mr. J. E. Austin, Winter; Mr. Sub-
Conductor O'Neill, In the Timli Pass. Bronze medals, Mr. M. V. Portman,
Interior of an Edible Bird^ Nest Cave, Andamans ; Dr. F. Noetling, Freseoa
in a Pagoda at Pagan, Burma ; Mr. A. R. Dresser, Meeting of Conway and
Lledr Rivers: Miss M. Watson, Vallcnnhrosa, Tuscan}/. Professionals —
Viceroy's medal, Messrs. Johnston & Hoffman, Peaks N.E. of Simi'ilclm,
Silver medals, Mr. F. P. Cembrano, A River Fog; Mr. W. Bedford, Salhouse
Dike; The Autotype Company, Alpine View. Bronze medal, Shrinivas,
Madadeo & Son, Six Silver Prints, Class 2, Portraits and Groups : Amateur
— Silver Medal, Mr. C. B. Moore, Groups of Three Little "Nigs." Professionals
— Silver medal, Mr. R. Hotz, Group of Children. Bronze medals, Mr. W. W.
Winter, Blushing Sixteen; Messrs. F. Kapp & Co., Set of Window
Transparencies. Class 3, Genre Pictures and Studies : Amateurs— Silver
medals, Surgeon-Captain A. G. E. Newland, Life and Scenes on the Ch in Hills;
Mrs. S. Francis Clarke, "Aha.'" Bronze medal, Mr. S. Francis Cljirke, The
Seven Age* of Man. Professionals— Gold medal, Shapoor N. Bhedwar, ConM-
cration if a Parsee Priest. Silver medal, Mr. E. Scamell, Series of Londvn
Street Cries. Bronze medal, Mr. S. C. Sen, Xoon-day. Class 4, Photographs
of Objects of Motion : No awards. Class 6, Photo-Mechanical Processes :
Professionals — Gold medal, Mr. R. Paulussen, Pferdeinarkt. Bronze medals, the
Typographic Etching Company, Specimens of Photogravure ; Mr. W. L. CoUa,
Specimens of Photogravure.
OONTBNT8,
Page
tah;e of goodwill in puoto-
guaphic businesses 81
STEREO-MICROGR.VPHY.— II 82
A "WELL" developing DISH. By
W. B. BOLTON B.1
CONTINENTAL notes AND NEWS .... 8«
STATUARY PORTRAITURE— HOW MR.
C.W. MOTES OF ATLANTA, GEORGIA,
WORKS. Bv C. W. MOTES 85
JOTTINGS. By COSMOS 85
NOTES UPON THE USE OF AMIDOL
FOR BROMIDE WORK. By 8. HER-
BERT FKV 80
CALCULATION OF THE ANGLE OF
VIEW. By PHILIP EVEBIIT 67
Pm
THE HAND CAMERA AND ITS USB IN
PICTUKE-MAKINO. By W. THOMAS..
ELECTRIC LIGHTING AS APPLIED
TO PHOTOGRAPHY
NOTES FROM SCOTLAND ■
AN EXHIBITION OF NEGATIVES
AMMONIUM PICIUTE FOR PREVENT-
ING HALATION
CLEVELAND CAMERA CLUB EXHIBI-
TION «0
OUR EDITORIAL TABLE *>
REGENT PATENTS M ll
MEETINGS OF SOCIETIES "
FORTHCOMING EXHIBITIONS M
CORRESPONDENCE »
ANSWERS TO CORRESPONDENTS »»
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1711. Vol. XL.— FEBRUARY 17, 1893.
THE EYE AND THE CAMERA.
The ever-recurring analogy of the human eye and the photo-
graphic camera and lens is always of so much interest that no
apology is needed before bringing to our readers' notice recent
discoveries in optical science in which the resemblance between
the two is shown to bo still more close. In the eye we have
four transparent optical media through which the rays pass to
form an image on the retina ; in the photographic analogue
we have media which equal, exceed, or are less in number, ac-
cording to the construction of the lenses. The eye has, first,
the cornea ; next the aqueous liumour ; after that the crystal-
inelens ; and, finally, the vitreous humour, immediately behind
which the image is thrown. In our apparatus, the work of
man, we have crown glass or its equivalent ; flint glass, the
latter possibly of more kinds than one ; and, finally, in the
interior of the camera, atmospheric air, which corresponds to
the vitreous humour. The sides of the camera itself corre-
spond to the walls of the eyeball. Whether influenced by a
knowledge of the construction of the eye or not we cannot say,
but the makers of our early cameras gave them black walls,
just as tlie eye has. Two most important differences, however,
are to be seen in the two cases. In the camera the surface
which receives the image is separated from the chief curved
refracting media by air, the index of refraction of glass into
air being very much greater than from the crystalline lens into
the vitreous humour, an entirely different series of refractions
taking place in consequence. There is no doubt that if there
were practical means of carrying such a system out in photo-
graphic work, some remarkable results would be obtained.
Tlie second difference to which we would draw attention is one
which, if earlier observed, as were the darkened walls, would
have led to a better appreciation of a still much-neglected
point. We are not aware that attention has been drawn to
this remarkable and valuable provision as a still more extended
analogue to the " backing" of the sensitive surface with black
pigment (over all, except one spot). The retina, which receives
the image, is transparent, as is our photographic plate, and
reflections which would mar the delicacy of its perceptions are
by this backing provided against. It is true that a minute
area is not so provided ; but, as the inner surfaces are curved,
the effect of the circumjacent non-backed retina upon this central
spot may be readily imagined. It is thus seen that a due
study of the eye would have provided a skilled inventor with
effective modes of treating our photographic instruments, one,
at least, of which modes was not adopted for years after the
advent of photography.
We are now come to a point which will enable ua to
more fully understand the most recent aspects from which
we are taught to regard the eye. When flare spot was in
vestigated, and its cause discovered, no one drew attention
to the fact that the eye also had its difficulties to contend
with from internal reflections ; but, as a matter of fact, at
the beginning of the present centuiy, Purkinjie described
four different kinds of these reflections that he had seen him-
self, though, of more modern investigators, Helmholtz and others
were only able to discern three. These reflections are not the
Purkinjie figures described in most works treating of the
eye, and caused by shadows from overlying blood-vessels
thrown upon the retina ; but are distinct images of such an
object as a lighted taper, exactly like what is seen in a
photographic lens when held between the eye and a spot of
light. These three reflections can be seen if two persons
hold a lighted taper between their eyes, and, moving it to
and fro, so that the reflections appear to come from the
pupil, which, as we need scarcely explain, is not a black
substance, but merely a hole — an exact diaphragm in fact —
in the iris (hence our "iris diaphragms"). The brightest
image is formed from the front surface of the eye, and the
other two come from the " lens " and the hindermost medium
(the vitreous) respectively. The fourth reflection requires the
greatest skill in searching for. It arises at the back surface
of the front medium, the cornea, and will be seen by observ-
ing the brightest image with a magnifying-glass. When this
latter is caused to leave the centre of the pupil, there will
he seen, between it and tlie centre of the pupil, another small,
pale, clearly marked imago, which makes four reflections.
It has always been pointed out that the fewer the reflecting
surfaces in a lens the quicker it will be. In a single lens 92
per cent, of useful light is obtained ; but the eye gives 97.
The internal reflections into a camera, say, in the case of a
single lens, amount to one-sixth per cent., but to the eye to not
one-eightieth of that amount ! But at last even this small
amount of reflection has been observed in two distinct phases.
Tliis makes six reflected images now perceivable in the eye,
and a seventh was expected to be visible. It was found in an
artificial eye, but not in the living organ ; the amount of
available light in the eye swamps this image.
In conclusion, we may continue the analogue by pointing
out that, as the lens-maker carefully examines in every instru-
ment he makes the way the various images of a spot of light
behave in different positions of the lens, and so knows whether
the components are duly " central," so an examination of the
images in the living eye enable the physican to discover whe:i
anything is wrong with its interior optical media or surfaces. It
is thus seen in this brief survey how much that is valuable in
98
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[February 17, 1803
photographic practice is indicated by a study of the eye. Is it too
much to anticipate that even yet it may be found to point out
further improvements in optical construction or the applica-
tion of optical principles in photographic technics 1
PHOTOGRAPHING HORSES.
On more than one occasion of late, photographs of horses have
been sent us by correspondents, for various purposes, which have
seemed to us so unsuccessful in the rendering of the equine
subjects, both as likenesses and as technical representations
illustrating the principal points of the originals, that wc have
thought it opportune to devote a brief article to the subject,
in which branch of their profession most photographers at
some time or other will probably have found themselves
engaged. Without pretending to the possession of any trace
of " horsiness " ourselves, we can at least appreciate the cir-
cumstance that, as in the portrayal of the human species,
something more than haphazard or chance is demanded at the
hands of the photographer before a favourable result can be
expected.
We cannot possibly do better than indicate at once in general
terms the character of the equine jhotographs we have recently
seen, and which we will take as displaying to a singular degree
of perfection the very worst way in which the friend of man
should be photographed. The animals have been taken against
such backgrounds as stable doors and the sides of houses,
and so that only the near fore and hind legs were visible
in the photographs, while the animals' heads were droopii?g,
the ears turned backwards, the positions betokening list-
lessness of demeanour, and vouching so little on behalf of the
animals' spirit and character, that we can quite imagine to the
eye of an horse expert the photographs conveyed far from a
favourable idea. What we here say applies, we have observed,
to racehorses, carriage horses, and even to the simple Dobbin
of the tradesman's cart.
Captain Hayes, a distinguished authority on the horse, and
whose photographs of that and other animals, which have
been recently shown at the Polytechnic Institution and some
of the photographic societies, attest the possession of a very
high degree of photographic skill, which we can confirm from
personal inspection of them, gives some simple directions for
the photographing of horses which may be so useful to
photographers that we make no apology for here alluding to
them. That gentleman, if we take him aright, recommends
that a horse should, where possible, be photographed away from
his habitual surroundings, such as his stable, for the reason that
when near home his condition is largely influenced by his en-
vironment, so that his bearing and attitude are of a degage
character, and therefore not entirely favourable to the display
of his liest points. Captain Hayes says that when a horse is
in a strange place he is all agog with curiosity and alertness
and the excitement engendered by novel surroundings, a con-
dition which is the most suitable for obtaining an animated
portrait of him.
In this interested and excited condition the animal's ears are
well placed forward, the curvature of his outlines is at its most
natural rendering, and possibly the four legs are so placed
on the ground as to impart a realistic air to the animal.
The horse should be photographed, according to Captain Hayes,
against the sky-line in profile— and broadside on. Other
authorities, however, unite in recommending the picture to be
taken slightly in perspective. Both methods, doubtless, are
excellent for securing a likeness, but we should incline to
favour that of Captain Hayes, where it is sought to secure an
animated picture and to show the dominant points of the
animal, although possibly the latter, from the standpoint of
picturesqueness as understood by artists, has something to
recommend it. In any case, however, it is seldom that a satis-
factory picture of a horse taken " end on " can be obtained.
We recommend this consideration to the attention of the
numerous amateurs who are fond of including sheep and
cows in their pictures. Such animals, taken end side on,
often have a grotesquely squat appearance.
It is, we believe, at times difficult to get a horse to stand so
that his four legs are placed in such positions as to show
separately in the picture taken broadside on. Too many photo-
graphs of horses portray the animals, as it were, standing on
two legs only, on account of the photographer having an in-
sufficient conception of how the portrait of a horse should be
taken, or possibly of a lack of the necessary patience to secure
a suitable attitude. Hence, as short exposures as practicable
arc to be recommended, a condition of things which, with a
stand camera, necessitates a very rapid lens and plate and a
quick shutter. Captain Hayes, we believe, works with a twin-
lens hand camera.
In the foregoing we are alluding less to horses in rapid
motion than in the comparative repose of the paddock the
field, or the stable-yard, our remarks not being intended to in-
clude horses racing or jumping, although there is a certain
parallel throughout. Farm subjects including studies of the
placid animals usually to be found therein, necessarily should
engage special attention on the part of the photographer
towards the horses, as well as to the two-legged figures in the
picture.
Few photographers have the skill of getting a horse to stand
as they would wish him to, and therefore the use of a hand
camera is all the more to be recommended, having regard to
the ease with which subsequent enlargements may be made.
As regards the backgrounds, the sky is, of course, less suitable
for grey horses than for those with dark coats, as the outlines
might not appear so sharp as they really were, and in that
case amass of trees, or even the side of a house, offers no objec-
tions. Now and again a single horse may be found so tract-
able as to allow of an exposure by means of a cap being given,
but where several horses are to be included quick shutter
exposures are indispensable. The variety of movement in which
they indulge can only be appreciated by the photographer
who has to wait till they are still before removing the cap
from the lens.
AMATEURS' BACKGROUNDS AND ACCESSORIES.
I.
There is probably no point in connexion with jiortraiture to
which amateurs, as a rule, give less attention than to the back-
ground, although, as every observant individual must agree,
nothing contributes in a greater degree to the final effect in
the ijicture. It is a pet' theory with many of the class that
amateurs' portraits are " so much more natural," because they
arc usually taken under more home-like conditions, and without
the conventional surroundings of the regular professional
studio. But it is possible to take an exaggerated view of the
supposed advantages referred to, and by carelessness allow
what might otherwise be an artistic portrait to degenerate into
the conuuonplace.
^
February 17, 189^]
THE BWTISU JODIiNAL OF PHOTOGRAPHY.
Reviewing the various styles of portraiture that have pre"
vailed since the earliest days of photograjihy, we shall find a
vast difference in their general aharacter at different periods.
Taki', for instance, the I)i)>,'iierrcotype of forty years ago or
more, and wo have to chronicle an almost entire absence of
accessories of any kind, the style of picture at that time, and
for some years later, consisting chiefly of busts, or at most
half-length sitting figures, in which there was little room for
the introdiiction of anything in the shape of fdniiture or orna-
ment. I?ut with the advent of the carte-ile-nsiti- there came an
entire change, and with balustrades, pedestals, bookcases,
pianos, and similar accessoriee, solid or sham, together with
curtains and painted backgrounds in every jiossible style of
subject, the actual portrait frequently had to take a very sub-
sidiar}- position in the picture.
The next change was in the directioft of more artistic light-
ing, and with cabinet and larger portraits came " Rembrandt "
and "Salomonesque " effects, and a partial return to the simple
style of earlier years. It would be difficult to say what is the
"prevailing" fashion at the present day, for while accessories
of various kinds, as well as Ecenic backgrounds, are just as
much used as formerly in certain classes of portraiture, though
perhaps with more artistic taste, we have also a wide choice
between the plain vignette or bust and the home portraits and
family groupings that have become so fashionable in recent
years. It is in the latter direction, indeed, that modern photo-
graphic portraiture is surely tending, owing to the ease with
which the exposures may now be made in ordinary rooms, or
without the necessity that formerly existed for a specially
glazed studio.
Home portraits, as we usually understand them, are such
as are actually taken at the home of the sitter, though there
are professional portraitists, both in this country and on the
Continent, who make a feature of this style of picture in
studios specially fitted for the purpose. Whichever plan may
be adopted, however, it is certain that the professional will
suit his background and accessories to the immediate require-
ments of the case, and not leave the portrait to take its chance
amongst incongruous surroundings ; the amateur, on the other
hand, is too apt to take things as he finds them, and, for want
of a little thought and management, to produce work that were
better left undone, when it might almost as easily have been
of a totally different character. How often, for instance, do
we see home portraits, or those taken in an ordinary room,
■well lighted and posed, and possessing all the characteristics of
naturalness, and yet entirely spoilt by the obtrusion of some
article of furniture very much out of focus, filling up a portion
of the background. Or it may be that the blurred pattern of
an elaborate wall paper draws the attention away from the
portrait, or the latter is perchance half lost in a mass of total
darkness.
Again, in the case of outdoor pictures or groups, it is
seldom that a due amount of care is taken in arranging the
figure or figures so that the surroundings harmonise and
form anything worthy of the name of picture. Beyond placing
the sitter so that a fair amount of light may fall on him
or her, no further care seems to be considered needful, and
the backgrounds may be composed of shrulis, foliage, and
brickwork in happy confusion. Such a rendering may be
natural in one sense, but it lacks the ars celare artevi neces-
sary to make it artistic. It is not, of course, everywhere
possible, even with the best efforts, to bend the surround-
ings to the artistic will, and where such is the case it is.
in every sense, preferable ti rolinquiah the attempt, and to
substitute a plain and unobtrusive background which will,
at least, leave the portrait to stand upon its own merits.
We by no means wisli to <lecry the practice of utilising
the natural surroundings, either indoors or out, where they
can be artistically combined in the formation of a picture ;
but what we do counsel is the exercise of judgment. Thus,
perfectly natural and, perhaps, artistic full-length portraits
may be made by posing a standing figure in front of the
fireplace, or a sitting one at a table, or escritoire, or even
beside a window ; but to take a mere head and shoulders
under similar circumstances would be little less than ridicu-
lous. In like manner, a natural and pleasing group may
frequently be made with available outdoor surroundings if a
little attention be given to common sense and perspective;
but to see three or four figures cut off at the knees or
waists, posed against a background of climbing foliage, is
neither natural nor artistic.
The Free Portrait Case.— The Treasury appear to be
sparing neither time or money in tlie prosecution of the man Gould in
this case. Witnesses are being brought from all parts of the Kingdom
to prove the extent of the fraud. The case was first brought before
the Folkestone magistrates on December 30, and weekly ever since.
A layman might have expected that such an expenditure of time was
scarcely necessary in a matter of this kind, but the lawyers evidently
have a different opinion.
Difference of Opinion. — It is curious, at times, to note the
diverse opinions that different persons may have on the same subject.
The scientific world has been pretty unanimous in opinion as to the
utility of Herr Anschiitz's clever invention, which is now on view in
the neighbourhood of Charing Cross. But this idea is not shared by
every one, as the following remark by one lady to another overheard
outside the place in the Strand the other day. " It's a show of
pictures of moving figures. It's awfully stupid." It is quite possible
that if what the exhibition were intended to illustrate were made
more prominent it would be the better understood by the general
public.
"A Novelty?" — An evening contemporary informs its readers
that, by an ingenious process of engraving, practised in Germany, a
subject can be drawn on a plate of zinc, which is covered with a
layer of bitumen, either by the artist or liy photographic means,
then plunged in a bath of diluted acid. The acid then attacks the
metal, and in a few minutes sufficient depth is obtained. Our con-
temporary adds that the process is already seriously affecting working
engravers. Apparently it is not aware that the majority of blocks
used in illustrating the daily and weekly papers are produced in thii
way, nnd have been for years past. Possibly some few of its readers
may think that some new invention is referred to.
Sale of Poisons. — Some little time ago we referred to a crusade
the Pharmaceutical Society had made against grocers for selling patent
medicines containing poison — Dr. Collis Br.iwne's Chlorodyne to wit
— under the Pharmacy Act. The decision of the County Court Judge,
which was in favour of the Society, was appealed against, but the
appeal was, last week, in the Court of Queen's Bench, dismissed with
costs. Leave was, however, given to take the case still higher, namely,
to the Court of Appeal. As we have said before, photographic dealers
who are not pharmaceutical chemists should be careful whom their
assistants supply with the prohibited articles, as the Society occasion-
ally become very energetic in asserting its privileges.
Photographing: at the Chicago Exhibition.— After all
the murmuring about the two dollars a diiy and other restrictions as
10 0
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[February 17, 1893
to taking photographs at the Show, it now appears that these terms
only hold good up to May 1, or while it is in a more or less chaotic
state. After that date they will not obtain. It is announced that the
" official photographer " will take pictures to order at stated prices.
Those who have been protesting against the two-dollar impost when
they imagined the Exhibition would be in "full swing" are now
given to understand that the privilege of photographing on those
terms will be withheld. Of course our American friends can make
what conditions they choose, and others may think what they like
about them.
Combustion of Magrnesium Powder.— At a recent
meeting of the Photographic Society of Philadelphia a condition in
connexion with magnesium powder that is frequently overlooked here
•was alluded to — namely, its dryness. If the powder contains mois-
ture, it is obvious that its ignition will be retarded, and many particles
■when projected through the flame will often escape combustion, with
a corresponding loss of light. It was also pointed out that moist
breath blown through the lamp would sometimes Cause dampness of
the powder. There is yet another cause which impedes the combustion
of magnesium, namely, oxidation of the metal itself. When its
surface is coated with a layer of oxide a greater heat is required for
its ignition than when it is bright. For this reason the stock of
powder should be, as much as possible, protected from the action of
the atmosphere by being closely pressed into well-corked bottles.
Patent Law Reform. — Mr. Leng, M.P. for Dundee, has re-
cently been in correspondence with the President of the Board of Trade
on the subject of the granting of patents. In it Mr. Leng directed
attention to the fact that, when a patent was appUed for, no informa-
tion or notice was given to the applicant, even if there were a score
or more patents already in existence that would cover the supposed
new invention. He suggested that this country should follow the
system carried out in the United States, Germany, and some other
countries, of making an official examination before the patent is
issued. Mr. MundeUa, in his reply, says that the proposal would
invcAve a radical change in the principle and policy of the patent
laws ; but the suggestion should receive " careful consideration " — the
usual stereotyped phrase. If the member for Dundee's idea were
carried out, there is no question that the receipts of the Patent Office
would be considerably reduced, and its profits lessened ; still, when it
is considered that in America a patent for seventeen years, with a
certain kind of guarantee that the thing has not been patented before
and therefore the patent is valid, for about 71. 10s., between QOl. and
100/. seems dear for a British one for only fourteen years, that may be
absolutely worthless through the invention having been patented
previously. We have no hesitation in saying that, if an examination of
specifications were made, the number of patents now granted in con-
nexion with photography would be materially curtailed. With an
examination of specifications one abuse of patents would be checked.
Patents are often now taken out which the patentees know quite well
are not vaHd through the invention being old. They thereby obtain
a fictitious monopoly, which others imagine is really genuine, while
the invention is public property.
The Eig-ht Kours a Day In Photogrrapblc Esta-
blisbments. — Messrs. James Valentine & Sons, the well-known
photographic publishers of Dundee, recently issued the subjoined
notice to their employis : — " Notice. Alteration of working hours.
We have been considering the hours of employment, and have decided
to institute a forty-eight hours' week for all our employes at Perth-
road, Dundee, and Baldovan, the week's work to be arranged as
follows : Mondays, 8 a.m. till 5 p.m. ; Tuesdays, 8 a.m. till 6 p.m. ;
Wednesdays, 8 a.m. till 5 p.m. ; Thursdays, 8 a.m. till 6 p.m. ;
Fridays, 8 a.m. till 0 p.m. — dimier hour as usual on these days ; Satur-
days, 8 a.m. till 1 p.m. We do not intend to reduce wages, as, with
the co-operation of our employes, we believe it possible to fully main-
tain the same production as under a fifty-two hours' week. We
propose to give this scheme a fair trial for six months from this date
(February 0), when, should our anticipations not be realised, it may
be found necessary to reconsider the matter. We, however, hope-
that our employes will unanimously endeavour to make the movement
a success by prompt commencement of work daily, and continued
attention to it during the hours specified. As the sucee.ss of the
scheme depends entirely on the diligence of every emjdoye, it must be
distinctly understood that any idling or negligence may cause the
instant dismissal, without warning, of any employe. Trusting that
this proposal will meet with your hearty approval," &c. The local
papers applaud the action of Messrs. Valentine, and a few nights ago,
at a social gathering of the firm's employes, the introduction of the
eight hours a day was acknowledged in terms of the highest thanks
by representatives of the latter, one of whom stated that the esta-
blishment of Messrs. Valentine was steadily progressing year by year,,
and in regard to the latest movement — that of working a forty-eight
hours' week — which was no small matter where about 2.30 persons'
were employed, he thought they ought to assure Mr. Valentine by a.
hearty round of applause that they meant to make it a success. We
congratulate Messrs. Valentine on their enlightened enterprise, which
we hope will prove as successful as they wish, and will be imitated by
other large photographic firms throughout the country.
RAPID SOLUTION-MAKING.
In the pages of this JonRNAL for February 3 will be found an illus-
tration of an apparatus for the rapid making of solutions, which
embodies a plan I have had in use in my laboratory for some years
past, and which I can speak of in the highest terms. It is described
in an article from my son's pen in The British Journal Photo-
graphic Almanac for this year, where full details of its usefulness
and manner of use will be found. Those members of the Convention
who did me the honour to call upon me during the Chester meeting
will remember the apparatus, if such a name can be applied to so
simple a contrivance. I do not remember when Mr. Ayres, as re-
ferred to by the Editor, described such an arrangement ; in my own.
case the invention was spontaneous. We all know " great minds
think alike ! " doubtless in our cases the invention was original,,
whichever can claim priority of publication. The purpose of this
brief memorandum, however, is not as a reclamation of priority, but
to again draw attention to a plan of extreme usefulness for lightening
and facilitating the monotonous routine work of making stock solu-
tions. It may be stated that, apart from the special apparatus-
described a fortnight ago, there are already on the market the necessary
utensils, in the shape of the perforated receptacle for the crystals, and!
the jug or jar for holding the liquid. The former, as used in my
laboratory, is made at the Lambeth Potteries (and very probably at
other manufactories where chemical utensils are made) ; it is known,
as a " perforated dipping basket." In Doulton's pattern the means of
suspension is a handle, like that of an ordinary basket, made in one-
piece with the vessel itself, and the buckets can be had in all sizes,
from a capacity of one pint to one gallon.
A very important matter in the jugs employed, when used for
" hypo," is to obtain one the glaze of which will not give way to the
action of that chemical. The ordinary jugs for domestic and culinary
work are useless after a time, and I have found that the common salt-
glazed red ware most commonly obtainable at the dealers in sizes of a
gallon or upwards will begin to leak in a fortnight's time. At least,,
that has been my experience, and I had several of them before finally
adopting the kind I now employ, each holding three gallons, and
which have been in daily use for several years. These latter also are of
Doulton ware, sold as " acid jugs." Of course porcelain could not be
excelled for the purpose, but for large jugs its price wou'.d be pro-
hibitive, and even for the dipping basket itself, unless of diminutive
proportions, the cost of real porcelain would greatly exceed that of
stoneware.
I need scarcely remind my readers that, without any intention of
deceiving the public, many of the utensils for photographic use sold
under the name of porcelain are not porcelain at all — dipping baths,
dishes, &c. — and their glaze quickly gives way under the action of
ordinary chemicals. G. Watmouoh Webster, F.C.S.
February 17, 1893]
THE BRITISH JOUKNAL OF PHOTOORAPIIY.
101
AMKUICAN NOTES AND NEWS.
Positives Direct.— Mr. Charles W. Weatheiwax writes to
the American journals : " I have discovored a simple solvent for
metallic silver, and beg space in your valuable journal to acquaint
your many readers with a very simple and praclical way of makinir
positives direct in the camera. I will not enter into a discussion on
the reversal of the image, but give my method as follows : — First,
expose the platt> in the usual manner. Develop with —
No. 1.
Sulphite of soda (crystals) 3 ounces.
Eikonogcn , 1 ounce.
Hot water 45 ounces.
No. 2.
Sal soda 4 ounces.
Water 15 „
To develop, take of —
No. 1 3 ounces.
No. 2 1 ounce.
When the negative is almost developed, expose it to daylight, keeping
it well covered with developer. In about thirty seconds you will see
the change from negative to positive. Wash and fix in the usual
manner, and you will have a well-defined positive." We should like
to see this experiment duplicated and confirmed, if only to establish
the fact of an alkaline developer being a " solvent of metallic silver."
To Prevent Silver Stains. — Mr. J. Heygessy, in the
St. Louis and Canadian Photographer, who had tried many remedies
for preventing silver stains without success, says that one day, being
in a hurry to get a few prints from a negative, he noticed silver stains
spreading all over it save where the retouching medium had been
applied. Ever since then he has rubbed the medium over the entire
negative, and baa tried every way to produce silver stains upon re-
jected negatives, purposely making the paper damp, but cannot do so
Any medium having turpentine for its base answers the purpose.
Sunday Work In the States. — Anthony's Bulletin says :
" Hereafter Boston photographers are forbidden to work on
Sundays. This will be a serious loss to certain of them who do a
larger business on this than on any other day. It seems that the law
regarding Sunday work has long been in existence, but had practically
become a dead letter. All this is to be changed, as the Chief of
Police has expressed his intention of strictly forcing this regulation."
A. Convertible Camera and Photogrraplx Bxbibltor.
A recently patented invention in the United States is a convertible
camera and photograph exhibitor, by means of which negatives may
be taken and the pictures, after being printed on suitable material,
such as sensitised film, to produce transparencies, reinserted into the
camera and viewed under transmitted light, in tlie camera, through a
lens in the camera case. The device is designed to afford not only a
good camera, but also means for magnifying and inspecting the
finished photographs, and is preferably made so small as to be
convenientl}' carried in the pocket.
"As Others See Us."— The editor of the Photo-Beacon
(erstwhile the Chicago Beacon), in the course of an appreciative
article on " Prints on Rough Paper," remarks : " The so-called im-
pressionistic photography was unfortunate in having for its godfather
a man steeped in egotism, and whose language was as intemperate as
is that of a temperance lectm'er, and consequently both he and it were
simply laughed at by all but a very few. As nothing kills so quickly
as ridicule, the disciples of the then-called " fuzzy " school had a hard
fight to make their way, and not indeed till their self-constituted
leader, disgusted at not being appreciated according to his own idea
of his merit, turned his back upon photography, did they get anything
like a patient hearing." Dr. Emerson will chuckle at reading this, we
are sure. We hope to find, when he reads his paper next month st
the Great Britain Society, of the council of which he is nowa ni«ai1ier,
that he has not turned his back on photography, as the I'kua-Jieaeta
has it.
American Photogrraphic Societies.— A writer ia ao
American journal claims that there are about 1(X) photographic
societies in the United States, and the editor of Wilton's Photogrmphie
Mayasine (the appearance of whicli in its new dress is exceedingly
attractive and quite up to date) interjects, " More than that."
Assuming that there are 120, we in Great Britain, with not mucb
more than half the population of the States, have between 200. cad
300 societies.
ON THE PRODUCTION OF BLACK AND WHITE NllOi-
TIVES BY MEANS OF ARTIFICIAL LIGHT.
II.
In a former article I described a convenient method of using ike
Argand burners as a means of lighting the subject, and meatiooed
that a very effective set of refiectors were those made of plaster <rf
Paris, in form almost similar to such as are in use on mieroscspa
lamps. These reflectors are not to be had in the market, so a woidcer
must spend some little time and trouble in making them for hiosself ;
but such trouble wUl be amply repaid by the after pleasure of
working with them.
Procure from some stucco shop about three pounds of pure wliite
plaster of Paris (make sure it is pure white), for frequently sample*
having a distinctly pink or yellow tint are supplied as white; and
having got this, next procure a large lump of common clay, work it i^
by the hand until it is nice and soft. Next procure two pieces of thin
cardboard, or very stiff paper will do, and proceed to roll one of tbeia
into a tube, one inch larger in circumference than the glass f uaoel
of the Argand burner; the length of the paper tube should be abottt
as long a-i the funnel. With the other piece of cardboard aake
another tube about one inch larger in circumference than the other ;
these two tubes will serve the purpose of making a mould into wkich
the plaster of Paris is to be afterwards poured. It is well to expend a
little trouble in getting these cardboard tubes nicely rounded in
shape. Sometimes a metal tube or a wooden roller ni»3' be pickM.
up in any household that will come in very handy for rolling the
paper round so m to get a good shape. If such can be g«t, it will
make the labour of producing the tubes mere child's play.
When the glue is dry the tubes may be drawn off the roller ; they
are then ready for being placed end on, one inside the other, on wa
lump of clay which is conveniently used by being padded down oa a
common soup plate. Make sure the ends of the tubes are weU
pressed into the bed of clay— if you cannot get a supply of commoa
clay, some fine sand or glaziers' putty will do as well — to hold tl»e
tubes upright, and so prevent the plaster from running out at ihe
bottom. The two tubes at the top can be separated the proper
distance, and held in such position by merely placing small splinte«E
of wood, or a piece broken off a match will do nicely.
The mould is now all ready to receive the plaster of Paris.
To any of my readers having no experience in the worldeg <fll
plaster of Paris, a few words of explanation will be acceptable; far it
is a peculiar material to work with. Shortly after plaster of Paris is
mixed with water, and appears to a novice to have acquired ihe ooe-
sistency of thick cream, it suddenly begins to set, and in a very few
minutes becomes a hard block or mass of stucco. Therefore, when,
working with it, everything should be nicely arranged befoiahaad.
See, therefore, before you begin to mix the plaster that the moald if
right and in a convenient position to receive the fluid plaster.
There need, however, be no flurry, and a worker should n«t g«t
excited ; although it has to be expeditiously gone about, there is tao
difliculty in using it before it hardens in the mixing bowl. The best
utensil to mix the plaster in is a large bowl having a pouring lip ; sit is
advisable to get such, for without theJip very Itkely as much will 'be
poured outside the mould as in it.
Having got a suitable bowl and a thick stick, flattened at fhe-ead,
place four or five good handfuls of plaster of Paris on the bottam of
the dry bowl, and with th« stick make a hollow in the plaster, and
having a jug of water at hand, in which a little common alum has
been dissolved, pour steadily into the centre of the plaster of Paris.
Stirring from tha sides inwards by means of the flattened stick, go on
adding water till all the plaster of Paris seems to have become dis-
solved and the mixture is about as thick as cream. There is no need
to hurry, but there must be no undue dalay when it is all mixed ia
102
THE BRITISH JOUUNAL OF PHOTOGRAPHY.
[February 17, 1693
pouiinj; it into the mould. After being poured into the mould, let it
stand for about half an hour, when the whole can be lifted away
from the clay, and the two paper moulds may be torn off the plaster.
If these instructions have been carried out, the result is a perfect
cylinder of plaster of Paris, which, on drying thoroughly in a warm
rJom, say, in about two days, will le of a beautiful white colour.
When dry, the cylinder has to be trimmed by means of a sharp
knife, and with such proceed to cut an aperture out of the side and
end, just like the shape of a microscope lamp. There is no difficulty
in this, as the plaster wiE cut easily. With the aperture cut out the
reflector is all ready for being placed over or to surround the glass
funnel of the Argand burner. This is the best form of reflector I
know, and serves at the same time to shield the worker's eyes when
photographing by night, as well as preventing the rays of light
entering the lens when the lamps are heing worked at close quarters.
Somewhat recently I have been making experiments by using
coloured reflectors of this pattern in conjunction with isochromatic
plates when copying coloured subjects, and, at some future time, may
give the readers of The British Joubnal of Photography parti-
culars of the results obtained.
So much for what experience has shown me is the best and most
practical method of lighting by means of common house gas, and once
these reflectors are used they will never be discarded.
Next in importance to adopting a good method of illumination is
the employment of a plate suitable for use with house gas. In iso-
chromatic plates we have everything that can be desired. Such,
however, should not be of the utmost rapidity — a slow or medium
plate yields better results than the extra rapid quality.
In using these excellent plates, a word of caution is necessary.
Before exposing a plate every camera and dark slide ought to be
thoroughly overhauled and examined for any leakage, the interior
of the bellows should be reblacked if in any way worn, every bright
speck on the interior of the camera front should be obliterated with a
good black stain, and no lens ought to be used that will tend to throw
rays on the side of the bellows. The dark-room lamp must be suit-
able for tliese plates. I firmly believe one half the dark-room lamps
supplied at the present time are quite unsuitable for use with isochro-
matic plates, and when developing see that the dish is provided with
a cover to shield the plate even from the light of a deep ruby lamp.
Attention to such points as these will go a long way in aiding the
production of negatives free from fog, so detrimental in the class of
work we are considering. A safe lamp will be found by shielding
the light by means of one piece of orange and one of deep ruby
glass.
Perhaps one of the best subjects a beginner can get to practise on
is an ordinary page of printed matter, and practise on such until he
can with certainty produce clear glass, or as clear as gelatine will
give, and the blacks so opaque that no light is visible through same
when held up before an ordinary gas jet at a distance of eight or
twelve inches.
To use the Argand burners a good rigid table should be obtained,
and a copjing board about six feet long by fifteen inches wide. This
copying board is a great acquisition, as it enables the object to be
placed and held in situ in a true plane with the sensitive plate.
If somewhat large work has to be done, the top of a kitchen table
may have wings screwed on to the sides. These arms will extend
over and hold the lamps at any distance out. My operating table is
provided with such, and I find it a great convenience.
In using two Argand burners the supply from one gas pipe may be
insufficient ; it is therefore advisable to feed each burner from a separate
pipe. When this is done both burners are easily made to work at
their best capacity, and, what is of equal importance, when one is
being screwed down, the other is unaltered, as is likely to occur when
both are fed from the one pipe by means of a X-piece.
A very little close examination will show when the surface of, say,
a page of printed matter is evenly lighted all ov«r. At first a few
failures will likely to be met with ; these will be observed on develop-
ment of the plate, but after a few exposures it is easily apparent when
an equal illumination is obtained. Such failures are more likely to
occur when large surfaces are being copied ; therefore a beginner had
better commence with a small page of printed matter, as previously
suggested.
Two good Argand burners are said to be equal to about thirty-
five candles, but with the reflector described the light is beautifully
concentrated. At the same time there is an absolute freedom of
shadow or any dark lines so often met with, and troublesome in the
using of very many of the common form of oil lamps, even including
the Sciopticon form. If the Argand burners are carefully placed
at equal distances apart from the centre of the picture, there will be
a perfectly evenly lighted surface, and one of great brilliancy ; in fact,
I know of no other method of acquiring such an evenly lighted lurface
as by their means when used in conjunction with these plates and
plaster of Paris reflectors.
T. N. ABMSTRONa.
ON THE COMPARATIVE ADVANTAGES OF THE WIDE-
ANGLE AND TELE-PHOTOGRAPHIC LENSES.
[Sonth Loudon Photographic Society.]
In your invitation to read a paper on some optical subject, you have
been good enough to select a title for me. I shall approach the
subject chiefly from the side of the "man of measurement," for
adequate criticism of photographic representation by optical means
requires the combination of an exhaustive study of the physiology of
" vision" anl the recommendations of a mature student in pictorial
art.
As I understand, the two main branches of photography are
mathematical exactness on the one hand, and on the other such
artistic skill applied to the representation of the subject as the
instruments and methods we have at our disposal will allow ; the
first a scientific record, and the second an attempt to mike such
objects and scenes in nature that we wish to reproduce " look ri(/ht,''
to USB an artist's phrase.
What Wide-angle and Tble-photogbaphio Lenses Depict.
Carried to extremes, neither photographs taken by wide-angle
lenses nor by tele-photographic lenses depict actually what is seen.
The wide-angle lens forces the perspective to such an extent that a
" den " may be made to look palatial in its proportions, and tele-
photographic images may be made, large and clearly defined, of
objects situated at such distances that the details shown in them
would be quite invisible to the naked eye.
On the subject of the first branch, viz., scientific photography, pro-
vided both types of lens are non-distorting, the drawing given by
them is in exact accordance to the laws of monocular perspective, and
being due solely to the fixed point of sight for the time being. The
tele-photographic lens has a very pronounced advantage in being able
to record that which could not be seen without recourse to the
telescopic aid, and the wide-angle lens has its own scientific value in
that it can record in one view a greater amount of subject, so much
so that from one standpoint the whole horizon may be recorded in
three views, in other words, taking in as much as 120° in each
operation.
A\'hen we come to the consideration of instrumental aids to
pictorial photography, or our endeavour to make a picture look right,
our object lies in the direction of seeing how nearly we can approach
to a parallelism to visual impressions. I have thought it might be of
interest to you if we were to go through such laws in connexion
with the subject of " sight " as might assist us in an analysis of the
best instrumental means to adopt in order to keep our representations
as much in touch with these laws as possible, for the subject before
us is really one involving in a great measure the science of per-
spective.
The Law of Visible Direction.
Knowing that the images on the retina of the eye are inverted, it is
interesting to ask, first, how it is that we have erect vision. The
question would appear to have puzzled metaphysicians ; the scientific
answer as explained by Le Conte, Ilelmholtz, and others (Le Conte
is most familiar to me, and I have frequently drawn from him), is
found in what is known as the "law of visible direction," and is
stated thus : — " When the rays from any radiant strike the retina,
the impression is referred back along the ray line (central ray of the
pencil) into space, and therefore to its proper place." Points in the
horizon are referred back in a straiglit line to the horizon, radiants
above the horizon impress the lower half of the retina and are re-
ferred upward again, and points below the horizon on the ground
impress the upper half of the retina, and are therefore referred down-
ward. Thus every impression on the retina reaching it by a ray line
through the nodal point is referred back along the same ray line to its
true place in space, so that we may say that space in front of us is
under all circumstances the outward projection of retinal states. If
we compare the properties of other senses, wo shall find a complete
analogy ; if we receive a blow in the front part of the body and were
not even to perceive the impact of the blow, our senses would enable
us to infer very very distinctly the direction from which the impact
came. It thus appears difficult to comprehend that the retinal
images should be other than m\ erted, as also that their projection
could give us other than erect images. In the photographic camera
February \7, 1893]
THE BHITISH JOURNAL OF PHOTOGRAPHY.
la".
we have thus far a very close analogy ; is is complete as regards the
inverted imago, and the possible transmission back again into space
by " the law of direction," as bIho by the " law of conjugate foci, ' by
which points in the image and object are always interchangeable. In
the orainary camera we can, of course, only compare its visual
rendering with that of monocular perspective. Stereoscopic views
Been through the stereoscope complete an illusion that is dependent
on the fulfilment of another law, known as the " law of corresponding
points." From this law proceed all the phenomena of binocular vbion,
with which, however, we are not concerned this evening. From the
" law of direction" proceed all the phenomena of monocular vision, and
we will proceed to examine the d ifferent forms of perspective included
in monocular vision that enable us to judge of the relative sizes,
distances, &c., of objects in the field of view.
DiFFKaBNT FouMS OF Pubspbctivr.
There are three, viz., Aerial, Mathematical, and Monocular, or
Focal Perspective. The fourth, and only other form, binocular
perspective, is not capable of representation on a plane surface
either by the painter-artist or photographer. Before dismissing
this form of perspective, however, it may be worth while noticing
its bearing on the " focus " question. By binocular vision we
gather up all the distinct impressions in what is called the "deep"
field, by running the point of optic convergence back and forth,
and thus gather up all the distinct impressions into one mental
image. From the fact that we can utilise this power in the same
manner, with either monocular or binocular vision, in sweeping the
point of sight laterally over a " wide " field, and collect a distinct
mipression of the scene, some writers on photography have con-
tended for universal sharpness, or, at any rate, uniform treatment
in respect of the quality of definition throughout photographic
representations. Other writers, following on the lines first laid
down by Dr. Emerson, have maintained that that portion of the
photographic picture which in nature was of chief interest, and
when looked at exercised a particular optical convergence of the
eyes, should be emphasised by better definition than the remaining
portion of the picture. As a matter of fact, outside the small
area of distinct binocular vision, all objects in the "deep" field
are duplicated, either homonously or heteronomously, and are
therefore indistinct, but cannot be exactly represented on a plane
surface. It seems to me that Dr. Emerson's plan contributes, in
no small degree, to a more complete illusion optically.
To return to the first three forms of perspective : —
Akmai. Pebspkctive.
(1) Aerial Persptctive. — "The atmosphere is neither perfectly
transparent nor perfectly colourless. More and more distant objects
being seen through greater and greater depths of this medium be-
come, therefore, dimmer and dimmer, and bluer and bluer. We
judge of distance in this way ; and if the air be more than usually
clear, or more than usually obscure, we may misjudge" (Le
Conte). Most of us have probably observed for ourselves that in
foggy and hazy weather objects look larger, and we are very apt to
over-estimate distance. A train or vehicle coming towards one in
a fog is very likely to be almost upon us before we are aware of
its proximity, due to this illusion. On the other hand, the un-
doubted testimony of all mountain-climbers is, that they misjudge
distance in the opposite direction in very clear atmosphere, as, for
instance, a mountain top, that may appear to be only, say, two
or three miles off, generally turns out to be ten or twelve. Aerial
perspective is of little importance when employing wide-angle
lenses of short foci, as experience has taught photographers the
insignificant rendering they give to distance, and, in fact, such
lenses are best dispensed with except in confined situations, when
aerial perspective is not appreciable. In tele-photography, on the
other hand, it is of great importance, not only in the judgment of
distance, but also for the quality of definition attainable.
No matter what lens be employed to attain good definition of
distance, the clearer the air the batter the result ; but, as before stated,
in tele-photography, one can record on the photographic plate, no
matter what the conditions of atmosphere may be, considerably
more than the unaided eye can perceive. Furthermore, it is quite
beyond dispute that small images produced by ordinary aplanatic
lenses on the sensitive film, and subsequently enlarged to dimensions
equal to those produced by direct photography, will bear no comparison
wnatever as regards definition. The comparative proofs I hand you
were taken b^ Col. Colville on Wimbledon Common in hazy weather.
He was working in conjunction with Capt. Simpson, of the Intelligencs
Department of I lie War Office, and the results will speak for them-
selves. You will note that the enlargement from the ordinary eharp-
looking negative has not a vestige of definition at all. I am indebted
to Capt. Simpson for the loan of the negatives from which Mr.
Bridge has prepared the comparative lantern slides I show you.
They exhibit the manner in which tele-photography can analyse an
ordinary view. If a tele-photographic lens be used at a very short
distance from the photographic pkte producing an image of the same
size as that of an ordinary lens of considerable length of focus, the
definition is practically identical. It should favour the long-focus
lens from the fact that this is easier to construct on optical groundf ,
but, with a finely finished and corrected positive element for the
tele-photographic lens, I have failed to fina a difference as against
ordinary lenses, with equal intensities, up to forty-eight in. focus.
An ordinary lens of twenty-five feet focus would be required to attain
the dimensions of Boissonas's Mont Blanc, exhibited at Pall Mall. I
cannot say whether an ordinary lens of such a focus would have
given better definition. The experiment is hardly likely to be tried.
Mathbmatical Peiispbcti>t5.
(2) Mathematical Perspective. — Objects become smaller and smaller
in appearance, and nearer and nearer together, the farther away they
are. Thus streets appear narrower and narrower, and the nouses
lower and lower, the more distant they are. Parallel lines of all
kinds, such as railway stringers, bridge timbers, etc., converge more
and more to a vanishing point (Le Conte). Our judgment in the
matters of size of objects, and degree of convergence .of parallel lines,
enables us to judge distance with great accuracy and almost without
limit. Again, the size of an unknown object is judged by its angular
diameter multiplied by its estimated distance. The retinal image of
a given object, or the image of that object on a photographic plate,
may have the same area covered by a larger object at a greater
distance, or a smaller object at a less distance. In vision the
estimated size of the object which produces the image will depend
upon the distance we imagine the object to be from us. Thus
estimates of size and distance are very closely related to each other,
and an error in one would involve an error in the other.
It is important to note in this connexion that if we mistake the
size of a known object, as, for example, a boy for a man, we shall to
the same extent misjudge distance. It appears to me that this is the
crux of the unsatisfactory images given by wide-angle lenses, or
lenses of short focus when a near foreground is included. In viewing
photographs taken by such lenses we never do, as a matter of fact,
place our eye (or take our point of sight) at such a distance from the
photograph that the angular dimensions of a foreground object and
another object, distant, it may be, only a few yards further off, shall
include the angles which mathematical perspective has rendered them
in the photographic image.
Take the case of an ordinary interior. The figure of a boy in the
foreground would be represented by a much larger image than that
of a man at the further side of the room. To look at such a photo-
graph from the ordinary distance of vision — say ten to twelve mches
— it would convey the impression that this room must be immense as
regards its length, that such proportions could possibly be brought
about. Our knowledge of the comparative dimensions of the boy
and the man is such as to make the treatment of the latter not only
disproportionate, but ridiculous. The same argument applies to the
unsatisfactory rendering of all architectural subjects in confined
situation. \Vere it possible to remove the point of sight, or the
camera, further away from the subject in the foreground, one would
immediately bring about less disproportion between the sizes of
objects in the foreground and more distant points of the subject.
We value short-focus lenses on account of their adequate depth of
definition through receding planes, but their perspective, when in-
cluding near foreground, never looks right! The painter-artist fulfils
in his drawing what no lens yet constructed can do ; he takes his
point of sight at an imaginary distance, anywhere further back from
• where he is forced to stand (if he finds it necessary) — at a distance, in
fact, that his knowledge teaches him will practically put all his facts
in the picture more nearly in the same place, so that the picture, as
a whole, will look right ; as, for instance, the daisy that he is paint-
ing in the foreground may really include an angle as large as the
lady's foot some distance away, but he does not draw it as it actually
is in mathematical perspective dimensions, but in his mind he makes
that daisy go away and keep its relative size as a daisy to a human
foot. This, from a near point of sight, the camera cannot do. If
one were enabled to get far enough away to make such a subject
more nearly on one plane, and so look right, it would, as a rule, be
so small in size as to be useless. The advantage of " long-focus "
lense?, or the more extravagant form, the tele-photographic lens, may
now come in where a sufficiently uninterrupted and satisfactory view
of any subject can be obtained. Distant groups of cattle, villages^
SDf
THE BRITISH JOURNAL OF PHOTOGRAPHY,
[February 17, 1893
3ciit»8t«ral structures, &c., can thus be well illustrated, for, although
ley »T8 considerably distant, the size of the image is such that they
ionot become insignificant.
^Eanuple. — Take an interior 50 feet long, or a group 60 feet deep,
■gr aearest figure 10 feet and furthest 50 feet, and take both figures
•• Sleet in height. With a lens of 10-inch focus the dimensions of
ft» »e8T and distant figures are 65 and ly inches respectively, or a
firapxHiyn of five to one. The same subject, with the lens removed
SO feet from the first figure (and, therefore, 90 feet from the furthest),
■maiS giye the dimensions of the figures as IJ and i inches re-
aytrtively, or a proportion of only five to three. A longer-focus lens,
im^SO inehes, at the greater distance would maintain these more
leuoBaMe proportions, and also give the same absolute size, viz.,
6^ indies to the fereground figure, as in the first case, but a pro-
josfionstely larger image to the distant figure, viz., 4 inches. Now,
» *€J»-jiiotographic lens, to give the equivalent of 50 inches, would
aHj lequire an ordinary camera extension of from 12 to 15 inches.
Aaatber interesting comparison between wide-angle and tele-photo-
^»sj^ic views arises from the fact that we almost invariably look at
^be fcnaej from a greater distance than that of the focus of the lens
uttk-trhich it was taken, and at the latter from a less distance than
As-i of the corresponding focus of the lens. So that wide-angle views
imjr be said to be seen through a magnifying-glass, and tele-photo-
aj^i^hic yiews through a magnifying-glass.
Outline Fobm and Solid Fobm.
^Ke-oCher aspects of mathematical perspective are those of outKne
J^mnaA iolidform. As we have but little to do with the latter in
j^jAaf^tiph.j , we had better dispense with this first. In sight we
jodp^of it chiefly by binocular perspective, but we also judge of it
\fj Ight and shade. Light and shade are admirably rendered by
ifaotcf^raphy. Binocular perspective comes into play very much
3»e8e tor near objects than for distant ones, and hence the illusion
sf soS^ty produced by the painter is most perfect at a distance,
-rnhbie binocular perspective is very small. In all photographic
woiJj <me main feature has been its paltry and insignificant rendering
ofeffietooce, but 1 think it will be agreed that tele-photography has
ecesreome this drawback, and placed the illusion that is most easily
CHPTied oat by the artist within the reach of the photographer.
K>T reasons already stated, outline form is mos't unsatisfactory in
nfertegraphy when near objects are depicted at the sides of a picture
taiao-ly wide-angle lenses. We have seen that the drawing given
i» aneh) oSjects is in strict accordance with monocular perspective,
and this can easily be proved. No doubt many will remember this
illostTatioa of Mr. Debenham's vase (British Journal of Photography,
tJctober §(^, 1891). Looked at in the ordinary way, it appears to be
entirety out of drawing, although, viewed under the necessary fixed
ac»>ditions described, the vase can be made to assume its proper
shipe. Th& unsatisfaotoriness of such outline form in photography is
ff> ^Ipable as to make some subjects impossible in pictorial work.
lU^e- »a wdinary interior with, say, an old couple one side of the
xooBk and a young couple at the further side. The necessary dis-
iariicH} brought about by a wide-angle lens could pay but a poor
son^liment to the features of those it depicted.
Focal Pbbspkctive.
i^ F6cal Perspective. — Monocular focal perspective again will have
1*A % fery small bearing on the subject. We are aware that, if one
Bw-le eoDcentrated on some particular near object, that object is dis-
tiset, b»t all other objects nearer or further away become dim. This
» jeieeptible within much narrower limits than that of binocular
TSMDrUnd can only in a minor degree contribute to the question of
^i» JCMistMice of better definition for some part of the picture as
MDWured tO' the remainder.
The- fact that the exercise of focal perspective is comparatively im-
paraeptibfe kas an interesting bearing on photographs, in that it
Mcomts lor the more perfect illusion of depth and solidity eflfected
iKkcB tley are looked at with only one eye, as the perspective comes
aak » j^eat deal more distinctly ; and here we note the great contrast
tkat there is in viewing natural scenes with one or both eyes. With
ana eye the reverse takes place to viewing the photograph, and we
^s^BJrebotX to fully appreciate distance and solidity.
Si •caieluding, gentlemen, I fear I must admit that I have hardly
atteied to the title of my paper, and also I am afraid I have had but
litUe to say that is new, but I hope the subjects touched upon and
ttj^-soggestions I have ventured to make may not be without interest
to- 7»o, and may encourage photographers to include among their
othej (tudies that of " vision," for I am sure they will find it not
i»}y k most interesting one, but also one that I may say is alwolutely
aaaenti&l to the production of the best work.
T. R, Dallmeybk.
THE OPTICAL LA.NTEEN : ITS CONSTEUCTION AND USE.
[Before the Brixton and Clapham Camera Club.]
Mb. B. E. Pinder, one of the members, read a paper on the Optical
Lantern : its Construction and Use. With regard to the lantern itself,
he advised his hearers to purchase none but those of English manufacture,
as being more solidly constructed and longer lived than foreign lanterns.
It is, however, absolutely necessary that the lantern itself should be
fitted with the best made English condensers and objectives. With
regard to the latter, the most useful focus was eight-inch, the lens being
two inches in diameter when four-inch condensers are used. Reliable
templates should always be used in order to make the disc exactly con-
centric, without which it is impossible to show registering pictures
accurately. He advised that the springs in the spring plates should be
weakened, and found that washleather pads prevented the clicking of the
plates whenever a slide was withdrawn from the stage. He recommended
the use of grips to hold the jets firmly when properly centred, and advised
purchasers to obtain the best jets they could afford. In using mixed jets, the
chamber should be well packed. He himself found that the closely woven
gauze, such as is used for cheap tea-strainers, compressed into a conical plug
and inserted in the mixing chamber, answered admirably, especially when
using the ether light. Having described the use of cylinders, regulators,
and dissolvers, he proceeded to give a practical demonstration of the use of
the lantern, for which purpose he had brought to the meeting a fine
biunial recently constructed for him by Norton, of Russell-square. The
lights described and used were the oxy-calcium, the oxy-hydrogen, and
the ether lights. He found that the ethoxo light required too much
attention to use very often, but advised the passing of the hydrogen,
instead of the oxygen, through the saturator. The light produced burned
as steadily as the oxy-hydrogen light, but was more brilliant. He pointed
out the necessity for keeping the ether in a safe place, preferably a hole
in the ground, where accidents could not happen. Having shown how to
adjust the lantern with templates, adjustable runners, and stops, he pro-
ceeded to give an exhibition of elaborate effects and statuary, the use of
the roller curtain being also clearly explained.
The President, in thanking Mr. Pinder, said that the paper was made
the more interesting by the practical demonstration. The members were
surprised to find what a good light could be obtained from common
billiard chalk, asbestos, fireclay, or even the bowl of the homely clay
pipe, the two latter slightly vitrifying under the intense heat of the ether
light.
Daring the evening the following resolution was passed : — " That the
members of the Brixton and Clapham Camera Club having heard with
regret of the death of Mr. William Bedford, one of the judges at their
recent Exhibitions, hereby tender to his bereaved family their most
sincere sympathy."
PHOTOGRAPHY IN ITS RELATION TO THE ART OF
PRINTING.
[Eiohmond Cuutra Club.]
In dealing with our subject I do not think it wUl be out of place to
sketch, if only in outline, the history of the sister arts mentioned in our
title.
I call printing and photography sisters because, in their highest adapta-
tion, both are applied in expressing all that is most beautiful in nature,
in science, or in art. A photograph will present to us a delightful repre-
sentation, and by the help of printing we can not only look npon a
pleasing picture, but the words we read can speak to us almost with the
force of a living agent. Printing may be described as the art of taking
impressions from characters, or figures, on any kind of fabric.
What is Peintinq ?
As we understand the term "printing" in the present day, it may
roughly be divided into letterpress printing, lithography, copper or steel-
plate printing, and photographic printing, such as Woodburytype, collo-
type, &c.
The first of these is from movable letters, metal casts, or blocks either
of wood or metal ; the second from drawings on stone ; the third, as the
jiescription explains, from subjects engraved on steel or copper ; and the
fourth from sensitive gelatinous surfaces acted upon by light, and forming
reliefs for printing typographically in specially constructed presses.
This is, perhaps, a somewhat technical definition of printing, and a
much wider meaning may be given to the term which brings the history
of the art back to the very earliest times.
It has been said by one writer that printing is the production of a copy
by pressure. That is perfectly true with regard to the processes I have
already named ; but, to quote from a history of printing published some
years ago,
"It may also be applied to a seal impressed upon wax to close a letter, or to
attest a document ; to coming, i.e., to print upon gold, or silver, or copper, or
whatever substance used. It' we give this comprehensive meaning to the word
'printing,' we must recognise the ancient Egyptians as the earliest printers,
for they printed inscriptions on bricks, and some of the stamps which they
used for the purpose now form p.irt of the antiquarian treasures of the British
Museum.
February 17, 1803]
THE BRITISH JOURNAL OF PHOTOGRAPHS.
106
"The Babylonians also practised the art in this rmln form mnre than 2000
<'.iis ago, and bricks have been fonnd bearing the name of Nebuchadnezzar.
This may be called clay printing, and probably was the flmt stei^ in the art.
"The next was the use of the seal for making imprcssionx. The Romans
used seals at a very early period of their history, and the principle of letter-
mess printing, though cruile, was known to them. They seem certainly to
h:ive practised the branding of cattle with red hot irons, which, after all is
printing in hair, wool, and hide. That they narrowly misled the invention of
printing by wooden blocks, which must have led to luovalle types, is evident
IVoni the inscriptions on some of the Roman pottery unearthed from time to
time. Many of these inscriptions are in raised letters, stampeil upon the clay
when soft by means of dyes cut in intaglio.
" An accident might have suggested the whole art of printing to an inventive
Roman, if one of these inscribed pots had become smoked by a lamp, and in
that state had come in contact witii a piece of linen or damp vellum ; the for-
tuitous impression thus produced might have given birth to the art.
" The invention of money was another step in the art of printing As I have
already stated, to stamp on a piece of money was nothing else tlian printing on
metal. The method used has not been materially altered in the present day.
An engraving of the device to be stamped, or die, as it is called, is cut in a
punch, and the punch is forcibly drived against the metal, which is thereby
stamped with the device.
" As seals were formed with a graver, and money with a die, it is obvious
that engraving preceded the primitive method of printing.
" The first appearance of printing in a practical shape was when the seal, or
other stamp, instead of being forced against a softer substance than itself, was
wetted with some liquid of the nature of iuk, and pressed upon another body,
so that an image or picture of the stamp was transferred to that other body."
It is remarkable that, as the Chinese are generally credited with the
first knowledge of the compass, and with the discovery of less useful but
delectable things withal, as fireworks and roast pork, so printing was
first accomplished in China, by a minister of the State named Foong-
taon, in the tenth century.
" His plan was to place a page of writing, wliile it w.is wet, upon the face of
a smooth piece of wood. The writing made a mark on the wood, just as a letter
does when it is turned down upon a piece of blottinz-paoer ; in a word, the
writing was impressed or transferred to the woid. Then all that part of the
surface of the wood not touched liy the writing was cut awsy, leaving the
letters standing out. These were wetted with some kind of ink, paper was
then pressed upon them, and an inked copy of the letters was thereby trans-
ferred to the paper. This was really and truly the art of printing."
The Chinese are remarkable for their stationary character, and I be-
lieve it is a fact that they print in much the siime way today as they did
1000 years ago. That movable types are not used may be owing to the
nature of the Chinese language, consisting as it does — so, at least, I
understand — of separate characters for every separate word, being, in
fact, signs of words formed without the use of letters.
Printing with wood engravings was effected in 128,!), and playing cards,
invented to amuse the mad king, Charles VI., were also printed from
blocks about 13.30 ; so that we may presume that the art was transplanted
from China to Europe most probably through Marco I'olo's description of
it on his return from his travels.
Movable Types.
The introduction of movable types forms a great stride in the progress
of the art of printing. This improvement naturally grew out of block-
printing ; yet it was effected somewhat circuitously, and may have been
•8 much the result of accident as of design. John Gutenberg was the
first person who ever printed with movable types, though his right to the
honour of the invention is disputed by the city of Haarlem, which claims
the discovery of the art for one of its own citizens, Lawrence Koster.
The pretensions of the Dutch, however, in his favour have been extin-
I gnished, and Gutenberg is recognised as the inventor of printing in the
methods mentioned.
In 1449 Gutenberg connected himself with a fellow-townsman, named
Faust, in the prosecution of his invention, a connexion which terminated
mx years later by a law-suit commenced by Faust for the recovery of
monsy advanced.
Previous to his quarrel with Faust, Gutenberg had made types of cut
metal. The first book ever printed from these v.as the Mazarine Bible,
W> called because, after the existence of the edition had been forgotten, a
«opy of it was discovered in Cardinal Mazarine's library in Paris. The
leaves are printed on one side only, and seven years were spent in pro-
ducing it. The first letter in each chapter is painted in by hand.
. Peter SchceSer holds the honourable position of being the inventor of
cast metal types, without which the art of printing could scarcely have
become generally practised.
The casting of types at once reduced the cost of their production to less
than a hundredth part of what it must have cost to cut them, and thus
ensured the eventual spread of the printer's art as an ordinary pro-
fession.
It is curious to note that it was the practice of the early printers to
pretend that their books were manuscript, their object being not simply
to conceal the art, but also to obtain the high prices which were given for
manuscript books.
Books were curiosities because they were few and costly in production.
They were deemed as valuable as houses and lands, and were conveyed
Irom seller to buyer in the same manner as estates. The inducement
held out by the value set on manuscripti was so great, that the early
printers never sold their books as printed books if they could avoid it.
With one or two exceptions, all the books printed by Gutenberg, Faait,
and Sch(ctfer are in the British Museum.
InTBOOCCTION of PrINTINO into E.NeLAM).
The introduction of the art of printing into England has generally been
asisigned to William Caxton. He commenced printing in the year 1474,
and found a patron in Mulling, Abbot of Westminster, afterwards Bishop
of Hereford, who gave him an old chapel in the Abbey for a printing-
office. The spot now forms part of the site of Henry VIl.'s Chapel. The
first book printed by Caxton was a Hook of Chess, a title which sufficiently
describes the nature of the work.
In 1483 there were only four presses in England— Caxton's, at West-
minster ; Rood & Hunt's, at Oxford ; De Machlinia's, in London ; and a
fourth (name of the printer unknown), at the Benedictine Monastery at
St. Albans. Caxton, however, seems to have been the greatest printer of
his time.
Caxton died about the year 1491, and was succeeded in his business by
Wynkyn de Worde and Richard Pynsent. The first, a most accomplished
man, accompanied Caxton from the Continent. He introduced the Roman
letter into England, and the shape of his types was used for two cen-
turies afterwards. The punches and matrices he used in casting his
types were in existence as late as 1758. The art of printing spread
throughout Britain as the years rolled on. It seems pretty certain that
it was not before 1480, at the earliest, that Oxford had its own printers ;
while the first printer in Cambridge was John Sibert, whose productions
in Latin, Greek, and English bear no earlier date than 1521.
It is not necessary to follow the art as it spread gradually throughout
the kingdom during the next and following centuries.
The Art of Photoorapht.
If time permitted us to follow closely the various discoveries connected
with the art of photography, I suppose we might go back to the period
when the knowledge of the action of light was known to the Egyptians.
The discovery of the "camera obscura" (darkened chamber) may,
however, serve very well for a starting point.
Giambattista della Porta, a Neapolitan, had noticed that external
objects were reflected on the wall of a darkened room when the light
was admitted througli a small aperture. Following up the inquiry thus
opened to him, he contrived the fitting of a lens in a movable box,
and in this way produced the instrument which has suggested greater
things, and which to the draughtsman and photographer is invaluable.
The action of light on chloride of silver was known as early as the
sixteenth century, and the phenomenon was studied by early experi-
mentalists, whose names will occur to you — Scheele (1777), Genebier
(17U0), Ritter and Wallaston (1801).
From the results of these investigations experiments were made by
Thomas Wedgwood and Humphrey Davy in the Royal Institution,
London, which were published in its Journal, 1802. Wedgwood, who
was the fourth son of the great potter, may be regarded as the first
photographer. He discovered a method of copying paintings on glass by
placing beneath a white paper covered with a solution of silver nitrate,
and exposing to the action of solar light. He could not, however, fix the
images. But in 1814, M. Niiipoe discovered a method of producing, by
means of the camera obscura, pictures on metal plates (coated with
bitumen), at the same time rendering them permanent.
Another name will suggest itself to many — M. Daguerre. He com-
menced experiments in 1824, and two years later joined Niupce, and
worked with him till the death of the latter in 1833.
In 1839, Henry Fox Talbot first published his mode of multiplying
photographic impressions by producing a negative photograph (i.e., with
the light and shades reversed), and from which any number of positive
copies may be obtained.
Photo-Zimcoobafht and Photoobaphy on Wood.
I think the earliest application of the art of photography to that of
printing is the discovery of photo-zincography in the year 1860.
This is a process by which photographs are transferred to zinc platei,
which may be printed from.
It was invented by M. Toowey, and perfected by Sir Henry James,
Chief of the Ordnance Survey, and made known at the date already
mentioned. Charts, maps, and engravings can be printed in this way at
small cost. The adoption of the process by the Ordnance Survey Office
has resulted in the saving of expense to the Government.
It was not till 18C1 that photography was successfully applied to the
transfer of works of art to wood blocks. This was accomplished by
Mr. John Leighton in his illustrated edition of the Lyra (lermanica. I
have here wood blocks of two subjects showing the image photographed
on the wood. The process is of much importance, as the original
drawing is preserved, not only for comparison into the finished
engraving, but it may be for its artistic value. The drawing also may be
of any convenient size, and reduced on wood ; a great consideration when
minute objects are to be represented.
After the photographing on to the wood is done, the picture is " lined
up," if necessary, and more clearly defined by the aid of the pencil and
106
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[February 17, 180S
Chinese white. This is not always done to aid the engraver, as a skilled
engraver prefers to interpret the drawing in his own way without aid,
even though the photo on wood be indistinct ; but it is very often im-
portant that the subject should be clearly defined, so that the person to
whom it is submitted for approval may judge of the correctness and
Boitability of the block for his purpose.
Photo Blocks.
Photography itself, as a science, has advanced very rapidly, even
within the last few years. Discoveries are constantly being made of
more or less merit, and makers of apparatus are ever ready with some-
thing new. But, apart, from this, during the last decade photography
has entered very largely into the ordinary commercial undertakings
where printing is employed. The art of making blocks with the aid of
photography, for the purposes of illustrating forms at the present day, is
a flourishing industry. Whilst admitting the beauty of a really good
wood engraving, it must be granted that for truthfulness and delicacy
nothing can excel a good zinco block for use with letterpress ; and it
has this further merit, that the cost is considerably below that of wood
engraving.
Of coarse, artistic taste and great skill and care in manipulation are
required to produce a beautiful illustration, though it is often the case
that the choice of picture is with some one who is unacquainted with the
requirements of the half-tone process, as it is termed. The beauty of
execution in the block is due to the zincographer ; but photographers
also have a great deal to learn as to the requirements of the half-tone
process, in order to ensure a really good block. This will account for the
great differences in the appearances of some blocks in illustrated maga-
zines and papers.
It is impossible to produce a good block from a negative or a print
which does not lend itself to the process ; and it is equally impossible for
the printer " to make anything," as the phrase goes, from some blocks
that are produced, owing to want of depth and otlier circumstances.
Sometimes, however, by force of circumstances, it is really impossible to
obtain a good negative or photograph to illustrate a given subject — a
fact which will serve to explain, in a degree, the great variety in the
qnality of the block produced and printed.
There are, as you know, various methods of illustrating the text of any
given work, more or less elaborate and more or less expensive in exe-
cution. For example, there are lithographs, where many colours are
used ; or many coloured prints from a series of wood blocks or zineos
carefully registered, i.e., so made that each colour will fall exactly where
required. Photography is largely employed for the production of these
pictures, or in lithography to ensure accuracy of outline, or for the sake
of exactly reproducing stains of age, or usage, or imperfections in old
documents, or parchments, or other subjects of antiquity.
Direct Photo Processes.
Then, again, there are the various and beautiful photographic processes
and prints, printed direct on the paper which U to form the leaf of the
book ; or a photograph may itself be mounted on to the leaf of the book,
to form an " inset " or frontispiece.
Of the methods I have already mentioned, I suppose that Collotype,
Autotype, or Woodburytype, would be the best forms of illustration for
certain subjects for commercial purposes, as they most closely represent
actual photographs. Collotype is described to me as biehromatised
gelatine spread upon glass and printed beneath a negative, then washed
out and used as a printing block in specially constructed presses or
machines. The gelatine, I believe, is affected a great deal by the weather,
and I am told that there is difficulty in obtaining two impressions alike ;
but I have no doubt, in the hands of the experienced collotype printers of
the present day, these difficulties will soon be overcome, and it certainly
is to their great credit that such good work is turned out in spite of the
drawbacks mentioned. Collotype, too, has one distinctive and attractive
merit besides beauty, and that is economy in cost of production. But I
must not, even if I could do so, dilate farther upon this subject, as by the
kindness of one of our members, I believe, we are to be favoured shortly
by a demonstration at his works.
It was rather ray wish to bring before you this evening examples of the
employment of photography in helping the printer to produce an illus-
tration at once effective and economical. For our purposes, then, we can
divide the term printing into two main divisions, viz. , hthographic and
letterpress printmg.
Phoio-Lithosraphy.
In the first of those, then, photography can be employed to produce a
subject or design upon a hthographic stone, realy for printing purposes,
in much less tune and with greater faithfulness than can be secured at
the hands of an average lithographic draughtsman.
Take, for example, a white lace curtain or piece of lace. It is required
to show effectively the design of the curtain. This must at least incor-
porate a corner— most generally half a curtain is preferred. Now, it is
quite obvious that to secure the print which you see (.specimens s/iou'/t), it
would take a draughtsmin a long while to complete his work, and it
would of necessity be very costly ; so the end is achieved by means of
what is called the photo-transfer process. An ordinary wet-plate nega-
tive is tiken, and a print obtained on paper coated with biehromatised
gelatine. This receives a coating of lithographic transfer ink specially
prepared for the purpose. It is next floated in warm water till the Unea
are seen as depressions. With the aid of a sponge and water, the soluble
portion (or white) is removed, leaving the picture in insoluble gelatine
with its coating of transfer ink. It now only requires to be dried and
transferred to the stone for printing in the usual way.
In printing the illustrations for & catalogue or book, the letterpress, or
type portion, can, if necessary, be transferred to stone in much the same
way by " transfers " being pulled on transfer paper, and the whole " laid
down " and printed at one and the same time.
Photo relief etching is a term applied to a picture in relief on metal,
■which can be used like a woodcut in the ordinary printing press.
Keproductions of Like Drawings.
Photography is very generally employed in the production of line
drawings. To produce blocks of these for the purpose of letterpress
printing the image must be produced on zinc from a reversed wet-plate
negative, giving, of course, a positive upon the zinc, but the reverse way
to the drawing. The mechanical tint, or stijjple, is added afterwards if
required. The plate is now rolled up, aild slightly warmed before
placing in the acid bath or etching solution. It is then well rinsed under
the tap, and dried with gentle heat upon a hot plate, and gummed in.
After it has been allowed to cool, the gum is removed with a sponge.
The plate is again " rolled up," and the surface coated with powdered
resin and again subjected to the etching solution. The operation of
" rolling up," warming down, dusting with resin to protect the sides of
the lines, is repeated until the plate attains sufficient depth. The whole
of the resin is then washed off, and the removal of the "steps,' or
shoulder, is effected by a series of acid baths in much the same way as
the depth is attained, with the exception that the resin is omitted.
Collodion for wet-plate photography, which I understand still maintains
its stand for copying, was, as most of you are doubtless aware, intro-
duced by .\i-cher in 1850.
It is desirable, in order to procure the best results, that the subject be
drawn larger than is actually required, and bolder in proportion.
I have also the pleasure to submit a specimen of another system,
interesting on account of its producing somewhat similar results without
the aid of photography. Here is a copper plate from which a " transfer "
has been taken and transferred to zinc direct. The zinc plate is ready
for etching in a similar way to the method just described. I also can
show the finished block and impression from it. I have mentioned the
production of lace for lithographic printing, but lace may also be
illustrated by the aid of zinc blocks such as I have described. In
the case of white lace the piece to be photographed is fastened to
black material which does not "give off" any light; consequently the
result is a beautiful reproduction, with sufficient detail to show the
pattern. Black lace is made to adhere to ground glass and photographed
against the light, that is, the ground glass is suspended in the line of
light between, say, the window and the camera, the lace towards the lens.
So much for line drawing?, but by far the more artistic blocks are
designed by the term " half-tone blocks." These are specially suitable
for portraits, landscapes, and architecture. The processes by which
they are produced may be very simple when you know them, but they
are not publicly known, and I am sorry I cannot do more than show you
a specimen, the start and the finish, as I may call them.
Exuraving Processes.
I read, however, that some modifications of the methods patented by
Mr. Fox Talbot in 1852 and 1858 are understood to be in use. He called
his process photoglyphic engraving. Talbot got the image with biehro-
matised gelatine. The necessary reticular grain was given to the plate
in two ways. By one of these he covered it after development with a fine
deposit of resin. It is then ready for the etching solution. By the other
method he took fine muslin or netting, and applied it by mechanical
pressure to the plate, which covered it with fine cross lines. Goupil, of
Paris, has a process which is believed to be worked upon tlie plan of
forming a gelatine image, and then eleotrotyping it ; but, as I have said
already, the patentees of tlie various processes do not allow information
to leak oat if they can help it, and most producers have chemical secrets
known only to themselves, though general principles may apply to all the
methods.
Most of you are familiar with the lettering, as it is called, on the covers
of bound books. The designs for these are usually cut in brass, from
drawings on paper ; but, since the application of photojraphy, zino •
blocks are now being made which bid fair to supersede the older and
more expensive brass blocks. Tlie metal for these is rendered extra hard
to resist the heat necessary in the process of gold blosking.
All process blocks can be duplicated to any extent by electrotyping or
stereotyping at a low cost, so that one may readily perceive the advantage
to be derived by advertisers wishing the same illustration to appear
simultaneously in, say, fifty periodicals or newspapers. The cost of fifty
original blocks would, of course, be pra-itically prohibHive.
ZixcooR.iPur.
The public, then, reap a benefit by the production of the kind of blooka
that I have attempted to describe, because attractive books, newspapers,
February 17, 1893]
THE BUlTISIl JOURNAL OF rUOTOGKAPIIY,
107
and periodicals arc produced at a figure which would be well-nigh ira-
posBible if the old system of wood-enuraving were resorted to. Zinco-
graphy, in its development, has naturally told unfavourably upon many
wood engravers ; but these, again, in many instances, liave linked this
department with their original profession, and really, for tirst-olass work,
steel engravings and wood blocks of high quality hold their own, though
for commercial purposes people will not pay the high jirices demanded
for them. But then, again, it is quite impossible to employ photography
on some subjects, and a choice has to be made of some other method of
illustration.
One reason of the popularity of " zincos ".is that they can be worked
with the typo, ensuring, of course, a saving in the printing, the whole
being done in one operation, instead of two or more, provided, of course,
the type and block are to be printed in the same colour.
In the illustration of books and newspapers it is, of course, most
desirable that the reproduction of the photographs should be made as
perfect as possible, and in this connexion, before concluding, I must
acknowledge my obligation to Messrs. Swain & Son, of Farringdon-street,
not only for valuable aid in the technical parts of my paper, but for the
skill and care exercised in producing, at my request, the excellent
specimens I have been privileged to submit.
I cannot pretend to have exliausted the subject before us, but I trust I
have said enough to show you the utility, if I may be allowed the term,
of the Photographic art to commercial purposes. The application of the
art in the way I have attempted to demonstrate has done very much to
raise the tone of publications generally, and to educate the taste of the
people who read them. It has also contributed largely to replace the crude
and occasionally vulgar illustrations of bygone days, and it enables
authors and publishers to put into the hands of readers of even the
cheapest literature artistic and truthful representations of persons, current
events, and matters of interest generally. J. H. Alabastkb.
LANTERN SLIDES BY FEINTING OUT.
Befork thQ Putney Photographic Society, on February 6th, Mr. W. E"
Woodbury, of the Paget Company, gave a demonstration of making
lantern slides by printing out.
Mr. Woodbury said he understood that making lantern slides by
contact had already been demonstrated before the members earlier in the
season ; he would therefore confine his remarks to the manipulation of
the new printing-out plates, and to making slides by reduction in the
camera, with such apparatus as every photographer already had in his
possession, or could readily make for himself. He would also show the
method of working the printing-out opals, recently introduced by the
Paget Company, which was very similar to that required for their printing-
out lantern plates. He said that the treatment of the plates and opals
was essentially a daylight process, in many respects similar to that in
use for gelatino-chloride or albumenised papers. The first point to
which he called attention was that the difference between the coated and
nncoated sides was not great ; it should therefore be remembered that
the plates and opals were placed in the boxes face to face witli a piece of
chemically ptue tissue paper between. If by chance they should become
disarranged, the glass side could generally be distinguished by small
streaks or patches of the emulsion accidentally left on, and. if these
should not be sufficiently obvious, the surfaces mieht be breathed upon
slightly, when the glass side would immediately show by the condensa-
tion of the breath, the coated side remaining tinaltered.
The printing was generally done by daylight, the plates and opals
being placed in the frames, and afterwards examined in a subdued light.
In this connexion he said it would be obvious that the examination of
the rigid glass would ne essarily differ from that of paper, which cjuld
be bent back and replaced without difEculty. As regards the lantern
plates there was no difficulty, as the emulsion was so transparent that
density could readily be judged from the back. When one half of the
frame was opened in the usual manner, the opals being too opaque for
the image to show through, it was necessary to lift them oS the negatives
80 as to be able to look at their front surfaces, and special means for
replacing them in correct register with ease and certainty had to be
resorted to. Mr. Woodbury said this could be done in three ways.
First, the negative was placed in an ordinary printing frame and wedged
£nnly in position, the opal was put in contact on the top, and care taken
that it was firmly placed against one side and one end of the frame, of
vhich a note should bo made ; with ordinary care the opal could be taken up
and replaced correctly without difficulty. Secondly, a piece of cardboard
trice the width and of a length equal to a plate one si;:e larger than the
negative to be printed from, is folded across the middle, and apertures of
tiie proper size for the negative and opal cut out opposite each otiier ; the
negative is gummed in one of these openings, the opal in the other, and
then folded together face to face, and placed in a suitable printing frame
■with a plain glass in front. For a half-plate negative the cardboard
. should be 13 X 8.J inches, which, when folded, would measure 6J x 8J,
allowing about an inch margin all round the negative, and would tit in a
whole-plate printing frame. The description looks somewhat formidable
on paper, but the whole operation was very easily performed, and
answered its purpose admirably. It should, of course, be remembered
that the same cardboard frame may be used repeatedly. Lantern-slide
binding slips are conveniently used for holding the negative and opal in
place. The third method consisted in the use of a special printing frame
designed by Messrs. Paget, and which they will shortly place on the
market at a very moderate cost. Each frame is arranged to take two
sizes of negatives ; for instance, half and whole, or quarter and half plates,
Ac. Tlie negative is securely clamped in the lower portion by turning a
cam, which is locked in any position by means of a screw ; the opal is
similarly hold in the upper portion or lid of the frame. The lower
portion carries four brass studs fitting accurately into corresponding
sockets in the lid ; on being lowered on to the frame the studs enter the
sockets, and the two parts are thus always held in proper register with
each other. By the use of this frame the last trace of difficulty disap-
pears, and the opals and plates may be examined as readily as paper
prints.
The opals and plates are printed somewhat more deeply than will
ultimately be required. A little practical experience will soon enable the
operator to judge the correct density. The same rules apply as to silver
prints generally. Thin negatives should be printed in a weak light, hard
ones in sunlight. Mr. Woodbury stated that good results could be
obtained on these plates from negatives with a lack of pluck, which
would place them out of court with most of the ordinary rapid brands.
It is almost unnecessary to add that this is a great desideratum for those
who have developed their negatives with a view to obtaining soft and
delicate prints, or who may have failed to get the necessary density when
using some of the many new developers. Such weak negatives have
generally been disappointing for lantern work, and a plate producing
slides which will compare favourably with the prints taken from the
same negative will be hailed with delight by many good workers, perhaps
more particularly among the growing ranks of those who devote them-
selves to stercoscopfc photography. The size of stereoscopic nega-
tives is convenient for making slides by contact. Each negative also
gives two chances against spots, scratches, and other defects, as a
slide may be made either from the right or left half. The prints com-
posing the stereogram should, however, be soft, and of as delicate a
gradation as possible. This requirement has hitherto to some extent
militated against the successful use of stereoscopic negatives for lantern
work, as lantern plates generally give the best results with rather plucky
negatives inclined to be hard wlien printed in silver. When printed out,
the opals and plates are ready for toning. Mr. Woodbury said that any
of the usual baths will be found to answer. The Company issue the
following formuliE : —
Combined Toning and Fixing Bath.
No. 1 Stock.
Hyposulphite of soda 20 ounces.
Alum 5 „
Sulphate of soda (not sulphite) 14 „
Water to 1 gallon.
Dissolve the hypo and alum each in about one quart of hot water, mix
and then, add sodium sulphite which has already been dissolved, making
up to one gallon with remaindc* of water. The mixture should be left
for some hours to allow precipitate to settle, when the clear solution may
be poured off or filtered, and is then ready for use. It will keep in-
definitely.
No. 2 Stock.
Chloride of gold 15 grains.
Acetate of lead 64 „
Distilled water 8 ounces.
Dissolve the acetate of lead in the water and add the gold. A heavy
precipitate will form, which should be shaken up when any is to be
poured out. It redissolves when added to No. 1 Stock. For use mix
eight ounces of No. 1 with one ounce of No. 2. When this bath is used
the plates and opals should not be washed be/ore toning.
Separate Toning Bath,
Sulphocyanide of ammonium 30 grains.
Chloride of gold 2J grammes.
Water 16 ounces.
The plates and opals must be very thoroughly washed for at least
fifteen minutes in running water to ensure even toning. For deeply
printed images Mr. Woodbury recommended the combined, and for
correctly or slightly under-printed pictures the separate bath. He also
pointed out that in the combined bath toning proceeded very evenly, and
could be stopped at any stage, care being taken, if the plate had not been
in the bath at least fifteen minutes, that fixation should bo completed in
a separate plain hypo bath. Unless very carefully washed, prints would
tone unevenly in the separate bath up to a certain point, and it might be
found necessary to cany the toning somewhat further than intended.
For warm tones, therefore, the combined bath would be preferable, and
the separate for the colder shades.
He then proceeded to print some lantern plates and opals by means of
the Platinotypo Company's oxy-magnesium lamp, the operation being fully
performed in a few seconds ; he then toned some of eaiih in the combined
and separate baths, the manipulation throughout being of a simple
108
T E BRITISH JOURNAL OF PHOTOGRA.PHY.
[February 17, 1893
nature, and such as every photographer is accustomed to when toning
silver prints. The results were highly successful, and they, as well as a
number of finished lantern plates and opals, with glossy and matt sur-
faces, were handed round and greatly admired by the members. Mr.
Woodbury then proceeded to make a lantern slide by reduction on the
Paget Company's rapid lantern plate ; the negative was half-plate size,
and of average density, and of a good colour without yellow tinge. It was
placed in a suitable frame, placed at right angles to an ordinary camera,
which could be moved longitudinally on a board fitted with guides ; the
image was focussed by means of a couple of candles placed behind the
negative. The lantern plate was put into the dark slide, and a ground
glass placed about two inches behind the negative in order to diSus* the
light ; the lens worked at f-10, and twelve inches of magnesium ribbon
was burned at a distance of about six inches from the ground glass, being
moved about as evenly as possible during burning. The exposure proved
to have been correct, and the slide was in every way successful ; elaborate
apparatus was therefore unnecessary, the chief point being that the light
from the burning ribbon should be screened so as not to enter directly
into the lens.
ME. H. M. SMITH ON "ENLAEGING."
Before forty-three members of the North Middlesex Photographic Society
and several visitors, on the 13th inst., Mr. H. M. Smith, of the Eastman
Company, gave a demonstration of " Enlarging."
He commenced with the subject of large cameras and direct prints
versus small cameras and enlargements, and, after discussing the various
pros and con« of weight, portability, expense, and excellence of results,
said he had come to the conclusion that he would use nothing but small-
sized cameras and enlarge. He, in fact, went farther, and said he now
used nothing but a hand camera for outdoor work. It w^as the greatest
mistake possible to suppose that a hand camera was only suitable for
snap-shots; when it could be used on a tripod, as most of those now on
the market could, he maintained that work could be done with it in every
way equal to that done with the ordinary camera, and he had made
many enlargements from such negatives which had raised considerable
discussion among able photographers as to whether they were enlarge-
ments or direct prints, most people taking them for the latter.
He then dealt with the manufacture of bromide paper, explaining the
old method of coating by hand, and that now generally practised of
coating a roll of paper about a mile long by forty-two inches wide by
passing it through a trough containing emulsion, then over iced rollers to
cool, whence it was carried to the roof of the building, where it hung in
festoons of about thirty feet each to dry. The paper was thus prepared
much more perfectly and cheaper than by the old method, as nine miles
of such paper could be turned out in twenty-four hours. The paper was
packed in dozens, eleven sheets facing one way, and the twelfth the reverse,
thus enabhng the user at once to see which was the film side. He also
referred to the absence of glaze on the surface, making it very suitable
for working on with colours.
Passing, then, to the actual enlarging he described the various methods
of daylight and artificial light enlarging, but recommended amateurs to
stick to daylight, as giving the best and most even results. The best way
to find the proper exposure was to make a trial on a small piece of pai^er
immediately before exposing on the large sheet, and modifying that
according to the result shown by the trial. He was of opinion that the
ferrous oxalate developer was still the best for bromide paper, and the
formula given with their paper could be relied upon. He then developed
in succession three prints of the interior of Salisbury Cathedral, one
correctly exposed, the second under-exposed, and the third over-exposed,
using the normal developer for each, and showing what the result of
under and over-exposure was, at the same time explaining how these
errors of exposure could be corrected by strengthening the developer by
adding more iron for the under-exposed paper, and weakening it for the
over-exposed.
Replying to questions, Mr. Smith said he did not recommend magne-
sium ribbon as an iUuminant, because one could never tell exactly what
condition the ribbon was in, and this would cause considerable irregu-
larity in the illumination. The household gas, too, was not suitable, on
account of the prolonged exposure required, which would be found some-
what troublesome. The relative speed of the Eastman paper was that
the " extra-rapid " paper was three times faster than the " permanent."
Starch paste or a gelatine mountant was the medium used by the Com-
pany for mounting their enlargements, but the latter was not so suitable
as the former, on account of the quickness with which the spirit evapo-
rated, causing it to dry before the print was in proper contact with the
mount. Paper had been kept as long as four or five years after manu-
facturing before exposing, and yet was found in perfect condition. He did
not recommend toning with uranium for sepia tones, because the deep
shadows were liable to bronze, giving anything but a pleasing effect.
EOTHEBHAM PHOTOGRAPHIC SOCIETY'S EXHIBITION.
Os Tuesday and Wednesday, February 7 and 8, the Rotherham Photo-
graphic Society held its fourth annual Exhibition in the St. George's Hall,
Compared with previous efforts, a marked improvement was notiQeable in
the quality of the members' work displayed, and in the general arrange-
ments ; while in the matter of public support accorded the promoters
must have reason to feel encouraged. Lady Albreda Fitzwilliam per-
formed the opening ceremony, in the presence of an intiuential assembly
of townspeople, an appropriate introductory speech being delivered by
Dr. Baldwin, the president. Mr. G. W. Chambers, J. P., D.L., moved the
vote of thanks to her Ladyship, and the Eev. W. Blazeby, B.A., in
seconding the proposition, observed that the present exhibition was even
finer than the one held twelve months ago. He was glad the Eotherham
Society, in one department, was pursuing a very good course, namely,
preserving records of old buildings and old streets which were gradually
passing away. He was glad, too, the members were paying some atten-
tion to the churches of the district.
The Exhibition has many attractive features. Lady Albreda Fitz-
william, the Hon. Mabel Fitzwilliam, Miss Crossley (Maltby), and Eev.
J. Whitehead, Congo Missionary, and formerly of Eotherham, each sent
photographs. The members contributing were Dr. Baldwin (President),
Mr. E. Isle Hubbard, Mr G. T. M. Eackstraw, Mr. W. H. Haywood (Vice-
President), Mr. J. Leadbetter, (Hon. Treasurer), Mr. H. C. Hemming-
way (Hon. Secretary) ; Messrs. W. Firth, W. Mason, W. H. Shephard,
A. T. Cocking, J. W. Whittington, J. W. Baker, J. Caseldine, J. Clarke,.
J. W. Clements, A. Feirns, and J. Sykes. There had been some
attempt at " selection," and the result was appreciated. As to processes,
it was apparent that the old style of silver printing had been replaced by
the gelatino-chloride papers, and various tones, whether intentional or
otherwise, were illustrated, riatinotypes were very few in number, and
there was not a single specimen of carbon printing. Numerous gelatino-
bromides of good quality found places. The loan collection of prints
was extensive and interesting. :Mr. E. Keene, of Derby, sent a number
of choice platinotypes ■, Messrs. Elliott & Son, of Barnet, exhibited the
" Wave " picture ; the Autotype Company lent a number of reproductions,
and the Great Eastern Eailway placed at the disposal of the Society the
very beautiful series of Norfolk Broads views. Other friends who
rendered help were the Eastman Photographic Materials Company,
Limited, Messrs. J. Martin A- Company, and Mr. J. Leadbetter. Each
evening there was a lantern display, the " Peak and Dale scenery " slides-
of a contemporary being followed by slides prepared by the members.
Musical selections were also introduced with much appropriateness.
NATIONAL ASS0CI.4.TI0N OF PEOFESSIONAL
PHOTOGEAPHEES.
The third annual meeting of the National Association of Professional
Photographers was held in Manchester on Thursday, February 9, Mr.
Thomas Fall (London) in the chair.
Mr. Fall brietly reviewed tlie progress of the N.A.P.P. since its com-
mencement, and strongly emphasised the necessity of having one repre-
sentative of purely professional society. The early experiences of the
N.A.P.P. had resembled those of all new associations, and had included
great difficulties, but the worst were now past. The Council proposed ta
push the social element, and strongly recommended an effort to affiliate
with some existing or projected body, preferably in London, by means of
which, while holding their own purely professional meetings on a special
meeting night, they could also arrange to meet one or more provincial
members whenever they might be in London. The proposed New Central
Club seemed likely to offer exactly the advantages they wished for ; and
they, as a body of 150 representative professionals, could form a very
strong and helpful section of any photographic society they joined.
The Council's report and suggestions were as follows : —
" In presenting this the second annual report, the Council congratulate'
the members on the increase of the subscribers from 84 at the first
annual meeting to a total of 145.
" The Council suggest that a certificate of membership be issued to the
members of the N.A.P.P. ; that the members generally be invited to send
to the Secretary designs in competition for such certificates, the same to-
be reproduced in one of the permanent processes ; and that, after present
date, all persons desiring to become members must be duly proposed and
elected at the ensuing Council meeting.
" Propose that Mr. Fall be requested to act as President for the ensuing.
year.
" The Council have accepted the resignation of Mr. Eiohards as Hon.
Secretary with regret, and desire the members to express their hearty
thanks for Mr. Eichards' invaluable assistance to the N.A.P.P.
' ' That Mr. Warwick Brooks, Manchester, be requested to accept the
office of Hon. Secretary.
" The Council view with satisfaction the proceedings taken to inforitt
the public of the facts of the free portrait swindle, and express their
thanks to the Editors of Truth, of the Practical Photor/rapher, and the
press generally for their assistance in exposing these frauds.
" The thanks of the Council are conveyed to the Editor of the Spy^
Manchester, for his fearless exposure of practices discreditable to photo-
graphy in Manchester.
" Subscribers to Guarantee Funds have been called on for a first half of
the amount kindly promised by them. Thirty-three pounds has been
paid over for the working funds of the N . A. P. P. by these gentlemen,
chiefly members of the Council.
February 17, 1C93]
TlIE BRITISH JOUIiNAL OF PHOTOGRAPHY.
10
" Up to present time, the expensea of the Council attending meetings
in London, IMinburgh, Manchester, and Birmingham liave been borne
by the inenibera of tlie Council.
" A number of members have not yet paid 1893 subscriptions, and the
Council reijuest that the same may be paid as soon as possible.
" The Secretary has visited Newcastle, Glasgow, Edinburgh, Hastings,
Dover, Eastbourne, and other towns, to advance the interests of the
N.A. P. P., without any cost to the funds.
" Council record their indebtedness to President (Mr. Fall), Mr. Whit-
lock, and to the press."
Several members supported the Council's suggestions, which were all
carried.
It was decided to hold the next annual meeting in Cirmingham.
<©ur ©tutorial JTatlc.
The Pbofessional Retouohing Knife.
It is the belief of Messrs. Percy Lund & Co., who are the publishers
of this implement, that it will ultimately become as indispensable
to the retoucher as the retouching pencil. As to this we cannot offer
an opinion, but we shall endeavour to give such a description of the
" knife " as to enable those readers interested in retouching to arrive
at a conclusion each for himself. Imagine, then, one of those handy
pencils so much in use by retouchers, in which the lead moves loosely
in the wooden barrel, subject to being projected at the point, and
pinched there by a turn of the nozzle ; but in place of the lead a
piece of hardened steel wire is substituted, one end of this being
ground to a triangular point, and the other made flat with a bevelled
point, as shown in the cut.
We have also on our table the Idler (Chatto & Windus), in which
we find a well-written sketch of George Grossmith, with numerous
illustrations, mainly characteristic portraits by that clever entertainer ;
the continuation of " Novel Notes," by .Jerome K. Jerome ; " My First
Novel," by Miss Braddon, and many other articles more or less
copiously illustrated by process blocks. Great Thoughts (A. AV,
Hall) maintains its high position in cheap serial literature. When a
portrait of Dr. Phillips Brooks, with a sketch of his life and selections
from his writings, were given, who would have imagined that, ere the
February issue could have been in the hands of its readers, the
talented Bishop should have retired from his terrestial labours? This
renders the number doubly interesting. Other portraits are those of
Commander Lovett Cameron, R.N., Rev. Hugh Stowell Brown, and
W. L. Thomas, art director of the Daily Graphic, with T. Ileath
Joyce, its senior editor. These latter accompany an itfteresting
account of the paper just named, including that of its photographic
I department, where the drawings are converted into the blocks used
in its pages. The Picture Magazine (George Newnes, Limited) pre-
sents a collection of humorous and other pictures, many of them
portraits of well-known writers, and others of scientific interest, col-
lated from native and foreign illustrated journals.
We have also received the "Results of Meteorological and Magnetical
Observations for 1802, at Stoneyhurst College Observatory, and St.
Ignatias' College. Malta," compiled by the Rev. W. Sidgreaves, S.J.,
and Rev. J. Scoles, S.J., from which we learn that the new lif teen-
inch refractor telescope to the memory of the late Father Perry
is expected to be ready before the end of February.
Cataloouks.
Rou 4' Co., Ill, New Bond-street, London, W. — This forms a cora-
' prehensive catalogue of si.^ty-four pages, and particularises lenses,
chemicals, apparatus, and photographic appliances of various kinds. It .
also treats of enlarging apparatus, microscopes, with their multifarious
requisites, including object-glasses, for all of which this firm has long
; Iwrne a high reputation. Telescopes, binoculars for field and theatre,
i meteorological, surveying, drawing, and nautical instruments, with
, other like things, form a compendium fitted to prove extremely
(•ttractive to the photographer and man <rf staence.
Sharp Sf Hitehmoitgh, 101, Dale-street, Liverpool. — In thi« closely
compressed catalogue of sixty-four pages we
find everything that can conduce to the
most exigent requirements of the profes-
sional or amateur photogtapher, many of
the articles being the special productions
of the firm, although tnose of numerous
other makers are included. The " Aptus "^
chemic.ll balance seems a very handy in-
strument to have standing on one's table.
We give a cut of it, from which it will be
seen to possess weighing capabilities up to-
two ounces. Right certain we are that no
one could make such a balance for himself
for two shillings, the exceedingly low price
at which we find it entered in this catalogue..
Philip Harris & Co., 144, Edmund-street, Birmingham. — A varied
and comprehensive stock of cameras, shutte/s, lenses, plates, lanterns,
and other things are here set forth. Inter alia, we find a bichromate
batteiy of five cells intended for the dark room, the lamp of five
candle power being fitted with a removable chimney of ruby glass.
Included in this catalogue are directions for working the platinotype-
process by both hot and cold developing.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 2.')66. — "Improvements in or reliiting to Apparatus for the Ex-
po,sure, Separation, and Storing of a Pack or Series of Photographic
Films." Completeapeciftcation. J.T.Clarke. — Dated Februari/S, 1893.
No. 2663. — " Improvements in Cabinets for the Reception of Photographs or
other articles." A. lf.vsois.— Dated February 7, 1893.
No. 2/07. — "Improvements in and relating to Photographic Retouching
Device.s." Complete specification. A. S. Harry. — Dated February 7, 1893.
No. 2747. — " A Chambered Roller with the Chambering carried parallel
riglit through, and as a Through-draft Roller applied to Photographic Bumish-
Jng Machines." L. M.vbion, H. Guibout, G. Bishop, F. Bishop, and J. P.
S.m'K..— Dated February 8, 1893.
No. 2926.—" Improvements in Photographic Apparatus." J. E. W^
Erdesley.— J9oi«d February 10, 1893.
SPECIFICATIONS PUBLISHED.
1892.
No. 5056. — " Photographic Camera Stands." M.vhtin.
No. 18,230.— "Photographic Caraeni." Wrioht.
No. 23,315.—" Photographic Films." Cl.\rke.
No. 23,487. — "Photographic Camera.s." Communicated by Kemper. BouLT,
— ■♦■
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of Meeting.
February 20..
20..
20..
20..
20..
20..
20„
20..
21..
21..
21..
21..
21...
21..,
21...
22...
22...
22...
22..
22..
23..
23..
23..
23..
23..
23..
23..
23..
24..
24..
24..
24...
24...
24...
25...
Mame of Society.
Camera Club ,
Dundee Amateur
Fillebrook Athenieum
Glasgow & West of Scotland Am.
Hasting-s and St. Leouarde .
Leeds Photo, Societj
Richmond
South Loudon
Birmingham Photo. Society
Brixton and Claphaju
Exeter
Hackney
Keighley and District
North London
Paisley
Bath (Annual)
Burnley
Lcytonstone ,
Photofirraphic Club ,
Sonthport ,
Stockport
Camera Clnb
Glossop Dale
Halifax Photo. Club
HnU
Ireland
Liverpool Amateur
London and Provincial
Oldbim
CardilT
Croydou Microscopical
Holbom
Uaidstono
Swansea ,
West London
HoU
Place of Meeting.
Charing. Cross-road, W.C.
Abso. Studio, Netherirate, Dundee.
Fillebrook Lecture Hall.
180, West Regent-street, Glasgow..
Mechanics' Institute, Leeds.
Greyhound Hotel, Richmond.
Hanover Hall. Hanover-park, S.E.
Club Hoom, Colonnade Hotel.
376, Coldh arbour-lane, Brixton.
City Chambers, Gaudy-st., Exeter..
206, Mare-street, Hackney.
Mechanics' Institute, North>8treet.
Canoubnry Tower, Islington. N.
9, Gauze-street. Paisley.
Roy.Lit ^ Sc. InBt.,Terraoe-walks.
Bank Chambers, Hargreaves-rtreet.
The Assembly Rooms, High-road.
Anderton's Hotel. Fleet-street. K.C.
The Studio, 15, Cambridge-arcade.
Mechanics' Institute, Stockport.
Charing Cross-road, W.C.
Mechanics' Hall, Halifax.
71, Prospect -street, Hull.
Rooms, 15. Dawson-street. Dabllb.
Percy-bnildingfl, Eberle-street.
Champion Hotel, 15, Alderssute-ct.
The Lyceum, Union-street.Oldhaiiu
Public Hall,Georgc-atreet,Cro7daa..
'* The Palace," Maidstone.
Tenby Hotel, Swansea.
Obiswiok School of Art. Ohiawick.
71, Prospect-street, Hull.
110
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[February 17, 1893
PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN.
Febbuabv 14,— Annual G«neral Meeting,— The President (Captain W. de W.
Abney, C.B., F.RS.) in the chair.
The Affiuation Schemb.
The Hon. Secretary announced that the following societies had that day
been admitted to affiliation by the Council :— The Leytonstone, Greenwicli,
Southport Social, West Kent Amateur, Brechin, Midland Camera, Hampstead,
Birkenhead, Rotherham, and Woolwich.
The Annual Report.
Tlie Annual Report was then read by the Hon. Secretary, of which the
following are extracts : —
" During the year ending December 31 last, thirty new members have been
elected into the Society, and we have lost sixteen by death, resignation, and
other causes. The following table shows the changes iu the number of mem-
bers that have taken place :—
Honorary
Members.
Life
Members.
Ordinary
Members.
Nnn-resident
Members.
Totals.
On January 1, 1892 ...
During 1892, elected
„ ili«l
„ resigned
or lost sight of ...
5
0
0
0
1
- 1
0
S56
28
2
13
14
0
0
0
439
30
3
13
Oa January 1, 1893 ...
5
65
370
13
453
"The Exhibition at the Gallery in Pall Mall was conducted in a rather
different manner from those held before, in that the exhibits were classified by
the Judges before the Hanging Committee entered upon their duties, and the
process of selection was much more rigorous. In round numbers, only about
two-thirds of the photographs sent in were accepted for hanging.
'■The number of exhibitors whose works were accepted was 202, that is more
than we have had since the year 1887. The gradual decrease in the total of
members exhibiting is compensated for by the non-members. There were
twenty-eight foreign exhibitors, namely, sixteen sending from America, four
from Germany and Austria, two from Switzerland, and one each from Australia,
the Cape of Good Hope, India, France, China, and Japan.
" There were 16(5 lantern slides and forty-five apparatus exhibits.
"The Exhibition was open three evenings in each week, and through the
courtesy of affiliated and other societies, and of friends, as well as of some of
our own members, there was no lack of slides for the lantern shows. An
extra evening was as usual devoted to the benefit of the Photographers'
Benevolent Association.
"The admissions to the Exhibition show an increase of 201. Is. 3d. over last
year, but there is a slight decrease on wall space and catalogues. The expemli-
ture shows a decrease of 39Z. lis. 5d., and allowing for some advertisements
outstanding the loss on the Exhibition will be about 45i., as compared with
90/. last. The Council have arranged with the Council of the Royal Water
Colour Society for the next Exhibition,
" With regard to general finances, the entrance fees and subscriptions are
less this year than last, as only two new members have paid the life subscrip-
tion as against six last year. The sum of 221. 19s. lOrf. has been expended on
the library, and 3/. 2s. on purchase of photographs. MIL lis. Gd. has been
received from the guarantee fund on account of 1891, and as this scarcely
balances the account for 1892, it will be necessary to again call upon the fund
for the same amount.
" Several Committees have been at work during the year, and, as the result
of their recommendations, the Council have effected economies in the manage-
ment of the Society, and a revised series of ' laws ' have been prepared, which
are about to be submitted to the members. Nearly 3000 circulars have been
issued to members of various scientific societies and others, setting forth the
aim and work of our Society, and inviting them to join us. The immediate
pecuniary result of this has not been large, but it has been considerably more
than sufficient to defray the cost of the undertaking. The introduction of
mineralised methylated spirit has been duly considered.
" A specification of the Society's lens standards, as added to and completed
during the previous year, has been published, and copies of it can be had by any
one who applies for them.
"The Council have begun to gather together a permanent collection of repre-
sentative photographs, kc, by endeavouring to secure some of the exhibits
that have been medalled or possess especial interest. In this they have met
with a most hearty and generous response from those upon whom we must
depend for success in the matter.
"The library has been largely increased during the year. Sixty-six volumes
have been presented to the Society, about 108 have been added by purchase
under advantageous circumstances, the serials for the year add fifty-two
volumes, and besides these a considerable number of unbound pamphlets, fee,
have been received. The number of serial publications arranged for by ex-
change with our own Journal has been increased from twenty-four to tifty-
threc, and it is hoped that in the near future this number will be still further
augmented by important additions.
" The museum has been enriched by a copy of Fox Talbot's Sun Pictures in
Scotlaiul, a set of Daguerreotype apparatus, some calotype negatives, and
sundry smaller but valuable items.
"The affiliation .scheme which was brought forward in 1891 has been de-
veloped, and during tlie year fourteen societies have been received into affilia-
tion, so that the present total is thirty. Numerous meetings of deleg.ates have
been held, and although much time has been occupied in arranging the pro-
cedure, and in discussing the most promising and useful fields for activity, the
progress has been satisfactory, taking into consideration the novel character
of the movement, its wide scope of action, and the absence of any precedent
for guidance. A number of sets of lantern slides are already in circulation,
including most of those sent for competition to the Exhibition, and several
lectures or papers, with explanatory illustrations or examples, are also avail-
able. The programme decided upon for the present session includes a series of
lectures on Photogravure, with a demonstration of the practical working of the
process. Although the direct advantages arising from the movement liave as
yet hardly had time to become apparent, there is a hopeful prospect that it
will not only benefit photography,' but will strengthen the Society."
The adoption of the report was moved by Mr. T. Sebastian Davis, who took
occasion to dwell upon the increased usefulness the Society was likely to have on
account of the institution of a library and the appointment of an Hon. Librarian,
and expressed a favourable opinion of the affiliation scheme. The motion hav-
ing been seconded by Mr. W. England, the report was adopted.
The Scrutineers announced that the following gentlemen had been elected
Members of the Council for the following year -.—President Captain W. de
W. Abney, C.B., F.R.S., D.CL. — Vice-Presidents : Messrs. James Glaisher,
F.R.S., Andrew Pringle, J. Spiller, and Sir H. Trueman '^ooA.— Ordinary
Members of Council : Messrs. W. Ackland, G. L. Addenbrooke, T. Bolas, F.
P. Cembrano, jun., E. Clifton, A, Cowan, T. R. Dallmeyer, T. Sebastian
Davis, W. E. Debenham, P. H. Emerson, W. England, T. E. Freshwater, Colonel
J. Gale, Mr. F. HoUyer, Dr. G. Lind.say Johnson, Messrs. H. Chapman Jones,
Alex. Mackie, J. W. Swan, J. Traill Taylor, Leon Warnerke.- r«a«<j-er ; George
Scamell.
Votes of thanks were passed to the Auditors, Scrutineers, the Hon. Trea-
surer, the Hon. Secretary, the Assistant Secretary, and duly acknowleiiged by
those gentlemen.
In acknowledging a vote of thanks for his services during the past year, passed
by acclamation, on the motion of Mr. J. Spiller, seconded by Mr. Sebf.stian
Davis,
The Pkesident saiil he was much gratified at the vote. It was a pleasure to
him to have presided over the meetings of the Council and the Society. He
had felt it almost a duty to accept nomination on account of certain matters
that transpired during the late Exhibition, and because he wanted it seen that
the insinuations of a certain publication were unfounded. He had always met
with the greatest cordiality from the Council and members, and for that reason
he was induced to accept the nomination for the Presidency, as well as to
show that the insinuations he had referred to were absolutely unfounded, so
far as he was jiersonally concerned.
The meeting, which next proceeled with the discussion of the revisid ru'e.s
was adjourned when only about half the rules had been considered.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
Febbuaky 9, — Mr. A. Haddon in the chair.
Thh Association's Technical Lectukbs : No. 1, "The Lens."
The Chairman, in calling upon Mr. J. Traill Taylor to deliver his promised
lecture on the photographic lens, said that it would form part of a series to be
subsequently published in book form. Several promises for other lectures had
been received, and it was hoped that the book, when published, would forma
better work of reference on photography than they had at present. When a
man undertook to write on photography, it was impossible for him to be
thoroughly conversant with every branch of the subject ; and, generally speak-
ing, what he gave was simply a resume boiled down from other works. Hera
they would have masters in different subjects, who would give the results of
their experiences, so that in that way they would obtain a far better knowledge
of the subject when they came to study the book than would otherwise be the
case.
Mr. Taylor, in opening his address (which he frequently illustrated by
referring to ami exhibiting a considerable number of ancient and modern leases
that he had brought with him), said that the early opticians had great
difficulties to contend with in the colour, &c., of the glass, the crown element
being sometimes formed of deep green bull's-eye, and the flint of the 1 >ottom of
a tumbler. He showed a large aperture portrait leas of this nature by Thomas
Davison (who had by some been termed the inventor of the comiiound por-
trait lens), which, though it stopped a large amount of light, produced most
charming pictures. Having noted the important parts which Guiuaiul and
Bontemps had jdayed in the production of glass free from strife, he said that
in pre-photographic times the uses of lenses in combination for observatory
purposes was well known, as well as their property of forming images over a
moderately flat field, and he exhibited a specimen of an achromatic lens in use
previous to the introduction of Petzval's combination. Alluding to its large
size, he said in the olden times they used sensitised sheets of paper of large
dimensions, and the lenses were of large diameter and long focus. Lenses of
that class necessarily distorted, according to their diameter — the larger the
area of the lens the greater the distortion. The orthoscopic leas was intro-
duced to cu>-e the distortion of the single lens, but was soon found to have a
distortion of the opposite character. "Having indicated the property of this
lens of giving a larger image than any other lens of similar focus and discussed
its other properties, Mr. Taylor said he regarded that leus as the kns of the
future, and described how he had obviated the pincushion distortion which
it gave by placing a thick piece of plate glass near to the ground glas.s of
the camera. In 1889 he extended the application of the orthoscopic principle
by employing as an objective an ordinary opera glass, which was strictly
analogous to the orthoscopic lens, a system which had since been adopted by
two eminent opticians in the modern tele-photo lens. Apropos of this, he I
showed two lenses respectively magnifying and diminishing when examined ]
individually, and which when placed in contact formed plain glass incapable j
of giving an image ; but when separated, and in proportion to the degree of j
separation, they became in effect a combination of long or short focus. Pa.ss-^ I
ing on to the next branch of his subject, "Simple Glasses as Iniage-formors," '
he said that numerous fine sharp photograjihs were taken with the despised i
plain spectacle glass, which should be of a meniscus form. He passed round |
some stereoscopic pictures taken in a hand camera by the aid of such lenses by ^
Mr. Henry Sutton, the sharpness of which he characterised as remarkable, i
llie first combination by which distortion was prevented was that of Cnndell, j
which was introduced for a totally ditterent purpose. It consisted of a pair
Februaiy 17, 1893]
THE nUITISIl JOURNAL OF PHOTOQAAPHY.
Ill
of mciiiscns lenses monnte<t apart, with a stoji between them. He had com-
pariMl the lens with lenses of the rapid rectilinear type of the present period,
and found iheni nearly, althongh not f|uite, the same as rccards the elimin-
ation of colour. Mr! Taylor concluded his iliscourso (which was lai^jely of
an intnxUictory nature) by reference to the glohe lens of Harrison &
Schnitzer, (ioddanl's sinjrle lens (the precursor of a modem single lens which
gave freedom from distortion), and a plea for tlie use of supplementary lenses
for altering the foci of existing objectives, the chief point being always to have
the back lens the shorter focus of the two. Something was wanted in photo-
graphy analogous to Wray's microscopic lens, in which an adjustment of focus
Soni four to six inches was obtaineil by rotating a collar in the jacket.
At the conchision of the lecture, which dealt with many other ph.ises of the
subject, the CiiAinM.vN said Mr. Taylor had given a great number of hints as to
how amateurs might work in an experimental direction, and moved a rote of
thanks to him, which was carried. The subject is to be resumed on a future
occasion.
» ♦ »
CotreiSjiouDrence*
Corregpondmts should mver xtrite on hoth tides of the paper. No notice it token
of coinmunicatioM unless the names and addrctiset of the writers are ^tcen.
Sib,—
THE SPEED-TESTING CONTEOVERSY.
To the Editor.
" Those who in others' quarrels interpose
Oft will wipe a sanguinary nose."
Anxious to avoid this unpleasantness, I am, nevertheless, desirous (wiih,
I doubt, not many others) that some one, either the illustrious scientists
themselves or a capable exponent, should enlighten us outsiders about
their method, and that they should do it in simple language.
I do not think. Sir, that this is an unreasonable request. The time
has gone by when photographers will consent to use a set of arbitrary
numbers as exposure factors, nor are they willing to accept any system
which does not permit of examination and verification in their own
studios. This, unfortunately, appears to be the present position of the
Hurter A Driffield system of estimating speed in dry plates, and it cannot
be the final one.
To be assured that we cannot detect an error of twenty-five per cent, in
exposure, or to have a series of negative interrogations jerked at us {vide
last week's correspondence), is not the assistance we seek.
Information is our cry. A clear and explicit account in plain words of
the system, the theories that underlie it, and the method of working it
and testing the plates, is what ij asked for on behalf of us all by — Yours,
&e., loNoius.
February 13, 1893.
To the Editor.
Sib, — In reply to Mr. Cadett's letter in your last, I can fully bear out
(from experimental tests) Mr. Williams' comments re speed of plates.
Mr. Cadett's communication consists principally of condemning that
gentleman's methods of procedure, and informing him that his tests are
no good, and that it is utterly impossible to arrive at a decision by com-
parative camera tests, after which sweeping condemnation he is compelled
to admit the very thing which Mr. Williams had already proved, viz.,
that the numbers were fictitious, and consequently misleading. Mr.
Cadett admits to two of the numbers being twenty-five per cent, wrong,
yet goes on to say, " Several people told us the plates worked well to the
marked spei'ds." Did these several people know what they were speaking
about? Because, if so — a7ul evidently Mr. Cadett has faith in their
o-rtion, or he would not hare quoted it — then I maintain that Mr.
illiams scores again ; for is it not further proof that either the Hurter
.V Driffield system is a fallacy, or that those using it do not understand
it ? Hence it follows that the numbers as at present used are a delusion
and a snare.
I will conclude by saying that I do not know, even by sight, either of
the gentlemen named ; I therefore have not any party feeling in the
matter. — I am, yours, Ac, Abcakum.
February 14, 1893.
To the Editor.
Sib, — Permit me to reply to the letters in your issue of 10th inst. To
Messrs. Hurter & Driffield I beg to say that I have checked my estimates
of percentage differences by giving augmented exposures to the sluggish
plates, so as to get identical negatives, thus proving, generally, the
accuracy of my estimates. My estimates are upon the finished negatives,
not upon prints.
To the writers who have taken exception to my remarks, I desire to
recommend a reperusal of the last paragraph of my article on page 70.
Except incidentally, I have merely expressed my opinion of the Hurter <t
Dritlield system without going into details, and I have endeavoured to
keep two distinct subjects separate ; tlie experiments were directed solely
to ascertaining whether the varions speed nnmbera were borne out in actaal
practice.
My conclusions having now been made public, I am prepared to abide
by my experiments, and I will stand or fall on the question of their
accuracy. Further, I will submit the whole of the results, toi^ether with
a numbier not published, to any properly appointed juror or jury to be
agreed u]X)n— disinterested photographic experts — and to them I will
describe, in fuller detail than is permissible in these columns, the whole
series of experiments, and I will repeat in their presence, under propet
conditions, any of the experiments submitted.
In conclusion, allow me to thank Messrs. Hnrter & Driffield, and
Messrs. Marion & Co. for the temperate and courteous tone of their
letters.— I am, yours, &a., O. F. Williams.
February 14, 1893.
^
MESSRS. ELLIOTT & SONS' EXPOSURE TABLE.
To the Editor.
Sir, — In Table 2 of our exposure table a slight printer's error has
occurred, and which we regret we overlooked. The three first columns,
headed respectively /-6, /-8, and /-ll, should have been headed /-8, /-1 1,
and /-16.
Thanking yon in anticipation for inserting this correction. — We are,
yours, &c., Elliott & Son.
Farkroad, Bamet, Hertt, Febrvary 10, 1893.
ELIMINATION OF HYPO.
To the Editor.
Sir, — In reply to the question that Mr. Cosmos puts to me in the last
number, I would say that I think it is better to recommend acid alum
rather than peroxide of hydrogen for the use of photographers when
treating gelatine plates for the elimination of the traces of hypo remain-
ing after the usual washing. Peroxide of hydrogen is not only an extra
reagent for the photographer, and a somewhat expensive one, but it is of
very uncertain strength as commercially supplied, and loses strength by
keeping. I have found freshly opened bottles to contain only about a
third the nominal amount, and bottles that have stood by a few months
only about one-tentli. This diminution in strength is not obvious, and
therefore I hesitate to recommend the reagent forjjeneral use.
My remarks concerning the need for eliminating hypo from gelatine
plates to fit them for intensification apply to plates that have been well
fixed in plenty of fresh hypo, and have been washed as usual for two or
three hours. I doubt whether prolonged washing would wash airay the
remaining hypo. The combined action of air and water would perhaps
destroy it, but its destruction in this way would be not only tedious, but
uncertain, whereas by the use of acidified alum its decomposition is fairly
rapid and certain. The stains that I have referred to in this connexion
are not colour stains, but deposits of mercury salt where they should not
be. — I am, yours Ac, Chapman Josks.
Royal College of Science, London, South Kensington, S. If'.,
February 13, 1893.
FILLEBROOK ATHEN.EUM E3CHIBITI0N.
To the Editor.
Sir, — I shall be much obliged if you will allow me to communicate,
through your columns, to the numerous readers interested the answer to
a question of some importance which has arisen in connexion with the
rules of the above Exhibition.
The point was, " Can one exhibitor take more than one medal ?" and
the decision of the Committee is that one medal only may be awarded to
an individual exhibitor, but it may be either for a single exhibit or for a
series, according as the Judges may determine.
May I take this opportunity of asking intending competitors to send in
entries as soon as convenient, to save a rush of work at the last moment 7
—I am, yours, Ac, JosErn W. Spcrgeoh.
Leytonstone, Essex, February 14, 1893.
STUDIO HEATING.
To the Editor.
Sir,— In your Journal of January 20th, 1893, yon have from the pen
of Mr. G. Watmough Webster, on " Studio Heating," an able and, what
is more valuable, a most practical article. If Mr. Webster would give us
a little of his experience on studio building in your pages, ho would confer
upon me just now, and doubtless upon many others, one of the greatest
boons ever offered to puzzled photographers. When about to build a
new studio, what is the best kind of glass to use, and, above all, how
to glaze so as to make it proof against leakage? What is the best
principle to construct the side light and glass roof, north light, say size
of studio thirty feet by fifteen feet. — I am, yours, Ac, H. L.
February i, 1893.
118
THE BRITISH JOURNAL OF PHOTOGRAPHS.
[February 17, 1893
anstoersf to (fforregpontientg.
%* All matters intended for the text portion of this Jotjknal, including
queries and Exchanges, must be addressed to " The Editor, The British
Journal of Photoobapht," 2, York-street, Covent Garden, London. In-
attention to this ensures delay.
*»* Correspondents are informed that we cannot undertake to answer com-
munications through the post.
*,* Communications relating to Advertisements and general business affairs
should be addressed to Messrs. Henry Greenwood & Co., 2, York-street,
Covent Garden, London.
F. G. Hill. — Your eyes are alright.
W. Wenbohn.— Probably the bath you are using is not suitable for the paper.
Henry Holman. — Eeceived. We presume the examples of your poetical skill
are not intended for publication.
P. Stewahd.— A lens of about nine inches equivalent focus will enable you to
take three-quarter-length cabinets in a room fourteen feet long.
O. B. — 1. The darkened silver nitrate would be unsuitable for emulsion work.
2. To recrystallise silver it is not imperative that it be dissolved by the aid
of heat.
■Gboboe Bi.ake. — There are firms, we believe, trading under the names of
Mezzotype and Mezzotint companies. Try and select some lessjhackneyed
term as a distinguishing trade designation.
Jet. — 1. Mr. W. I. Chadwick, of St. Mary's-street, Manchester, will supply
you with a book on tlie magic lantern. 2. Many authorities hold that
better illumination can be obtained with the mixed jet.
W. Kkrshaw — 1. If some gum be added to the water colour, it will dry as
glossy as the print. Spotting colours are advertised that can be burnished
if required. 2. Add the sediment to the residues, then any precious metal
there may be in it will be recovered.
W. A. T. — 1. Caramel mixed with dextrine is, perhaps, the most suitable
backing you could employ. 2. Castile soap is the best lubricant. Dissolve
two grains to one ounce of alcohol. 3. Either white or blue blinds may be
the better, according to the aspect of the light. 4. The lens should point
rather below the head.
E. H. D. says, dprojms of his experience with Solio paper : ' ' After toning, the
prints are placed separately in a dish of salt and water as they tone, but
they go on toning in this state, so that the first prints of a batch are more
toned than the last. The prints are covered more or less with a white
deposit before toning ; those last toned show it most. This generally, but
not always, fixes out." — He asks how this can be avoided. Will some
experienced reader reply ?
X). Jacob says : " I am much troubled with the sun in my studio, which faces
nearly south. In the summer I can stop it out by drawing down thin white
blinds, but at this time of year the blinds make the light too slow. Can you
tell me of anything that would stop out sunshine, but yet admit a good light i
Ground glass would, I know, be best, but it would cost more than I can afford
these hard times." — Make up some thin starch paste and mix some whiting
with it. Then stipple the glass over with that. 11 will stop out the rays of
the sun, and can easily be cleaned off at any time.
K. K. writes : " It is a great nuisance at this time of year to get negatives dry
when they are wanted to be printed from quickly. If heat be applied, there
is the danger of the film running, and if they are put away to dry of them-
selves it sometimes takes twenty-four hours. Surely there ought to be a
remedy for this ?" — There is. If the negatives be placed in strong alcohol —
methylated will do — for ten minutes or so, they may be dried before the
fire. The spirit abstracts the major portion of the water, hence sufficient
is not left to cause the gelatine to run when only a moderate heat is applied.
DlSTEMi'EK says : "I. Would you kindly inform me of the best formula for
intensification with corrosive sublimate. 2. I should also feel extremely
grateful if you would favour me with information as to how to mix colour
for painting backgrounds in distemper, and where to obtain same."- — 1. See
p. 788 of the Almanac. 2. Mix whiting and lampblack together to the tint
desired in water, to about the consistence of thick cream. Then add douljle
size (melted), and well mix. The quantity of size should be about one-third
of the bulk. A little Venetian red may be added to warm the tint if desired.
The colour should be applied cold. The materials can be had at any oil-
shop.
Bromide writes as follows : " I have a series of local views on sale in this
town. One of the tradesmen, a dealer in fancy goods, has bought a collection
of them, and I now understand that he intends having them, with others,
reproduced by some cheap process, and to sell them in book form at Is. per
dozen views. Can he legally have the views reproduced which were taken
by myself? I still have the negatives in daily use. Is it necessary to copy-
right them ? If so, what would be the cost per negative, and how could I
get them done ( It seems rather hard, after taking the views, to have some
one else reap the benefit of their production." — If the pictures are not copy-
right, any one can copy them. The cost of making a photograph copyright
is one shilling, but it nmst be done personally at Stationers' Hall. Our puli-
lishers will do the needful for one and sixpence in stamps with a copy of the
photograph. In future, we recommend you to make the pictures copyright
before copies are issued. You will then have a remedy against piratesi
PHOTOORAPmc CuTB.— February 22, Monthly Lantern Meeting,
West London Photoorafhic SociBrr,— Febniatr 21, Technical Social
Meeting,
Blackheath Camera Club Exhibitisn, March 3 and 4. — Intending ex
hibitors are informed that entry forms should be sent iu by the 22nd inst.
Photography is represented on the newly elected Council of the Royal
Microscopical Society by Mr. E. M. Nelson, Mr. T. Charters White, and Mr.
James Glaisher.
Mr. Frank Howard, of Wallingford, Berks, has accepted the post of Hon-
Critic to the Lantern Slide Exchange Club (Hon. Sec. A. J. Richardson
Summerville Dore, Sheffield), iu place of Mr. A. R. Dresser.
We regret to learn of the death from consumption, on February 5, of Mr.
A. W. Scott, of Weston-super-Mare. Mr. Scott was the inventor of the
" Verak," the patented Saturator which bears his name, and devoted much
attention to lantern matters, and he was besides a frequent contributor to this
Journal and its Almanac.
Grating Photographs. — Mr. John Robertson, Dundee, has sent us 8i)eci-
mens of a class of work which he finds to take well with his customers. These
are bromide proofs printed with the interposition of a line grating between
negative and paper, which imparts precisely the effect of a Meisenbach picture.
The same effect can, as Mr. Robertson observes, be produced in platinum,
carbon, or silver.
Developing Prints. — By this term we do not mean bromide prints, bu
those intended to be printed out in the frame. Mr. J. H. Smith' Bowbridge,
has sent us some excellent specimens, which were produced within half an
hour on "P. O. P." He prints until the details are just visible, completes the
printing by a developing agent (not comnmnicated), tones in a sulpho-cyanide
bath, and conducts the other operations as usual. The specimens, as we have
.said, are excellent.
Mr. p. Everitt writes in reference to his paper on The Calculation of iht
Angle of View in our last issue : " In the foot-note to the flr.st diagram you
have substituted H for K as designating the correct station point or focus.
The second diagram is printed with top to right side, consequently the scale of
focus runs from toj) to bottom. The scale of inches distance, between centre
of vision and extreme corner of plate, must be read from left to right. The
engraver has also incorrectly numbered the latter scale, which should start
with two inches and be increased by two for each space to tlie left. It would
also have been better had the engraver numbered the lines running from right
to left instead of the half distances between them. Each line represents two
inches addition to the focus, starting from 0 at the top right-hand corner. "
Camera Club.— The 1893 Conference will be held in the theatre of the
Society of Arts, by kind permission of the Council, on Wednesday and
Thursday, April 12 and 13, under the iiresidency of Captain W. de W. Abney,
C.B., D.C.L., R.E., F.R.S. The following is a preliminary outline of the
programme : — Wednesday, April 12, Conference at the Society of Arts, 18,
John-street, Adelphi, to be opened by the President, at three o'clock. Papers
to be read from three o'clock to six o'clock in the theatre. Seven o'clock.
Annual Club Dinner for members and friends. Thursday, April 13. three
o'clock, renewal of Conference in the theatre. Society of Arts ; papers to be
rea<l from three o'clock to six o'clock. Renewal of Conference at eight o'clock;
papers and discussion from eight o'clock to ten o'clock. Friday, April 14,
eight o'clock, exhibition of lantern slides in the theatre. Special tickets for
this Exhibition. All photographers are cordially invited to take part in the
Conference. The meetings at the Society of Arts are open to ladies.
The Crystal Palace National Photographic Exhibition, 1893. — The
directors announce that the National Photographic Exhibition will be held in
the nave, commencing Monday, April 10, and closing Saturday, April 29.
Alcoves and screens will be placed in the nave as usual, thus ensuring an
equally jjrominent position for each exliibitor. A gold medal will be awarded
for the best alcove, and a silver medal for the best complete screen. All
classes for photographs will be open to professional and non-professional
Iihotographers. A special class will be devoted to the work of lady photo-
graphers. A silver medal will be awarded to the best exhibit in this class.
I'he National Challenge Cup for the best collective exhibit by a recognised
photographic society will be offered for competition ; and in addition diplomas
will be aw.arded by the Judges if, in their opinion, any society or societies show
work of suflicient merit. It has been arranged to have a section entirely
devoted to photographs having received first and second awards at any recog-
nised photographic exhibition. Carriage will be paid both ways on all exhibits
in this section. The Opera Theatre will be set apart each evening for the
exhibition of lantern slides, competing and on loan ; these will be projected on
the large screen. Tlie south nave will be reserved for photographic apparatus,
materials, demon.strations in practical photography, photo-mechanical processes,
&c. All correspondence and inquiries must be addressed to Henshaw Russell,
Manager, Crystal Palace, Loudon, S.E.
*,* Owing to extreme pressure on our space, several Reports of Societies,
Letters, Answers to Corre.spondents, and other communications, are unavoidably
held over. All these, if po.ssible, in our next.
OONT
Paok
the EYE AND THE camera ffl
PHDTOGRAPHING horses 98
AM.VIKUUS' BACKGROUNDS AND
accessories— 1 99
RAPID SOLUTION - MAKING. By O.
WATMOUGH WEBSTER. F.C.S 100
AMEKICAN NOTES AND NEWS 101
ON THE PRODUCTION OE BLACK AND
WHITB NEGATIVES BY MEANS OF
AKTIFICIAL LI8HT.— II. By T. N.
AKMSTRONQ 101
ON THE COMPARATIVK ADVANTAGES
OF THE WIDK-ANGLE AND TELE-
PHOTDQKAPUIC LENSES. By T. R.
DALLMKYEK lOS
INTB,
Faoi
ike optical lantern its con.
struction and use 104
photogliaphy in its relation to
the akt of printing. by j. h.
alabaster 101
lantern slides by printing out 107
MR. H. M. smith on '■ ENLARGING".. 10«
ROTHEBHAM PHOTOGRAPHIC SO-
CIETY'S EXHIBITION 10«
NATIONAL ASSOCIATION OF PB0l"K8-
SIONAL PHOTOGRAPHERS W
OUR EDITORIAL TABLE 10»
RECENT PATENTS lOJ
MEETINGS OF SOCIETIES 101»
CORRESPONDENCE IU
ANSWERS TO CORRESPONDENTS IU
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 17lL>. Vol. XL.— FEBRUARY 24, 1893.
PHOTOGRAPHING STAGE SCENERY.
Whenever a new piece is to bo produced at the principal
London theatres it is a matter of importance with the coii-
■ductors of the illustrated journals — which have recently in-
creased to a large extent — as well as the numerous daily and
weekly newspapers that occasionally illustrate their articles
with sketches, that arrangements bo made for obtaining illus-
trations of the principal scenes, characters, and situations in
the piece, so that they may appear almost, if not quite,
«imultaneously with the notices of the critics. These illus-
trations are sometimes derived from sketches made by artists
during the rehearsals, and now and then on the occasion
of the premiere ; but modern theatrical managers do not take
kindly to the presence, during the rehearsal of a piece,
of outsiders, particularly if they are connected with the news-
papers, and thus as a rule other means must be found for
supplying them with sketches. We believe that in this
respect photogi'aphy is called into service.
The appearance of highly finished drawings of the scenes and
characters of a play in a newspaper within very few hours of
the fall of the curtain has possibly often excited admiratiofl for
the remarkable readiness and skill of the aitists and engravers ;
but all cause for wonderment vanishes if, as is sometimes the
■case, the rough sketches, from which those finished drawings
were made, are in the hands of the newspaper artists some
days before the production of the play. It is here that photo-
graphy steps in. Photographs of the scenes are taken, and
prints from the negatives supplied to the artists, who thus
obtain tlie most reliable form of sketch from which to
work. Photographs of this sort need not, of course, be ex-
posed with any degree of nicety. All that is required is a
negative that will give a print with sufficient vigour to yield
the necessary outlines, and some discrimination in the lights and
shades.
As regards the figures in the scenes, the fact that the
character dresses may not arrive until a late moment, or that
it is left to the final rehearsals to arrange the exact situations
and groupings, combined with the circumstance that the
dresses to be worn in the play aro not worn during the re-
hearsals, would seem to occasionally interpose difficulties in
obtaining completed photographs of the scenes in ordinary
cases ; but we belie^-e that at the principal theatres provision
is made for the photographers to have an opportunity of taking
the entire scene, as it will appear in tlie public perfonnance,
with a view to the convenience and assistance of the artists, at
a dress or final rehearsal.
Photographs of this description must necessarily be taken
under disadvantageous circumstances and with the shortest
possible exposiu-e. We believe that a special magnesium
Hash-lamp is used, as to the powers of which some idea may be
formed from a remark of ]\Ir. Milncr (a gentleman who, We
believe, has had much experieuce in this class of work), made
at a meeting of the London and Provincial Photographic Asso-
ciation a few months back. He stated that, using a lamp of
this kind, he had exposed a plate on a scene at the Adelplii
Theatre with the lens at f-7,i, and had obtained a fairly well-
exposed picture in three seconds, the lamp consuming three or
four drachms of magnesium in that time, and the flame being
very large. No doubt the ordinary illumination of the audi-
torium assists in [such cases in materially diminishing hard
results.
We remember, some years ago, being in company with a
friend who was taking a crowded scene on the stage of a
London theatre, the only illumination employed being that of
the house at its full. Working luider the most favourable
circumstances of rapidity as regards lens and plate, and with,
if we remember aright, an exposure of about a minute and a
half, tolerably well -exposed negatives were secured. The
actors and actresses, of whom there were forty or fifty on the
stage, kept remarkably still, and the results were such as to
allow of reproduction, although they were not, of course, by
any meaas well exposed. Ordinary plates were used.
The lighting of stage scenes and characters for effects to be
appreciated simply from the auditorium is not always desirable
from the photographer's point of view, the relative actinic
power of the more or less yellow light from footlights,
auditorium, stage, and of the limelight, especially if the latter
be concentrated, being such as to operate against a hannonious-
ness of lighting in the photographs. In ])hotographs of stage
scenes that are intended for reproduction wc are informed
that this difficulty is overcome by the collaboration of the
photographer with those whose duty it is to attend to the
stage lighting, the photographer being then able to obtain
his own effects. But in such cases the exposure of the plate
must necessarily l)e approximated to correctness, and, as with-
out the characters time is immaterial, by the absence of the
latter the necessary length of exposure can be given.
With a photograph of a scene minus the figures, the
actors, we believe, give the photographer special sittings in
character, eitlier singly or in groups. These portraits are
taken accurately to scale, so as to harmonise with the dimen-
sions of the scene itself, and combination negatives are then
made of the background and figures. It is in this way, we
believe, that some of the most widely circulated photo-
mechanical reproductions of scenes from recently produced
pl.iTS have been prepared.
114
THE BRITISH JOURNAL OF PH010GKA.PHi'.
[February 24, 1893 ,
AMATEURS' BACKGROUNDS AND ACCESSORIES.*
, . , . II.
That fairly experienced landscape-workers fall into serious
errors when called upon to execute a portrait was impresaeii
upon lis a short time ago when we picked up the portrait of a
lady executed by an amateur of several years' standing. The
portrait was earte-de-visite size, and the liead and portion of
l)ust occupied the lower inch or so of the picture— an interior.
The face was admirably lighted, and the exposure had been
just right, and, so far as that part of the business was con-
cerned, we should say it was an excellent portrait. But the
background was formed by an ordinary sideboard, of course
much out of focus, but just sufficiently sharp to show that the
handles of the drawers appeared to be about a foot above the
lady's head, showing that the operator — who, by the way, is a
fairly tall man— had used the camera stand at the same height
he would have done for a landscape, which, of course, necessi-
tated the camera being pointed down on to the sitter in such a
manner that objects on the same level as her face, but further
away, appeared much higher. The general effect was grotesque
in the extreme, but the artist was unable to see where the
fault lay.
In order to avoid such mistakes, we strongly urge the em-
ployment of a plain background wherever there is any difficulty
with the natural surroundings, either indoors or out. In fact,
we should say for indoor work make it a regular practice, for it
is so seldom the arrangements of an ordinary room admit of a
full-length figure being properly lighted for a short exposure.
We are alluding now, of cour.se, to all cases where the source
of light is a single window of ordinary size, and which is
utilised in conjunction with a reflector. Of course, when there
is more than the one window, or one of more than ordinary
size, the circumstances may be very greatly altered, and full-
length figures, or even groups, may be successfully attempted ;
but in the majority of instances it will bo preferable not to
attempt more than the bust or half-length, and to use a
plain background.
Even then the average amateur will often persist in his
tendency to do what is not right. There are backgrounds and
backgrounds, and we have used ourselves, and seen used by
others, a great variety of makeshifts, such as blankets, sheets,
table-cloths, and even newspapers. The last, in the hands of
a clever and resourceful operator, we once saw do duty in a
case of emergency, and it was difficult in the negative to detect
any signs of it, so skilfully was it worked. But many an
amateur would have succeeded in rendering every letter it
contained tolerably legible by bringing it as nearly as possible
into the same plane as the sitter ; we have actually seen under
such circumstances the pattern of a damask table-cloth almost
as perfectly rendered as if that had been the intention, instead
of a portrait. In the same way the texture of the blanket,
once a favourite makeshift background, can be made painfully
prominent in a photograph, especially when used indoors with
a strong side light falling upon it.
There is little real necessity nowadays for such expedients,
unless it really be in a case, of emergency, as proper back-
grounds are to be obtained from almost any of the dealers at
so low a price that no amateur who does anything at all in
portraiture need be without one. If, however, there be any so
placed as not to be able to procure a proper background, we
should recommend, in preference to any other substitute, a
.sheet of unbleached calico in its natural condition. This can
• Concluded from page 99.
be obtained almost anywhere in widths up to seven or eight
feet, which will be quite large enough for any requirements.
For indoor work especially, the light colour will be a great
advantage, as the amount of light that falls upon the back-
ground when placed a foot or two from the window and at
right angles to it is small as compared with that that i caches
the sitter, and consequently its colour is aiit to be rendered
much darker than is desirable.
After having secured a satisfactory background, there still
remains the necessity for keeping it in proper condition. It is
scarcely needful to say that it must be kept perfectly clean and
free from stains, but perhaps it may be well to remind some
that it is equally necessary to avoid creasing the material, as
perhaps nothing so completely betrays a background. In the
strong side light of an ordinary room, and to a less extent even
in the open air, every smallest wrinkle or crease will be dis-
tinctly rendered in the photograph, so that every effort should
be made to prevent them.
'J'he best way of effecting this is, of course, to have the
calico or other material stretclied permanently on a frame ; but
this plan is liable to objection on the ground of the incon-
venience of storing so bulky an article when not in use.
Another method, however, almost equally effective, so far, at
least, as preventing the creases making themselves visible, con-
sists in having a light framework made to take to pieces like
the portable lantern screens, and, in fact, to stretch the back-
ground on this when required in precisely the same manner.
It will occupy but little space when not in use, and is easily
and rapidly put up when wanted. The only other plan is to
keep the background upon a roller, like a map, and to suspend
it when in use from suitable supports, with a sufficient weight
attached to strain out any creases.
Few, we imagine, who have once experienced the difference
that a good background makes in a portrait would willingly
revert to the slipshod system that prevails in too many
quarters, and to those who have not yet made the discovery we
offer the advice, to try it.
Studio Bulldlngr.- -In response to our querist, "H. L.", in last
weeli"s Journal, Mr. VVatraough Webster has promised to give us,
shortlj- a paper describing his experience of studio building, though
he doubts his being able to put the matter " in a nutshell," as " H. L.,'
in a second communication to us, .suggested he might be able to do.
The Proposed Now Central Photographic Club.— I
We give elsewhere some official details of the proposed new central
photographic club, the provisional committee of which contains the ,
names of several gentlemen whose adhesion to the scheme augurs I
well for its success. That a club of the kind is needed in London I
may be gathered from the remarks in the report of the Council of
the National Association of Professional Photographers, which we
printed last week, in which it is stated that such a club would be »
desideratum to many of its members. We wish the projected club
every success.
The Photographic Society's Affiliation Scheme
and Xaectures. — We congratulate the Photographic Society of
Great Britain, and the forty or more societies affiliated to it, on the
large and iuterested audience at the first of the two lectures on
" Photogravure" by Mr.Denison.of Leeds, last Friday at Bloomsbury
Hall. Mr. Denison's paper and demonstration, if not i ew in sub-
stance, was a model of lucidity, and what a paper intended for pboio-
irrapher-s inexperienced in the process should be. AVe hope this
uiu\ umeut will prove to be the nucleus of a technical photographic
institute, as suggested last year by Professor Meldola.
February 24, 1893]
THE BRITISH JOUKNAL OF PHOTOQilAPHY.
lU
Test for Tartaric and Citric Adds.— As these two
substiiiices, the latter especially, iire of considerable importance in
pUotojjraphic technics, a delicate means of discoverinp; their presence
wlien suspected will naturally bo of value. M. L. Crismer, in the
Hidletin SocU-U Chimique, has recently given a new mode of dning
this. If powdered citric acid is mixed with an equal weight of
twenty per cent, solution of molybdic acid, and a few drops (ten or
fifteen per cent, in bulk) of pure dilute peroxide of hydrogen, and
heated for tliree minutes in a water batli, shaking frequently mean-
while, a pure yellow colour is produced if no tartaric acid be present.
But if there be any of the latter substance, even so small a quantity
as '2 per cent., a very distinct blue colour is perceptible.
Pure Glycerine.— According to Dr. J. Lewkowitsch, in a paper
read at the Leeds Pharmaceutical Congress, pure glycerine is a far
rarer substance than is usually supposed. As a matter of fact, a large
proportion contains arsenic. This impurity cannot, as usually sup-
posed, be removed by distillation ; and indeed, once a sample contains
this substance, the learned doctor is unable to point out any practical
process for freeing it from the objectionable contamination. Then,
again, so-called chemically pure glycerines contain notable quantities
of "organic impurities, either fatty acids, &c., or so-called poly-
glycerols, under which name I may summarise all those substances
having a higher boiling point than glycerine itself.' He gives a table
containing results of his examination of eight samples of so-called
pure glycerine. They contain from about one-fiftieth to one-tenth
per cent, of objectionable matter.
»' A Mew Hypo." — According to the Vienna correspondent of
the Paris Photographe, the days of sodium hypo as a fixing agent
are numbered, ammonium hyposulpliite being about to be introduced
for that purpose. The new " hypo " obviates long washing, is a white
substance, dissolves rapidly and well in water, forming a colourless
solution. At the same degree of concentration as sodium hypo,
ammonium hypo, he says, fixes more rapidly than the former, while
the time of washing is reduced by one-half. The new bath, however,
throws down a deposit after a few hours, but only needs filtration to
restore it to its pristine power. To these vague details of the new
hypo the same gentleman adds the information tliat, so far, it is only
a laboratory product, and costs from eight to ten francs a kilogramme.
Six years ago, however, hydroquinone cost 400 francs the kilogramme,
now it is only 40. Manufacturers hope soon to supply ammonium
hypo at the same price as sodium hypo.
A Zilvlng' Negratlve. — The recently issued Pioceedimjs of the
Royal Society contain an article by Mr. H. Marshall Ward, F.R.S., on
the action of light on a particular form of microscopic life, the Anthra v
bacillus, in which the luminous rays are shown to possess a most
powerful fermicide property. A series of remarkable experiments are
shown, the one possessing most interest being a veritable living
negative. Our readers are aware of the methods employed by
microscopic experts in the examination of microbes. A plate of
gelatine is prepared in a special manner and impregnated with matter
known or suspected to contain certain organisms. After a time, the
spores or germs multiply and form colonies, which give rise to a
change in the gelatine medium, and so render their presence readily
observable. Mr. Marsliall Ward prepared one of these cultured
plates with anthrax spores, and taking certain ^precautions, indicated
iy- pj-evious experiments, against' liqiwfactuHi, of the entire surface, e,\-
posed it to sunlight witli amark pver it. In this opaqjie mask opscreen
•lie cut out the Jetter E,andexppsed it to sunlight on Cooper's Hillfrom
;,. 9.30 a.m. ofl.Wednesday,,I^oveinber 30,,tiU. ;i.iQ p.m, the s^me day,
■yhea the plate was removed and kept, ia a geptleheat till the follow-
MJg Friday, on which day it was examined. . The , sijolight had killed
' .;«very trace otn?rfAc«!.i.- Ayhere it had access, to, and the result was, in
Mr. Marshall Ward's words^ ".The, letter U. stood, out sharp and
transparent from the faint grey of the rest of the gelatine." It is not
in our province to point out the remarkable results this discovery may
lead to, but it is well worth placing on record the first example of a
gelat:r>.e negative composed of living organic beings.
I ••
Ziatent ZmaRres.— At the end of Urt ysu we gave our readera
a short abstract of a paper by Mr. W. B. Croft on latent non-photo-
graphic images, or, as he termeil them, Breath Figures. We agun
refer to the subject, indicating as it does a direct bearing on photo-
graphic theory and practice, as it has become a topic of interest, and
has led to a special correspondence in the pages of our contemporary,
Nature. One of Mr. Croft's references was to the image often seen
on the inner side of the covering glass of a picture that has been
framed and glazed for some years. His explanation is that possibly
heat and light have loosened fine paint particles, and these have been
drawn up to the glass by the electricity made in rubbing the glass.
His final impression is that most of the phenomena cannot be drawn
out from the unknown region of molecular agency. One of his
inferences is to a blind with embossed letters having left an image on
the window near which they lay, though not in contact with the
glass. In a further communication a similar effect is described as
having been seen by him, as also by another observer, of the words,
"coffee-room," set off in the .same remarkable manner. Mr. W. T.
Thi.selton Dyer writes (to Nature only) describing an effect similar yet
different, that seems to suggest explanations for some hitherto unex-
plained photographic abnormal appearances. At Victoria Station is a
shallow box with glass sides, into which boards are let down with station
names painted in white letters on a blue ground, " InJjeb Ciuclb "
being the most frequently used board. One night he observed the
box emp.y, but to his astonishment tho words "Innf.b Circle" were
to be seen in quite clear letters on a dark ground. The only explana-
tion he could think of is one which, in a modified form, might account
for the imprinting of the subject of an exposed plate on another ad-
jacent unexposed one. It is " (i.) that the light of the lamp had
produced some molecular change in the paint coating of tlie notice-
board ; (ii.) that this had affected differently the blue and the white
paint ; (iii.) that the same cause had set up some different electrical
condition of the board or the glass; (iv.) that a bombardment of
particles of the blue paint had taken place on to the glass, to which
they had adhered; and that (v.) the particles so adhering by dis-
persing the light produced the effect of the pale illuminated ground,
while the dark spaces occupied by the letters, being relatively clean,
stood out dark."
ON THINGS m GENER.\L.
One of the most amusing discussions that have been reported in these
pages for some time past is that upon Mr. Haddon's most useful
table on angles of view in this year's Almanac. Mr. Everitt's
comment, taken alone as a sort of elementary disquisition on trigono-
metrical functions, would be interesting of itself, but, taken as an
attack on Mr. Haddon's rule, entirely fails, for a very simple reason.
To prove the latter gentleman to be in the wrong, Mr. Everitt takes
his general and gives a false particular instance, and on these premisses
complacently shows the absurdity of the quoted table. If any one wil
take the trouble to refer to Mr. Haddon's paper, he will find its title
to be Auyle of View Included in a giueit Plate by a Particular Lens
It is to be observed that a plate, and not a negative or view, is re-
ferred to, and the concrete example of the abstract principle is a false
one. Any unprejudiced reader will take it to be meant, or any one
who wishes to know what angle \yill be , covered when using plates
of a certain size. Mr. Haddon was not called upon to state that the
axis of the lens was assumed to be coincident with a normal from the
centre of the plate, any more than thA't! the lens was supposed to be
used with its own proper hood and with'its anterior surfaces opposite
to the view. Something has to be adsunWd always in a paper for
non-mathematical readers, just as Mr. Everitt himself, in his diagrams,
assumes that in the supposititious; len«9£, his hypothesis, the hood
wa» large enough jiot to in,te»'£ere with..the possible field of view.. I
recommend every reader of the Ai^s^i^SAQ to take no notice of the
objections passed to the paper, but to net on the plain common-sense
indications he will obtain from reading it. T^ere is one precaution
he must take, he must take the cap off ihe lens or the angle included
will be a negative one; and; further; he must not stand on his head
when treating it, or the figures wjll be transposed.
While upon optical topics, it may "be pointed out that, in the dis-
ussions on tele-photographic lenses, one point seems to have been
110
THE BRITISH JOURNAL OF PHOTOtlRAPHY.
[February 2-i, 1893
entirely lost sight of, though affecting the apparent effect of ai-ch -
tectural views to an important degree. It ia that, when a large view
of a very distant building is taken by a leus of this type, all ordinary
linear perspective effects are lost. A wide-angle lens is often accused
of giving exaggerated perspective. One of these necessarily narrow-
angle instruments gives no perspective at all, at least none that can be
perceived with the unaided eye. If we are to take Mr. Dallmeyer's
paper with no assumptions or postulates at all, (> la Everitt, we shall
tind that we can pick holes in his paper read at the South London
Society. He says, quoting Le Conte, " Parallel lines of all kinds,
such as railway sleepers, bridge timbers, &c., converge more and
more to a vanishing point.'' Of course, it is assumed here that the
parallel lines are in a plane at an angle to the picture plane. I can
most heartily endorse all that the writer says about the extremely
interesting nature of the study of vision, and Le Conte's work is
sufficiently popular to be understanded of the people. Ilelmholtz
also writes most delightful and popular articles on the subject. His
great work on physiological optics, to be had in German or French, is
" caviare to the general ; " but in the first volume of his series of
popular lectures will be found an article on the eye, so full of informa-
tion and non-technical language, that the book would be cheap if
bought for that lecture alone. There is an English translation of the
set published some years ago by Loncrmans.
'Mi: Alexander Watts suggestion of the earthenware ground
utensils for development is very good so far as it goes. " Cosmos "
has shown one disadvantage it possesses, but another still more im-
portant is the large amount of solution they require. I have tried
them for fixing, where, of com-se, the amount of solution is of little
consequence. Those in my possession, capable of holding a dozen
and a half ])lates, measure 9i x 5 x 7 inches, that is, about 3."S
cubic inches, just under one-fifth of a foot; and, as a foot is about
six and a quarter gallons, it will be seen that decidedly more than
a gallon of solution is required for eighteen plates.
Such articles, and the correspondence involved, as those upon
valuation of businesses, are of great practical value. Many an
amateur decides to take up photography professionally, and, with no
data such as those I refer to available, might easily lend himself or
get led astray in the estimate of the value of a young business.
There is no doubt that the question of goodwill is a very thorny one :
often there is no real goodwill, and as often it is non-transferrable.
But one aspect of the question should be borne in mind when forming
•a judgment. It is that, although there may be no goodwill, the fac't
that there is a stand obtainable, and a studio ready to enter, constitute
a valuable consideration. Many a man who would like to start a
business in a particular neighbourhood finds himself unable to find
suitable premises perhaps for years ; cases are not infrequent where
goodwill of a particular shop has been bouglit simply to obtain
premises and the purchaser starts a business of an entirely opposite
character. I cannot but call attention to the letter by operator on
this topic, for his data are very misleading. Fifteen shillings a week
a piece for printer and reception-room attendant could not obtain nor
be expected to obtain efficient workers — it is less than labourer's pay.
Then, again, in his figures he estimates 375/. for cabinets at fifteen
sliillingS a dozen ; that amounts to five hundred dozen, for which he
provides five thousand mounts ! Finally, in a business of the .size
assumed, one would think the principal himself could do all the
" operator's " work to save that salary. However, from whichever
point of view it is looked at, such discussions are of decided benefit.
FiiEB Lancb.
A NEGLECTED DEVELOPER.
It is now about twenty years since, soon after its discovery by
Schiitzenberger, that hyposulphurous, or hydrosulphurous acid, as it
was called by its discoverer, was first suggested as a possible develop-
ing agent; but it was not until early in 1877 that, imder the name of
the " hydrosulphite developer,'' it was put forward in a practical form
by the late M. Sainman, a civil engineer, of Paris.
The hyposulphurous acid of Schiitzenberger must not be confounded
■with the compound previously known under the same name, and
which, in combination with sodium, forms the familiar " hypo " of the
photographer. Up to the time of Schiitzenberger's discovery, chemists
had been in some doubt as to the precise composition of hyposulphur-
ous acid, then so called ; its formula was generally written down as
ILS^O.,, but for various reasons, which need not here be specified,
many chemists regarded it as having the formula H.S.03H.,0, which,
simplified, may be written as 2 (ILSO..). The German chemist re
ferred to showed, however, tliat his new acid had the formula II.,SO.,,
and this set the matter at rest, and it was then recognised that the
newer compound was more consistently to be designated " hypo-
sulphurous '' acid, while to the older, and hitherto known under that
name, the title " thiosulphuric " acid was given.
Schiitzenberger's acid is formed by the deoxidation, by means of
metallic zinc, of liquid sulphurous acid, while the older compound is
formed by its sulphuration. The following formula show the precise
relations of the three acids to one another ; —
Hyposulphurous acid = H^ S O;
Sulphurous acid = Ho S O3
Thiosulphuric acid = H.j So 0^
The first-named is formed by acting on liquid, or ratlier aqueous
sulphuric acid with metallic zinc, which, in dissolving, abstracts one
atom of oxygen, forming a yellow liquid possessing much greater
decolourising and reducing power than sulphurous acid itself. It is,
however, a very unstable preparation, and a preferable way to
utilise its reducing action is in the form of its sodium salt. This, in
conjunction with pyro, was, in fact, the hydrosulphite developer of
-M. Samman. A concentrated solution of sodium bisulphite is poured
mto a flask or bottle containing granulated zinc or zinc clippings, and
allowed to stand for half an hour. The zinc dissolves, giving rise to
the new acid, and the solution then contains, in addition to sodium
hyposulphite (not thiosulphate), zinc-sodium sulphite, the former of
which is really the active agent. This compound solution, mixed in
equal proportions with a four-grain solution of pyro, constituted the
developing solution which was remarkable for the regularity, beauty,
and cleanness of its action.
At the time of its introduction gelatine plates were practicallv un«
known, and the early experiments were made with collodion dry plates.
With these it was found that a better though less energetic action was
attained if, instead of the bisulphite, neutral sodium sulphite was
employed, or the former salt neutraUsed, or partly so, with sodium
carbonate. Later on M. Samman modified his formula, and in the
Almanac for, 1878 gives one in which the sulphite and bisulphite
are combined, and instructions given to neutralise the free acid of the
latter— in other words, to convert it into sulphite. It may be added
that a solution of ordinary hypo, treated in the same manner with
zinc, exhibits developmg power, but, as might be expected, its fixing
action is both more energetic and more rapid.
It should be noted here that, although the solution formed by the
action of zinc upon the neutral sulphite possesses devoloping power.-^
when mixed with pyro which the plain sulphite does not, it contains
no zinc in solution, as may be proved by testing it with sulphide of
ammonium. Its developing action is, however, much less energetic
than when the bisulphite of soda is used, and was at first supposed tu
be due to alkalinity of the sulphite ; but such is not the case, as it may
be shghtly acidified after decanting from the zinc without losing it»
power. To acidify the sulphite before pouring on to the metal would
be equivalent to using a small proportion of bisulphite.
The solution, as has been already stated, attains its full energy after
half an hour's contact with the zinc, when, if decanted, it commences
at once to lose its newly derived power, reverting to the state of
sodium bisulphite, the zinc being thrown down as a white powder.
This change occurs with less rapidity after the pyro has been added,
owing, no doubt, to the absor^jtion of oxygen by the pyro instead of
by the hyposulphite. In fact, the pyro and hviiosulphite solution re-
mains clear, and without deposit, for many hours. This peculiarity
WM noted in these pages at the time, but it remained for the late Mr.
Herbert Berkeley, some years later, to apply the alkaline sulphites for
the purpose of keeping the developing solution clear and preventing
discolouration of the gelatine film.
As has been said, the early application of this developer was in
connexion with dry-collodion plates, for which it proved most
February 24, 1893]
THE BKITISH JOURNAL OF PHOTOGRAJHy.
117
suitable. The character of the imape was" entirely different from
that, produced with the ordinary alkaline pyro, partaking more of the
pure metallic appearance of the wet plate. This characteristic
rendered it especially suitable for transparency work, and even now
without any modification it can b(f heartily recommended to the users
of collodion emulsion. It in extremely easy of preparation, all that is
required being a wide-mouthed bottle throe parts filled with scraps of
zinc, preferably in the form known as " granulated," granulated zinc
being obtainable for a few pence a pound at any chemist's. Into this
bottle a strong solution of bisulphite of soda — 2(K) grains to the ounce
of boiling water, allowed to cool after solution — is poured, and simply
allowed to .stand for half an hour or so, when it is ready to mix with
the pyro solution. When done with, the solution should be poured
off the zinc into a separate bottle and well corked, and in a few
hours the zinc it contains will be precipitated, and the solution will
have returned to much its original state, and may be used again.
The zinc bottle should be rinsed out vnth clean water, ready for use
when wanted again.
Metabisulphite of potash may also be used, and if found too
energetic, tliat is to say, if it causes fog, a little carbonate of soda
may be added until the smell of free sulphurous acid is greatly
reduced. It may be noted that this developer does not owe its
power to alkalinity, as it is more energetic when the sulphurous
acid is used in the free state.
But, turning to gelatine plates, unfortunately the hydrosulphite
developer does not specially recommend itself, at least in its oiiginal
form. It is with the intention of making the cause of this clear that
I have dwelt at such length on the chemistry of this curious com-
pound, which, as I have shown, in the course of oxidation, deposits
an insoluble basic salt of zinc. In conjunction with collodion plates
this mattered little if it occurred at all, as the deposit formed only on
the surface of the film, and was easily removed by washing or by
other means. Not so with gelatine, however, for apparently by some
special attraction exerted by the gelatine not onlj' does this precipi-
tation occur to a much greater degree, but the precipitate is formed in
the pores of the gelatine as well as on the surface. Fi-om the latter
it is easily removed by washing and friction if necessary, but from
the body of the film it is not so easy to dislodge it, and the consequence
is an unpleasant veil of a pinkish white shade that especially unfits the
solution for transparency work, if not indeed for negatives.
W. B. Bolton.
(To he concluded.)
RETOUCHINO AND VARNISHES. __
As a retoucher of many years' experience, and having — no doubt as
many others have done — occasionally h&d failures, which 1 invariably
find teach us far more than our successes, and, having overcome them, I
think that I may venture to point out to less experienced " knights of
the pencil " how they may succeed in varnishing a retouched negative
without losing so much as a single stroke of their carefully placed wok.
Pardon the digression, but I venture to think that, if the whole of
the work of some of the " retouchers " of the present day came off
with the varnish, the negatives would yield much more satisfactory
prints, both as regards likeness and artistic effect.
To begin at the beginning, let us take the medium. I have tried
many makes, and have teen successful with them all. Of course I
have my favourites, but only so far as regards the tooth, not because
I find one comes off with the varnish more than another. I do not
recommend retouchers to make their own medium, as it is not worth
bothering with. A shilling or eighteenpenny bottle will do some
hundreds of negatives if it is not wished for it to come off again with
the varnish.
For those who may like to make their own, as I know there are
many who will not buy anything they can possibly make, I have found
nothing better than common resin dissolved in common turpentine.
I have used such a mixture for years, and found it work splendidly.
I should simply get a lump of resin, about the size of a walnut, put it
in an ordinary one-pound jam pot, about half-filled with turpentine,
and stand it on the hob, not too near the fire. When dissolved it
should look something like strong ale, and when carefully decanted
into a bottle it is ready for use. Personally, for some time past I
have naed the Autotype Company's medium. Do not leave the cork
out of your medium bottle for long, as, if you do, you will soon have
only a nasty sticky mess left. I do not like cotton wool for placing
it on the negative, as it so often leaves it messy, with little pieces of
the wool sticking to it. You are also apt to leave on too much, which,
if you do, you may reckon upon a good part coming off again, and the
retouching with it when varnishing. I find the best plan is to keep
an old pocket handkerchief for the purpose, stretch it tightly over the
end of your forefinger, then tip up your bottle of medium so that it
moistens the cork, and with the cork moisten the handkerchief on the
end of your finger, then rub it icell on the part of the negative to be
retouched. If it is a large head, you may require to give two dabs
on the finger with the cork, but one is generally sufficient ; but be
sure you do not leave on too much. Then you may commence
retouching almost at once, or you may leave it for a few hours, as
convenient.
Now, as to the varnish and varnishing. I may also say that I
have worked with many different varnishes, as a retoucher must
necessarily do la going from berth to berth, and some employers are
very obstinate and think the varnish (or anything else) that was
used by an old assistant must do for the new, especially if it happens
to be a little cheaper than what the new man recommends.
The varnish I generally use when I have my own way is the
ordinary " white hard," to be obtained at any oil and colour shop,
thinned down with methylated spirit and filtered. In a future article
I may describe a very useful varnishing pot that I have in use.
Do not use the varnish thick, as it takes longer to set hard, and is
likely to become " tackey " in hot weather, when the prints would
leave marks upon its surface, and dust be more likely to adhere to it.
Although I prefer the " whitehard " varnish, most of the photo-
gi'aphic varnishes in the market are good, and 1 have not yet come
across one that would shift the pencilling if properly treated. Some
few years ago I had just commenced work in a new berth, and had
varnished about half a dozen negatives before leaving in the evening ;
my surprise may be imagined, on looking through them the next
morning before sending them down to the printers, to find that the
retouching was scattered all over the plates instead of on the face,
&c., where I had placed it. I showed them to a lady retoucher
sitting at a desk next to mine, and asked her if she could account for
it in any way ; of course, she laughed at the " new man,'' and told
me that the emulsion had been thoroughly " cooked " long before it
came into our hands, and, if I would be satisfied with only slightly
warming it up, I should find matters all right.
I think that girl had got to the bottom of moved retouching. I
tried her plan, viz., only slightly warm the plate, then varnish, being
careful not to pour the varnish on the retouched parts, stand the
plate in a rack to set for a few minutes while some more are being
varnished, then commence with the first and dry them off by
thoroughly warming them. I was never troubled any more ; that
was the worst case 1 ever met with, and I think that the varnish had
a good deal to do with it; it was a home-made varnish entirely.
The principal thought it perfection, made it himself, and kept the
ingredients a secret, which I think was a blessing to photographers
generally.
I have met at various times with slight cases of moving, but
have always traced it to the medium being too thick on the plate,
or else the plate being made too hot before varnishing, generally the
latter.
In some firms all the retouching is done upon the varnish, and in
quick trades of the middle class it is perhaps best to do so, as I have
found that more work can bo got through in that way, the medium
upon the varnish giving a better tooth f or the pencil, and the
negatives can be varnished as soon as they are dry by a lad, and so be
ready for the printer almost as soon as retouched. Now I
have found that it is the medium upon the varnish which rubs off
(and, of course, the retouching with it) with the constant dusting, &c.,
so that if the negative is retouched before varnishing, and one wishes
to do only a little more after, it is best to dispense with the medium
altogether, the varnish itself generally giving enough tooth : but, if the
whole, or a great part of the work, is done upon the varnish, medium
is necessary ; to protect which in the quickest way is to thnrougMy
warm the plate, when it will be found that the medium and retouch-
iug have sunk into the varnish and is quite safe.
A word as to collodion. If you value your negatives, never
allow even a single silver print to be taken from them in this damp
climate of ours without giving them first a coat of something damp-
proof. If you don't like varnish, give them a coat of enamel collodion:
or, what is better, both, as, if you coat first with collodion, and, when
that is dry, give a coat of varnish, you will have the best waterproof
coating known.
If you don't like coating the plate with anything, then have a
sheet of talc between the plate and print. But collodion has another
118:,
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[February 24, 1898
use. There is sometimes a dark piece of drapery you would like
removed, a lady's waist mayW too thick and require some off on the
shadow side, or some other dark object you would like taken away,
and yet you cannot get on enough pencil to do so, even by working
under and over the varnish. Now, if you will use both collodion and
varnish, and work on each with a little medium, you may go on in-
definitely, using each alternately until the desired effect is produced,
and, if both are used thin, the thickness of half a dozen coats is
inappreciable. Should the collodion at any time take a slightly
opalescent appearance, it will entirely disappear with the succeeding
coat of varnish. Haynks Wklch.
DETERMINATION OF PLATE SPEEDS.
Mb. Williams has not seen fit to avail himself of Messrs. Marion &
Co.'s invitation to acquaint himself practically with our method of
speed determination, nor to accept our offer to submit his negatives
to us for measurement; and, as we have neither time nor inclination to
enter into a prolonged discussion with him, we must leave him to
discover for himself the faDacy of deciding percentage differences in
speed by the ocular comparison of negatives. We should, however,
like to say a few words more before, as far as we are concerned, the
matter drops.
The system of speed determination which we have freely given to
the world is, we believe, destined eventually to be generally adopted ;
in the meantime we can well afford to look on with unconcern while
people, who either cannot or will not study the principles and
theoretical considerations upon which the system is based, set them-
selves ruthlessly to destroy what we have taken years to build up.
We should be the last to claim that the working details of the
system are incapable of improvement ; but, while we warmly acknow-
ledge the efforts of Mr. Cowan and Mr. Cadett to work the system
with accuracy and efficiency, we cannot take any responsibility upon
ourselves should errors occasionally arise. The adoption of the check
plate, on the initiative of Mr. Oowan, is a proof of the anxiety of those
gentlemen to take every possible precaution to prevent error.
Mr. Williams' repeated assertion, that he can detect by ocular
inspection a difference of ten per cent, in two exposures, convinces us
that he can never have devoted any attention to the law which is the
foundation of our system, and which is graphically expressed by what
we term the " characteristic curve." If he were to plot the character-
istic curve of a plate, and then consider the effect upon it of a differ-
ence of ten per cent, in the exposure, he would easily convince himself
of the utter futility of expecting to find any ocular evidence of such
differences in two negatives.
Anart from this, Mr. Williams has probably never realised that,
in the case of two plates of identical speed but having different
characteristic curves, it is absolutely impossible to produce two
identical negatives ; and this fact, unrecognised by Mr. Williams, has
led him to conclusions which any one acquainted with the charac-
teristic curve would at once have seen to be fallacious. Nor has it
probably, on the other hand, occurred to Mr. Williams that two
negatives, on two similar plates, may have identical printing values,
and yet be enormously different when examined either by the eyfe or
by measurement. This is only another way of saying that, in a
thickly coated plate, having an extended period of correct representa-
tion, there is considerable latitude of exposure. These are facts which
may appear to be paradoxical to Mr. Williams, but for the explana-
tion of which we can only refer Tlim to our papers.
We have recently felt that we, perhaps, made a mistake in adopting,
for our speed scale the numbers which we did, and that speeds now
expressed as 10, 20, 30, for example, would have been better expressed
riiS .1,2, 8. The public seem to estimate these numbers far more by
their differences than by theirratios, and have so acquired an exag-
gerated idea of t!heir influence Upon the exposure. AVhetherthe speed
of a' plate is, in practice, ninety Or one hundred, matters absolutely
BOthiftg. ' ■■'
It is somewhat amnsing to -find 'how -photographers, who have
existed- forr go many^ years without -any system offepeed determination
wbatiever, ail at OnctJ demand such hairbreadth distinctions. - We
suppose k --will -be some time before they- learn to appreciate, the
d«i^ee of exactitude Vphich it is either possible or necessary to Ve^li>
W«i;*re iglad to say, .ha.weverK thatit is possible, by our method, to
jft.iin8teithja.#peed of . a plafe iwith considerably greater precision than
iS,actn»,ll.v, required iivpractic^ ; hut tlii9 f apt will not be brought.tpi^e
to .jilr, Ayilljams i^ncl photographers generally till they turn'tlieir
alteiitibn to the law which governs the action of light upon' the
sensitive plate.
If, when Mr. Williams has studied our theory of the action of light,
he succeeds in disproving it, we shall feel compelled to pay more
serious attention to him than we do at present ; but, till then, we
prefer to accept as true a theory which is in such complete accord
with photographic phenomena generally, and in opposition to which
he has not advanced one particle of evidence. W'e hope we may have
said enough to lead Mr. Williams to consider whether, after all, our
method of speed determination may not stand upon firmer ground
than he at present wots of, F. Huhteb,
V, C. DniFrrELD,
IMITATION PHOTO-ENGRAVINGS.
I WAS glad to notice in the last issue of the Jo0bnal that you make
mention of some " grating photographs " produced by Mr. John
Robertson, of Dundee, as this is a style of picture that I have myself
done a good deal with during the last two years or more since I first
got the idea from your pages. The results, when properly executed,
are exceedingly attractive — -far more so, I think, than actual screen
pictures, as the gradation is far softer and more natural than that
produced from an inked plate, and I am sure more photogi-aphers
would adopt the novelty if it were not for the difficulties involved.
It was a long time before I could produce anything that was at all
presentable, although I followed as closely as possible the instructions
given for preparing the grained screen, as well as its combination
with the photograph. To any one taking up the thing for the first
time, the production of the grained surface would appear, from the
directions, to be the simplest operation in the world, the chief difficulty
being, apparently, to select the kind of grain that will look best.
But, when he comes to tiy it, it will be found anything but the
easy job imagined. It is not only that the task of obtaining an
even grain, of whatever kind it may be, is far more difficult than it
seems, but, having obtained the necessary degree of uniformity, ihe
size and density of the grain are most difficult for a novice to hit,
and, moreover, tave to be varied with the dimensions of the picture,
and very often with the character of the negative.
Although I have never practically worked any of the photo-
engraving methods, I can well conceive that the question of grain
is an even more difficult one than is the sort of hybrid process I am
now referring to, because, in addition to other troubles, there is
that of getting a grain that will not too readily fill up in inking ; in
fact, the grain must not be finer than the absolute exigencies of
gradation require. In our present method, however, as we have no
inked plate to deal with, the grain may be as fine as we please;
indeed, the finer it is the softer and better will be the gradation.
Here was the first trouble 1 encountered. I could not persuade
myself to make the grain fine enough in, the first place, and I then
rendered its coarseness more obtrusive by making the negative too
dense.
It is impossible to convey in a mere written description either the
size of grain necessary or the density of the grain negative, because
these, as I have said, vary so much with circumstances ; in fact, I am
convinced that nothing but actual experience with a variety of dif-
ferent " gratings," as well as portrait negatives of different kinds and
densities, will enable the operator to secare exactly what he wants ;
but, if he will bear in mind one or two simple points, I think he may-
save himself much trouble. Let only rather thin negatives, but full
of detail, be selected for the purpose, let the grain be as fine as may
be without being too fine to deprive the picture of the character it is
sought to give it, and let it not be made too obtrusive by giving too
great density to the grating negative. It has to be borne in mind
that, like retouching, the effect produced on the print is far greater
than appears in the negative.
As regards the production of the grained plates, that naturally
constitutes the chief difficulty; I believe they are to be obtained
conuiiercially,- though I have as yet been unable to secure anything
satisfactory at a reasonable price, so have had to make my own;. and
perhaps my experience may be of some assistance to others, as I think
I have tried-eVery method I have seen- suggested or that -I-^ould
suggest myself* Kuled'Screens'are, of -course, completely oiit of tlie
question unless you have a ruling machine, and even then I questiott
whether the mechanical diliicultieftiavol*«d.are not greater than the
result justifies.
I have'ti-ied photographing various kinds of gauze, iJiefiillic and
otherwise, perforated zinc, perforated cafd,i<"/ hoc (/enit.i om/ie, but am
always met with the-samediffipulty, namely, a perfectly even diviaon
pf the originah , In any of the woven fabrics it will always be found
tliat there' afo '-here 'and tfiere siiigle thrMiis or strands of different
thickne'99 to'the rest, or that' (ire' badly sfpaced, and in such materials'
as perforated zinc there seem to be at regiUar distances wider spaces
between the lines of perforation, as if these were made by means of"
February 54, 1803]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
119
rollers which at each revolution imparted their own irregularities to
the sheet of metal. ICvery one of these departures from strict
uniformity produces its effect upon the resultinj^ grain ; indeed, when
this is so tine as to be scarcely distiiijruishable to the eye except with
the aid of a map^iiier, tlie irrefrularities seem to be even more
prominent than on the larger scale.
A method of ruling, described about two years ago, in which a
perforated strip of paper or tinfoil is drawn across the surface of a
sensitive plate, so as to form a series of fine lines when exposed to
light, seemed to promise a way out of the ruling ditiiculty, and on a
small scale I found it answer very well. J?ut I was not fortunate in
being able to procure the necessary tools for making the perforations
fine enough to work directly, and, when the dimensions were increased
to a autlicient extent to admit of reduction, the mechanical difficulties
seemed to be increased out of all proportion, and I had to relinquish
that method.
ETentually I gave up attempting to get a mechanical grain of
any kind, and turned to what may be called, in contradistinction, a
natural grain — one obtained by spreading a granular substance evenly
over a suitable surface. This at first offered no great promise of
giving a better result, though after some perseverance I at last
managed to arrive at something that seemed to be nearer the mark.
The process I eventually adopted consisted in spreading the grain
evenly over a flat surface, and then photographing this under proper
conditions of lighting, when a beautiful erain of the greatest
uniformity can be obtained, and that is more than 1 can say in favour,
of any of the methods of pressing the grained surface into tinfoil or
soft metal, so as to form a matrix from which to take impi-essions in
gelatinous or other ink.
I tried first of all spreading the granular material on glass, with the
intervention of an adhesive, and, when dry, using this as a negative by
transmitted light, from which to reproduce others in film form. But
the result was unsatisfactory, as I could not find any grit that was
translucent enough and yet gave a good grain. Such screens were,
in fact, too opaque, whereas the beauty of the reproductions bv re-
jiected light from a granular surface is, that you get what may fairly
be called a selective grain, that prints more forcibly in the shadows
than in the high lights.
The plan I have used with most success consists in, first of all,
stretching a sheet of paper smoothly and lightly over a nlate-glass
surface, and coating this in turn with a thin solution of gelatine,
spread verv evenly bv pouring it on and off asain, rather than with a
brush. ^\ hen this is perfectly smooth. I sift over it. bv means of a
perforated zinc tray, powdered emery, mixed in three different grades
of coarseness — 10, oO, and 60, as the numbers go — and. when the
gelatine has set, I shake off the superfluous powder by gently tapping
one corner of the plate on the table. Then another sheet of smooth
paper, and a second piece of plate glass are laid on the dusted surface,
and as much pressure applied as I dare without danger of breaking the
glass, in order to render the surface as smooth as possible, when it is
allowed to dry.
The dark tint of the emery prevents any harshness, or rather hard-
ness, in the subsequent photographing, and if a good diffused light,
coming principally from the front, be used, a grain may be produced
by reduction that will rival in softness, evenness, and minuteness,
anything in the way of photogi-avure, and give printing results upon
albumen or gelatino-chloride paper that are far preferable, I think, to
the mechanical " Meisenbach " grain. In effect, the prints, if toned
dead black, look just like photogravures, and are no more diflicult to
make, when the suitable grain negative has been selected, than plain
ones.
The film negatives are made on collodion emulsion, the glass being
first rubbed with talc to make the collodion " strip," and, of course,
the- grain may be reduced to any degree of fineness. I have been
unable to get the clearest and best "gratings" by using the process of
reversal by means of nitric acid or ferric sulphate, but by the direct
method no difficulty will be experienced if too strong a light be not
used, and no attempt made to get density. The grain negative
should be as delipate as posj^ible.
The trouble of spreading the emery may be saved bv using ordinary
*mepy cloth, if it can be got free from cracks and crea.«e», and is
strained evenly on a flat surface; but I prefer to spr'od the powder
myself. W. Lindsay.
PROPOSED NEW CENTRAL PHOTOGRAPHIC CLUB
AND INSTITUTE.
We have received the following oflicial communication on the subject : —
A PBOPOfiAL has recently been discussed and adopted by a providoDal
committee, having ior Object the establishmeut of a photographic club
and institute, occupying a central position in London, easily acoeisibla
from the principal railway termini and by the chief omnibni routes, <Jtc.,
and therefore convenient both (or town and country members. The
provisional committee discuaa^d the ,toltowiiig I^adlog. points nf the
scheme;— ;, ■,,,,,^, ■■'. -,)<o ii.i j- •■,
1. That the club be called the Central Photogtapbto Clnb.
2. That the club promises.' be 'open during ' recognised club hours,
refreshments being obtainable, and the premises to comprise
meeting room, smoking room, library, dark room, and other
photographic and ordinary club conveniences.
3. That membership be at the disposal of All Intebested n» Photo-
obaphy, both in town and country.
4. That the subscription for town members be 1{. !«., and for country
members lOn. 6(2. per annum.
5. That it is desirable to make the social element a strong feature of
the proposed club, while at the game time technical photographic
meetings, lantern entertainments, exhibitions of pictures, appa-
ratus, &-c., should also be held.
The idea of the proposed club as outlined above is strongly supported
by a great many gentlemen who have expressed their intention of joining.
For this and other reasons a very large membersliip may be anticipated.
A meeting (to which all interested in the proposed club are hereby in-
vited) will be held on Monday, March 6, at eight o'clock, at the Memorial
Hall, Farringdon-street, E.G., to appoint a permanent working committee
for organizing the club, to discuss details and suggestioas'-'drc, snd
generally to arrange preliminaries.
Provisional committee :
BiBT Acres, A. Cowan, T. E. Fbeshwateb, F.E.M.S., F. W. HtsDLEY,
J. Howsox.
Redmond Babbett, R. Beckett, F. W. Edwabds, T. F.ill, E. Howabd,
Fabmeb.
B. P. Draoe, Wm. Fbnton Jones, A. Haddon, A. Hobsley Hintos,
John A. Hodqes, Chables H. Oakdex.
J. Tbaill Tavloe, T. Bolas, T. C. Hepwobth, Hi Stusxet, E. J. Wall,
Thomas Beddino.
WOOLWICH PHOTOGRAPHIC SOCIETY'S EXHIBITION.
This young Society is fortunate in having for President such a prolific
producer of photographs as Mr. A. R. Dresser, inasmuch as at its first
annual Exhibition, which was held last week, it was able to make up for
a comparatively small display of competitive work, by showing a large
selection of that gentleman's well-known pictures, and thus the Exhibition
as a whole, which also included non.competitive exhibits from Mr.
Pringle, Mr. Davison, and Mr. Seyton Scott, was not shorn of any of the
elements of attractiveness to the outside public. The Exhibition, which
was held in the large room of the Woolwich Polytechnic, was decidedly
creditable, as a first attempt, to all concerned in it.
In the class for Members' work we liked Mr. A. Godfrey's portrait
studies, and the Rev. E. J. Dohcrty's large yacht pictures, as indicating
promise of better things in the future. Mr. G. C. King showed, in Su.n»et
after SUirm, a capital study, in which the heavy shadows ofjthe subject
were well rendered ; Mr. W. Davies, a charming view of Shanklin, with
the peculiar uranium tone which Mr. Dresser affects, and in which he
finds many imitators in this and other exhibitions. In the class open to
all amateurs, Mr. C. F. Archer's large bromide study of a female head,
Interested; Mr. J. A. Young's portraits ; Mr. C. Court Coles' Oxford interiors
and Iffley views ; and several of Mr. T. M. Brownrigg's Pall Mall exhibits
were noticeable. Mrs. S. Frances Clarke showed some soft, delicate, and
well-lighted outdoor studies, the lady's figure in them being charmingly
posed, which to our thinking, were unfortunate in not securing an award.
In the class open to amateurs who had never received an award in opei
exhibitions, we had seen and criticised most of the pictures befoie.
Viscount Maitland, Mr. Edward Hawkins, Mr. C. H. Oakden, Mr. W.
Howell, Mr. J. 0. Grant, Mr. H. E. Farmer, and others showed good and
familiar work therein. The class for hand-camera work was a small one,
but Mr. W. Thomas, Mr. A. Brooker and Mr. Charles Job made up for
the paucity of the exhibits by the good quality of their work.
The Judges were Messrs. A. R. Dresser and Andrew Pringle, and the
following were their awards : — Class 1, Prints (Members only). — Bronze
medal, C. G. King ; bronze medal, Geo. J. Gill ; diploma.W. Dawes. Class a.
Lantern Slides (Members only). — Silver medal, W. Diwe? ; bronze medal,
C. G. King. Class 3. Prints, open to any amateur photographer.— Silver
medal, C. Court Cole ; bronze medal, T. M. Brownrigg. Class 4. Frinta,
open to any amateur photographer who has never received an award in
an open competition.— Silver modal, Chas. Moss ; bronze medal, Yiscoui:
120
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[February 24, 1893
Maitland ; bronze medal, Ed. Hawkins ; diploma, Ernest B. Askton
Class 5. Lantern Slides (best set of six), open to any amateur photo-
grapher.— Silver medal, W. Taverner ; bronze medal, H. E. Farmer ;
diploma, E. Hawkins. Class 6. Set of four prints taken with camera
held in the hand, open to any amateur photographer. — Silver medal, E.
Hawkins ; bronze medal, Chas. Job ; diploma, A. Brooker. Gold medal
for best picture in Exhibition, Chas. Moss.
THE PHOTOGBAPHIC SOCIETY'S LECTDEES ON
GEAVUEE."
No. I. — Pbepakation of the "Eesist."
■ PHOTO-
In connexion with the affiliation of photographic societies to the Photo-
graphic Society of Great Britain, Mr. Herbert Denison, of Leeds, gave on
Friday last, February 17, the first of two lectures on Photogravure, when
Mr. J. Traill Taylor presided. The attendance at Bloomsbury Hall was
an extremely large and influential one, including, besides many members
of the Photographic Society of Great Britain, several well-known en-
gravers and process workers, and members of the following Societies : —
Photographic Club, London and Provincial Photographic Association,
South LondonPhotographic Society, Photographic Section of the Croydon
Microscopical Society, North Middlesex Photographic Society, North
London Photographic Society, Greenwich Photographic Society, Brixton
and Clapham Camera Club, Leeds Photographic Society, and many
others. Several ladies were also present.
The lecturer, having said that he had accepted the invitation to give
the lectures because he was glad to see the Society taking its proper place
in the education of photographers, alluded to the difficulties of obtaining
assistance or advice in the practical working of photogravure, and ex-
pressed his indebtedness to Mr. A. W. Turner, of the Survey of India
Office, Mr. Bolas, and Mr. W. T. Wilkinson, for much useful information
He commenced his subject proper by indicating the kind of plate one
aims to produce in photogravure. The plate, he said, is of copper, with
the image in intaglio, that is, the portions of the plate bearing the darks
of the picture are sunk, having been eaten out by an etching fluid, and
the whites are represented by the original bright surface of the plate
which has been protected from the action of the solution. The plate is
printed from by having a specially prepared stiff ink, composed of lamp-
black or other pigment, ground in linseed oil, rubbed into the depressions
by means of an ink dabber, i.e., a roll of woollen material, the fibres at
the end of which have been frayed out. A small quantity of the ink is
taken up on the frayed end, and with a rocking motion and some pressure
the whole surface of the plate is inked. The plate is then wiped entirely
clear, the ink remaining in the etched portions. To print, a sheet of
damp paper, with a few thicknesses of " blanket " behind it, is placed on
the plate, and the whole passed through the rollers of a copper- plate press
the shadows, halt-tones, and high lights of the resulting print being
proportioned to the depth to which the image on the plate had been
etched.
Having pointed out that if the etched spaces were not broken up into a
number of minute depressions instead of a few large ones, the ink would
be wiped out from the hollows as weU as from the surface, the lecturer
indicated how the copper surface could receive the necessary protection
by the application of a solution of bitumen in benzole, the effect being
upon the evaporation of the solvent, to cover the plate with little dots
which resist the action of the etching fluid, and to impart a grain to the
picture. A carbon negative, called the " resist," is next placed on the
copper plate, the thinnest parts of the gelatine offering the least resistance
to the action of etching solution, and so on through the half-tones to the
high lights. Upon the resist being cleaned off, small bright points, which
have been protected by the bitumen dust, stand up to the origmal surface
level, and form the grain.
From the principles of the process, which is known as the Talbot-Klic,
and is extensively employed commercially, Mr. Denison passed to it?
practical side, enumerating the following list of materials which are
required : A printing frame. Autotype special transparency tissue for the
transparency, a tin box with a weighted lid to keep the tissue in, an
actinometet, a porcelain dish, and a solution of bichromate of potash (six
drachms to the pint) for exciting the tissue, ferrotype plates to dry the
latter on, two developing trays of tin, a squeegeeing board covered with
zmc, a, small gas t-tove, five per cent, solution of alum, methylated spirit,
glass plates coated with bichromated gelatine. The foregoing are
necessary for the transparency. For the plate the following are required :
Copper plates (obtainable from Messrs. Hughes & Kimber, West Harding-
tticet, E.C., ur Mr. A. Niculls, Cyrus-street, E.C.) ; tome pure cotton
wool (to be obtained from chemists) and washedwhifing for cleaning add
polishing the plates; a dusting box about a foot square at base, and
eighteen inches high, arranged to revolve upon pivots placed in the middle
of each side, with a door at the front through which a plate may be
passed after shaking up the dust by causing the box to revolve ; about
a pint of powdered bitumen or asphaltum to place in the box ; a sheet of
iron about a quarter of an inch thick, and larger than the copper plate ;
this is to place over the gas stove, and is used for fixing the bitumen dust
to the copper by heat ; a flat ruler ; a draughtsman's pen ; a camel's-
hair brush for varnish ; five solutions of perchloride of iron of different
strengths, and five dishes for them.
The negative required should be of the class to give a good print in
platinotype or plain silver and free from defects. Having described the
sensitising of the Autotype Company's Special Transparency Tissue by
its immersion in a bichromate bath of the above given strength, pigment side
downwards, until it curls outwards, this being, he said, a better guide
than stating a definite time, although the latter is usually from two to four
minutes, he said it is squeegeed, tissue side down, to a clean ferrotype plate,
and dried at a temperature of 65° in the dark and stripped, when it will
have a fine bright surface. The printing of the transparency from the
negative was next dealt with, and its development upon glass coated with
bichromated gelatine exposed to light, so as to form an insoluble sub-
stratum for the transparency. One of these plates being placed in a
dish of cold water, the exposed tissue is also placed in it, face upwards.
As soon as it has uncurled, the exposed tissue is squeegeed in contact with
the substratum on the glass plate, and developed in water at 93°. When
the pigment commences to ooze out at the edges, the paper backing can
be removed with the finger, and the warm water is dashed over the plate
until the soluble gelatine has been washed away.
Mr. Denison said that, as the transparency was to be printed from, it
should bo judged from the same standpoint as one would a negative, being
vigorous and full of detail in the high lights, showing very little clear glass
when placed on white paper. Both in regard to the transparency and the
carbon negative to be made from it, the lecturer fully entered into
details, and at the conclusion of the paper demonstrated sensitising the
tissue, development, etc., in accordance with the details laid down.
To-night (Friday), the second lecture takes place at the same hall at
eight o'clock, the following being the syllabus : — Resume of first lecture ;
preparation of the copper plate ; laying the ground ; fixing the ground ;
transfer of the resist to the copper ; development of the resist ; drying
off; protecting the margin; the etching; finishing and retouching the
plate ; pulling a proof. A practical demonstration will be given of each
step in the process after the verbal description.
THE PHOTOGEAPHEKS' BENEVOLENT ASSOCIATION,
The Annual General Meeting was held on Monday, February 20, in the
rooms of the Photographic Society of Great Britain, Mr. J. Traill Taylor
(President) in the chair.
The President said that he regretted that he had been unable to attend
the Committee meetings, but that his attendance had really been un-
necessary owing to the fact that the late Mr. William Bedford, as Chair-
man of Committee, had been such an efficient head. He had intended
to refuse re-election as President in favour of the late Mr. Bedford, and
had already intimated his intention before Mr. Bedford's death. That
gentleman's loss to the Association was such a blow as could hardly be
expressed, but he (Mr. Taylor) was still obliged to retire from the presi-
dency owing to the fact that his medical adviser had ordered him to
withdraw as far as possible from all evening engagements.
The report of the Committee was taken as read. .
Mr. J. Spiller (the Treasurer), in presenting his report, said that the
Association was to be congratulated on an unusually good balance-sheet
for two reasons — firstly, because the disbursements . had been unusually
small ; and secondly, because a windfall of fifty guineas had come to the
Association through Dr. Lindsay Johnson. , 'The list of subscribers of
1?. and upwards was better than for many years past, and the only
unsatisfactory thing about the balance-sheet was that the small subscrip-
tions of under 17. still reached but a very small total. In moving that
the balance-sheet be adopted, he wished to include special thanks to the
Photographic Society, of Great Britain and to Mr. Frederick HoUyer for
their substantial contributions to the funds.
Mr. i\ W. Hindley inquired whether the total of small items had been
diminished owing to the fact that the subscribers hid increased their
subscriptions and come into the list of i;. and upwards.
The Secretary replied that this had only occurred in one instance.
The balance-sheet was unanimously adopted.
Mr. T. E. Freshwater expressed deep regret at the retirement of
Mr. J. Traill Taylor, who had been for many years a most valuable
President. The Association was greatly indebted to- him, not only for
his presiding at the annual meetings, but also for veiy considerable help
February 24, 1893]
THE BUITISa JO.DRNAL OF PHOTOOUAPHY.
lai/
that be had given in other ways. He begged to nominate Mr. Oeorge
Mason, of Glasgow, for the position of President. Mr. Maaon was
unanimously elected.
The following were elected members of the Committee : — Messrs. B.
Child Baylcy, F. H. Berry, Robert Beckett, B. P. Dragc, T. E. Freshwater,
F. W. Hiiulley, H. It. Hume, P. G. Hunt, T. C. Ilepworth, Alexander
Maokie, K. W. Parfitt, and \V. J. Tabrum. As no new nominations had
been received for Treasurer or Trustees, thebe remain as before, namely,
Trustees, Captain \V. de W. Abney, C.B., B.E., and Mr. \V. S. Bird;
Treasurer, Mr. John Spiller, F.I.C. Messrs. Thomas Bedding, H. G.
Bapson, J. Guardia, and Burnett were elected Auditors.
Votes of thanks to the Treasurer, Secretary, Auditors, and the photo-
graphic press and the retiring President concluded tlic meeting.
The following is the balance-sheet for the year ending December 31,
1892 :—
RECRirrs.
B.ank Balance from 1S91
B:il:iuce in P.O. Savings' Bank, IS'.il
Pension Fund "JJ per cent. Consols
Beijuest from the estate of the late Mrs, Kmma Mary
Evans, pw Dr. Lindsay .Johnson
The Britannia Works Company
Messrs. Elliott & Sou
The Paget Prize Plate Comiiany
Tlio Cheltunliam Amateur Photographic Society...
The Autotype Company
Mr. Francis Bedford
The British Jourxai. op Photooratht
Messrs. Henry Dixon & Son
Thi' Eastman Comp.any, Limited
The Fhoto(jrapliic News
Messrs. Ross & Co
Mr. William Bedford (the late)
Tlie Blackfiiars Company ....
Mr. F. W. Hin.Ucy (EallowfieM)
Messrs. Hazell, Watson, & Viney ...
Mr. Fr.ancis Ince
Mes.srs. M.irion & Co
,, Mawsou & Swan
,, Geo. Nelson, Dale, & Co
,, Perken, Son, S; Itayment
Tlte Practkal Photugrapher
Mr. John Spiller
,, John Stnart
Messrs. Watson & Son
,, Wratten & Wainwright
Mr. H. Walter Barnett
,, Geo. Manstield
,, (teo. Mason
,, Arthur Re.ston
Donations and SabsoriptioDS under 1/
Eepayment on Loans
Pall Mall Exhibition, 1892
Interest on Investments
Mr. Fred. HoUyer's Exhibition
Collections .it Meetings
B,ilance due to Secretary
E-XPENDITURE.
"•rants and Loans
Printing and Stationery
■''Stage
- uulries
Pension Fund in 2^ per cent. Consols
Interest on Pension Fund in P. 0. Savings' Bank
Balance at Bank
Audited, compared with Vouchers, and found correct |
£ .«.
d.
. 97 14
3
. 3 7
0
. 2.50 0
0
. 52 10
0
. 6 6
0
. 5 5
0
. 5 0
0
. 3 3
1
. 2 2
0
. 2 2
0
. 2 2
0
. 2 2
0
. 2 2
0
. 2 2
0
. 2 2
0
. 2 0
0
. 1 1
0
1 1
0
1 1
0
. 1 1
0
1 1
0
. 1 1
0
. 1 1
0
1 1
0
. 1 1
0
1 1
«
. 1 1
0
. 1 1
»
1 1
0
. 1 0
0
. 1 0
0
. 1 0
0
. 1 0
0
12 32
2
. 2 0
0
. S 10
3
6 19
8
. 12 5
0
1 9
2
e s. d.
351 1 3
118 2 2
81
3
503 15 6
£ s.
d.
£ a. d.
28 16
6
3 4
4
3 6
6
1 5
6
36 12 10
2.50
0
0
10
7 11
206 14
9
467
503 15 6
Jamuiry 30, 1893.
Thomas Beddisg.
j. guabdia.
DURHAM CITY CAMERA CLUB EXHIBITION.
'An Exhibition of members' work was held in the Shakespeare Hall,
North-road, Purham, on February 14. There were five classes restricted
to members, and a sixth class for lantern slides, open to amateurs and
professionals alike. In both departments there was a large number of
eshibits. In Class 1, for the best set of six prints of general oat-door
work, Mr. J. Morson, jun., secured the premier honours. The set for
which he obtained the bronze medal included photograph" of prize sheep
"id poultry. They secured general admira.tion. In the same ckss Mr.
F. Chi£f was awarded a certificate. Mr. Clufi's work inoladed three land-
Boapes— a view of Klvet BrUlue, another ol The C'ount'n llou»t, and %
study in hoar frost —and three snap-shots of golf-players. Mr. R. H.
BIythe, in the first class, was awarded " honourable mention." Class 2
attracted a large entry. It was devoted to general out-door work, and
exhibitors presented three direct prints— half-plate and above. Miss 0.
Fawcett was awarded a bron^se medal. The prize-winning set included
views of Lake Lawcric, The Matterliorn, and The Cattle of Hridclhiirrt.
Mr. Edgar Meynell also secured a bronze medal in this class. His set
was made up of lake-district views — Rydid Water and On fS'indcrmere —
and a tree study, entitled BinJiex. Councillor Ernest White entered five
sets, and was awarded a certificate for a set containing a print of High
Force, The Navtli Door of the (itthedral, and The Cdthedrtil from the
Hunks. Mr. J. N. Hunter, whose work was adjudged to be equal to that
presented by Mr. White, was also given a certificate. His set included
yievm ol The Catludral, I'rcheiid't liridfie, and Count's Uouxe. Class 3
was devoted to portraiture ; Mr. T. Harker cairied off premier bononrs.
A certificate was awarded to Mr. J. Hunter, and Miss C. Fawcett obtained
"honourable mention.'' In Class 4, for enlargements, Mr. E. "White
secured a bronze medal, and Mr. J. Morson a certificate. The class re-
stricted to members' lantern slides attracted a large entry, and altogether
the collection of slides was a remarkably fine one. Premier honours
were carried off by the Rev. R. J. Pearce. He sent views of ililljM
Force, Aslirigg : The Colleiie, Durham; a.ni Patiiiscali; Keswich. Mr. J.
Morson was also successful in this class, he securing a certificate. His
work included Continental views and a picture of a fortune-teller token
on The Racecourse at the Lant Miner.-:' Demonxtralion. In this class the
Rev. H. E. Fox, Mr. G. W. Bater (of Old Elvet), and Mr. J. E. Green (of
GUesgate), also sent some very creditable work. As might be expected,
the open class had a large entry. There were thirty sets of six in com-
petition. The Mayor of Durham (Councillor W. Sanderson) gave a silver
and bronze medal for distribution in this class. Mr. J. H. Gear secured
the silver medal with Fishing in Preserved Writers, Studg of Cattle, Help-
ing Mother, Handel's Organ, " Cnme here, gou raiail!'' and Going to
Sea. The bronze medal was taken by Mr. George E. Thompson
(Liverpool), and the certificate went to Mr. E. Cowan (Newcastle).
A special bronze medal for fiower studies was won by Mr. William
Travener (of London). The Judges were Mr. Lyd Sawyer and Mr.
JI. Laws, photographers, of Newcastle, and Mr. Edgar G. Lees (of
CuUercoates, Secretary of the Photographic Society, Newcastle). An idea
of the quality of the work sent in to the Exhibition may be gathered
from the following report of the Judges : — " The exhibits sent in to this
Exhibition show a high order of merit, and in Class 2 the Judges gave an
extra bronze medal and certificate owing to the excellence of the work
shown. "
RECENT PATENTS.
PATENTS COMPLETED.
Maoxesium Liqht Cabtridoe for Photogr.m'hic Purposes ass Fbocrss
UK Prodi:cisg S.\me.
No. 20,119. EuGEN Hackh, Stuttgart, Wnrttemberg, 31, Kcinigstrasse.
December 10, 1S92.
This invention relates to the mixing and producing process of magnesium
light, wliich, ou account of its exceptional steadiness, and as it burns an
absolute white light, is very suitable and specially advantageous for photo-
graphic purposes.
The method of manufacture is so far essential for the invention, that an
oxidation of the magnesium powder during the mixture of the constituents of
the light, as also during storage, is thereby impossible. For the practical re-
quirements of the photographic art, the invention has a farther and a very far-
reaching import, in that the magnesium light is made in cartridge form, which
enables the .steady concentration of the light in any direction or on any object
desired, whereas by the use of magnesium powder as a so-called tlashlight,
whicli has hitherto been the case, this fixed concentration is impossible.
For nmnufiictnring the niaguesinm light I use a mixture of metallic mag-
nesium powder and so-called mealing powder, .as 'Used for fireworks, &c., but
which, ill combination with magnesium powder for rapid magnesium Ught pro-
duction, has not hitherto been applied to photographic purposes.
The proportion of ingredients of the mixture varies acconling to the con-
stituents of the mealing powder from fifty to sixty, and magnesium powder
fifty to forty. These substances are thoroughly agitated and e(iually mixed in
a revolving drum, and the disadvantages of oxidation of the magnesium powder
during the mixing are prevented by the intioduction of a current of carbonic
acid, nitrogen, or any other inert gas in the otherwise hermetically closed drum,
and which current not only purges the oxygen out of the drum itself, but also
out of the pores of eacli particle of jxjwder, so that the mixture of the powder
takes place in an atmosphere which excludes any possible oxidation of the
magnesium powder.
The extracting from the drum of the mixture of powder thus pnxluceil takes
place without its coming in contact with outside air by small quantities of
the powder mixture being put in cartridge form.
Such cartridges consist of a Hat disc nitule of cardboard or .any other suitable
material adapted for holding the light powder, and which, by l)eing folded,
prevents the oxidation of the contents by contact with the oxygen of the out-
sifie air ; or this cartridge disc is covere<l with paper or other suitable easily
and completely combustible.
The use of sheet metal is not recommended for these cartridge plates, not
only on account of the heavy costs of same, but al-o because they absorb a
12-2
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[February 24, 1893
great amount of heat, and thus the burning of the light 'powder is less perfect.
■C'ardboard or other non-conductins paper material is, on the other hand,
specially suitable.
The plate can be of asbestos board, which offers still more advantages for
the purpose in question. The plate has a kind of wooden supporting peg in
the middle, which serves for receiving the igniting' contrivance, for which
•electric sparks are used, since, by this, an instantaneous ignition is obtained
at any moment desired without any difficulty.
^ In order to make these light cartridges bum more rapidly, fibres of asbestos
' can be mixed with the constituents of the powder, being there distributed in
a vei-y tine and equal degree during the process of mixing the powders. This
■addition of asbestos fibres varies, according to the effect required, between
five and ten.
Fibres of asbestos are specially suitable for this purpose on account of them
being unbiimable, and they therefore do not absorb the oxygen of the mealing
powder, which is thus of more profitable effect in the perfect combustion of
the magnesium powder. Again, owing to the asbestos being a non-conductor
of heat, no heat is drawn from the light powder during its combustion, and
hence the latter gives a whiter and stronger liglit.
As mentioned in the introduction, the closed disc-like cartridge form of
■magnesium light offers the exceedingly practical advantage of enabling the
•object to Vje illuminated witli the most diverse effects, since this liglit cartridge
can lie moved to all directions and the light concentrated on a certain part of
the object, which cannot be done with magnesium light in the form of a loose
powder burnt off on a plane surface as hitherto practised.
Having now particularly described and ascertained the nature of this in-
vention, and the manner in which the same is to be performed, I dechire that
what I claim is : — 1. A magnesium light cartridge substantially consisting of a
mixture is held by a disc-like casing consisting of paper, cardboard, or other
■suitable material, and is closed by folding such casing or covering same with a
sheet of paper easily and comjiletely combustible, substantially as described.
2. The process of producing magnesium light consisting therein that the
ingredients of such light are mixed in an hermetically closed drum, from which
air is exhausted or substituted by carbonic acid gas, nitrogen, or another inert
gas, so that no oxidation of magnesium can take place, substantially as descrilied.
■3. The combination with the mixture producing the magnesium light cartridge,
the employment of asbestos fibres finely distributed in such powder substan-
tially as described.
A Machine for Pasting, IIountixg, and PERKORMiiiG thk Various
Processes is Finishing Photographs.
No. 525. Joseph Wilkinson, Blue Hall, Ingleton, York.— Janiuiri/ 7, 1893.
The various processes in pasting, mounting, dabbing, or squeegeeing a picture
to the card, drying, lubricating or soaping, and rolling or burnishing are now
IX'rformed separately by hand labour.
I propose to substitute an automatic machine that will perfonn all the
processes above named much more advantageously than wh.at is now done.
To commence with, the pictures, after being printed and washed, I
propose to put in a box, case, or other receptacle, made according to
various sizes as required. At the bottom of tliis box 1 fix a spiral spring
■which works .against a false bottom, upon which the pictures are placed,
:and at the top are ])egs or wires, against which the pictures are pressed.
The same end may be attained by elastic bands or similar means which
■will press the pictures upwards against the pegs. This box containing the
fiictures is placed in position on a stand. A number of boxes can be arranged
to be fixed and worked by the same machine. I fix a brush, roller brashes,
or rollers, as may be preferred for the pasting process, to a table attached
to a pivot, resting upon a substantial pedestal. With the pivot is connected
a rack, wliich is worked by a handle on the endless-screw principle, and
■the action of this is to regulate the position of the brush so as to adjust
•it to the picture. A crank connected with the other part of the machine
works the table horizontally, the brush making the segment of a circle
in its action ; but I can so airange it as to work vertically or obliquely.
The brush is supplied with jiaste by passing over corrugated wood or
metals horizontally or on an inclined plane. 1 arrange at this part an
apparatus similar to the onlinary printing press, which contains the cards,
■and in its action brings one down upon the picture in the box, according
to register. The other part of my machine consists of a number of
rollers and burnishers combined, fixed in two lateral portions or sides con-
stituting the framework, to work as will appear in the manner following :—
To perform the process of dabbing and pressing the picture firmly to
■the card, I supply a roller or rollers covered with «ome kind of absorbent
matenal, such as cotton, felt, ic, which will lay the picture flat These
rollers may be made of any weight and dimensions, according to require-
ments. A revolving sheet, which may be in one or more lengths, runs
under the rollers. This sheet is continued past the last roller for a certain
length to act the part of drying apparatus. This is done by means of heat
Jroni gas. steam, or other heating processes applied to this portion. From
the drying apparatus the sheet passes on to the part of the machine which
Js to lubricate or soap the picture. This consists of one or more rollers, which
are made of steel or other metal, and with guides to carry the picture
•over, and are supplied with s )ap fVom a box, which works by a spring or
springs, pressing the soap in block against the roller or rollers. The so-aping
rollers are made to revolve at a much quicker rate than any of the other
roUers, and in a contrary direction to which the picture has to travel This
IS effected by means of a reverse-acting wheel or strap, and in order that
«Tery part of the picture may be thoroughly lubricated, this being a prepara-
tion for the burnishing process. Following the soap-rollers are fixed a number
ol bnmishers. These are mad* in a similar manner to those now worked bv
hand c.)n«istu!g of a steel bar an i roller over the same, and are heated in the
usual way by g.i-s or spirit jets. Tlie first burnisher after the soaping roller is
tf?^!iT'Af^"'?nu'"'*v'' !"'*?"• *'"' ?''=""■'' '"' ">« heated ones which
?hl ,^^w °l'°.r- These buraiAers can \>o multiplied to any extent to give
rae photograph the required polished or en^imelled suiface, and can be placed any
distance from each other according to the size of the card, or by placing carrier
rollers between, any size of picture can be thereby worked through the same
machine. I arrange for these burnishing rollers to work either by strap, chain,
or endless-screw movement. The burnishers are locked by a bar, which runs
along the side of the frame and fits in a groove of each, and this is fastened by
a screw. By loosing the screw the bar can be slided along, and all the bur-
nishers are then free.
The machine is made in its various portions of wood, metal, and other
materials which appear most suitable, and is fitted with the necessary wheels
and cogs to work it by power — gas, steam, or any other motive power —
or it can be divided into parts and worked by hand, either treadle, crank, or
handle.
When the machine is set in motion the box is placed in position for the brush
to come properly over it for pasting the picture to attach it to the card, the
latter being brought down upon it by an ajiparatus arraugeil similar to tlie
ordin.ary printing press, as previously stated. The picture being fixed on tlie
card, the pegs are released by a catch, spring, or other similar automatic
device, and passes on to the revolving sheet, which is bfetween the two sides of
the framework, and in passing under the first set of rollers before described
the processes known as dabbing and squeegeeing the picture to the card are
performed, it passes along to the drying part, and then over the lubricating or
soaping roUers, and finally between the rollers and burnishers, and is then
delivered into a box, finished in every respect.
If it is desired to have a picture not lubricated, I arrange to divert it after
leaving the|drying apparatus part to a set ol rollers, worked on the same
principle as the rollers of the burnishers, and it is then finished as a rolled
picture only, and delivered into a box the same as the above.
It will thus be seen, from the above description, that a jjieture is never
handled .ifter being put into the box from the washing process until finisheil,
wliich is a great advantage, causing it to come out cleaner and better finished.
My machine will enable the various processes of photographic work here
described to be performed by power, and in consequence there will be a great
saving of labour, fewer assistants being required, and the process will be nioie
perfect in its action than the present methods of hand labour.
Improvements in Shutters job Photographic Cameras.
No. 4122.
Edward Howard Pekcv Hu.mphrevs
London. — Januan/7, 1893.
8, Hyde-park-gate,
My invention has reference to shutters for pliotograjihic cameras, and it
consists in foi-ming such shutters of a tube having two openings or apertures
diametrically opjinsite each otlier, or of a solid rod or bar having an opening or
aperture formed through the same at right angles to the axis. The tube or
rod is free to be t»rne<l on its axis, and is provided with a sjiring which, when
set, tends to give it a partial rotation. A catch retains it in the set position.
The tube or rod is so placed with respect to the lenses, that when the openiii"
or openings above described are in line witli or face the lenses, the beams or
pencils of light pass through them.
Tlie focus of the object to be photographed is taken when the opening or
openings are in line witli the lenses. The tube is then turned partly round
until it engages with the catch, and in this turning movement the spring is
set, and the openings in the tube are moved out of line with the len.ses, a dark
or full portion being presented to them. When it is reqniri'd to make an
exposure, the catch is released ; the spring then causes the tube to partially
rotate, and in this movement the openings come temporarily in line with the
lenses, so that the photograph is taken.
Instead of a single tube or rod, J can, and preferably do, employ an inner
tube or rod, and an outer tube having openings corresponding with those in
the inner tube or rod, and in this case either the outer or the inner tube,
or both the outer and the inner tubes, can be arranged to rotate. Or, instead
of, or in addition to, a rotary motion, either of the tubes may be free to be
moved longitudinally.
In some cases I fit one or both of the lenses in the opening or openings of
one or other of the tubes.
My shutters can be employed as either instantaneous or time shutters.
When they are used as time shutters I provide for retarding the movement of
the shutter under the action of the spring, so as to produce more or les»
retardation, as may be required. This may be effected by more or less wind-
ing up the spring, an indicator or scale being used to show the various
degrees of retardation, or the desiretl object can be obtained by means of a
brake or similar device ; or I employ two catches, one of which holds the
shutter in the dark position and the other in the light position. Then, when
a time exposure is required, the shutter would be moved to the catch that
holds it in the light position, and would be released by the operator when the
necessary time had elapsed.
Improvbments in Photographic Cameras.
No. 4138. Hbnrv Grant Madan Conybeaue, The Hut, Ingatestone. Esses.
JanuiTj 7, 1893.
It is frequently desirable, more especially when photographing architectural
objects, that the sensitive film should occupy a vertical position whilst the
body of the camera is inclined in an upward direction. The parallelism of
those lines of the picture which represent vertical portions of the object is
thereby better maintained.
Also, when the film is carried upon a flexible material, which whilst in the
camera is wound Uom roller to roller, it is necessary that the material should
be tightly strained between the rollers in order that the film diiting exposure
may present a plane surface to receive the image.
The purpose of my invention is to attain these objects more efficiently and
conveniently than heretofore.
I suspend the box or slide which carries the sensitive film upon pivots »o
that it may be free to automatically assume and maintain by the action of
gravity a vertical position whilst the body of the camera is inclined.
February 24, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
128
Also to 4(]iiiit of a like adjustiiieiit of the posltioii of the film when it
tii'comes necessary so to place the camera that the automatic regulation by the
ill of gravity i» unattainable, I arrange one of the pivots above mentioned, so
ili:it it can lie moved a suitable distance along the body of the camera to com-
licnsate for the inclination to be given to the camera at the moment of
exposure.
To •nsure a suitable tension ujxjn the material carrying the film 1 mount the
i-oller from which it is drawn upon a rocking frame jirovided with a spring
\vhich yields whilst the material is being drawn olf from the roller, and after-
wards l>y its reaction strains the nuiterial tight. To prevent the unwinding
taking place too freely I provide a l)ar which presses against the film roller ;
tlic bar is carried by two springs which are attached to tlie roeking fhvme.
mtetiriQ^ of Socutte^*
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Dat< ot KMtlng.
Name of Society.
Febmary 27 ; Camera Clnb
„ 27 ' Dundee Amateur
„ 27 Lantern Society
„ 27 North Middlesei
„ 27 Putney
„ 27 Ilichniond
„ 28 Birminifham Photo. Society ...
„ 28 Great Britain (Technical) |
28 Hackney
„ 28 Halifax Camera Club
,. 28 Lancaster
„ 28 Leith
„ 28 Newcaatle-on-Tyne&N.OonntieE
28 Pai-iley
„ 88 Rochester
„ 23 Warrington
, March I | Kdinbnrsrh Photo. Society
„ 1 Leytonstone
„ 1 Photographic Olub
,, 1 Sontbport
.. 1 ' Southtea
„ 1 ! Wallasey
„ 2 ] Birmingham Photo. Society ...
,, 2 j Camera Club
Place of Uaetlng.
Dundee and East of Scotland .
Glasgow Photo. Association....
Gloesop Dale
Hull
Leeds Photo. Society
London and Provincial
Oldham
Tunbridge Wells
Brighton and Sussex
Cardiff
Croydon Microscopical
Holi)orn
Leaminffton
Maidstone
Hull
Charing Cross-road, W.C.
Asso. Stndio, Nethorgate, Dundee.
20, HanOTcr-sqnare.
Jubilee House, Homsey-road, N.
Boys' (.TyTiiimsium.Chai-lwood-road.
Greyhound Hotel.
Club Room, Colonnade Hotel.
50, Great HnsseU-st., Bloomsbnry.
206, Mare-street, Hackney.
Springfield Barracks, Lancaster.
165, Constitution-street. Leith.
Central Exchange Art Gallery,
9, Gauze-street, Paisley.
Mathematical School, Rochester.
Museum, Bold.street, Warrington.
38, Castle-street, Edinburgh.
The Assembly Rooms, Higli-i-oad.
Anderton's Hotel, Fleet-street, K.C.
The Stndio, 15, Camhridge-areadc,
3, Kinjr's-road, Southsea.
Kgremont Institute, Egremont.
Club Room, Colonnade Hotel.
Charing Cross-road, W.C.
Lamb's Hotel, Dundee.
Philoso. Sue. Rooms, 207, Bath-st,
71, Prospect-street, Hull.
Mechanics' Institute, Leeds.
Champion Hotel, 15, Aldersgate-st.
The Lyceum, Union-st., Oldham.
Mechanics' Inst., Tunbridge Wells.
Pnblic Hall, George-street, Croydon
Trinity Church Room, Morton-st.
** The Palace," Maidstone.
71, Prospect-street, Hull.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
February 16, — Mr, E. Clifton in the chair.
Messrs. Woodbury and Jamiesou were elected members.
Examples of collotype by Messrs. Morgan & Kidd were passed round for
inspection.
The Air Brush.
Mr. W. H. Harrison, of the Polytechnic, prefaced a practical demonstration
xifthe Air Brush in working uj) bromide enlargements by .saying that it was
rtniarkable for its mechanical properties and artistic results. The apparatus
IS worked by air being pumped by means of a treadle into a container ; the air is
ilien led up a pipe to the hand jiiece containing two tubes. By depressinf; a
tliiimii piece a valve is opened and the air rushes through the two tul-ies which
divi.les the current of air into two portions ; one blows a small wheel round,;and
this sends the needle point backwards and forwards and passes through the
li<iuid. The other current of air passes downwanls to the needle point carrying
a minute portion of liquid which is then carried to whatever direction it is
jioiuted at. The closer the machine is held to the pajier the finer the line that
is drawn, while the further away it is the cone spreads and a larger result is
obtained. But, inasmuch as the quantity of colour that is needed to make a
fine line would take. an enormous time to cover a large surface, some means is
needed to increase the How of colour, which is obtained by pulling the. thumb
piece back, wliii;lr sends more of tlie needle into the current, of air, thus taking
more liquid and increasing the How of the ink. Lamp-black dis.solved in water
is used for the colour. As a means of putting in backgrpunds and workiuif up
drapery, a knowledge o£ hpw to use ithp air brush issoou obtained. For putting
in high lights Chinjese white looks too tlue^ and would nctt do fpr tli^ pi^rpose
pa that account. A s]io^t>eedle would. Aoi throw o$..8ueh a Ifttge cloud of
colour as a fine one.
; ,;Hr,,I,.ii TtLKee suggested tliat.atiqt might be removed by tneaiis of clean
water in the handpiece and the application of blotting-paper to the surtac9,
,Tb<!.CH.uitMAN, in reply to .Mr.. Harrison's question why.tha.brush was
HOt'moteused, indicated, tlie price, 9^ flu., as being high, and saki that if a bqdy
of men were trained up to its. use photographers, seeing the advantage in thL
.saving of time, ndght be disposed to employ them.
Mr. P. EVERITT thought the brush would be useful for making vignettes in
negatives,
Mr. Harrison said that in his ohms at the Polytechnic a iihotcgrapher after
only three le.s.sons had found the results he obtained with the air bniah much
ajipreciated by his customers.
Mr. .Jamikson sug^ste<l that the electrification of the needle point might
answer, as the (juantity of colour would not be increased in volume but only
the facility with which it was thrown from the jjoint and in a finer line. That
principle was employed V)y Tliompson in his galvanometers. An electric turning
device would also relieve the foot.
During the evening Mr. Harrison practically demonstrated the air Imuh by
working up a bromide enlargement with it, the finishiMl result placed alongsitle
of an unworkeil picture eliciting great praise from the meeting. He also
showed colour work and a large head worl<e<l uji in four hours from a faint
pencil outline.
At the conclusion of the demonstration .Mr, Harrison received a vote of
thanks, in acknowledging which he took occasion to say, humorously, that he
hoped to see many of the members present among his class at the Polj"technic.
Nortb London Pbotogrrapbic Society.— February 7, the Kev. E, HetUr
in the chair. — Mr. J. F. Nisliett was elected a member. Messrs. W. T.
Coventon and J, Oakley were elected delegates to represent the Society on the
alllliation committee for the current year. Mr. I'arfitt wished not to be
re-elected, as he considered the delegates should be cho.sen from those who-
were not members of the Photographic Society of Great Britain. Mr. A. K
Smith showed a collection of photographs of views taken in Kew Gardens, and
Mr. Parfitt some very pleasing portraits taken, in order to obtain softness of
outline, with the front coiubination only of a cabinet portrait lens. Tliey were
taken out of doors, and Mr. Parfitt said he used no background to screen
objects behind the sitters, as, owing to the depth of definition of the len.s being
so slight, such objects were not rendered on the plate. In the course of a
discussion about anudol, a letter from Messrs, Fuerst was read, in which they
stated that, so far as they knew, amidol is not poisonous, and the reason they
said in the instnictions issued that the amidol substance is not to be touched
with the fingers is that, if this is done, it will stain them very badly. They
further stated that amidol In solution will not stain the fingers. Severju
members thought this last statement required modification. Mr. Healy hail
used the developer for lantern slides, and had obtained a nice warm tone, but
at present had failed to get sufficient density. It was resolved that in future
the meetings of the Society should commence at eight o'clock sharp. The next
meeting, on the 21st inst, , is a Lantern Night, when the convention slides of th©
Devon and Cornwall Society will be shown,
Haclmey Photographic Society.— February 7, Mr. R, Beckett in the chair.
— Mr, L. E. Morgan gave a demonstration on amidol. The Hon, Secretary
asked whether the cartridges were any sjiecial jireparation, but was informed
they only contained sulphite of soda and amidol ; any alkali could be used,
and, in answer to a question, the lecturer said carbonate of ammonium could
successfully be used with it for lantern slides, Mr. Sodeau liked citrate of
soda for over-exposed plates. Amidol could be used dry like pyro, owing to
its easy solubility, A number of plates could t)e developed In the one solution.
The Hon. Sbcrbtauy said he had recently developed twelve bromide papers
and one lantern plate, and the solution seemed to be good enough for more.
He preferred the formula given by Mr. Dresser. Mr. RoOER asked whether
amidol would develop Morgan &, Kidd's papers. Mr. Moruas said he had not
tried himself, but felt satisfied they would. Two plates of street scenes having
received one-twentieth of a second at /-8, and taken this month, were then
developed and bromide papers ejcpo.sed. 'The HaN. Secretary, in propasing
a vote of thanks, said he used amidol some long time since, but had a difficulty
of getting density ; he had, however, again tried, and was very favourably
inclined to it. Mr. Moro.vn said he used pyro before, but now gave it up in
favour of amidol. The attendance was very large, and being a ladies' night, the
fair sex were well represented,
Febkiary 14, Mr, R. Beckett presiding^ — Some disaission ensuol on a print
developer with anddol, two and a half minutes, by the Chairman. Mr. Barker
asked, Was there any tendency to destroy the transparency in the shadows '
The Chaik.man said, Not so much as iron, which w.as too energetic when fresh.
Mr. NuNX asked. Was there any advantage in stopping down when making
lantern .slides ? Mr. S. J. Beckett said no advantage would be gained, if lens
was good, in stopping down beyond what would cover the lantern plate. Mr.
Sodeau knew of a lens which was defective in centre. Prom the question
box: " Can an ordinary magic lantern leus be used for enlarging puri>oses'"
The answer given was that it could for three and a quarter inches square or parts
of a quarter-plate. The front tube would have to be drawn right out -or an
addition made. Tlie projecting lens should b« gootl or slightly stopped dpivu.
Mr, W. H, Sodeau then read a paper on Plwto^nphic CliemUaU. The princip.'O
subject he dealt with was their keeping qualities. He attributetl the jiower of
keeping according to the atmosphere. A list of deliquescent chemicals jwa*
given. He advocated the use use of glass stoi)per8 whidi if stuck at any time
could be tapped or put in warm water. Thd Hon; Secretary had seen vaselLue
recommended. Mr. GosLiso said h«v generally,, found warming In- the hand
suHicient. Mr. Sodeau prooeeiled tp sajV caustic ooo'cdes the gloss and some-
times joins the stopper to the- neck. ■_". Ijidjarubfeer corks were u.seful, but
.siiould not be used for benzine or like) cpmpaimiis, X)eyeloping agents. were
.best kept in an 'acid condition or fiUed iip.to. the &t<»piwr ol the ':"u.tle, vr
ordinary wash bottles can be used ifpnrauiu is l>ept Qn.tUe ..surlaoe of ihe
liquid. He .reconimendeiltlm use, of viiseliueisside t-lju neck of itJie byttlafor
subs't-anccs which creep up the side, MagaBsiiiiii should .b«kej>t in .wtrU-eorked
bottles, metabisulplilte potas.siura.wpuJLd keep fairly Vlell Ip papef..)l:^i^,lai)BP
lumps', though not advi-iable. The strength «f auljydxous sod;>. «.■>» aboiit t^oe
the strength of. tho ordinary carbonate.of soda. ,.iSiu]^urous. acid would .only
turn to sulphm'ic by oxygen. ^ ■ . i. ... i. -j, r . ; 'r. >
'West London Fhotograpluc Socioij.-f-reoruaxy. li,-r^]Cr. ..V;,^or^r
Hinton read a paper entitled, UpccittUsittion in Art Woric (see next Week's ■><).).
In the illscussion which followed, Mr. Tripplin, whilst jiaying full deference to
the views of Mr. Hinton, pointed out that photography was elevating in itself
124
THE BRITISH JOURNAL OF PHOTOGRA-PHY.
[February 24, 1893
and that too high a standard of refinement in photographic work shonhl not be
universally insisted npon. The majority of members Y<"-\\"'^'"''^?.;"'t'L: .'f.
Umited time, and could derive great pleasure from their l^o^f P ' -X Lf
they secured a picture of a view that pleased them, even though it might not
pcSess all the qualities of a work of art. He admitted, however, that by
wking to a high standard degeneration was prevented, ^^'i-- ^ ""™= 'f 'll^.'J
on the importance of education in pictnre-makmg, and suggested that great
good would result from the forming of a class of instruction m art-the rules
Sf art aud composition should be well instilled. Mr. Hintox, replying to the
previous speakers, pointed out the difficulty of ascertaining what it is m a
picture which pieces, and of securing it. He stated that the photographer s
aim should be to catch the sentiment of the subject as far as possible. He
would not be bound by rules of composition, which were scientific, and thus
opposed to the artistic. He suggested that good would be derived from com-
petitions in the illustration by photogi-aphy of a given subject. Mr. hELB\
disaereed with Mr. Hinton on the importance of rules of art, stating tliat it
waHiecessary, particularly at first, to have a grammar to work upon. Mr.
Whiter aoree.1 with the objections of Mr. Hinton to rules of art, and deprecated
the copvin" of the methods of tlie painter. He would take what was pleasing
to the eye, and he strongly urged the advisability of cultivating the technical
side of photography as an aid to the pictonal side. Mr Winter concluded
with a candid criticism on some of the photographs exhibited by Mr. Hinton,
and the discussion closed with a vote of thanks to the lecturer.
Greenwich Photographic Society.— February 1, Mr. H. H. Turner, M.A..
F R.A.S., in the chair.— Mr. W. E. Debenham gave an exhaustive demonstra-
tion' of transparency-making by the carbon process. At the conclusion of
the practical portion a few lantern .slides produced by this process were pro-
jected and it is worthy of note that there was an entire absence ol any
evidence of relief in the slides thus submitted. Mr. Debenham was thanked
for his interesting lecture. The following were elected members of the
Society :— Professor Lambert, M.A., Messrs. Parrett, Unckham, Parsons, and
Holliss. The Committee announced that in view of the Society's youth they
had decided to postpone date of closing entries for Lantern Slide Competition,
(originallv January 31), till April 30, and to admit slides made fi-om negatives
taken at "any time jirovided no awards had been previously gained. On the
proposition of Mr. Haddon it was unanimously resolved that the Greenwich
Photogi-aphic Society alliliate to the Photogi-aphic Society of Great Britain.
Woolwich Photographic Society.— February 9, Mr. W. li. Dawson in the
chair.- CoiTespondence between the Hon. Secretary and Mr. R. Child Bayley
respecting affiliation with the Photographic Society of Great Britain was read
to tlie members. The proposal was warmly received, and it was unanimously
resolved that the Hon. Secretary take steps to apjjly for affiliation. Mr. L. E.
Morgan then proceeded with a demonstration on "Amidol," the leading
features of whicii have been reported in this JouBN.vL. It should be said that
the meeting was highly pleased with the results obtained.
Croydon Camera Club.— February 13, Annual Meeting. — The report and
balance-sheet being presented and adopted, the officers and Council for the
cniTent year were chosen as follows : — President : Mr. Hector Maclean,
F.G.i^.— Vice-President : The Mayor of Croyd(m (Mr. F. Fass, .J.P.), the
Hon. Sydney Herbert, M.P., Messrs. F. T. Eldridge, J.P., and B. Gay
Wilkinson.— t'oM/fciV ; Messrs. .Frost, Hirst, Holland, Isaac, Neeves, Oakley,
Packhaiii, and Wratten.— TVeaswrer ; Mr. A. G. Sargeant— J?"o«. l^xretary :
Mr. G. P. White, 55, Albert-road.— ffo«. AssiMnnt Seeretary • Mr. S. E.
Burrows. The meeting wafi well attended by the members, and a large col-
lection of prints, lent by Mr. E. J. Wall, was displayed upon the walls. On
the proposition of the Pi-esident, and supported by several influential mem-
bers, it was, ncm. con., decided that tlie Club be forthwith affiliated to the
Photogi-aphic Society of Great Britain. It was also resolved that, after the
present month, the ordinary meethigs be held upon Wednesday in each week
instead of as now, Monday. The annual dinner of members and friends is
fixed for March 8, at the Greyhound Hotel. Tickets, price 4s. eacli, to be
obtained of the Secretary. The particulars and regulations of the local Exhi-
bition, which will be open for four days and evenings, on April 5, were read
and ajrprnved, and ordered to be printed and circulated. Tlie Exhibition will
he held in the Braithwaite Hall, and will be inaugurated by the Mayor.
Aston Natural History Society (Photographic Section).- February 9.—
Mr. Walter Tyler gave a paper entitled Hmo to Develop on Tour. The
lecturer practically demonstrated how exposures could be tested by a. few
plates being developed while on the trip. With such simple means as a few
pieces of WUlesden paper folded for dishes, an ordinary window-blind lath on
a knife edge for an extempore balance, and some ruby fabric round a candle-
stick on a penny for his lamp, he showed how practical, if not orthodox,
development could be performed while away from home. A piece of card,
4i X 3J, cut in the middle, and hinged by stamp paper, on which was laid the
sensitive paper and then the negative) served as his printing frame, the whole
being secured by two elastic bauds. Table, dessert, and teaspoons acted
respectively as his one ounce, half-ounce, and drachm measure, while three-
penny pieces were used to weigh his one ounce of hypo, and a sixpenny piece
five grains of pyi'o.
Birmingham Photographic Soc ety. — A large and appreciative audience
assembled in the larM lecture-room of the Y.M.C.A., Needless-alley, on the
evenhig of Tuesday, the 7th inst., when a paper was read by Mr. C. .T. Fowler
on The River Severn, from its Source to tlie Sea. The lecture was illustrated
by a series of 300 excellent slides, the outcome of a survey of the river under-
taken in 1891 by Messrs. Middleton & Fowler, when upwards of 400 pictures
were secured. The course of the river from the point where it rises in a
swampy hollow on Plinlimmon to its reception by the Bristol Channel is
replete with interest, and some of the more famous places, such as the
cathedrals of Worcester and Gloucester, Berkeley Castle, Buildwas Abbey,
Much Wenlock Priory, Tewkesbury, Bridgenortli, &c., of which very fine
pictures were shown, elicited hearty applause. In addition to this, the com-
pleteness of the subject added very much to its interest.
Bristol and West of England Photographic Association.— Febraary 10.—
It was decided the hold the meetings fortnightly instead of monthly, and that a
question box should Ije started.
Burnley Photographic Society.— The Annual Meeting of this Society was
held oil the 1st inst., when the l)alance-sheet, which was fairiy satisfactory,
was adopted. Mr. .Jno. Butterworth, J. P., was re-elected President, and Mr.
J. Altham Secretary, and Mr. A. H. Kellet Treasurer, in place of Messrs.
Sutcliffe aud Lee resigned. The following were elected to the Council :— Tlie-
Rev. T. Layland, aud Messrs. T. Ormerod, V. Dunkeriey, J. Holgate, J. L. Lee,
J. J. H. Bell, A. Howarth, aud W. H. Hoghton.
Derby Photographic Society.— February 14, Mr. Keene presided.— The
Hon Secretary brought forward a circular which had been received from the
Photo-raiihic Society of Great Britain, in connexion with the affibation
scheme, ami after a short discussion it was decided to join with the PhotO'
graphic Society of Great Britain. Mr. Porritt (President of the Leicester
Society) gave a paper on Isochromatic Photographtj. Mr. Porritt had to
illustrate his paper a set of negatives of stained-glass wnidows, also a hand-
painted set of designs for same, to show what an amount of gradation could be
obtained by means of isochromatic plates with the use of a yellow screen. He
also had a large number of lantern slides, one set being from negatives taken
on ordinary plates, and the others of same subjects taken on isochroiiiatic plates,
Mr. Porritt passed round a few yellow screens of different tints, and explamed
whicli, in his opinion, was the better way to make them.
Leicester Photographic Society.— February 10, Mr. J. Porritt in the chair.
—It was decided to hold the meetings on Thursdays instead of Wednesdays
after tlie summer recess. The President then read a paper by Mr. A. B.
Webber, of Bromley, on Isochromatic Photography, who sent a large number
of paintings, transparencies, and fifty lantern slides to dlustrate hi.s sulyect,.
and proved a most useful stimulant to the members who work in that direction.
The results of isochromatised plates were still more definitely shown by the
useful method of showing two prints or lantern slides of the same subject with
iso and plain plates, and which were exceedingly useful in showing the value-
of the prepared plates. The church windows shown by Mr. Webber were
admirable examples of the process, as also several differently coloured chrys-
anthemums in variously coloured vases, also (several other tests of colouring,
as wools, cloth, &c., whch amply illustrated the utility of the process in coIom
photography, and in maintaining the value of tlie visual colour scale.
Liverpool Amateur Photographic Association. — February 9. —Dr.
Charles A. Kohn, of the University College, delivered to the members a lecture
on Chemistry of Photography. He illustrated his remarks with interesting
experiments in "a very clear and lucid manner, demonstrating the mystery ot
tile action of light and formation of the latent image on the pliotographic
plate. Other similar practical lectures follow every Thursday until the end ot
April.
Sheffield Photographic Society.— February 7, Mr. B. J. Taylor m the
chair —Mr. J. W. Charlesworth opened the discussion, " Was amidol a good
developer for lantern transparencies f whicli was taken part in by most of the
members present, and eventually decided that, given a good negative, warm,
tones could be produced.
South Manchester Photographic Society.- Mr. R. B. Barningham in the-
chair —Mr C. Lord described a ramble through Switzertand witli a camera.
The tour was taken in tlie summer of 1891, the party consisting of two parsons,,
a merchant, a doctor, ami a lawyer. This was the ftftli time, said Mr. Lord, that
lieliad visited Switzerian.I, but the tirst time with a camera. Tlie party went
to Antwerp by way of Harwich, and train was taken for SohafFhausen and the
falls of the Rhine. The first impression of tlie falls was disappointing. The
height of them is only about sixty feet, but the breadth is neariy 400, and they
have the appearance of supendous rapids rather than a cataract. It is only by
drawing close to tlie falls that their vast magnitude can be realised, and the
immense volume and force of the water estimated. One of the great attractions
of Switzertand is Cloudland. Clouds are always brighter and more varied m
mountainous than in flat regions. It is beautiful to watch clouds from below
sailiu" quietly along or scudding before the wind, and mark the transfaguration
wrought by the glow of the setting sun. But to his mmd it was more
wond'erful to look down upon the clomls from some peak high above the cloud
line. , r i..
Amateur Photographic Society of Madras.— January 12, Annual Meeting^.
—After the transaction of other Inisiness, a grant of 2/. 2^-. was made to the
Photo<Tiiphers' Benevolent Association of London. The Honorary Secretary
again drew the attention of members to the proposed collection of lantern.
slides illustrating the Madras Presidency for the Society of Great Britain, and
said he had received not a single offer from any member to co-operate witli
him in the collection ? The following were elected as the committee tor the-
ensuing ye^r -.—President : Mr. C. Michie Smith, B. &Q.—V,ce-Presulents:
Messrs! C. Slater and E. W. Stoney, U.l.C.-Eu— Committee : Messrs. Sijrgeon
Lieut.-CoI. S. L. Dobie, Mr. W. M. Gerrard, Mr. A. E. Lawson, Mr. \. G.
Lynn Mr A L H. Palmer, Surgeon Major J. L. VanGeyzel.— ffoa. i^crelary
and Treasurer: Mr. F. Dunsterville. The President, having delivered an.
address, a.sked the members to pass a very hearty vote of thanks to Mr.
Dunsterville, the Honorary Secretary, to whose labours they were chietty
indebted for the revived interest in the Society. Tlie proposition was pat. to-
the meeting and carried unanimously.
Singapore Amateur Photographic Society.— The election of officers at the
annual general meeting resiUted as follows -.—President .- Mr. H. M. Simons.---
Committee: Messrs. H. M. Simons, E. J. Robertson, T. F. S. Quin, Hon. A.
L. Donaldson and W. Gutcher.—Zfo». Treasjirer : Mr. T. F. S. Qnm.— flan-
Secretary : Mr. E. J. Robertson.
March 1, 2 ,
FORTHCOMING EXHIBITIONS.
-»Fillebrook Atlienajum ^Photographic Society. So°«-
Secretary, Joseph W. Spurgeon, 1 Drayton Villas
Leytonstone, Essex.
February 24, 1893]
THE BRITISH JOUKNAL OF I'llOTOOBAPHY.
125
March 3, 4 ♦Blackheath Camera Club. Hon. Secretary, C. W. Piiicr,
46, Shooter's Uill-road, Blacklioath, S.E.
,, 22,23 Leicc.-ter !uul I,eiiet<tersliii-c Photographic Society, Co-
oiienitivc IIhU, Hishstreot, Leicester. Hon. Secretary,
l(. M. Porritt, 66, Lomlon roiui, Leicester.
April .1-8 ■"C'royilon (Camera Club, Braithwaite Hall, WellesU'y-
road, Croydon. Hon. Secretary, G. R. Whiti',
.IS, Altx'rt-road, Croyiton.
17-29 'Photographic Society of Philadelphia. Hon. Secretary,
K. S. Redficld. 1601, Callowhill-street, Philadelphia,
U.S. A.
May 4-6 *Forfarshire Photoorraphic A.ssoci.ition. Hon. Secretary,
W. J. Aiickorn, West Port, Arbroath, N.R
• Signifies that there are open classes.
CotrejE(|)onlirence.
tW Cormpondmts tthould n<-'vcr imfi' on tofh shies nf the jmyar, 'So notice »*« iakvn
of communifationt tmfrss the names ani addreKsex of the xenters art trtsen.
THE CONVENTION SLIDES, 1893,
To the Editor.
Sir, — The Devon and Cornwall Camera Clab have prepared a set of
118 slides, illustrative of the neighbourhood of Plymouth. This set,
which has been entitled Places tv he J'isited hij the 189'i l.'onveiition, is
now in circulation, and I should be pleased to have application.^ from the
secretaries of any societies who desire to show them at their meetings.
Immediate application would be desirable, to enable me to arrange the
route to be followed by the slides.
I may say that Jlaroh 7 is the first date on which the slides are now
available ; any London society making application might probably have
them on that date.
I venture to ask your insertion of this note, as I feel sure that you are
interested in anythmg that may help forward the next meeting of the
Convention. — I am, .yours, &c., K. Hansford Worth,
Hon. Secretary Devon and Cornwall Camera Club,
Hon. Local Secretary Photographic Coirventioii of tlie United Kiiigdtm.
42, Geonie-street, Plynwath, Fehrnary 18, 1893.
HOW TO USE A BUNSEN.
To the Editor.
Sir, — You will see by the enclosed that I invented and patented a self-
adjusting Bunsen burner, and which appeared in The British Jourxai,
OP Photogr.u'iiv over fifteen years ago. Yon will perceive that the one
end of lever reduces the inflow of the gas, while the other end reduces tlie
quantity of air by lowering the sliding tube over the air holes. Can you,
or any- one of your readers, say who was the first person who used
regulators (or governors) in connexion with the oxygen and hydrogen
gases?— I am, yours, etc., Williaji Birkell.
lOy, Graham-street, Airdrie, February 13, 1893.
BAPID SOLUTION MAKIXO,
To the EntTOBa
Sir,— We consider those photographers to whom instruction in the
elementary operations of their business is necessary and useful should
feel sincerely indebted to Messrs. Baird, Ayres, & Webster (pire ■et JiU) for
directing attention to the simple but efficient means by which they
prepare their solutions.
We trust we may, however, be pardoned for feeling somewhat amused
at the claim to novelty implied, if not distinctly made, in the announce-
ments, when we state that we have had the Doulton perforated dipping
basket in use for many years in our laboratories, and find it to be all that
those gentlemen describe it to bet'ii oar aion hands.
They, however, omit reference to the "dreadful facility" with which
ilie semicircular handle is broken off by careless and thoughtless assist-
ants, thus making tlie method, in the long run, an expensive one, and
obliging us to adopt a simpler and even more efficient course. The
method for the daily preparation of onr hypo-bath solution will illustrate
all the others.
A jar of suitable capacity, specially reserved for the purpose, is loosely
covered with strong unglazed calico, which is firmly tied round the
tnmed-over rim. The hypo soda, beinp; weighed or measured, is poured
into the calico bag thus formed, and droops down to a convenient depth
inside the jar. Water is then aidded until it attains such a height as to
be in contact with the crystals. The whole is then set a'side until the
afternoon. When the hour for fixing the first batch of prints arrives, the
calico (now void of crystals) is removed, and the jar is found to contain a
littered solution of hypo ready for use.
We have not failed to notice that Mr. Baird's " Lothian " jar diipenies
with the easily broken handle, but wu dispense with the jar also, and
with the additional advantage of producing & filtered solntion, and if this
description prove useful to your readers, we ahedl be glad. — We are,
yours, &o., J. Mabtin & Co.
Heiieral PlMtoyraphie Wwhi, New Simthijate, N., February 20, 1893,
VALUE OP GOODWILL IN PHOTOOBAPHIC BUSINESS,
To the Editor.
Sir, — Your article in No. 1710 was really good, and should be appre-
ciated by those recruits in photography who feel themselves capable of
taking to mastership. The tendency of your article is more in favour of
the second valuation than the first. Being one of those operators who
would like to do something in one way or another, but having counted
the sands on the seashore for several months and having nothing else to
do, with the exception of applying for a situation or looking into other
people's businesses, with a view to taking one over, I will spare a few
minutes to give you a peep behind the scenes.
About situations ; there are plenty open. If you like to pay out of
your own pocket, you may even gain a few shillings, just enough to keep
a bachelor from starving ; but, as for a responsible post that would suit
an educated married man, I almost fancy they are out of fashion.
The other line— I hope you won't get cross — is even more illustrative,
and I fancy is not coming up to your 1710 form. For how many ideals
and instructive suggestions did you and your predecessors go in, in all
those numbers, from 1 to 1710, and how many of them have gone to the
wind ? As I have looked at nearly fifty businesses for sale, I will give you
a small jotting on the point. What do you say to this — that I did not
come across one business where proper books were kept, and that is the
bare fact. Furtlier, about half a dozen had only something like a studio
as it should be. Dark rooms, well, I saw six, not more ; the rest pleased
themselves with cupboards, boxes, and drapery. The places lor the
printing are dwelling-places for sun, moon, and rain, bat in general the
higher the rent the smaller the printing place. I cannot help mentioning
one business— about five years ago you could not buy it for several
thousand pounds, last year you could have it for one year's rent (nearly
400/.) including everything belonging to the business. That London
place had no accommodation for printing whatever, not even a printing
frame, but it had — and mark that — proper heating accommodation, the
only business where I saw it. Another half a dozen had chimneys ; the
rest nothing whatever.
About the accessories I won't say much, only that in eeneral photo-
graphers seem to have the knowledge of one or two. I always found a
chair and something like a balustrade all through. Toilet room, as well
as a decent w.c, is generally not found necessary. The only thing that I
could not grumble about is the shop or reception room ; that seems to be
the place which is cleaned once every week. The studios are generally
nothing more nor less than greenhouses, the known type, a lot of wood,
filled out between with glass, light from all sides. One construction I
must mention ; I found it five or six times and believe you never advised
it. The end of the studio is covered all round for about one yard, next
also all round about one yard of glass, and the adjoining part is again
covered in dark.
Some of the pictures taken in those studios have full faces, dark fronts
of the noses, and both ears in the light. Artistic productions !
Some of these lords wanted just to sell these things, just as they stand;
they had no time to attend tn them, having another business, and,
naturally you believe it, it was the workman's fault tliat business did not
go as well as formerly.
One thing I wish, and that is to be able to nse my pen like " Cosmos."
I could then occupy my time in 'writing a book on valuation of photo-
graphic premises, or Robinson Crusoe in London and fifty miles round.
You will say that is black paint, you who are used to writing on photo-
graphic ideals. A year ago I could not understand how some photo-
graphers could produce a dozen 15 x 12 cabinets for 12s., and why this
trade is in disrepute with the public. No wonder !
This is only lifting the veil a bit, and I hofe that you and your friends
will investigate the subject before sending a flashlight on the audacious
February 13, 189-3, Operator.
To the Editor.
Sib,— Upon reading " Operator's " letter re the above, I was a bit sur-
prised ; but your leader of the 11th is a startler ! Yet Jupiter nodded, and
I suppose we (that is, those that still think photographic goodwills a
marketable commodity) may differ from you. I am one that thinks so,
especially now that the building laws are so strict : you cannot alter
houses and run up studios just as you please, as in the old times, there-
fore a studio, in a good position, with a fair return, is worth its price, and
any business is worth the last year's returns (notprojitt bulk), large or
small.
The things for consideration by one wishing to enter into the business^
are, as to wliether the premises are in a good neighbourhood, of good
126
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[February, 24 1893
approach and repute— and its not only a matter of what has been done,
but if, by better work, management, push, &c., he could increase the
returns— then to consider if it would pay better to have all the trouble of
alteration and incidental expenses, and waiting for business by openmg
new premises. If I have 300;. capital, and buy Mr. Camera's business
for, say, 250i., I begin to get returns same day ; and should I spend the
other 501. in redecorating, new specimens, and advertising, I should
increase the returns immediately ; whereas a new studio may be altogether
a failure. Therefore I am stUl of opinion that photographic goodwUls
are worth a price, and, like the devil, the business is not so black as
painted.— I am, yours, itc, Stabtled.
Fehruary 18, 1893.
To the Editor.
Sib,— As one who has had some experience as a professional photo-
grapher at the seaside, I certainly think— and am sure I am not alone in
thinking— that three years' purchase is too much to give for the good\yill
of a photographic business, especially when, as you said in your leading
article ior February 10, so much depends upon the energy of the person
who is working the business.
Your correspondent, "Operator," in your issue for February 3, m
giving what you consider a not over-liberal estimate of wages, is, I assure
you, not very far wide of the mark — at least, so far as my experience
goes. There are plenty of operators, and capable men, too, who vrill
work gladly, and work hard, during the summer months at a seaside
town for 30s. a week, and will take considerably less than this during the
winter.
There are plenty of girls, too, who will wUlingly officiate in the recep-
tion-room, burnish, help in the printing and mounting, and a hundred
and one other little odds-and-ends, all for fifteen shillings a week. With
regard to the employment of boys for printing operations, I consider that
five shillings a week is quite sufficient, as they are, as a rule, too young
to be self-supporting, and by this means manage to learn the mysteries
of the business, and very often finally blossom into photographers on
their own account.
There are not many photographic businesses in this country which
make a clear profit of £220 in the course of a yeai-. I have the strongest
possible reasons for believing that if a census were taken of the returns
of all the professional photographeis in England, the average profits
would be very much less than this. — I am, yours, Ac, Pbimcs.
' '■ , February 14, 1893.
To the Editoe.
SiH, — Write me down an ass ! Although it hath not been set down
write it now. Here have I been working and worritting at this photo-
graphy for thirty odd years, pluming myseli upon belonging to an honour-
S,ble and lucrative profession. About twenty years since I started to make
a business and hoine for myself, deluded myself that with the bit I saved
and the bit I. might get for my goodwill when I wished to retire would
enable me to take mine ease. And now I am told, on your authority,
that it is not worth a rap, and that I had better have been a grocer.
Well, certainly the grocer at the street corner cuts a bigger dash
■ than I.
! As there is no goodwill in photographic businesses, and, negatives are
• not worth storage, I am going to give mine to the public. In future I
shall give all my sitters their negatives. As soon as the lease is up, I shall
retire and lake a public-house or grocery.
' Photography spells Poverty. — I am, yours, &c.| Old Un.
EFFECTS OF HEAT ON AMIDOL-DEVELOPED NEGATIVES.
'''•'■; ■■ '' To */iC Editor.
: Sm,i— A few days agol had what was to me a new experience, and, as
I do not recollect of seeing it mentioned before, I wonder if it is well
■ known. I had developed two plates with amidol, and , as they appeared to be
r 'OVer-exposed, I stopped the development perhaps too soon ; but that, X
-•■(iresume, has nothing to d& with what I wish to mention. After the
■ plates were fixed and washed, thej- were set up on end to dry, and had
'■'oecctoe quite dry for some 'breadth all round the ed^es when I wished to
'if ut them' away iM a safe'place, and finished the drying by heating them
gently at, a fir^ ; but.Jyhen the. drying was finished, 1 was surprised to
end that in both plates the portion^ dri^d at the fire were very sensibly
darker than the edges whicli had dried spontaneously.
I enclose prints, which shoviT the heat-dried parts distinctly by the
Hghter cplpur of the^oun^., Canitbe that this is peculiar taamidol?
I have before used a little heat to finish the drying of a plate, batnevei
pb3ervedani)[.daikenJD_^ frenj that, o^use. — J pan, yours, &c..
lii« i'..4>fu. .wwc T.h l-cWASHTNG CB.T FILMS.
3 »*;T
re washing cut films, that, if he lays them whilst wet on spoil*
negative glasses, they will adhere firmly by suction, and can then be
stood up in the washing rack and treated just as though they were
ordinary glass negatives.
Although there is probably nothing at all original about this method
of washing films, I cannot remember to have ever seen it in print. — I am,
yours, &c., J. E. Hodd.
4, GoUUmith's-gardens, Acton, February 11, 1898.
To the Editor.
Sir, — May I suggest, in reply to jour ecrreepondent A. Levy's query
NATIONAL ASSOCIATION OF PROFESSIONAL PHOTO-
GKAPHERS.
To the Editob.
Sib, — As I presume you will have some mention of the meeting of
above at Manchester, on Thursday last, I cannot refrain from a word or
two, urging the attention of my brother professionals and this Society,
and I venture to hope that you will kindly add your own opinion as to
the importance of the Society to our trade, as a trade generally.
My excuse, if one be needed, for this letter, is that I am probably one
of the latest members, and I feel sure that photographers, as a body, are
neglecting their own interests by holding aloof. For many sound and
solid reasons it is high time we united, for argue and talk as we may, it is
a solid fact that the bulk of photographers are not making fortunes ; the
big men are, of course, all right, but the owner of the small provincial
business, no matter how good and clever a man he may be, is not by a
long way so well to do as those in a similar position of twenty or
twenty-five years ago, and one of the reasons is to be found in the
amateur. I don't say this with the slightest ill feeling, but the truth
remains, all the same, that many of the dealers and stock houses cater dis-
tinctly for amateur customers to the decided detriment of the working
photographer. I send you herewith circular just received, and better
proof I could not give. Now, one of the dealers here is a top shop and
fancy goods depot, two others are chemists, and it is obviously an
attempt to get these people to cater for amateurs. It is time all this
were put a stop to, and it can only be done by the combination of all
business photographers. It is impossible in space of a letter to go into all
the reasons for a genuine trade society, all I would urge is, that every
photographer in the kingdom should look into this for himself ; almost
evfery trade or profession of any merit or standing has its society, and the
want of such an one in our trade has been the cause of endless abuse and
loss to the workers. — I am, yours, &c., " Unitas."
February 14, 1893.
INTENSIFICATION.
To the Editor.
Sir, — Not understanding chemistry, I generally pass over articles con-
taining chemical symbols, but as most operators are interested in mer-
curial intensification, I thought I would make this an exception and try
to get some meaning out of Mr. Chapman Jones's paper in last week's
British Journal of Photography, entitled, " A Chemical Study of Mer-
curial Intensification." Not being a chemist, I cannot be said to be an
experimentalist, but have worked on the principle of sticking to one plate,
one developer, one intensifier, and one reducer, and carefully watch the
results and thoroughly understand their power by observation.
Now there is one remark I note in Mr. Jones's paper, under the head
of " Practical Conclusions," where he says, " It is impossible, uithoiit
falsifying the gradation, to develop too dense, and afterwards reduce to
the desired condition."
1 will now give my method of intensifying and how I use it for re-
ducing an over-developed negative toithout, I think, falsifying the
gradationsi
Intensifier,
Sat. sol. bichloride of mercury 2 ounces.
Iodide of potassium, about 2 drachms,
added to the mercury until the scarlet colour is almost vanished, then
add 8 or IG ounces of water.
To intensify, I. flow. the plate with the above until the correct density
. is obtained ; afterwards fix without washing in hypo, not too strong, and
wasi well, of course, after^yards. Now to reduce a' negative, no matter
how dense it may be, I flow with intensifier until the iodide of mercury
Jjasupiformly changed the plate or, rather, film. , I tlien, witlumi wq.»J'iiig,
take the plate, from intensitier and dip in an upright bath of recrystalHsed
cyinide of potassium — you will .then note a negative that would perhaps
take arweek,in good4ighlf, to print — rapidly and uniformly reduce with
the most delicate gradation of light and shade. I only intensify "On rare
occasions, and the same- thing applies to reduction, beoaue I like to
regulate my developing in; such a way that the:correct rende.ring of the
lighting is obtained; but I think a «ure intensitier and certain' reducer
is^a most phasing power in the operator's hands. I also find the above
reducer very useful in removing silver stains from gelatine negatives. —
I am, yours, &D., Alfred E. DightoH.
22, Mount Ashroad, Sydenham Hill, London, February 5, 1893.
February 24, ISOS]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
127
BLISTEIIS.
To the Editor.
Sn;, — Your correapondent, Mr. A. Levy, seems troubled with, the use of
the new methylated spirit as a prophylactic in the case of blistere.
Before 1 Rave up the use of albnmenised paper I was now and again
troubled with them, until the cure— so far as the brand of paper I was
then using was concerned — came to me by chance. Whilst toning I
found I Iwd no hypo prepared. I hastily got some ready by suspending
a muslin bagful in some very hot water, and by the time I required to
put my prints in it was still quite warm. No blisters rose. I tried re-
peatedly afterwards, waiming my hypo, and never had another blister.
I should be glad if this method may bring Mr. Levy and others relief. —
I am, yours, itc, J. Cirtkk BnowNB, D.D.
Thuriiing Rectory, Oumlle, Feb. 6, 18!)3.
Slncujerjs to Corrcspontientg.
*,* All matters intended for the text portion of this Journal, includimi
meries and Exchanges, must he addressed to '' The Editor, The Britlsh
JOL'RXAI. OK Photograi'HY," 2, York-street, Covent Garden, Lcmdon. In-
altenlion to this ensures delay.
PflOIOQKAPE ReOISTKRBD :
8. V. Wliite, Reading. — Vhotograpk of William Isaac Pahnei\ taken on March. 14,
1885, hut not luMished \mHl Januori/ 28, 1893.
I'uzzi.KD. —Such an article will appear shortly.
Laxterxist. — There is practically uo los.i of light when using the long instead
of the short-focus lens.
W. II. — Either A or B will answer your purpose. Not having seen C or D, we
c-iniiot speak of them from personal knowledge.
lGNORAMl"s. — Try the effect of warming the solution. Are you sure you are
eniployiiig the solution at a uniform temperature <
AViLU.AM Webb. — We believe the article is the subject of a patent, but we
must dc'-hiie to exjiress an opinion as to its validity.
W. B. — .Ap[ ly to Messrs. Kvre & Spottiswoode, New Street-square, who are
the proprietors of the Woodbury Company's business.
51. PowEi.i. — We cannot supply the details of the processes you allude to. not
having cognisance of them. Had you not better employ a patent agent ?
J. HiOHKiEi.i).— I. The Studio and What to Do in It, by H. P. Robinson
(Piper & Carter), will probably give you the desired information. 2. Yes.
W. Freeman. — As both lenses are negative, no matter how they are placed in
relation to each other, their sum will be negative, and they will nOt form an
image.
Engraver.— In the Journal for April 8, 1892, you will find two articles
describing how subjects may be photographed on wood for engraving
purposes.
T. J. — There are several firms of photographic dealers at Cape Town. The
prices of photographic goods are somewhat higher we believe, freight, &c.,
having to be taken into account.
K. A. Symes. — Tlie stains are caused by the nes.itives not being sufficiently
washed between the different operations. Unless this is perfectly carried
out, stainmg is very prone to arise with mercurial intensification.
RoDNEL. — You have so good an idea of the apparatu.'i that we should think you
would be able to construct it for yourself. The arrangement works per-
fectly, any lantem-niaker wouldjbe able to construct it from your description.
A. Muirhead. — You wouM be infringing the patentee's rights by making the
camera for your own use or to dispose of; and even though you were not,
we cannot reconcile it with proper conduct to copy other people's manu-
factures.
B. C. Curtice.— You can cure the distortion in the photograph when copying
it by either tilting the photograph or swinging the back of the camera. See
that the vertical lines of the temple are parallel with the frame of the ground
glass or focussing screen.
Neko. — To engage in photography on the sands at the seaside we believe it is
necessary to procure a permit from the town authorities, most of whom now
(happily for the visitors) regulate the number of photographers by licence.
Apply to the Town Clerk.
CouJSEi. GuBBixs, M. D., and other correspondents. — Mr. Frank Haes informs
08 that the tieiible steel tuhiing to which he referred in his recent letter may
he obtained from the I'nitetl flexible Metallic Tubing Company, 86, High
Holborn, W.C. We 3o not know its price.
W. Lloyd. — The picture is not distorted, but the perspective is very violent.
This is caused by the interior being taken with a very short-focus or what
is known as a wide-angle lens. Wlien such wide angles are included the
pictures always have an unpleasant appearance.
J. Brown. — Si'ots, such as those on the print sent, may proceed from several
cauHcs, such as want of care in the manipulation", impurities in the cement
with which it is mounted, deleterious matters in the mount, &c. By merely
look in;: at a print, it a obriously impossible to say from what source such
spots proceed.
Exi'ERiMtXTAUsT.— We could give yon a formula for photo-transfer ink, but
it would be very troublesome to make in small quantity, aud probably in
iuexperienced hands would not turn out natisfactory. Better buy it ; you
will then get a reliable article. It may be had from any dealer in litho-
graphic materials.
J. Hawkkh Smith (Bowbridge, near Stroud, Gloucestershire.) — Messrs.
Kilaer Bros., King's Crosji, supply such l>ottIes.
E. Wilton.— No tax, we lielieve, u payable for a horte and trap, jirovideil
they are used solely for trade purposes, iind photography woold he cUsneil
a.s a trade. But if the horoe or vehicle be used at any time for other than
business purposes, it would at once become liable for the tax. Tlie name
and address must be legibly written on the right hand side of the trap.
Len.s — If a lens of the rectilinear type of eighteen inches focus will not cover
sharply, a 12x 10 plate with a stop equal to f-Z'i, it must be a very faulty
iiistniiM>'nt. As the lens was supplied subject to ajiproval, it should be
returned without delay. A lens is not necessarily bad because it bears
no maker's name, though a name is generally some guarantee of quality.
G, W. C. — \. The Euryscope named will serve your purpose quite well. We
speak from |iersonal experience, 'i. The query as regards plates you must
ascertain for yourself. It involves our nuiking comparative trials of the
twenty-three brands you tabulate, which you, as a rea-^oiiable man, could
not expect us to make. 3. From Piper & Carter, publishers, Fumival-street,
London, E.G.
R. 0. S. complains of "an opalescent coating on his lantejn sliiles when he
developes with the ferrous oxalate. He says that with pyro or amidol he
does not get it." — The coating complained of is oxalate of lime from lime in
the washing water. It can, however, be easily removed by immersing the
slides in a very dilute solution of hydrochloric acid. A few drops of the
acid to each ounce of water.
T. Wallace. — The best information that has been publislieil on retouchina is
that given in the two .series of articles by Mr. .Iledmond Barrett that
appeared in our pages. Study them well. A few practical lessons from a
good artist will then be all you require. 'The services of retouchers are not
so well paid for now as they were some years ago, except in cases of excep-
tional .ibility, by first-class houses. '
Lancashire Lad. — Tliere are two sides to most questions ; but. according to
your own statement, you were entirely in the wrong. What you were asked
to do was the legitimate work of an assistant, and youf positive refusal to do
it, cou]>kil with the strong lauguage you say you used, though you may now
be sorry for it, we should say would, in the County Court, be considere<l a
justification for summarj- disuiissal.
India says : " I should be glad if you or any of your readers can give me any
information re starting a business in Indi.a. In what part is one most likely
to succeed ? Is there much opposition i and any other particulars which
might be of interest to one going to India to start a business, or whether you
know of any firm there requiring a partner ^ " — -Perhaps some of our corre-
spondents can supply the desired information.
Wiseacre. — We have had no experience of the lens referred to, but if it is of
the spectacle-glass form : 1. No doubt. 2. No. 3. "The same law applies
as in the case of other uncorrected lenses. 4, t>, 6. We do not know. 7.
We have had no experience of the shutter. 8. If you have arrived at the
size you wish the oliject on the pl.ate to be, the table will give you the
remainder of the information. 9. Roughly, the equivalent focus of the
lens.
S. W. says : "I am much troubled with my prints sticking to the negative
while printing, particularly in the summer, and also just lately, when the
printing room was unusually warm. I use a varnish sold specially for
gelatine plates. Can you suggest any remedy '"-The only thing that we
can suggest is that another kiud of varnish be tried. The varnish may,
however, not be at fault, for we found, some years ago, that if the film
contained hyposulphite of soda, although a reliable varnish was u.se<l,
after a time, especially if subjected to heat, the varnish became more or less
tacky.
HoRTON KCardiff^. — Flare cannot be avoided in a Petzval portrait lens when
used with a stop for taking an outdoor subject, such as a view, no matter
where the stop is placed. In the studio no Hare spot is usually produced.
The best marginal definition by such a lens is obtained when the stop is
nearer to the front than the back combination. It is in the case either of a
cemented doublet of the " rapid " type, or of a single achromatic landscape
lens, that flare, when present, vanishes by a slight alteration of the distance
between the back element and the stop. WTien enlarging direct with a por-
trait combination, the back lens must be directed t<iwariU the negative, the
front to the sensitive sheet or plate. If the foregoing does not quite meet
the difficulty write, again.
G. & W. Morgan write : — "In enamelling we are a good deal bothered with
air-bells. Our plan of procedure is about the usual way, cleaning the pl.ite,
dusting with French chalk, coating with collodion, and warming the plate
Iwfore putting on the print. We use Coignet's gelatine, and make up
about one gallon of solution ; if acid, add anunonLo, put the prints in the
solution, then take them one by one and lay them on the warm plattt till we
get eight on ; lay a thin piece of paper on top and wjueegee well down. After
about one hour lay on backing {wper. keep them in a warm room from
twelve to .sixteen hours before stripping. We shall be obliged if you can
assist us to get over the difficulty." — If the gelatine solution is free from sir-
bubbles, and care be takeu that none are formed in placing the prints, no
trouble will be met with. In placing the prints on the glass, lower one
comer first, and then, gently, the whole of the picture.
Rbckived. — Commnnications from James Csdett and .several others.
Thanks ; in our next
Photographic Clcb. — Mareh 1, Combined Tuning and Fixing Batht, by
Mr. J. B. Wellington. 8, Optical lautern lecture on Wituhelsea and Kye, by
Mr. Brooker, of llastings.
I'HB Bolton Photographic Society have decided to hold an Blxhibition (four
days) during the second week in April. Six silver and six bronze medals will
be offered for competition.
128
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[February 24, 1893
The London and Pkovixcial Photoghaphic A ssociation. — March 2,
Technical Lecture, Cameras, Dark Slides, and Tripods, hy Mr. Edgar Clifton.
% The Lens, by Mr. J. TraiU Taylor (second evening). 16, Monthly Lantern
Night
Several correspondents who this week ^vrite for information, but without
enclosing their names and addresses, are informed that their questions remain
unanswered in consequence of their contravention of our rules as printed in the
■JOUKXAL every week.
Photographic Society ok Great Britain.— Technical Meeting, February
28, at 50, Great Kussell-street. Panoramic PJiotofjrapht/. Colonel Stewart
will open the discussion and show his "Panoram." Other panoramic apparatus
will be on view. To be followed by the adjourned General Meeting.
BLACKHE.VTH CAMERA OujB EXHIBITION.— Mr. George Davison, being unable
to attend as one of the judges at this Exhibition, to be held on March 3 and 4,
•the Rev. P. C. Lambert has kindly consented to take his place, working in con-
junction with Messrs. Cembrano and Pringle. Entries will close on 28th inst.
The proprietors of Cresco-l'ylma are otfering two prizes for the best en-
largements by their larocess, viz., three guineas for the best negative, two
guineas for the best transparency Hoated on to opal. Mr. E. J. Wall has con-
sented to act as Judge. Entry forms and conditions, together with full
particulars, may be obtained of the Cresco-Fylma Company, Brighton-road,
Surbiton.
Mb. Philu' Thojias, Hon. Secretary of the Cheltenham Photographic
Society, writes from the College Pharmacy, Cheltenham: " The Cheltenham
Amateur Photographic Society has made up a set of 100 lantern slides for
loaning to other societies, and I shall be obliged if you will make it known
that the set is at the service of any secretary on application, the only condition
being that carriage shall be paid one way."
The Leicester and Leicestershire Photographic Society's exhibition of photo-
graphs will be held in the Co-operative Hall, High-street, on Wednesday and
Thursday, March 22 and 23, 1893, under the patronage of Sir James White-
3iead, Bart., M.P., ex-Lord Mayor of London, J. A, Pioton, Esq., M.P., J. W.
Logan, Esq., M.P., and others. All communications respecting the Exhibition
should be sent to the Hon. Exhibition Secretary, H. M. Porritt, 66, London-
road, Leicester.
The Fourth Annual Exhibition of the Holborn Camera Club was held on
iSatnrday last at Anderton's Hotel. The Exhibition, although a small one,
"proved in every way successful. The exhibits were divided into four classes :
2, Over half-plate; 2, Half-plate and' under; 3, The best interpretation of
"twilight;" and 4, The best set of lantern slides. Mr. A. J. Golding was
successful in every class, coming out at the toji each time. Two lantern
■show swere given during the evening. The annual Cinderella dance was held
■on Monday last in the:same rooms.
We are informed that the biggest photographic enlargement ever made on
one piece of paper has just been produced by Messrs. Morgan & Kidd. It is
8 ft. '4 ins. long, by 4 ft.'Sj ins. wide. The -ivork has been done for a well-
known London photogi-apher, who, it is stated, intends showing it at the
Qiicago Exhibition; For some time Messrs. ilorgan & Kidd have been erecting
extensive plant and machinery, ami enlarging their varioiis departments to
enable them to carry on tlieir business more ex|ieditiously, and amongst other
things, the plant necessary for producing these large pictures has received tlieir
attention.
The North Middlesex Photographic Society have arranged a series of
elementary lessons for beginners as follows : — 1. A talk on the management of
•cameras, lens, stops, &c., in the field. 2. Outing to put theories into practice.
3. Development of plates exposed at outing. 4. Toning gelatino-chloride
'prints, p. Improvement of negative by reduction, intensification, &o. There
will be no charge whatever for attending this meeting, which will be held at
■Jubilee House, Hornsey-road, N. The Society has room for a limited number
■of gentlemen, not members of tlie Society, who would like to attend, and full
information as to dates, &c., can be obtained by applying to Mr. George
'Gosling, Hon. Secretary, 13, Lausanne-road, Hornsey, X.
Photographers' Benevolent Association. — A Meeting of Committee was
lield in the rooms of the Photographic Society of Great Britain, February 20,
liefore and after the Annual General Meeting, Mr. Alexander Mackie in the
chair. A letter from Mrs. William Bedford acknowledging the Committee's
•expression of regret at the death of tlie late Mr. William Bedford was read.
Messrs. Robert Beckett, C. J. Emeny, and P. H. Hunt were accepted as sub-
scribers to the Association. Messrs. J. Traill Taylor, J. S. Rolph, and G. T.
HaiTis were added to the Committee. Mr. A. Mackie xvas elected Chairman
of the Committee in place of the late Mr. William Bedford, deceased. Seven
applications for assistance were considered in full detail. It was decided that in
three cases the apjilications could not be granted, but in the other four cases
assistance in the forms of grants and loans, to the extent of 24/. 16«. 6(/. , Wiis
given.
Polytechnic Co-operative Excursions to the World's Fair, Chicago,
starting each week during May, June, and July. — The Committee of the
Polytechnic have been fortunate in obtaining, at greatly reduced rates, a
number of berths upon the express steamers, which leave Soufhamjiton, of the
Inman and International and H.A. Steamship Companies. Parties will leave
every week during May, June, and July, and the tour will include a visit to
New York, Philadelphia, Washington, Chicago and the Exhibition, and the
Niagara Falls, and will cover a distance of over 8000 miles, returning to
Southampton after an absence of out month. The special fare for the round
trip from London is twenty-seven guineas, and includes rail fare to South-
.ampton, second saloon accommodation on steamer, railroad journey from New
York to Chicago and return (visiting above-named jilaces of interest en nmie),
accommodation in New York, Philadelphia, Washington, and Chicago, and
ret\im journey to London, 'fhe number of each party is limited. Further
particulars ujay be olitained on application to the Secretary, Polytechnic,
.u09, Regent Street, London, W.
Social Evening. — On Saturday. Febraary 11, the employis and friends of
Messrs. Percy Lund & Co. held their third annual "Social" in the Teetotal
Hall, Bower-street, Bradford. Over a hundred persons sat ilown to tea, and a
number of others joined them later in the evening for the entertainment which
followed. The Lonikn branch of the busines3 was represented by Messrs. H.
Snowden Ward and W. C. Hay, and the firm's provincial travellers, Mr. F.
Parkin from the north ground, and Mr. Spencer Warren from the south, were
also present. Mr. Percy Lund presided over the entertainment, -which was
entirely sustained by the e.mphnjis. The programme included songs and
recitations ; a mock trial arranged' by those taking part in it, several tableaux,
and a vocal waltz, which was received with enthusiasm and vigorously encored.
Between the stated items of the programme a few games were interpolated for
the younger folk, and tlie proceedings finished with a couple of verses of
" Auld Lang Syne."
Au.stralian Photographs for Chicago. —Among the New South Wales
exhibits at the Chicago Exhibition will be an extensive collection of photo-
graphic enhargements, executed by Messrs. Kerry & (.'o., of Syiluey, for the
Commissioners appointed by the Government of Xew South Wales, and repre-
sentative of country life and scenery in that colony. Before being sent to
Chicago they' were publicly exhibited for a few days in the National Art
Gallerj- of New South Wales, in the same room with Poynter's (Jueen of Sheha,
where "they attracted the largest attendance on record at that idace. The
pictures include representations of ox teams hauling cedar on the Richmond
River, the various operations of handling wool from the time it is ready at the
shearing sheds to its being placed upon the railway tracks, the magnificent
scenery of the Snowy River with Mount Kosciusko in the distance, ocean views
from the romantic heights of the Illawarra Range, scenes in the lenolan and
Garrangobilly Caves, Katoomba Falls, Govett's Leap, &c. Tlie shearing and
lamb-marking scenes are excellent, but the view wliich will jirobably excite
most interest will lie that of Randwick Racecourse, near Sydney. It measures
fourteen feet six inches by three feet six inches, and furnishes an excellent
idea of a race meeting in one of the Australian capitals. It is probable that
on the termination of the Chicago show the collection will be sent on to
London.
C'BOVDON Camera Club.— 1893 Exhibition. April 5 to 8. The following are
the particulars of prizes and classes: — A. Hand-camera Work: Four prints
on one mount. Open to all members. Prize, bronze medal. B. Lantern
Slides : Sets of four. 0]ien to all members. Prize, bronze medal. C. Out-
door Views (not jiortraiture, groups, or iienre) : Size, half-plate and over. Open
to all amateur members. Prize, silver medal. D. aoire or Figure Subjects,
direct or enlarged : Open to all members. Prize, large framed etching of
painting (by Mr H. Maurice Page). E. Any Subject: Open to lady amateurs
throughout England who have never won a r>rize in open competition. No size
limits ; but if hand-camera work, then not less than four prints on one mount.
Prize, bronze medal. Entrance fee, 2s. each. F. Any Subject : Open to all
Surrey photographers who have never won a prize in open competition. No
restriction, except that hand-camera work must be entered not less than four
prints oiieach mount. The winning print or set in Class F. will be reproduced
in Woodbui^gravure, and the ]irize consist of forty copies thereof presented to
the winner, besides which a cojiy will be sent to each competitor and to eadi
member of the Club. Entrance fee, 1*. 6d.; members free. (i. E.xhibits by
Members : Not for competition. H. Works of Distinguished Pliotogi-aphers :
Bv invitatirm onlv. Not foreomiietition. Further particulars may be obtained
of Mr. G. R. White, 56, Albert-road, Croydon.
Forfarshire International Photographic Exhibition.— The first Ex-
hibition will be held in the Reid Hall, Forfar, on Thursday, May 4, 1893. and
following two days. The following are the officials : — Jinn. President : Alex-
ander Robertson, of Bumside, Sheriff-Substitute of Forfarshire. — Hon. I'tce-
Presidenl: Robert Wliyte, Procurator-Fiscal of Forfarshire. — Chainmu of
Cmnmitlee : tUlbert W. Don, Clocksbriggs House. — Vice-Clu/Arinan : J.Watson
C^aik, Yot{a.r.— General .Secretari/ : W. .1. Anckorn, ArOroath, N.B. — Trea-
surer : R. Bruce, Banker, Forfar. — Local Secretaries ; A. H. Simpson, Chemist,
Forfar ; James D. Ross, 6, High-street, Brechin ; and A. Davidson, Chemist,
Montrose. 'The Classes for Competition are as follows :— Class 1. Am.ateurs
confined to Forfarshire, any subject, any printing process, irrespective of size.
Class 2, Amateurs, Open Class, Landscape and Marine, irresjiective of size or
process. Class 3, .•\iiiateur, Oenre and Portrait. Class 4, Professional, Por-
traits, irrespective of size. Class 5, Professional, Genre. Class 6, Open Class,
Enlargements, untouched. Class 7, Professional, Landscape, with or without
Figures. Class 8, for Ladies only, any subject. Class 9, Open Class, Lantern
Slides, set of six. Class 10, Medalled Class (Champion), no restrictiou in
number of picture-. One gold medal will be awarded to the best picture in the
Exhibition ; also a silver «nd a bronze medal will be at the disposal of the
Judges for any special photographic work, any subject or process.
*»* In tvpe, but unavoidably hehl over, articles by Hector Maclean, T. Nr
Armstrong, J. Pike, W. H. Davies, a paper by Mr. Horsley Hinton, and othe.
interesting communications. These we will endeavour to overt.ake next week.
OONTBMTB,
Faox
PHOTOCrBAPHINO STAGE SCENERY .. ii.l
AMATEURS' UACKOROrXDS AND
ACCKSSORIES.— II 114
ON THINGS. IN GENERAL. By FREE
LANCK 115
A NKQLKCTED DEVELOPER. By
W. B. BOLTON 110
RETOUCHIXG ANI> VAHNISflES. By -
HAYNKS WKLCH IH
DETEUMINATION OK PLATE SP"EI1S.
Bv K. HCRTKU *KD V, C. liKIKFIELI) UH
IMITATION PHOTO-EXORAVINOD. Bv
W. LINliSAV lis
PROPOSKll NEW CKNTIIAL PHOTO-
GE.U'iIlC CLUB AND IXSTITUIE .. 119
PArf;:
WOOLWICH PHOTOGRAPHIC SO-
CIETYS EXHllUTIUN in
THE PMOTOOHAI'HIC SOCIETY'S
LECTURES (IN ,'• PHOTOGRAVURE " l'2(i
THE PHOTOGRAPHERS' BENEVOLENT
ASSOCIATION ; I'^tl
DURHAM CITY CAMERA OLUB EXHI-
BITION I'il
RECENT PATENTS 181
MEETINGS OK SOCIE TIES !«»
POKTHl'OMING' EXHIBITIONS 191
COUUESPONDENCE ^..._^HJ
ANSWERS TO CORRESPONDENTS...... 187
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1713. Vol. XL.— MARCH 3, 1893.
PANOIIAMS, WIDE ANGLES, AND PERSPECTIVE.
A\'iiu,K it nmy lie difficult to indicate a sharp lino of division
between a narrow and a wide angle of included subject iu a
photograph, a like difficulty does not prevail as to the nature
of the perspective in which such a picture is presented. The
Panoram, as given in the title to these notes, differs from the
ordinary camera iu this, that whether a wide or a narrow angle
of view bo included in the picture, the perspective is not plane,
but cylindrical or panoramic.
The Panoram — as doscribetl liy its inventor. Colonel Stewart,
ll.E., at the meeting of the Photographic Society of Great
P>ritain on Tuesday evening— is a camera containing several
ingenious devices. A fair idea of its nature may be had yf we
describe it as a Johnson & Harrison pantascopic camera fitted
with an Eastman roll-holder instead of the dark slide for glass
jilates which characterised the elder invention. The principle
of the camera mentioned permits of its taking in a view that
includes the whole circle of 3()0 degrees, but as it was intro-
duced anterior to the days of 61ms and when glass plates
formed the sensitive support, it was evidently impossible to
utilise plates so abnormal iu length compared with height as to
give practical effect to its possibilities, hence 120 degrees was
fselected as an angle sufficiently large.
By the application of the Eastman roll-holder the original
great bulk of the instrument is minimised to such an extent as
to reduce it to that of an ordinary portable camera. As the
image falls upon the sensitive surface throvigh a narrow vertical
slot immediately in front of the film the roll-holder does not
necessarily exceed a veiy few inches in width.
The camera rotates upon its stand, the axis of rotation being
the focal centre of the lens ; and the slot through which the
light passes to the film is of unequal width so as to allow of a
greater practical exposure being given the foreground than the
sky. The motive or driving force is clockwork, as in the
pantascopic camera, and this likewise causes the revolution of
the roll-holder by which the film is carried across the plane of
delineation at the focus of the lens. A complete rotation of
the camera (the one exhibited had a lens often inches focus)
ensiires the covering of a baud of film a little exceeding six
times the focus, which in this case would form a continuous
picture over five feet in length.
But while the camera possesses this giant's power it is not
necessary that advantage be taken of it. On the contrary, the
clockwork after being started may be stopped at any stage by
the mere manij)ulating of the pneumatic ball, and the exposure
may be such as only to include an angle of the smallest con-
ceivable dinieusieafc, if the gul;\}ect be one that does not warrant
more being included. The termination of the rotation ensures
the marking off of the portion of film exposed by the action of
a pricker, after which the clockwork is wound up and everj--
thing is in readiness for the next exposure, which may include
either a wide or a narrow angle of view as before.
An ingenious method of developing these long pellicular
negatives has been devised by Colonel Stewart. He fastens
the exposed band to the periphery of a wheel of suitable width,
and then rotates it slowly in a vessel of developer, which need
not be any larger or deeper than just to submerge the film.
Several negatives of this class which were exhibited attested
the success wliich attends this novel and ingenious system. A
similar method may be adopted with the printing from films of
great length.
A camera of the nature here indicated, while useful for such
pictorial purposes as involve the depicting of any subject in
which there is continuity, such as a range of hills, a chain of
lakes, or a coast scene, must prove of special value in military
reconnaissance, and it will form a useful addition to our
appliances.
But it may be said, as the perspective of such pictures will
be cylindrical they will necessarily be distorted. To meet this,
we may say, speaking hypercritically, that photographs of every
kind are distorted if they are not looked at from the correct
point of view. When this is attended to there is no distortion
in pictures in either plane or cylindrical perspective; otherwise
there is.
Let a number of spheres be placed squarely in a row in front
of a camera containing a wide-angle lens and then be photo-
graphed. A careful examination will reveal the fact that, while
the central one is of the same height as that nearest the margin,
yet the latter is not circular but elliptical, the width ex-
ceeding the height in dimensions.
The central one is quite circular ; but, in proportion as the
others recede from the centre, so does the horizontal width
increase. This arises from a circular beam of light being made
to impinge obliquely on a flat surface. No picture whatever
can be seen with absolute accuracy unless the eye or point of
observation be opposite the centre of the picture, and at no
greater distance from it than the focus of the lens by which it
was taken. Only in this way will the elongated marginal
spheres adduced iis an example be seen as spheres. A similar
principle applies to the examination of a panoramic view.
To see this with accuracy, the picture must be bent in a
curve, the radius of which equals the focus of the lens,
and the eye nmst be in the centre of the curve, so as
I to be directed squarely to each part. No distortion will now
) 1)6 apparent.
130
THE BKITISH JOUKNAL OF PHOTOGRA.PHY.
[March 3, 1893
WASHING PHOTOGRAPHS.
We make our title as wide in its scope as possible, as we pro-
pose to include in our purview not only negatives, but prints of
various kinds. We are led to consideration of the subject owing
to inquiries, familiar enough to anyone known to have experience,
as to the cause of this, that, or the other kind of spot which,
in even a brief practice of photography, exercise the mind of
the tyro, and not only him, but, not infrequently, the expert.
It is not our purpose to write a disquisition on spots in general ;
we have in view a particular aspect of the subject — those spots
attributable to the water employed. First, lot us say that we
consider efficient washing of prints may be done with an ex-
treme maximum of twelve hours, if properly carried out ; with
negatives, a maximum of four hours may be considered sufficient.
We refer to this point as, from personal knowledge, we can say
that some workers considerably exceed these limits. One
amateur who came to us with a tale of unavoidable " frilling,"
was astonished when we informed him that the twenty-four
hours' washing he gave his plates was the cause of his frilling,
and was almost incredulous when he learnt that he might con-
sider from two to four hours am]>le time to leave his negatives
in a running stream of water. Then, again, the universal con-
sensus of opinion from printers with extensive experience is,
that prolonged soaking injures the quality of the print.
Tlie condition of the washing water is a prime factor in the
production of spots and stains of an extensive and varied
character. It will only be necessary to briefly allude to hard
waters, in which a large quantity of carbonate of lime is held
in solution by carbonic acid. Such waters are fruitful in pro-
ducing negatives with a closely adherent scum. Again, waters
of a ferruginous character deposit iron under some conditions,
and so stain the prints. This cause, when the iron is not very
largely present, might possibly escape attention.
But the foremost cause of all, whether running streams or
water from a public main is made use of, is the presence of
suspended matter. Good samples of water, fit for use as a
beverage, may, in average conditions of purity, contain so
much suspended matter as to cause a deposit of more or less
fineness over every print or negative placed under its influence,
even though the impressed surface may be placed face down in
the trough or other receptacle. The suspended matter may be
fine particles of inorganic matter, or, what is more probable,
low forms of vegetable life that have either escaped through
the interstices of the filter bed or have germinated in the water
in its progress through the mains. If any one supplied with
what he deems the purest of water will merely attach round
one of his water taps a piece of clean flannel, and allow the
water to run gently through, he will, in the large majority of
cases, be surprised at the amount of " dirt " he will in an hour or
two find arrested by even so open a woven fabric. Such matter
will largely attach itself to photographs in washing, and produce
a faint, though decided, scum or discolouration, which occa-
sionally forms in clots, and gives rise to distinct centres.
But it must be remembered that, as the water mains them-
selves become coated internally with a deposit from the water
passing through them, this is liable to be disturbed when
alterations are being made. A neighbour, for example, is having
his water supply altered. What is the result? For some
hours, perhaps, the water is dei>,idedly muddy, and if negatives
or prints be washing it is quite possible that all this muddy
water is being used, and its presence never observed. Especially
is this so with prints which are being washed through the
night, as is so generally the case. If a cistern is used and the
water not taken direct from the main — an excellent plan in one
direction, as it ensures constant pressure — a portion of this mud
is intercepted, but not all, and the further evil remains of a
portion of this accumulation of mud some day or other surely
being disturbed and despatched to its innocent victim, a batch
of photographs under washing operations. Again, many stone
cisterns are not kept air-tight, some not even covered : atmos-
pheric dust is bound to accumulate and be deposited upon the
pictures being washed.
Instances could be multiplied, if need be, to give point to the
obvious moral. All water for washing purposes should, before
entering the washing trough, be passed through a filter of some
kind. Wc look upon this matter as one of prime importance, but
one which is neglected in by far the largest proportion of cases.
How the water is to be filtered we need not indicate. A home-
made filter of two thicknesses of flannel is used in some studios
we are acquainted with, and very frequently, we are informed,
have they to be cleaned or renewed. There are numberless
filters upon the market to suit the most fastidious taste. We
have one suggestion to offer. Whether the filter be one to
discharge filtered water into the store reservoir, to filter it after
storage, or to attach direct with the main and supply filtered
water as the tap is turned on, in any of those ca.ses let the
filter chosen be one that is readily cleansed and its contents
removed, or, better still, one that is selfcleansing. Many
excellent filters of the latter pattern can be obtained ; the
matter is rather one of embarrassment of choice. In con-
clusion, let us say to all photographers, Filter every drop of
water you use, and use a self-cleansing filter for the purpose,
and so avoid a fertile source of spots and stains.
WARM TONES WITH IRON DEVELOPMENT.
Althougu the class of tones usually associated with iron de-
velopment— by which, of course, we mean ferrous oxalate —
ranges only between grey and black, yet it is by no means im-
possible, under certain circumstances, to obtain warm tones, as
all workers of Alpha and similar papers are aware. But the
conditions requisite are such as to practically bar the applica-
tion of this method in a great many instances where protracted
exposures are objectionable, as the effect is gained by using a
very weak developer after an exposure of abnormal length.
For contact printing, or for enlarging in a good light, and from
suitable negatives, no objection need, perhaps, be raised, but in
the dull light of the winter months this system of working is
almost impossible.
A correspondent, however, in another column this week, calls
attention to another means by which the same end may pos-
sibly be equally well attained without the same necessity for
increasing the exposure ; indeed, speaking from recollection of
the behaviour of the developer referred to by him, we believe
the general tendency is to give the warm tones with a normal
exposure, though, as in other forms of development, the effect
increases proportionately with its extension. The means re-
ferred to consist in substituting ferrous sulphite for ferrous
oxalate, either partially or wholly, but preferably by making &
mixed solution of the two salts.
Mr. M. Carey Lea was the first, soon after his introduction
of the ferrous-oxalate developer, to call attention to the de-
veloping power of several of the other ferrous salts, and amongst
those of which he spoke most favourably is the one in question,
the sulphite, which, however, has not, up to the present time,
been recognised as an established developing agent. It has.
Jlarch 3, 18031
THE BUITISH JOURNAL OF PH0T0GRA.1'HY.
131
been put forwarrl, as our corrCKpondent points out, as a means
of restoring the energy of a spent ferrous, oxalate solution, and
it was in employing it in that connexion that we some years ago
noticed its remarkable tendency in the direction of warm tones.
This is more particularly the case with collodion emulsion
plates, with which we have obtained images that could not
be distinguished from the red chalk or "Bartolozzi" effects
that have become popular for some classes of portraiture.
With gelatine films tlie colour is not, as a rule, so decidedly
rod, unless a considerably augmented exposure be given, but
it is sufficiently removed from the ordinary ferrous-oxalate tone
to deserve the title of " warm." The colour so produced is,
moreover, jiarticularly well suited to toning either with gold
or platinum, passing from the original red stage through the
same range of purple shades as in the case of an albumen
print. In fact, in this respect the toning is far more certain,
and the final rtsult far more like an ordinary silver print, than
when a chloride film is in question, and satisfactory tones can
be obtained cither by transmitted or reflected light, that is,
either for transparencies or paper prints.
Ferrous sulphite is not itself soluble in water, though it is
freely soluble in excess of sulphurous acid. It is also soluble —
though probably by conversion first into oxalate — in oxalate of
potash. It may be made by dissolving iron wire or filings in
aqueous sulphurous acid, the result being a mixture of ferrous
sulphite and hyposulphite, the former of which slowly crystal-
lises from the solution or maybe precipitated by adding alcohol.
A better plan, however, is to prepare it from freshly precipitated
carbonate of iron, in which case it is obtained free from the hypo
Balphite.
The process is conducted as follows : — A concentrated solu-
tion of ferrous sulphate is mixed with an equivalent proportion
of carbonate of soda, also in solution, and the bulky, gelatinous
precipitate — white at first, changing rapidly to dark green and
eventually foxy red — is thrown on to a calico filter and left to
drain with as little exposure to the atmosphere as possible
The carbonate is extremely unstable, passing quickly, if exposed-
to the air, into the state of ferric hydrate, when it assumes the
characteristic brownish-red colour ; it is impossible to altogether
avoid this change, but evei-y effort should be made to prevent
it as far as possible by protecting the mass from the atmosphere
It is hopeless to attempt to hasten the separation of the excess
of water, ov to get the mass into a more condensed form ; all
that can be done is to let as much water drain from it as will in
a reasonable time.
The next o{)eration is to convert the carbonate into sulphite.
For this purjpose, if a very dilute solution is all that is required,
let a given quantity of the aqueous sulphurous acid of commerce
be shaken uj) with a quantity of the dirty green carbonate —
rejecting, as far as possible, that which has changed to the red
colour — until it will take up no more ; then let it settle, and
decant the clear portion, or filter it. This, however, consti-
tutes at best a solution of very low and indefinite strength, and
the preferable, though more troublesome, plan is the best.
Arrange an apparatus for the generation of sulphurous acid
gas by fitting a cork to a wide-mouthed bottle or jar. Bore
two holes in the cork, and into one fit a bent tube to lead off the
gas, and into the other a funnel with a long stem to reach
nearly to the bottom of the jar. What is known as a " thistle-
head " funnel will answer, but it is better to use one with a
Btop-cock, obtainable in all sizes at the philosophical apparatus
dealers.
Let the jar be three parts filled with saturated solution of
sulphite, or, better, bisulphite of soda, insert the cork, and see
that all the joints are tight. Place the precipitated carbonate
in a wide-mouthed bottle, into which the bent tube from the
generating jar is inserted, so as to reach nearly to the bottom.
When this is all arranged, pour gradually into the generator,
by means of the funnel, strong hydrochloric acid to decompose
the sulphite. The acid must be added only a few drops at a
time, as each addition will cause violent ebullition ; and here
is where the utility of the stop-cock is found, as the funnel
may be filled with acid, and a few drops allowed to trickle into
the jar as the effervescence subsides, and without allowing the
gas to escape except by way of the bent tube.
The sulphurous acid, as it escapes, is taken up by the iron,
and carbonic acid in turn is given off. Gradually the green
colour of the carbonate changes to a dull brown, and eventually
the liquid becomes clear, and then consists of a solution of
ferrous sulphite in excess of sulphurous acid. Obviously it is
of uncertain strength so far a,s regards the excess of acid, even
though, with a definite quantity of iron to start with, the
volume be made up to a certain quantity. But, if the passage
of gas be arrested just before the solution becomes clear, a
tolerable approximation can be made to uniformity in successive
batches.
The solution thus formed itself possesses developing power,
but it is better used in conjunction with ferrous oxalate. By
the addition of potassic oxalate alone, a developer of ferrous
oxalate is formed, but the solution is not rich enough in iron
to be advantageously employed ni this manner. Far better is
it to mix it in definite proportions with ferrous oxalate de-
veloper, made in the ordinary way, by which means a better
idea can be formed of the actual constituents.
Iiantem Slides as Window Secorations.— The lantern
season will sooa be drawing to a close, but there is no reason why the
slides should not still be objects of enjoyment by utilising them for
decorative purposes. We were recently shown a frame of about a
score of lantern transparencies, backed with ground glass. The frame
was of lead, such as tliat used for church windows of stained glass,
and the slides were surrounded by a narrow margin of various coloured
glass. Strips of tinted glass, of quiet tones, were also interspersed
between the photographs, which gave an exceedingly pleasing effect.
With each transparency two nicks were cut in the lead, sometimes at
the top, sometimes at the bottom, and at others at the sides so as not
to weaken the frame generally. This enabled the lead, which is soft
and ductile, to be turned back, so that any slide could be readily taken
out and replaced by another as required.
Ezcluslve Rig'hts. — Another exhibition in connexion with
photography is projected at the Crystal Palace. The prospectus con-
tains tlie following : — " Notice is hereby given, that the right of taking
photographs in the Palace and grounds has been let by the Company
under an agreement for a term of years, and all exhibitors are ex-
pressly prohibited from taking photographs of any kind whatever.
Any one invading thfise rights renders himself liable to a claim for
damages." It is tolerably well known that Messrs. Negretti & Zambra
have held this sole right for very many years— if we mistake not, from
the first opening of the Palxce. The Company have, like the
authorities at the Chicago Exhibition, often been censured for letting^
exclusive rights ; but it has no doubt been with them a consideration,
as at Chicago, whether permitting the unlimited use of the camera
would increase the returns to the same extent as letting the sole rights
to a commercial firm.
Improved Blood Albumen. — When an unusually mal-
odorous sample of albumenis.^d paper is met with, v. is frequently
133
THE BRITISH JOURNAL OF PHOTOGRA.l'HY.
[March ti, 1893
assumed that it is necessarily prepared with blood albumen. This is
a fallacy, because blood albumen need have no more odour than that
from eggs, while the latter may be, and often is, used in a most
offensive condition. The application for a patent for tlie manufacture
of a light-coloured albumen from blood has been made by a
Dr. Carl Cosinera, of Berlin, the specification of which has just been
issued. The inventor says, when deflbrinised blood is mixed with
slightly acidified ethyl, or methyl, alcohol, or acetone, the albumen
and the globuline contained in the blood are precipitated, while the
colouring matter of the blood, hsematine, remains in solution. The
method is briefly this : One part of defibrinised blood is introduced
in a thin jet into four or five parts of ethyl alcohol of ninety-five per
cent., previously acidified with one per cent, of sulphuric acid, the
mixture being well stirred during the addition of the blood. Albumen
separates in the form of almost colourless flakes, and the red-brown
coloured mother liquors are separated by filtration. The albumen is
then to be washed with alcohol, and afterwards with water. It can
iifterwards, if desired, be bleached with any oxidising agents, such as
hydrogen dioxide, &c. Considering the small proportion of albumen
contained in blood and the price of alcohol, even methylated, we fear
that photographers will not reap much advantage in their albumenised
paper from the new process of obtaining albumen, however excellent
it may be.
Photogravure. — We have often in the past directed attention
to the little interest taken by professional photographers in the various
mechan'cal methods, photogravure in particular, also that work which
could very profitably be done here was being sent abroad in large
quantities for execution. Whatever the profession may have been
doing, it is certain that of late many amateurs have been taking a
great interest in photogravure, as evidenced by the large number who
attended the two lectures by Mr. Denison. The process described
by Mr. Denison is an exceedingly simple one, and will yield
excellent results, requiring no expansive plant for its working. A
copper-plati press, such as that used at the demonstration, costs but
about ll'/., while a second-hand one maybe had for much less. A
couple of pounds will cover the cost of the dusting-box, heater,
"jigger," &c. The same heater that is used in the printing will also
serve iu laying the ground on the copper plate. It will be better for
the experimentalist, at first, to send his plates to a regular copper-
plate printer to print, as skill is required in copper-plate printing as in
all other work. Copper plates are not expensive ; the lialf-plate size
cost from about two shilhngs to three shillings each, according to
quality and finish, other sizes in proportion. Beginners in the work
who are aufait with carbon printing will have far less to learn than
those who are not, because the whole thing is dependent upon that
process — the production of a carbon transparency, and from that a
suitable carbon negative on the copper plate. The other portion of
the work is very simple ; therefore experimentalists will, as a matter
of economy, do well to master the details of carbon printing, and they
are very easy, before essaying etching on the copper. If that be done,
no ditficulty will be experienced in getting the most suitable carbon
image for the purpose on the plate.
THE WEAKNESS OF " STRONG POINTS."
Although to some it mav at first sight seem that discussion respect-
ing those so-called laws which have been formulated for the guidance
of all who yearn to become art-perfect is outside the scope of a
photographic periodical, nevertheless, as I shall presently sho-w, the
particular one I wish to direct attention to is of unusual importance
to all photographers, and I think my criticism of it will be welcome
to a considerable number of the fraternity.
The object of this paper is to remove from its high pedestal a cer-
tain graven image which a large proportion of us have hitherto with
confiding superstition worshipped, not merely to the exclusion of
quite a host of other equally potent little idols, but also to the
grievous neglect of the great mother goddess— Art. And the name
of the graven image aforesaid is " Strong Points.'
Wlio first set up this minor deity, so that it has come to be
received as a major one, I wot not. Anyhow, Mr. Howard draws
particular attention to it in his Skftcher's Manual, where, as far as
photographers are concerned, it might have lain dormant until this
very moment and longer, had not Mr. H. P. Robinson given it pro-
minence and his own cachet by devoting a whole chapter of Picture-
making by Photoi/raphj to its consideration. Ever since then the
camera crowd has adopted and cherished this wonderful one rule as a
sine-ipid-non in all pictorial designs. This has been much helped for-
ward by the various handbooks of photography which, big and little,
liave taken up the above now omnipotent law and enlarged upon it
with untlaggiug satisfaction.
It is so easy to demonstrate, so simple to master, so substantial to
handle.
Take a T-squave, divide your paper into nine equal rectangles, then
where the vertical and horizontal lines intersect you have your
"strong points;" upon one of these place your chief object. The
recipe is more readily practicable than are the directions for boiling a
potato. It is but a rhetorical exaggeration to say that from Abney's
text-book, published ever so many years ago, down to Bothamley's
shilling manual, which every one was last year reading, the advice
upon line composition is mainly " strong points," leavened by a holy
horror of that damnable lieresy " symmetry."
All this widely disseminated literature, which is, as regards art
matters, necfssarily founded upon opinions borrowed one from
another, and all from one, has, in due course, borne fruit, which has
nourished ii race of judges and critic-', who apply, as a kind of touch-
stone, this magic principle of '• .strong points " to every luckless print,
picture, or view coming under their ken.
Is the main subject — say, the village church, or the toiling reaper
— in or near the magic spot, the-n is ihe 2i*ns adnorinn safely got over;
but, should the leading motive be palpably distant from one of the
"strong points," then anathema! In vain may the landscape be
brimful of sweetness, fancy, and delight, if it has sinned against this
awful little law, it is only worthy of perdition — that is, perdition of
medals. And so it must needs happen that " full many a time and
oft," not the Ijest, but the second best, of two works is placed first.
Far be it for me to deny that some one of the aforesaid points is-
the strongest region in the rectangle of a picture, nor dispute that it
is a good place to group the salient objects, because it is impossible to
demonstrate the negative of a contention which only rests upon a
fanciful impression — and, besides, I do not doubt but that in many
instances some such a position is best for the purpose, for the sake of
convenience, if for no other reason ; but what I most earnestly
protest against is the growing habit of making this comparatively
insignificant rule a chief test of artistic merit.
I'o illustrate the immateriality of observing the law of "strong
points," let me brieflv refer readers to one or two paintings which
they may with ease inspect for themselves from the hands of artisst
whom even photographers will not care to declare untrustworthy.
First, an example of David Cox, whom we all know. In the South
Kensington Museum is one of his master works, called a Water MUl
in Wales. A most cursory glance at this (which is also reproduced
in Redgrave's short memoir of the painter, and can be seen at most
free libraries) will enable the student to note that it is composed in
absolute defiance of the "strong jxiints" dogma. The most vivid
juxtaposition of light and dark, the chief incident, the dominant
forms, are arranged upon a vertical line, which, with almost mathe-
matical precision, divides the picture into two equal parts!
Next witness 1". Do Wint, whose Lim'oln Minuter (which can be
seen iu the same gallery and the same book) is placed exactly central
upon the paper, so that the bisection of diagonal straight lines occurs
at the very acme of pictorial interest, which is therefore both
vertically and horizontally equidistant from the sides.
Turning to figure paintings, it is less necessary to advert to the ex-
amples in which the model is placed on or by an upright central line,
because the fault — if fault it be — is too common to need emphasising,
but the localising of the centre of interest halfway between the top
and bottom is less often done for the very suflicient reason tliat, inas-
much as the head forms the kev, it is, as a rule, almost a physical im-
possibility to get tlie aforesaid centre of interest very far from the
upper boundary of the canvas. Of course it can, by the exercise of
some ingenuity, be done, especially where the figures are small in
comparison with the dimensions of the composition. Now, in spite
of all inherent difiiculty and improbabihty, it cannot be gainsaid that
quite a number of figure subjects might be cited having their leadiuL'
and dominating emphasis, alike human and artistic, in the very middle
of the picture. Indeed, in several instances the artist seeras to pur-
posely and contemptuously flout that upstart idol " Strong Points."
I have made no diligent search for examples of the above, but find
plenty of them ready to hand ; of these I append one or two.
Firstly, there is The Kim/s Daughter, by Herbert Schmalz, shown
at the New Gallery in 1889, and reproduced in Pictures of the Year.
published at the Palt Mall Gazette office. In this, although there
does not seem any reason why such should be the case, the chief %uie
March '-i, If 93 J
THE BRITISH JOURNAL OF PHOTOGRAPHY.
13.-1
is not only midway between caoh side of the canvas, l)ut her face,
which is liio essence of the painting, is over a point equidistant from
;ich corner.
A-'ain, who is thero that, havinfr seen, can forjret Henrietta Ray's
.ntrancing /fpht/run Wwnm/ Flora, which was in the Koyal Academy
of 1888? Well, here we find that the two heads are nrranc;ed upon a
central perpendicular line, and, moreover, a circh- of relatively smnll
radius described about the centre of tlie picture will include the faces
.if Flora and her swain.
No Hseful purpose is served, or I would continue the list of works
by eminent artists showinsr a complete disrof^ard of the tenet of
" stronff points ; " but enough has been done to prove t hat the rule, " Put
vour chief object in the corner," as if it were a naughty boy, is not by
knv means an essential one, but i.s one of those unimportant regulations
which, good in its way — as is, say, sea-bathing or smoking — maybe
practised or not, at the pleasure of the artist, without detriment to
his production.
In conclusion, I hope my remarks will induce those who take upon
themselves!, or have thrust upon them, the duty of passing judgment
upon photographs to be in the future less prone to condemn a study
simply because it does not conform to the greatlv overrated doctrine
of " atrong points." Hector Maclean, F. G. S.
SPECI.A.LISATION IN FIXE-ART WORK.
[West Londou PhotORraphic Society.]
The photographic world is a comparatively small one, and it needs
only that a man should make a few pictures and contribute an article
to the photographic press to ensure his being known to the average
photographer; hence I may not be taking too much for granted if I
presume that I and my misdeeds are not altogether unknown to at
least some few of those who have courteously come here to receive
me this evening. And, this being so, I am wondering what you expect
of me. Your syllabus makes me responsible for a paper on " Art and
Photography." How delightfully vague ; how good of your Secre-
tary to give me such elbow-room ! I hav(( been presumptuous enough
to suppose that ray works or my doings are not wholly unknown to
you, and from this, and from the title which is put down for me, I
imagine that you may perhaps share the general though somewhat
erroneous notion that I am pledged to uphold the possibilities of photo-
graphy in the lield of fine art, and may possibly be expecting rae to
speak of such matters to-right — expecting me to once again enter the
lists, to fling down the glove to you, and demand the homage of every
artist to this fair sun-goddess, and compel your acknowledgment of
her purely art claims, admitting her in all respects equal to those
queens of the tournament, the pictorial arts, whose claims are already
established and whose sovereignty is aclinowledged.
" Fiddling on the same String."
Now, ladies and gentlemen, 1 propose to do no such thing. I am
by no means in fighting condition, and have grown wary of late how I
enter into any such conSict as the championing of photography as an
art might lead to.
It is a considerable time ago that I accepted, with great pleasure,
your President's invitation to come here to-night, and my memory
may be at fault; but I believe I gave as the title for a brief discourse
"Specialisation in Art "Work," and I did so with a deliberate in-
tention.
I was at that time smarting under a newspaper critique which
described some of my own picture attempts as "fiddling upon the same
string," which I considered as uncalled for as it was foolish (I hope
the reviewer is here to-night). In the heat of the hour I felt eloquent,
and partly for the sake of self-defence, and also because 1 felt that I
might thereby drop some remark, some slight suggestion, which
should be of use and of interest to others, I elected to read a paper
on " Specialisation," which is, perhaps, a prettier expression for
" fiddling on the same string."
What a Picture should be.
But, whilst I foresware any intention of urging upon you the high
artistic position which I may or may not believe photography should
hold, my remarks must apply essentially to that side of photography
which, in order to avoid the debatable "term artistic, we will call the
pictorial aspect of photography, meaning by that photography
employed for the production of a complete and aesthetically pleasing
result — a picture, not a diagram, or a mere refiection of objects or cir-
cumstances— a picture, not a mere memorandum to be employed by
the painter, artist, or draughtsman, in his subst^quent work — a thing
of beauty, not a pictorial anecdote, nor an exhibition of execution, or
a cleverness which may come of much careful training, but a picture
which corresponds to the impresHion which any arrangement in nature
left upon the artist's mind, and may be depended upon to awaken a
resjwnse and a similar impression in the spectator to whom it may
appeal. I trust I am making my meaning understood. I want so
particularly to clearly express my own notion of what a picture
should be, it would clear the way very much for those who claim
that photography may be art. I don't say it is, at least not here !
Truth, to tell, I am trying to find out, it may be I shall bo following
an iynis fatuus all my days, but it is a fascinating pursuit and a
pleasant one, and, any way, it will keep rae from meddling with my
brother photographer who makes topographical views and curiosities
of manipulated skill his special care.
Nature rarely Right Artistically.
In the endeavour to produce by means of the ca.meTa, pietureK pro-
perly so called, we must disregard every other consideration ; it is by
no means sufficient that a photographic picture should lie an exact
copy of nature, it must aim at Boinething more than that ; remember
that, artistically, nature is very rarely right. You may remember who
it is that has said, " To say to the painter that nature is to be taken
as she is is to say to the player that he may sit on the key-board ;"
and, again, " Nature contains the elements, in colour and form, of all
pictures, as the key-board contains the notes of all music," and it is
for the artist to select, to emphasise, to suppress the notes according
to his fancy, and to group, to combine, and weave the whole into an
harmonious chord.
How is this to be done by photography ? Well, well, I am not
here to say it can be done, I will not now say it ever will be fully
done, but I may privately think sometimes that we are perhaps
nearer the goal than we were.
Please observe the " sometimes " and " perhaps." Am I not very
cautious ? — too guarded, too doubting, I know, for many who, having
secured with their camera a little impressive bit of landscape, very
pleasant to look at, often full of suggestion, in feeling, in task*, in
treatment so far above the typical photograph that, in a proud
moment, they fancy the doors of the Temple of Art standing wide
open to receive them.
Examining and Studying Nature,
So, now, if we are devoting our photography to the production of
pictures, in the best sense of the word, it will be necessary for us to
examine that nature which. lUce a keyboard, contains all those notes
which we shall need to make our harmonious composition, and study
them all the more closely because we find that the composition ready
to hand is usually far from perfect ; and, liaving acquired an intimate
knowledge of things around, we become more fastidious and less easy
to please. I know of no more hopeful a sign in the photographer
than the over-exacting and dissatisfied mood of the man who has been
there before, and will visit that spot again and again, patient until
this and that feature are in proper unison, waiting and watching so
that the objectionable shall be I'emoved and the wished-for come to
pass — perhaps, after all, to go empty away, because he found nature
not wholly right. Dutifully and reverentially he hoped nature
would come right — come as he wanted her — because he, lacking the
painter's skill, could only photograph a little less than nature chose
to show him. Herein is the barrier. Who will break it down ?
Not enough Serious Study.
This waiting, and watching, and patient study implies a seriousness
of purpose which is all too rare amongst our photographers. With
those who find in photography a pleasant pastime, an occupation for
leisure hours, much that I have said must appear very unnecessary
and making much ado about little. With such a one I have
nothing to do for the present, and I can only presume to interest
those wlio, like myself, care for photography, not for its own sake but
merely as possible means to picture-making, and hence I make com-
plaint that much photographic energy is misapplied. There is too
much of the hobhy and not enough of the serious study : too often a
holiday-making air about the excursion with the camera, a triviality
of purpose and insignificance of aim. This cannot fail to make itself
felt in the resulting works, and it is not fair to judge of what can
possibly be done with pliotography by such examples. Lst me tell
you that the man who goes out with his photographic appliances with
the serious purpose of getting a picture which shall express some of
the poetry and sentiment of nature, but returns home without having
used a single plate, has done a better day's work than many who may
have exposed the entire half-dozen here and there at each prompting
of fancy and inclination.
Still, there is hope — nature is not always so coy ; and, on the
other hand, sometimes the photographer may do well to be a little
less exacting, or at least be content with a compromise.
ia4
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[March 3, 1893
If the photographer cannot gather and choose the elements of his
composition as he wishes, still, if he accept, after diligent search, what
is given him, the greater truthfulness with which he can portray this
little may he some compensation for his limitations in another
direction.
Waiting for Natciib in the Mood we Desire.
But let me attempt to come more precisely to the matter in hand.
I have pointed to the necessity of finding nature in her hest mood.
I don't mean necessarily in her most sunshiny and smiling mood,
because, for my own part, I find nature weeping, or wild and
stormy, more charming tlian in radiant sunshine. You know what
Mr. Whistler says about " the sun blazing, the wind blowing from the
east, the sky bereft of cloud, and without all is of iron. The windows
of tlie Crystal Palace are seen from all points of London. Tlie holiday-
maker rejoices in the glorious day, but ihc painter turns aside to shut
his eyes." But it is necessary to wait until we find nature in the
mood we desire, and this means many visits to the same spot, perhaps
many plates exposed. If I could but drive home to each landscape-
worker the desirability of often visiting the same spot, I should be
■well repaid for speaking.
The facility with which a plate may be exposed, and something hke
a satisfactorv picture obtained, is probably photography's greatest
stumbling-block. If only we could sufficiently restrain our impetu-
osity, and never expose the plate until we have become acquainted
with every feature, every form in the scene, we should be surer of
success, and we should probably be surprised to find that the effect
which pleased us at first is far surpassed by the effect which we
subsequently discovered. But our habit is to wander over yonder
green bills to-day, and, not finding a subject to please us, to-morrow
we traverse the woodlands, and next day the meadows, securing
something perhaps from each.
Ringing thb Changes on a Singlb Landscape.
But surely it is hardly reasonable to suppose that, if we secured a
fairly pleasing effect on the day we visited a certain favourable point,
by returning and going again we may be able to improve. We
can hardly suppose that nature was forewarned of our first coming,
and prepared herself in her best guise for that ^jarticular moment. A
lucky chance may favour us in that way sometimes, but I say that, if
we bring away a charming picture of a given spot on our first or
second visit, continued visiting and further observation will more
probably result in something even past our highest conceptions.
And, if this is true of a definite spot, so is it still more so of a
certain class of scenery. I will say that within the limits of one
small valley, on the slopes of a single mountain, by the banks of a
river, between one lock and another, there is subject-matter for a life-
time. Changing seasons, changing skies, and not until you have
studied it all shall you know how much there is in it worth noting, or
what effects are possible. I think it is a fair comparison tn ask that,
suppose a scene to contain twenty matters of detail, twenty notes of
form, light, shade, &c., will you tell me how many changes you can
ring on twenty not^s in music ? And why not in our landscape ?
And in the course of all this prolonged study we shall have ex-
posed a great number of plates. a«^ every picture will be of much
the same character, and we shall hear it said, " How long this fiddling
on the same string?" What matters if at last our melody is more
perfect — as it is sure.to be — than when for the first time we struck it ?
Something to bb made out op the most Unattractive
Subject.
I do not know whether any of you have known what it is to have ac-
quired a taste for a scene or for a certain description of landscape which
before you had felt no particular liking for. Have you ever known what
it is to pass through a district and be quite unmoved to admiration, but
upon a subsequent visit to express surprise that you had not before
noticed this or that picturesque possibility ? I have, and felt it very
keenly, and then, yielding to inclination, have found that what I had
previously regarded as a very unpromising district to be crammed full
of beauties wholly unsuspected.
I am convinced that most spots, carefully studied, will, after a
while, have a very different aspect viewed pictorially ; and many of
us might do worse than to sternly resolve to make something out of
the most unattractive and unlikely material, making, in spite of first
impressions, a picture where such seemed impossible. It would pro-
bably be a more profitable occupation than running to and fro upon
the earth and touring in far-off places. I am speaking artistically and
pictorially, and make no reference to the pleasure of the thing.
A Little Bit of Practice.
Following all this theorising with a little bit of practice, I re-
member that, within a period of seven days last spring, I exposed six
plates on tlie same spot, each time believing that I had found the view
in the best possible light and circumstances.
At the side of a broad space of water was a little promontory of
green grass and moss, perhaps some twenty feet in area, fringed
around with tall reeds, at that time newly springing into greenest
life, but which in summer would have shut out my view, marsh-
marigold, and butter-burr sprinkled the ground with their glorious
yellow flowers and jewelled the rugged grass — grass so soft and
vielding tliat the feet sunk in the spongelike turf and made one wary
of walking. On this little region of turf I spent whole days, and
watched tiie particular s^enc in front of me from fifty different posi-
tions, and, as I have said, exposed some six or seven plates, and, thougli
none are bad, certainly the latter ones are better.
Sti'.iy a Particular Class op Subject tiiohoughly.
I cannot too strongly advocate confining attention, for a considerable
time at least, to a particular class of subject, and learning thoroughly.
Is it not what the painter does? He will study in one particular
district for a long period, not becAuse he wishes to practise mere skill
in copying, but because we cannot know the conditions under which
various objects appear best until we have seen them under all.
And, but that time will hardly admit, and I have not the present
inclination to claim your patient hearing longer, I might advance as
a reason why it is only by long watcliing that we may know what is
best, that ultimate impressions are usually more lasting, and there-
fore in better taste than immediate impressions. Things which im-
prove upon acquaintance are generally more worthy our attachment,
and, in these sensuous appeals, are more satisfying. The subtle and
obscure, veiled, hidden away, hard to find, be it form or colour,
possess a more enduring charm than the gay and glittering thing
which quickly attracts but as quickly palls upon the senses.
A. HORSLEY HiNTON.
THEORIES OF DEVELOPMENT.
[Photosraphio Society of Philadelphia.]
I LISTENED with much pleasure and great interest to the lecture of
Dr. Mitchell, delivered at the last meeting of this Society, and was
especially gratified to find that some opinions of mine, held for some
time, regarding development were supported by such an able and
eloquent advocate. I refer principally to the building down or
etching of the film of the dry plate in contradistinction to the
building up in the wet plate by the application of the alkaline
developer, which, to my mind, accounts partly for some of the
mishaps that frequently occur to all of us. But I think it hardly fair
that tue Doctor should so summarily have dismissed the photo-
physical part of development, especially so in view of the lately
very striking discoveries made in regard to light. I refer to its pro-
duction of sound. It was found, so the report states, that when a
beam of sunlight was thrown through a lens on a glass vessel con-
taining lampblack, coloured silks, worsteds, and other substances, this
beam of light being cut up by a rsvolving disc, so arranged with slits
as to make alternate flashes of light and shadow, sound was heard,
the ear being placed close to the glass vessel, as long as the flashing
beam was falling on the vessel. By continued experiments a more
wonderful result was obtained. A prism being interposed between
the disc and the lens, it was found that sounds were given with
different intensity by different parts of the spectrum, and at times no
sound was heard in other parts of the same. The report goes on to
say that when the red played on the green, or green upon the red, the
sounds were the most intense of all, but when blue was used there
was little or no sound given off. The published account of these
experiments in the Art Journal are not as full or well arranged as
one would wish, and we will anxiously await further developments.
But from these experiments, if correct, it will be necessary to give to
light other powers than have been conceded to it, and will considerably
modify, if not change entirely, the theories of the formation of the
latent image as now held.
TUBBE ThEORIF.S OF DEVELOPMENT.
It is well known that, in regard to the formation of the latent image
and its subsequent development, there have been three classes
of investigators and defenders, two of these classes holding very
widely different views on the subject : — The photo-physical, who
claim that the action of light by its dynamic force so arranges or
disarranges, as the ca8«< maj' be, and so makes less stable, the
molecules of silver held in the gelatine film as to enable the developer
to bring forth and render visible the image unseen until action has
taken place.
March 3, 1893]
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
186
The photo-chemical, who claim that it ia a tolerably certain fact
that iinilor the action of light the haloid of silver, the bromidi'st,
chlorides, and iodides have a tendency more or less powerful to return
to the metallic state, which tendency i3 promoted and made perma-
nent by the action of developers which are always reducinf^ agents;
that is", they are substances which are able to reduce the soluble salts
of siverto the metal state. But will either of these two theories
account satisfactorily for all the chanfjes that take place from the
time of exposure to the fully developed plate ?
The third class are in favour of a combination of the two classes, or
claim a mechanical and chemical combination, and set forth thus: The
dynamic action of the wave of light, setting free the invisible particles
of silver in the granules which form the emulsion on the plate, and these
nuclei of metal acting as centres upon which the chemical action may
take effect ami proceed to the end. We know that some agents have
the power of starting an action, and that others, though not able to
start the act, have the power of continuing it and completing it.
Another theory is that the development of a negative may be
effected in one or two ways. First, the new compound may possess
an attractive force. The action of light on sensitive compounds of
silver tends to cause the formation of a substance capable of attracting
the metal of which it is a salt when slowly deposited from a solution.
This first deposit is capable of attracting more of the metal, and in
this way an image is gradually built up. This is the theory of the
physical development of the wet-collodion plate. If the theory of the
dynamic power of light can be proved, it can also be used as a theory
for the development of the dry plate. Secondly, the image may be
the result of the reduction, more or less complete, to a more elementary
state of the altered compound when treated with certain solutions, in
which state it may have the same attractive power as before. This
is the ratwmile of all alkaline development.
"Actinic Force " axd ■' Dynamical'' and " Mkchanical "
PowF-ns OF Light.
But to return to the discoveries previously mentioned, and subse"
quent ones following rapidly, as they will. If correct they will of
necessity displace to a great extent, if not entirely, the vagueness that
now surrounds the words "actinic force," "dynamical," and "me-
chanical" powers of light — words that are too frequently used to
conceal our ignorance or to impress upon the minds of others an
erroneous estimate of our own wonderful knowledge. If a wave of
light is capable of producing sound, it must have ponderance, a power
to disturb an equilibrium, to disrupt and to separate, in fact, a
dynamic power in many ways. By dynamic power we mean the
power inherent in light to strike, to move, arrange, separate, congre-
gate, disrupt, build up, or destroy any of the elementary substances,
and in many cases their compounds upon which it acts.
The very disturbances which these waves of light are subject to in
passing from and through different media must of neces.sity cause the
generation of an immense amount of energy, and when we call to
mind the immense velocity of these waves of light, and their un-
countable number, we cannot as yet estimate the force contained in
a single ray, or the power it exercises upon any sensitive substance it
impinges on. It has been repeatedly denied that light produces any
separation of the elements in the formation of the invisible image, such
as occurs wlien a visible image is formed by its action. But where is
the proof for this assertion ? I have as yet been unable to find it,
though I have sought for it diligently, and am forced to believe it to
be the dictum of one, repeated by others as true. The fact is, that,
surrounded by light, we have all the time been wandering in darkness.
Cannot the occurrence of halation or solarisation be explained if we
give due credit to the dynamic power of light, as defined ? By
halation we mean not only the havoc it plays on a window in an
interior, but also with a landscape, the foliage becoming blurred, losing
its true tone value, and thus becoming both inartistic and unscientific.
We have been taught that the reflection of light from the outside or
back of the glass or transparent support is the cause, and to prevent it
we must back the plate with some opaque substance in optical contact.
This explanation and teaching is true, as far as it goes, with our rapid
plates and films. But why do these returning rays exercise this
power, and produce this effect, if they have not hammering force, so
to speak, upon the already disturbed molecules of silver in the film ?
Wubstneb's " Improvements " on the Sandkll Plate.
A plate has recently been introduced in England, called the
Sacdell plate, that is said to be entirely free from a chance of this
mishap. It is coated by two or three emulsions of different sensitive-
ness, and to my mind this tells the story. The first coat is decidedly
less sensitive than the others ; in other words, the light power is used
. up by the time it reaches the glass, and there is no reflection.
The objections raised against those plates, in the main, consisted of
the extreme length of exposure said to be necessary ; but even here
" the doctors disagreed." Wuestner, of Jersey City, baa very much
improved the Sandell plate. His first substratum was a slow ortho-
chromatic, and upon that spread one or two emulsions of high and
highest sensitiveness, working upon the premises that halation occurred
less with dyed than plain plates. Since then he has al«f> prepared
another brand, simply with plain bromide of silver emulsions of
different degrees of sensitiveness. It is said that either of thew! plates
works rapidly, and can be safely used for instantaneous exposures, and
that halation has been reduced to nil. The reversal of the image is
evidently caused by the same action of light as in halation, but that
action has ceased before halation is produced.
Foo.
The veiling and the ultimate production of fog can be accounted for
if we agree that the dynamic action of liglit causes the molecules of
silver to be so arranged and freed from their environment in the
gelatine film, so that the latent image is formed, and, by development,
made visible. All goes well if there are plenty of molecules of silver
for the developer to act on. But let the film be weak in especially
the iodide of silver, we find at a certain point the developer stops its
work. An additional quantity of the alkali is added, the work begins
again, then stops. More alkali is added to force the developer.
Suddenly a veil appear.-", followed quickly by a fog that destroys our
work. \ou may ask me for my explanation of this destruction. The
plates most subject to fog are those known as " rapid." The film is
thin and very delicate. Bromide of silver is in excess, the iodide
much less than normal. Whilst the light was so arranging the mole-
cules of silver to form the latent image, it doubtless disarranged and
partly separated some adjacent molecules, not needed for the image,
from their weak support. The development censed because all the
silver of the image was used up, or nearly so. More alkali, the
accelerator, caused the using up of the remaining molecules. An
additional dose of the alkali started the pyro or reducing agent in
search for more material to work upon against the adjacent only
partly protected molecules, and then — well — you all know what
happens when a lighted match touches a pile of gun cotton.
John H. Janeway, M.D., U.S. Army.
THE PHOTOGEAPHIC SOCIETY'S LECTURES ON
GRAVUEE."
PHOTO-
No. II. — Etching the Plate.
On- Friday evening last Mr. Herbert Denison, of Leeds, delivered the
second of two lectures on Fholoijranire, in 'connexion with the afiiliation
scheme of the Photographic Society of Great Britain. There was again a
very large attendance. Mr. J. Traill Taylor presided.
Cleaning the Piate.
After giving a brief resume of the previous lecture, which dealt with the
preparation of the carbon negative or resist, Mr. Denison next treated of
the copper plate for its reception. The plate, he said, should have a perfect
surface, and be free from scratches. It should have bevelled edges, which
avoid the risk of the plate being scratched in after bevelling. To clean
it from grease, *c., which might cause irregular etching, lay the plate on
a piece of clean paper larger than the plate, and rub the (ace with cotton
wool moistened with a solution of American potash, strength immaterial.
When the greasiness has disappeared, rinse the plate under the tap, and
rub with another pledget of cotton wool moistened with nitric acid solu-
tion— 1 ; 3 ; rinse again, and rub over with washed whiting moistened
with a five per cent, solution of ammonia. Whiting for the purpose can
be prepared by mixing ordinary whiting with water, decanting the
solution after the coarser particles have settled, and allowing the finer
particles to settle when the whiting is dried for use. The plate should
have a final rinse in hot water, and be dried with a clean cloth.
Latino tbs Qrocno.
The bitumen ground is laid in a box, the size of which depends on the
size of the plate. Through the bottom of the box wire nails are driven
from the outside so that the points stick np inside and serve as a rest for
the plate out of the way of the dust, which will lie at the bottom of the
box. A piece of wire netting fixed at a convenient height answers the
same purpose, or a little stand of two pieces of wood in the form of a
cross. The inside of the box should be lined with glazed paper to prevent
the adhesion of coarse particles. The plate is admitted through a door
in the box, and the latter is suspended on pivots so as to be easily
revolved. About half a pint of finely powdered bitumen is placed in the
box, which is revolved about twenty times, when the plate is placed in
I-'3«
THE BRITISH JOURNAL OF PHOTOURAPHV.
[March 3, 1893
position, and after from three to five minutes the plate is talien out. It
will have a layer of bitumen in small particles.
The more delicate the subject the finer the grain required ; a dark subject
requires a coarse one. The quality of the grain can be varied by allowmg
the dust ill the box to settle for a longer or shorter time, or by leaving the
plate in the box a longer time, or by inserting it again. If the dust is
allowed to settle for about two minutes, all the coarser particles will have
subsided, and only the finest will remain in suspension ; so that,
it the deposited dixtt is found to be insufficient, the operation can be
repeated. For ordinary subjects Mr. Denison finds that the most suitable
grain is obtained by allowing the dust to settle for from half to oue
minute, and leaving the plate in the box for ten minutes.
Fixing the Grouxd.
This is done on a copper-plate heater — that is, a plate of iron about a
quarter of an inch thick, and larger than the plate to be heated, placed
on a suitable gas-stove. In a makeshift arrangement, a sheet of paper is
placed under the copper plate, which is set on the heater and watched
till the ground is seen to become transparent and afterwards to darken.
The plate is allowed to cool spontaneously. If the plate has not been
heated sufficiently, tlie ground will not be attached to it ; if too much,
the particles of bitumen will run together. To find whether the ground is
properly attached to the plate, a camel's-hair brush should be applied to
a corner of it when cooled, and the plate examined with a glass.
The exposed tissue, liaving been brought into contact with the plate
under water and squeegeed down, is allowed to remain so for about ten
minutes ; then immersed in water at 100°, the paper backing stripped
and development carried on as previously described. The resist is
dried with methylated spirit and water, the former being added until all
the Water has been removed from the film. When dry the margin of the
copper ia protected with black varnish, a line being first of all drawn
round it with a draughtsman's ruling pen charged with black varnish ;
the back of tlie plate and the edges are also varnished. The plate before
etching should be kept in a cool room to avoid stripping or cracking of
the film.
Etching the Plate.
The iron perchloride etching solutions to be employed are :^-
No. 1. 4.5° Beaume's Scale, 47 per cent, of iron in the solution.
2. 40'
3. 38"
4. 35°
5. 27°
41
38
35
27
The stronger the solution theless penetrating power it has ; a solution at
45° wiU only penetrate the thinnest part of the film, one at 27° will
penetiate any thickness. No. 1, therefore, will etch the deepest shadows.
No. 2 the next thinnest portion of the film, and so on to No. 5, which
penetrates the thickest or high lights of the picture. It requires some
experience to decide for how long each solution should be allowed to work
before the plate is transferred to the next weaker, but a good guide is to
allow each solution to operate until the darkening of the copper ceases
to spread to a thicker part of the film ; when this occurs, the plate should
be transferred to the next solution. Tlie action of each solution after the
first is cumulative. Tlie etching of the plate as a rule takes from eight
to twelve minutes ; No. 1 solution taking one minute. No. 2 two. No. 3
about three. No. 4 two or tliree minutes, and No. 5 until the highest
lights are discoloured, and from hall to a minute longer. It is advisable
to use the solutions at, say, 70° Fahr. The iron solution is made by putting
about 7 lbs, of solid perchloride into a large wide-mouth bottle and pouring
boiling water on it sufficient to cover it ; the liquid is drawn off with a
syphon, and will register between about 43 and 45 on Beaume's scale, a
portion of it can be evaporated down to form No. 1 solution, and water
added to obtain the other four strengths. If the resist has been printed
on standard brown tissue to a depth only just sufficient to give detail in
the shadows, no difficulty should be experienced in watching the darkening
of the copper beneath.
CLE.iXixo THE Plate.
When etched, the plate is washed under the tap, and rubbed with the
fingers until the film is removed. After drying, the varnish is removed
from the margin and back with a pad of cotton wool moistened in
benzole, which also takes away the ground. The plate ia next rubbed
witli another pad of cotton wool, a small quantity of spirits of turpentine
having been poured on the plate ; after drying, it is further cleaned with
cotton wool moistened in methylated spirits and dried, the final polishing
being given with the washed whiting and five per cent, solution of
ammonia already spoken of. Tlie whiting being removed with dry cotton
wool, the plate is ready for printing.
Making Cokrections.
A proof is next pulled to see what corrections are necessary. Portions
of the high lights wliich have been edged too deeply may be reduced by
burnishing with a steel burnisher, faults caused by spotting and pinholes
filled in with an etching needle, and the light portions strengthened witli
a roulette. If the plate has not been etched sufficiently, it may be re-
etched, which is done by rolling up the plate with a gelatine roller using
a special ink composed of
Spermaceti 14 ounces.
Stearine 6 J „
Asphaltum 2J „
White wax C ,,
The asphaltum is first melted and the other ingredients added gradually.
This is mixed with an equal quantity of lithographic ink and made thin
enough for use with turpentme after rolling up, the plate is shghtly
warmed and re-etched with an iron solution at 40'.
During the evening Mr. Denison demonstrated the preparation of the
copper plate, the development of the resist, and the etching of the plate,
and introduced Mr. Eeardon, of Messrs. Brooker & Co., copper-plate
printers of 78, Margaret-street, who printed from several plates.
Steel Facing the Plate.
At the conclusion of the lecture Mr. Denison described the method of
steel facing a plate. It is as follows : — A wooden box has two brass rods
running its whole length, and from them are suspended the copper plate
and a plate of iron measuring one quarter of an inch, thick face to face.
The solution in the trough is composed of one pound sal-ammoniac and
one gallon of water. The electricity is supplied by a battery consisting
of a stick of carbon in a porous cell, the latter being surrounded with a
plate of zinc and the whole contained in an earthenware jar. In the outer
cell is sulphuric acid solution 1 : 10, in the inner bichromate 3 : 20. The rod
from which the iron plate is suspended is connected with the carbon anode
tind that supporting the copper with the cathode. The current is allowed
to pass through the trough for two days before being ready. The plate
should be carefully cleaned before steel facing, first with turpentine and a
nail brush, then with benzole and rinsed under the tap, and then put in
caustic potash solution 1 : 10 for half an hour. It is further rubbed and
cleaned alternately with nitric acid 1 : 20 and with whiting and water, the
operation being repeated until the plate is chemically clean. A piece of
copper wire is soldered on to the back, and by this the plate is attached to
one of the brass rods opposite the plate of iron. A sufficiently thick
coating will be obtained in about half an hour.
The proceedings terminated with a vote of thanks to Mr. Denison,
who, in acknowledgment of it, expressed his pleasure at the interest which
had been taken in the lectures.
MULTIPLE-COATED FILMS IN PRACTICE.
The promptitude displayed by American dry-plate makers in placing
multiple-coated films, primarily designed to resist halation, on the
market so soon after the introduction in England by Messrs. B. W.
Thomas & Co. of their double and tiiple-eoated plates, as well as the
many interesting discussions to which the points involved have given rise,
says much for the acumen of Mr. J. T. Sandell in devising and taking
advantage of this system for curing one of the commonest defects to
which negatives on single coated films are liable. It must be obvious to
the photographer that, by the superposition of a rapid film upon a very
slow one, both back reflections and lateral spreadings of the light rays
are largely, if not entirely avoided, and as it is conceivable that these
phenomena are present in most subjects, not counting difficult interiors,
upon which the lens is brongjit to bear, the gain in vigour and brilliancy
of image, in the proper separation of tone and the better and truer
rendering of gradation by the use of plates having this semi-catalytic
substratum, so to speak, should be highly welcomed by those who are
alive to the influence of halation, which Mr. Sandell, with considerable
show of reasoning, regards as an almost omnipresent evil, in flattening
and degrading the image. Extending the same principle a step further,
a triple-coated film designed for interior work, which both dispenses with
backing and gives a long range of exposure latitude, thus rendering it
virtually unpossible for the photographer to over-expose in this kind
of work, should also prove a boon of great practical service.
It is with these two objects in view that Messrs. Thomas and Mr.
Sandell have been working ; but there is a third, which affects even the
humblest and most incapable amateur. It is this : — That where the
minimum normal exposure of the top film has not been under-estimated,
the latitude in exposure (of course, to be followed by suitable develop-
March !!, 18»3]
THE BIUTISH JOURNAL OF PltOTGGUAPHY.
137
ment), is boundcJ by such widely separated limits tliat, for all praolicnl
purpoees, one may,, by taking advantage of the imaf^e-forming properties
of till' lower film, igiiuro, or rather clour off, the fo(!gud impression on the
top lilm, with the hiipiiiest after-results, no far us the negative ia con-
cerned ; or, where ho has sullicieut command over his developer, can
produce a printable negative straight away. This, indeed, would appear
to show tlial line can consistently over-expose with impunity with
inultiple-coftted plates, without apprehending fatal consequences, and,
within the limits spoken of, may be independent of exposure ealculations.
As bearing upon the matter, we have lately, by the courtesy of Mr. J.
T. Sandell. inspected a large number of 15 k 12 negatives, on Thomas's
double and triple-coated plates, which that gentleman took during a recent
visit to Italy and Switzerland. 'I'hc subjects chosen embraced Alpine
views, and exteriors and interiors of liouiau, Venetian, and Milan churches,
palaces, and monuments. The outdoor views were taken on the double-
coated plates, and had a range of exposure of from a minimum of a
quarter of a second to a maximum of many hundreds that length of time.
In the Alpine views, the distance, which in all probability with an
ordinary plate and an incorrect exposure would have been lost, was
rendered with great force and strength; the exteriors of St. Mark's,
Venice, St. Peter's, at Kome, two or three Venetian palazzi, the Doge's
I'alace, and other subjects exhibit, not only an almost ideal preservation
of crispness in the relative translation of tones throughout the scale, but
also where marble was contrasted with darker stones, and where, as in
the case of St. Mark's exterior, the elevation is adorned with frescoes, a
most faithful rendering of the respective colour values.
Mr. Sandell admittedly chose very difficult tests, and at the same time
pitted himself against the best-known Continental photographers, several
examples of whose work on the sairc subjects he also showed us, side by
side with his own pictures. We must say that in the limited time at bis
disposal, Mr. Sandell, by means of his multiple-coated plates, produced
pure photographs of his subjects where the Continental photographers had
falsified the tone renderings to an alarming extent. But Mr. Handell's
success was undoubtedly the most striking in his interior exposures —
particularly in the case of Milan Cathedral, which had five hours on a
triple film. Commercial photographs of this subject are not to be had,
~o difficult is it regarded by photographers. Interiors of St. Peter's
it Home, the Jesuit's Church at Venice, St. Mark's, St. John Lateran,
md many others all taken on triple films, and with long exposures,
appeared to us to show this class of work to a degree of excellence seldom
met with, the absence of halation, the tone renderings, and the wealth
of detail being remarkable.
We understand that a public exhibition of prints from these and other
negatiTes will shortly be given.
THE STEREOSCOPE AND STEREOSC(;>PIC PHOTOGRAPHY.
[Brixton nnd Cliipbam CaiuLTa Club.]
Many authors in ancient and more recent times have observed and com-
mented upon the fact that the image of any near object seen by one eye
differs very considerably from that seen by the other, although no blurring
is apparent when the same object is observed with both eyes, and several
writers in the last century and in the early years of the present surmised
-that it was to this that our impressions of the solidity and relative distance
of near objects were principally due. Professor (afterwards Sir Charles)
Wheatstone proved that this is the case by the invention, in IS.'JS, of the
«tereoscope, which may be primarily described as an instrument by the
means of which two dissimilar views of the same object may be simulta-
neously presented one to each eye. Professor Wheatstone's stereoscope con-
sisted of a long board, at each end of which pne of the two pictures was
placed, one representing a solid object as it would be seen by the left eye,
and the other the same object as it would be seen by the right eye. The
pictures were placed in an upright position parallel to and facing each
other, and midway between them were two plane mirrors adjusted so
{.hat their backs formed an angle of ninety degrees with each other, and
their fronts angles of forty-five degrees with the front edge of the board.
The observer had to place his eyes as near as possible to the mirrors, the
,ieft eye before the left-hand mirror and the right eye before the right-
baai mirror, and then adjust the position of the two pictures by means
which were provided until similar points in the two rellected images
<eoincided with the intersection of the optic axes, when the two pictures
blended into one, which had all the appearance of sohdity. As this
instrument has now been entirely superseded by a more convenient one,
it is not necessary for me to enter deeply into its merits or demerits, and
it will be sufficient to say that its principal defects wore its clumsy and
nnmanageable size, the great lose of light by ^doable reflection, and the
difficulty that there was in securing an equal illamination o( the two
pictures.
The discussion to which the introduction of this instrnment gave rise
among scientific men led to the invention o4 several other stereoscopes in
the course of a few years, and, among others, of the lenticular stereo-
scope by Sir David Brewster, who appears also to have been the first to
suggest the application of the stereoscope to photography.
After this point in its history had been reached, the stereoscope rapidly
emerged from the experimental stage, and became in a few years a most
popular scientific toy. Since then it has lost favour a great deal, but
now there are many signs that among amateur photographers at least
it is about to achieve a greater popularity than ever, and deservedly so.
It is not necessary for me to describe the lenticular stereoscope to you,
as you are, no doubt, perfectly familiar with its appearance, but I will
attempt to give an explanation of its mode of action.
If we look at any object through the centre of a double convex lens,
such as an ordinary reading glass, and then, keeping the eyes fixed, move
the lens slightly to one side, we shall find that the object will appear to
move also, but in a contrary direction. This is because the rays of light
proceeding from the object travel in straight lines while they pass through
the centre of the lens ; but, when the lens is moved so that they pass
through its side, they are bent or refracted towards the centre, |tbe
thickest part of the lens, and the object appears to have moved a distance
eijual to the refraction, because we judge of its position by the direction
in which the rays reach us. The lenses of the stereoscope usually act in
a similar manner. They are, as a rule, mounted, so that there is a
greater distance between their centres than between the centres of the
eyes, and one is therefore compelled to look through the sides of tliem.
The consequence of this is, that the rays of light which reach our eyes
from the pictures, having to pass through the side of the lens, are re-
fracted in an outward direction, and the pictures appear to overlap each
other more or less, according to the extent of the refraction. This will
depend upon the extent of the difference that there is (if any) between
the distance from centre to centre of the eyes, and the distance from
centre to centre of the lenses, and also upon the difference (if any)
between the latter distance and the distance of the pictures from centre
to centre.
If the lenses are mounted at three-inch centres, and the pictures also
at three-inch centres, the refraction will be just sufficient to cause the
pictures to appear the same distance apart from centre to centre as are
the eyes of the observer, i.e., usually about two and a half inches. If the
lenses are mounted at three-inch centres, and the pictures at two and
three-quarter inch centres, the refraction will be greater.
There will be, first, the refraction due to the difference between the
lesser distance of separation of the eyes and the greater distance of separa-
tion of the lenses, and, secondly, the refraction due to the difference be-
tween the greater separation of the lenses and the lesser separation of the
pictures, and the result will be that the pictures will apparently overlap
to the extent of about three-quarters of an inch. It is possible in this
way, either by increasing the separation of the lenses or by reducing the
separation of the pictures, to cause them to appear completely super-
imposed, and, when this is the case, no doubt most persons unaccustomed
to the use of the stereoscope find it easiest to combine the pictures, but
the best effects are not to be obtained in this way.
It is unnecessary for me to tell you that when we look straight at any
object we unconsciously converge the optical axes, so that they would
intersect upon that point to which vision is directed in order that its
image m ly bs received upon the most sensitive portion of each retina. It
is because of this convergence that we are able to judge as closely and
accurately as we do of the position and size of near objects. Many in-
structive and amusing experiments have been devised to prove that this
is the case, and one of the most conclusive is to get some one to place a
small object, such as a thimble, a slwrt distance away from you, then,
closing one of your eyes, attempt to pick it up. The result will be, nine
times out of ten, that your first effort will be a failure. From this experi-
ment, and others of a like nature, it becomes evident that, if we wish to
arrive at a true conception of the size and distance of whatever may be
the subject of a stereoscopic photograph, the two pictures must be so
mounted, or the lenses of the stereoscope so adjusted, that when we are
looking through them the convergence of the eyes shall be neither more
nor less than it would be if we were looking at the view itself from the
point at which the photograph was taken.
When we look at a distant object, we see it with so little oonvergenoe
of the optical axes, that for praatical purposes they may be considered
parallel. This fact furnishes us with an easy guide for the mounting of
stereoscopic photographs. They should be mounted so that when the
eyes are directed through the lenses of the stereoscope to:rards similar
138
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[March 3, IStr
distant points in the two pictures, the optical axes are practically parallel,
and this will be the case when the distance between such similar distant
points in the two pictures is equal to the distance between the centres
of the two lenses. . J- A. Bitlek.
{To he concluded.)
THE
'INFANTS" AND THE PHOTOGEAPHEE,
Simmonds v. Edwards.
Two young women last week brought an action, through their father,
against a photographer at Worthing, by which they sought to recover the
sum of 7s. 6d., which they had entrusted to him under the following
circumstances : — The elder of the girls informed the Judge that she and
her sister were going to have some photographs taken, and engaged the
defendant for that purpose. They paid 7s. 6d., but their father, hearing
of their intention, would not allow them to put it into effect.
The Judge : " I suppose the defendant is still willing to take your
portrait?"
Mr. Edwards : " Yes. I never refused to fulfil the contract."
The Judge : " You decline to return the money ? "
Defendant: "Yes."
The Judge : "But you have not had the trouble."
Defendant : " I have lost time ; I kept the engagement open. Mr.
Simmonds is so obstinate that be stands in the light of my doing
business."
Plaintiff: "My daughters are both under seventeen; they are not of
age to make a contract."
The Judge : " Very likely. It they had not paid the money, very
likely I should have said he cannot recover."
Mr. Simmonds said his daughters were not going to be taken them-
selves, but made the engagement for his younger children, to which he
objected.
The Judge: "Don't you like a little surprise?" (Laughter.)
Plaintiff : " When I have a family group I should like to pay for it
myself."
The Judge : " You were not to be in it ?"
Plaintiff : "No, sir." (Laughter.)
Defendant said the money was paid by the plaintiff's son.
The elder daughter said that was not so; "Jack" was going to con-
tribute to the expense, and told them that Mr. Edwards would take the
photograph, as his ("Jack's") name was good there. But he did not
send any money, owing to the objection made by his father.
The Judge said it was a simple question of law, and, although he
thought the plaintiff was entitled to recover, his daughters being both
infants, he should like to have time to consider the case, an Act of
Parliament having recently been passed which affected minors. He
would give judgment at the next Court.
©ur iBtiitorial Entlt.
England's Film and Dry-plate Varnish.
This varnish of Mr. J. Dosiro England possesses tlie advantage of not
necessitating the heating of the negative to which it is to be applied.
It flows smoothly, and dries quickly with a hard, tough film.
Payne's Crystal Cage.
Mr. J. H. Payne, Mexborough, Rotherham, has devised a modifica-
tion of such crystal cages as we have previously seen. As the name
implies, the " cage ' is a porcelain vessel, perforated with holes, into
which the crystals to be dissolved are placed. There is a flange,
which may rest on a beaker, tumbler, or other vessel containing water,
and by a series of projections on the cage and notches in the flange,
the former may he lowered down to any desired depth. A small calico
bag is supplied for inserting in the cage, which permits of solution and
filtration proceeding automatically and simultaneously.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 3312. — "An Improved Support for Photographic Apparatus." Coinmimi-
cated by A. Roger-Dnbroni. H. H. Lake— Dated February, 14, 1893.
No. 3529. — "An Improved Toy Magazine Photographic Camera." J. W.
Rhodes. — Dated FebruMry 17, 1893.
No. 3604. — " Improvements in Nippers for Toning Photographs and Remov-
ing Prints from Baths or the like." G. C. W.Barron. — Dated Februaru AS.
1893. " '
PATENTS COMPLETED.
Improvkments in add connected with Photooraphic .\ppahatus.
No. 591. Edward Sledge, 4t), Rnral-vale, Northtleet, Kent.
December 31, 1892.
My invention relates to a device to be used in connexion with an ordinary
photographic camera, and ha."! for its object a more rapid and inexpensive way
of changing the plates of the dark slide of the said photographic camera. By
its means, moreover, tlie use of more than one dark slide is obviated.
In carrying my said invention into effect, I make a slotted opening the width
of the plate in the end of the dark slide. Over this opening, an(l securely
fastened thereto to prevent the admission of light, is fixed an attachment
called a receiver.
The said receiver is made of brass, or some similar metal, and possesses sa
mouthpiece, with lips curving outwards, so that a lightproof bag may be
attaclied thereto for the purpose of introducing plates for exposure and
removing the said plates from the dark slide after exposure without the
operator being comjielled to make use of a dark room where he can open the
slide in the usual manner. In order to prevent ingress of light when the bag is
removed, a long sliding piece, working within grooves in the receiver, below
the mouthpiece, covers the slotted opening in the dark slide when the bag is
not attached. When it is desired to introduce or remove plates, the aforesaid
sliding piece can be p\dled out by means of a lug, pin, or the like, after the
aforesaid bag is attached. Although for tlie purposes of description I have
mentioned a bag for carrying tlie plates, I do not confine myself to the use of
a bag ; any suitable receptacle for containing plates can be employed, for
example, a box having two suitably slotted openings, corresponcling to the
opening of tlie mouthpiece of the receiver of the ilark slide, the mouthpiece of
the receiver of the latter being, of course, slightly modified for this purpose,
the lips of the said moutlipiece being arranged to slide in corresponding
grooves in a small metal receiver fixed on the box or jil.ate-holder as shown,
the said box being also provided with a sliding piece, similar to that on the
mouthpiece of the dark-slide receiver to prevent the access of liglit.
The opening at one end of the box serves for introducing the plates into the
dark slide, and tlie one at the opposite end for receiving the plates after
exposure in the dark slide.
In order to prevent the plate being scratched or frayed during the process of
transferring, small rollers or lugs are fitted to the cooners of the slotted
mouthpiece, so that the plate may only bear on its edges.
IMPKOVED Magic Lantern Slide carbieb.
No. 2381. Barras Ramsay Reed, The Riding, Riding .MUl-oii-Tyne.
December S}, 1892.
My invention consists of a shutter working vertically across the opening in
lantern slide-carrier, and is capable of being applied to all slide-carriers now
in use.
It is intended to give the efl'ect of a curtain rising and falling upon the
picture exhibited on the screen. It works independently of the lateral or
vertical motion of the slide-carrier, and can be used at the option of the
operator.
I take any ordinary slide-carrier, and at the opening provided for the pur-
pose of throwing the light upon tlie picture, I cut a slot or groove in each of the
top and bottom flames of the carrier, and opposite to each other, such slots or
grooves being as long as may be found necessary.
Into these slots 1 insert my shutter, made of wood, brass, or other metal,
talc, glass, vulcanite, or any description ot material which may be thought
suitable.
The form of this shutter consists of one part being so constructed to cut olT
the light of the lantern from the picture when placed in position in front of the
condenser, the other part being a rectangular opening, which permits the light
to be unobstructed when desired.
Improvements in and connected with Store Boxes or change Boxes
FOR Photographic Cameras.
No. 4886. John Rudolph Gotz, 19, Buckingham-street, Strand, London.
January 14, 1893.
This invention relates to apparatus for storing the sensitive films or ]ilate»
used in photogruiihic cameras, for exposing the said plates in the camera one
after the other, when required, and for storing them again after exposure.
The principal object of the improvements is to construct a simjile and light
change box suitable for holding a great number of films in a small space, andi
for exchanging the exposed films for new films without tmuecessary nianipular
tion or loss of time.
The store box may either be permanently fixed to the camera .slide (dark
slide), so th.at both must be attached to or removed from the camera simul-
taneously, or the slide may be separate, and constructed in such a manner that
it can be attached alternately to the store box and to the canierii.
If thin rtexible films are used for exposure, each film is iiiounteil on a light,
but sulficientlj strong and stiff, backing, preferably ot aluminium or other
suitable sheet metal, so that the film need never be touched with th« fingers or
removed from the backing during the ditt'erent manipulations.
If the camera slide and the store box are made in one, the camera slide forms
the face of the box, and the external width of the latter is slightly less than,
the clean opening in the camera.
The face of the box contains a sliding door similar to that used in ordinary
camera slides. Behind the sliding door and parallel with the same the box
contains a hinged frame, adapted to hold a film together with its backing or
carrier mentioned above. The said frame is preferably hinged at its lower
edge, so that it may be turned backward into the box. and is provided at its-
back with springs, which press it into position. The top of the box is provi'lcl
with a door hinged on on» of its edges, so that it can be opened outward intn ;
flexible bag attached to the top of the box. The said tup door has on its ins;- :
a ledge or other suitable detent, adapted to hold the edge of the film fran;'
when the door is closed, and to release the same when the door is open'
March .1, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
im
Tli(! tiack of the store box contains a door, through which tho box is chargcil
witli frosli films, the latter being placed upright between ttie back door and
the hinged frame. The face of the hinged frame for carrying the films has a
jiair of Ttiiges, one of wliich is slightly dovetailed, for holding the edges of tha
lilm when the latter is |i\it int« it» i)lace for exposure.
The box may contain n vertical |iartition or division plate for separatiog the
imexposeil lilms from those which have Iwen exposed.
After tlie box has l«en charged with .sensitive films and attached to the
camera, the front door or slide is opened for exposure as us\ml. After expo-
sure, the operator introduces his haml through the llexible bag, opens the top
door, and thereby allows the film-carrying frame to drop baclcward into the
liox. He then removes the expose<l film from the frame, places it at the back
of the hinged frame, draws a fi-esh film out from the box into the bag, and
pla(ws it on the face of the frame. Finally, he closes the frame forward into its
normal position, and secures it by shutting the top door, after which the
apparatus is ready for another exposure.
in the case of large store boxes the camera slide is made .separate, as men-
tioned alwve, and consists of three princijial parts, namely, the rectangular
frame or Ijody of tlie .slide, adapted to be secured to the camera like an
ordinary camera slide, a sliding door which closes the front of the camera slide
as iisnal, and a hinge<l back door or frame which clo.ses the slide at the back
and serves to hold the film and carrier. This door may be provided with a
spring, bolt, or other suitab'e locking device for locking it for the purpose of
making an cxiwsure.
The store box is a flat rectangular box provided with three doors, one ui
' front, one at the back, ami one at the top. The front door, or face of the bo."
may be an ordinary .sliding door, or it may be flexible like a revolving shutter,
so that it can Ix' <lrawn from the back of the box. The to]i door is hinged on
its rear edge, and opens into a flexible bag attached to the top of the box, as in
the previous case. The back door is drawn for charging the box with plates.
Tlie front of the box has a pair of holders, or ledges, for holding the camera
slide when an exposed film is to be changed.
After a lilm has been exposed in the camera, the slide is removed from the
camera and attached to the front of the store box ; the operator then with-
draws the front door of the store box, introduces his hand through the flexible
bag, opens the top door, and unlocks the hinged carrier frame, so that the
latter turns b.ack into the box behind; he withdraws the expo.sed film, takes a
fresh film from the box, places it on the face of the hinged frame, after which
he closes the latter and shuts down the top door. The camera slide is now
removed from the box and .igain attached to the camera for another exposure.
Instead of placing the bag at the top, it may be on one side, and the position
of the various slides or doors may be varied to correspond.
Ak Improved Dish or Case kor Use in Photooraphic Development or
OTHER Process.
No. 22,633. Harry Kayser, 27, Francis-street, New Leeds, Leeds, Yorkshire.
January 14, 1893.
The object of this invention is to construct a covered dish or case in, or within
which, a photographic plate or film may be exi>osed to the action of a develop-
ing or other agent, or any similar process be carried on which requires to lie
performed in a non-actinic light, so that, by employment of the improved dish
or case, which is made so that it is not affected by the chemicals used, any
process of this nature may be carried on under inspection without the necessity
of having recourse to a so-called "dark " room, or chamber, into which actinic
light is not suffered to enter.
The improved dish or case comprises an inner dish, preferably made rect-
angidar, and consisting of a bottom and sides, the whole being made of gla.ss
in one jiiece, and properly annealed. Near, or at one corner, is a projecting
lip, open above, its upper edge being preferably about level with, or a little
above the level of, the upper edges of the sides of the said inner dish. This lip
or sjiout has free communication with the interior of the dish, and serves for
receiving the developer, or other liquid which is poured into the dish, and for
emptying the same therefrom. A vertical inner wall or screen, likewise of
§l«ss, lies in front of the lip inside the dish, and extends from the floor of the
ish up to a level with the side walls thereof, and from the side wall of the
dish next to which the lip is made for some distance parallel with the wall on
which the lip is made, extending past the lip, and terminating so as to leave a
passage way between it and the wall for entrance or exit, of the liquid from or
to the lip. This screen is intended to intercept the actinic rays of light which
might eater at the lip. The whole inner dish may be made of ruby or other
non-actinic K'la.ss (that is to say, glass which prevents ]iassage of actinic rays
niule permitting of the jiassage of visual rays, or a certam quantity or amount
<it the visual rays), or only the Hoor and the screen may be made of such non-
actinic glass.
Tlie inner dish aforesaid is enclosed within an impervious frame which will
usually be made of tinned iron or other sheet metal varnished or japanned.
This frame covers in the sides of the di.sh, and its upper face is cut out at the
centre so as to leave a projecting Hange all round, which lies horizontally at a
slight distance above the upper edge of the walls of the inner glass dish, so as
to leave a space for a sliding cover of non-actinic glass which may be slid into
;i slot in the frame left therefor, and so cover the whole dish while its edges are
guardeil by the frame. The central hole in the upper face of the frame is jiro-
videil with a hinged cover for closing it, and the said frame has also a hinged
cover which may be used to close the lip aforesaid. The frame does not extend
far under the bottom of the glass dish, but leaves a free space thereunder, so
that the plate or film or other object in the dish may be viewed by either
jL'flcrtcd or transmitted light when under the process of development or other
treatment.
IMPBOVEHENTS IN OH APPERTAININO TO PRINTISa PLATES OR BLOCKS FORMED
i)V Photographic Mean.^.-
No. 6008. Joseph Hines, 20, Hiding-street, Southport, Lancashire.
January 14, 1893.
This process is designed to supersede known methods of photo-mechanical
printing by the substitution of a quicker, simpler, better, and less costly mode
of reproducing iihotograjihs in the iirinting press for pictorial illnstration in
newspapers, books, magazines, ami other periodicals, and in job printing
generally, than any which has yet Iieen placed before the public.
It is intended to fulfil the function of supplying to the printing profession
metallic plates to be screwed upon type-high blocks of woo<l bearing upon
their surfaces photograidis in a hanl, durable sulrataiice capable of resisting
the pressure of the printing press, so that they can lie u.sed eipially by the
newsjiaper and book press, and printed along with the tyi>e simnluneonsly
with the descriptive matter accompanying it. In newspapers, periodicals,
magazines, books, or any literary or artistic production of that class on any
printing machine.
In carrying out my invention, I coat a metallic plate, preferably a stereotype
plate, with gelatine, so attached that it will not ultimately strip off; then
sensitise it chemically, so as to become sensitive to light, and allow it to dry.
When dry it is ready for exposure under a negative. After being sufficiently
exposed to light it is developed in a bath of hot sulphate of iron, whiih has
the property of shrinking those portions of the gelatine not acted upon by the
light, hence its name of intagliotype, and leaving tho rest of the picture a
rai.sed surface, without swelling the gelatine or softening it, thereby enabling
it to be jirinted as soon as the plate is dry, which only takes a few minutes.
The plate is then screwed on to a wooden base, the whole making a type-high
block ready for the jirintcr.
One of the features of the invention is the preparation of the negative so as
to break it up in such manner as to protluce the effect of an engraving, and to
enable it to print properly. This is effected by the use of thin sheets of
transparent celluloid previously printed with the lines, dots, cross hatch or
stipple, as may be required, and which ari^ jilaced before the negative in onJer
to impart their characteristics to the ultimite plate. The best effects are pro
duced by taking reverse negatives with different screens, the last one, with all
the desired effects ui)on it, being the one used with the final sensitised plate.
(For rough-and-ready work, the screens may be dispensed with altogether by
the use of a plate previously embossed with fine dots, but the results are not
nearly so effective as with the screens, by which any effect of a line engraving
can be readily reproduced.) The invention applies to either method employed,
the treatment of the plates being the same, though the resultant picture is
entirely different. The great value of the invention lies in the fact that it is
simple, rapid, and effective, there being no delay arising from the drjing of
the gelatine, inasmuch as it does not require it, the action of the sulphate of
iron not only shrinking it, but tanning it like leather, and enabling it to bear
a prodigious pressure and print an incredible number of impressions without
sensible deterioration.
In its simplest form, it consists of the photographic representation of any
picture in lines or stipple, in imitation of a line drawing or engraving where
there are half-tones.
The manipulation, when taking the negative, is the same as that of any
ordinary photograph, and the finished negative requires simply to be placed
upon the .sensitised film of the metallic plate, and exposed for a short time, to
effect all that is necessary, the resultant picture not requiring to be touched by
etching tool, graver, or acid, but simply screwed down to a wood block ready
for the printing press.
When the first negative is obtained, all that is necessary is to have at hand
a few dry plates and transparent printed screens, developing solutions, dishes,
&c., and a photographic printing frame. In order that the resultant picture
may bo right-handed, like the original, reverse negatives must be )>rocure<l,
and advantage is taken of this fact to introduce the transparent screens at
these intermediate stages, two of these screens being of parallel lines ruled
opposite ways, and one being of the dot-and-stipple order. They are so em-
ployed as to produce a hatch over the denser portions of the photograph, plain
ruling in the half-tones, and a stipple throughout the lighter pirts, l>reaking
the whole up into variegated grains of distinct characteristics, corresponding in
appearance to an ordinary engraving.
A metal plate, bearing on its surface a sensitised gelatine film, is placed
under the negative last obtained, and both together exposed to light, natural
or artificial, for the requisite time, which will depend on the strength of the
light and the nature of the sensitised salts employed. After sufflcient ex-
posure, the plate is immersed in a hot solution of suljdiate of iron, which
shrinks those parts not acted on by the light, leaving the rest in relief, in
addition to so hiirdeniiig the whole that, when it is dry, widch only takes a
few minutes, it is quite ready for jirinting. The whole process is complete
from start to finish in about an hour. The resulting block is remarkably
durable, being far superior to other gelatine plates, owing to the developer
causing shrinkage instead of, as in other processes, causing a swelling of the
gelatine. The parts which are to receive the pressure of the printing press, so
far from being softened, as would be the case if swelled, are converted into a
tough, leathery substance by the double action of the sulphate of iron, which
not only shrinks, but tans it at the same time. Its capacity to resist pressure
without wearing or abrading is ajiparently due to the slight elasticity it still
retains, but, at the same time, its hardness is .so great that it can be taken
direct out of the bath and printed at once.
The metallic plate employed as a basis for the gelatine film may be of any
suitable metal, but stereotype metal is preferred, as not only cheap, ea.-ily ca-t
and worked, but it readily forms a chemical combination with the acetic acid
and gelatine. The stereotype plates are cast, varying from one-sixteenth to an
eighth of an inch in thickness, according to size, the sizes chosen being those
adopted by the photographic profession, and known as quarter-plate, halt-plate,
cabinet, full-plate, &c., as the idea .all through the invention is to keep it within
the scope of ordinary photographic manipulation for the sake of simplicity.
It is easier to fall into these professional sizes, already in the market, than
arbitrarily to fix others which might suit the printing trade better, for they
%ill both have to work hand in-hand together, and, as both the metal plate
and the negative have to go into the same printing frame, they should both be
the same size. There is nothing, however, to prevent the printer cutting the
plate smaller after it is finished, as the metal is almost as soft as lead. The
idates may be cast on either a smooth or grained surface. If the former, they
must be scraped, smoothed, and polished, or otherwise brought to a fine, even
surface. These plates are reserved for the best work, and very varied and
140
THE BRITISH JOURNAL OF PHOlOGKAPHf.
[March 3, 1893
beautifully artistic effects may be obtained from them, dtpendinp; entirely
on the Tuaiiipulation of the negative. The grained or embossed plates arc for
establislinients where rough-and-ready cheap production is of more moment
than artistic refinement. The newspaper overseer, in a hurry to get to press,
will find them invaluable when time is precious, and they are grained or
embossed beforehand.
The original negative is all that is required for these plates, nor is it neces-
sary to use screens of any kind, because the pattern on the plate is partially
reproduced by the gelatine film in contact with it. The operator, having pro-
cured any ordinary negative, places it at once on his sensitised jilate, expo.ses
it, dips it into a warm bath of sulphate of iron, and, as soon as the effects
appear, withdraws it, screws it down on a wood block, and it is ready without
any manipulation beyond mere handling, all the pronounced lines of the
photograph come out distinct and clear, the halftones exhibit the pattern on
the plate, and the whites, if not clear enough, can be readily cut away with a
penknife. In the case of the polished plate, which is better adapted for book
and pictorial illustration of the higher class, the assumption is tliat the
operator desires the best artistic effect he can get, and. therefore, he takes pains
to select his screens with discretion and judgment. With his first negative, he
uses a screen with fine iiarallel lines in a perpendicuhir or diagonal direction,
as he may think fit. Tliis results in a reverse negative, having all the charac-
teristics of a positive, except that a thin white line appears throughout all the
denser portions of it. He now introduces a dot or stipple, the purpose of
which is to prevent the paper, when it comes to be printed, sinking down into
the hollows, picking up the ink which may be lodged therein, and thus
creating a smudge. These little jiin ]>oints, as they ultimately become, bear
the paper off the hollows. With the la.st negative he inserts a screen of parallel
lines in a horizontal direction, or diagonal lines at right angles to those of his
first negative, and the effects he requires are produced on the final plate in a
mixed cross-hatch and stipple.
If he has any artistic feeling, and but a slight knowledge of retouching, he
can obliterate lines or dots where he does not want them.
As to the method of attaching the gelatine film to the metal jilate, a perfectly
clean stereotype plate is made warm, and a warm solution of gelatine in
glacial acetic acid is brushed over it in a thin layer. The acetic aoi'l, having a
strong aflinity for the lead in the alloy of the stereotype metal, forms a close
union with it, and, inasmuch as the solution of itself is a well-known adhesive
cement, the union is perfect between them. Care must be taken not to mix
too much acetic acid with the first coating of the gelatine, as the excess over
what is taken up by the metal is liable to incori>orate itself with the next film
flowed over it to render it so soluble that, when it undergoes final development,
it has a tendency to crinkle in those portions not exposed to the light. The
plate, being floated with a solution of good gelatine, well strained, is put away
to dry in a ]ilace free from dust, yet where a current of dry air can get access
to it. The film need only be thin, but it should be level and even over all the
plate.
The mode of preparing its surface to receive a photograph depends on the
kind of light to which it is to be exposed. If for use with daylight or the
electric light, it is simply sensitised in a bath of bichromate of potass con-
taining a trace of bromide of ammonium. This soaks tlirough the film and
chromes the acetate of lead previously formed below it. It is then allowed to
dry, and kept from the light till required. The bichromate must not be so
strong as to crystallise on the surface. To prevent this, it is a good plan to
lay the jilates down on a level place and sensitise tliem by pouring a little
of the solution upon the surface, rubbing it with the ' finger until the
bichromate is absorbed by the gelatine, and finish off with a momentary wash
in water.
If neither daylight nor the electric light is available, a plate jirepared as
described, but with the addition of chrome alum, and well washed, is coated
(in place of the bichromate) with a sensitive silver salt emulsion, similar in
character and composition to those employed in ordinary dry-jilate photo-
grajihy. As this is a much more tender .and delicate film than the bichromate,
great care must be taken with it at the early stages of the process. It is
necessary to emjiloy chrome alum in the first coating of the plate to render it
in.soUible. The acetic acid and gelatine have, therefore, a small quantity of
chrome alum added to them with this object. The ingredients are all mixed
together, made hot, and brushed over the stereotype plate, which has previ-
ously received a wash of glaci.al acetic acid dried on. It is highly important,
in the case of the silver enuilsiou, that not a trace of acetic acid be left on the
jilate in a free state, as it would seriously interfere with the future develop-
ment of the picture. At the .same time too much chrome alum must not be
used, as it destroys the adhesive nature of the compound, and causes the film
to strip off when dry. The proportions can only be ascertained by experience.
as they vary with tlie kind of gelatine employed, strength of acid, &c. Of
course with the silver emulsion process the same care nuist be taken to exclude
all but non-actinic light as with a dry phate, the coating, drying, exposing,
and developing being on all fours with other rapid photographic processes in
vogue, the only difference being th.at, when the picture is taken and developed,
it is not fixed in the usual way, but at once jilunged into warm sulphate of
iron, and as soon as the gelatine has shrunk suftlciently, it is wiped with a
cloth, mounted on a wood block, and sent to the printer.
• Just as the electric light serves the jiurpose of workers in the bichromate
process on dull days when daylight is not available, so the silver process can
be utilised where the electric light is not available, and thus it becomes possible
to carry on the work by any light, gaslight or candle-light ; in fact, the light
of a match for a few seconds is ample for some reipiirements, everything in this
particular depending on the sensitiveness of the salt emiiloyed. The invention
is universal in its scope in this respect, and has the advantage that it can be
carried on in the night contemporaneously with other journalistic work without
the establishment, Avhere it is conducted, reqidring an expensive installation of
the electric light, as has been necessitateil hitherto. In the matter of time,
also, it is an immense advance on all other processes for the same purpose, it
being possible, by using embossed plates and a silver film, to obtain a picture
capable of being printed in the press within a quarter of an hour of its being
taken from the negative, there being no occasion to use screens, or manipulate
the negative in any way, the process being purely and entirely automatic.
Where the best and most varied effects are desired, screens of transjiarent sheet
celluloid, printed from engraved plates, must be used. They are cut the size
of the plates, and may have any design upon them that fancy may dictate, but
simple lines, hatches, dots, or stipples are all that is necessary.
The claims are : — 1. The process of forming printing blocks, which consists
in forming a gelatine photograph on the m.aterial of the block itself .and ex-
posing it to the action of sulphate of iron solution, whereby the unacted upon
parts are shrunk and the acted upon parts hardened, substantially as described.
2, A printing block formed of a metallic surface almost type high, and a
hardened gelatine photograph taken on the surface itself, substantially as
described. 3. The improvement in making photographic printing blocks,
which consists in forming a fine stipple photographically all over by means of
a finely stippled plate, substantially as and for the purposes described.
Mtttim^ of SocttttCjS*
MEETINGS OP SOCIETIES FOR NEXT WEEK.
D^c
March C.
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Name of fiociety.
Camera Club
Dundee Amateur
Peterboroug^h
Richmond
South London
Stereoscopic Olnb
Birmingham Photo. Society
Bolton Photo. Society
Brixton and OIai)ham
Exeter
Hackney
Herefordshire
Keighley anU District
Lewos
North London
Oxford Photo. Society
Paisley
Rotherham
Shetfield Photo. Society
York
Ipftwich
Leicester and Leicestershire
Leytonstone
Muneter
Photographic Club
Southport
Stockport
Birkenhead Photo. Aaso
Camera Clnb
Cheltenham
Glopsop Dale
Hull
London and Provincial
Place of Meeting.
Charing Cross-road, W.C.
Asso. Studio, Netliergate, Dundee.
Museum, Minster Precincts.
Greyhound Hotel, Richmond.
Hanover Hall. Hanover-park, S.B*
Brooklands Hotel, Brooklands.
Clnb Room, Colonnade Hotel.
10, Rnshton-street, Bolton.
376, Coldharbour-lane, Brixton.
City Chambers, Gaudy-st,, Exeter.
206, Mare-street, Hackney.
Mansion House, Hereford.
Mechanics' luBtitute, North-street.
Fitzroy Library, High-st., Lewes.
Canonbury Tower, fslinerton, N.
Society's Rooms, 136, High-street.
9, Gunze*street, Paisley.
5, Frederiek-ptreet, Rotherham.
Masonic Hall, Surrey-street.
Victoria Hall, (Toudramgate, York.
Art Gallery, Ipswich.
Mayor's Parlour, Old Town Hall.
The Assembly Hoom.«, High-roiuT.
School of Art, Nelson-place, Cork.
Anderton's Hotel. Fleet-street.E.C.
The Studio, 15, Cambridge-arcaile'.
Mechanics' Institute, Stockport.
Y.M.C.A., Grange-rd., Birkenhead.
Charing Cross-road, W.C.
71, Prospect -str«et, Hull.
Champion Hotel, 15, Aldersgate-st*
North Rf'nt ! Gravesend.
Oldltim I The Lyceum,,TJnion-sti'eet, Oldham.
Bristol and West of England .
Oaa-diff
Croydon Microsoonical
Halifax Ca,m»:ra Club
Holborn
Ireland
Maidstone
West Londcm ,
Hull „
Rooms, 28, Borkeley-sii., Bristol.
Public HJall.Geor^'-street.Cl'oydon.
Rnome, 15^ Daw son -street, Dublin.
**-The P'aJace," Maidstone.
Ohiswick School of Art. Chiawick.
71, Prospect-street, Hull.
PHOTOCmAPHTC SOCIETY 0*' GREAT BRITAIN.
FKBUf.vRy 28. — Technical Meeting, — Mr. Andrew Pringle (Vice-President) itt
the chair.
It was announced that, at a Council meeting held earlier in the same evening,
Mr. H. C'hapnian Jones had been appointed Hon. Secretary, Mr. E. Cliftou
Hon. Librarian, and Messrs. H. A. Lawrence and James Ciulott members of
Council.
;Thk Gfa'Ie Hand Cameiu, &c.
Mr. T. P.Watson exhibited and described the "tlenie" magazine hand
camera of American design and manufacture, a feature of which is its compact
ness. The magazine is of metal maile by machinery to gauge.s. takes twenty-
four films, and the changing ia effected by a simjile " pull-out" nrrangenient.
Mr. Watson also showed a simple catch arrangement for ]ireventing a second
exposure on an Eastman roll-holder, the invention of Mr. Kawley, an amateur,,
A PARAKFITS "BUN^^KX" BURNER.
Mr. licon Wamerke exhibited a parattin gas-stove for lieating purposes,
having the appearance of a Bunscn burner attached to an oil reservoir. It
gives off as much heat as gas, and is worked by placing a few drops of spirit on
tlie burner and lighting it. \Mion the parattin tlanie is alight, a lever pump^
increases the tiame to any desired intensity. One movement of the pump
suffices for two liours. Tlie top part is made of non-fusible metal. Tlie burner
has been introduced in R'lissia, selling at 15s., and Mr. Warnerke thinks il
might be useful where a ffame for heating purposes is suddenly required and
gas is not available.
Acid Amidol.
Mr. H. Chapman .Tones said there seemed to be an idea tlmt amidol for
development required an alkali. The makers say that the small amount of
alkali with tlie sulphite sufiices. There was, however, so little alkali present
that he (Mr. Jone^) did not believe that it could have- any practical eftect. Byr
Miirch 3, 189a]
TIIR BHITISH JODRNAL OF PHOTOGRAPHY.
141
simply aciiUfviiiR with siilnlmroiis acid, ami giving nn exposure of one s«coii(l
witli /-64, lie"li»il pro(lH«-<l witli tlie acid amiilol prai'tioally over-cx]io»ure. He
I'oulii not si'o tlio iliirci-eme twtwt-en tlie alkaline. siil|iliito ami the ileveloper a«
luaili' a^iil, «> tliat it was not the olkili wliii h was iiractically effeotive.
Thr Pasoram.
(.'olonel U. W. Stkwaiit, R.E., reail a pup. r on Panoi-amic P/io/onmphy- -
Ihc I'ani<mm, in which, n-viewing several of the raineras which liad bren pre-
viously hronght out for iwnorainic purposes, he litscrihed his own, wliich con-
sists of a rectangular box, a little more in length than the focal length of the
lens, and a little higher than the width of the lilni. The camera rests on the
head of the tripod stand, which is in the form of a circular disc, ami revolves
on ball-bearings in a socket. The camera opens so that access can be had to
the roU-liolder. in which are tixed four vertical rollers. Tlie first has the tissue
wound on it. the free end of the tissue is passed aiross the second and third
roller to the fourth, or winder, the last two kee))ing the lilm in tlie focal i>lane.
The winder is controlleii by clockwork actuated by a ball and tube. A slit
diaphragm is placotl between the second and third rollers. In use, the camera
is set on its stand and levelled, the clock wounil up, the slit aperture adjusteil,
and a suitable stop put in ; the camera is then turned round to ])oint to the
li'ft hand of the view, the bulb squeezed, a needle holding the film in position
withdrawn, ami the camera begins to rotate. I'rints of very great length may
lie develo|>ed on the periphery of a drum.
At the conclusion of the papor,
Mr. ,1. A. Haubiso-n said the same principles were utilised in the Panoram as
in the piiitiiscopic cameni, but in 1862 roUable tilnis were not available for the
purpose. He exhibited an old revolving camera which was actuated by hydraulic
iiower.
The Chairman (Mr. J. Traill Taylor, who was moved to the chair after Mr.
Pringle and the President had successively vacated it) said he had in his
possfssicin a iianoramic picture of Red Lion-sipiare which, with a microscopic
object-gl.ass of one inch ])OWer. revealed details that were invisible to the
naked eye. Many years ago Rawlinson, of Windermere, sent him a pano-
ramic view subtending the whole circle and about ten degrees more.
Mr. W. E. Debesham understood Colonel Stewart to pro|>osethat panoramic
pers])ective was in itself truer than plane perspective. This was a mistake.
I'anoramic perspective would give views which could not be got in another way,
therefore, whatever its faults, it came in useful for such views. Panoramic
perspective is in itself false when the panorama is on a tlat jilane. No one
could look at Mercator's projection without being struck at the extraordinary
disparity in the si/.e which Greenland bears to the tropical countries. As to
the perspective being true if represented on a spliere like the eyeball, it was
not so. If the photograph was seen on Hat surface the only perspective which
can give it truly is that of a flat-surface plate. If the photograph is that of a
straight row of houses in cylindrical perspective, the eft'ect is that of the outside
of a rotunda. The plane of the plate is the same as that of the picture at which
we look. As to the distortion of the foreground, as compared with the bacl:-
gronnd, and the middle distiMice, not occurring in jianoramic photography, the
difference was between the margins and the centre. As to wliat Colonel
Stewart had called distoition at angles of 80° and less, he (Mr. Debenham)
thought he was mistaken. In wide angle pictures this Was the only perspective
which would give the truc'rel.ation of the various parts ; he did not think it
should be called distortion at all.
The Chairman said a picture subtending an angle of 80° on the base line with
a wide-angle lens is vety false in perspective. By photographing a row of
spherical b.alls the centre ones would appear round, but as they approached to
the margin they would be seen to expand laterally. They should be examined
from a jioint of view equal to the focus of the lens. In a cylindrical picture
the eye should be placed in a similar way and the picture looked at close, and
then it would all be perfectly truthful. Both perspectives were wrong unless tlie
pictnres were looked at proiierly.
Mr. T. Samiels said the capacity of the panoramic camera was limited because
its initial position must be level. At the same time such jdeasing pictures couM
not be got with the ordinary camera. He had seen deptli on these pictures
whicli he attributed to the lens being so well shaded from the light. He
suggested modifying the diaphragm slit so thai dilferential exposures might be
given where dark buildings, kc , came in.
After some remarks by Messrs. Waruerke, Gotz, and T. S. Davis, Colonel
Stewart replied to the discussion, and a vote of thanks was passed to him for
his paper.
North London Photographic Society.— February 21, Lantern Night, Mr.
J. Brewer in the chair.— .Slides were contributed by Messrs. Healy, Williams,
Clarke, and others. The set of sli.les entitled Places to l>e Visited by the 1893
t'onvention were shown. They were disappointing, and are far from doing
justice either to the Devon and Cornwall Ciniera Club or the Devon and Corn-
wall district. Next meeting, March 7, when Mr. A. E. Smith will demonstrate
the photo-lithographic proce.ss.
Hackney Photographic Society.— February 21, Mr. .1. 0. Grant in the
chair. — Messrs. Sodeau and Nunri showed reductions by flashlight and print-
ing-out lantern plate. Mr. R. Beckett showed a lens made from two ninepenny
meniscus sjiectiicle lenses, and a portrait taken with it at full aperture, /-8.
The Hon. Skcrktarv aske<l why it was recommeniled to keep gold solution in
the dark. Mr. Sodkau said light was likely to reduce the gold to a metallic
form. He said, in answer to other questions, keep chemicals in moderately
cool place -not too cool, for fear of cryst.allising. Every time a bottle of
ammonia was opened some power was lost, hence it was better to use a small
bottle, or keep stock bottle full up to the neck. The strength may be deter-
mined by standard solution of oxalic acid. Mr. Barker asked, " Can ferrous
sulphate lie recovered from iron oxidised by light .< " Mr. Sodeai' said
"Yes, if organic acidifying matter be present: also recover by use of iron
filings or nails." Mr. .\vent asked how to hanlen gelatine tilms. Mr. Sodkau
said chrome alum hardens more than ordinary alum ; methylated spirit or
aluminium chloride would also do. In answer to Mr. Poulson, it was advised
to use boiled water fo' making solulioni. Mr. U(»L.n(u askcil about keeping of
sulphite of soila. Mr. Sooeau said it went to powder. .Mr. BEtKKrr said
sulphate was inert in developer. Mr. T. H. Smith asked which wan the best
kind of glo.ss to use, »nd was advised bla«^k for silver compounds.
South London Photographic Socieo.-reoruary 20, the President, Mr. F.
W. Edwards, in the chair. —Mr. W. Hick (VicePre-siilent) reail a pa|M;r on
J'riiWiiiiin ill, J'Uotnijraphii- Arithmetic. The lecturer dealt first with the cover-
ing power of lenses, and proceeded to show how to calculate the cirele of
illumination requireil for the dillerent sized )>Iates in common use when the
lens is central, and also when the front was raised. Angle of view was next
dealt with. It was pointed out that i»hot.'jgraphic plates being ma^le rect-
angular, a portion of the plate or jjart of the .ingle of view (covering power>
must be sacrificed. Where the latter course was adopte<l, Mr. Rice iletined the
angle of the photograjihic image oti the plate as the picture angle, which
depended on tne proportion of the field of view incUuled in the picture. Tables
for the simplilication of the measurement of angles were ^iven. Stojis and the
value of their focal ratio and exposure ratios were explainerl, and the lecture
was concluded with a most simple method of calculating the measurements
connected with the optical lanter:], without committing the usual formulie to
memory. *A considerable amount of discussion followed, led by Mr. P. Everitt,
who endeavoured to show that the lecturer's method of calculating angle of
view was not quite correct ; but it a)ipeareil that he did not take the same
starting-point as Mr. Rice, and it wa« ultimately ilecideil to Hx another evening
to further consider the matter. To further elucidate his remarks, the lecturer
distributed printed copies of his diagrams, with a number of questions illus-
trating the iiractical workings of the problems. By the courtesy of the
manufacturers, samples of Ciilett's " Lightning" plates and Schwartz's diamido-
phenol (developer) in powder and cartridges were distributed among the
members present. Miller's "Unique" hand camera was exhibited by Mr.
Ransom, and was very critically examined.
Aston Natural History Society (Photographic Section).- February 23,
"Mutual Criticism." — The collection of prints and interest displayed by
members spoke well for the success of similar future meetings. 'I'he works
brought up included prints by the albumen, Solio, P. 0. P., bromide,
Alpha, and platinotype processes, the latter class being represented in some
Hue .Jer.'-ey subjects by Mr. A. C. Townsenil. Mr. Tylar showed some animal
studies by Mr. Gambler Bolton, and some marine works by the Rev. F. C.
Lambert. The interest evinced in the impartial criticisms made this meeting
undoubtedly the most successful one held by this new association of amateur
and ]irofessional photographei-s.
Liverpool Amateur Photographic Association. — February 24, Mr. A. J.
Cleaver (Presidentl in the chair. — Five new members were elected. Mr. G. A.
darruthers exhibited and explained his ingenious magnesium Hash-lamp, ami
photographed a group of members as an experiment. He afterwards jiassed
several slides through the lantern, the negatives being taken with the lamp.
Mr. F. Clibborn then gave his lecture entitleii, A Little Tour thmn'ih IreUtnd,
illustrated by a .set of high-class slides made by Mr. li. E. Thompson. The
lecturer gave a very lucid description of the various views, and frequently was
very humorous.
Edinburgh Photographic Society. —PopuKr Lmtern Night. — The second
popular lantern-sliilo ex[>osition of the Society was held on Friday evening,
February 24, in Queen-street Hall. The Vick'-Presidknt (.Vlr. J. C." Oliphant)
in opening, said he desired to call the attention of this large meeting,
many of whom must necessarily be still out of the pale of membership, to
some of its benefits. The Society had an extensive membership, perhaps the
largest of any similar body iu tlie kingdom, and in earlier years it took one of
the foremost positions in Britain. By some una<'countable laxity they had
recently fallen into a .slumbering state, a state from which the present Council
wisheil to remove it. They had now secured good premises in Cistle-street,
where, for the use of the active members, they had an excellent dark room, with
all its applianc OS ; a large hall for ordinary meetings, as well as committee
rooms ; the nucleus of a photographic library, as well as all the conveniences
of a club. They wished still further to increase these benefits, their numbers,
and consequent usefulness. For amateurs, now that a great many of the risks
and diflioulties connected with the lantern and limelight were done away with,
there was a wide field of usefulness, and the opportunity for a display of their
work, besides that assistance derived from fcllow-meml)ership. All this only
costs the active member ten shillings a year, leaving still the old subscription
to those who did not wish to take full advantage of the bcneHts he had pointed
out. This evening they were to have a selection irom a large number of the
recent works of the members, which would now be shown upon the screen. The
pictures exhibited were all by members, including Messrs. Mitchell (of Dalkeith),
J. S. Smith, ,1. Patrick Reid (of Wishaw), and many others, most of which were
of the highest class. The portrait figure subjjcts were probibly the least
successful, but the landscapes, English cottage scenes, architectural work,
interior and exterior, from Torquay to the north Highlands, were markedly
fine. Those which comprised hgures with animals, from lions^and elephants
and all those of the domestic type, were especially good. Sevcr.il excellent
songs, with music, were much appreciated and applaudeil. The lantern work
was perfect, save where an occasional hitch between the speaker's descriptive
notes and the pictures shown did not h.armonise with each other. Mr. Oliphant
called for an expression of thanks to their musical friends, who had .so well
aided them. This was haartily given, and the meeting dispersed.
Othkr Photographic Soc'ikties Pi,ea.sk Copy.— Mr. R. E. Fcnner-Kidson,
the Hon. Secretary of the Brixton and Clapham Camera Club, writes ; " If I
might, 1 shoulil like to call yourattention to tne fact that the pai>er recently read
before our Club by Mr. .J. A. Butler on Stereoscopic Photoi/rnphi/, that by Mr.
B. E. Piniler on "the Optiod Lantern, and that by Mr. W. Thomas on the
Hand Camera (which have occujjied the members for the last three meetings,
and of which I think any club might lie proud), have all been by members of
the Club, the Committee having felt that in ordinary clubs of the type of our
own there has been a tendency of late to rely upon outside aid for their meet-
ings, instead of encouraging their own mambers to provide the entertainment."
142
THE BRITISH JOURNAL OF PHOTOGRA.PHY.
[March 3, 1893
FORTHCOMING EXHIBITIONS.
March 3, 4 *Blackheath Camera Club. Hon. Secretary, C. W. Piper,
46, Shooter's Hill-road, Blackheath, S.E.
,, 22, 23 Leice,ster and Leicestershire Photographic Society, Co,
operative Hall, High-street, Leicester. Hon. Secretary-
H. M. Porritt, 66, London-road, Leicester.
April 5-8 *Croydon Camera Club, Braithwaite Hall, Wellesley-
road, Croydon. Hon. Secretary, G. R. White,
55, Albert-road, Croydon.
„ 12-15 *Bolton Photographic Society. Hon. Secretary, J. E.
Austwick, 10, Rnshton-street, Bolton.
,, 17-29 'Photographic Society of Philadelphia. Hon. Secretary,
R. S. Redlield, 1601, Callowhill-street, Philadelphia,
U.S.A.
May 4-6 'Forfarshire Photographic Association. Hon. Secretary,
W. J. Anckorn, West Port, Arbroath, N. B.
* Signifies that there are open classes. <
©orrejSiJonlr^nce,
' Ccrrcspondtntsi should never vrritc on both sides of the paper. No notice is taken
of communications unless the names and addreBsca of the uriters are gioen.
ANGLE OF VIEW.
To the Editor.
Sir, — " Free Lance's " pet sin seems to be disregard of the ninth com-
mandment. In reference to my paper on Mr. Haddon's article in this
year's Alman.^ck, he states that I endeavoured complacently to show the
absurdity of the quoted table. On the contrary, I distinctly stated in the
first paragraph that by correcting the rules I hoped to make the table
valuable. " Free Dance " also states that my concrete example is a false
one, because Mr. Haddon referred to a plate and not a negative or view.
But I think Mr. Haddon's remarks, reported on page 91 of your Journal,
show that this was not his intention, for he says : — " It is absurd to give
a picture a fictitious value on account of a few trees, or twigs, or rocks at
a corner, and so dignify it with an angle of 52° instead of, say, 42°."
" Free Lance " recommends photographers to keep to the rules as
stated. Let us examine what the result may be. A photographer wishes
to use a 12 X 10 plate for a view and decides to include an angle of 62°.
By Mr. Haddon's rule he will employ a lens of ten inches focus. If the
lens only covers 62°, the corners of the plate, when developed and fixed,
will be bare glass, if he uses another lens of the same focus, which will
■cover the plate, it must be of wider angle, or about 72°. Consequently
the angle included on the plate is more than 62°. Instead of half the
length, half the diagonal of the plate should have been taken as the basis
of calculation, it the lens is used centrally. Had *' Free Lance " been less
concerned with standing on his head, he would not have forgo ten to take
the cap off the lens, and would have discovered his mistake.
Cameras are provided with cross fronts and swing backs, and photo-
graphers make use of these conveniences. Under either condition the
centre of vision is moved. If a photographer wishes to make a picture
under a given angle, it is for special reasons, one such being that the
perspective shall not be too violent in appearance. A rule to be of value
should be correct, therefore I hold that the calculations for the purposes
named should be based upon the distance from the centre of vision to the
•extreme limit of the plate. — I am, yours, &c., Philip Evebiti.
88, Evering-road, London, N., February 25, 1893.
WASHING CUT FILMS— BLISTERS.
To the Editor.
Sir, — Allow me to thank yon and your correspondents, Mr. J. E. Hodd
and Dr. J. Carter Browne, for their kind answers to my inquiries as pub-
lished in your most valuable Journal. I will try the suggestion for
washing films, but I am afraid that for 12 x 10 plates the suction will not
hold, especially when the washing water falls edgeways on the plate. I
have used the following way, which I think very good. I drill on the
smallest edge two small holes with a drill, and hang up the films to a
oross wire over top of washing tank with an S-shaped wire of suitable
length, and then let the water run. This may prove useful to other users
of the films, and if the manufacturers of films could drill the holes before-
liand so much the better.
Next I will answer in regard to blisters. Having used, since I wrote to
jou, pure alcohol and not the methylated stuff, I find I am always
iiaving the same trouble of scum after mounting, but iw blisters. I am
not positive of it as yet, but I think this scum comes simply from the tint
with which the albumen'paper is covered — pink, mauve, or whatever it is —
being dissolved by the alcohol unevenly, and remaining on top through all
ultimate washings without hurting it, otherwise than when dry. I will
*ry white paper and then see the results.
As regards blisters and a warm hypo bath I must say that I cannot agree
with Dr. J. C. Browne, having tried long ago hypo at any degree of heat,
from 40° to perhaps 100' Fahr., and have generally found the higher the
temperature the more blisters and the larger ones. Alcohol I have found
the only sure remedy. Nevertheless, I am very much obliged to these
gentlemen for their kind suggestions. — I am, yours, &c.,
4, Avenue Pinel, AsnUres, Seine, February 25, 1893. Albert Levy.
A QUESTION BOOK.
To the Editor.
Sir, — At a meeting of our Council, it was proposed that a question book
be kept. I suggested that any photographic questions that could not be
answered forthwith should be banded in to me, and I would eater them
in the aforesaid vc^ume, which Xvould be placed on thd table, and the
query replied to by some of our abler members, such answers to be dis-
cussed at a future meeting, and the best entered opposite to the propo-
sition. In due course, a compendium of useful information would
result.
My purpose for encroaching upon your space is to see if other societies
would take up the matter, so that at a subsequent date a temporary
interchange of these records could be made. — I am, yours, &o.,
Fred. W. I'ilmtch, Hon. Secretary, Aston Photographic Society.
Burlington Hall, High-street, Aston.
A CORRECTION— FERROUS SULPHITE.
To the Editor.
Sin, — In my communication which you were good enough to publish
last week, occurs a slight error, which has the effect of reversmg my
meaning. In the last paragraph but one I say, " I have been unable to
get the clearest and best 'gratings,'" &c., whereas I meant to say, "I
have been able," or just the opposite.
Some considerable time ago ferrous sulphite was recommended tor re-
storing the ferrous oxalate developer when oxidised, or for keeping it in
working order. I tried the method at the time, following the ins:ruc-
tions then given, but cannot now refer back to them. I remember that
I obtained some remarkably warm tones in development when using the
sulphite, and should be glad to try it agaiu for the express purpose of
utilising the tone, if you could kindly give me details o£ how to prepay
the ferrous sulphite, which I find is not an ordinary article of commerce.
Apologising for the trouble, and thanking you in anticipation, — I am,
yours, itc, W. Lindsay.
February 27, 1893.
[See an article in another column on the subject. — Ed.]
PHOTOGRAPHING HORSES.
To' the Editor.
Silt,— Referring to article on " Photographing Horses " in your issue
of the 17th, I send by same post a few specimens of equine photography.
The cart-horses were " handled " for the taking by Mr. G. M. Sexton,
auctioneer to the principal horse societies, and I need scarcely say that
it was an education to me to see and work for him. I prefer when taking
horses, whether with a mount or not, to stand a little in advance of them,
as it is then more easy to show the light between the legs, and I always
expose with sky-shade instead of cap, that I may be able to keep my eyes
on the animal. — I am, yours, &c., Tuos. Stokoe.
Clare, Suffolk, February 27, 1893.
RAPID SOLUTION MAKING.
To the Editor.
Sir, — It is awfully amusing to see old and tried friends of the photo-
graphic dark room ("Lab." some people designate it now) popping up
again under new parentage. The attention of Messrs. Baird, Ayres, and
Webster has been drawn to the Doulton dipping jar, which has been in
long use by the firm of Messrs. Martm & Co., and others. It has been
long known to chemists and photographers (and especially to the chemist)
as a most useful and indispensable article.
The writer has used the following rapid solution appliance from wet-
collodion days to the present time. It is exceedingly simple, and is in
some respects an improvement upon Messrs. Martin's plan. It is this : —
Procure a small, round, fancy wicker-basket, from four inches diameter to
any depth or size, costing sixpence each upwards. Cover the outside of
basket with thin calico, permanently fixed. For use, simply fill the
basket with the crystals to be dissolved, and suspend it in the jug or jar,
filling up whichever utensil is used with water. It is surprising how long
these baskets will last, especially if rinsed under the tap after use to re-
move sediment and impurities.
Maich ;i, 18»;i]
THE BRITISH JOUKNAL OF PHOTOGaAPHY.
143
Of course, 8s in tlio " old days," the Bame care is paramount in the
" new times," separate bssketa must be used for different crystalH. But
in the wet-plate days (nith certain exceptions), hypo and protosulphate
of iron were used in large quantities, only two or three baskets were
re<iuircd.
In these modern days it takes away one's breath to bo informed that
the Doulton jar is used to dissolve pyro ; yet so it is asserted in p. GliS of
Thr BiuTisii JomixAi, Pjiotoorahiic Ai,manac for 189H. — I am, yours, Ac,
February 27, IH'JS. Atticus.
AMIDOL AND PYRO.
To the Editor.
Sir, — I have been developing some instantaneous plates in the following
manner, prodnoing excellent results. I first brought out the detail witli
amidol developer, then washed the plate in water, and redeveloped with the
ordinary pyro developer, well restrained with bromide. You can then
get any amount of density without the slightest difficulty, and splendid
printing negatives. — I am, yours, &c., H. Coocn.
February 27, 1893.
THE AMATEUR QUESTION.
To the Editor.
Sib, — We would respectfully call your attention to a little booklet
enclosed, showing what we in Ireland are trying to do to meet the
amateur iiuestion. We believe many professionals look askance on
amateurs, but we think a little money rhight be made out of them.
What think you? — We are, yours, Ac., Allison & Allison.
14, Queen' s-urcade, Belfast, February 20, 1893.
[Our correspondents, who are photographers, enclose a scale of
charges for the use of dark room, developing^, retouching, printing,
&c., for amateurs. — Ed.]
SPEED TESTING.
To the Editor.
Sir, — After my long reply to Mr. Williams last week, there is really
nothing for me to say, for he does not answer the points of my letter.
Messrs. Hurter & Driffield's system of testing is the outcome of their
statement of the law relating to photographic exposures, and, in simple
language, is, that the opacities are proportional to the intensities of the
light by which they are produced acting for the same length of time.
Photometric measurements show that this statement holds good in all
plates for a period of exposure according to the plate, and, outside this
period, either way, the law ceases to hold good. This statement, the
pith of their system, is either true or false, and those who attack their
system must attack this statement. Is any one prepared to do so? If
not, it is quite useless to argue the matter further. Let me advise Mr.
Williams to accept the kind offer of Messrs. Marion & Co. to practically
demonstrate the system to him ; I promise him he will learn something.
As regards " Arcanum's " remark, I think that he argues against
himself. The fact that several people told us the plates worked well to
the marked speeds only show that the latitude in their camera trials was
sufficient to mask the error.
Perhaps Messrs. Hurter & Driffield will do as " Ignotus " asks, and
expound their system in simple language. His remarks are Bood and to
the point. — I am, yours, &c. Jambs Cadett.
Febniarij 21, 1893.
EXHIBITION OF PHOTOGRAPHS IN JAPAN.
To the Editor.
^'IB. — You were good enough to make an announcement in your
valuable journal of the collection of photographs we had the pleasure a
short time ago of bringing together from English and foreign photo-
graphers for an Exhibition in Japan.
It may now be of interest to state that we have just received informa-
tion from Professor W. K. Burton, which tells us that the Exhibition
will shortly be opened, and will be held both in Tokyo (the capital) and
in Yokohama (the principal open port) ; that the enterprise is taken up
with much enthusiasm (shown by a general desire to have the honour of
guaranteeing the expenses of the undertaking) ; that the original idea of
appointing three leading Japanese artists to adjudicate may have to be
extended to selecting ten, as there are so many " schools " of art in Japan
that it is proposed to give the designing of a bronze medal for the occa-
sion as a competitive exercise to advanced students of the Government
Art College, and that the exhibits (which were all sent out unframed)
will be framed in a quiet way, and the Exhibition made attractive in
every possible manner. We may add that a very fine collection of about
three hundred English and foreign photographs, probably never before
surpassed, was kindly contributed, in answer to our requests, by the
following exhibitors :— Messrs. Horsley Hinton, Lyd. Sawyer, E. Beck
R. H. Lord, Alfieri, Hollyer, Keene, Scott, H. M. Hantings, H. Baker
H. I', and R. W. Robinson, F. Evans, Sutcliffe, H. W. and L. C. Bennett
Mansfield. Harding, Douglass, Cole. Burchett, Davison, Crookc, Halford,
Grcgor, Wilkinson, jun., Clement Williams, Keighley, H. Stevens, Bright,
Ennis, Langc, Bhedwar, Briant, Guardia, Wellington, Tyser, Smith, Van
der Weyde, Calland, Lee, Bergheim, Ulrich, Dumont, Bedford (the late
W.), Bridson, Terras, Cassels, Dresser, Alexandre, Colls, Strakosch, Cobb,
Gale, liamsay, Rigaux, Colard, Loppe, Cameron (including some of Mrs.
Cameron's pictures), Lyonel Clark, Andra), Watzek, Blcchinger, Giruzct,
and Count Primoli, Baron Nathaniel Botcbschild, and Mrs. Main. In
many cases the contributions consisted of the best work of the exhibitor,
so that it will be seen that everything has been done to make a represen-
tative exhibition, and one likely to interest our Japanese co-workers i»
photography. We shall hope to be granted the favour of the insertion of
a note or report of the Exhibition in your columns when further informa-
tion is forwarded to us.— We are, yours, &o., G. Davison.
February 27, 1893. ' A. Pbxnole.
♦
iEicDange CTolumn*
*»* No charge tjt made Jot inserting Exchanges 0/ Apparatus in this column;
but none will he inserted unless the article wanted is definitely stated. Those
wh^specify their requirements as **anything useful" will therefore understand
the reason of their Twn-appearance. The full name of the advertiser must
in all cases be given for publication, otherwise the Exchanges will not be
inserted.
Exchange (rood tricycle for camera, 8i x 6^, 10 x 8, 12 x 10, or band camera.— Addvesr*
R. H. Blyth, 4, 0"i ford-grove, Ilfracombe.
Will excban<<e a 42s. Kodak, complete (except film), for quart«r<plate camera. —
Address, J, W. Young, Lower Gomal, Dudley.
Canvas camera case for 10x8 apparatu.*, new ; exchansfe for backffronnd or Ktndio
accessories.— Address, William Habb, Windsor Studio, Sutton, Surrey.
Will exchange The British Journal of Photography, 1890-2, complete, not bound,
(rood condition, for lulf-plate landscape leas. — Address, E. Kkau88,162, King's-road^
Reading-.
Will exchange four backgrounds and varions accessories for 10x8 rapid rectilinear
lens and twelve or fifteea-inoh burnisher. — Address, T, F. Etles, Mariborungh
Gate Studio, Marlboro ugh -row, Hortst--a.
Will exchange 13x10 camera, with thrfe Tyler's metal slides, in good condition, for
whoU'-jilato studio camera, or jwrtrait lens to cover whole-plate. — Address, G
Brown, High-street, Ibstock, near Ashby-de-la-Zouch.
Exchange box of transparent colonrs for photographs or lantern slide?, not used, and
three show-cases, hinged fronts, rod cloth backs, painted black, about twenty incfaea
by twenty-five inches each, for a 10x12 tripod (folding), or a single-view lens. —
Address, London PuoTOiiRAPHic Compaby, Jiew Brompton, Kent.
Will exchange a splendid folding tricycle, electro-plated thronghont, fine 15x12 qnick-
acting portrait lens, three full-size artistic canvas backirronnds, and lecturers stock
of specially selected lintern slides, screen, frame, reading-desk, &«■.. for a firrt-class
morJern 12x 10 landscapecamcra, rapid rectilinear and wide-angle lenses for tam«,
and 8^ x6|, also 3i> aad 5i> groiiplenses, and 3b (Dallmeyer's). — Address, Lob8I>ai.K.
& Co., 45, etrond Green-road, .N.
antftocrss to (ffotresponTientB.
%* All mailers intended for the text portion of this Journal, incltidiny
queries and Exchanges, must he addressed to " The EorrOR, Thk British
Journal of Photoghapht," 2, York-street, Covent Garden, London. In-
attention to this ensures delay.
*,* Correspondents are informed that toe cannot undertake to answer com-
munications through the post.
*,* Communications relating to Adtrrtisements and general business affairs
should be aildressed to Messrs. Henrt Greenwood k Co., 2, Yorkslreetf.
Covent Garden, London.
J. J. — Apply to a photographic dealer.
G. G. — Received and noted. 0 teinpora, &c.
Ink Stains ; J. Brian ; and others.— In our next
Derf. — We do not see any objection to your inscribing the cards as yom
suggest
J. Gould.— The new chemical formula; are given in the 1883 edition of
Hardwich.
M. A. R.— Ordiniiry silver prints placed together cannot be u«d for stereo-
scopic purposes.
E. Edwards. — Received. While the case is still pending, it would be improper
for us to publish your letter.
W. H. Wallace.— The camera and lenses named are excellent We do not
recommend particular makes.
Photomrter wishes to know the maker of a printing-out bromide paper for
testing the actinic value of the light.
A. L. S.— Consult the advertisements in the Almanac, where you will find
descriptions of sets of apparatus at all prices.
Peter.— Schlippe's salt is not much use<I. It is to be had at most dealers ia
photographic material ; it is very inexpensive.
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Marcli 3, 189.3
R. SiMCOE.— There is no secret about the transfer ink used in photo-litho-
grapliy ; it may be obtained-froin every dealer in lithographic materials.
W. Goui.D.— A single lens will do quite well tor a hand camera, provided it is
of such a focus as to cover the plate with a large aperture with the retiuisite
definition.
Bromidk.— 1. We do not know where such gratings can be obtained. See an
article last week bv Mr. W. Lindsay, which may give you a hint as to their
preparation. 2. Not worth the trouble on a snjall scale.
Easter Houdw.s.— Will any gentleman give particulars of a tour in Holland-
Rotterdam to .\nisterdam— going and returning by different routes ; five clear
days there, museums and picture galleries e.\i hided ?
R N. J.— Prints received. If they received a prize it will prove that the
standard fixi-d in the so-called " competition " is very low. However, we
have known awards to be made to pictures in no way better than these— in-
deed, not so good. Hence .so many successful pot-huuters. Tlie pictures
returned as desired.
Lincoln.— It i.s quite a mistake to surmise that r.ain water can be used for the
same purposes as distilleil water. It would be the case if it were collected
where it would not be contanunated with- impurities from the atmosphere ;
but this is never the case when it is collected from the roofs of houses, more
especially in large towns.
E. RoBBiNS.— Tf the camera has not Ijeen patented before, or previously maile
or described, von can obtain a ])atent for it. Kven if it has been, you can
still, under tlie present law, obtain a patent for it unless the sealing of it is
opposed by some one. But the patent, like very many others, would turn
out to be invalid if contested.
E. H. Debenh.a.m (York) writes of gelatino-chloride paper: -'Home photo-
graphers may Vie deterred from \ising this paper by tlie fear that there are
difficulties connected with toning, kc. Let me assure all such that if the
manufacturer's simple in.stnictions are adhered to, there is no diltlculty what-
ever in obtaining first-class results."
A. McLksnon.— Almost any adhesive may be employed for mounting carbon
pictures-, the same with collotypes. If yon preler de.ttrine, there is no
obiection to its use^ as in the case of silver iirints. Flour paste may be used
as'wdl as starch paste. The latter is the mountant in most general use for
carbon and collotype pictures. For large sizes the starch is made very thick
and applied with a sponge.
Operator. —So far as we are aware, there is no trade union society amongst
photographers. An attempt, we believe, was made some years ago to form
one, l)ut it endi.-il in failure. We quite agree with you that the system of
taking " articled pupils" or apprentices with good premiums, so as to obtain
labour at merely a nominal cost, if not for nothing, is very unfair alike to
skilled workers and the so-called "articled pupils."
Alpho. — Unless the apprentice's indentures are duly stamped they are not
binding, ami he can leave the same as any other employe ; in fact, he is not
legally apprenticed at all. So iar as we can see, there is no remedy. Agree-
ments, sucli as that in question, should be prepared by a duly qualified
solicitor. There is an old proverb, often quoted, that the man who acts as
his own solicitor has a fool for a client. This, we imagine, will turn out to
be the case in the present instance.
R. Reed.— White hard varnish, diluted with methylated spirit, makes a varnish
that is very useful for negatives that are te be carefully handled, and is
given in the Ai.>[anac. Being soft and brittle, it is easily abraded by
rubbing with the ball of the finger, and then it forms a good medium for
retouching upon. By the way, " wlute hard varnish " is a very indefinite
article, and varies with every maker. Samlarac is its recognised basis, but
■in many of the commercial articles common resin predominates.
(Papier. — If the wooden vessel were lined with gutta percha there would be no
advantage in coating the guttapercha with paraffin, which, by-the-by, would
not be easy of apjilication. Either material by itself would answer perfectly.
We, as a matter of economy, should prefer the paraffin. It will have no in-
7 .iurious action on the silver solution, and some say that gutta percha has.
'Certainly some .samples of the conmion commercial article does quickly
deteriorate a silver bath for the collodion process, and the pure article is not
easily olitainable nowadays.
?<EMO ME i.Mi'iTNE I.ACESSIT writes : " Last season I secured some pretty nega-
tives of men carting, ploughing, and felling trees, &c. ; also rustic houses
and bits, with figures at doorways and elsewhere. I wish now to publish
these. Can the person.s represented stop me ? They understood at the time
I was a professional and intended to do so. I gave them a copy each for
their trouble. This seems to me to be different from a portrait taken in the
studio." — So far as we can see, the publication of the pictures cannot be
legally prevented. It would, however, only be cautious to ask the per-
mission of the parties whose portraits are included, and they will doubtless
raise no objection.
Pioeons. — " My studio has an iron roof, and I am troubled with my neigh-
bour's pigeons settling on the same, making a noise about as pleasant as
setting a saw. Can you suggest a remedy? I have used a squirt with
water (large one), but to no purpose. I thought I would tar the roof, and
mix tar with i-ome ingre<lient, so that it would not clry, and so it would
make the feathers messy. You see, people want to Hy the pigeons, but I
don't want tliem if I can avoid it. — We can quite sympathise with our
correspondent, but a remedy is not so easily suggested. But still it just
occurs to us that cats are rather partial to pigeons, and the latter do not
like cats. Now, if "Pigeons" were to keep one or two of the feline tribe,
and give them free access to the roof of the studio, and further accommodate
them with a board ftxed alosig the ridge, the trouble might cease.
C. Wilton. — The majority of cojues of paintings seen in the shop windows of
London, that are made on the Continent, are by the wet-collodion process.
This is the process almost exclusively employed for this class of work by our
Continental neighbours. The process is ;ui orthochromatic one, of which
those who employ it do not publish the details.
J. B. writes jis follows: "If I entrust negatives to any person or firm for
process printing for my own publication, with the understanding that the
negatives are to be returned to me, is it implied that they are to be returned
in the same condition, or wouM trade custom adnut of their being stripped
and reversed without my permission, and have I any legal claim against any
person who. under these circumstances, returns my negatives reversed, cut
down in size, ami injured in other ways, so i.s to render them unfit for
ordinary work ?" — Unless permission was given to strip the negatives, they
should have been returned intact. So far as "trade custom " is concemeil,
we kuow of nothing that will justify tampering with negatives without the
owner's consent, therefore an action for damages might be successful.
Perhaps some of our readers commercially inttrested in the subject will
favour us with their experience.
K. 0. S. says : " I wished to obtain a piece of finely ground glass, .and obtained
from the oil shop some of the finest flour emery, and ground a piece of glass
with it and water, using a piece of thick plate glass as a muller ; but when a
ground surface was obtained, and the emery washed oft', there were innumer-
able deep scratches, almost cuts, in the glass, and not the even surface of
ordinary gi'ound glass. Is not the emery I used the right kind 1 " — The
finest Hour emery will give a fine, even, ground glass surface ; but it is clear
that in the sample used there must have been some very coarse jiarticles
from some accidental cause or other. If a more reliable sample of emery
cannot be obtained, the present one can be made available. Stir it up with
a tolerably large quantity of water, and allow it to rest for two or three
minutes. In that time the coarser particles will have settled to the bottom.
Tlie major ]iart of the water and the finer particles of the emery can then be
decanted, and afterwards allowed to subside. With emery so treated, though
it may not be suitable in the first instance, a fine surfaced glass may be
obtained.
Received: — E. Dunmore, J. Pike, and G. Gosling.
Photographic Club. —March 8, Mr. A. Brooker's Slides, l.'i. Smoking
Concert.
London and Provincial Photographic Association. — On Thursday,
March 9, Mr. J. Traill Taylor will read a paper on /«i^e6'<i(/fiiic»is in " .SiJsVii
Photographj/.'* Visitors welcome.
The Sutton's Process Syndicate, Limited, inform us that they have taken
commodious premises at 91, Blackfriars-road, with studio and electrotyping
plant, &c., and are going in for supplying half-tone blocks to the trade c:heaply
and quickly.
The Bolton Photographic Society will hold an exhibition of photogi'aphs on
Wednesday, Thursday, Friday, and Saturday, April la-LO, 1893. Six silver
and six bronze medals will be offered for comjjetition. Competition sheets and
all other information can be obtained from Mr. .T. E. Austwick, Hon. Secretary,
Exhibition Committee, 10, Rushton-street, Bolton.
On Thursday evening, February 2.1, the London and Provincial Photographic
Association gave their annual ladies' entertainment at the Champion Hotel,
Aldersgate-slreet, when a capital programme of songs, recitations, and iustru-
mental music, interspersed with lantern-slide displays, was given. A feature
of the entertainment was the exhibition of live objects on the screen, shown by
means of a vertical lantern arrangement with a prism lent by Messrs. Newton,
of Fleet-street.
Mr. Horslev Hinton writes: "So many photographic friends have for
some years past corresponded with me at 4ri, Cliarterhouse-square, and 91,
Gracechurch street, London — the photographic businesses of Messrs. W. B.
Whiltingliam & Co., Limited (late The Photographic Artists' Co-operative
Supply Association, Limited)— that I shall be obliged if you will spare me
space to make known that I am now no longer in any way connected with the
above business."
Change op Address. — Messrs. Hunter & Co. have acquired large manufac-
turing premises, containing over 10,000 square feet of fioor space, situated in
Dermody-road, Lewisham. The new factory comprises two distinct portions,
one of which will be set apart for the manufacture of dry plates and films, and
equippeil with the best modern ajipliaiices, while the other will be devoted to
the production of Messrs. Hunter's photographic requisites and specialities, to
which will be ailded an electrical engineering department, embracing the
manufacture of hand and power dynamos, arc lamps, and requisites for studio
and other installations.
Faok
panorams, wide axoles, and per.
SPHCriVE I2a
washing PIIOTOORAPHS 130
warm tones with iron develop-
ment 130
the weakness of "STRONG
points." By hector MACLEAN,
F.G.S.
SPECIALISATION IN FINE-ART WORK.
Bv A. HORSLEY HINTON
THEORIES OF DEVELOPMENT. By
.lOHN H. .lANEWAY, M.D
THE PHOTOGRAPHIC SOCIETVS
LECTURES ON "PHOTOGRAVURE "
OOMTBNTS,
Paoe
MULTIPLE . COATED FILMS IN
PRACTICE 136
THE STEREOSCOPE AND STEREO-
SCOPIC PHOTOGRAPUV. By J. A.
BUTLER 187
THE "INFANTS" AND THJi PHOTO-
GRAPHER 13S
OUR EDITORIAL TABLE 13S
RECENT PATENTS 1**
MEETINGS OF SOCIETIES 1*0
FORTHCOMING EXHIBITIONS 1«
CORRESPONDENCE Ul
EXCHANGE COLUMN 1«
ANSWERS 10 CORRESPONDENTS lU
lS-2
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1714. Vol. XL.— MARCH 10, 1893.
NOTICE— THE "LANTERN RECORD."
Advbrtiso to an announcement made last week in ihe
" Lantern Record " (the monthly Supplement to The British
.TouRN'AL OF PiioTociHAPHY), it may be convenient if we here
repeat the substance of what was there said. During the past
winter the " Lantern Supplement " has met with such apprecia-.
tion at the hands of readers and advertisers, that, instead of
confining its ai)pcarance to the months from October to March,
as was originally intended, we have decided to issue it monthly
throughout the year, without intermission. The next Supple
ment, therefore, will appear with the Journal of Friday, April
7, and will be contiimed every month.
Although during the summer the lantern, among photo
graphic societies and at public entertainments, is not so largely
employed as in the winter, its uses for enlarging, and for scientific
and experimental jmrposes are still very extensive, while the
preparation of negatives for lantern slides, improvements in the
optics, mechanics, and construction of the lantern, and its
many accessories, and, in brief, lantern matters generally, are
of constant interest to photographers and others. It will,
therefore, be the aim of the " Lantern Record " to devote itself
to the treatment and discussion of the optical lantern and
its allied subjects as fully as possible during the forthcoming
.summer, so as to form a complete and unbroken record of
lantern progress and practice.
HOW BUSINESS MAY BE REVIVED.
Depression in the photographic profession appears to be almost
universal, not only in the Sletropolis but throughout the
whole of the Kingdom. So far as we have been able to ascer-
tain, there appears to be little prospect of an immediate im-
provement, at least, so far as portraiture is concerned, and
that has hitherto been, and still is, looked upon as the most
important branch of professional photogi'aphy. It is not
necessary just now to speculate as to the cause, or causes, of
the depression — it undoubtedly exists. It is the remedy tliat
may, at the present time, be more profitably considered. It
has been suggested that a revival of business could be brought
about if some new style or size of picture could be introduced
that would take tiic public fancy. But we fear there is but
little prospect of this being done at present.
Let us see if there are not other channels into which professi-
onal photographers may profitablyj turn their attention. In
doing so we shall, however, have to show that a very large
amount of business, which ought to be and is legitimately that
of photographers, has been diverted into other trades, such as
lithographic and other printers. Just let us take two or three
cases by way of example. Photo-lithography, to which we refer
elsewhere : here a photographic negative has first to be made,
then from that an image in fatty ink is obtained by the action
of light on bichromated gelatine. The work is purely photo-
graphic, and up to this ])oint is simply equivalent to that of
the lithographic draughtsman when he places it in the hands
of the printer — a difTerent business altogether. Relief or
" process " blocks : this is purely a photo-chemical process up
to the time that the block is ready for the press. So far as
separate ci-afts are concerned, it is exactly parallel to the work
of the wood engraver. Photogravure, too : here we have to
produce a negative, then make a reversed transparency, and
afterwards obtain from that a negative in carbon on the copper-
plate. The remaining operation is entirely a chemical one.
Photography entirely takes the place of the engraver or etcher.
Collotype is still more entirely a'photographic process, inasmuch
as the finished plate cannot, like the process block, engraved
plate, or litho-transfer, be placed in the hands of their different
printers. A special training for the work is necessary ; for
although the method of printing is analogous to that of litho-
graphy, we arc given to understand that lithographic printers
cannot deal with collotype plates. Woodburytype is even yet
more conapletely a photographic process throughout. Still,
all these processes are being neglected by photographers
generally.
All the photo-mechanical processes that are being worked at
the present time were, with the exception of some slight modi-
fications, in the possession of photographers twenty or thirty
years ago, and full details of them were published in the
journals; but they did not avail themselves of them at the
time, nor have they, to any extent, done so since. Other
trades have, however, during the past few years taken them
up, and are turning them to very profitable account.
Talbot's method of photographic engraving, for instance, was
published in 18.58, and that is the basis of, and differs but slightly
from, the process now most in vogue. Further, the identical
method described as the Talbot-Klic process, which was demon-
strated the other night by Mr. Denison, was published nearly
ten years ago in this country, yet it has received but little
attention at the hands of professional photographers up to the
present, though largely worked by others. Again, collotype,
precisely as it is worked at the present day by some firms who
produce the best work, was, in its entirety, fully described in
the English journals more than twenty years ago. But how
many really professional photographers have taken it up ?
Should this state of things continue to exist !
AVould it not be well for many of those photographers who
! are now so loudly complaining of the lack of trade, to turn
146
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Mareh 10, 1898
their attention to some of the mechanical processes in their
own businesses ? None of them require much space or costly
appliances for their practice beyond what is found in every
portrait establisliment. We surmise there are few photo-
graphers, especially in manufacturing districts, but who could
often have materially increased their returns, had they the
means of turning out mechanical prints at a short notice and
at a moderate price. Hitherto, as a rule, when an ordinary
photographer accepts au order for mechanical work, it is put
out to be executed, sometimes even sent to the Continent
This generally means a delay of some weeks, and sometimes
with the result that in the end the work is not done as it
should have been, whereas, if it could have been executed on
the premises, it could have been done in a few days, and, what
is of still greater importance, would have been in accordance
with the photographer's and his client's requirements.
The processes that would be most generally useful to the
ordinary professional photographer are photogravure and collo-
type. The former is eminently suited for portraits and land-
scapes. There is little doubt that, if people could have
veritable engravings of themselves, they would prefer them to
silver prints, and would willingly pay a considerably enhanced
price for them. Collotype is also good for portraiture, though
it must be confessed that portraits hitherto produced by this
process in England are not of a very high class ; but that is
not the fault of the process. It is, however, for views, repro-
ductions, book illustrations, and for trade purposes that the
photographer will find collotype most useful. Some have the
idea that this process is not capable of yielding results equal to
silver prints, and the notion is somewhat supported by the
quantity of inferior work that is to be met with ; but this, as
we have just said, is not due to the process. Collotype is
capable of yielding prints as good as those in silver, or those
from engraved plates.
The collotype process requires no expensive plant for its
working on a moderate scale. The most expensive item is the
printing press. One of the form most generally in use in
Germany to take plates ten or twelve inches wide costs only
about twelve or thirteen pounds, and the other necessary items
may be had for something less. The cost for installing photo-
gravure was referred to last week.
PHOTO-LITHOGRAPHY FOR AMATEURS.
The full attendance at the Photographic Society's lectures on
photogravure, and the evident interest evinced in every detail
of the process, testifies to the awakening appreciation for this
and similar processes of reproduction on the part of amateurs
and photographers generally. But, while photogravure may be
taken as representing the highest artistic form of such pro-
cesses, as well as the most difficult to master, there are others
of a similar nature which, if not capable of producing similarly
artistic results, are, at any rate, applicable to a variety of
utilitarian purposes, and, at the same time, form stepping-
stones in a certain measure to the practical mastery of the
more difficult methods. Foremost amongst these is photo-
lithography.
By this title we mean to refer only to the simpler kinds of
photo-lithographic reproduction, those in which photography is
called in to assist in making "transfers" from lino subjects, or
others in which there is no natural half-tone, to be printed
from an ordinary lithographic stone or its substitute. The
higher branches of photo-lithography — or " collography " as it is
called technically — include processes which are not only capable
of yielding the most artistic results attainable by any methods,
but in which the rendering of half-tone is even more perfect
than in photogravure of the highest class. But these are even
more difficult to work successfully, and require such an array
of special materials and appliances that they are almost beyond
the capabilities of the amateur or worker on a small scale.
Not so, however, the more modest methods of line reproduc-
tion, the applications of which are numerous and useful in the
hands both of amateurs and professionals. For instance, we
are acquainted with one amateur who executes all his own note-
paper headings, monograms, and suchlike, making|the transfers
himself by reduction in the camera from, carefully prepared
originals on a larger scale, the printing being performed by a
skilled litho-printer. In the same way we have seen concert
programmes and similar things that have been rapidly and
economically reproduced from pen-and-ink sketches, while an
endless variety of similar uses will suggest themselves.
For the production of the transfers themselves scarcely
anything is required that is not found in the average photo-
grapher's laboratory, lithographic transfer ink being perhaps
the only special requirement. For the printing it will be better
in the majority of cases to utilise the services of a practical
lithographic printer, as, although the process is not a diffi-
cult one to learn, it is seldom that the practical photographer
and lithographer are found combined in one individual. It is
by no means an unlikely occurrence, if the photographer him-
self undertakes the printing, that though his own proper share
of the work may be efficiently performed, it is spoilt as soon
as he attempts to get into the ground of anotlier, whereas ai
skilled printer would have known how to make the most of it.
Some years ago, having access to a lithographic machine and
the assistance of a skilled lithographer, we made, by the simple
process about to be described, a series of reduced copies of
line engravings, which on the smaller scale wore generally said
to be superior to the cheap originals from which they were
made.
The first requirement is, of course, a suitable subject for
reproduction — that is to say, one in which the half tone or
gradation is represented by lines, dots, hatching, or mechanical
grain of some sort. But tliis is not all ; the grain^ of wlwtever
character it may be, must not be too fine, especially if it is to
undergo reduction, or it will not bear inking up with the litho-
graphic roller without clogging. In this matter a slcilful litho-
grapher would often succeed with a class of subjects that would
be impossible to the mere photographer, who will do well to
confine himself — at first, at any rate — to tolerably open sul)-
jects, and to altogether eschew any attempts at extremely fino
work. When he has acquired some experience in making and
washing up the transfers, he may, perhaps, venture on to a
better class of work, and with the assistance of a practical
printer he may then, perhajis, succeed in producing what
might pass for fairly good line engravings or etchings.
The next step is the production of a suitable negative, and
this, perhaps, forms the chief difficulty in the process. For
this purpose, perhaps more than in any other process, a nega-
tive of great density and perfectly clear-glass shadows i»
required, the latter condition being, if anything, the more
important of the two ; at lea.st, any decided veil over what
should be the clear parts is far more objectionable than a littlt
falling short of absolute opacity — if there be such a condition
— in the deposit. In the old collodion days tliis type of
negative was not at all difficult to produx:e-, and for that reason
March 10, 1893]
THE BWTISH JOURNAL OF PHOTOGRAi HY.
147
the wet collodion still remains in use wherever " prooess " work
is done ; but, except luider special conditions, it is not by any
means easy to attain to the requisite clearness and density with
gelatine plates — that is to say, with the ordinary commercial
rapid platea
In order to make the best of matters as they stand, let a
" slow " plate be selected. There are special photo-mechanical
pliites in the market, but any reliable slow plate will answer
with careful treatment. Lot a full exposure be given — that is
to say, avoid «n(/('/--exposure ; but, on the other hand, do not
ijo to the opposite extreme. Develop with hydroquinone,
using bromide, or, better still, with pyro and ammonia, mixing
the developer with a saturated solution of gallic acid instead
of plain water, as described in these columns some few years
back. If the latter plan be adopted, the exposure may be very
much increased with advantage, and the development will be
gradual, resulting in any desired degree of density without
appreciable loss of clearness.
The basis for the actual transfer is paper coated with gum,
o'clatine, starch, glucose, albumen, or any similar substance, or
a combination of them, sensitised with bichromate of potash,
and carefully dried. If a special paper bo prepared, a solution
of gum arable, with a little sugar or glucose to remove its
brittleness when dry, may be spread tliinly but evenly, by
means of a brush or by floating ; or a small proportion of
gelatine may be mixed with the gum if a more robust layer is
desired. But for our own part we prefer to use an article easily
obtainable, ready to hand, namely, ordinary albumenised paper,
as used for silver printing. Here we have a product in every
way suited to the purpose — the chloride contained in the film
does not interfere in any way — and more evenly and carefully
coated than the photographer is likely to do himself, and which
only requires sensitising.
This is ertected by floating the paper, plain side downwards,
on a solution of bichromate of potash, of the strength of one
ounce to the pint of water, for three or four minutes, or until
it has entirely lost all tendency to curl. The albumen surface
should not be brought in contact with the solution, or it will
be partly dissolved, and rendered uneven. As it is, great care
must be observed, as the solution penetrates the paper and
softens the albumen, which is thus extremely liable to injury.
After floating, the paper is hung up to dry, being finished off
by heat, to ensure perfect desiccation.
The exposure is made in the printing frame in the ordinary
way, and is continued vmtil a strong brown image is formed
and appears to grow no darker. The object is to harden the
whole thickness of albumen in the insolated parts, without
allowing the white lines of the picture to be touched. If the
exposure is insufficient, there is danger of the transfer washing
off the paper in development ; on the other hand, in the case
of over-exposure, the wliole image will be dirty and " smudgy."
After exposure, the surface of the print is covered as
uniformly as possible with lithographic transfer ink. This is
best done, if the means be at hand, by rolling it upon an inked
stone, but, failing this, the ink may be applied by means of a
chamois leather or silk " dabber," and spread as evenly as
possible. When the surface of the print has been reduced to
an even tint of black, it is transferred to a basin of clean, cold
water, and allowed to soak for a few minutes. Gradually the
unchanged albumen dissolves and leaves the paper, carrying
with it the ink attached to the white lines of the picture, the
dark lines represented by the hardened albumen remaining
intact. The process may be assisted by means of a camel's-hair
pencil carefully applied, but it is better to allow the develop-
ment to proceed as far as possible without interference. Every
care must bo taken, under all circumstances, to avoid letting
the dislodged ink attach itself to the paper to form smudges.
If gelatine has been used in the preparation of the paper, or in
case of over-exposure, it may be necessary to use slightly warm
water, but it is not advisable to resort to this course unleas
absolutely necessary.
When the development is complete, the superfluous moisture
is removed by gentle pressure between blotting-paper, taking
care that the surface of the transfer is not rubbed at all. It is
then ready for application to the stone or jjrinting surface,
which, as we have said, will be better done by a qualified
printer, or it may be allowed to dry. The method is similar to
that followed with an ^ordinary transfer ; it is laid on the
stone, damped, and passed once or twice through the press ;
then, as the ink is not separated from the paper by a soluble
film as in an ordinary transfer, it is a desirable plan to pass a
hot iron over the back of the paper once or twice, to melt the
ink and cause it to sink into the surface of the stone ; then
redamp, pass through the press again, and strip in the ordinary
way.
We have necessarily given but a brief sketch of the process,
leaving the printing entirely for other hands. Our remarks
are intended to be chiefly suggestive, and our readers will bo
able to elaborate them in such manner as best to suit in-
dividual cases.
Another " Xiarg'eBt '' Fbotog-raph. — It seems as if this
country will be well represented in the matter of large photographs
at the Chicago Exhibition. The Autotype Company have just pro-
duced, for a well-known, firm of photographers, an enlargement some-
thing over seven feet by four feet six inches, which is to be sent to
the World's Fair. This, we are informed, is the largest carbon
picture that has yet been produced on one piece of paper and printed
from a single negative.
The Determination of Plate Speeds. — The recent
correspondence on tliis subject in our pages, provoked by Mr. G. F.
Williams' articles, has excited very general interest ; and, as Mr.
Williams is at an early date to read a paper before the London and
Provincial Photographic Association in defence of his standpoint, we
may expect an animated and profitable discussion, at the hands of the
supporters and the opponents of Messrs. Hurter & Driffield's
theories.
The Sun's TTltra-vlolet Radiation.— In reference to the
recent experiments on this subject chronicled by us, it may be stated
that the measurements were made by an electrical actinometer. The
instrument was based on the fact that the ultra-violet light accelerates
the dissipation of an electric charge from a cathode of amalgamated
zinc. The portable instrument devised is in the form of a cylinder,
which is to be directed to the sun, a charged sphere of amalgamated
zinc being first inserted, and the rate of its dissipation being gauged
by an Exner electroscope. Experiments were made at various
heights, and it was found that of the perpendicular rays falling at
Sonnblick (.3100 metres above the level of the sea) forty per cent,
reached that level, twenty-three per cent, of these were absorbed
before reaching the next station (IGOO metres), and only forty-seven
per cent, of the remainder reached the level of Wolfenbiittel (80
metres).
Amateur Astronomical Fhotogrraphs with an
Ordinary Telescope. — At tlie last meetinjr of the British
Astronomical Association, a paper by Mr. Lawrance liicbardson was
read, describing how these could be produced with a very simple ar-
rangement. The need for the use of an astronomical clock is the great
148
THE BRITISH JOURNAL OF PHOTOORAPHV,
[March 10, 1893
drawback, but granted possession of this necessary instrument in astro-
nomical observation, Mr. Richardson showed how the only apparatus
he used was a home-made arrangement of cardboard, gummed together
and fitting on to the draw-tube, by means of which he took fnur
photographs on a quarter-plate. The telescope wan not corrected for
photographic purposes, but by putting the plate about a quarter of an
inch outride the visual focus he obtained sharp results. He tried the
effect of stopping down the aperture, and the results were at one end
of their range very singular and contradictory of photographic ex-
perience. Thus, the instrument was a 4^-inch objective; when he
stopped down to 3 J a sharper image was obtained ; a still sharper at
2^ inches, still further improved by a 1-inch stop. But when he
arrived at a half inch, the image became less sharp. By using an eye-
piece, he obtained photographs of the moon 2| inches in diameter.
For photographing the constellations, he used an ordinary landscape
camera strapped on to the object-glHSS end of the telescope. He
stated that this was by far the easiest mode of taking astronomical
photographs.
Slectrlc Spark PhotograpUs.— The lecture delivered at
the Edinburgh meeting of the British Association by Professor
Boys on this subject is now being published with illustrations in the
pages of our contemporary, Nature, and those of our readers interested
in some of the most remarkable experiments in instantaneous photo-
graphy hitherto made will do well to read the paper in its entirety.
Professor Boys is known as the originator of a variety of most in-
genious experiments for showing the results of certain rapid, or almost
instantaneous, effects of motion — his explanation of how soap bubbles
burst, and so on, are to be found in his interesting brochure published
by the Christian Knowledge Society ; but the photographic repre-
sentations of a bullet travelling at a speed of about two thousand feet
a second are startling. The lecturer modestly called the part he had
taken in producing them a subordinate one, but those who read his
account will soon be aware of the ingenuity of the methods he
adopted, and the originality of his ideas. Practically, the method
adopted is, to cause the light of an electric spaik to be diffused by a
lens, opposite to which is placed an ordinary camera. The bullet
passes across this field of light, and a photographic image is instan-
taneously secured. The details of the arrangement for ensuring tliat
the very moment the bullet passes across the field the light shall be
there cannot be put in a brief paragraph like this, but they will well
repay perusal in the complete paper we quote. They are interesting,
and marvellous in the highest degree.
Kome-mado Electric Iilg-ht by Battery. — There are
many who would like the opportunity of an occasional use of an in-
candescent electric light, but who do not care, or who have not the
means, for setting up a dynamo and power engine. Xo doubt,
battery power can be and has been used for the purpose, but this
means of using electricity is open to the objection of its variability,
and the mess and trouble of setting it up whenever required. But it
is possible to get a very even quality of light from a storage battery
(which, after all, is only a form of chemical battery, though the name
of storage battery so well indicates its power that it is not likeh* for
some time, at all events, to grow into disuse), and it is also possible
to " charge " a storage battery by means of a set of bichromate cells.
How to make a " Home-made Storage Battery " is recently described in
an article in the New York Electrical World, and the paper is quoted in
exfenso in the Ertglisk Mechanic last week. Tlie ingenuity, and power of
using tools to advantage, required to construct such an arrangement
are decidedly less than what would be needed for making cameras
and camera appurtenances such as numberless photographic amateurs
construct. Hence, after reading the instructions alluded to, it is quite
possible that in the near future our amateurs may show us not only
photographic apparatus of their own construction, but also dark
rooms lighted by electric lamps, fed by batteries, alike made by the same
hands. The lamps themselves are now to be had at such a cheap
rate that it would not be worth while to attempt their manufacture,
the vacuum producer needed for their construction being a moat
elaborate arrangement, not to speak of filament making.
STUDIO-BUILDING.
A WHITER in these pages has, in so complimentary a letter, asked for
my views on studio-building, that, much as I dislike intruding my
personality on questions where great diversity of opinion exists, I
cannot but respond to the best of my ability. The Editor informs me
that, in a further letter, " H. L." thinks I can put the matter in a nut-
shell— quite an impoisibility. In entering upon this subject it may
be said at the outset that the conditions favouring the design of such
buildings at the present day are far less restrictive than in the times
when we had no quick gelatine plates. Then we had to consider how
to get as much light as possible to ensure rapidity on dull days; now
we have rather to arrange how to dimini.nh the light. Hence, the
battle of lean-to, ridge roof, sloping front is almost ended, for the
chief factor in determining one or the other was the angle at which
the dominant liffht struck the glass on its path to the sitter, much
light being lost by reQection when the angle was considerably diver-
gent from a right angle. Hence we may be guided by conditions of
convenience alone.
As to the slvipe of the studio, the " nutshell " idea will be perhaps
carrifd out when I say that, granted a lofty building, and plenty
of skylight and sidelight, it is the blinds, and the blinds alone, that
govern tlie light. The common plan is to make them run close to the
glass, but to do this is quite unnecessary. They may run in any
direction most easily managed, whatever the shape of the roof, and
at any distance from it. But it should always be borne in mind that,
the farther tliey are away from the sitter, the less the variation in
the light, and when a sitter changes his position, and also when a
group is taken, the more even will be the illumination over the indi-
vidual sitters composing it. To emphasise this idea, let us imagine a
sitter placed in the middle of a roofless room with four opaque walls.
Whatever the shape of the roof, supposing it all glass, the lighting of
that sitter would be, for all practical purposes, identical. As to the
aspect of the main light, the north has imiversal preference on account
of there being least disturbance from the sun. By a north light i.*
to be understood one which falls from that quarter on one side of the
sitter when he faces due east or west.
For timplicity, and con.sequent cheapness, of construction, a ridge
roof is to be preferred, and I will therefore describe such a one, and
mention the conditions to be considered in erecting it. In building any
studio whatever, it will be a mistake to be governed by the mode the
light falls at the time of construction, unless it be near midsummer.
Many studios built in spring or autumn, or in winter, which act
admirably in those seasons, may be found to be greatly inconvenient
when summer arrives, tlie sun then being so high in the heavens that
it falls upon the glass and in front of the sitter, causing fogs and
streaks through, perhaps, unnoticed sunbeams that are difficult to
combat.
One of the most important considerations in arranging a studio
is to be able at will to illuminate by a main light either the
right or the left side of the sitter. It is not always enough, if one
side of the face is found the best, to turn the sitter to the light if the
side turned to the shadow is the one preferred. Power must be taken
to cast the chief light on either side of the face. This may be effected
in two ways. The studio may have a light on each side, one to be
always screened off by blinds, or its fittings may be so arranged that
the subject may be placed at either east or west end. I have tried
both ways. The former I have found so objectionable in summer
time, owing to the difficulty experienced in keeping the studio
cool, one of the sides in such studio necessarily being south, and
exposed to the full sun rays almost all the day, that I have abandoned
it enti.-ely, and gain all the effects I need by using either end of the
studio at will. This arrangement, it will be seen, puts out of court
the once famous " tunnel studio." My present studio is built with
this double light, the south being much smaller, yet I have practi-
cally disused the south light. The glass on that side is nearly wholly
roofed over with opaque covering placed outside, and ceiled inside
under the glass to improve its appearance.
Another very important matter to be thought of in selecting the
position of the studio is the direction of the surrounding buildings.
If the studio be built in a garden with high buildings around it, it is
evident that they may fatally obstruct light in one or more directions;
but,as a counterbalance, these structures may also obstruct the sun's rays,.
March 10, 1803T
THE BUITISH JOURNAL OP PHOTOORAPHY.
149
and prevent their enterin(r the room. When, for example, they lie at the
west end, they will, if lofty, quite keep out the sun's rays after noon,
oud greatly assist in coolinj; the studio, a most important thinir to he
attended to. Hut another aspect of the case then presents itself. If
they do so obstruct the sun'srays, they will also obstnicl the more front
light from falling upon the sitter when he is placed at .the east end. I
name all these jioiuts, aa they will assist in forming a conclusion as to
the best aspect. If such buildings prevent the due use of a north
light, a studio built to face the east — sitters placed at north or south
end — will answer well, for, by ten o'clock in the morning, the sun
will be well uway from the east end, and will not fall inconveniently
into the room. If, however, there are no tall buildings at the
south, it will be found that sunbeams will be painfully prominent
at work. A studio I once had was built in this direction early
one spring, and it was not till the summer months approached that
trouble was e.vperienced. I got rid of it by erecting a tall wood
screen at the sitter's end, outside (this wn-s a tunnel studio built thirty
years ago), and between the sitter and the camera was placed, just so
high as to escape the range of tlie lens, a wooden false ceiling to
intercept the direct rays. I was some little time in discovering the
cause of certain streaks on the upper part of the plate, they being
confused (this was in wet-plate days) by the streaks produced when a
wet plate during development is held up to the light for more than a
brief moment, hut eventually they proved to be sunbeams.
I think I have now thus far so dealt with general principles as
possibly to aid any one in forming his own plans when on the actual
site of a proposed studio, and in a succeeding chapter I will enter
more into practical details.
G. Watmough VVkbstbb, F.C.S.
A NEGLECTED DEVELOPEK.*
SoMB years ago I tried a number of experiments with a view of adapting
the hydrosulphite developer to gelatine plates without in any material
way altering its original form and its simplicity of preparation, but
I failed to secure any very conspicuous success, as the less energetic
solution formed with sodium sulphite proved too slow, and the ob-
jectionable zinc salt formed an obstacle in the way of the other.
Since that period, however, there have been introduced a large number
of substitutes for pyro, and it is by no means impossible that, by the
use of one or other of these instead of pyro, the objectionable pre-
cipitation may be obviated. This, at any rate, forms one direction in
which it may be worth while to experiment.
But, failing success in that direction, we may look in another, that
is to say, we may try the use of a solution from which the zinc has
been eliminated or which has been produced without the assistance of
zinc or other metal capable of forming insoluble deposit. For this
purpose we have fortunately the choice of two or three different plans.
First of nil we may employ the hyposulphurous acid itself, which
is easily separated from the zinc, though its extreme instability
scarcely renders that plan worth trying. Or we may separate the
hyposulphite of sodium from the objectionable zinc-sodium compound,
and this, though not a very easy process for those not accustomed to
chemical manipulations, at least supplies us with a tolerably definite
and stable product, which, if the demand arose, would, no doubt,
become an article of commerce. Lastly, we may use, instead of
zinc, a metal which forms no basic compounds similar to that of
zinc.
The exact composition of the hyposulphite does not seem to
be thoroughly agreed upon. In Watts' Dictionary I find it men-
tioned as Na II SO; while in a recent edition of Fownes, edited by
Watts, the same autliority speaks of it as Na.^ SO.^ ; the former has
the composition of an acid, the latter of a neutral salt. The fact that
either the acid or neutral sulphite, when submitted to the action of
zinc, produces a solution possessing developing powers, renders it
possible that there may exist two hyposulphites analogous in com-
position to the sulphites. The following is the method of preparing
the salt in a state of isolation.
Let the concentrated solution of acid sodium sulphite be submitted
• CoDclnded from page 117.
to the action of zinc f ir half an hour, and then decanted into a fltsk
containing about three times its volume of strong alcohol, and closely
stoppered. The zinc- odium salt, being insoluble in alcohol, w thrown
<lown almost immediately, and, when the crystals have separated
themselves from the liquid, the latter must be again decanted into a
flask which it quite fill.", and once more closely stoppered or sealed.
In the course of a fevr hours the flask will be filled with a mass of
fine colourless crystals, which must Ije rapidly separated from the
liquid, pressed between folds of linen, and dried in a vacuum, as so
strong is their affinity for oxygea whilst moist that thev become
quite hot, and are reconverted into acid sulphite. When dry, how-
ever, they are comparatively little affecti'd by oxygen.
The solution of this salt possesses all the decolourising and reducing
action of the free acid, than which, however, it is much more stable,
although, when in solution, it rapidly reverts to the condition of
acid sulphite. If it he desired to use the acid itself, it may be sepa-
rated from its sodium salt by means of oxalic acid. It forms a yellow
solution, which rapidly loses its power, being converted into sulphurous
and thio-sulphuric acids with liberation of sulphur. Or the acid may
be prepared by digesting zinc in the aqueous sulphurous acid of
commerce, in which case, however, it will most probably be useless
for gelatine plates owing to the presence of zinc in solution.
Probably the best plan of preparing a solution which does not cause
a veiling of the gelatine film, and which yet obviates the trouble of
preparing the crystallised hyposulphite, will be to reduce the bisul-
phite by means of another metal than zinc, which does not form the
objectionable precipitate. For this purpose nothing seems better
suited than sodium itself, the only objection to it being its com-
paratively high cost, which, however, at the present day, is not an
insurmountable difficulty. In such a solution, instead of the zinc-sodium
sulphite accompanying the sodium hyposulphite, we should, of course,
have only sodium salts, none of which would be likely to cause any
trouble in the direction mentioned, unless, perhaps, it be the thio-
sulphate. This, however, would, we think, require the presence of
some free acid, other than hyposulphurous or sulphurous, to cause any
deposition of sulphur during the period of development, although it is
not quite safe to predicate what might or might not occur with the
oxidation of the liquid.
At least the experiment is worth trying. I some months back
obtained very promising results with the crystallised hyposulphite,
and only relinquished my experiments in consequence of the trouble
involved in its preparation. I have more recently been induced to
take the matter up again, and shall probably have more to say on the
subject at no distant date.
The advantages to be anticipated in the use of such a developer
are, chiefly, cleanness of action, freedom from stains, and good quality
of image, together with most excellent keeping properties in the solu-
tion itself. For be it understood, although the hyposulphite itself
may quickly revert to its former condition of bisulphite, its extra-
ordinary preservative action upon the pyro or other reducing agent
protects that from oxidation, so that it is not impossible that a stock
solution of pyro may be made which only requires the contact
with zinc or sodium to supply it with energy without the addition of
alkali.
But, beyond these, I believe a far more energetic developer for
short exposures may be the outcome of the inquiry, while the possi-
bilities that surround an acid developer form as yet entirely new
ground.
I see in Inst week's issue, in the repart of the Photographic
Society's meeting, that Mr. Chapman Jones has pointed out the fact
that amidol is capable of development in the acid state. This is one
of the jwiiits on which I have been relying in my search for a more
energetic developer, but the bad weather and the state of my health
have not allowed me to pursue ray experiments recently. Amidol,
like pyro, is incapable of development alone, but both in the pre>enC8
and with the .iss-istance of a sulphite even if acid, possess developing
power. IIow fur the vastly greater reducing action of sodium hypo-
sulphite will work in with amidol to make it really the most energetic
developer extant remains ye; to be seen, but from what I have
observed already amidol seems to offer a far better look-out than
pyro, and to work in a more cleanly manner than the latter in the
combination. W. B. Bolton.
lr,o
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[March 10, 1893
ON THE TONING OF SOLIO PAPER.
[Photographic Club.]
I HAVB thought that, instead of givingr you a paper on the combined
toning and fixing, it would be preferable to give you a few hints on
the general toning of Solio paper, in the manufacture of which I am
personally interested. . .
We have now arrived at that point where the new printmg-out
paper is no longer in the experimental stage. It is largely used by
the best photographers, both here and in America, and all speak in
■glowing terms of its superiority over albumen. This dear old friend
■albumen has had its death-bell tolled many a time before— certainly
St has been the case every year durin" the la-t ten years— and yet it has
■ Hingered on, dying hard at the last. 1 think every one must see around
1ihe"m that albumen is giving place not only to the new pnnting-out
papers, which must resemble it in appearance, but also to platinotype,
bromide, and kindred processes.
As this is to be a practical paper, I do not intend to dwell too
much upon the pros and cons of the prossss. With this paper we
have the greatest range of tones that the most fastidious can desire.
Of coursBj^as with albumen, it is of the first importance to have a
good negative. Having secured this, it is easy to secure a good print ;
but there is no doubt that with the new printing-out paper there is a
•far greater range to be obtained than with any other process. We
have also at our command the capability of giving to our prints
either a glazed or dead matt appearance with but very little
trouble.
On the question of permanency, there can be no doubt there is a
igreater chance of achieving this than with albumen, which we all
know is so liable to go wrong ; but to attain this, as with all photo-
graphic manipulations, it is necessary that due care be exercised with
tbe various stages through which the print has of necessity to go.
To say that a Solio print is absolutely permanent would be taking a
great responsibility upon myself, for in this mortal world of ours any-
thing on paper could not be so; however, I will say we can obtain a
reasonably permanent result. The fading of prints is, I believe, more
often caused through unsuitable mounts and bad mountants than
through any inherent defects in the prints themselves.
As with all new processes, it is necessary that we take some trouble
to understand the little peculiarities incidental to its working ; and,
when these are once mastered, you will be surprised at the simplicity
of the whole thing. In the printing paper before us we have
chloride of silver, in conjunction with a definite organic salt of silver,
held in suspension in a vehicle composed mainly of gelatine, and this
is coated on a paper with a baryta surface, which prevents itsinking
into the fibres of the paper, and we have a more brilliant print, and
the elimination of the hypo is more easily effected. To get even
prints, and to prevent uneven toning, it is ' absolutely necessary that
the paper should not be allowed to become damp before printing,
and, when separate toning and fixing baths are employed, careshould
be taken that the hands are not contaminated with hypo during the
preliminary washing and toning, otherwise red stains will inevitably
be the result.
As this paper is peculiarly susceptible to a diffused light, great care
should be exercised in handling it in a very subdued light, both
before insertion in the printing frame and during examination of the
print, otherwise the high lights and purity of the resulting picture
will soon be destroyed. It is not necessary to carry the prints to such
a depth in printing as is the custom with albu menised paper, as the
loss is not so great in the subsequent toning and fixing.
Now we come to the all-important question of toning. What bath
shall we use ? I think the first to engage our attention is the com-
bined toning and fixing, about which there is such a divided opinion
as to the permanency of the prints produced from it. There certainly
is a distinct charm in the use of a combined toning and fixing bath,
especially as no previous washing is required, the prints being taken
direct f^m the printing frames and immersed in the one solution.
There are amateurs who do not, and will not, use separate fixing
and toning baths when there is one to be had that will do everything
that is required in one bath. As long as too many prints are not
toned in one bath, there is no danger of less permanency than with
any other bath ; but, if the gold is exhausted, the toning proceeds
with the lead, and probably sulphur also, in which case the prints
may possibly change, but I do not think they would fade. The
chances are they may become darker, especially should there be any
sulphur in the atmosphere, and I fancy there is a good deal in
London. This will probably attack the lead, and form sulphide of
lead. Tlie opinion of any chemist here to-night on this matter would
oblige. 1 have prints here which have been standing about on the
mantelpiece of my sitting-room for over six months, and show no
signs whatever of any change.
The formula recommended by the Eastman Company is as
follows: —
Stock Solution No, 1.
Hypo 6 ounces.
Potash alum 1^ „
Sodium sulphate (Glauber's salts) 4 „
Water, make up to 60 „
First dissolve the hypo and alum in the water, then add the sodium
sulphate.
Stock Solution No. 2.
Gold chloride 15 grains.
Acetate of lead (sugar of lead) 50 „
Water 7J ounces.
Note. — An orange precipitate is formed in No. 2 solution, which,
however, redissolves on its being added to the No. 1 solution.
To form a combined bath take of —
Stock solution No. 1 8 ounces.
Stock solution No. 2 1 ounce.
Do not use until the mixture has become quite clear.
In all solutions composed of hypo and alum it will be found that
there is always a slight white precipitate. This, however, does not
interfere with toning. This bath is very useful indeed for giving soft
prints from hard negatives. It is not advisable to attempt to produce
purple or black tones with this bath.
For those who prefer a separate toning and fixing bath, and one
that will produce warm black tones, there is nothing better than the
sulphocyanide bath. In order to have this bath under greater control,
the addition of acetate of soda is of very great advantage ; not only
does it slow down the toning action, but the prints are not so liable to
take that very objectionable blue surface tint which sulphocyanide,
per se, is so apt to produce ; the tones of the prints can be more closely
watched. Where, possible, it is certainly better to tone by daylight
rather than by artificial, as with the latter it is far more difficult to
watch the various changes of tone. Of course it must be done in very
subdued light. As I said before, no hypo must come anywhere near
the prints during the toning, otherwise the prints will be irretrievably
ruined with red stains that will refuse to tone.
Owing to the softening action of sulpho-cyanide on the prints, they
should be washed in two changes of water, and then passed through
a bath of alum water (alum half an ounce, water twenty ounces).
After this they should be well washed in three changes of water, and
then placed in the toning bath, as follows : —
Stock Solution A.
Sodium acetate 600 grains.
Water 20 ounces.
Gold chloride 15 grains.
Stock Solution B.
Ammonia sulphocyanide 50 grains.
Water 20 ounces.
For use, take of A two ounces, B two ounces, water four ounces.
Allow to stand one hour before using.
The toning may be stopped at any stage by immersion in a bath of
salt : —
Common salt 1 ounce.
Water 32 ounces.
For securing still greater control and regularity of toning, it is
advantageous to use two-thirds of an old batn and one-third of a new
one, omitting the water.
After removal from the salt bath, the prints should then be trans-
ferred to the fixing bath. This should not be made too strong.
Fixing Bath.
Sodium hyposulphite 3 ounces.
Sodium sulphite li „
Water 20" „
The addition of sulphite is to preserve the purity of the tones.
There are some amateurs, in contradistinction to those who will
have the greatest simplicity, who prefer formulw of the greatest
complication (take, for instance, some of the developing formulae
published), and it is for these that 1 bring forward the following not
too complicated method of toning, in two toning baths, the second
being a toning and fixing combined.
Jlarch 10, 189.S]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
Ifil
First tone very slightly indeed to a lifrht brown in the following
the prints Imvins; bet>n previously washed, as usual) :—
Potassium chloro-platinile •') grains,
Sodium chloride 40 „
Citric acid 40 „
Water r'O ounces,
and immediatelv transfer dirpct to thp combined toning and fixing
bath as first mentioned in my papor until the desired tone is obtained.
This produces tone^ of a rich, warm blaclf ; but, if purple tones are
desired, tone first in the sulphocyanide. and then follow with the
combined bath. Certainly the tones produced by it are very fine.
Where prints are desired of a nice sepia, tone a little deeper in the
platinum bath, and fix as usual in the ordinary way. Care must be
tsken not to po beyond the brown stage. Prints produced in this
platinum bath only are best finished off with a matt surface. As my
paper is intended "to be devoted to toning only, I will leave the sub-
ject of fijiishing, &e., to some other member to take up.
' ,1. B. B. Wellington.
—*■
DEVELOPMENT OF EOLLABLE FILMS.
Bkfobk the Putney Photographic Society on Monday, Febraary 20, Dr'
W. J. Sheppard in the chair, Mr. J. B. B. Wellington, of the Eastman
Company, gave a demonstration on Development of Eollable Fihns. In
a short preface he gave a history of the improvements of these films,
culminating in those manufactured by the Company at the present time.
The chief advantages claimed were extreme lightness, portability, and the
convenience of being able to carry 100 exposures, very great advantages
when travelling. Having brought a roll of exposed films, Mr. Wellington
showed how very plainly their new roll-holder marked the divisions
between the exposures, thus getting rid ot a difficulty which had been
experienced with the earlier patterns. Proceeding with the demonstra-
tion, he first soaked the films in water, which certainly caused them to
lie qnite flat during development. At least a dozen films were treated
simultaneously, being placed face downwards, and care taken to keep
them constantly moving by transferring those from the bottom to the
top, in the same way as prints in a toning bath. This treatment is
essential to ensure even development. The developer used was the pyro-
soda recommended by the Company. Mr. Wellington stated that, in
cases of under-exposure, better results would be obtained by long develop-
ment than by increasing the quantity of soda. After development, the
negatives wore rinsed and placed in an acid and alum clearing bath,
washed thoroughly, and fixed. The final washing completed, the films
were placed face downwards on an opal slab or glass plate, and squeegeed
to get rid ot the superfluous moisture. They were then pinned down at
the corners and allowed to dry spontaneously. The best way to store
them was under pressure between the leaves of an album or book.
During the discussion. Mr. Wellington stated that various marks which
undoubtedly occurred in their films some time ago would not now appear,
as great improvements had been introduced in their manufacture.
♦
THE STEREOSCOPE AND STEREOSCOPIC PHOTOGRAPHY.*
No doubt some persons will at first find considerable difficulty in com-
bining the two pictures when they have been mounted in this way, and
this is because, as a rule, the eyes have a greater tendency to a near con-
vergence than to a more distant one. When this is the case, the lenses
of the stereoscope, if they are adjustable for separation, should be sepa-
rated slightly until the pictures can be combined, and then slowly brought
together again to the required positions. If the lenses are not movable,
the best plan will be while looking through the stereoscope to push back the
pictures as far from the lenses as the instrument will permit, and it will
be found that while this is being done they will appear to approach one
another. When they are apparently superimposed, pull them forward
again slowly, and if the eyes are kept intently fixed upon them while this
is being done, they may be drawn forward until the view is seen quite
sharply without appearing to separate again. In many of the cheaper
forms of stereoscope, instead of a pair of lenses, the two halves of a
single lens are employed mounted so that their thin edges are together-
Whole lenses are preferable, but they must be of equal focus. Sir David
Brewster recommended the use of halves of a single lens, not only in the
stereoscope, but also in the binocular camera, for taking the photographs,
because of the difficulty of obtaining two lenses of equal focus. He con-
tended that it was impossible to«obtain the necessary mathematical
accuracy unless this was done ; but, whatever may have been the case
then, there is no difficulty now in obtaining lenses that are sufficiently
accurately paired for all practical purposes.
* Concladed from page 138i
The earlier stereoscopic photographs were taken, as yoa are no donbt
aware, with a single camera and lens, the apparatus being moved a suit-
able distance between the exposures ; and if it is not desired to photograph
moving objects, this plan may still be adopted. It is not necessary to
move the whole camera and stand. All that is required is that the tripod
should have a rather larger top than usual to permit ot the camera being
slid about three inches between the two exposures. Even this is not
absolutely necessary. Mr. Traill Taylor has pointed out that it is suffi-
cient if the camera be slightly rotated after the first exposure. I have
tried this myself, and find a very slight rotation is all that is necessary ;
but I would not recommend this method in preference to the nse of a
divided camera and a pair of lenses. This is no doubt the apparatus that
all those will use who, like myself, wish to obtain [their results with the
greatest ease. Such a camera may be used either in the hand or upon
the tripod, but in either case it must possess several good qualities in
order to be satisfactory in use. IE it is for the tripod it should have a
swing-back and rising front, and some means of adjusting the separation
of the lenses. It should open out to focus when eight or nine inch lenses
are required to be used, and close into three inches or less when a pair of
wide angles are necessary. If it is to be used in the hand, many of these
advantages may be sacrificed to lightness and portability ; but special
attention should be directed to the shutter and the view finder. In both
forms it is, above all, necessary that a good spirit level should be fitted,
and careful attention paid to its use, for although in a single photograph
we may easily trim the top and bottom to correspond with the horizon
line, it will be found not nearly so simple a matter to counteract the effect
ot carelessness in this respect in a pair ot stereoscopic pictures.
Opinions are somewhat divided as to the size of plate that it is desirdble
to use. Personally, I think that the advantage ot a plate larger than the
standard size, 6J x 3^, will not often be found, but I must tell you that
some gentlemen of very great experience recommend a larger. Mr
Traill Taylor advises 8x5, which certainly permits a greater separation
of the lenses when it is desired. Other sizes which may be used are
7^ X 4J, 6 J X 4f, and 6^ x 4;J. It is generally conceded that for all ordinary
purposes of stereoscopic photography a pair of single lenses will answer
equally as well as the more expensive doublets, even disregarding the
somewhat theoretical advantage ot the former ot giving greater brilliancy
because of the smaller loss of light by reflection. But, of course, where a
large angle of view has to be included, a pair of short-focus doublets wiU
be necessary, and there will be a slight gain in the use ot doublets where
it is desired to obtain the maximum amount ot definition with a large
aperture ot lens, as, for example, in photographing moving objects.
It will be found that those pictures which have been taken with lenses
ot about five-inch or six-inch focus, present in the stereoscope the most
natural appearance, and tor this reason, that the eyes of the observer are
then placed at about the same distance from the pictures as the lenses
were from the plate when the view was taken, viz., about five or six
inches, and the perspective therefore coincides with what we observe in
nature.
If shorter focus lenses are used, as they must be for many subjects,
then the perspective is bound to appear somewhat exaggerated, and
objects will appear smaller than they should do.
It may be suggested that for the examination of these pictures lenses
ot short focus should also be employed in the stereoscope, and I know of
no reason why this should not be done. The amount ot separation
that there should be between the lenses by which the photographs
are taken has been the subject ot much discussion. Three to
three and a quarter inches is the usual distance, but I am of the
opinion myself that it should not so much exceed the distance between
the centres of the eyes, usually about two and a halt inches ; and it
will be found that it a very near object, eight or ten feet away, is photo-
graphed with a greater separation than this, a strained and altogetlier
unnatural appearance of relief will result when the pictures are seen in
the stereoscope. Of course, if it is desired to represent distant objects
with the relief due to those near at hand, it is necessary that the points
ot view should be very widely separated ; but, if it is desired merely that
the pictures when seen in the stereoscope shall present the same appear-
ance as the view itself presented from the position at which the photo-
graphs were taken, then the rule may be laid down that for an ordinary
landscape with near foreground the distance of separation should not be
more than three inches nor less than two and a half inches.
As a stereoscopic camera makes its two pictures independently by
separate lenses, it will be seen that each picture is inverted independently
of the other. Therefore it is necessary, it the negatives are to be printed
from by contact, either to divide and transpose them before printing or to
divide and transpose the prints, unless each end ot the negative is
printed from alternately. Which is the most convenient way will depend
152
THE RRITISH JOURNAL OF PflOTOGRA-PHy.
[March 10, 1893
upon whether it is desired to make prints upon paper or transparencies
upon glass. U paper prints are wanted, tlien it is generally recommended
to print from the two negatives in the usual way on to one piece of paper,
and when the toning, fixing, washing, or other processes have been gone
through, and the prints are dry, to divide and transpose them, mounting
the print which appears on the left-hand side, as they lay together on
the table before you, on the right-hand side of the mount, and the right-
hand print on the left-hand side of the mount.
If it is glass transparencies that are required, then it will be found
easiest to print alternately from each of the two negatives ; that is, to
print from the left-hand negative on to the right-hand side of the trans-
parency plate, and from the right-hand negative on to the left-hand side
of the transparency plate. By means of a printing frame which is
specially constructed for this purpose, and which may be procured from
any dealer in photographic apparatus, and by using with it a set
of cardboard guides, such as I have here, and which you may easily make
for yourself, this may be done rapidly and easily.
Care must be taken that each of the pictures is given an equal ex-
posure, and I find, myself, that this may be done with sufficient accuracy
by burning one inch of magnesium ribbon at a measured distance from
each negative. Stereoscopic transparencies may be made in this way
that will be good enough to satisfy the most particular ; but there is
another way in which they may be produced that is, perhaps, superior in
some respects, and is equally convenient when the work can be done by
daylight. This is by copying the negatives with a divided camera, and a
pair of short-focus lenses. This method obviates the necessity for trans-
posing the pictures, for each negative is independently inverted by each
lew, just as the picture itself was inverted when the view was taken.
Another advantage of this method is, that one is able to arrange, with
the most perfect accuracy, the desired distance of separation between
similar points in the two pictures, which it is practically impossible to do
exactly when they are printed by contact, owing to the fact that the glass
of the negative and the glass of the transparency plate is seldom cut to
the exact size. It is hardly necessary to mention that, when this way is
adopted, the pictures may also be slightly enlarged or reduced in copying
if it is desired. It is not necessary to have a special copying camera for
this purpose. The camera and lenses with which the pictures were taken
will answer almost equally well if it is attached to a board, at the end of
which the negative is supported in a divided box. The arrangement which
I use myself is, as you see, made on this principle.
The effect of a stereoscopic picture is very much enhanced if, when it
is seen through the stereoscope, it presents the appearance of being
viewed through an opening. This may be produced in a transparency
by having the openings in the mask at somewhat nearer centres than are
the pictures themselves, and with paper prints by so trimming them
that, when the.v are mounted, there is a little more of the view on the
left hand side of the left-hand picture than there is on the left-hand side
of the right-hand picture. The reason why doing this should cause the
picture to appear as if it were viewed through an opening will be seen if it
is remembered that we estimate the distance of an object by the amount
of convergence of the optic axes necessary to see that object, which
becomes greater when the object is near at hand than when it is remote.
The openings in the mask, being at nearer centres than the pictures
themselves, are seen with greater convergence, and consequently appear
some distance in front of them. The same may be said of the edges of
paper prints ; when they are at nearer centres than the pictures, the
mount appears to be in front of them.
The amount of separation determined upon between the centres of the
pictures should, for the reasons I have before mentioned, always be mea-
sured between two similar points in the distance, altogether disregarding the
foreground; and here I am sorry to say that I find myself at variance with
a gentleman who has by his persistent advocacy done a great deal in the
last year or two towards bringing the stereoscope into favour again, Mr.
Chadwick. In his Stereoscopic Manual, in which will be found much
practical and useful information, he says : " It must be observed in
these instructions that in all measurements it is the foreground which
must be taken into account, and the distance will take care of itself." I
claim that what should be done is the very reverse of this. All measure-
ments should be taken between similar points in the distance, and the
foreground will then take care of itself. The foreground must be right if
the distance is correctly placed.
The difference may be a small one, and it may be that when Mr.
Chadwick's instructions are inteUigently followed the results will not be
greatly different.
There is, however, this to be said. If a view was taken in which was
included a very near foreground indeed, it is quite conceivable that if
Mr. Chadwick's instructions were followed we might find similar points
in the distance so widely separated, that for the images of them to fall on
corresponding points in each retina the optical axes would have to diverge
if the pictures were examined in a stereoscope of the usual pattern.
It should always be remembered that the stereoscope shows us its most
remarkable effects when the photographs that are seen by its aid are
placed at such a distance of separation that they are seen with the same
convergence of the optic axes as the actual view itself was from the
position of the camera in taking them, and when the lenses of the stereo-
scope are of such a suitable focus that the pictures are seen sharply,
clearly, and easily at a distance from the eyes equal to the focus of the
lenses that produced them. When these conditions are complied with,
and they will be complied with if the methods I have indicated are
adopted in the production of the photographs, then it is impossible to
imagine a more perfect realisation of the view represented than that
which will be seen when the pictures are examined by the aid of a suitably
adjusted stereoscope. J. A. Butleb.
♦-
A CHAT ON LENSES.
[Before tha Photographic Section of the Croydon Microscopical and Natural
History Club.J
On March 3 Mr.W. Low-Sarjeant delivered A Chat on Lenses. After a brief
explanation of the elementary laws of optics, Mr. Sarjeant described the
properties of the six varieties of lenses, and also of a seventh, called a
" crossed " lens (a double convex lens, having its two curved surfaces of
different radii).
In photography, the use of a lens composed of a single element was
attended with two great disadvantages, viz., chromatic aberration, or the
non-coincidence of the visual with the chemical focus, shown by a want
of definition in the photograph ; and spherical aberration, producing a
similar result, owing to the rays of light passing through the margins of
the lens intersecting at different points instead of at one and the same
point. The first-named was corrected by the addition of another element
with a different refractive index (crown and flint glass were the two
elements commonly used), and the latter by the addition of a second lens,
reversed, to correct the aberration of the first, as in a rectilinear combina-
tion ; or it could be practically eliminated in the single or landscape lens,
by using a diaphragm of relatively small size compared with the diameter
of the lens.
The purpose and uses of the stops were then explained. With a single
lens, owing to the office performed by the stops, it was advisable to focus
with the same stop it was proposed to use in exposing.
The focal length of a lens was measured from its optical centre, the
position of wliich, in the several forms of lenses, was shown by diagrams.
To find the focal length of a lens— information often desired for various
purposes— several methods of obtaining an approximately correct result
were given. Focus a distant object in the camera, and the distance
between the screen and the optical centre of the lens would be, roughly,
the focal length ; or, focus some object, getting the image the same size!
and the distance between the screen and the object would be about four
times the focal length.
The comparative advantages of the use of long and short-focus lenses
were then discussed. A long-focus lens was most suited for ordinary
outdoor work, as the natural proportions between near and distant objects
was better preserved in the photographs taken with it.
The " chat " was illustrated by a largs number of diagrams, and was
listened to with much attention by the members. The questions which
were afterwards discussed showed that they had been enlightened on
many hazy points, and would, consequently, be enabled in the future to
use their lenses to better advantage.
PEACTICAIi EEMAEKS ON LANTERN-SLIDE-MAKING.
[Dnndee and East of Scotland Photographic Association.
At the fag end of a meeting last session, Mr. Baird passed through the
lantern for me a number of my slides, interesting chiefly because made
by some of the less-used processes ; and, as I have been repeatedly asked
by members of the Society to show them again, I have extended tlie idea
somewhat, and pose to-night rather as an experimentaUst than a practical
slide-maker.
When I take up a process, I generally keep at it until I have made
what appears to me the most of it ; in any case, I never stop short of
being able to produce presentable results by it. In many instances I
have gone on until such time only as I had mastered the process and
produced one or two slides by it. It frequently happens that a process
may be capable of giving very fine results at times, and yet not such a
process as one would care to work constantly. In such oases, it is
excellent practice to make a small study of the subject, and after
attaining success to " leave it for fresh fields and pastures new."
You will please understand, therefore, that the slides which are to be
shown 3-ou are not shown as models of what slides ought to be, but
merely as fair specimens of the various processes they are to illustrate.
Almost every process requires (if one is to make the most of it) a
March 10, 1893]
THE BRITISH JOUIINAL OF PHOTOGRAPHY.
1C3
apeoial quality of negative. It follows from this that I have had to pick
out from my iieKatives one suitable for the proceaa in hand rather than
one artistically good. Let no one, therefore, go away, saying there is
nothing special in this slide or that slide ; the production of a pretty
picture was not always the aim of the experiment.
While, therefore, safeguarding myself against the imputation of putting
these slides forward as being something specially fine, I, nevertheless,
claim that they represent fair average work of the various processes
touched upon, and suoh as auy one designing to work any of these pro-
cesses may attain to, with the mo<lerate care which the average amateur
bestows on his work.
As lo the precise practicability in every-day work of these out-of-the-
wav procesBos, I will speak more particularly later on. My remarks will
apply to slides in collodion wet and dry (but not with collodion emulsion,
with which I have done very little), carbon, gelatino-chloride, gelatino-
broiuide, powder process slides. Alpha and albumen. I include tlie
better known processes for comparative purposes.
As conclusion to this introduction, I may say that most of the slides
have besn made quite recently, that is to say, I have prepared the most
of them to refresh my memory for, and to serve as illustrations to this,
paper.
COLLODIOK SlIHES.
With the exception of slides done by the Woodburytype process,
collodion is the process adopted by probably ninety-nine per cent, of the
professional slide-makers. It seems absurd, therefore, to include this as
one of the " out-of-the-way " processes. It is so, however, in reality as
far as the amateur is concerned. From time to time attempts are made
to show how simple the whole thing is, and how unobjeotionably simple
it truly is, but not unobjectionable. Wliat are the claims made on
behalf of the collodion slide ? They are these :— First, absolutely pure
high lights ; second, vigorous shadows ; third, good gradations ; fourth,
agreeable colour. These good qualities a collodion slide generally has,
but there is one good quality which a slide ought to have which the vast
niAJority of collodion slides have not, that is, transparency in the
ehwlows. I maintain that with suituble negatives gelatino-bromide does
come within measurable distance of a collodion slide with a tithe of the
trouble. To test this point, we will ask Mr. Baird to place the two slides
marked 1 and 2 in the lantern. No. 1 is a collodion slide by Wilson of
Aberdeen, a master of the art of slide-making ; No. 2 is a gelatino-
bromide slide from one of my own negatives on a commercial gelatino-
bromide plate.
I maintain, and I think you will agree with me, that, while there is a
difference, the collodion slide is not immensely better. If collodion can-
not do veri/ mufh better than gelatino-bromide, I hold that, to the
amateur, the extra mess and trouble simply exclude collodion.
My remarks heretofore have related to wet collodion, but very fine
slides may be made on dry-collodion plates, bath prepared.
Slide No. 3 was made as follows : — A plate of glass was cleaned, and
coated with collodion, dipped in a bath of silver thirty grains to the
onnce, and then washed, flooded with an infusion of pure coffee, and
dried. After exposure under a negative to gaslight, the transparency
was developed witli acid pyro and silver. It came up the colour you see
it, no toning being necessary. 01 course, it was fixed in hypo.
Various preservatives, other than coffee, may be used, and different
colours obtained in the slide. An infusion of tea gives a brownish tint,
and tannin gives a very fine purple-blue — better, I think, than a wet-
oollodion plate toned with a sulphide.
I sometimes wonder why it is that dried bath plates are not supplied
by the dealers. They are extremely easy and certain of preparation,
would compete with gelatine plates in cost, and, preserved with a solution
of albumen, are hardy enough to stand pretty rougli handling.
My best collodion slides have been prepared by this dry method. I
selected this one to show the p'eculiar colour got by a coffee preservative.
For those who care to try the collodion process, I would advise a pre-
servative of ten grains of tannin, and ten of sugar candy, to an ounce of
water. Plates so prepared give excellent slides.
CARnoN Sr.iriES.
We pass on now to the consideration of carbon slides. Carbon is said
to be the process for producing slides of the two extremes — best and
worst. I must say that no process in photography came so near to going
up my back (as the saying goes) as the production of carbon slides. The
Autotype Company, in their manual, say that very fair slides may be
produced by the carbon process. I think that this is over-modcstly
stated. Of course, a good deal depends upon what qualities one likes in
a slide ; but, for myself, I only wish I could produce all my slides in
earbon.
Scattered throughout photograpliic literature are articles on the pro-
duction of slides in carbon without number. According to most of the
writers, it is an easy process, according to all a beautiful one. To read
the commonplace and general directions given would lead one to suppose
that mistake was impossible. Metbinks some of those who have written
on the subject have never made carbon slides. I cannot give you a
better idea of the troubles one may meet, and how they may be overcome,
than by giving you a short history of my own experience.
When I first determined to try the making of carbon slides, I was even
then a fairly efficient printer in carbon, and had plenty of material by
me. I had no special transparency tissue, it was true, but had I not read
again and again that ordinary tissue would do excellently — indeed, in
some cases, butter than the special transparency tissue ? I made the ex-
periment. Besult, universal flatness and weakness. I tried a denser
negative. Improvement, but not much. Then I would intensify the
slide. How I Iibsured at this I At last, after a great many failures, I
got one good picture. Mr. Uaird will show it as slide No. 4. This slide,
after development, was soaked in an infusion of logwood, lightly washed,
and soaked in a weak solution of sulphate of iron.
The great trouble in this staining process is tliis, that, do what you
will, your high lights take on the stain. I am aware that, theoretically,
the high lights in a carbon slide ought to be bare glass ; but, practically,
there is an imperceptible skin — enough, when stained, to spoil the slide.
The picture on the screen is absolutely the only one I ever got witli
pure high lights by this staining methods. I then sent for the special
transparency tissue, and wish I had done so at first.
The special transparency tissue carries much more pigment, and pluck
and density are now with suitable negatives quite possible.
My method of producing carbon slides is as follows : — I cut a dozen or
so pieces of tissue by means of a tin shape to exactly three and one-eighth
inches square. I make a solution of bichromate of potash, one ounce in
thirty ounces of water, and place the tissue in this — " over the head," so
to speak. When they are quite soft and limp I take them out one by
one, and place them face down on a piece of plate glass, and by means of
a roller squeegee drive off the free solution hanging about them. I then
take them from the glass, and place them face up on a blotting pad.
Upon this they are placed in a locked press, and in the morning they are
generally dry and ready to print. Much stress is laid upon the rate of
drying, and being in a room free from fumes of gas. Working in thi^
way, i have never had any trouble, and even in a moderately small press,
if it is not damp, the tissue will dry in a night's time, and be out of the
way of light, fumes, or any other injurious inlluence. I have never found
it necessary to dry the tissue on collodion plates. In the morning the
tissue is printed under the negative. In mounting the tissue on the
glasses for slides I had two troubles. First, the tissue would sometimes
wash up and, secondly, air bells would get between the tissue and the
glass in spite of everything I could do. I cured these faults as follows : —
If the glasses are thoroughly scoured with a clean rag and common
whiting under the tap, and the surface not touched again with any-
thing under the sun till the tissue goes on, it will stick like glue. As for
the air bells, mount the tissue on the glasses under water which has been
heated and then allowed to cool, and there will be no more trouble. JSn
passant, I may say that to those who are annoyed with air bells under
their gelatino-chloride prints the same method will put an end to their
troubles.
In developing carbon slides, beware taking too hot water to them. I
am convinced that we would hear less of reticulation if more caution were
used in this particular. As I am making no pretence to a complete guide
to carlx)n slide-making, I content myself with these few practical remarks
on the process. Even a suitable negative (and too much stress cannot
be laid upon this), carbon slides, in ray opinion, cannot be beaten. If it
be asked. What is the special kind of negative ? the answer is, that the
negative must be extremely dense, with good gradation and very clear
shadows. A hard black and white negative useless for any other process
is about the thing for a carbon slide.
I may say that transparency in the shadows is the chief virtue in a
carbon slide as against the other processes. Mr. Baird will pass throngb
one or two carbon slides unstained.
Gelatino-chloride axd Bromide.
I have little to say on the gelatino-chloride slide. Altogether, I have
not used more than four or five dozens of this plate, and, while the results
were generally very fine, the developers were a post to make up, besides
being somewhat expensive. The variety of colour is very considerable,
but not very thoroughly under control — at least, that was my experience.
I was not so much taken with the process as to take to it as a standard
method of slide production. Mr. Baird will show a few on the screen.
As to gelatino-bromide, that being the general method of slide produc-
tion in us» by the great bulk of amateurs, I would make a few general
remarks only. In the first place, given a good negative, I have produced
first-class slides by almost every advertised brand of lantern gelatino-
bromide plate. At this moment, if I had to produce a slide specially fine,
I would only stipulate to have the information of the maker's name. I
have gone into this question pretty tlioroughly, and am convinced there
is little to choose between the various brands — I mean in the possibility
of getting good slides from them. Wlien I hear many complaints about
bad plates, I always feel inclined to ask for a sight of the negatives which
are being printed from.
There is a very widespread idea that a good slide can be mode from
any kind of negative by simply timing the exposure properly. This, I
think, is erroneous. If you want clear, sparkling, high lights with rich
luminous shadows, you must have a tolerably vigorous negative with the
necessary gradation in it.
However it comes about, I find I get better results by intensifying
my negatives first. I bear this in mind in development, of course, and
am content with a somewhat feeble image. I think I see all through
better what I am doing this way. So long as you can see easily through
154
THE BKITISH JOURNAL OF PHOTOGRAPHY.
[March 10, 1893
the plate daring development you are not working in the dark, but long
before the negative is thick enough to do without intensifying the most
of the plate is absolutely opaque, and you cannot tell how far the process
has gone, perhaps much further than you want. I think the great secret
of slide-making is in having a good negative. To keep up a kind of con-
sistency, Mr. Baird will pass a few gelatino -bromide slides through the
lantern.
The Powder Process.
The next process upon which I would make a few remarks is known as
the powder process. I am not aware that any one actually makes his
slides by this process ; but, as it has a certain interest and is an exceed-
ingly beautiful process, I have made a fresh slide and will say a few
words on the subject. To those who do not know anything about it, I
may briefly say that the process is this:— A clean glass slide plate is
coated with a watery solution of gum arabic honey, and bichromate of
potash. The plate is dried on the top of the dark-room lamp, and
immediately exposed to daylight under another transparency. After a
variable time depending on the light, from twenty seconds in direct
sunlight to minutes in the shade, the plate is taken to the dark room,
removed from the frame, and a small quantity of impalpable powder
placed upon the surface. A fine soft camel's-hair brush is now used to
spread the powder over the plate, and in a few minutes it will be
observed that the powder begins to adhere to the surface of the plate in
an irrpgular way, in fact it is a picture that is being developed. The ex-
planation of this apparently extraordinary phenomenon is simple enough.
The solution of gum arabic and honey is ordinarily very much prone to
absorb water from the atmosphere and become sticky. When the
bichromate of potash is added to it and the sun acts upon the mixture, it
loses this property of becoming sticky. It follows from this that a plate
coated with the mixture and exposed under a transparency loses its
adhesive nature in proportion to the effect of light upon it, so that those
parts exposed to the sun take on no powder but remain pure glass, which
makes your high lights on the contrary, the shadows having been pro-
tected from the light room get adhesive when exposed to the air and hold
on to the powder when it is brushed over it. Since a transparency must
first be produced by some other means, the powder process would seem to
he " a round-about road for a near cut ;" but do not forget that a powder
picture is first permanent ; second you may develop at one part and leave
another soft and hazy; and, thirdly, you have absolute control over the
colour.
Having nothing else beside me at the time, I developed the picture
shown with common soot from the chimney, which, as you will see, gives
a kind of sepia tint. If any of you have not worked this beautiful pro-
cess, let me urge upon you to spend some of your spare time upon it
when the light gets good. I can promise you a real " eye-opener,"'as the
Americans would sav, when you see the picture develop the first time.
It is simply astonishing. Please do not judge the capabilities of the
process from this specimen. When I was working at it three years ago,
I made two or three dozen of beauties, but have since given one away
here, and another there, till I had not one slide left. I had, therefore, to
make this one, and one cannot be expected to turn out a perfect slide at
the first shot. Plumbago is often used as a developing powder ; to my
mind it gives an unpleasant colour to a transparency. There used to be
sold a powder for this process, for the production of burnt-in enamel —
just the very thing for transparencies. I wish I could have shown you a
transparency developed with it — a beautiful, rich, soft photographic
purple. I do not, for a single moment, imagine that any one would
adopt the powder process as a regular method of making lantern slides,
but a trial of this beautiful process would well repay the time and trouble
spent on it.
Alpha Plates.
I have done a good deal with Alpha plates, and like them immensely.
I have two practical hints to give which might be of service to those
intending to try them ; and the first is, that a very much softer and
superior image is developed with carbonate of potash and hydroquinone (
than when the caustic soda is used. The second point is, that superior '
tones are got by simply adding a little gold to an alkahne fixing bath
than by using a separate toning bath, or even the combined toning and
fixing with sulphocyanide.
I had intended to say something on albumen slides ; but it occurs to me
that already this paper is long enough, and the days of albumen too long
past to be of much interest. It is a difficult process to work, but yields
magnificent results ; not, however, better than some of our modem pro-
cesses, which are infinitely less trouble.
In conclusion, the opinion which I hold at the present time is that, for
the amateur, commercial gelatino-bromide in skilful hands is everything
that can be desired for cold tones. If warm tones be required, let him
make his negatives suitable for carbon, or, failing that, use Alpha plates.
I have already said that I attach ten times the importance to the nega-
tive that I do to the method of slide-production.
J. K. TULLOCH, M.B.
♦—
BLACKHEATH CAMEEA CLUB EXHIBITION.
This Exhibition was held on Friday and Saturday, March 3 and 4, the
Judges being Messrs. Cembrano and Pringle, and the Kev. F. C. Lambert.
In the Members' Class Mr. E. Hawkins took the silver medal for Autumn
at Fi-oc/nal, in which, to our thinking, the effects were more wintry thao
autumnal. Mr. A. W. Young's bronze medal for A it Interior was honestly
earned, lighting, exposure, development, and printing of the subject com-
bining to produce a technically faultless photograph. Mr. W. F. Butcher's
Parisian enlargements, Mr. Sydney Spencer's small Swiss views, and Mr.
Henry Sandland's animal studies, lent excellence to a class which is
generally most in need of it. In Class C (open; landscape, seascape, &c.)
Mr. Spencer obtained honourable mention for some small Zermatt Valley
views, in which the detail and truth of gradation were very noticeable.
In the same Class Mr. F. L. Parsons showed the Blowing up of a Pontoon
Bridge at Tewkexbury by a Torpedo, the fragments being cleverly oanght.
We liked Mr. Leslie Selby's view of a corner of Greemcich as showing
what good pictorial effects may be often secured out of unpromising
materials. A bronze medal went to Mr. S. J. Beckett for Gudvanger,
Norway ; he also showed several of his Hackney exhibits. We admire
the tastefulness Mr. Beckett displays in his mounting and framing. Mr.
H. E. Farmer's Rochester Cathedral views struck us as being a little
chalky. Mr. Charles Moss obtained honourable mention for a capital
little Surrey Brook meandering across a well-selected bit of landscape, the
silver medal going to Mr. T. M. Brownrigg for a Winter Sunset on the
Shore, quite in the style of Mr. Gay Wilkinson. In Mr. Brownrigg's
Early Morning on a River, however, the sun seemed uncommonly high in
the heavens.
In Class D, Mr. H. W. Busbridge's Portrait.'! were uncommonly good,
and Mr. Bhedwar's Fair [Fruit-seller and To Think and Ponder When
Apart were in his best style. For the first-named he received a silver
medal.
The bronze medal was gained by Mrs. S. Frances Clarke for a charming
study, Sympathy, one lady condoling with another over the intelligence
contained in a just-opened letter. The attitudes of the figures were
capital, while the facial expressions were perfect. We should be inclined
to regard this delightful picture as by far the most meritorious in the
Exhibition. Mr. C. F. Archer's Grandpa was a most natural study of a
venerable old gentleman.
In the class for hand-camera work, Mr. J. H. Anderson secured the
silver medal for some river views printed on rough paper, and Mr. W.
Thomas the bronze for similar subjects. The class was small but good.
The gold medal in the Championship Class went to Mr. B. Gay
Wilkinson for The Peaceful Evening Hour, the class including Mr.
Tavener's flower studies, Mr. Byrne's portrait of Dr. W. C. Sell6, Mrs.
Clarke's Aha! Mr. Warneuke's Pall Mall Portraits, Mr. F. W. Edwards
Westminster Abbey, &c., Mr. Brownrigg's Storm on Derwentwater, Mr.
Lord's Hole's That J several of Mr. Dresser's, Mr. Gear's, Mr. Kalpb
Kobinson's, Mr. Bhedwar's, and Mr. C. Court Cole's pictures.
In the Open Lantern Slides Class the awards were Mr. Brooker (silver
medal), Mr. George E. Thompson (bronze), Mr. E. G. Lee (hon. mention) ;
Mr. Hawkins (silver), Mr. Field (bronze) being successful in the Members'
Class. The loan collection of pictures comprised a large yacht picture
by Messrs. West & Son, several of Mr. Birt Acre's Barnet Fair cattle
studies, and the ubiquitous but always welcome Wave picture (lent by
Messrs. Elliott & Son).
The limited space at our disposal this week not only obliges us to omit
mention of many other admirable pictures that were on view, but also to
be as brief as possible in our remarks upon those we have noticed. In
closing our reference to this capital Exhibition, however, we must not
omit mention of the useful and compact little displays of apparatus,
lanterns, &a., by Messrs. Butcher ct Son, Messrs. Noakes & Son, and
Messrs. Piatt & Witt, which were on view in the Hall.
FILLEBROOK ATHEN.EUM PHOTOGRAPHIC EXHIBITION.
Tins Exhibition, which was held at Leytonstone on Wednesday and
Thursday last week, differed from most others, in that there were only
two classes, namely, one for exhibits which had not previously gained
medals, and one for those which had. Both classes included lantern
slides, for which, however, the Judges (Messrs. Cembrano, W. L. Colls,
and J. A. Hodges) declined to make any awards. A third class of non-
competitive exhibits, which included such works as H. P. Robinson's
Dawn and Sunset, several of Mr. Horsley Hinton's pictures, and contribu-
tions from Dr. P. H. Emerson, Mr. B. G. Wilkinson, Mr. Alex. Keighley,
and others, materially helped to enhance the quality of an Exhibition
already excellent from the circumstance that most of the competitive
pictures were fit survivals from the innumerable exhibitions which have
been held since last autumn.
In Class I Mr. L. C. Bennett received a bronze medal for The Cress
Gatherer. In The Pet Peacock (a lady toying with one of those gaudy
Jlarch 10, 1893]
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
166
(owls), In Tjore iritli her oini Wondrous I'oirc (a ParseelacJy acoompnnying
herself with a guitar-like musical instrument), Mr. Dhcdwar showed his
customary command over graceful poses and technique. But the downward-
turned foot of the lady on the top of the step in Home from the Well was
BO distorted as to detract from the merits of the picture as a whole. The
Exhibition was so poor in portraiture that Mr. Byrne's evcr-delightfal
Studies of Children, and a large direct picture of two young people passing
as Sweetheitrtt, were very welcome. Mr. C. A. Brightman's Gloucester
and Wells interiors and exteriors struck us as being very fine, even in the
presence of some of Mr. F. W. Edwards' best work, that gentleman taking
& bronze medal for a large Westminster Abbey interior, and the choir at
Canterbury. It is a pleasure to examine such careful, conscientious
architectural work as the two gentlemen named, Mr. C. H. Oakden, Mr.
U. E. Farmer, Mr. W. Howell (who gained a silver medal for a view of
the South Entrance at Canterbury Cathedral), and others showed here.
By judicious printing, Mr. A. Jeffreys had produced quite a realistic and
chilly ellect in his riverside stuily of a February Morning (silver medal), a
similar award going to Mr. A. Keigliley for The Breath of Winter, and to
Mr. Leslie Selby for Eienimj Calm, both subdued-toned studies of the
subjects. Mr. Keighley's Hit Little Joke (an old fellow exchanging
smiles with two women) had the true spirit of humour ; but the same
gentleman's Sunliyht and Soap (an outdoor washing scene) was scarcely
wortliy of him in any sense. The last remark applies, with some quali-
fication, to Mr. Kalph Robinson, who, in A Sudden Squall (an old
woman retreating before the wind on the seashore), In Summer among the
Flouers (a small, uninteresting child against a background of flowers),
and All Illumined with a Hustic Glory (a lady seated in the open, in
company with a dog), hardly soared above the commonplace. Mr.
Bobin.son, however, made ample amends in Making Friends (silver medal),
a farmyard scene in Normandy, presumably, where the efforts of the
woman to soothe a startled calf and a frightened child, half hiding behind
her dress, tell a simple story forcibly and directly. The composition and
general treatment of the picture were excellent. In addition to the
gentlemen named, other exhibitors of good and generally well-known
work were Messrs. J. H. Avery, Golding, GottUeb, C. S. Roe, J. Kidson
Taylor, Ac.
In the champion class, Mr. Ralph Robinson was successful with his
picture of Mr. (r. F. Watts; tlie class included Mr. Bhedwar's Feast of
Rosen and Naver Series, Mr. Dresser's At IVork ; Ploughing, Mr. Lord's
How's That, and otlier well-known works. On the whole, the Exhibition,
especially to local residents and those unfamiliar with exhibition photo-
taphy, must have been highly appreciated. A better average of quality
It is not often our lot to encounter.
THE NEW CENTRAL PHOTOGRAPHIC CLUB.
On Monday evening last, March 6, a public meeting of those interested in
the formation of the New Central Photographic Club, which was referred
to in our issue of the 2ith ult. , was held at the Memorial Hall, Farring-
don-street, E.G. Mr. John Howson was voted to the chair, and the
attendance, which was a large one, included Messrs. J. H. Avery, A. F.
Stanley Kent, E. J. Hughes, R. G. Fenn Kidson, W. E. Ward, H.
Snowden Ward, H. Ransom, T. E. Freshwater, F.R.M.S., F. W. Hindley,
A DoUond, G. Lamley, R. Child Bayley, A. Cowan, W. Fenton Jones,
H. E. Farmer, E. J. Wall, J. A. Hodges, C. H. Oakden, B. J. Edwards,
A, C. Edwards, T. E. H. BuUen, A. E. Hayman, T. Samuels, J. 0. Grant,
L. Medland, A. 8. Newman, B. Beckett, J. S. Teape, G. H. James, R. P.
Drage, E. Benest, W. H. Barnes, W. D. Welford, Charles Bilton, and
many others.
Mr. Thomas Bedding (the Hon. Secretary, pro tern.) having laid the
outlines of the proposed Club before the meeting, a long discussion on
the details of the scheme took place, and finall.y an Executive Committee
was appointed to (1) draw up a set of rules ; (2) to arrange for suitable
premises ; (3) to determine the financial basis upon which the Club is to
\>e floated ; and (4), generally, to arrange a working scheme to be sub-
mitted to a future public meeting.
The Executive Committee have already met to carry out the terms of
the instructions given at the above meetir.g, and in the course of a week
or two another public meeting will be called for the purpose of consider-
ing the decisions at which the Committee wiP. have arrived.
Numerous promises of membership were received in the room, making
a total, with others sent by letter, of about eighty — a remarkably good
number for one evening.
The following comprise the Executive Committee :— Messrs. Birt Acres,
Eobert Beckett, R. P. Drage, A. C. Edwards, T. Fall, T. E. Freshwater,
F.R.M.S., John A. Hodges, J. Howson, William Fenton-Jones, Charles
H. Oakden, E. J. Wall, H. Snowden Ward. Th« Hon. Secretary {pro
tern.) is Mr. Thomas Bedding, 2, York-street, Covent Garden, W.O.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 3699.— "Improveinent.'i in Stand for Photographic Cameras." H. W,
Taint.— /Mterf Fehnutrt/ '20, 1893.
No. 3791. — " Iraprovements in Gratings or Screens for Photo-mechanical
Printing." Complete specification. M. Lkvy.— Dated Fehnuiry 2\, 1893.
No. 3804. — " Improvements in Klectro-photogriphy." J. Waring. — Doled
February 21, 1893.
No. 3847. — " Improvements in the Production of Lantern Slides and other
Transparent Photographic Irnajies, in which are also contaitied an Improved
.Means of Transferring Pliotographic Rjproiluctions to Porcelain, .Metal, and
otlier surfaces." U. Mitchell.— Orttoi February 'il, 1893.
No. 3919. — "An Improved Pneumatic Shutter for Photographic Purposes."
A. Philbukn.— flatoi February 22, 1893.
No. 3964.— "Improvements in or relating to Photo-mechanical Printing."
W. R. Andhi^;, W. R. a. Sleioh, and A. B. A. ^LKian.— Dated February 2:3,
1893. V <
No. 3989. — "Irvine's Improved Twin Lsns Hand Camera." J. Irvine. —
Dated Feh-uary 23, 1893.
No. 4030. — " (n\iirovemonts in Shutters for Photographic Lsnses." F.
fiHRW.— Dated February 23, 1893.
No. 4057. — "An Improved Photogiaphic Camera for Portraiture and for
Studio Work." J. V. Robinson.— Oa^&i February 24, 1893.
No. 4065. — " Improvements in the Construction of Hand Cameras and Dark
Slide-s therefor." W. Middi.emiss. — Dated February 24, 1893.
No. 4141. — "An Improved Photographic Printing Ajiparatus and Process."
II. S. Rush, H. L. Jenkins, and W. G. G03SLiN.~-/Jaterf February 24, 1893.
No. 4167. — "Improvements in and connected with Extension Linkages for
Photographic Cameras and other Collapsible Apparatus." G. Wishabt. —
Dated February 25, 1893.
No. 4183. — "Improvements in Photographic Cameras." T. Miller. —
lMte.d February 25, 1893.
No. 4188. — " Improvements in Electric Retouching of Photospaphs, and in
Apparatus therefore." R. Kennedy. — Dated February 25, 1893.
No. 4214. — " New or Improved Apparatus for the Manufacture of Films,
more especially intended for the Manufacture of Films for Photographic
Purposes." W. H. Walker.— />rti;crf February 25, 1893.
SPECIFICATION PUBLISHED.
1892.
No. 19,581. — " Photographic Shutters. " Clarke.
PATENTS COMPLETED.
IMI-BOVE.MENT.S IN MeaN^ KOH RAISING AND LOWERING AND SF.CUBING IN
Position STuhjo Ca.mera Stands and Other Objects.
No. 5672. Walter James Boughton, King-street, Tlietford, Norfolk.
January 28, 1893.
My invention, a studio camera stand for jihotographers or others, or any article
required to be raised up and down, to be kept in position wherever wanted
witiiout the aid of set screws. My invention consists of two ujiright standards
grooved for cords, with cross feet, connected by two cross bars ; in between the
bars is a spindle, with cords coimected, to raise and lower the platform between
the two standards, a wheel on spindle to raise and lower • with wedge
arrangement.
Impbovkd Portable Phcitugbaphing Apparatus.
No. 6631. JULBS Carpentier, 20, Rue Delambre, Paris, France.
January 28, 1893.
This invention has reference to a small portable apparatus for taking photo-
graphs, which has the general configuration of a binocular opera-glass, tne one
barrel of which serves as the photographing camera, while the other serves for
sighting, the glas.ses .at the small ends of the barrels being the object lenses.
The two barrels are connected at their small ends by a cross frame, in which
is a sliding shutter, by means of which the object lens of the camera can be
momentarily uncovered for taking the photograph.
This shutter lias for this purpose an opening, which, when in its inward
position, is situated on the inner side of the object glass, while, when in its
outward position, it is on the outer side thereof.
The shutter is acted upon by springs tending to draw it into its inner
position, and when drawn out into its outer position it is held by a trigger
catch, on releasing which with the finger it is drawn rapidly by the spring
into the inner position, thereby momentarily exposing the sensitised plate in
the camera. In order to prevent such momentary exposure from also taking
place when drawing the shutter outwards, there is provided a small slide on
the shutter, which covers the opening thereof while the shutter is being drawn
outward until the opening has passed beyond the object lens, when a stud ou
the shutter comes in contact with the end of a slot in the frame, and it is thus
held while the outward motion of the shutter is completed, whereby the
opeuuig becomes uncovered by the slide, which, on the inward motion ,of the
shutter, moves back with it, leaving the opening uncovered.
The two barrels of the appiiratus are fixed on to a rectangular bo.x, in which
is a sliding drawer, to which is attached a stem, projecting to the outside, where
it has a button, by means of which the drawer can he drawn from that sid* of
the box which is opposite the camera barrel to the other side.
i
156
THE BRITISH JOURNAL OF PHOTOGRA.PHY.
[March 10, 1893
The end of the drawer opposite that to which the rod is attached is not
closed, but from the opposite sides two small claws near the top project into
the open end. The bottom of the drawer is also open, and two slightly curved
blade springs extend from the closed end of the drawer along the open bottom.
In this dr.awer are stored a number of sensitised plates, each of which is
contained in a tliin sheet metal frame, which frames separate the plates from
each other. Each of these frames carries a number marked on a recessed part
thereof, and the number of the bottom frame in the draw will be visible
through a red eyeglass fixed in the bottom of the box opposite the sighting
object glass, when the drawer has been drawn to that side. The frame carries
a light spring which presses the sensitised plate against the rim of the frame,
and thus holds it securely in position. For introducing the frames with their
sensitised plates into the drawer, the bottom part of the end of the box on the
camera side is made as a door, and, on opening this, the frames are then slid in,
one on top of the other, over the before-mentioned curved springs at the
bottom, which, when the box is full, press the uppermost frame and its plate
slightly into the larger open end of the barrel which constitutes the camera, stops
being provided for preventing the entrance of theframe to an extent exceeding its
thickness. The door of the box being closed, the apparatus is ready for taking
a photographic impression on the said plate, after which the drawer is
drawn outward by its rod, whereupon the u])i>ermost frame with its plate,
being held by the stops as described, will remain in position while the others
.slide from under it with the drawer, and when this is entirely withdrawn the
said frame, losing its support, will fall to the bottom of the box. On now
pushing the drawer back again, the said frame will pass in between the curved
springs and the undermost frame of the pile in the drawer, and will thus be-
come the bottom plate, while the second uppermost one will at the same time
be pressed into the camera as above described, in order to be exposed at the
next operation. In this way, by moving the drawer backwards and forwards
after each exposure, each plate is in its turn brought automatically into the
camera, while the preceding one is brought automatically to the bottom of thebox.
. The sighting barrel of the apparatus is, by preference, constructed with a
concave object glass, and with the before-mentioned serai-convex red eyeglass in
the bottom of the box for observing the object to be photographed.
It may, however, have a photographic lens and a transparent screen, like an
ordinary camera.
The negatives taken in the above-described instrument are, of course, on a
miniature scale ; in order to obtain therefrom positives on an enlarged scale, I
provide an apparatus of the following construction : —
A rectangular box has at bottom a frame in which is a movable plate, and
whicii can open away from the box on hinges, like a door, being held close by
a spring catch. The sensitised paper is placed upon the movable plate, and
is held in position by being pressed by tlie plate against projecting ledges on
the box by tlie closing of the door. On the upper side of the box is tixed
a metal tubular extension, the upper end of which is adapted to receive the
small negative taken in the first-described apparatus. At a suitable distance
from the negative the tubular extension carries a partition, in the centre of
which is an object lens, by means of which an enlargement of the picture of the
negative is thrown on to the sensitised jiaper at bottom.
The top of the tubular extension is closed by a cap, which is removed for
the length of time required for the exi)Osure, and is then replaced while the
apparatus is being taken to the dark room, where the .sensitised pajier is
removed ami treated in the usual manner.
For making this apparatus more (iompact for carrying, the tubular extension
is made removable from the box, and is fixeil in position by a bayonet joint or
other fastening.
Improvements in ok relating to the Reoui^vtion op PHOiooBArHic
Shutters.
No. 19,581. Joseph Thachkr Clakke. Boston, Massachusetts, United
States. —Februm-y 4, 1893.
My invention relates to photographic shutters of that class in which the dura-
tion of the exjiosure is governed by a pneumatic piston .and cylinder, acting as
a brake of variable effect.
Hitherto the differentiation in the action of snch pneumatic brakes has
been attained in two ways, either by varying, by means of a tap or of a
movable cap valve, the orifice through which the comjiressed air is per-
mitted to escape from the cylinder, or by so shifting the position of the piston
arm in relation to the working parts of the shutter that the leverage exercised
by the shutter spring upon the piston is changed, and the length of the piston
travel is thereby altered.
My invention has for its purpose to provide an improved pneumatic shutter
in which the requisite difi'erenliatiou of the brake is effected in a third and
novel manner. While dispensing with the valve for regulating the outflow of
air from the cylinder, and while leaving the leverage between the shutter
spring and the piston unchanged, and the length of play of the piston un-
altered, I obtain the variable speeds of my pueumatic brake by sliding the
air-compressing chamber or cylinder to and fro along the axis of the piston rod
in such wise that the piston is caused to plunge to a greater or less depth
into the cvlinder, the retarding efiect of which is thus restricted to a
longer or shorter part of the travel of the piston. In this movement of the
air-compressing chamber, relative to a piston of fixed travel, lies the gist of my
invention.
The movable air-compressing chamber, or sliding cylinder, being provided
with no variable outlet, is preferably made to fit the piston somewhat loosely,
so that the air com])ref sed tlierein by the movement of the piston may gradually
escape between its inner wiUls and the .sides of the piston. In the event of
the leakage thus provided between the piston and tbe cylinder being found
insufficient, a further o\itlet may be provided by piercing one or mere small
apertures in the walls of the cylinder. These apertures may be so arranged as
to gradually cut off the outflow, and consequently to increase the resistance of
the air remaining in the cylinder, as the piston passes them on its travel.
The air-compressing chamber may be constructed as a plain cylinder closed
at its base, like a stopped organ pipe, so arranged as to slide along the line of
play of the piston, permitting this to move, at the one extreme, both forwards
and backwards without entering it, and thus without compressing the air
within it, or, .at the other extreme, to traverse its entire course within the
closed cylinder, under pneumatic restraint. Or, while arranged to slide in the
manner indicated, tlie air-conipresbing cliamber may be made with a slightly
conical bore, so as to gradually alter the amount of air leakage between its
walls and the sides of the piston as this latter is caused to jienetrate more or
less deeply within it. Such a slightly conical bore will reuder the pneumatic
retardation more or less appreciable, according as the piston travels along a
more or less constricted portion of the bore.
In either case it is preferred (although the principle of the invention is in ao
wise dependent hereupon) to make the air-compressing chamlier greater in
length tlum the travel of the piston, cutting out longitudinal slots or
otherwise perforating all that portion of the tube through which the piston
travels when the cylinder is so withdrawn as to exercise the least ]iossible
restraining effect. Through these slots or perforations the air, displaced by the
movement of the piston, finds free escape, and hence exercises no retarding
influence. The rails formed by the strips remaining between tlie slots may
serve as guides for the piston during that portion of its travel in which it does
not enter the un] perforated portion of the air-compressing chamber.
The piston may be connected with, and receive its motion from, any portion
of the shutter worked by the shutter spring. Thus, if the shutter plate be of
that type which performs an entire revolution for each exposure, the piston
may work \ipon a cam or eccentric, the position of which in relation to the
centre of revolution will ileternune the play, forwards and backwards, of the
piston. If, on the other hand, the shutter be of a type moving to and fro
across the lens aperture, the piston may be advantageously made to work in
a slot in the shutter plate, or be connected therewith in any other convenient
manner. The piston can, if preferred, be directly connected with the ojierat-
ing spring of the shutter jilate, as is well understood. In shutters of the
type last mentioned the piston will be moved bacltwards, i.e., away from the
air-compressing chamber, by the act of winding the shutter spring, and will
differentiate the length of the photographic exposure only during its forward
travel.
The adjustment of the air-compressing chamber, for the purpose of setting
the speed of the shutter, may be performed in any convenient manner, either
by direct action of the fingers upon the cylinder itself, or, as in the case of
hand cameras with closed fronts, hy means of an intervening lever or other
shifting device. A scale, indicating the speed to which the shutter is set, may
be engraved, or otherwise marked, either in connexion with the cylinder or
with the moving lever.
It is obvious that the principle of my invention may be retained, although
the relative ]iositious of cylinder and piston be so reversed thivt the former is
connected with some moving portion of the shutter and the latter adjusted by
sliding along the line of travel.
One of the notable advantages of my improved pneumatic shutter is that,
even in protracted exposures, the lens aperture is opened (and in the case of
shutters of the before-mentioned circular type is likewise closed) with the
maximum rapidity of the shutter. This is due to the fact tliat the yiiston is
permitted to conmicuoe (and in shutters of the circular type likewise to ter-
minate) its movement without restraint from the pneumatic brake, the retarding
effect of which is not brought iiito action until after the shutter has lieen passed
aside from the lens aperture by the unrestrained force of the shutter spring.
The character of the photographic exposure is hereby greatly improved.
— »
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of Meeting.
March 13
13
13 ....
13
13
IS
13
13
U
U
1*
U
H
U
14
U ... .
M
15
15
15
15
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18
Name of Society.
Place of Meeting,
Camera Clnb
Darlington
Dundee Amateur
Lantern Society
Norfolk and Norwich
North Middlesex
Ptitney
Iliehmond
Birmingham Photo. Society
Derby
Great Britain
Hackney
Manchester Amateur
Newcastle-on-Tyne&N.Countiee
Paisley
Rochester
Stockton
Brechin
Bnry
Leytonstone
Manchester Camera Cinb —
Photographic Club
Sonthport
Southsea.. ;
Birmingham Photo. Society
Camera Club
Glossop Dale -
t:re3uock «
Hull
London and Provincial
Oldham
Oxford Photo. Society
Cardiff
CroTdou Microscopical
Holborn
LeaminetoD
Maidstone
Hnll
Charing Cross-road. W.C.
Trevelyau Hotel, Darlington.
Asso. Stndio, Nethergate, Dundee*
20, Hsnover-sqnare.
Bell Hotel, Sora-ich.
Jubilee House, Hornsey-road, N.
Boys' (Tymii:isinin,Charlwood-roacI,
Greyhound Hotel.
Clnl> Koom, Colonnade HoteL
Smith's Restiiuraut, Victoria-fit.
50, Groat Russeil-st. Bloomsbnry.
206, Mare-street. Ruckney.
Lecture Hall, Athonaenm!
Central Exchaiiire .^rt Gallery.
9, Gauze-street, Paisley.
Mathematical School, Rochester.
Mason's Court, Hiirh-street.
14, St. Mnry street. Brechin.
Clult Rooms, \S, At.^ar-street, Bury,
The Assemljly Rooms, High-road.
Victoria Hotel, Manchester.
Anderton's Hotel. Fleet-street.K-C.
The Stndio, 15, Cambridge-arcade.
3, King's-road, Southsea
Clnb Room, Colonu-ade Hotel.
Charing Cross-road, W.C.
Museum, Kelly -street, Greenock.
71, Prospeet-stroet, Hull.
Champion Hotel, 15, Aldersgate-st.
The Lyceum, Union-st., Oldham.
Society's Rooms, 136, High-street.
Public Hall, George-street, Croydon
Trinity Church Room, Morton-st.
"The Palace,'* Maidstone.
71, Prospect-street, Hull.
March 10, 1693]
TUB BRITISH JOURNAL OF PIIOTOGRAI'IIY.
LONDON AND PKOVINCIAL PHOTOGRAPHIC ASSOCIATION.
March 2,— Mr. W. H. Hnrrison in tlu' clmir.
Mr. Bilgar C'lilton, being unwell, was iinuhle to deliver his pronjised lectnre
on Camtras, Tripoils, ami hark .Slitlea, and it wa» postponed accordingly.
TllK QuKSTioN Box.
1. "Arc I'l'rro-pnuisiate prints pernuuieDt y if not, can their permanency be
increased in any way .'"
The Chaiuman saiil lilui' prints were very mnoli affected by alkalies.
Mr. G. W. Atkins luid some by him wliich were made ten years ago; they
hail been vamislied, and were as good as ever.
2. "A dry plate, developed, tixeil, and washed in the usual way, vat dried
off with spirit ; when dry, large patches of a whitish deposit were noticed on
the film next to the glass. Is this detrimental to permanency of negative, anil
what is tlu' cause ' This has only been found when working with the new
spirit, and does not appear to affect the printing of the negative."
Mr. W. K. Dkhexham thought that insuflicient washing was the cause.
Mr. G. T. Harris had been troubled in the same way, but found, however,
that the deposit disappeared in varnishing.
. 3. " What would be tlie best printing paper fo send to the (Jold Const,
as platinotyjie, silver, and bromide paper are spoilt by damp in less than a
week?"
Mr. T. R FRB8BWATBR said he had seen prints which had been done
on silver paper set out ready sensitised to India, ami which seemed to stand
well.
Mr. Debeniiam would suggest the use of coUodio-chloride paper.
Mr. J. S. TiAPE said that if the silver prints were coated with a weak solu-
tion of gelatine on both sides, left to dry, then again coated on both sides with
a spirit varnish, he thought they would be as permanent iis could be desired,
even in a climate like that of the Gold Coast.
Messrs. P. Everitt and F. W. Pask were again appointed delegates to
represent the Association on the Athliation Committee.
The Hon. Skohhtahy announced that on March 18 a large collection of
lantern slides (including some astronomical), illustrative of South Africa,
would be shown.
167
Noitb Middlesex Photographic Society.— March 1, First of a series of
Elementary Technical Classes, Mr. J. MilNTOsH taking charge. — He explained
the different sorts of lenses, their uses, and how to test them ; the stops, their
uses, and their relation one to another as reg.ard3 exposure, the camera, swing-
back, rising front, showing and explaining various tests ; he also touched upon
plates, and made a point of the advantages gained by backing the same.
These classes are given expressly to help beginners, free of charge ; any gentle-
man wishing to attend should make application to the Hon. Secretary, Mr. G.
Gosling, 13, Lansanne-road, Hornsey. An outing has been arranged to
Hampstead for Saturday, March 11, which will be attended by several
members of the Society to give jiractical instruction in the use of the camera
in the field, and will be follow«l on Wednesday, March 15, by an evening for
developing the plates exposed.
Harringay PbotograpUc Society.— March 2, Mr. Towers occupied the
chair.— Mr. Mori-.an, rejircsenting Messrs. Fuerst Brothers, gave a demonstra-
tion with amidol. In introducing this comparatively new developer, Mr.
Morgan said its advantages were extreme energy, its very small bulk, and it
does not reiiuire an acid clearing bath for bromides. The demonstrator success-
fnlly developed a half-plate (Edwards' isochromatic plate), and Thomas's lantern
plate, and some bromide paper. Mr. Denxktt said he liked the brown
tones as produced by pyro for the ordinary negatives, and Mr. Towers said,
tliough the lantern slides and bromides were perfect, he should prefer pyro for
ordinary negatives. Some excellent enlargements, done by Mr. A. R. Dresser,
and developed with amidol, were shown. Mr. Morgan strongly recommended
the concentrated stock solution, and he also said there was quite as much
control with amidol as any other developer.
Haclmey PliotograpMc Society.— February 27, Mr. F. Houghton in the
chair.— Mr. Hudson handed up a liome-made shutter. The working was, how-
ever, too too stiff in its action. Mr. A. Barker presented slides to the Society
for lending out. Mr. Grant showed .>iorae printout opals. A discussion ensued
on the desirability of the Society being represented at the forthcoming Crystal
mace Exhibition. The matter wa" referred to the Council to be thrashed out.
Mr. ViNi.vo asked : " What is a simple way of obliterating portions of a nega-
•ive .so as to omit some in printing and without leaving a hard line !" Mr.
riiAXT said that Mr. H. P. Robinson described the method in his book. Mr.
AVENs a-sked : What had the Society done about tlie proposed new lantern
lenses ? Through the kindness of one or two members it was decided to pur-
chase two, made by Messrs Swift. A series of prize slides were then shown,
after which slides by Messrs. A. Barker, S. J. Beckett, Dean, Grant, Hull,
Moore, Harvey, Roofe, Tavener, and G. W. Wilson, of Aberdeen, were shown.
Croydon Camera Club.— February 27.— It was announced that the Judges
appointed tor the forthcoming Exhibition were Colonel J. Gale and Mr. T. J.
Bnght.
Halifax Camera Club —February 28.— Mr, J. E. Jones introduced the sub-
ject of Laiid.icajie or Tourist I'hotoijraphy. Mr, JoNJS described at some
length the apparatus best adapted for the touri.st. He did not believe in the
long-focus camera when on tour ; the double extension was never re<iuired out
of doors, and every ounce of i'/«/>«6'«Knto weighed heavily at the end of a dav's
journey. A small lamp, with non-actinic medium, was very useful for chang-
ing plates, with the window covered up with the focussing cloth. He had
round the tiest way to store plates or films after exposure was to place a thin
Meet of non-actinic paper, cut to size of plate, between every two plates, films
to the paper. Films have an immense atlvantage over plates on account of
weight A very slow jilate had certain advantages in landscape work, but for
all-round work a moderately quick one was more desirable. He always carried
• ')Ottle of Kay's Coaguline, which he found very useful in cases of accident,
such as the breaking of the focussing screen, 4c. He had uwd various kinds
of Icn.ses, including the single landscape, but he found nothing like Roee'
rapid symnietricnl, which he mvariably used at al»ut/-'22. He considered the
legs of the tripod and the foc-iiMing cloth great nuisances, and, as a partial
remedy for the latter, exhibited Houston's focussing doth holder. His plan wa«
always to use a normal developer, and, if a i)ictnre did not come out without
all sorts of dodging, he did not think the plate worth further trouble^ He ba<l
often lieen annoyed by crowds of people standing rouml when about to expose,
and recommended, as a remedy for this, that one's wile .should l)e sent round
with the hat, which he considered would be effectual in making them move off.
Mr. Jones also descritied the difficulties he had experienceil in passing hi*
apparatus through the Customs on one of his Continental tours.
Leeds Photographic Society.— March 2, Mr. John H. Walker (President)
in the chair.— .Mr. W. D. Welfoku read a paper on Practical Haml-cariiertt,
II or/-. While he agieed with most workers that the hand camera should not
take the place of the .-tand camera for really fine work, it had its place and de-
partment in which it excelled, such as street scenes, character ancf life on the
sands, in the market-place, &c. He got about seventy slides passed through
the lantern illustrative of this, which were pronounced excellent. Mr
Welford, like many othtrs, is often asked : " Wliat is the best hand camera l"'
but, like most men of experience, states that there is no universal ))attern, but
th.at neariy all (of the better class, at any rate) in the market are goo<l, each
possessing special merits of its own, but he has a preference for those having
automatic changers for either slides or films.
Dundee and East of Scotland Photographic Association.- March 2.— A
paper, entitled A Few Practical Remarks un Lantern-slide Making, was read
by Dr. J. K. Tlllooh (see page 152.) During the lecture a large number of
slides wereexliibited, illustr.iting the various proce.s.se3 refeiTed to. A .series
of American slides were sent for exhibition, as were also a numlwr of members'
slides. Beginners' Slide Competition :— 1. J. S. Lawson ; 2. Rev. E. J. Gough.
Special (each comiwtitor having had the same three negatives) : — 1. T £
Wynd ; 2. J. D. Cox.
Glasgow Photographic Association.— February 17, Mr. William Lang,
jun., F.CS., President, in the chair.— To a large and appreciative audience-
Mr. W. Lamond HdWiE, F.C.S., delivered his well-known lecture. To Ober
Amiiifrffnu and Back in 1890. March 2, Mr. J. Craig Annan gave a practical
demonstration of carbon printing, and develoi)ed several prints on i)aper, glass,
and opal. A new printing-out lantern plate was shown to members, and a
series of new standard lens fittings was e.<liibited and explained by Mr. W. S.
HoBsoN, of .Messrs. Taylor, Taylor, & Hobson, Leicester.
teith Amateur Photographic Association. — Februai'y 28. E.xhibition o
members' work t.iken dnring tost year.— The Pkbsident (.Mr. William Dougal)
said that this entertainment had now Iwcome an institution in their midst
which was eageriy looked forward to by those interested in art. The Asso-
ciation, althougli numbering only foriy members, was looked upon in the
photographic world as one of the most go-ahead societies in Scotland. The
works to be .shown were, in his j udgment, superior to those of any jirevious Exhi-
bition. Some 213 slides would be exhibited on the screen, being an average
of thirteen to each exhibitor, or fully live for each member, while in the
l.-irgest societies in the kingdom the average per member was one only. The
views were of the usual varied character— Newhaven fisher-w-ives and men in
their picturesque garbs and occupation, landscapes and architectural subjects,
together with tine sea pieces, a thrushes' nest with eggs, &c. One set of copies.
of engravings alter Turner, Wilkie, &c., seemed to please many of the large
auilience. The Exhibition, which was assisted by instrumental and vocal
music, was brouglit to a close with a couple of dozen from the Hon. Secretary's
fine collection of slides of the series " Burns, his Homes and Haunts," which
received well-merited applause.
Hobart (Tasmania) Photographic, Science, and Art Association.—
January 20.— The Secketarv re.ad a letter from Dr. T. ,1. Bamardo, the
founder of the Homes for Destitute Children, in which that gentleman thanked
Mr. F. J. Paterson (a member of the Association) for his kind donation of
Tasmanian lantern slides. Dr. Barnardo said that the slides will prove a source
of great interest, and he will take care that they are exhibited throughout his
Homes, Mr. Pater.son delivered a lecturette on Il/ortl Printing-oiU Paper,
and stated that he had never had a single failure. The beautiful pictures
shown by the lecturer were greatly iidmired, and proved that Mr. Paterson was
an expert m this particular style of photographic printing. Mr. N. Oldham
followed with an instructive lecturette on Photographic Chemicals, in which he
described their manufacture and v:irious uses, lUso pointing out how to avoid
impure varieties and overcome failures. Anuml)erof new stvles of cameras,
were placed upon the table for inspection, as well as a good number of lenses and
shutters.
FORTHCOMING EXHIBITIONS.
March 22, 23 Leicester and Leicestershire Photographic Society, Co,
operative Hall, High-street, Leicester. Hon. Secrotary-
H. M. Porritt, 66, Londoa-road, Leicester.
April 5-8 'Croydon Camera Club, Braithwaite HiUI, Wellesley-
road, Croydon. Hon. Secretary, G. R. White,
55, Albert-road, Croydon.
.. l"-29 'Crystal Palace. The E.xecutive, Crystal Pahice, S.R
!i 12-15 ■•Bolton Photographic Society. Hon. Secretary, J, E.
Austwick, 10, Rushton-street, Bolton.
.. 17-29 "Photographic Society of Philadelphia. Hon. Secretary,
R. S. Redfield. 1601, Callowhill-street, Philadelphia,
U.S. A. '^ '
May 4-6 'Forfai-shire Photographic Association. Hon. Secretair,
W. J, Anckorn, West Port, Arbroath, N,B,
* Signifies that there arc open classes.
158
THE BRITISH JOURNAL OF PH01GGKA.PHi'.
[March 10, 1893
CotrejSjJOtttrenc?*
Correspondents should never lorite on both sides of the paper. Jfo notice ts taken
of communtcationj unless the names and addresses of the writers are given.
COLLOTYPY— A HINT TO PHOTOGEAPHEES.
To the Editok.
SiK, — It seema remarkable that photographers as a body have not
taken to this process as a means of increasing their business. I think
that I am not far from the truth when I state that at the present time
photography as a business is not very remunerative. I am well aware,
however, that there are a great many who can command high prices for
the excellent artistic work which they produce, and who know nothing
of the fluctuations of the trade which is the worry of their leas favoured
brethren. The average photographer who has to depend upon the or-
dinary public finds considerable difficulty in making ends meet ; and to
such a new atyle or a new process proves a veritable godsend.
Now, coUotypy is purely a photographic process, and the operator who
knows his business thoroughly has little to learn to enable him to
produce good work ; all the apparatus and materials are already at hand,
with the exception of the printing press.
The dark room with its sink and dishes require no alteration ; the
manipulation of the gelatine, glass plates, d-c, is at the finger-ends ;
and the same light which prints out the picture on the P. 0. I', makes
ready the printing plate for the press ; and, moreover, the fashion has
set in long ago for black-and-white pictures.
Not many weeks ago a paragraph went the round of the photographic
magazines, in which the writer spoke of collotypes as superior to silver
prints. I have no hesitation in stating that, when they are carefully
produced, they are much superior to platinotypea, and not to be men-
tioned in the same day with those flat grey and white things which are
often exposed in show cases aa samples.
There are a thousand-and-one ways in which a good business man
could turn this process to account. Suppose, for instance, that the local
team has succeeded, after several protests, in bringing home the Chal-
lenge Cup, it foUi.ws that it must be photograptied, and the photograph
put up for sale. Now, if it is produced by any of the ordinary processes,
the price is so high that only a very few are bousiht, perhaps not more
than a dozen ; indeed, when the fire of entliusiasm begins to die out, it
requires hard pushins? to induce even those members of the club whose
kicking won the honour, to purchase a copy. Whereas, if they be pro-
duced to sell at a sixpence, the thousands who paid that sum for ad-
mission would readily buy them up. It is well known that the cheaper
an article can be produced the greater the number of sales will be
effected ; and it does not require much of a business eyesight to perceive
that the cheap article invariably admits of a larger margin of profit than
the costly article, which only covers working expenses.
I have no intention of taking up space in multiplying examples, yet
how easy it would be for the wide-awake photographer, with a press
which takes a large plate, say 16 x 20 ins., to put down ten or a dozen
different negatives, and by a series of masks produce with twelve pulls of
the press as many dozen C.D.V. or cabinet portraits.
I trust that these few words will prove a useful hint to some of your
readers, who, from the state of the trade at present, are sometimes
sailing in shallow waters. — I am, yours, &c., Gilbert Claukson.
March i, 1893.
DETEEMINATION OF PLATE SPEEDS.
To the Editok.
Sir, — Since my original communication hereon, I notice that more than
one of the dissentient writers invite me to discuss with them on matters
of theory which are irrelevant to the subject of my experiments as set
forth in my articles.
I considered I had already disproved any assumed concordance between
the theory and the practice of determining speeds of plates by the Hurter
& Driffield method, and such was the courage of my opinions that I
offered to submit everything to impartial jurors. This challenge has not
been taken up.
Lest it might be thought I was making a " safe " or " empty " offer, I
propose to carry the matter still further, and I have to-day written to the
Secretary of the London and Provincial Photographic Association, offering,
ii the subject is of sufficient interest, to read a short paper, and illustrate
it by the experiments I scheduled in my original article.
This will show your readers that I, at any rate, have faith in my
convictions to determine me to carry this matter to an issue. — I am
yours, <tc., G.F.Williams.
March 7, 1803.
To the Editor.
Sir,— Messrs. Hurter & Driffield have been good enough to explain
their views and conclusions, so that they ^can be " understanded of the
people," in a little pamphlet which may be obtained from Messrs. Marion
for the asking.
For fuller information we are referred to the original papers in the
Journal of the Society of Chemical industry; but this publication is not
sold in parts, and it is necessary to buy a whole volume (or, maybe,
volumes).
If Messrs. Hurter & Driffield would enlarge their pamphlet so as to
contain the details of their methods (the mathematical reasoning we will
take on trust), and, at the same time, deal with the commoner criticisms
and misunderstandings, they will add to our many obligations. — I am,
yours, &c., An Amateur.
March 6, 1893.
AMIDOL.
To the Editor,
Sir, — Rather late, I have been perusing the discussion on amidol
which occurred at the Photographic Society of Great Britain's meeting,
as printed in the January issue, of the transactions, some remarks on
which may not be misplaced.
Mr. G. L. Addenbrooke, after relating that he "had had a good deal of
experience with amidol," made some remarks thereon, in which he
Bttributed to the free sulphurous acid in a developer, prepared with meta-
bisulphite of potassium, restraining powers. This was objected to by Mr.
Mackie, who "could not understand how free sulphurous acid could act
as a restrainer in a developer, as, on adding alkali, it would combine
with it, and no longer remain in a a free state." In reply to which, Mr.
Addenbrooke said, " The sulphurous acid was too weak to combine."
It seems to me a pity that no better-informed member took part in this
discussion, the gentlemen above quoted evidently not having watched the
reports of experiments by photographic experts, which put quite a
different aspect on the development with amidol than that apparently
existing in their minds.
They evidently have no knowledge of the recent examination of acid
development by Messrs. A. & L. Lumiere, which shows that certain
organic developers, derivatives of Mars yellow, certainly develop in acid
formula;. These are diamido-phenol, triamido-phenol, pyrogallio acid,
oxidroquinone, and diamido-naphthol.
Many years ago Captain Abney proved acid development possible with
a pyrogallic acid formula, rendered distinctly acid with hydrochloric acid.
I may perhaps be permitted here to refer to an amidol formula for
transparency work which I gave in the last issue of The British Jourxal
Phototoobaphic Almanac which is very distinctly acid, and efficient,
nevertheless, for its purpose — in fact, it seems to me, that certainly for
transparency development an acid formula is preferable. I am under the
impression, from the moderate experience I have had with it, that it very
much adds to the brilliancy of the clear parts of the transparency I ani,
yours, i-c, Henry E. Davis.
Camera Club, Charing Cross-road, March 7, 1893.
NATIONAL PHOTOGRAPHIC EXHIBITION JUDGES.
To the Editor.
Sir,— We have the pleasure to inform you that the following gentlemen
have consented to act aa Judges at the above Exhibition, which opens on
Monday, April 10, at the Crystal Palace : —
Hon. Sliugsby Bethell,
Valentine Blanchard,
J. Pattiaon Gibaon,
F. Mason Good,
Richard Keene,
Dr. Lindsay Johnson, M.A., BSc,
W. Lang, Jun.,
Edgar G. Lee,
Your kind insertion of this letter will be esteemed by — Tours, &o.,
S. G. Buchanan Wollaston, i
Charles W. Hustings,
Crystal Palace, March 6, 1893.
F. Stanley Little,
Peter Macnab,
H. L. Noel-Cox,
Francis Powell, R.W.S.,
F. P. Slingsby Roberts,
Leslie Thomson,
F. York.
Executive.
SCULPTURESQUE PHOTOGEAPHY.
To the Editor.
Sib,— I read with interest your able article on "Sculpturesque Photo-
graphy " which appeared in the Journal of January 27, since which I
have been devoting my attention to practising the same. I have tried
various means ; among them the one advised by the editor of one of the
papers devoted to photography, and with moderate results, its great draw-
back being the trouble to the sitter and the time which it occupies in
getting ready, which is against its practicability.
This last few days I have been trying the method patented by Messrs.
March 10, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
ICO
G. B. Uradshaw A Co. , Altrinoham, and am delighted with the rosnite,
and would call tho attention of more practical workers to it.
In yonr issue ol December 3, 18'.I2, you call attention to the inqniries
of a correspondent for a new style of photograph which amateurs could
not produce. Your answer was, that tho idea was excellent ; but where
was the picture to be found beyond the scope of the amateurs ? Now,
sculpturesiiue photography is a beautifnl art, and could be easily made
fashionable. Is this the long-wanted picture which amateurs could not
imitate ? If they were refused patent rights, it might be. — I am, yours,
(to., W. Tipping.
Sutton, Notts.
♦-
THE LANTEBN SOCIETY.
To the Editor.
Sin,— I read in the " Lantern Supplement " to your Journal of March 3
that a correspondent has been inquiring as to the existence and prosperity
of the Lantern Society. May I be allowed, as Tresident, to inform
him, through your Joubnai., that it is progressing very steadily and surely,
and doing active work ? Our fortnightly meetings since October have
been very well attended. Several learned and scientific men have most
generously given us lectures and papers on varied and interesting subjects,
not necessarily or always connected with lantern work, or even photo-
graphy in its different phases. On these occasions our lantern has been
requisitioned to assist the lecturer as far as possible. Our public meetings
and exhibitions of slides, in a very large and fine room at 20, Hanover-
square, appear to give great pleasure to our members and their friends.
Ladies attend frequently, and, I may remark, en pasaant, are eligible as
members. Mr. E. M. Nelson, F.R.M.S., now President of the Quekett
Microscopical Club, our able chairman, as well as our Honorary Secretary,
Captain C. E. Gladstone, B.N., spare no pains to make both our formal
and informal meetings as instructive and entertaining as possible. I had
the pleasure at our last meeting of thanking Colonel Gale, Mr. Edgar Lee,
and several other gentlemen for so kindly giving our Society the oppor-
tunity of admiring some of their most beautiful pictures ; so true were
they to nature in her most difficult aspects, and so perfect in photo-
t;raphic teaching, &c. We shall have pleasure in welcoming your corre-
pondentto our next meeting open to visitors, in order that he may judge
f our activity and earnestness in the work which we have undertaken.
Captain Gladstone and our curator of slides will be happy to furnish any
applicant with our rules, etc., as well as particulars of our loan collection
of slides, ito. — I am, yours, <te., Slingsby Bethell.
Brooks' Club, St. James's-street, March 6, 1893.
PHOTO-INTAGLIO ENGRAVING IN THE UNITED STATES.
To the Editor.
Sib, — In the issue of your Journal dated December 2 is published a
review of a communication recently made by me to the Franklin Institute
regarding a certain improvement or innovation in the matter of photo-
intagUo engraving, the tenor of which is of a nature to call for a reply.
The assumption, made on the basis of my reference to the retouching
of intaglio plates, that I am, or have been, ignorant of the state of the
art in Europe, is unfounded. I have before me specimens of unfinished
and finished work of this character from a number of European establish-
ments, showing the work of the retoucher; but this should be superfluous
in view of the fact that the retouching to which I adverted is recognisable
by an expert eye in practically all published work of this character.
The statement made on the basis of my having applied for a patent on
the method in question that my communication " reads very much like
an advertisement " is scarcely just. Permit me to reply that I have
many excellent British precedents in that respect, including the names of
all the foremost EngUsh contributors to the advancement of the photo-
graphic arts.
It is furthermore predicated of me that I am ignorant of the state of
the art even on this side of the Atlantic, because it is " certainly a novelty
to be told that a dried gelatine film can be printed from as an intaglio
plate." What I stated is an absolute fact. I have myself frequently
nrinted from a gelatine relief plate — it could scarcely be called a film—
dried after washing out, in which condition such plates of gelatine have
both depth and firmness enough to stand many impressions in the print-
ing press. Both the " wash-out ' and " swelled " gelatine methods were
regularly employed in my daily practice up to 1881, and then replaced by
the etching processes. I have not, indeed, utilised such gelatine films as
intaglios, hut there is nothing in the nature of the case to render such
ipocedure impracticable for, at least, a Umited number of prints. To
any one familiar with the " wash-out " gelatine process, my statement
■will not be a novelty.
With regard to my reference to Paris as leading in the production of
I intaglio work, I will only say that the question at issue is largely a
t < matter of opinion and of taste, " De guttihus non est disputandum." — I
am, yours, itc, Louis Edward Levy.
Philadelijhia, December 29, 1892.
, Owing to defective postal arrangements, the above communication
only reached us a few days ago. We shall have a few remarks to
offer on the subject in our next number. — Ed.]
an0U)crjs to ©orceaponUentB.
•»* All matters intaided for the text portion of this JotntHAL, itteludimj
queries and Exchamjea, must he addressed to " The Editob, Thb Bhitish
Journai, of PHoTiKiUAi'iiy," 2, Vork-street, Covenl Garden, London. In-
attention to this ensures delay.
*,* Correspondents are informed thai we cannot undertake to antuer com-
munications through the post.
*,* CommunicatioTis relatiiig to Advertisements and general business affairs
should be addressed to Messrs. Hbnby Obeknwood &. Co. , 2, ri/rk-strut,
Covenl Garden, London.
PHOTOORAPBS RKaiSTERKI) ;
Alfred H. Scott, Twickeaham. — Vhoio^raph of D. Alder, vcUran postman of
ra-icfcenhum.
John Stuart, Glasgow. — Three photographs of the interior of the latj Dr, Sonar's
^tudy at 20, India-street, Qlasijou!,
Siraco & Holme, Wellingborough. — Two photographs of Hind Hottil, WeUingt oroug> ,
in 1856. Two phctographs of Market-xtreet, tVeiUngooroujh, in 1856, four p wto-
graphs of Princess Kaiulani of Hawaiian Islands.
WouLD-BE Member.— See " Lantern Notes and News," last week.
Spring.— Return the films to the makers ; they will, doubtless, give yoa freth
ones for them without demur.
F. ]{. E. (Weymouth). — The Pampheugos lamp is made by Mr. W. C. Hughes,
Brewster House, Kingsland, N.
J. W. C. — Mr. Denison is not a professional photo-eugraver, and does not work
for the trade as you have been erroneously informed.
Hector Maclean, Marcus P. FuoHS, J. R. Singer. C. Ray Woods, Pbb-
plexed, and others. — Received ; thanks. In our next.
Ink Stains.— Try the effect of a dilute solution of either citric or hydrochloric
acid for removing the ink stains from the photographs.
Experiment says : " Can any reader give the formula for white ink for writing.
on glass so tliat it will not only write, but etch the surf ice V
Sole Rights.— If you have copyright in the picture, then by registration you
can proceed for damages if another person makes copies thereol.
Rupert Hollett. — It is the object-glass of the telescope that must be used;.
and, of course, tlie camera must be erected at the eyepiece end.
Ajax. — The iodo-albumen process is described in the Journal for June 17 of
last year. So far a-i we luiow, it is not now worked commercially.
" Lantern Rkcordite."— You were misinformed; the '■ Lantern Record "
will appear during the summer months. See editorial announccmeut else-
where.
"H. Lewis" ("Brooklyn, U.S.A.").— You are too deliciously simple if you
imagine that we cannot penetrate such a poor disguise. Try again.
C. Porter. — You would be rendering yourself liable to prosecution by
making and exhibiting lantern slides of the engravings named without
permission.
Talc. — Mica is being introduced by Mr. Rudowsky as a support for negatives
and positives, and therefore would answer lor lantern pictures. It is, how-
ever, very expensive yet.
Puzzled Photographer. — However much their admirers may like fuzzy
photographs on paper, we ,do not think they are likely yet to iuiroduce
lantern slides from the negatives to a general audience.
R. O. S. — If the mounts were gu iranteed by the vendor, or his agent, to have no-
injurious effect on the photographs, and you can prove that they have had,
you have a good cause of an action at law for damage to your reputation.
W. J. Clutterbuck.— Solutions of ferrous oxalate and mercuric chloride may
be ordered of any dealer. For use, employ the latter at the strength yoa
receive it, and dilute the former with three times its volume of water. If
you desire to make the solutions yourself, the quantities are given in the
Almanac.
B. W. C. — 1. An attachment for keeping the tripod perfectly steady has been
patented by Messrs. George Mason and A. L. Henderson. Send us a descrii)-
tion of yours, and we will say if it is patentable. 2. -^pply to Mr. H. N.
King, 4, Avenue-road-villas, Goldhawk-road, W.
Stone & Wilkinson asks : " What is the best reagent to use to precipitate
the silver in the washing of P.O. P. ? Have tried H.C.I, and Na CI without
effect." — If the substances used do not throw down the silver, tlioiigh
we should have thought they would, use sulphide of potassiufa— liver of
sulphur.
J. Waite.— The picture.s are very good, but they would have been mfinitely
better if they had been printed by the platinotype process. Winter effects
are never well represented by being printed on albumen paper and toned to
a warm brown tint. The cold tones of platinum are best suited for winter
pictures.
F. Bhain.— If you have proper retouching medium and pencils, and have read
all that has appeared in the Journal during the last few ye-ars, and yet do
not get on, we should advise you to have a few lessons from a practical re-
toucher. We cannot, of course, without seeing examples of tne failures^
indicate the causes of them.
J, Lane.— We cannot tell what your slides are like as regards quality, fh)m
such a vague — or, indeed, any— description. Join a pliotographio society
that has lantern nights, and exhibit your slides among those of the other
members. Volumes of criticism would be worthless as compared with that
way of finding out whether the sUdes are good or bod.
160
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[March 10, 1893
W. A. T.— 1. Tlie formula given in the Almanac is the best luiblished. 2.
Many jirofessioiial photographers sensitise tlieir own jiaper because they
consider they get better results than buying it ready sensitised. It is also,
to them, more ecouoniical. 3. Yes, if "the wooden vessels are coated with
paraffin or other impervious material that has no injurious effect on the
silver solution.
P. Casey.— Your local chemist and druggist is in error. Sulphate of soda is
. not what you want, and it is not the same thing as sulphite of soda. It is
the latter you must have. Better obtain it from a dealer in photographic
material. Ifvou succeed in obtaining it from a village druggist it is very
doubtful if it will be of good quality, and unless it is it is useless for photo-
graphic purposes.
A. HoBTiiN.— 1. Expose the cleaned surface of a glass plate to the fumes of
fluoric acid, which are generated from fluor spar and sulphuric acid in the
bottom of a lead or guttapercha dish. 2. There is no rule for placing
the stop in your lens. 3. The rays from opposite sides cross the axis after
transmission through the first lens of the combination. Axial rays meet only
at the focal plane.
■C. Slade. — In photographing an interior, if the camera is placed directly facing
the mirror at the end of the room, so that it is reflected in it, the apparatus
will necessarily show in the photograph ; but, by a little judgment, the
camera may no doubt be so placed that its image is not reflected on to the
lens. An alteration of a few inches in its position will often be sufficient to
get over the difficulty.
Omicrox. — The stains are caused by the prints being stored so long in a moist
condition. Stains precisely the same as these can be produced at will by
keeping prints in a pile closely pressed together for two or three weeks
according to the temperature. The more perfect the wa.shing the quicker
are the stains likely to appear, particularly if the conditions favour mildew.
In future, we suggest the prints be dried prior to delivery,
A. Y. E.^The design for the studio is so good, that we can suggest no real
improvement imtou it. With regard to the other question, we can offer no
opinion, as the law, as regards building is not the same in different districts.
As the erection will be a conspicuous one, we should advise you to consult,
with the plans, the surveyor to your local authority before commencing to
build. By doing so you may save yourself a lot of trouble and delay.
A. S. Bone. — An ordinary typographic press, such as the " Albion press " you
possess, will answer quite well for collotype printing. Indeed, this is the
form of press that is extensively used by collotype workers in this country.
Power machines are necessarily expensive. They vary from about two
hundred and fifty pounds to double that sum, according to size and maker.
The power required to drive them is not great. A gas engine of one horse
power would be equal to working a couple of moderate size.
Lionel Hartswn asks: "How can I obtain particulars of a kind of photo-
graph introduced many years ago ? It was a crystal cube, with portrait
inside, and I believe it was called the 'Casket Portrait,' and done only by
the inventor at a studio at Charing Cross. If it was patented, what year
about was it ?" — The Casket portrait was the invention of Mr. H. Swan, and
was patented by him in 1862. The number of the patent is 3249 for that
year. The specification, giving full particulars, costs eightpence.
"Edmund Stirling (Philadelphia) writes : " I was greatly interested in the
letter of Mr. Haes in your issue of February 10, in which reference is made
to flexible steel tubing and its uses in connexion with the lantern. I would
be under renewed obligations to you if you could advise me where I could
get samples and specific information as to such tubing. Do you know
whether it can lie had in this country?" — In reply. Particulars of the
tubing are given in the "Lantern Record (Supplement) " for March 3.
T. Mathh writes : " 1. I have a set of moist water colours, which have become
too dry to work easily. Will it do to mix them with honey or glycerine ?
I might say that I use them for colouring bromide prints. 2. How to
make them transp.arent for lantern slides 1 3. Where can I get lantern
slides on hire?" — 1. It would scarcely be worth the trouble to attempt
to remix the colours. Possibly, if they were kept for a few weeks in a very
<lamp place, they would absorb moisture, and somewhat regain their former
condition. 2. Unless thepigment is a transparent one, there is no means of
making the colours so. The colours generally employed for lantern slides'
are oil colour.*, specially prepared for the purpose. 3. From those who let
lanterns and slides on hire.
Photograi'Hic Club.— March 15. Smoking Concert. 22, New Cameras
Adjourned Discu.ssion on Comhined Toninr/ and Fi.cin;/ Baths.
Photographic Society of Great Britain.— Ordinary Meeting, March 14,
at 50, (fre^t Russell-street. Naturalistic Photograj}hy, by Mr. P. H. Emerson,
B.A.) M.B.
We have received the price list of Mr. C. F. S. Rothwell, who has opened
premises at 8, St. Mary's-street, Deansgate, Manchester, as a general dealer in
photographic apparatus and chemicals.
The Harringay Photographic Society are arranging for a public lantern
night. Admission will be free by ticket, to be had of all dealers or by enclosing
Id. stamp to Mr. C. Frith, 8, Cavendish-road, N.
Mb. E. G. Lee writes: " In the list of awards in your issue of February 10
last, re the Photographic Society of India's Exhibition, held in Calcutta, the
award to me of a siher meilal for twelve lantern slides is not included. I
received the medal from Calcutta this morning (March 6)."
MES.SRS. R. W. Thomas & Co. have appointed Mr. S. Herbert Fry to de-
monstrate the virtues of the Sandell plate, their new multiple-coated and
patented film. Secretaries of photographic societies who wish to fix a date
for a demonstration should write "to Messrs. R, W. Thomas & Co., Thornton
Heath, Surrey.
London and Provincial Photographic Association. — March 16, Monthly
Lantern Night, 200 slides illustrating South Africa, to be exhibited for the
fii-st time in this country. Visitors welcomed. 23rd, Technical Lecture. Mr.
Edgar Clifton on Cameras, Tiipods, and Dark Slides. 30, Mr. W. J.
Rawlings on Reversed Negatives for Process Work, demonstration.
The Imperial Dry Plate Company, Limited, inform us that during the past
twelve months they have been continually enlarging their premises and pur-
chasing every modem labour-saving machine. These alterations and addition
have been pressed forward, so that their factory, in its finished state, will com
pare favourably with the best-fitted plate factories in existence. The manage-
ment offer, during the present mouth, to send samples of their plates to any
one on receipt of the mere cost of postage.
Photographers' Benevolent Association. — A meeting of Committee w,ns
held in the rooms of the Photographic Society of Great Britain on March 3,
Mr. A. Mackie in the cbair. There were four applications for assistance by
loans or grants, all of which, after careful consideration, were granted. Messrs.
A. Mackie and R. Child Bayley were appointed to wait upon the husband of
one of the applicants with a view to inducing him to go into a ho.spitaI, and so
give his wife an opportunity of resuming her work a,s photographic spotter and
mounter, and so recovering from their present extreme poverty. One loan was
to enable an operator, who had been long out of work, to pay his arrears of
debt at his lodgings, and to take a situation which he had already obtained ;
another, to enable a process worker, who had been out of wot'k for many
months, and who was penniless, to obtain camera and apparatus whereby he
could undertake work for which he had already orders sufficient in quantity to
ensure him a living. In the fourth case, of an operator out of work and with a
large family dependent on him, a small gi-ant was made for immediate neces-
sities, witli a promise of more if he should be unable to obtain work. The total
grants amounted to a little over 10/.
Effects of Impure Oxygen on the Limelight. — Mr. Kenneth S. Murray
of Brin's Oxygen Company, writes: "In your article on these works (.see
'Lantern Supplement,' March 3) there is one subject referred to, viz., th*"
effect of impure oxygen on limelight, with regard to which 1 am afraid I could
not have expressed myself clearly to you. What I intended to convey was,
that in the tests mentioned, although there was an inferiority in the illumina-
tion of the disc thrown by the lime su]>plied with the low-quality oxygen, tliis
inferiority was less than had been anticipated from the disparity in the quality
of the two samples employed. The increased consumption which you mention
was most marked. 1 may, perha])s, emphasise the point by stating that, in a
test made between two samples of oxygen of 92 '4 % and 67 '0 7o quality respec-
tively, the consumption of the low-quality oxygen was just 50% more than
that of the high-quality gas, and the illuminating power was even then con-
siderably less, and this was especially marked in the delineation of shadows
thrown on the illuminated disc. I consider the difference in qualities of oxygen
is more appreciable in the actual consumption of the gases than in their illu-
minating effect on the lime ; but, apart altogether from the question of con-
sumption, I consider a gas of only 60 7<, purity would spoil any lantern show.
I am conscious of not having explained myself sufficiently on this point, ami
shall be much obliged if you will kindly put the matter right in your next
issue."
Round West London with C^•CLE and Camera. — Before the West London
Photographic Society, on February 28, Messrs. Stein and Varden read their
joint paper on Round West London with Cycle and Camera. After detailing
how a few members of the Society had banded themselves together into a
cycling division, the authors dwelt on'the advantages of combining cycling witli
photography. The cyclist did not feel the weight of his camera, for it was
carried on his machine. The paper was profusely illustrated by the lantern,
the slides being from photographs by the joint authors, commencing with a
short series of pictures illustrative of the evolution of the modern cycle. Thi-
authors described verj- happily a circular cycle trip that could be easily
managed in one day, starting from Chiswick and taking their audience, in
imagination, through Acton (or Oaktown), Ealing, Hanwell, Perivale, Green-
ford, Northolt, HaiTow, Pinner, Eastcot, Northwood, Ruislip, Hilliugdon,
Uxbridge, Cowley, West Drayton, Longford, Harlington, Hayes, Heston,
Osterley, Isleworth, Brentford, Boston Road, Strand-on-the-Green, ami back
to Chiswick by way of the Mall, Hammersmith, and Stamford Brook Green.
The journey thus indicated was described in detail, with much intei'estiiiir
information about the places visited, both as regards their past history and
present appearance, and, in the interests of those members who require a plen-
tiful supply of landmarks to guide them, the authors mentioned by name the
many wayside inns they encountered on their journey. The run described in-
cluded but a part of the Western District of London, and there were other
routes of equal interest, embracing such places as Esher, Weybridge, Ripley,
Virginia Water, Windsor, Kingsbury, Roe Green, Preston Green, Stanmore,
and Whitchurch.
OONTBNTS.
Faoi
notice-tub "LANTERN RECORD".. 11.-.
HOW business may be revived.... 146
PHOTO ■ LITHOGRAPHY FOR AMA-
TEURS HO
STUDIO-BUILDING. By G. W.VTMOUSH
WEBSTER, F.G.S US
A NEGLECTED DEVELOPER. By
W. li. liOLTON U9
ON THE TOSINO OF SOLIO PAPER.
By .1. n. n. WELLINGTON ISO
DEVELOPMENT OF llOLLADLE FILMS 151
THE STEREOSCOPE AND STEREO-
SCOPIC PHOTOGRAPHY. By J. A.
UUTLER 151
A CHAT ON LENSES „ 162
P<a«
PRACTICAL REMARKS ON LANTKRN-
SLIDE MAKING. By J. K. TULLOCH,
M.B IM
BLACKHEATH CAMERA CLUB EXHI-
BITION IM
FILLEBROOK ATHEN.EU.M PHOTO- .
GRAPHIC EXHIBITION IS*
THE NEW CENTRAL PHOTOGRAPHIC
CLUB 165
RECENT PATENTS I6'>
MEETINGS OF SOCIETIES 15"
FORTHCO.MING EXUIEITI0N3 16'
CORRESPONDENCE 16-
ANSWERS TO C0BBESP0NDENI8 U-"
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 171 :.. Vol. XL.— MARCH 17, 189.3.
MIXED DEVELOPERS.
It occasionally happens that a batch of plates is met with
which, without being actually bad, requires some special kind
of development to secure a satisfactory image. This is far less
freciuently the case at the present day, since the manufacture
of commercial plates has been brought to a degree of uni-
formity, than was the case a few years back, for it is the practice
in most of the large establishments to test each make of
emulsion before spreading any considerable quantity, and any
such doubtful lots are either rigorously rejected, or, if the
quality be such as to admit, mixed with other lots of opposite
character.
We came across such a sample of plates a few days back,
a small lot which hail been made for experimental purposes,
and which, according to a memorandum on the package, had
lieen found wanting in density, though otherwise good. This
seemed a favourable opportunity for testing the capabilities of
mme of the newer forms of developers which had not been
available at the period the plates were made, an opportunity
of which we at once availed ourselves.
The ])articular liatch of plates wa.s some seven years old, a
fact which in itself would be considered amply sufficient to
throw doubt ufK)n the quality of the films ; but we may remark
fn pngmnt, that, given a good plate to start with, that is to say,
a plate that has been properly treated in manufacture, more
especially in the removal of all soluble matter from the emul-
sion, age alone does not neeessarilj- produce any deterioration.
We say " «'/? dlone" because it is obvious that, if the condi-
tions of storage have been such that other complications are
introduced, any sort of change may be anticipated ; but, if pro-
perly cared for, we have never found mere age to appreciably
\ deteriorate a good gelatine film. With dry -collodion plates the
■ ease was altogether dift'erent, as by the gradual decomposition
1 <»f the collodion itself, frequently aided by the nature of the
i orgHnifier or so-called preservative, a constant change or decom-
{ position was going on.
At the time the plates were made the only developers prac-
tically available or, at any rate, in general use were alkaline
pyro and ferrous cxalate, and we presume that both these,,
hut certainly the former, in its various modifications, had been
tried before the plates were put away as faulty. These were
again tried just in order to ascertain if the original qualities of
the films remained, and so far as the mere density, or rather
want of it, was concerned, they answered directly to the
character appended to them ; that is to say, while very rapid
— rather remarkably so — and perfectly clean in working, they
were absolutely useless for printing purpt>ses, owing to the
want of vigour. This was more particularly the case with
ferrous oxalate, and the best result — if a scarcely appreciable
difference in density can be so called — was obtained with pyro'
and potash.
The' first of the more modern developers tried because the
first in order of introduction was hydroquinoiie, and with thin
a very decided increase of density was produced at first attempt,
and with an ordinary formula. But the improvement was
accompanied by an alarming reduction in sensitiveness, not,
be it understood, a mere prolongation of the time required in
development — a not unusual feature of hydroquinone — but a
direct impossibility, with a given exposure, of obtaining any-
thing like the same amount of detail, even though the develojj-
ment was extended over a couple of hours.
Nor was this the only difference in the behaviour of hydro-
quinone. Instead of the clean, delicate, image produced by
pyro or iron, the newer solution gave in every instance a
coai-se and patchy effect, which at first sight seemed to arise
from stains, but which on closer examination proved to be due
to the fortn of irregular development for which hydroquinone is
remarkable, especially with paper positives. We have no
record of the composition of the particular films under treai-
ment ; but, as at the period of their manufacture chloride of
silver was not an unknown or unusual component of the
negative emulsion, it is very probable that the presence of some
chloride would account for the irregularity.
Eikoncgen and amidol both failed in producing any
appreciable increase of density as compared with pyro, indeed
the former appeared, if anything, inferior in that respect. As
regards sensitiveness, there was no apparent falling off as in
' the case of hydroquinone.
As, after ringing the changes on the variations of the
different formulre, hydroquinone proved to be the only one
capable of any increase of density, but accompanied, as we
have described, by loss of sensitiveness and other defects, it
occurred to us to try a double or combined development in
which hydroquinone played the part of intensifier. Mixed
solutions of hydroquinone with pyro'and eikonogcn have beeit
employed with a certain amount of advantage — especially in
America — in cases where on« or other alone has failed to pro-
duce adetiuate vigour ; but, before trying the mixed solutions,
they were applied separately, pyro, eikonogen, and amidol
respectively being first applied with a view of getting out the
detail, and hydroquinone following as the intensifier. The be-
haviour of the particular batch of plates under this treatment
was peculiar, for it was found in every instance that the
solution first applied stamped its individual quality upon the
image, and the subsequent application produced literally no
162
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[March 17, 1893
effect. In other words, hydroquinone failed entirely as an
intensifier when thus attempted.
In another set of trials, in 'whicli the hydroquinone was used
first in order to get a certain amount of vigour, while eikonogen
was subsequently applied to bring up the detail, the effect of
the first solution was the only one that was apparent ; for the
hydroquinone not only still exhibited its want of energy or
capability of bringing out detail with a short exposure, but
actually prevented the eikonogen doing so — in fact, it
appeared to act in very much the same manner as a strong
dose of bromide. Such being the effect of separate applications
of these two solutions, it was not considered worth while to try
others in conjunction with hydroquinone in the same manner.
The mixed solutions were, however, finally tried, and, while
there was no practical advantage apparent in the case of pyro
and hydroquinone, pyro and eikonogen, or any combination of
amidol, eikonogen, and hydroquinone, in conjunction gave a
decidedly better result, so far, at least, as the production of
density without loss of sensitiveness was concerned. So far
as that, indeed, was concerned, all was as it could have been
wished ; but unfortunately the irregularity in development
which characterised hydroquinone alone still prevailed, though
to a lesser extent. The point, however, to be specially noticed
is that the retardent action of the latter disappeared when it
was used in the presence of eikonogen, although it existed
when the two were used separately.
Another peculiarity in the action of the mixed solution upon
the old sample of plates under experiment was the production
of what at first appeared to be dense fog, but which proved to
be a deposit of very fine loose matter that was easily and per-
fectly removed by rubbing the film with the finger. This,
together with the irregularity in development, we take to be
due, in great measure, to the composition of the films, for on
repeating the last experiment (with the mixed solution) with
a sample of commercial plates rather wanting in vigour, the
beneficial action in securing additional density was again notice-
able, while the other peculiarities were altogether absent.
It seems, as far as we have gone, that any advantage there
is to be gained from a combination of developers will be in the
use of mixed as distinguished from separate solutions. This
being the case, it will be desirable to inquire how such mixed
solutions will keep, especially as the practice seems to be gain-
ing ground of using the same quantity of solution for a succes-
sion of plates.
♦
LENS FOG.
Of all subjects important to the production of clear, crisp
photographs, that which forms the title of this article has had
perhaps the least attention. Yet, in its many forms, it is the
cause of as many defective negatives as any that can be named,
short of those inevitable to absolute want of experience. The
one example most familiar is that of flare, which, as all know,
arises from the diaphragm being improperly placed ; but the
number of lenses still sent out by makers of position in the
optical world which yet suffer frqm this defect is, to say the
least, something remarkable. It is merely localised fog,
arising fi-om the lenses, and so embraced in our title ; any lens
possessing the defect should be returned to the maker at once
upon its being noticed, with, if possible, a print taken by its
means and showing the flare.
Another potent fog-producer is the presence of a single
scratch on a surface of one of the lenses. Many plates may
be taken, and the effect of the scratch be imperceptible, yet
on some particular day, under conditions favourable to the
performance of this defective portion of the instrument, it is
possible for a negative to be hopelessly ruined ; the vagaries a
scratch is capable of indulging in are occasionally most singular.
The most favourable condition is seen to be when the lens is
exposed to a great flood of light ; and, again, will fog be pro-
duced wlien taking interiors if a strong beam of light impinges
upon the lens from some unnoticed side-light — awindowor other-
wise. We have seen fog brought about by a reflected light
from some bright object in the field of view striking the surface
where the scratch lies. Jt is, however, but to draw attention
to the evil to discover a remedy. If the scratch be painted
over with opaque paint — black varnish is as suitable as any-
thing— all danger is obviated. The performance of the lens
will not be interfered with, except to the extent of reducing
the light passing through it. As a scratch whould be an ex-
ceedingly large one that would occupy the hundredth part of
the surface, it follows that the consequent loss of light in such
case — a hundredth — is not worth discussing.
Akin to this cause of fog is that condition brought about by
careless use and handling ; the surface is covered with a
multitude of fine, almost invisil)le, scratches, and these, when
the lens is flooded with light, will cause the image to lose con-
siderably in brilliancy and crispness. It is remarkable that we
do not hear more of such defects than we do, for the careless-
ness with which some operators dust and polish the lenses of
their objectives is simply appalling. When a lens is damaged
in this way, there is no remedy but to send it to the maker.
It is a mistake ever to attempt, as is sometimes recommended,
to polish it up with rouge, putty powder, itc. If the polishing
is sufficient to remove the scratches, it means removing the
surface to the depth of the deepest scratch, which, slight
though it may be, is quite sufficient to alter the original
curves, on the correctness of which the performance of the lens
depends.
Another frequent example of lens fog is brought about by the «
brass mounting near the lens showing througli the original coat- 1
ing of black given to it by the maker, the result being that
the rays of light entering or leaving the lens suffer reflection
or refraction at the bright part, and cause veiled images ;
for it must be remembered that a very slight amount of light
is sufficient to act upon the plate. When this reflected light
falls upon the shadows, as it does equally with the lights of the
picture, it may easily be sufficient to ca,use fog, at a time, too,
when the real cause may have remained unnoticed. When
large portrait lenses are in question, this wearing away of the
dead black of the instrument is usually seen in the outer rim
of the back cell. Let any one, with camera set ready for
exposure, remove the ground glass, insert his head under the
focussing clotli, and examine the state of the lens. He will
often be surprised at the amount of light reflected from tliis
rim, and it is self-evident that all extraneous light visible inside
the camera to the eye placed in such a position must fall upon
a plate, and produce a greater or less amount of veiling,
according to its intensity.
But both for portrait and landscape work, where the quicker
kind of lens is used — that in which the posterior and anterior
compounds are separated some considerable distance — there
arises a frequent cause of fog, before which this last-mentioned
cause becomes absolutely insignificant. We refer to the
state of the inner surface of the brass mounting. Whether
from the gradual entry of dust through the diaphragm slot, the
interior being often thus coated ;. whether from the. original
Maroh 17, 1893]
THE BRITISH JOURNAL OF PHOTOQRAl'HY.
168
coating being insufficiently matt— a by no means infrequent
condition — or from occasional wiping of dust from tiio interior,
it very fre<iuently liappcns that tlie liglit fulling through
the lens upon this imperfectly blacked surface illuminates the
whole of the plate, and it is rigidly impossible to produce a
perfectly clear negative with rich shadows, the often discussed
"clear class in shadows " being then uniformly conspicuous by
its absence. We should advise every possessor of a large lens to
examine it in a suitable manner when the instniment is pointed
to tlie view or portrait. We shall be surprised if the condition
of tiio surface, and the amount of light it reflects, will not
often be a revelation. The subject is one of the very greatest
importance, and wo find cannot be completely treated in a
single article ; hence we propose sliortly to return to it with
some practical suggestions bearing on the disease and its
remedy or remedies.
♦■
Sagruerre'a Cook. — In the last number of the Parin Plioto-
</ra/>lic tliere is piven a reproduction of the portrait of his cook, taken
by Daguerre. It was one of the first photographs he executed, and
was presented to the Acad.'mie des Sciences in 1844 hy M. Arago.
Antidote for Cyanide of Potassium. —The records of
i^uicides in recent years show that cyanide is still the fashionable
poison amonff photographers. Dr. Kossa say.s that permanganate of
potash transforms the cyanide into cyanate, which is said to be
inoffensive.
Antiquity of Amidol or Diamldoplienol. — According to
an article in the Wochenblatf , diaraidopenol or amidol, both as chlor-
hydrate and sulphate, was originally prepared by T. Gauche in 18C9
by the reduction of dinitrophenol by means of iodide of phosphorus
Since then the body has been extensively studied, Hemilian, in ISTo,
showing that by the reduction of the dinitrophenol the salts of diaml-
dophenol were formed, and, not as Gauche thought, those of diamido-
benzole.
Photo^rapblc Properties of the Salts of Cerium.
—According to the Moniteur, Messrs. A. & L. Lumiero have
obtained photographs by the aid of the salts of cerium. Cerium^
it is said, forms two series of compounds like iron and manganese,
the eerie and the cerous, the eerie salts having the property of being
reduced to the cerous state under the influence of light. It will be
remembered that Messrs. Lumiere have taken advantage of a similar
property of the manganic and cohaltic salts to produce positive
impressiona
The SynoBCope Wide-ang'le X<ens.— At a meeting of the
Socitite Franyaise de Photographie on February .3, M. A. Gorde ex-
hibited a wide-angle lens of very short focus, called the Synoscope. The
lens, he says, embraces an angle of 135° (1!), its focus for a plate 13 X 18 cm.
(7:^ X 5| inches about) being about 3J^ inches, for 18 x 24 cm. 10 cm.
■(about 4 inches). M. Gorde says that these foci are about the shortest
known for the sizes of plates covered. The largest aperture avail-
able is about /-20, which being, he says, relatively large, allows of
instantaneous pictures of interiors with magnesium being taken.
Pine Art in America According to a daily contemporary,
■out of nine hundred and fifty paintings, by western artists, that have
been offered for exhibition at the World's Fair at Chicago, the Com-
mittee have rejected no less than eight hundred and forty. Unless
the Committee have set a very high standard for the work, this does
flot say much for the aWlity of American painters. That our Ameri-
can cousins do appreciate fine art there is no question, as is proved by
the high prices they sometimes pay for the works of European
*rtist8, also by the large sale that photogravures of high-class
paintings, that are produced in France and Germany, meet with in
the States.
Kow to Disperse a Crowd.— Every out-door worker has,
at times, experienced the annoyance of small crowds of people collect-
ing in front of the camera when ready for exposing. Many dodges
have, from time to time, been published for getting rid of them ;
the latest, however, which is certainly original, comes from the Hali-
fax Camera Club, where, at its last meeting, Mr. J. E. Jones recom-
mended " that one's wife should be sent round with the hat, which
he considered would be effectual in making them move off." Very
likely it would. But the method suggested presupposes one to have
a wife — and, having one, that she would or could be made to go round
with the hat. We should advise some of our married friends to try
it on, and report the result.
The Forthcomingr Solar ZSclipse.- It is to l)e hoped that
the two British eclipse expeditions — the one to Brazil, the other to
the West Coast of Africa — will be favoured with fine weather on
the 16th pro.x. The work on this occasion, we are told by Mr. E.
W. Maunder, is to be almost exclusively of a photographic nature —
photographs of the corona itself and its spectrum. One of the advan-
tages of this eclipse is its unusually long duration, over four minutes
and a half. This, if the weather be propitious, will enable a greater
number of negatives to be secured than on other occasions. It would
be exceedingly dispiriting to the astronomers to make such long
journeys without result. Such, however, has been the fate of some
expeditions as far as photography is concerned.
Art in the Ziantern. — At the present time lantern exhibitions
are restricted almost entirely to photographs from nature, such as
landscapes, street views, and the like. This frequently renders a
long exhibition somewhat monotonous before it reaches the close.
Now, if the slides from nature were occasionally interspersed with a
few copies of works of fine art, it would often prove a relief to the
audience. One cannot help thinking, when looking at the magnificent
copies of painting to be seen in the shop windows, that are produced on
the Continent, what excellent lantern slides could be made from the
negatives. Although it might not pay commercially to have to take
negatives specially for lantern purposes, there is no reason why the
negatives now in use for contact printing should not be employed
with camera printing. On the Continent the lantern is not in such
extensive use as it is here, and it is for that reason, perhaps, slides of
the kind are not forthcoming. If those enterprising houses that pub-
lish the popular reproductions of paintings were convinced there would
be a sale for lantern slides of the same .subjects, there would soon
be a supply in the market. Any how, the matter may be worth
consideration.
" Trusting' to Honour." — A correspondent directs our
attention to the following advertisement of a provincial photo-
grapher :■ — " Trusting to honour. A bold experiment never before
tried. Can only succeed by the result being so beautiful that you
cannot resist it. Send me any portrait, no matter how old or faded,
of yourself or friend, that you really value, and I will return you,
entirely free of cost, one of my new style large p«rcelain-type por-
traits— an exact reproduction, artistic, lasting, beautifully finished, and
handsomely framed — entirely on approval. If you do not wish to
possess it, I will trust to your honour to return it to me ; but, if you
do (of which I feel sure), I will accept the very reasonable sum of
1/. 1*., and trust to your honour to remit the same. I will stake my
honour and 50/. that I will not damage your copy to the slightest
extent, and return it post free and safely packed. Address,
Cabinet portraits copied same size, or enlarged from cartei-de-vmte
on same terms, viz., approval. Specially note. — This is not a two-
guinea free pastel portrait, which may be a take-in, but exactly the
opposite in every way. Give us a trial, as there is no risk to yourself
in any ■way whatever, and you will have the opportunity of purchas-
ing, at about half its value, a portrait that -will be certain to please,
and which you will probably find a joy for ever." We have only one
164
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[March 17, 1893
remark to make, and that is, that we should like to see the element
of "honour" entering more largely' into competition among profes-
sional photographers than this and other recent advertisements would
indicate as prevalent.
Photo-Xntagllo Eng^raving- In America.— In our last
issue Mr. Louis E. Levy has a reply to our comments on a paper of
his that appeared some time ago in the Journal of the Franhlin Insti-
tute, the greater part of which, as we said, was devoted to decrying
the methods of photogravure as at present followed in Europe, and
belauding an alleged new method of his own, which he did not de-
scribe, but said it formed the subject of a patent. Mr. Levy seems
hurt at our suggesting that he appeared ignorant of what is being
done in the matter of the highest-class photegravure on this side of
ihe Atlantic, particularly as to the amount of hand work there is on
liigh-class modern plates. HI? letter now confirms our previous im-
pression, fur we caunot imagine him making an intentional mis-
statement. We hare had many opportunities of examining plates
iiimediately the photo-chemical operations in some processes, and the
photo-electro in other.*, were completed, as well as seeing them carried
through from the beginning, in ."^ome of the best houses both ia
England and on the Continent. These have disproved Mr. Levy's
ideas as to the amount of hand work that is now required. Until our
correspondent told us, we were unaware that European establishments
issued " unfinished and finished work." Those we know let no un-
finished work leave the premises. With reference to the practicability
of a gelatine film being printed from as an intaglio plate, Mr. Levy
says: " I have not, indeed, utilised such films as intaglios." Pos.-ibly,
when he attempts to do so, ho will find there is a difference between
reliefs and intnglios, even when only a limited number of impressions
are concerned. Regarding the statement in the paper, " In only one
establishment, and that in Paris, has the work been brought to a high
degree of quality," our correspondent now quotes an old Latin proverb,
" De gustibus non est disputandum." IJut we were not dealing with
questions of taste, but matters of fact. I'robably Mr. Levy is uu-
fi ware that this is not the only journal that commented on his belauding
his process without saying anything at all interesting about it.
SOLUTIOX-M AKING.
This subject seems to be very attractive ; but if every one who,
ill response to our esteemed Editor's wishes, contributes to the
British JouitNAi. Almanac what he considers to be useful memo-
randa of practice, is to be exposed to covert sneers and openly
expressed accusations of making false claims, the responses would
quickly fall off. As a matter of fact, when the Photographic Con-
vention met in Chester, and a considerable number of members did me
the honour to go through my place, studio, dark room, laboratory,
toning room, and various workrooms were open to them. Most of
them saw the Doulton dipping bucket, and in use for dissolving
sulphite of soda, and expressed themselves highly pleased with the
action of what, to them, was a novelty.
The principle of the method of solution is of historical age (I used
it myself over thirty-five years ago), and it goes without saying that
the particular application of the dipping bucket is only one of a
hundred plans that may be adopted for the same end. It is not every
photographer who possesses such acquaintance with laboratory work
as, like Messrs. Martin & Co., to be able to look down upon the rest
of their photographic brethren as " needing instruction in the
elementary operations of tlieir business," if the perforated dipping
bucket should be a novelty to them. I am, however, surprised that
the mere fact of " thoughtless assistants " brealdng off the handle of
the buckets should oblige such a talented firm to adopt another course^
which they call simpler and more efficient, in lieu of repairing the
bieakage. If those who have any thought of acting upon this recom-
mendation will take my advice, they will not adopt it. I long ago
tried the plan (but in a more workmanlike way, the canvas being
attached to a ring of cane, and thus quickly shipped and unshipped),
and dismissed it for the dipping bucket, which is a far quicker and
simpler method, and to be preferred, especially when rapid solution —
the point of the original recommendation^is desired. I will not
insult the intelligence of the readers of this Journai, by supposing
it is needful to explain how to form a substitute for a broken handle
when the original support is knocked off.
The most striking point about Messrs. Martin's communication is
their own statement tliat they make their hypo solution fresh every
day. Every one practically familiar with the chemistry of hypo is
aware that it is quite easy to keep the solution free from injurious
decomposition for several weeks. The best way of arranging for
fixing operations is not to make the solution daily, but to store a large
quantity in a tank, and convey it in pipes provided with tap.s — "lay it
on," in fact, like water. I claim no originality for this plan, but it would
be far better for a " general photographic works " than the primitive
hand-to-mouth plan of making it daily, and carrying about the place.
A hundredweight -lask of hypo has a few holes bored by a brace and
bit round the sides at one end, and is then placed in the tank, sup-
ported, partly immersed, at the perforated end. Solution is soon
made, and a tank with sides little over two feet square will suffice for
a twenty per cent, solution of a hundredweight of the salt.
" Alticus " appears to be one who is readily amused ; but, as he is
ignorant of the difference between a dark room and a laboratory, and
from bis letters it would be inferred does not use sulphite in making
stock solutions of pyro, and when he does mike it uses his dark room
for the operation, he is evidently of no account ! Surely the readers
of The BniTLsii Journal op Photography take no interest in the
amusements of this kind of person, who, further, seems to have a
specially original copy of The British Ji>ur.v.vl Photographic
Almanac, for it contains, according to his letter, statements on a
particular page not to be found there in any other copy.
G, Wat.moi-oh WKBSTEn, F.C.S.
JOTTINGS.
The unalterable ass who beats the drum for the S/ioptieian and
Spectacle- se/lers' Gazette seems to be in doubt as to whether the
owner of the nom-de-plume at the end of these " Jottings'' is a lady
or a gentleman. It is so agreeable to the anonymous journalist to be
taken for one or the other, that 1 am peculiarly p.iined to have to deny
the compliment of a choice to my critic — who is neither.
Mr. Jones — the only Jones, I should think— has been sriving the
Halifax Society his ideas on landscape or tourist photographv. " He
did not believe in the long-focus camera when on tour." Why ?
Has Mr. Jones never experienced the want of a long- focus lens out of
doors 'i " The best way to store films or plates after exposure was to
place a thin sheet of non-actinic paper between every two plates."
Why nora-«f^««'e paper ? " He considered the legs of the tripod ....
a great nuisance." Where does the " nuisance ' come in I' and why
not include the camera, the dark slides, and the lens in the same
category, Mr. Jones, or use- what the Irishman would call a one-
legged tripod .^ "He had often been annoyed by crowds of people
standing round when about to expose, and recommended as a remedy
that one's wife should be .sent round with the hat, which he con-
sidered would be effectual in making them move off.'' If / were
among the crowd, ray readiness to move otf woulci be largely governed
by the lady's ])ersonal gifts ; but I i-hould like to have the ladies'
views on the suggestion. On the whole, Mr. Jones's photography is
superior to his gallantry — but not very much.
I hear a meeting of Exhibition Judges is to bf held, with a view, I
suppose, of arriving at a common basis of action for their future
giudance, and the preparation of rules to be observed by societies
holding exhibition*. The ridicidous airs and graces which several
judges have given themselves lately proves that there is as much need
for rides and regulations for tlieni as for societies and individuals;
and I hope therefore that the .search lights of the photographic press
will be turned on their proceedings, so that the game of mutual
admiration does not go too far. It seems to me that in late years the
principal qualifications for a judge at photographic exhilntions are
two, namely, (1) that he should have produced a few passably well-
selected and composed photographs, indifferently focussed and exposed.
Mardi IT, 1893]
THE BRITISH JOUHNAL OF PIIOTOORAPIIY.
ieJ5
and printed to look as much unlilco ft " photosraph " as possible ; and
(2) that ha should have foisted lengths and lenjfths of nebulous
twaddle ou Art — with a cupital A — on the readers of the photo-
graphic papers. The worst of it is that people of this kind pet .^o
imbued with the notion that tlieir way of imikiiij; pictures by photT-
graphy is the rijfht one, that any one who thinks otherwite, and
proves the faith that is in him by exhibiting, stands very little chance
of an award against those who prefer to look at nature through a
ring stop.
Contact photographs, with the_ tones broken up by the interposition
of ruled gratings between the negative and paper when printing, are,
to my mind, so distinctly effective, that I should not be surfised if
the public, being gently inclined thereunto by a little of the push
and assiduity with which, alas ! so few modern photographers are en-
dowed, did not take kindly to them, and the of 1 -expressed aspiration
for a new style of portrait, which has appeared in these pafes of
recent years, be fulfilled. During a brief visit to the States last year
1 saw several grated photograplis, produced, I think, by a New i'orlc
photographer. They were on albumen paper ; but I can conceive that
on bromide or platinotype, where, as a rule, the contrast between the
lights and the shadows is more accentuated, much more effective
results can be secured. The preparation of suitable screens is no
ea«y matter for the ordinary photographer, and it would, I think be
worth somebody's while to take the matter in hand commercially and
supply screen negatives with a small variety of grains. But I would
not give much for Mr. W. Lindsay's idea of securing the grain bv
sifting powdered emery on a gelatine surface, however much it mio-h t
effect a resemblance to photogravure on albumen or gelatino-ehloride.
It seems to me that more evenness and regularity of grain would be
likely to be obtained by mechanical ruling, while I am doubtful of
the artistic success attending any attempt to impart the dominant
features of Xphotogravure to a " surface" print.
The great Amateur versus Professional controversy seems to die a
hard death. No professional photographer worth his salt need be
alarmed at the progress of amateur photography, for if a man who
devotes his days and nights to photography, and has the wholesome
knowledge that his daily slide and the Sunday's dinner depends upon the
measure of his application to his profession, cannot acquire a ran"-e
of ability fifty times greater than the non-professional photographer
who simply follows the art as a hobby, then has he mistaken his
vocation, and is only fit for the hod. The sneering at amateurs as
such by several of your recent correspondents strikes me as in the
highest degree puerile. I applaud Messrs. Allison, of Belfast, whr,
on March 3, write ,vou that they are endeavouring to make a little
money out of amateurs by iasxiing a scale of charges for the use of
dark room, developing, &c. ; but I hav<} no patience with W. Tippinsr,
who, on March 10, appears to yearn for a new style of picture which'
amateurs could not " imitate." As if that, per 'se, would popularise
portrait photography with the general public one tithe more than
at present ! If your correspondent wants a process which amateurs
do not work, why does he not turn his attention to the neglected
processes which you described a couple of years ago, among which he
will find .several admirable methods suitable for portraiture ? By
the way, I wonder if Mr. Byrne, Mr. Winter, Mr. Vanderweyde, Mr.
Crooke, and Mr. Warneuke care a rap how much amateurs "imitate ''
them. Not likely.
_ Advance, Australia I An enlargement, fourteen feet mx inches by
six feet three inches, for the Chicago E.Khibition, quite snuffs out the
big enlargements which have recently been e.'tecuted in this country
for the World's Fair. I wonder if anybody buys— and pays for— these
mammoth pictures ? A man who could afford space for hanging them
could afford to have big paintings, I suppose, and would have them.
I like enlargements— " not too much enlargement, just enlargement
enough "•— but, when they are measured by the yard, I fail to see their
beauty or utility for ordinary purposes. Still, " sweet are the us»s of
advertisement." Cosmos.
GEOBGE WASHINOTON WILSON.
One by one, and in on increasingly rapid sequence, the men who mad«
photography are passing away.
There is no one whose name has ever keen associated with all that is
excellent in the art department of photography that stands so high as
that of George Washington Wilson, of Aberdeen. When he first issued
his singularly beautiful stereoscopic views, it was at once universally felt
that a real artist had arisen, one wlio would aid in elevating landscape
photography from the somewhat low state of mediocrity in which it
existed. In his pictures were concentrated the highest development of
artistic beauty and technical skill, and they became models for imitation ;
.ind it is to this, in many Cises slavish, imitation that we owe a marked
and rapid progress as soon as his gems of art came to be known and
studied. " Quite Wilsonian '' was, and still is, a term frequently applied
to photographs having a certain style of technique. Imitation is rightly
said to be the sincerest form of flattery, and we know of some who did
not disdain to follow Mr. Wilson's footsteps in such a literal fashion as,
having one of his views in hand, and observing the relation of one por-
tion of the scenery to the other, to eventually by this means discover
the identical spot where his camera had been planted, and there also
plant their own tripods.
In early life Mr. Wilson studied in the Art School, Edinburgh, and for
some years he followed the profession of miniature painting, an avocation
in which he attained a considerable measure of success. His reason for
abandoning that art is rather remarkable. We learn from a local paper
that just as he had begun to make a name for himself photography was
discovered, and the impression became common that portrait painting aa
a profession was doomed. Mr. Wilson was apparently of that opinion,
and threw aside palette and easel for the camera. He became one of the
pioneers in photography, and was among the first to apply it to land-
scape. It is said that he had the honour of taking the first photograph
of the Queen and the Prince Consort at Balmoral in 1850. His services
were frequently requisitioned at Balmoral after that ; and one notable
group of Koyal personages includes the late Emperor Frederick (then the
Crown Prince of Prussia) at the time he was courting the Princess Boyal,
and so gratified was the Prince with the character of the work produced
IGG
THE _JBRITISH JOURNAL OF PHOTOGRAPHV.
[March 17, 1893
by Mr. Wilson that he commissioned him to execute a series of water-
colpur sketches representative of Deeside scenery for presentation to the
Princess Koyal. When passing through Aberdeen in the Jubilee year,
the deceased Emperor (still Crown Prince) paid a visit to the premises of
the Messrs. Wilson, and, recalling the circumstances referred to, entered
into a long and friendly conversation with the deceased.
After commencing business as a photographer he made numerous ex-
peditions to notable parts of Scotland, and his views obtained on these
occasions became widely celebrated. They were taken by the wet-
collodion process (which he worked in a little portable tent), and in which
he was an adept. By this he secured admirable instantaneous effects
•with fine skies. About seven years ago he retired from the active pursuit
of photography, leaving three of his five sons to manage the large business
now established. This, within the past few days, has been formed into a
limited company, the necessary negotiations to that end having only been
brought to a termination on the 9th inst, on the morning of which day he
^ied very suddenly at his residence. Queen's Cross, having been in town
on business the day previous. He was seventy years of age when the sad
«vent occurred. When he retired to bed the previous evening he was in
his usual health, but at one o'clock in the morning he had an epileptic
seizure and expired soon afterwards.
After his retirement from active business, he once more took up the
lirush, and painted the portraits of several citizens of eminence. Mr.
Wilson was a member of the Chamber of Commerce, and had represented
one of the wards of the City in the Town Council. He was also a
Director of several companies in Aberdeen.
It is needless to speak in terms of eulogy of his works— that has been
done by the world during a long term of years; and through them,
although now dead, he yet speaketh. As we have said, he was seventy
years of age at his death, which took place on March 9. He is survived
by a widow, four daughters and five sons, to all of whom we tender our
sympathy.
The portrait we here give is a striking likeness, and was among the last
that was taken of the eminent photographic artist.
ON THE PRODUCTION OF BLACK AND WHITE NEGA-
TIVES BY MEANS OF ARTIFICIAL LIGHT.
III.
The great aim in black and vrhite work being to produce negatives
having much contrast, i.e., clear glass for the blacks and the utmost
density for the whites, it follows that the greatest care requires to be
observed in the matter of dfivelopment. A worker, however, will
often be puzzled to account for the varying behaviour of the plates
he exposes on what at first sight appear to be almost identical
subjects. There is, however, a great difference in the behaviour of
various samples of white paper. This can be easily proved by taking
a sample of snow white, upon which some design or handwriting has
been effected by means of Indian ink, and alongside of this place, say,
a sheet of printed matter from any ordinary book or publication, and
exposing the plate on both simultaneously. On development a con-
siderable difference may he apparent in the densities. There is a
golden rule, however, to follow in all cases, viz., to stop development
Before any reduction in the blacks begins to take place. This is not
by any means a difficult thing to do, but it means the utmost care
must be taken to give a full exposure, but not by any means an over-
exposure for the method of development it is intended to adopt.
Full density is seldom or ever acquired by development alone.
Provided, however, sufficient attention has been given to the proper
lighting, and a small stop used in the lens, with a correct exposure, a
very considerable amount of density will be easily acquired before
there is the least sign of any veiling over in the blacks or transparent
portions of the negative. This must be carefully looked for, and
development arrested the moment the least signs are noticed.
A worker will now see how necessary it is that the utmost pre-
cautions be taken to guard against any strong light entering the
camera, except that which is conveyed to the sensitive plate by the
lens and which forms the image. This I pointed out in a previous
article. Sometimes unsuitable lenses are employed for copying. No
lens should be used that conveys any fight to the sides of the camera,
or, in other words, that considerably more than covers the size of the
plate being used. When it is considered that exposures of minutes'
duration have frequently to be given, it will be at once obvious that
any reflected light from the sides of the camera would be certain to
cause deterioration to the transparency of the negative. This is a
very frequent cause of defect, even in ordinary work ; hut in black
and white subjects it is one of the most insidious defects met with,
and when it occurs no perfect results can be obtained.
Whenever, after due attention has been given to the matter of cor-
rect exposures, &c., it is found that degraded negatives are still being
produced, this defect should be looked for.
I have said that it is but seldom sufficient density is acquired by
development alone. This means that all, or nearly all, negatives
intended for black and white prints require to be intensified, and this
being so means that the utmost care should be bestowed in the treat-
ment of the plate during development.
With so many excellent formulae for development in the hands of
every worker, it might seem unnecessary for any one to recommend
one in preference to another, because it is quite possible for a worker
to turn out as good negatives by a certain formula, the working of
which he daily practises and is therefore conversant with, as any
one else can do by a different formula entirely. This undoubtedly is
so in the all-round working of photography, but I find in black and
white work I have succeeded in getting quite different results by the
employment of a formula different in many respects from that used
for other classes of work.
Some years ago I was forcibly strupk, when reading a formula
which I think was first given to the world by Mr. Leisk, that it
appeared to me to be just the right one for black and white negatives.
I can strongly recommend this. Here it is : —
Make up the pyro by adding nine ounces of saturated solution
sulphite to one ounce of pyro, then add sixty grains of citric acid ;
label A.
Dissolve four ounces of carbonate of soda, 288 grains of sulphite of
soda, forty grains of bromide of ammonia in thirty-two ounces of
water; label B.
Attention must be given that these quantities are carefully weighed.
In conjunction with this formula, a clearing bath should be pro-
vided, as follows : —
Add two drachms of strong acetic acid to one pint of water.
Most workers of any experience will readily understand that some
plates require considerably more pyro to gain extra density than
others; therefore, practice alone will show the quantity of pyro to
use to each ounce of soda solution. As a rule, however, it will be
found that when the developer is very strong in pyro and bromide,
and the exposure has been so regulated for such, the best results are
got. I have frequently gone as far as two drachms of pyro to each
ounce of soda, with an addition of bromide of ammonia over and
above the quantity in the formula.
With a good isochromatic plate, this will yield plenty of density to
allow of complete opacity when the plate is intensified. The great
advantage of this formula is that it never stains the plate. When it
is seen that the utmost range of density has been acquired without
any reduction in the blacks, the plate is sponged gently by means of
a plug of cotton wool with a quantity of the clearing solution. This
will remove all developer from the surface. Do not wash the plate
at this stage, but, after sponging off the developer, place it straight-
away in the bath of clearing solution above given. This prevents any
staining that would probably occur were cold water applied to the
plate, the surface of which still contained some portion of the pyro
developer. The plate should he kept in the clearing bath for at least
some minutes.
From the clearing bath the plate is well washed under a running
tap, and is then fixed m freshly mixed hypo.
If strict attention is paid to these particulars, a beautifully clean
bright negative is the result.
A dirty or previously used fixing bath should be avoided. It may
not be generally known, but a discoloured fixing bath will stain a
plate, provided it remains in such only a very short time.
Some workers use a clearing and fixing bath made up by adding to
about twenty ounces of hypo solution of proper utrength two ounces
of saturated solution of sulphite of soda, to which has been added
one drachm of hydrochloric acid. This is a very useful fixing bath
for ordinary work, and keeps the bath free of discolouration for some
time after being used ; but I fancy I never get such good clean results
when the intensification stage is reached, after plates liave been fixed
in such. An alum bath also is better dispensed with when plates
have to be intensified.
Some workers advocate the use of a gallic acid bath for the exposed
plate previous to development, and claim that by its use the utmost
amount of density and contrast is obtained. I know one worker who
speaks very highly of its use in conjunction with a certain brand of
plates, but I can confidently [recommend Mr. Leisk's formula, which I
have described. It is cleanly in its results, and yields bright and
sparkling negatives.
So much for the formulae. Now let me refer to a very important
factor in development that is seldom or ever taken into consideration
even by experienced workers. I refer to the important influence a
March 17, 1898]
THE BRITISH JOUItNAL OF PHOTOGRAPHY.
167
variation of temperftturo in the developing solutions has in the resulta
obtained. We often hear expressions of dissatisfaction made nboi.t
this or that plate being bad, or this or that developer being all wrong,
or the light must have been awfully bad to-day, or some other such
ejaculations having reference to the difficulty experienced in getting
a plat« to develop up with the usual amount of detail; or it may be
the other way about, such as, after getting into a certain way of
working with some particular brand of plates, all at once things get
into a different groove, and quite a change comes over the behaviour
of the plaie, although, as far as can be judged, everything has been
conducted just as before. I am quite sure this puzzle has bothered
many an amateur who looks upon himself a« a full-Hedged worker,
and yet somehow they cannot discover the reason of the different
behaviour of the plates.
To those having experience of this, and who would like to solve
the problem, let me suggest the following experiment:—
Take two plates, and expose them on any given subject under
exactly the same conditions in every respect ; proceed into the dark
room and mix up sufficient developer in one cup to develop both
plates, they being placed in different dishes. Proceed to develop with
the formula I have given one of the plates with the developing solu-
tioil at a temperature of about 38° Fahr. JIark how slow the
development proceeds, and how for a long time only the high lights
put in an appearance, and in many instances, even with a full ex-
posure, the utmo.st difficulty is experienced in bringing out the
shadows, the result being a negative violent in contrasts, with every
appearance all through of being under-exposed, although such has
not been so by any means. Now take the other plate, which has been
exposed under exactly similar conditions, and with the other porticm
of the developing solution exactly the same proceed to warm the
porcelain developing dish by placing it in hot water, and whilst the
dish is warm pour in the developer, so as to raise its temperature.
Now place in the dish the plate and proceed to develop, and mark
what a distinct difference at once becomes apparent. There is now
no talk of under-exposure, but, on the contrary, the plate will very
possibly come rushing up and sliow every sign of being over-exposed.
Here, then, in the matter of altered degrees of temperature of the
developing solution, we have a considerable power for ringing the
changes in the way of getting violent contrasts when desired, and in
the production of negatives from black and white subjects. We can
do much in the way of keeping clear glass for the blacks by a judicious
use of developing solutions of a low degree of temperature, at least,
for a portion of the time the plate is being developed, and if desired,
the temperature can be raised by merely flowing the solution into
another dish, which is standing in warm water. In my hands this
alteration of the temperature of the solution ilvring (hvelopment has
proved a sroat boon in many cases, for, by a judicious use of such, not
only can density be got to begin with, but the amount of detail that
will eventually be brought out is sometimes quite surprising. When
copying ordinary photographs, or other similar subjects, it is very
necessary to get pluck and vigour in the high Lghts before detail is
out, and it is got better by this means than any other I know of.
In winter-time, much may be done by warming the developing
dishes, for in such weather as we get up here in Scotland, where we
have a long spell of cold weather, often for weeks together the
developing solutions will stand as low as ■iS' Fahr., and sometimes
even lower ; whilst in summer-time a supply of iced water, to cool the
dishes at the start, helps wonderfully in gaining various ranges of
tone in the negatives. T. N. Abmstbong.
"SPIRIT PHOTOGRAPHY," WITH REMARKS ON
FLUORESCENCE.
[London and Proyincial Photographic Association.]
Tbe presence of smoke may be considered as implying the existence of
flame. Spirit photography, so called, has of late been asserting its existence
in such a manner and to such an extent as to warrant competent men
making an investigation, conducted under stringent test conditions, into
the circumstances under which such photographs are produced, and ex-
posing the fraud should it prove to be such, instead of pooli-poohlng it as
insensate because we do not understand how it can be otherwise — a
position that scarcely commends itself as intelligent or philosophical. It
in what follows I call it " spirit photography " instead of psychic pho-
tography, it is only in deference to a nomenclature that extensively pre-
vails, and not as offering a surmise from any knowledge of my own as to
what is matter and what spirit, or the distinction between mind, spirit,
and matter, for in truth I don't know. I approach the subject merely as
a photographer.
Origin of " Spirit "' Photoobaphy.
Before I proceed, a few words on the origin of spirit photography may
not be out of place. In March, 1801, W. H. Mnmler, the principal
engraver in the employ of Bigelow UroB. & Eennard, the leading jewellers
of Boston, when whiling away an idle hour as an amateur photographer,
had a form other than that of any one present developed on his collodion
plate. He surmised that it arose from an image having been previoualy
on the plate, and its having been imperfectly cleaned off. Subjected to a
more thorough cleaning, the form again appeared more strongly marked
than before, and he could offer no other explanation than the one given.
1 1 got noised abroad through the press that a spurit had been photographed ,
and although Mumler strove to suppress the misrepresentation, as be
regarded it, yet be eventually succumbed to popular demand, and took
two hours a day from his regular work, devoting them to photography.
This he had to extend to the whole of each day, entirely discaiding his
regular profession. Many men of eminence sat to him, most of whom he
did not know at the time. He seems to have encouraged his sitters is
the adoption of such test conditions as they deemed satisfactory. The
figures that usually appeared on the plate with the sitters were, if I
rightly inter, those on whom the sitters' minds had been set. That
eminent portrait photographer, Mr. Wm. Black, of Boston, so well known
all over the world as the inventor of the acid nitrate batb, undertook to
investigate the bona fides of Muraler's methods. Through a friend, who
had just previously sat and obtained a figure, Black offered fifty dollars
if Mumler would operate in his presence and obtain a picture. Invited to
come, the acute Black critically examined camera, plate, dipper, and bath,
and had his eye on the plate from the moment its preparation began until
it was sensitised and locked in the dark slide, removing it himself from
the camera and carrying it into the dark room, wiiere, on dcvelopraeot,
a figure of a man was seen leaning on B.'s shoulder. Black was wonder-
stricken, and got away the negative, no charge whatever having been
made. Mumler now claimed publicly to be a spirit portrait photographer,
and as such he eventually opened a studio in New York, having previously
satisfied Silver, Gumey, and other photographers as to the gconineness
of his claims, never hesitating to operate in their galleries if required, and
with their apparatus and chemicals. Mumler was arrested in New York ;
whether on the ground of witchcraft or of endeavouring to obtain money
under false pretences, I am at present uncertain, but his trial was the
sensation of the day, and namerous witnesses were examined. He was
honourably acquitted.
Some Investigators of the Subject.
In this country, several who are amateur photographers have investi-
gated this subject with more or less success. These include some F.R.S.'s,
scientists, artists, and'others. I question whether any have so persist-
ently done so as the late Mr. John Beattie, of Clifton, and his friend.
Dr. Thompson. Mr. Beattie was a skilled professional photographer of
the highest eminence, who sometimes, prior to his death, had adopted
the views of the spiritualistic school. The figures he obtained on his
plates were much blurred in outline, some being misty in the extreme,
I possess some two or three dozen of these taken by, or in the presence of,
Mr. Beattie, whose intelligence, honesty, and powers of observation no one
would venture to doubt. Many such photographs are claimed to have
been produced by Hudson, a professional photographer, formerly of the
Holloway-road, and I submit for examination a work by the late Miss
Houghton, containing fifty-four of Hudson's spirit photographs.
There are many ways by which, assuming the genuineness of only one
ot all spirit photographs hitherto produced, the spurious article may be
made even better than any alleged real ones I have yet seen. A plate
secretly impressed previous or subsequent to being placed in the camera
fulfils the condition ; so does one at the back ot which is placed a phos-
phorescent tablet in the dark slide. Pressure on the surface, such as
by that of a Woodbury relief film, also causes a developable image ; in
short, trickery in a whole variety of forms may and has been impressed
into the service.
PnOTOGBAPHINO THE INVISIBLE.
The higher department of fluorescence may with success be employed.
Here is something to which believers in the visibility of spirit forms to a
camera are quite welcome. At the time, and apropos of the Mumler trial
in New Y'ork, I wrote that a good many absurd things have been said pru
and con on the subject ; but a writer in the latter category, who asserted
that anything that is visible to the eye of the camera, and thus capable
of being depicted by photography, must therefore necessarily be visible to
the human eye, was surely ignorant of that important branch of physics
popularly known as fluorescence. Many things are capable of being
photographed which to the physical eye are utterly invisible. Why, for
that matter, a room (visually dark) may be tnll ot the ultra-violet rays ot
the spectrum, and a photograph may be taken in that dark hght. Objects
in a room so lighted would be plainly visible to the lens of the camera —
168
TnK BRITISH JOURNAL, OF PHOTOGRAPHY.
[March 17, 1893
at any rate, they could be reproduced on the sensitive plate, while at the
same time not an atom of luminousness could be perceived in the room
by any person possessing ordinary or normal vision. Hence the photo-
graphing of an invisible image, whether it be of a spirit or a lump of
matter, is not scientifically impossible. If it reflect only the ultra-violet
rays of the spectrum, it will be easily photographed, although quite
invisible to the sharpest eye.
d Again, Cromwell F. Yarley, F.E.S., well known as one of the most
eminent of electricians, says {Eclectic, June, 1871), when passing a
current of electricity through a vacuum tube, the results of which were
indicated by touches of light about the poles : " In one instance, although
the experiment was ean-ied on in a dark room, this light was so feeble
that it could not be seen, and the operators doubted if the current were
passing. But photography was at work, and in thirty minutes a very
good picture was produced of what had taken place. This," he says, '' is
a remarkable fact ; indeed, it borders on the wonderful that a phenomenon
invisible to the human eye should have been, so to speak, seen by the
photographic lens, and a record thereof kept by chemical agency. It is
highly suggestive, and we may anticipate that it will be turned to good
account by practical philosophers."
Fluokescence.
Some very striking phenomena in photographing the invisible may be
produced by the agency of fluorescence. Figures depicted upon a back-
ground by one or other of certain substances I shall presently name,
although invisible to the eye, may become visible to the camera. Of
these, the best known, although not the most effective, is disulphate of
quinine. Such a solution, although to the eye it is colourless like water,
is to the camera as black as ink. Fill three phials respectively with
water, quinine, and common writing ink, and you have two whites
and one black ; but photograph them, and you have two blacks and one
white. The camera has reduced the transparent quinine solution to the
colour of the ink. Those of you who may care to experiment in this
direction, please take notice that the quinine must be acidulated with
sulphuric acid, and that hydrochloric acid, even a small trace, will
destroy this property. Among other substances that are fluorescent, or
that change the refrangibility of rays of light, are mineral uranite, cer-
tain salts of uranium, canary glass, alcoholic solution of chlorophyll,
ajsculine, tincture of stramonium seeds, and of turmeric. There are
others known to be still better, but my experiments in this direction are
yet too incomplete to warrant my even indicating them.
Let me for a moment enter the realm of speculation, and assume that
there are really spirits invisible to the eye but visible to the camera and
to certain persons called seers or clairvoyants only. Might we not
suggest that there is some fluorescent compound in the eyes of such
persons not present in those whose eyes are normal, and that it is to
this they owe their seeing powers ? Some of you may probably be aware
that Dr. Bence Jones and other philosophers have actually established the
fact of such fluorescent substances being found in some eyes. May this
throw any light upon the recognised fact of certain animals being able
to see in the dark?
When the subject of fluorescence is more thoroughly investigated (it is
a discovery of Sir D. Brewster, who was followed by Herschel and Pro-
fessor Stokes, and is as yet but of yesterday), we may hope for a vast
accession to our knowledge of subjects as yet very slightly understood.
At the Bradford meeting of the British Association for the Advance-
ment of Science, in 1873, Dr. Gladstone, F.E.S., demonstrated before the
Mathematical and Physical Section what I have said respecting invisible
drawings on white cards having produced bold and clear photographs
when no eye could see the drawings themselves, and I brought away
back to London these photographs, and, for aught I know, may have
them still.
A Lxnif's Joke.
To prevent this disquisition from being too dry, I will here introduce a
fanciful sketch I wrote apropos of Dr. Gladstone's demonstration at the
time mentioned: —
A mischievous young lady oi scientific proclivities who attended the
meetingof the British Association, and who was addicted to practical joking,
listened attentively to Dr. Gladstone's observations upon the properties of
quinine referred to, and having carefully noted the discussion that followed,
reasoned within herself thus : If solution of quinine can make invisible
marks upon paper which will come out black in a photograpli, it ought to
do the same when applied to the skin. So she procured some of this
solution, and upon her fair brow she painted with it a death's head and
cross bones. These, of course, were invisible to human vision. Thus pre-
pared, she went to a photographer to have her portrait taken. All went
right until the operator went in to develop the plate, when she soon heard
an altercation between the photographer and the attendant boy, in which it
,was evident that the latter was being charged with having coated an old
or dirty plate.
A second negative was taken, with this result, that the operator, after
bestowing a puzzled, affrighted look at the lady, rushed downstairs to the
principal of the establishment. Both returned to the dark room, and a
third negative was taken, when it became evident that intense excitement
was being produced in the dark room. After an excuse to the lady about
there being electricity in the atmosphere which had affected the chemicals,
she was requested to sit once more.
Scarcely had the plate been developed when both photographer and
assistant rushed out from the dark room, pale and excited, and explained
that on the brow of the sitter in each negative was emblazoned the
insignia of the King of Terrors. The negatives were produced, leaving
no doubt of the fact. What was to be done ?
The sitter hinted something about not being disposed to be made a fool
of by one who she was satisfied was a spirit photographer, and that she,
for one, would not allow herself to become the victim of such absurdity.
This upset the equanimity of the photographer, who expressed his
earnest conviction that she was an emissary and personal friend of the
common enemy of mankind.
" I shall look in again to-morrow," said the lady, in her sweetest tones,
" if you promise not to play any of your silly ghost tricks upon nie."
"Not for ten thousand worlds," said the artist, "shall you ever set
foot within my studio again."
" Oh," she laughingly rejoined, " I shall drop in through the roof and
visit you some day when you are disengaged ; " and with that she
departed.
"I knew it!" gasped the photographer. "I felt a sulphurous odour
the moment I came near her. Send immediately for my friend, the
Eev. , and get him to offer prayer, and free the studio from the evil
influences remaining after a visitation from one whose feet, although clad
in boots, would, if examined, be found to be cloven."
Some Personal Expekiments.
For several years I have experienced a strong desire to ascertain by
personal investigation the amount of truth in the ever-recurring allegation
that figures other than those visually present in the room appeared on a
sensitive plate. The difficulty was to get hold of a suitable person
known as a sensitive or " medium." What a medium is, or how physi-
cally or mentally constituted to be different from other mortals, I am
unable to say. He or she may not be a photographer, but must be
present on each occasion of trial. Some may be mediums without their
being aware of it. Like the chemical principle known as catalysis they
merely act by their presence. Such a one is Mr. D. of Gla-igow, in
whose presence psychic photographs have long been alleged to be
obtained. He was lately in London on a visit, and a mutual friend got
him to consent to extend his stay in order that I might try to get a
psychic photograph under test conditions. To this he willingly agreed.
My conditions were exceedingly simple, were courteously expressed to the
host and entirely acquiesced in. They were, that I for the nonce would
assume them all to be tricksters, and, to guard against fraud, should use
my own camera and unopened packages of dry plates purchased from
dealers of repute, and that I should be excused from allowing a plate to go
out of my own hand till after development, unless I felt otherwise dis-
posed ; but that, as I was to treat them as under suspicion, so must they
treat me, and that every act I performed must be in ijresence of two
witnesses, nay, that I would set a watch upon my own camera in the
guise of a duplicate one of the same focus — in other words, I would use a
binocular stereoscopic camera and dictate all the conditions of operation.
All this I was told was what they very strongly wished me to do, as they
desired to know the truth and that only. There were present, during one
or other of the evenings when the trials were made, representatives of
various schools of thought, including a clergyman of the Church of
Eu^'land ; a practitioner of the healing art who is a fellow of two learned
societies ; a gentleman who graduated in the Hall of Science in the days
of the late Charles Bradlaugh ; some two extremely hard-headed
Glasgow merchants, gentlemen of commercial eminence and probity ;
our host, his wife the medium, and myself. Dr. G. was the first sitter,
and, for a reason known to myself, I used a monocular camera. I myself
took the plate out of a packet just previously ripped up under the sur-
veillance of my two detectives. I placed the slide in my pocket, and ex-
posed it by magnesium ribbon which I held in my own hand, keeping
one eye, as it were, on the_sitter and the otlier on the camera. Thero was
no background. I myself took the plate from the dark slide, and, under
the eyes of the two detectives, placed it in the developing dish. Between
the camera and the sitter a female figure was developed, rather in a more
March 17, 189/11
TIIE BRITISH JODRNAL OF PilOTOGKAl'Iiy.
160
pronoanced form than that of the sitter. The leus was a portrait one of
short focas, the figure being somewhat in front of the sitter was propor-
tionately larger in dimensions. I submit this picture. It is, ai you see
ft lady. I do not recognise her or any of the other figures I obtained as
like any one I know, and from my point of view, tliat of a mere investi-
gator and experimentalist, not caring whether the psychic subject were
embodied or disembodied.
Many experiments of like nature followed ; on some plates were
ftbnormal appearances, on others none. All this time Mr. D. , the
medium, during the exposure of tlie plates was quite inactive. After one
trial which had proved successful, I asked him liow he felt and what he
had been thinking of during the exposure. Ha replied that his thoughts
hal been mainly concentrated upon his chances of securing a corner seat
in a smoking carriage that night from Euston to Glasgow.
How- THE Psychic FiorBES Beiiavkd.
If the precautions I took during all of the several experiments, such as
those recorded, are by any of you thought to have been imperfect or
incomplete, I pray of you to point them out. In some of them I relaxed
my conditions to the extent of getting one of those present to lift out from
the dark sUde the exposed plate and transfer it to the developing dish
held by myself, or to lift a plate from the manufacturer's package into the
-dark slide held in my own hand, this being done under my own eye,
which was upon it all the time ; hut this did not seem to interfere with
the average on-going of the experiments.
The psychic figures behaved badly. Some were in focus, others not so;
some were lighted from the right, while the sitter was so from the left ;
some were comely, as the dame I shall show on the screen, others not so ;
some monopolised the major portion of the plate, quite obliterating the
material sitters ; others were as if an atrociously badly vignetted portrait,
or one cut oval oat of a photograph by a can-opener, or equally badly
clipped out, were held up behind the sitter. But here is the point: not
one of these figures which came out so strongly in the negative was visible
in any form or shape to me during the time of exposure in the camera,
and I vouch in the strongest manner for the fact that no one whatever
liad an opportunity of tampering with any plate anterior to its being
placed in the dark slide or immediately preceding development.
Pictoirally they are vile, but how came they there ?
The Stkbeoscopic Cajieka isj Use.
Now, all this time, I imagine you are wondering how the stereoscopic
camera was behaving itself us such. It is due to the psychic entities
to say that whatever was produced on one half of the stereoscopic plates
was reproduced on the other, alike good or bad in definiiion. But,
on a careful examination of one which was rather better than the other,
and which is now about to be projected on the lantern screen for your
examination, I deduce this fact, that the impressing of the spirit form
was not consentaneous with that of the sitter. This I consider an
important discovery. I carefully examined one in the stereoscope, and
found that, while the two sitters were stereoscopic per -w, the psychic
figure was absolutely flat. I also found that the psychic figure was at
least a millimetre liigher up in one than the other. Now, as both had
been simultaneously exposed, it follows to demonstration that, although
botli were correctly placed vertically in relation to the particular sitter
behind whom the figure appeared, and not so horizontally, this figure
had not only not been impressed on the plate simultaneously with the
two gentlemen forming the group, but had not been formed by the lens
at all, and that, therefore, the psychic image might be produced without
a camera. I think this is a fair deduction. Bnt still the question
obtrudes. How came these figures there ? I again assert that the plates
were not tampered with by either myself or any one present. Are they
crystallisations of thought 7 Have lens and light really nothing to do
with their formation ? The whole subject was mysterious enough on the
hypothesis of an invisible spirit whether a thought projection or an actual
spirit being really there in the vicinity of the sitter, but it is now a
thousand times more so. There are plenty of Tycho Brahes capable of
Bupplymg details of observations, but who is to be the Kepler that will
from such observations evolve a law by which they can be satisfactorily
explained ?
In the foregoing I have confined myself as closely as possible to
narrating how I conducted a photographic experiment open to every
one to make, avoiding stating any hypothesis or belief of my own on the
subject generally, and it only now remains to exhibit the results, bad and
fraudulent-looking as they are, on the screen.
J. TB.UIX TA.XL01U
OX DIVERS Sl'BJECTS.
Tbk Parobak.
I BUi'POSR that DO leas tlian a hundred or so inreDtor« have exclaimed,
on reading the account in the last Bnixisii Joub.val oi' Puoto-
OHAPHY of the " Panoram," " Why, I have had that in my head
ever so long." I am one of the hundred or so, and congratulate the
practical inventor for carrying' out an idea which occurred to me the
first time I uwd tlie Eastman roll-holder, having in my possesion an
old Johnson I'antascopic camera, which, in the days when I had time
to use it, gave me great satisfaction. Of course, it brings up the
question of perspective again, and will make di-scussion hot. It will
be impossible to make the general public accept the perspective of the
" IVnorara " as correct, for the presentation of a line known to be
straight as a curved one will be at once denounced as a falsehood ;
but the fact is that, in the case of horizontal lines, only that one
which is on a level with the eye appears to it as a straight linn, the
lines above that level being bent down at the extremities, and those
below it bent up ; and in their finest temples the Gieeks, who had no
idea of scientific per8])ective, recognised this phenomenon, and, to give
the buildings greater apparent dimensions, exaggerated the perspective
effect by making the horizontal lines curve slightly, in the same ntnae
that the effect of perspective made them .seem to curve. The reason
of it is apparent. If you stand opposite the central column of a long
colonnade, the apparent height of the more distant columns diminishes
in an increasing ratio, and, if the most distant were twice as far away
as the central one, it would appear half the height ; and this is the
true perspective, as it is the true aspect of any natural object.
Scientific perspective is a pure fiction, and the action of rectilinear
lenses is so arranged as to confirm this fiction. It renders perfectly
the facts on any gi-en plane, but in no case gives the actual appear-
ance to the human eye. As the Editor ha< shown, a sphere in extreme
perspective becomes an ovoid, while the capital of a column is, in the
case of a very wide-angle view, distorted most unnaturally, while to
the eye, looking direcfly at them, they are of the same shape as the
central ones.
rEHSPECTIVE.
In talking of the relation of perspective to photography, whetlier
the scientific or real perspective is to be treated of, we must remember
that there is a complicatiun not easily adjusted in the equation, which
is the fact that the photograph itself has to he seen in perspective,
no matter how near it is held to the eye. Suppose, for instance, a
photograph taken with a rectilinear lens of fifteen-inch focus of a
facade of a building presentinir a line of columns, the point of view
being opposite the centre of th<i fa^'ade. By measurement the extreme
columns will be of the same height as the central one; but,look at it f rom
what distance we may, the photographed column which is most distant
from the eye will he shorter than one in the centre, always on condi-
tion that we hold the photograph so that the eye is opposite the centre
of the facade. If it be held at the distance of fifteen inches from the
eye, the distant column in the photograph will he jxist as much smaller
than the central one as it would be in the building itself, and the
horizontal lines will have the same curvature that they have in nature.
But in practice we cannot look at photographs from the distance of
the focal length of the lens, and it is only comfortable to look at them
from a much greater, so tliat in those taken with short-focus lenses
we are alvt'ays seeing them falsely. Bat the eye is educated to these
compensations, and we accept what we know to be the fact even when
it is not in accordance witli the true optical impression. It is as in
many more serious matters, we accept recognised illusions as convey-
ing a better idea of the truth than the absolute reality would give,
l^verybody knows the old story of Queen Elizabeth objecting to th«
shadows in her portrait, as representing her with dirty patches on
her face which she IvTiew not to exist there; but, when we look at a
portrait in which the light and shade are ever so strong, we do not
take exception to the actual colour being different on one side of the
face from that on the other, for without this difference the greater trntli
of the rotundity of the head could not be expressed. The simple fact
is, and it can be easily proved, that any photograph can be shown in
one way true and in another untrue. Taking one thing with another,
I am inclined to think that the perspective which comes nearest to
the truth in general is that of the panoram or pantascopic camera, for
it agrees best with the method by which the eye takes in its vision.
Film PHOxotiEAPHY.
I have been seeing and hearing a good deal lately about the flexible
film, as used in the roll-holder, and have seen the results of many ex-
posures, with some results which make me doubt if it is possible to
teach certain people to take a photograph even on the •' pull-the-
string, press-the-button " principle. I have known an amateur, in
iro
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[March 17, 1893
spite of all warning, to make a snap-shot at an old picture in a
church, and, on being remonstrated with, to reply, " Why, I thought'
vou had got the taking of photographs down to instantaneous ! '_
Last winter, when the light was at its very lowest, and an instan
taneous picture could only he hoped for in the mid^lay hours of
bright day and with a powerful lens at that, a roll of film exposures
was brought to the Club for development, some of which were
interiors, some late afternoon and over-ca«t day exposures, all being
snap-shops, and on opening the camera I found that the smallest
aperture had been used throughout. And a literary friend, whom I
had fitted out with a roll-holder camera and minute instructions,
came back with a roll of exposures running over six months, all taken
with a medium stop, and at the same focal distance, some interiors
and some sunsets ! It is not uncommon even to get a time exposure
with the camera held in the hand entirely unsupported by any fixed
support. I once gave instructions to and outfitted an amateur who
was anxious to take photographs of a picnic party, and brought back
his exposures to me for development. The first plate shovped three
bands of unequal density across its length ; puzzled, I threw it
away, and tried the second. Same result. An idea flashed on me:
I said, " Did you not put your camera in a boat out on the river ? "
" Yes," said he ; " was that not right ? " And he had given a time
exposure with a small stop. My experience with Kodak-users is that
not half have learned, perhaps are incapable of learning, the con-
ditions under which the Kodak must be used. 1 never attempt an
exposure without a bright sunshine, and then, in the winter, only
in the middle of the day, say, from ten to two, and in summer
only when the sun is at least two to three hours above the horizon.
In my experience of wandering Kodakers I am convinced that at
least one- half the films are wasted through insufficient exposure
and utter inattention to the conditions necessary for success. Many
negatives are spoiled by carelessness in development, and generally in
the following ways: — First, the negative is not thoroughly and
equally wetted before applying the developer, and develops unequally.
Second, the operator tries to develop half a dozen negatives at once,
and they either stick together in the hath or protrude from it, and
show similar inequalities. Third, they are thrown carelessly into the
hypo and hold bubbles under them, or lie partly out of the solution,
in both which cases they show brown patches when finished, printing
more intensely. A certain amount of shrewdness is imperative even
for those who only pull the string and push the button, for a judg-
ment of the nature and intensity of the light precedes success even
with the Kodak.
The Sandbll Plates.
I have .seen some of the results of the use of the Sandell plates on
our Roman church interiors, and I must say that I have never seen
such negatives of any interior by any other process ; but the question
which puts itself to me is, whether the absence of halation is due to
the use of emulsions of various degrees of rapidity, or simplv to the
thickness of the aggregate of the coatings ? Is it not probable, or
even certain, that the chemical qualities of the under coating are
immediately reacted on by the subsequent coats ? and is it possible,
chemically, to isolate them when in the moist state, as the prior coat-
ings must be as soon as the later coat is applied ? Is not the success
of the operation due to the fact that the light has not the power to
penetrate the mass of haloid presented for its action, and therefore
never reaches the piint at which the reflection, to which halation is
due, commences ? However this may be, the Sandell plate is certainly
capable of producing such interior negatives as I have never seen here.
My own experiments with them were not so successful, probably
because I did not try them correctly. W. J. Stillman.
NOTES FROM THE CAPE.
It is some time since any notes from my pen appeared in these pages,
hut a cloudy night affords me an opportunity of a clearing a few
items from my notebook; a few items of no startling character, but
just a few of those little experiences which occasionally come handy
to others.
Kebping Sensitised Papeb.
Some two years ago I had occasion to order a few quires of a well-
known make of ready-sensitised albumen paper. I was very well
satisfied with it at first, and noted, with satisfaction, that each quire
was in a tin tube, well soldered down. Six months later a second
tube was opened, and the paper found to be considerably discoloured,
but was fit for use, the discolouration disappearing in the toning bath.
I placed it in a larger tin case, using small quantities of it at intervals,
until a short time ago I found I had got to the last sheet, which
showed spots and streaks that did not trouble me unless I used
negatives with a large space of sky. I then opened the third tube.
The paper smelt considerably, but I was astonished to find that it was
very brown— two or three times as dark as the paper that had access
to air at intervals. Very little of this discolouration disappeared ia
the toning bath, the whites coming out very brown. I have little
doubt as to what was the cause ; the albumen had decomposed, com>-
pounds of sulphur had been emitted, and these, having no outlet, had
acted on the free silver, converting it into sulphide of silver. I can
only advise shippers, therefore, not to pack sensitized paper in sealed
tubes, but to roll it up in blotting and brown paper only. To those
photographers who, like myself, only use small quantities of paper at
a time, I say, cut it up in suitable tizes, and pack it between blotting^
paper, treated with carbonate of soda, as has been so often recom-
mended.
Packing Plates.
Whilst on the subject of packing, let me rtquft't plate makers not
to pack their plates with sheets of "papier Jcse.jh " or other paper
between them. I have tried several brands of plates packed in that
manner and before I have had them many months paper marks have
appeared and rendered them useless. On the other band, plates packed
with a slip of thin card at the edges deteriorate very slowly, and any
packing marks appear at the edges only. W'hen I purchiise plates
here I like to see the word " sUpped " written on the label.
A word too on the subject of pacldng plates in tin foil. A carefully-
prepared plate when new should give no trace of " light fog," and any
chemical fog produced by energetic forcingshould be even over the plate.
But plates on keeping show fog first at the edges, and then this
gradually creeps over the plate according to the time it has been stocked.
A great part of it may be removed by gentle friction, but prevention is
better than cure, and for some time past I have had all plates for
astronomical use packed in tinfoil with most beneficial results. I
have met no plate that does not sensibly degenerate with time, but
now my complaints on that score are reduced to a minimum. By the
way, it is hardly fair far a plate manufacturer to advertise that they
supply plates to the Cape Observatory, on the strength of the
occasional purchase of a few boxes at "a local dealer's. Our stellar
plates have for some time past been specially prepared for us by
Mawson & Swan, and are a model of even coating and clean working,
with rapidity and fine grain.
Landscapk Photogbaphy at the Cape in 1892.
Two novelties during the past year are worthy of special notice
under this heading. We had a severe winter, which extended far
into the summer months. Ice was found on Table Mountain,
although we had but little frost below, and on the mountain a little
sleet fell ; but on the distant mountains to the north and east of the
peninsula snow fell in abundance, and at Worcester, a town fifty
miles from Cape Town in a straight line, a party of climbers as-
cended to a height of 6000 feet, where one of their number — Mr.
Isaac Meirig — took some photographs, which are perfectly Alpine in
character, and that, too, at a time of the year when we are usually
experiencintr the commencement of the summer heat. The other
novelty consists in the views of the Zambezi Falls, brought down by
Mr. Ellerton Fry, who exposed a large number of plates there under
considerable difficulty, the chief trouble being the showers of spray
that obscured his lens, nearly spoilt his camera, and fogged his plates.
Only one in every twenty plates he exposed does he consider a perfect
success, but these are pretty numerous and unique in their way.
Indecent Photoghaphs.
A much-needed law was passed last session stringently prohibiting
the sale of indecent photographs, not that we are fastidious. The
photographs prohibited are seldom the work of Cape photographers,
for the ordinary run of photographs of natives cannot be classed under
the above heading. They may be made indecent, and in that case
their sale would be rightly stopped ; but the photographs aimed at are
those displays of nastiness frequently sold at foreign seaports. Port
Said has an unenviable notoriety for such works, and so have some
VVestern ports of North and Central America, and most of the
Southern American ports as well. When going on shore at Guayaquil
in South America in 1883, we strolled into a photographer's and asked
to be shown some photographs. lie opened two large drawers of —
well, we blushed, and it takes something to make men do that, whilst
the photographer was surprised to find that we wanted landscapes,
and had very few to show us. Xow that a law has been passed here
on the subject, it is to be hoped that on my next visit to England I
shall have less annoyance with the Custom authorities. My experi-
ence at Plymouth has been that, on the arrival of the steamer from
South Africa, the appearance of anything photographic in one's
March 17, 1803]
THE BKITISH JOURNAL OF PHOTOGUAidY.
171
boggajjo lias furnished occasion for rigid cross-examination and a strict
search for anything nasty.
PEnMANKNCY OF PuiNrs— GELATINE versHs Albumen.
An instructive siglit here is to watch the show-cases put up by
photof^raphers in the principal streets. You see a group of sparkling
landscape specimens, which you stop to examine. A week or two
later you notice that the blazing sun is effecting n change in them.
Soon the should-be whites have turned to an intense gamboge, then
the shades appear mealy, and at last out comes a batch of new speci-
mens. Printing-out paper is liaviiig a run hero, and it was soon
noticeable tliat photographers were taking advantage of it in hopes of
obtaining greati!r permanency. And yet the other day I noticed
that the gelatine prints were going like the rest. I remarked to a
member of the profession that the gelatine prints were as little per-
manent as albumen, but he differed from me. " Look on this group
of prints and on that," he remarked. " Printed at the same time,
exposed outside together, got damp together, as witness the water
stain on the cardboard. Yet, you see, the albumen are fast going,
and the otliers are almost unchanged." Under the circumstances, it
i« difficult to come to any conclusions. Time alone and the collated
exjieriences of many will tell. C. Ray Woods,
Photographic Assistant at the Cape University.
LIGHT, SHADE, AND PICTURE COMPOSITION.
Befork the Aston Society, on March 9, Mr. C. T. Cox. head master at
the Birmingham School of Landscape Art, delivered a lecture on Light,
Shade, and Picture Composition to the members and friends of the above
Society.
In his opening remarks he said he knew that much nnkindness existed
between devotees of the camera and lovers of the brush, and that many
of the latter always tried to depreciate work of the former ; and before
commencing his lecture he should like to say that lie was no party to
such feelings — in fact, he considered the photographer etiual to the artist,
however high, and that in many cases the camera could produce effects
that would be otherwise beyond the skill of an artist to obtain ; in short,
he thought the two should work together. He then dealt with laws
relating to chiaroscuro, and showed in many ways how the laws relating
with art were equally applicable to photography, and how the violation of
such laws led to failure.
The members present were here asked to take down the nine rtlles
governing the proper representation of a picture, and were as follows : —
(1) Principality, (2) Kepetition, (8) Continuity, (-1) Curvature, (.5) Inter-
change, ((1) Contrast, (7) Radiation, (8) Consistency, (D) Harmony. After
explaining the first principle, he showed, by means of specimens, how
far the law of repetition was carried out in the works of Rembrandt,
Turner, Edward Watson, and others ; how the chief image was again
represented by a similar but minor study, not competing with the chief
object of interest, but only repeating it. Then, again, continuity, as in
the case of the outlines of mountains, pillars, trees, &e., would also he
seen not competing with repetition, but only repeating it. The speaker
here asked who had not noticed the graceful curves of motion of the
hnman figure, the exquisite curvature of the movements of body, the
dainty toss of the head, and from these he went to those of Cader and
Snowdon, and pointed out that the whole of nature presented these
curves to the users of those valuable twin lenses, the eyes. He had seen
and painted old Welsh cottages whose chronic curvature of the backbone
of tlie roof and tumbledown gables lent a charm to the whole scene.
Contrast and interchange were then fully dealt with, effects in the
former being oliiefly obtainable in April, when days of tender light and
soft, flickering shade were always present ; and here the lecturer showed
bow the general rule of contrast was laid down in the works of Buskin,
viz., " the shadow thrown was always deeper than the shaded side of the i
object throwing the shadow." Again, most of the famous works of
Claude Lorraine were all based upon the division of his canvas diagonally
into light and shade, with an interchange of botli from one to the other,
and the larger the picture the greater was the halt-tone of each
introduced.
Rnskin asserted that the shadows in photography always appeared
three times as dark as they were in nature, but the lecturer said he had
adjudicated in photographic exhibitions in which he had seen shadows
depicted far truer to nature than could have been portrayed by the brush,
owing to their transient character. Relating to consistency, Mr. Cox
asked who would think that "a lovely sylvan scene — a poem without
words, one that draws out the soul and appeals for response to every-
thing that is beautiful in the mind," would be consistently represented in
a thunderstorm? he said that "rocky crags and frowning dark ravines"
would be more consistent with the battle of the elements. Radiation and
harmony were next dealt with, and herein he advised that photographers
should follow the lines of the old masters and obtain an oval character for
their views, although this was often exaggerated, as in the works of
Bonnington, one of which was shown in which the clouds appeared as if
placed in order to fulfil the ovality, as it were. He said, if the camera
wreen were divided medially through the sides, and an ellipse sketched
round the points of contact, we should have a gnide to good piotote,
making if we avoided placing objects of interest in the comers or on
the margin of the diagram. He (the speaker) concladed with some
splendid remarks on clouds, those things which bothered photographers,
and more especially artists, but things which were invaloable to the pro-
duction of a good view. Finally, he was pleased that Aston had formed
a photographic society. He wished them every soccess, and offered to
give advice gratis to any member at any time that they may feel they
would like to have bis opinion or criticism.
MANCHESTER PHOTOGRAPHIC SOCIETY'S EXHIBITION,
This Society, whilst not following the practice which has now become
common amongst kindred associations of inviting exhibits from the
general body of photographers, was able to display a very pleasing and
interesting collection of photographic work, fairly representative both of
the progress made by individual practice and the development of new
processes.
The Exhibition was open on March 9 and 10, and was well attended
both days. An improvement made in the hanging of exhibits over
previous years perhaps in a manner added to the satisfactory character
of the show ; still, as a rule, the contributions were of excellent quality.
Prizes were offered for the best exhibits in various classes ; but for the
instantaneous nenre pictures and home portraiture the result wm dis-
appointing, especially as regards the first-named, it being either an
indication of the waste of energy displayed on " snap-shots," or the un-
favourable conditions during the past two years for this class of work, for
only one member sent specimens. In portraiture, too, a good set by Mr.
J. Wood was alone, so that in these two classes prizes could not be given.
The i/enre pictures were only two in number, and neither very striking
as compositions. Mr. J. Wood's Taking Milk to Market gained the
prize ; the title, as far as " taking milk," was well expressed, but the desti-
nation of the said milk not very obvious. Mr. Higson's picture. Father
Adam, was a good photograph, but not very expressive. Two classes for
Landscape (over half-plate and smaller sizes) were, as a matter of course,
well represented, two bits of local scenery, Morton Bottoms, by Mr. J.
Wood, and In the Bollin Vallei/, by Mr. W. G. Coote, taking the prizes.
Interiors were all good, Lt/me Hall Entrance, by Mr. M. W. Thompstone,
being adjudged first. Stereoscopic and lantern slides were not as
numerous as the number of workers in this class could warrant, Mr. J.
Higson, with stereoscopic transparencies, and Mr. H. M. Whitefield, with
lantern slides, taking first places.
The enlargement class was very prominent both by number and
quality. The Judges highly commended two pictm'es exhibiting very
opposite treatment, one a bromide, by Mr. J. Brier, At Tirol i, being a
well-defined, perfect enlarged reproduction of the negative ; the other,
also bromide, a Norwegian harbour scene by Mr. ¥. Edwards, a very
clever and artistic enlargement of a hand-camera exposure. Mention
might also be made of Mr. E. G. Wrigley's seascape enlargements for
brilliancy.
The scientific or experimental photography class was responded to by
Mr. B. Robinson and Mr. H. Smith, the former with a frame of photo-
micrographs of great technical excellence, and the latter by perhaps the
most interesting exhibit in the room, namely, the treatment of gelatino-
chloride printing-out paper by short exposure and development. The
results of evident patient experiment were shown by a number of prints,
different tints (from red to blue-black), being obtained by varying the
exposure and development, no gold or otlier toning being employed.
The Judges were Mr. Geo. Perkins (artist), Mr. J. W. Wade, and Mr.
J. W.Leigh.
The platinum, gelatino-chloride, and bromide were the processes used
by nearly all the exhibitors.
THE CENTRAL PHOTOGRAPHIC CLUB.
The Executive Committee appointed by the public meeting on March 6
has already got to work, with the result that suitable premises and Club
rules are under active consideration. Another meeting will be called in
a few days to consider the propositions of the Committee. The Hon,
Secretary pro tern, has received a large number of applications for
membership, particulars of which will be sent in due course to the
applicants,
♦
©ur iBUitorial tHatlt.
Rough's Impeoved " Excelsior" Hand Camera.
Ingenious in every way as Messrs. Rouch's now well-known " Ex-
celsior " hand camera is known to be, the march of improvement has
still further added to its usefulness and excellence. It has now a
sliding as well as a rising front, and a rack and pinion adjustment
allows of lenses of varying foci being used, an index scale being, as
heretofore, placed on the top of the instrument. In addition to two
172
THE BRITISH JOURNAL OF PflOlGGKAPHi'.
[March 17. 1893
finders, there are spirit levels on two sides — a great convenience. The
camera may be used on the stand with slides and a focussing screen, and
the firm's well-known changing- back can be employed instead of slides.
To the chansing back is now added an indicator, so that by simply touch-
ing a small lever at the side, the number of plates exposed may be seen
at a glance. Tlie camera we saw (made expressly forMr. E. Hawkins,
a successful hand-camera worker) was fitted with the Thornton-
Pickard focal plane shutter, and this in such a neat way as not per-
ceptibly to increase the bulk of ihe instrument. Altogether, the
Excelsior remains the perfection of a practicable, workmanlike
instrument, that must be a pleasure for the photographer to handle.
Marion's Cartridges for Developing and Fixing.
Messrs. Marion & Co., Soho-square, have submitted to our notice
pyro and soda developing cartridges, together with similar cartridges
for fixing which they have recently introduced. The various contents
of these form an impalpable powder which dissolves almost imme-
diately after being thrown into water. The pyro-soda cartridges are
in form of plain glass tubes closed at one end and well corked at the
other, two of these forming a complete dose for ten ounces of water.
As might be sui mised, the contents of one is pyrogallic acid, that of
its companion being sulphite of soda and carbonate of soda. The
proportions of these are so accurately adjusted as, with the above
quantity of water, to form a perfect developer. The fixing cartridges,
like the others, contain the active agent in form of a fine powder ;
and. according to whether they are to be used for negatives or prints,
so is the quaiitity of water determinable. For negatives, the contents
are dissolved in five ounces of water, while for prints ten ounces form
the correct quantity.
This is a most excellent form in which to keep these necessary
agents, not alone convenient for those who go to the country or sea-
side during the summer, but also for those who stay at home and
like to have things ready to hand.
AnDRKSBn's " DiAMIDOPHKNOI. " AND " COMBINED ToNING AND
Fixing Bath."
Messrs. ArthurSchwarz & Co., the agents, have sent us samples
of diamidnphcnol which, used with alkali in the proportions of the
formula given, develops rapidly and cleanly, and renders the density
well. The toning and fixing cartridges should prove extremely useful
— they impart a deep but pleasing rich black tone to prints.
0F,tHimfi of Siotittit^*
MEETINGS OF SOCIETIES FOR NEXT WEEK.
» ■ 1
Date of MeotiDR. |
Name of Society.
Place of Meeting.
March 20 \
Charing Cross-road, W.O.
Asso. Stndio, Nethersrat«, Ihiudee,
Fillebrook Lecture Hall
180, West Regent-street, Glasgow.
Mechanics" Institute, Leeds.
Greyhound Hotel, Richmond.
Hanover Hall. Hanover-park, S.E.
Club Room, Colonnade Hotel.
376, Coldharbour-lane, Brixton.
City Chambers, Gandy-st., Exeter.
206, Mare-street, Hackney.
Mechanics" Institute, North-street.
Canonbury Tower, Islington, N.
9, Gauze-street, Paisley.
The Assembly Rooms, High-road.
Anderton"s Hotel, neet-8treet,K.C.
The Studio, 15, Cambridge-arcade.
Charing Cross-road, W.C.
„ 20
„ 20
„ 20
„ 20
„ 20
Fiilcbrook Atlienicum ..
Glaauow & West of Scotland Am.
Hastine's an'l St. Leonards
„ 20
„ 20
„ 21
„ 21
Birmingham Photo. Society ...
„ 21
;; 21
„ 21
„ 21
„ 21
,. 22
„ 23
„ 22
Sonthport
„ 23
„ 23
„ 2i
HuU
71, Prospect-street, Hull.
Rooms, 15, Dawson.street, Dublin.
Champion Hotel, 15, Aldersgate-st.
The Lyceum, Umon.street,01dham.
„ 23
Ireland
„ 2:1
„ 23
„ 24
Cardiff ..
„ 24
Public Hall,George-8treet,Croydon.
„ •^■^
„ 24
"The Palace," Maidstone.
Ohiswick School of Art. Chiswick.
71, Prospect-street, Hull.
„ 24
„ 25
Hull
PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN.
March 14,— The President (Captain \V. de W. Abney, F.R.S., D.C.L.) in the
chair.
Messrs. E. Collins, E. J. 0.arwood, H. W. Hughes, W. E. Pond, T. P.
W.itson, and the Duchess of Sermoneta were elected members.
The North Surrey, Hastings, Derby and Manchester Photographic Societies,
the Croydon Camera Club and the Photographic Section of the Chester Society,
were admitted to aftiliation •{ the Society.
The Hon. Secretauy announced receipt of a supplementary commuiiicatiou
from Colonel Waterhouse on Gaiacol, of which he had tried a fresh sample. It
had distinctly weak developing powers, and it wan quite possible that it was
not a developer, although practically it was one apparently inversely to its
purity. He had also tried other derivatives of creosol, and tliought their
developing power might be due to oxidation products. A minute quantity of
impurity might impart developing powers.
Naturalistic Photography.
Owing to Dr. Emerson having sustained a bereavement, his paper on
A^atumlistic -Photography -waa Tesid hy '^iH. T. R. Dallmbvkr. la the paper
(which we shall give in exteiiso on a future occasion). Dr. Emerson said that
two years ago his researches into the subject of vision and persjieotive drawing
were responsible for tlie withdrawal of his book. When betook \\[i jibotography
he was told by all that if the photographic observer closerl one eye anil
placed the other eye at the focal distance of the lens ho would see tlie picture
true to uiiture. He felt that this was not tlie case, and he maintained
that the sharp pliotograph was not true to nature ; hence years of long
and inky warfare. Opticians were right from the mallieinatica! stand-
point and he from the physiological. He had laid it liown that truth
to nature was obtained by throwing the background out of locus. There-
was no connexion here between want of sharpness or jiinhole pictures ;
it was a deliberate and conscious act to be modified .tcfording to circmn-
stani'es, .and not a hap-hazard doilge. He had found his m^tiiod of focussing
justified by psychology. As to what was trae in nature l'ro:ii tlie visual stand-
point, he thought the tele-photo lens a most useful tool to jpiit into the hands
of the decorative photographer. The position he ami Mr. Goodall had taken
up in their pamphlet'on drawing and vision was still unshaken. Tliere was no
absolute truth to nature from the visual standpoint, for as c-;icli man's sight was
different, the only absolute truth to nature was in his own vi,-w of it. From the
mathematical standpoint there was an absolute standard, which was the sharj)
photograph. Having saul that the shajics of things, such a- table-tops and
wall-paper patterns, are perspective distortions, the tran.-ition from one ti>
another being infinite and continual, he said that it was evident that no photo-
graph gives things as we see them with two eyes; sonie photographs gave
results nearer to what we saw than otlvers, but were not ii.itnraiistic photo-
graphs. How true must the photograph be that it may be considered
naturalistic ? It must be true in fundamentals to the point of illusion, that is, a
man's boots mtistnot be twice as big as his head. He did not consider photography
was an art, it was a mechanical jxiwer. Its |results wrre sometimes more
beautiful than art, but were never art ; just as nature is sometimes more neantiful
than art. Photography was a mechanically recording reprcsmtation of nature.
Having define<l nature as the fountain-head of sensuous inqiressions but not
necessarilv of ideas, he traced the relation of realism, idealism, and naturalism to
nature. He said that, under the same physical conditions, the same results would
always be obtained in photography. Art was personal, however ; photography
was a cross between nature and a macliine, art a cross between man and
nature. There was a link binding art, photography, and nature together.
Photograjihy was decorative, and photographs must be decorative to afipeal to
.artists. The decorative photograph was a mechanical relt.cfion of nature
when she sings in tune, and a good photographer is reipiired to know when
she does sing in tune. It mattered not for merely decorative photographs
what lens was used, what exposure given, wliat developer employed, wliat
developer applied, provided the result be decorative, as no photograph could
be said to have any art qualities without being, first of all, decorative. That
was the quality which differentiated the few photograpliers rroin the thousand.
It had been said, photography would do works of art wh.-n tliey got sonl into
their photograplis ; [this and all sorts of similar rubbish hatl been said by
second-rate artists and third-rate photogr.aphers. Tlie jiuper concluded with a
series of nineteen propositions, which attempted a deliuition of art and its
relation to photography.
Mr. T. BoLAS thought the [laper involved a great deal of thought, although it
was given in difficult phraseology. It enabled those who had studied Dr.
Emerson's previous remarks to understand the full bearing of his recantation.
He a]>peared to have changed his fundamental views as regards jihotography,
but not as to his method of working. The paper correspondeil with the
tendency of thought at the present time in regarding the beautiful as sub-
jective rather than objective. Mr. Emerson's figure of an artist's ideal
changing during the progress of a picture had considerable interest as bearing
on the subjective idea of the beautiful rather than the objective. There
were undoubtedly a great many ideas in the paper wliich were quite new.
Mr. Andrew Pringlk did not understand the jiaper, but he was perfectly
willing to believe that it was extremely able. The subject was a great deal
discussed — perhaps too much to be profitable, and it contaiaeil many truisms
which were as old as the hills.
Mr. W. E. Debenham defended mathematical persjiective as the only true
perspective, and also thought that an artist's idea of sliarpness, in contra-
distinction to the photographer's, meant harshness of outline. Mr. Emerson,
had said that a great deal of pretentious rubbish had been written about art ;
they might retort and call this paper Einersonian rubbish.. Dr. Emerson had
said that a reiiresentation of nature on a plane surface was impossible. Were
they then to condemn paintings, and were stereoscopic views to be aciepted ?
The Rev. F. C. Lambert .said the paper wanted three months' careful read-
ing, it cont.ained so much that was old and true, and so much th.at was debat-
able. He was not at all sure that he nmlerstood the greater part of it. Dr.
Emerson h.ad, it seemed to him, taken up the same position as .Mr. Pennell—
that because a ]ihotographer places between his l>rain .and what ho sees a
machine, the product had no stamp of individuality. The mere question of
tools did not affect individuality.
Mr. BiRT Acres disputed the view that half a dozen photograiihers taking
the same view would produce identical results, as each would have his own
idea as to how the view struck tliem as a picture, and their ideas would differ
as to brilliancy or softness of results. -Vgain, lie did not think the best workei-s
in photogr,apby called themselves "artists," though they produced artistic
March 17, 1803 1
THE BRITISH JOURNAL OF PHOTOGRAPHY.
17?
result), ne (li<l not tliluk plio'.op-aphcrR ahouM be aaliamed to call them
selvcii )iholoijTa|>hers.
Mr. 'P. It. D.M.i.MKYKB said the subject involved very d»ep study.
Differential focussiiiR lind come forwanl a (rrent deal since Dr. Emernon first
laid it iliiwn. It apprariMl to liini (Mr. Oallmeyer) that Mr. Debenliam bad
gone away froin tlif ii':il iiitiMil of tlii' jiaper. as Dr. Kiiierson was not clisini*(in){
niatbcniatical iwrspective. I'sycliolopy was not a science yet, but we ilid not
see tilings in niatheinatic.nl perspective for psychological reasons. He thought
the term decorative a gooil one in reaard to pliotoiiraphy.
Kev. K. (;. I.AMBKUT agneil with .Mr. Dallnuyer ii% to the iniportanca of
linking pliysiology and psycliolo^'y togetlier to appreciate workK of art. As
to the iKse of the term decorative, it seemed to liiia all pictures were decor-
ative.
Mr. PniNcl.E, in the course of further observations, said that, in spite of all
Dr. Emerson's chani;es of position, no person had a right to deny that photo-
graphy owed a great ileal to him. He had done a great deal towards turning
the attention of photographers into an improved artistic line. The results of
his work were licfore them irow, and though many of his jiupils and ilisciples
had thrown iiim ovcrboanl. the fact remained tliat he had inau;;urate<l great
imnroveinenl not only in specific Imt in general artistic work.
Colonel (i.MB said that it was pleasant to find Dr. Emerson comin? out of-
his sclusion, but he was disappointed to find th.at he was still <lrawing conu
p:lri^^^^ lietwcen the artist and the painter. They were always getting intj
troulJe with i>ainters, and he iliil not see the necessity for it, as photograph
coidd be cjrried ou without reference to ]>ainting.
The Hrksiuknt, in closing the discussion, .said that be himself was only a
plain maker of ''photographic maps," but it seemed to him that, what-
ever might be the onicoine ol' the [laper. Dr. Emerson himself w.is the
outcome. Whether the fuzzy .school would last was a matter for tlie jiuljlic to
say. He (the I'residenti would continue to take sharp photographs, as ho
thought the fashion for them woidd come back again.
Votes of thanks wefe passe<l to Dr. Emerson for his paper, to Mr. Dallmever
for reading ami ileciplicring it, and an expression of sympathy with Dr.
Emerson in his bereavement.
LONDON AND PROVINCIAL PHOTO&R.\.PHIC ASSOCIATION.-
M.VRCH 9, — .Mr. J. Weir Brown in the chair. — Tiicre w.is a very large attend-
ance.
"Spirit Photogb.vphy." with Remarks ox Fi,tJouKS"KxcE.
Mr. J. Tk.vill Tayix)R read a paper on this subject fsee p. 167], after which
several slides from the negatives he h.ad obtained were exhibited by the aid
of the lantern. A series of "Spirit Photographs," the work of Mr. Hudson,
of Hollow<ayroad, and some French photograpber.s, were also shown by Mr.
Maltby, a visitor.
In the iliscu.ssion that ensued, Mr. Ddwset asked Mr. Taylor if he thought
there were such things as " spirit photographs ? "
Mr. Tavloi: replied that the qnestion was outside the subject.
Mr. P. EvKKiTT asked if Mr. Taylor had any choice of a room — was it of his
own selection f
Mr. Tayi.ok replied that the room w,as the only one, so far as he couW see,
in whieii he could conduct the experiment.
Mr. EvKKITT said that uudoiilitcdly vitiateii the experiment. Had Mr.
Taylor control over the arrang.uucii'.s in the room ?
Mr. Taylor said he placed the sitters ami his camera, and arranged the light
himself.
Mr. A. Gl«ndi>"XISO explained that it had originally been intended to have
had the iihotographs taken in a photographer's studio, but the photographer
had withdrawn from the experiments on the ground that the latter were
dangerous. The photographs, therefore, were taken in the drawing-room of a
bouse in Dalston.
Mr. EvKKiTT a.sked whether that house wa.i inhabited by a spiritualist, or
any medium, or any one of .spiritualistic tendencies ? Did Mr. Taylor go as a
sceptic I
Mr. Taylor .said that he went with a perfectly open mind.
Mr. E^BBITT pointed out that in the paper Mr. Taylor said that he con-
sidered himself as acting as a detective upon those who were present when the
photographs were taken.
Mr. Taylor explaine<l that on the morning of tlie day on which the experi-
ments were maite he received a letter asking him to bring a reasonable man
with him — in f.ict, he had the option of taking any one he chose.
Mr. W. E. Debe.nham asked if it would be possible to repeat the experi-
ments in the presence of the same medium and two members of the London
and Provincial Photographic Association ?
Mr. Glbsdixnivii said that ho ha-l been interested in this subject for twenty-
eight years, and hail spent Ixith time .ind money over it. He wouhl like to
ask whether the members of tlie Association then jiresent believed that Mr.
Taylor was competent for the investigation he had recently undertaken? He
did not mean, were they prepared to endorse his statements : lie did not mean,
did they consider him an honest investigator ? Many honest men would not be
cousiilered sulliciently ipLalified for such experiments ; others, as honest and
upright, skilled in the or.linary routine of photographic work, might ])Ossess
little knowleilge of chemistry and optics ; others, £^ain, might be honest men,
and well acquainted with chemistry luul optics, but too opinionative to under-
take such experiments. He wouhl juit it to them in this way : His own
belief and strong conviction was, tliat Mr. Taylor was well ([Ualilled in every
respect for the important and solemn task which he undertook — a in.an with an
open mind, watchful to deti^ct the slightest .attempt at trickery ; of integrity of
purpose, imlependeut, and who woidd denounce those who would so far forget
ihemsulves Af to palm oil' a miserable conterfeit of a grand reality. Diilthey
uphold him in his views that )ilr. Taylor was the rieht man ? He did not wish
to corner them— he ilesirckl to l)e perfectly frank ; l)iit, supposing for a moment
that Mr. Taylor's report wi\s an accurate statement, that he had obtained images
9tt his platrs which could not bs accounted for by any known .agency, it
soetnetl to lie n fair conclu'ion that peraoim wmre prewnt on the occaaioii ol
the exiieriment who could not be ■een by the normal vision, but who, by tb«ir
preMnce, had coo[>erateil to produce those Images. They miuht cjill thorn by
any name whii I; ' • nmend itself to them, but he (.Mi. ' ' ' i ing^
would call then mIs, excarnated human Vwinir«. H- Im
jiictureft »j)irit !■ . Iwcause they were portraits of !'■ i i,ad
cast off the earthly tal>ernacle.
Mr. f. A. KKliKiB saiil they were bound to believe Mr Taylor's statementA ;
but, as practical photograiihers, though the pictures shown miijht lie spirit
]ihotngTa)dis, he tnoiight tney g.ave them the idea of cut-out print*, but aa U>
who cut them out he did not know and did not care.
Mr. Gi.KVBiNMSi! remarked (ironicjlly) that he was the gentlenian who
"cut them out."
Mr. DowKEV regarded the photographs as a "clever trick."
Mr. EVEKITT remarked that Mr. Ulendinning had drawn attention to the
capacity of Mr. Taylor as a witness, and they could not have a fietter repre-
sentative of photographers for such ex|>erinents ; but Mr. iWeniliiininghadgone
a step further, ami said that Mr. Tavlor. having witnessed all the persons in
the room, they were entitled to infer that the ai>)iearances v.ere due to " other
persons " pre.sent. He (Mr. Everitt) would say that nobody h.-ul a riiht to
infer the presence of "other persons." It was no doubt true that Mr. Taylor
had got images he did not expect to tind, but to .say th.it they were due to
" other persons " present was another matter. If they wer^ entitlcl to infer
that thostj appearances were due to jiersons they did not know, they were also
entitled to infer that they might lie due to other physical iihenomeiia they did
not know. They might be due to copies of other photographs which had got
on the plates in some unaccountable way. Then as to the ii>om^all the other
conditions but this were under Mr. Taylor's control. It was a pity it did not
suggest itself to him, with each successive exposure, to remove to anotlier room.
By varying the conditions for each photograph, he might have tracefl out the
conditions under which they were produced, and have hail some means of
arriving at a conclusion. Mr. Taylor's experiments liad been vitiated to a
large extent by his not having the whole of the conditions under hi« own
control.
Mr. A. Cowax said that about fifteen years ago— before dry plates were
used — a laily of title and a member of the Stock Exchange came to him in
London and asked liim to go to Mr. Hudson witli them, to see if they coulil
get some spirit jAotographs. He took jdates in.arked with a diamond. They
went and paiil half a guinea for a sitting. The plate was coate<l, exposed, and
developed, two niedinriH being present in front of an ordinary background.
There was nothing on the plate ; another one was tried, and there was nothing
on that. Ill all, six exposures were m<ade, and on the sixth jdate wa-s a curious
effect. .\ •' mysterious operation " was said to have gone on lietween the sitters ;
lint the explanation was that Hudson had poured the iron in the centre of the
])late, so that no silver w.xs deposited. While in the studio he (.Mr. Cowan)
found a good many of the draperies in the spirit photographs had the key
border which was on the table-cloth in the room.
•Mr. DKHgNHAM addeil his testimony to Mr. Taylor's (ituess for the experi-
ment, but he (Mr. Debenham) really thought while he was reading Ids paper
that he was going to tell them "how it was done;" he did not uniierstand
him to be serious. In spite of Mr. Taylor's assurance, however, they must all
see that the "spirits" were copies of photographs, though they did not
suggest nmiafitha. The thing hail lieen managed in tlie usual way of spirit
photography, .and, if there was any fraud in the case, Mr. Tiiylo'r had not
detected it.
In reply to a question, Mr. Taylor said that the room in which the photo-
gniph.s were taken was not absolutely dark.
Mr. A. Haddox oljserved that if "spirits" gave out ultra-violet rays it
would be advisable to use lenses made of quartz, as they would have a far better
way of rendering such subjects ou the plate than with onlinary lenses, which
cut off ultra-violet. Again, had difTcreut eyes dilferent powers as regattls the-
taking in and cutting out of different rays ' Mr. Friese tireene had shown
how it was possible to allow an impres.sion to be made on the lelinn, and thea
to be transferred to a plate. .Vlost probably only certain people possessed thia
power, for it was curious no one had repeated the experiment with success.
In reply to a question,
Mr. Cowan suggested that these spirit photoprajihs could be made by
scra)>ing out positives on glass and exposing them on the negative before
development.
Mr. R. Child Bayley .asked wliether it had been appreciated that the
"ghost photographs " hail only height and depth .-
Mr, Haudox asked why the figures should have drapery ?
Mr. Debexha.m objected to the assumption that the things were genuine
because they could not be explained. Messrs. Maskelyne & Cooke's trick
could not he explained by many people.
Mr. EvEUiTT suggested that in future experiments a mirror should be place>»
Irehind the sitter at an angle so that a photograph of the Imck of the spirit as
well as tlie front should be obt.ained.
Mr. .J. S. Teai'E, in regarl to the appearance of the photographs, .said any
oue accustomed to the appearance of stump work would recognise some
of the images as having been produced by the stump. They were not photo-
graphs from nature in the first instance.
In reply to a question as to whether, when he was out of the room developing,
it would not have been possible for somebody to stamp an image in relief with
fluorescent chemic-als ou the front of the camera, Mr. Taylor said it was
impossible.
Mr. Haddon pointed out that the spirits seemed to !» able to donble them-
selves, as Mr. Taylor took a stereoscopic pictui-e with some on both halves.
Oue of the " spirits " was at the back of the sitter, yet some of the high lights
were on the sh.adows. He did not think any one would say th.ot the ultra-
violet rays could pass through the human frame and a piece of wood.
Mr. T. Shorter and Mr. .Maltby (visitors), Mr. .'\. Mackie, and other gentle-
men, havin; spoken, Mr. (Jlcndinning s.aid he wouhl ei!-! " 'is
inlliieuce to allow some members ot the Association to ii< .p
the presence of the medium (Mr. D.) at a future .hate, :;: _ . :i
closed with a vote ot thank" to Mr. Thylor for his poper.
174
THE BRITISH JOURNAL OF PHOTOGRA.PHY.
[Maicb 17, 1893
North London Photographic Societj .—March 7, Mr. G. J. Clarke in the
■cliair.^ — Mr. A. E. Smith gave a demonstration of the photo-lithographic process.
Explaining the necessity of a previous knowledge of carbon printing, he first
developed a carbon print by single transfer. Some prints on bichromated
gelatine films from wet-collodion negatives were then coated with photo
transfer ink, soaked in water for a few minutes to soften the film where the
light had not acted. The ink on the soluble part of the film was then cleared
away, leaving the printed image ready for transfer to the stone, and the
transfer thereof and method of printing were then explained. At the next
meeting, at Canonbury Tower, on March 21, a Lantern Entertainment will be
given in the reading-room.
Hacloiey Photographic Society. — March 7, Mr. S. H. Barton in the chair. —
The library was augmented by about a dozen more new books. Mr. J. 0.
Grant recommended that the Society exhibits at the forthcoming Crystal
Palace Exhibition, and, after it was carried, he said that the Committee would
draw up and send a circular to all members. Mr. Beckett stated that the
Committee had decided on purchasing two nine-inch lenses by Swift for the
new lantern. Mr. Houghton presented the Society with a new form of carrier
for the lantern. Members' work was then shown by Messrs. Cross, Sodeau
(Arachoidus ornatus, ]ihoto-micrograph). Hudson (lantern slides), and Roder
(two slides developed with amidol). Mr. GosLixa asked how many sheets of
tissue paper were necessary to reduce or enlarge by (diffusion of light) in sun-
light. It was stated that it would depend on light ; in any case, the paper
must be put out of focus. Mr. Bbooker, of Hastings, then gave a lecture on
Vlinckehea and Rye, illustrated by the lantern. Much care had been bestowed
by Mr. Brooker on it, as it was verj' instructive and interesting to all, and
that the slides were good goes witliout saying. Whilst the scientific side was
treated upon, likewise the historic, the art side of photography was certainly
to the fore, and a great treat was given to the Society. Mr. Brooker must be
complimented ou the fine quality of his slides.
South London Photographic Society, March 6, Ordinary Meeting, Mr. F.
W. Edwards in the chair. — Mr. Leon Warnebke demonstrated his method of
printing, developing, and toning gelatino-chloride paper. He said his process
was somewhat similar to that used in 1848 for the preparation of waxed paper
negatives before gelatine plates were inventecL While staying last winter in
St. Petersburg he had to contend against an almost entire absence of light in
carrying on photographic work. This led him to make certain experiments with
Ilf ord P. 0. P. , Eastman's Solio, and Liesegang's Aristotype papers, exposing
them for a short time, and then developing with gallic acid. The exposure of the
paper could be made at night, using magnesium ribbon. He considered
"Solio "paper the best suited for the process. If daylight was used, the
paper could be exposed until the image was just visible, or until it was com-
pletely printed out. Good results could be obtained either way. With a
short exposure, development took a longer time. He then exposed a piece of
Solio paper by burning about two feet of magnesium ribboTi in front of the
negative. On examination, a faint image was found on the paper. He gave
the following formula for development : — Water, 1000 parts ; acetic acid,
10 parts ; acetate of soda, 10 parts ; gallic acid, 5 parts. When dissolved, 10
parts of a ten per cent, solution of acetate of lead, after filtering, were added
to the above. For development, 1 part of the solution to 5 to 10 parts of
water were used. The print, on being placed in the developer, gained in
detail and density, as if printed out in the ordinary manner. It was then
jilaced in a dish of water, to which a pinch of table salt had been added to stop
the action of the developer. Tlie print was then placed in a combined toning
and fixing bath, composed of — water, 1000 parts ; hyposidphite of soda,
100 parts ; acetate of lead, 10 parts ; chloride of gold (one per cent, solution),
'2(> parts. Uniformity of tone was very easily obtained. Toning could be
stopped at any stage thought desirable. It was impossible to distinguish
prints developed by this process from those printed, toned, and completed in
the usual manner. The lecturer believed that the prints would be more per-
manent than those prepared by the ordinary methods. In reply to ijuestions, he
said a beautiful sepia tone could be obtained by using a platinum toning bath.
A weak negative required a more concentrated developer, and a hard negative a
dilute one, to obtain good results. He did not advise the use of separate
toning and fixing baths. Lead acetate kept the whites clear, and did not
afi'ect the permanency of the prints.
Croydon Camera Club. — Third Annual Dinner. — The above was held on
the 8th at the " Greyhound Hotel," when a con.siderable proportion of mem-
bers met togetlier to enjoy gastronomical, oratorical, and musical entertain-
ment. " Prosperity to the Club " was proposed by Mr. Charles W. Hastings
in a neat and efl'ective speech, to which the President replied with a series of
remarks which induced sustained merriment, the definition of "a human
being" and an explanation of "why Diogenes tvae nut a dub man" being
specially punctuated with salvoes of laughter. The violin solos of Mr. Joseph
Beckwith were the most keenly appreciated of the musical items, and the
healths of Messrs. Oakley, Tuckham, and White the toasts which were most
enthusiastically received.
Leicester and Leicestershire Photographic Society. — March 8. — The
details of arrangements for the forthcoming Exhibition of the Society on
March 22 and 23 were considered, the Hanging Committee elected, the Excur-
sion Committee also arranged, and various other matters in connexion with the
Exhibition received attention.
Liverpool Amateur Photographic Association, March 9.— Mr. J. Sheard
delivered his new lecture on Our Members of Parliament and Something about
■some of Them, illustrated by limelight portraits of present members of the
House of Commons. The lecturer dealt in a racy manner with the personal
reminiscences and peculiarities of about fifty members, and exhibited about
300 portraits, together with a reproduction of a number of lifelike silhouettes.
"Pfeston Camera Club.— March 9, Annual Meeting, Colonel Oliver, J. P.
^President), in the chair. — The Secretary's report and balance-sheet showed a
satisfactory state of affairs for a Society not yet two years old. It was decided
to afiiliate with the Photographic Society of Great Britain in order to be able to
procure the members technical instruction of a class superior to any that can
be locally obtained, and at the same time to keep in touch with the chief centre of
photographic activity. Colonel Oliver was unanimously re-elected as President
and Mr. Frank Ketton took the combined postion of Hon. Treasurer and Hon.
Secretary, the previous holders of these offices having resigned. Altogether
the Club seems in a prosperous condition, and a successful season is antici-
pated.
Rotherham Photographic Society.— March 7. Dr. Baldwin (President) in
the chair. — Tlie President and Hon. Secretary (Mr. Hemmingway) were ap-
pointed delegates to the Photographic Society of Great Britain, under the
Affiliation of Societies scheme.
FORTHCOMING EXHIBITIONS.
March 22, 23 Leicester and Leicestershire Photographic Society, Co,
operative Hall, High-street, Leicester. Hon. Secretary-
H. M. Porritt, 66, London-road, Leicester.
April 5-8 *Croydon Camera Club, Braithwaite Hall, Wellesley-
road, Croydo:.. Hon. Secretary, G. R. White,
55, Albert-road, Croydon.
„ Kl-29 "Crystal Palace. Tlie Executive, Crystal Palace, S.E.
„ 12-15 *Bolton Photographic Society. Hon. Secretary, J. E.
Austwick, 10, Bushton-street, Bolton.
„ 17-29 'Photographic Society of Philadelphia. Hon. Secretary,
B. S. Redfleld, 1601, CaUowhill-street, Philadelphia,
U.S.A.
May4-€ *Forfai-shire Photographic A-ssociation. Hon. Secretary,
W. J. Anckorn, West Port, Arbroath, N.B.
* Signifies that there are open classes.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 4257. — "Improvements in the Condensers of Optical Lanterns." W. 1.
Chadwick.— Z)aterf February 27, 1893.
No. 4348. — "Improved Copying Camera for Photo-mechanical Work."
A. Wybbant and W. GktABiM.— Dated February 28, 1S93.
No. 4377. — "Improvements in Photographic Objectives." Complete speci-
fication. A. B. PAWMti.— Dated February 28, 1893.
No. 4378. — "A Flexible Temporary Support for use in Carbon or Pigment
Printing." H. J. 'Rvwiov.— Dated February 28, 1893.
No. 4520. — "Improvements in or relating to Photographic Processes."
Communicated by W. J. H. Autou. A. J. Boult. — Dated March 1, 1893.
No. 4578. — "The Pocket Portable Camera Bracket." F. W. Smethurst
—Dated March 2, 1893.
No. 4644. — "Improvements in and relating to Magic Lanterns, and to the
Manipulation of the .'.ame." H. Simpson. — Dated March 3, 1893.
No. 4672. — "Improvements in Apparatus for Exhibiting Photographs,
Pictures, Advertisements, and the like." C. F. Vmi.— Dated March 3, 1893.
No. 4692. — "Improvements in Photographic Objectives." Complete .speci-
fication. P. Rudolph. — Dated March 3, 1893.
Correspondents should never vyriie on hoth sides of the paper. No notice is taken
of communicationt unless the names and addresseg of the vn'iters are given.
MB. PEINGLE AND THE SANDELL PLATES.
To the Editor.
Sib, — I shall be glad if you can find space for what must constitute my
reply to Mr. Andrew Pringle's opinions on the " Sandell " plates, as pub-
lished in the Camera Club Journal of December last, and which I should
have dealt with earlier but for a prolonged absence from home. These
opinions, emphatic as they were (I am advised from several quarters)
have tended to do the interests of the plates considerable harm ; but I
should be first to admit that this result was altogether foreign to Mr.
Pringle's intention. The experiments spoken of, although expressly de-
scribed as of quasi-scientific character, have been regarded as having
special interest for the practical worker, and, therefore, the necessity for
my pointing out wherein I consider they are at fault.
To fully discuss all the points involved in Mr. Pringle's arguments
would require a lengthy dissertation on photographic theories and prac-
tice, and a too great intrusion on your space, so I will endeavour to take
the vital points only. Mr. Pringle seems certainly to fail to grasp the
capabihties of 'the plates, and, were he an authority of lesser caUbre, I
should be tempted to say there was a failure in his appreciation of the
potentialities of the single sensitive film.
Speaking of the photography of an interior, he says, " If the exposure
bo only long enough to affect the upper film, the result is in no way
March 17, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
175
different from that on an ordinary plate." This reminds me that it
woald be more convenient if it was made manifest from the com-
mencement that the position I take up rei^arding the platen is this :
I assert and challpngo the contrary proof, that the plates are an
absolate onro for halation from support reflection, in all practical
photopraphy, and that their latitude in exposure is practically un-
limited. Reverting to the interior, I submit that an exposure should
not be quoted unless accompanied by the development given to
render obvious the work done in the film or films during the ex-
posure ; now, this is a most important item in considering the utihty
of the new plates. Can Mr. Pringle imagine an exposure on any interior
with a clear gloss window, admitting direct skylight, where the inside
details arc even poorly rendered on the single film, where the light from
window ha.s not gone throngh and through the film? he must have
surely forgotten that halation is not unknown in snap-shot work. Mr.
Pringle remarks in one place, he was surprised how little light passed
through the single film ; it has been a matter of surprise to myself how
much passes the film. On more than one occasion have I, in trying the
experiment of stripping off the top film, found a printable image of the
highest lights of a snapshot developed in the second film. It may be
remembered that the finer emulsion of the latter is more amenable to
development than the more sensitive one, and the image formed although
apparently having a similar density, has a better printing value. To
these qualities I attribute the characteristic softness of the prints from all
exposures on the plate. Mr. Pringle also asserts that two or three times
the exposure of an ordinary plate produces a failure with the " Sandell "
plate, but if the higher lights of the snap-shot have so penetrated the
plate how much more so will the exposures in question. I can quite
understand his failures in this case if he relied on the preposterous
operation (for practical work) of stripping or a total clearing away the
upper image. But I think I can demonstrate that for this, and even
a greater increase on the normal exposure, the image-forming capacity of
the lower film is not a necessity ; and, leaving out of consideration latitude
obtainable by developer modification, Mr. Pringle seems to ignore the
constitution of the ordinary film, and treats of it as if it were a single
molecule of silver haloid ; but I am sure on reflection he will agree with
me that the latitude of the ordinary plate is really due to the superposition
of many molecules, and also that only the molecules to a certain depth
can be utilised effectively for the image formation, the remainder being
simply serviceable as a screen. If development be pushed into this screen,
the result is halation. Now, in the multiple plate, the whole of these
molecules can be used up to the last line, and this I maintain will admit
of a greater increase in exposure than that whish caused failures in Mr.
I'ringle's experiments.
Then, as to Mr. Fringle's joke (for surely it was such), when he spoke of
the plates making him miserable, he said, " I do not think they are of
any real value unless you give them enormous over-exposure." This is
very comical, and smacks much more of a desk emanation than a dark-
room one ; their latitude for prolonged development would seem to
indicate superior advantages for the quickest exposures, as well as for the
longest, and I can assure Mr. Pringle that he is mistaken in fancying
that any intermediate exposure between maximum and minimum neces-
sarily yields a failure ; the amount of exposure to be given, above the
minimum allowable, by an experienced worker, depends entirely upon his
own tastes, as to how much of his shadows he wishes to render. There
is no occasion for the merest tyro to consult an exposure machine.
Before I close, I must express my surprise that Mr. Pringle could have
been informed that half-second /-64 under trees was the correct exposure
for the plates. His informant could scarcely have consulted the pro-
spectus sent with each box. In this he is directed to give the exposure
of our table for the cyclist plate as a minimum. This, under trees, would
be four minutes sixteen seconds ; and for landscape, with heavy foliage,
three seconds. I do remember making the first of a series of experimental
exposures with Mr. Pringle, and giving half second on heavy foliage, but
I assure him he is mistaken if he understood me to suggest that I con-
sidered this suflicient ; I did it simply to show the amount of reduction
that could be effected in the film as a result of this short exposure. — I
am. yours, Ac, J. T. Sa^jdell.
Thornton Heath, March 11, 1893.
CHEAP MOUNTS— A PLEA FOB QUALITY.
To the Editor.
Sir,—" Cheapness " is the tendency of the age. It is the natural
right of every man, which no one can ever think of denying, to try to
obtain what he desires for as small an equivalent as possibie. It is "im-
possible to decide with mathematical exactness the relative value of
things. Usage and competition fix what may be called the real or
market value of the various articles, and still this fixed value may be
doubtful according to the different prevailing circumstances. What is
" cheap " from one point of view may be " dear " from another, depend-
ing upon that with which it may be brought into connexion. However,
opinion will hardly differ on tins one point : the less of an equivalent of
the medium of traffic— money— is demanded for a certain article, the less
It is actually worth ; and the cheapest is surely never the best, nay, often
nardly snfljoiently good for the purpose it is intended. And I must say
it is to the credit of the public that it is not so much the moM ofbufiTw
which raises the cry of "Cheapness! cheapness!" it it more the
dominating clement, the clamour of the telling individuaU. Is tb»
public asking for cheap mounts— it barely asks for cheap photographs-^
and what is the ratio of cost of a mount, even if it be the best, to that of
a photograph, even if it be of the cheapest ? In general, as one to ten !
In view of this, will any one dare to maintam that the price of photo-
graphs is in any way affected by the cost of the cards on which they are
mounted ?
I stated at the beginning Tof this letter that " cheapness " is the
tendency of the age, but, I must also add, " progress and improvement "
not less, though these two tendencies go in different directions. Never-
theless, there has been a vast progress and improvement in the quality,
and especially^ in the finish, of photographic mounts. As regards the
latter, it shows that a refined, artistic taste is an indispensable element
in the manufacturing of such mounts, and still they have become cheaper in
proportion. On the other hand, if we behold what is now also being
offered by native and foreign mount-manufacturers in material and finish,
it reminds us of the time when photography was still in its infancy — I
mean the modern photography — -being but little superior to what at that
time the photographers, as a rule, " manufactured " themselves. These
manufacturers are the " Eip Van Winkles " of the photographic trade ;
they have slept during the " revolution," and appear on the market
with something which one should think belongs to the dead past.
Is it necessary to bring forth arguments to convince that any photo-
graph appears more advantageously on a good, nicely finished mount ?
Just look at the show-cases of photographers, and compare the one with
the other. Is it surprising when we see the mount crumble to pieces
when the photograph itself has lost but little of it^ original value ? i
must confess it is humiliating to the trade that this degeneration
is gaining ground, and apparently gains an overwhelming influence
over the photographers, and, as a necessary consequence, over the photo-
graphic dealers. There is but little hope of retarding the progress
o( the inundation of this "cheap" element, unless the public revolts
against it, and demands, at any rate, a good, durable mount, pleasing to
the eye and in harmony with modem taste.
I do not plead in my own interests, but in the interests of the card-
manufacturers of a higher level. We shall follow degree by degree down
ward if it must be, yet continually keeping the reins upwards as long as
our strength does not fail ; we have nothing to fear, and only little to lose,
but I am pleading in the interest of the }>hoto;iraphk art. — I am, yours,
&o., A Cabd-manufactureb.
March 7, 1893.
THE CBYSTAL PALACE EXHIBITION.
To\the Editor.
Sir, — Mr. F. P. Cembrano, jun., having been the first gentleman to
consent to act as Judge at the forthcoming National Photographic Exhi-
bition, we deeply regret that, owing to an oversight, his name should have
been omitted from the list sent you on the 6th inst. We shall be extremely
obliged if you will kindly note this in your next issue. — We are, j ours, Ac,
S. G. Buchanan Wollasios, 1
Charles W. Hastings, J '
Crystal Palace, March 13, 1893.
■ Executive.
BEWARE OF GLYCERINE.
To the Editor.
Sar, — A word or two of caution to those using glycerine for the purpose-
of mixing with the oxalate solution employed in the development of
platinotype. Be sure that it is quite free from citric or other acid.
Quite recently I have had the mortification of seeing the image on
several prints completely disappear, due solely to acidulated glycerine.
I find on inquiry that a large proportion is thus sophisticated, and on
sale at various druggists. It is said to be, like many other shams, " made
in Germany." — I am, yours, <$.'o , Hector Maolean.
3-i, Birdhunt-road, Croydon, March 13, 1898.
iExctangc ©olumn.
*,* No charge U made Jor inserting Exchanges of Apparatus in this column ;
but lume will be inserted unless the article wanted is definitely stated. Those
whospeci/y their reijuiranents as "anything useful" will ther^ore undersUmd
the reason of their non-appearance. The full name of the advertiser muU
in ail cases be given for publication, otherwise the Exchanges will not be
inserted.
Will cichanifB fifteen monthly parts of Cassell St, Co.'» jonmal Work for finder for
hand camera. — Address, J. K. Ewakt, Marine Honse, Bantf, N.B,
Will exchange Adams's twelve-inoh club bnrnisher, and 15 x 12 Ross's wide-«offle laiu*
for rolling: prosa.— Addreu, Stone Si, Wilkinson, 3, High-street, Derites, Wilts.
Wanted half-plate landscape camera, or stndio aooMeones, in exohanffe for two
iief^tiro cupboards to bold 2000 qnarter-pUte negatives, one whole-plate, and tw(V
half-plate negative boxes.— Address, B. Sxauet, 139, Enston-md, Morecainbct
176
THE BRITISH JOURNAL OF PHOTOGRAPH i'.
[March 17, 1&93
EnotDtrsJ to OTortesponDEnta.
*,* All matters intended for the text portion of this Jourkal, Including
gmries and Exchawies, must be addressed to "The Editor, The Bsitish
Journal ok Photography," 2, York-street, Covent Gat-den, London. In-
attention to this ensures delay.
*»* Correspondents are informed that tee cannot undertake to ansioer com-
munications through the post.
*,* Communications relating to Advertisements and general business affairs
should be addressed to Messrs. Henry Greenwood k Co. , 2, York-street,
Covent Garden, London, .
K. Y. T. — It is, we believe, an ordinary solution of rubber.
J. C. RuTHVEN. — We should be pleased to have the communications.
■Constant Reader. — Apply to Messrs. Winstone & Sons, of Shoe-lane, E.C.
Greaves.— Tlie mottling may disappear if the solution is warined slightly.
Hussar.— Swell thirty grains of gelatine in water, drain,- and add one ounce
of caramel.
R. S. 0.— Consult the Ai.manac. The three formulre about which you inquire
are given with others of a similar character.
1)E\-0NSHIRE.— Yes ; the photograph can still be registered ; but it is doubtful
if it will be of any use as regards those copies already issued.
A. R. T.— You will see a reference is made to the subject in another column.
Of course, the copies must be good, or they would not meet with success ;
also the subjects must be of a popular character.
T. Steele. — The one is a more modern lens than the other, lint will answer
your purpose no bettor. The triplet is an excellent lens for copying, and is
largely u.sed by commercial copyists, some of whom prefer it to lenses of the
"rapid " type.
B. W. C— 1. The stand attachment is identical with that patented by Messrs.
Mason & Henderson. 2. It is not necessary to coat gelatine negatives with
coUoilion prior to varniehing them ; but it is better to do so, as it affords
greater protection.
Pyro. — Try the effect of a strong solution of cyanide of potassiiuii and pumice
stone if the other things fail. If the nails are badly stained, they are very
difficult to clean. Stains, by the way, are easily avoided, but not so easily
removed when once they are formed.
T. Crowe asks how he can know when he has washed all the nitrate of silver
out of the prints before they are toned ? — If the last washing water is clear
and does not become turbid on the addition of a pinch of salt, it may be
assumed that all the free silver is removed.
"VV. McC. — You will see by Mr. Wellington's jiaper on the subject that the
Company do not apprehend any injury to Solio jiaper by the use of the
combined toning and fixing bath. If you carefully follow tiie instructions in
making the bath, no fumes should lie given off.
L. S. D. — There is no regular rule with regard to resittings in first-class esta-
Ijlishments in London. The custom is to satisfy the sitter whenever it is
po.ssibie. We quite sympathise with you, and other portraitists, in the
matter of the unreasonableness of some persons. For that there is no
panacea.
R. Tremkre. — For portraiture an arc light of from five to six thousand candle
jiower is desirable; but, for copying from small-size originals, one of two
or three thousand candle power will suffice. Of course, such a light could be
used for portraiture, but the exposure would be proportionately longer than
with the more powerful one.
C. Weltox. — If you can obtain a current from the mains, it would certainly be
more advantageous to take it from that source than to go to the expense of
the necessary plant for generating it yourself. The cunent from the mains
being of so high a voltage is of no moment That may easily be reduced to
anything tliat may be required.
E. Hajiilton. — The trouble arises from the tissue not being in the right con-
clitiou when it was squeegeed on to the plate, or maybe from tlie squeegee-
ing not being properly done. If the tissue be too moist, or not moist enough,
this diltlculty may be expected. Master the details of carbon printing, and
the trouble will not l)e experienced.
A. W. Ai.LABD.— 1. Instead of diffusing the light, it wants more concentration
on the sitter. There seems to be too nmch top light for that form of bidld-
ing. Stop off all direct front light, and two feet or more of the extreme top
light. \Vliat light then remains will lie ample and easy to control. Any
quiet, unobtrusive colour, such as a greyish blue or green, will do for the side
wall.
S. A. T. asks the best way of reproducing negatives. There is no best way,
because all the recognised methods are equally good in tlie hands of skilled
workers. The simplest method is, make a transparency by contact priuting
on a dry plate, and from that produce the negative' Tiy the same means.
Excellent negatives are made daily by making a carbon transparency, and
from that the negative by the wet-collodion process in the camera.
W. A. T. writes : " Will you kindly say— 1. What fuming with ammonia does
to sensitised albumen paper ? Does it make it l;eep better, or what ? 2. Also
.are the following brands of albnmen paper the best to be obtained?"—!.
Fuming with ammonia does not ?ild to the keeping qualities of the paper!
It is said by tho.se who employ the method to improve the qiuality of the
prints. 2. It is quite against oni rule to recommend any particular make of
juaterial. All the brands named however, are good.
Widow. — By no means pay such a sum as a premium for your sou to be
" articled " for three years to leani the portrait photography as a source of
livelihooil. The whole business is at present in a very depressed state, and
: there is, we fear, little prosjiect of any immediate improvement. Further-
more, the labour market is, and will be for some time to come, overstocked.
If he must follow photography, the photo-mechanical branches just now are
the most promising ; but these are fast being ovenlone. Have nothing to
do witli the so-called erystoleum and similar styles of colouring.
T. M. says : " I have a quantity of old silver plate, which I have, as executor,
to dispose of to the best advantage. There are over seventy oimces of it, and
it occurs to me that if I were to dissolve it in nitric acid, and crystallise it,
I could sell it to photographers, and so realise more than by selling tlie
metal to a refiner. Will you please give me your idea on tha subject ?" —
By all means sell the metal as it is. Supposing the metal were pure, it
would not pay for the time and material refpiired to convert it into nitrate ;
but, as silver plate is alloyed with coiiper, the nitrate of copper that would
be formed must be separated before tlie nitrate of silver would be market-
able.
Received.— />r?/ Plates, Shapoor N. Bhedwar, C. G. Ablett (Port Elizabeth),
and others.
Photographic Club. — March 22, New Cameras: adjourned discussion on
The Combined Toning and Fixing Bath; The Sandcll Plate, by Mr. S.Herbert
Fry. 29, Lantern Night.
London and Provincial Photographic Association.- March 23, Technical
Lecture, by Mr. Edgar Clilton, Cameras, Tripods, and Dark Slides. 30, The
Sandc/l J'late, demon.stration by Mr. S. H. Fry ; Strippiiig Gelatine Plates
for Colb'tgpe Work, by Mr. W. J. Rawlings. April 6, Uelerminatian of Plate
Speeds, by Mr. G. F. Williams.
On March 23 the Woolwich Photographic Society will hold a Lantern and
Musical Entertainment.
Richmond Camera Club. — March 20, Demonstration on Printing, Toning,
and Dereloping Oelatino-chtoride Paper, by Mr. Gotz.
Bolton Photographic Society's Exhibition. — We .are informed that the
Society will pay carriage on all exhibits in the Champion Class.
We have been shown several examples of Messrs. Morgan & Kidd's machine-
collotype process, which attest the remarkable readiness with which this firm
has thus early achieved excellence of results with the process.
Hackney Society's Futurp: Arrangements. — March 21, Demonstration of
Saiidell Plate, Mr. S. H. Fry. 28, London. Street Cries, Mr. E. Scamell.
April 4, /-"/iOtoyrm'Mrc, Mr. A. Dawson. 11, Members' Lantern Night 18,
Record and Sm-vey, Mr. W. .Jerome Harrison. 25, After-work of Hand
Cameras, Mr. A. R. Dresser. May 2, Annual Meeting.
On S.aturday afternoon a new photographic studio, to he known as the
Delmen Art Studios, Limited, was opeueil at 470. Holioway-road, N. Messrs.
Downey and Mr. Mendelssohn, on behalf of the Directors, received the visitors.
Although scarcely yet finished, the suites of rooms are elegant and nicely
planned for a photographic business. All the rooms are fitted with the electric
light
Mb. J. Small, of Dartmouth, writes : "This last week or two mention has
been made of mammoth enlargements. I was not awij-e they were novel, as
the celebrated firm of Marion & Co. made me, from a carle negative, an en-
largement, seven feet six inches by four feet six inches, of Lord Northbrook's
son, who was drowned in H.M.S. Captain. This was in December, 1870.
The enlargement was painted by tlie Hiitn. Graves, of Bond-street, at a cost of
600 guineas. The Autotype Company have made me several enlargements
48 X 36, so that I rather read the announcement with a little surprise. "
We have received from Messrs. Perken, Son, & Rayment their wholesale and
export illustrated Catalogue of lanterns, slides, gas bags, jets, and everything
else connected with the lantern, together with an illustrated Catalogue of
cameras and the numerous and varied appliances of jihotography. Their new
lecture sets for the lantern are so comprehensive as to afford Idghly suggestive
matter for those wjio contemplate making camera trips during the approacliiug
season. As regards the numerical strength of this department alone, it is
such as almost to defy counting. The quality of such of these as we have
seen is of the very highest order of excellence.
Photographers' Benevolent Association. — A Committee meeting was I1.-M
at the registered oflices of the Association, Memorial Hall, E.C., on Maroli 13,
Mr. Alexander Mackie in the chair. Three applicants for assistance appeared
to state their cases, and in each instance the assistance asked for was granted.
It was in small sums — one pound to set up a roadside worker with appjiratus.
a few shilings to help an out-of-work man to reach his next situation, and a
few shillings to redeem a man and his wife from .actual starvation. A cou|de
of pounds covered the whole of the grants, bnt the investigation of the cases
occupied over two hours. Thirteen new subscribers, who had been introduced
by Mr. Birt Acres, were accejited, and a hope was expressed that otlier
managers and employers would introiluce the subject of the Benevolent to
their employes as Mr. Birt Acres had done.
OONTENTB.
Pa(MI
mixed developers liU
LENS FOa 162
SOLUTION - MAKING. By O. WAT-
MOUGH WKBSTEK !«
JOTTPNGS. Bv cosmos 104
CtKOIIGE WASHINGT. N WILSON 105
OS THE PRODUCTION OF BLACK
AND WHITE negatives IIY MEANS
OF AHTIFICIAL LIGHT. Bv T. N.
ARMSTRONG 166
"SPIRIT PHOTOGRAPHY," WITH RE-
MARKS ON FLUORESCENCE. By
■1. TRAILL TAYLOR 107
ON DIVKRS 8UB.IE0TS. By W. J.
SIILLMAN 169
Page
NOTES FROM THE CAPE. By C. RAY
WOODS 170
LIGHT, SHADE. AND PICTURE COM-
POBITBON 171
MANCHESTER PHOTOGRAPHIC SO-
CIETY'S EXHIBITION 171
THE CENTRAL PHOTOGRAPHIC CLUB 171
OUR EDITORIAL TABLE HI
MEETINGS OF SOCIETIES 172
KOllTHCOMING EXHIBITIONS 174
RECENT PATENTS 17»
CORRESPONDENCE 171
EXCHANGE COLUMN 176
ANSWERS TO COIUIESPONDENIS 176
THE BEITISH
JOURNAL OF PHOTOGRAPHY.
No. 1716. Vol. XL.— MARCH 24, 1893.
ELEVATING THE POINT OF VIEW.
The view of a place which will be most fiimiliar to the observer
is that which is obtained from a height approximating to that
of the human eye, or, say, a little over five feet from the
ground. Numerous camera stands fall far short of fulfilling
this reijuirement — a fact readily perceived when one watches a
party of cameni men in the field, and notes how they stoop
when focussing or arranging their subjects on the ground
glass of the camera. To obtain a view as seen by the eye, the
camera stand ought to be elevated to such a degree as to
permit of the focussing screen being brought directly opposite
the eye. This is a truism which requires no elucidation.
While " 'tis well to have a giant's power," there are numerous
occasions on which it would be exceedingly unwise to take
advantage of it. A lakelet, a stream, or a flat meadow in the
uear foregroimd might, from the usual point of view, assume a
magnitude of expanse so pronounced as to detract from — nay,
eclipse — that of the scene beyond, unless thrown into subor-
dination by lowering the point of sight to within one or two
feet of the ground, so as to foreshorten these obtruding and
undesirable commonplaces. The photogi-apher, who is also an
artist, understands full well the value of selecting a point of
sight tliat will ensure him getting all the pictorial effect
necessiiry, and it is fortunate that the mechanical construction
of most of the camera stands enables this to be done without
difficulty.
But there is another view of this question of height, and that
is, when it is found expedient that the point of sight be higher
— in oftentimes a considerable degree — than that capable of
being attained by our ordinary appliances, What is to be done
when a tall fence, or other equally tall obstruction inter\-enes
between the only 1(kiis siawli for the camera and the subject
that is to be taken ? It is now about twenty years since we
saw among the outdoor impedimenta of a photographer in the
provinces (Mr. Bottomley, Leeds) a camera stand constructed
expressly for meeting s\ich contingencies as those just hinted
at. Each limb of the tripod was fourteen feet in length, and
formed a ladder, up which the adventurous photographer had
to climb with his camera until he reached the top, which formed
a small platform, from the centre of which rose a stout piece of
wood, supporting the table on which the camera was planted.
Think of the advantage possessed by a man perched on such
an elevation over another nine or ten feet nearer the ground I
Foreground obstructions h;ivo for him no existence.
There are other subj'ects for which a tall stand is an abso-
lute necessity. A photograph in our possession, received from
Dr. Le Plongeon, shows that intrepid traveller and explorer
engaged in the act of photographing the details of carvings on
the wall of one of the temples in Yucatan, Central America,
this being done from the gi-eat elevation necessary to bring the
camera opposite to the architectural tracery which is being
depicted. On this occasion he employed a stand, the legs of
which were twenty feet long. It was composed of a ladder
and two other supports, formed of bamboo.
While such tall stands are only required for special pur-
poses, and are not necessary to the amateur, portability being
quite out of the question, yet would we put in a strong plea
for portable stands, by which the camera could, when required,
be elevated to, say, seven feet when required. We have tried
the effect of extemporising an additional joint to each leg of
one by which this height is attained, and find that it places a
great power in one's hands. With the camera at the usual
elevation, much prominence was given to trivial foreground
objects ; with the greater elevation these disappeared, their
places on the plate being occupied by others at a greater dis-
tance. Incidentally, we experienced a slight diflBculty in
arranging and focussing the subject on the ground glass, and in
inserting the slide and withdrawing the shutter. But by the
adoption of a portable stool, about eight inches by twelve inches,
the legs of which fold underneath, this difficulty is entirely
overcome. A stand of this nature is so useful, and may be
constructed at a cost so little in excess of one of the length
now usually made, that we strongly recommend its adoption.
Apropos, many users of hand cameras err in holding their
cameras so low as they do. We can readily understand that
an excuse for this is to be found in the fact of the assumed
necessity for having to allow a certain space to intervene be-
tween the eye and the finder, upon which the user looks down ;
but, as we have shown on former occasions, direct finders may
now be obtained, which may be placed so as to be used opposite
the level of the eye, by the use of which the point of sight is
considerably elevated.
Since 'writing the foregoing we have learned that a tall
stand, such as we desiderate, has been exhibited by Messrs.
Houghton &. Son at the Photographic Club, and, from sub-
sequent examination, find it fulfils every reasonable require-
ment. We hope that the manufacture of such stands will
become universal.
THE WELSBACH LIGHT FOR STUDIO WORK.
Exactly two years ago (p. 193, vol. xxxviii.), we described an
arrangement which we were shown by Mr. Atkinson, of Liver-
pool, for the utilisation of common house gas as the illuminant
in studio portraiture. Briefly, it consisted of placing the sitter
178
THE BRITISH JOURNAL OF FHOTOGRAJ'H Y.
[March 24, 1893
inside of a portable room, and directing the camera towards
him through an aperture. The light was obtained from a row
of gas jets, with reflectors, placed above the sitter, where the top
light might be supposed to be, and another row behind a dif-
fusing screen, as the side light. By the system and power of
light used, an exposure (with a portrait lens, of course), of ten
seconds, was practicable.
We suggested at the time that, by increasing the illuminat-
ing quality of the gas, the duration of the exposure might be
diminished, while we regarded, and still regard the idea of
utilising house gas for portrait purposes as capable of being
turned to great practical account in the hands of photographers.
A similar idea is evidently entertained by the Incandescent
Light Company, of Palmer-street, Westminster, who are adapt-
ing their well-known Welsbach light for portrait work in the
studio. An opportunity for observing the capabilities of the
light was recently afforded us in the studio of Mr. Charles F.
Treble, of Clapham Junction, who has had it in use for the
last three months.
The arrangement adopted by the Incandescent Company
may be described as follows : — As the top light, and placed
behind a translucent screen, is a row of jets with the now-
familiar incandescent mantles, burning gas from the main, pro-
tected by glass chimneys and having metallic reflectors. On
the side from which the side light comes, two other rows of
lights are placed behind the same kind of screen, one system
of gas piping being employed throughout. On the shadow
side, and as a background, a large rectangular portable screen
of a tint reflecting as much light as possible, is placed, con-
ditions which, we were informed, are also necessarily applicable
to the floor and the ceiling.
In all, some seventeen lights are used, the estimated candle
power of each being about 120. This large volume of light
allows of the exposure, under favourable circumstances of lens
aperture and sitter, being so short as six seconds. A con-
siderable but not uncomfortable degree of heat is given ofif,
and the lights, although powerful, do not emit any inconvenient
glare, or dazzle the eyes as other illuminants do. The flames,
besides, are perfectly steady and noiseless.
From personal observation of a sitter, we had opportunities
of noticing that the light cast on the face is of a soft, agreeable
nature, and such as, by its inherent properties, ensures the
negative falling short of hardness. ^Moreover, we ourselves sat
while several trial negatives were taken, so that we can attest
its lack of discomfort so far as the sitter's eyes are concerned.
The charmingly lighted work which Mr. Treble himself has pro"
duced by the illuminant, points to its high capabilities in the
hands of the photographer. We gathered that the consumption
of gas involved is, all things considered, not so formidable as
might have been supposed from the number of burners.
The employment of house gas for studio portrait work, in
accordance with the above-described system, should be welcome
to photographers, not only in winter time but at other seasons
of the year, and at evening, when natural light is unobtainable
of sufficient actinic force, or magnesium and electricity are
either unsuitable or too expensive.
COMBINATION PRINTING.
It may seem a little strange at the present time to have to
say anything about such a simple matter as double printing ;
but, if we may judge from the letters we are constantly
receiving, not only from amateurs, but from professionals
even of some few years' standing, asking how one or more
figures in a group that may be unsatisfactory in one negative,
from a movement or expression, may be replaced by more
satisfactory ones from another, iufoi-mation on the point may
be of general value. To do such a thing in several different
ways would give no trouble whatever to a printer of the
old school, and that, too, without showing the slightest
indication of a join. At one period in the history of photo-
graphy, as some of our older readers will remember, almost the
first question put to a printer seeking employment was. Can
you mask well 1 For at one time it was rarely that a portrait
was printed with the background that was in the negative, a&
a new one, nicely shaded, was generally substituted. Nowa-
days, there are few printers who are skilful at double priuting
Combination printing may be classed under two heads
vignetting and masking. By the former method the jtmcture
is made by vignetting the edges of one picture into similarly
shaded ones of the other. "This was the system followed by
Rejlander in producing his once well-known picture, Tke Two
Ways of Life, which was printed from upwards of thirty
different negatives, and so skilfully was the work done that the
junctions of the various printings could not be detected. The
same principle was also adopted by M. Lambert in the " Lam-
bertype " process. This method requires considerable skill on
the part of the operator for its successful working, and it is
better adapted for large sizes than for small ones.
The more generally practised method of double printing is
by masking, and it is the one the novice will succeed best
with. Let us take, by way of explaining it, two negatives of
a group of several persons — usually, in taking a group, a
couple of exposures are made — and one or two figures in one
are unsatisfactory, while in the other they are perfect ; but it
is the first picture, as a whole, that is preferred. Now it is
required to substitute the approved figures for the faulty ones.
Portrait negatives have been taken by way of illustration,
simply because recent queries have applied more particularly
to them ; but it will be obvious that the same systems are
applicable to all classes of subjects. Take, say, first the nega-
tive with the figures to be substituted, and stop out neatly all
portions, with black varnish, except these figures, so that they
will print with a perfectly white groimd. In the other negative
these figures only are stopped out by the same means, leaving
the other portions of the negative intact. After the first nega-
tive has been printed, it is quite eas}- to place the print in its
exact position on the second negative for the second printing,
so that no junction will show when finished.
Instead of painting out with black varnish, the old method
was to make a light print from one negative — sometimes from
both — and then cut out neatly with a penknife the difierent
portions, and then, after the paper had been blackened by
exposure to light, cementing them as masks in proper position
on the difierent negatives. The cement generally used was
indiarubber solution, as that did not cause an expansion of
the paper as an aqueous cement would do. This plan has also
the advantage that the paper can be taken ofi", and the nega-
tives restored to their original condition. This is not always
possible with black varnish containing bitumen when it has
become insoluble by exposure to light. It is a very important
point in double printing, especially in the case of portraits, to
have the paper in the same hygroscopic condition for the t*»
printings. Paper, it is well known, expands with moisture, and
it is manifest that, if one printing is made with it very dry and
March 34.18931
THE BRITISH JOURNAL OF PHOTOGRAPHY.
179
the other after it has been allowed to absorb a certain amount
of moisture, accurate registration will not bo obtained. Further,
if the pa])er is not in the same condition as regards moisture
in the two printings, a uniform tone will not be obtained in
the finished result.
Here is another system of double printing which is exceed
ingly satisfactory, and requires oven less skill in its working
than that just referred to, as, with it, the masking of only one
negative is necessary. It is therefore bettor suited to the re-
quirements of the novice. It is based upon the plan introduced
many years ago by Mr. Edge. The first negative has all
stopped out — either with black varnish or a paper mask —
except the figures to be introduced into the other. It is then
printed. Then these figures are neatly painted over with a
non-actinic water colour — such as gamboge — and allowed to
dry. The colour protects the printed imago from any further
action of light. The print is then placed in position on the
second negative, which is readily done, and printed. After the
second printing, the toning and fixing is, of course, done in
the ordinary way. The gamboge readily dissolves off in wash-
ing the free silver out of the paper. With this method, as we
have just said, only one negative need be masked. It has also
this further advantage, that, as the first printed image is per-
fectly protected from light by the pigment in the second print-
ing, therefore it will not be affected by any little inaccuracy in
the registration.
As described, this method would only do for albumen paper,
as it would be undesirable to apply water colour on gelatine
paper, because it might soften the coating and be absorbed by
it. However, gamboge is soluble in spirit, and gelatine is un-
affected by that ; therefore the gamboge should be mixed with
alcohol instead of wdter. • Then, after printing, the colour can
easily be removed by a sponge charged with spirit prior to
washing out the silver for toning.
Photographs of Jupiter. — The Itoyal Astronomical Society
at its tirst meetinp; of the new Session, in enuraeratinjf the present
received, referred to some exceedingly beautiful photographs of
Jupiter from the Lick Observatorv.
Solidified Air. — The latest and most remarkable outcome of
the experiments upon the compression of gases, recently popularised
by I'rofessor Dewar, is the solidification of air, a product described by
the learned professor in a communication to the Royal Society a fort-
niifht ago. The ex.ict condition of this solid matter is yet a matter of
doubt. It may be solid air in which both constituent gases are frozen
and pressed into solid nir ; or, it may be, a kind of jelly of nitrogen with
liquid oxygen entangled like solid gelatine holding water. Hitherto,
though nitrogen has been frozen, oxygen has resisted all attempts to
pass it beyond the liquid stage.
Secog-nlslng- metol by Its Smell Writing of metol in
the current number of the Journal of the Photographic Society of
/Wot, Colonel Waterhouse says : "I have not worked further with
metol since my last paper on it. I have, however, noticed one fact
regarding it which may be worth recording, and tliat is, that old metol
solutions can easily be recognised by the strong smell of phosphorus they
evolve. I observed this smell in testing it with various reagents.
Wetol is said to be the sulphate of mono-methyl para-amido-meta-
kresol, but is possibly a phosphate or phosphite of this compound.
The smell of phosphorus is most decided and unmistakable."
• ■
Simple Specific-gravity Apparatus.— An exceedingly
idmple and, evidently, roughly correct contrivance for quickly taking
specific gravities is described in n recent number of the Wiener
lierichte. It consists of two glass tubes joined by an indiarubber
tube. One of the former is thirty centimetres long, and about one
wide. There are scratched upon it two marks twenty centimetres apart.
This tube is immersed up to the lower mark into the liquid to be
examined, and at the same time the other tube is immersed in water.
Upon withdrawing the tubes the water rises in one, and the other
liquid in the other tube. When this latter reaches the upper mark,
the height of the water column is noted on a suitable scale, and it*
height measures the density of the liquid under examination.
Orthoohromatislngr Gelatine Plates.— Colonel Water-
house says : "For some time pasti have been orthochromatising my gela-
tine plates by bathing them for one or two minutes with the tincture
containing erythrosin silver and ammonium picrate used for the ortho-
chromatic coUodio-bromide emulsion process described in the February
number of the Journal of the Photographic Society of India for last
year. The formula is as follows : — Erythrosin, 1 part ; silver nitrate,
1 part ; picric acid, 1 part ; ammonia (s.g. "880) about 30 parts ;
spirit of wine, 500 parts ; water, [500 parts ; one part of the above
solution being diluted with nine parts of water to make a solution
containing about one part of dye in 10,000 of fluid. More ammonia
may be added, in the proportion of one part to 100 parts of diluted
solution. This works exceedingly well for most purposes when ortho-
chromatic plates are required, and for landscape work with the tele-
photo lens no yellow screen seems to be necessary, unless there is
much blue haze in the distance. The quantity of ammonium picrate
may also be increased in such cases."
Photog'raphy versus the Eye in Photogrraphs of
Clusters. — Dr. Isaac Roberts recently read a paper on this subject,
and brought out in a remarkable manner the contrast that was to be
found in these two classes of records. Thus, while Sir John Herschel
described a particular cluster as " bright, round, rich, and composed
of pretty large stars down to the eleventh magnitude," the photo-
graphs of Dr. Roberts, taken with an hour's exposure, show the
cluster to be composed of stars of very different magnitudes, ranging
from the eighth to the fifteenth, and not round or symmetrical in
shape. An interesting question arises from another photograph of
Dr. Roberts's, whether some stars in another system, not hitherto
catalogued, but found on the photograph, are a system in motion ? A
further photograph, taken some years hence, may show whether the
possible motion takes place or not. During the discussion on Dr.
Roberts's paper, a question was put as to whether it was possible that
the nebulous appearance seen in the plates was due to photographic
action rather than stellar images ? But Mr. Ranyard stated that this
was almost impossible, seeing that negatives taken by Dr. Gill at the
Cape exhibited, down to the minutest details, the same appearances
as Dr. Roberts's. It might be expected, if the appearance was not
really a representation of a telescopic image, it would differ according
to the instruments and processes employed.
'Weinek's Snlarg'ed Xiunar Photog'raph.— This photo-
graph continues to excite considerable discussion, and many experts
declare its details in parts to be due to something other than simple
enlargement. Many details of surface structure are visible which
hitherto have escaped detection in eye observations — winding rilli,
valleys, and hairlike markings. These were quite sharp and distinct,
and in contrast with the larger-surface pictures — a condition which
has led to their being challenged. In contrast to the usual experience
with enlargements, sharpness being then diminished, we have in this
lunar photograph minute details after an enlargement of twenty
diameters, while other larger portions are " fuzzy." In the Observatory
of this month Mr. Hger says : " If these curious markings represent
actual features on the moon's surface, ought they not to be easily seen
in any good telescope that shows the formation and its principal
details with far greater sharpness than the twenty-times enlarged
negative, and many small craters, &c., in addition, which are scarcely
trace.ible upon it ? One dojs not understand why this should not be
180
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[March 24, 1893
80, unless these objects make an impression on the sensitive plate that
they fail to do on the retina, which is hardly likely to be the case."
Many experts, it appears, are reserving their judgment. To us the
simplest method of solving the matter would be to have the original
negative enlarged by a second photographer, a preliminary examina-
tion of the original for technical defects, and a comparison of a second
enlargement eyen on a smaller scale would at once show whether
Weinek's picture was a true photograph or not.
TExMPERATURE IN THE DARK ROOM.
Although it is but a few weeks since attention was called to the
importance of maintaining a uniform temperature in the dark room
during the winter months, it is more than probable that the sudden
change of last week has brought trouble into very many photographic
establishments. A spell of iine weather, more resembling summer, in
the matter both of light and temperature, tlian late winter, or even
early spring, has been suddenly succeeded by a sharp " snap " that
would have done credit to mid-winter, and photographers — good,
easy men, who have fondly imagined the cold season had departed,
and have become careless in consequence, have no doubt suffered
correspondingly.
The danger to which we wish more especially to direct attention in
the present article is not connected with the mere warming of the
studio and dark room, though that, of course, if neglected, will con-
tribute materially to the seriousness of the visitation, should such
occur ; we have at present to deal with a more insidious foe, more
dangerous, perhaps, from the fact of its, in many cases, being unsus-
pected— namely, the fall in temperature of the water supply. That
the water is colder after a sudden fall of temperature, such as that of
the past few days, becomes painfully apparent to those who have to
dabble in it, in either developing or printing operations ; but, so long
as the studio and developing or printing rooms are kept properly
warmed, the tendency is to suppose that everything has been done
that is necessary. Such, however, is not the case, as we have re-
peatedly tried to show in years gone by, and, as the danger lurks
during the summer months, though perhaps to a less extent, as well
as in the winter, we make no excuse for pointing out in what wav
inattention to this important point may cause serious trouble.
We need scarcely repeat the truism that chemical action of every
kind goes on more rapidly, as well as more energetically, at a high
temperature than a low one. We employ hot water instead of cold
in such simple operations as solution-making, in order to hasten the
process, and every one knows that a warm developing solution acts
not only more rapidly, but also far more vigorously, than a compara-
tively cold one. And yet, in spite of these obvious facts, many
photographers are content to use their developing, fixing, sensitising,
and other solutions, as well as the water they employ in washing, at
nearly freezing point, and expect them to behave in the same manner
as when they are thirty, forty, or perhaps fifty degrees warmer.
The chemist is careful in performing any experiment or operation
in which uniformity of results is necessary for comparative or other
purposes at a uniform or standard temperature, knowing well that it
is only under such conditions that a proper and accurate comparison
can be made ; and it is equally important that a similar course should
be followed, by photographers, though it is scarcely needful to observe
the same rigid uniformity as the chemist. The general principle
should be borne in mind, though the latitude permissible in photo-
graphic operations permits of considerable variation without materially
affecting the results. Let us point out one or two instances in which
carelessness in this respect may work injury.
It has been remarked that the temperature of the developing solu-
tion seriously affects its energy ; this applies not only in a chemical,
but also in a mechanical way : or, in other words, not only does an
abnormally cold solution act less powerfully as a developer, but it
also penetrates into the film of gelatine with far less rapidity, so that
we have a double retarding action. This was brought forcibly to our
own notice a few days hack, when, on attempting to develop one of a
series of exposures, several of which had already been developed
successfully, we could obtain no trace of an image after several
minutes, althoiigh the conditions were apparently identical. The
^dea arose that it was a case of having forgotten to draw the shutter,
until we remembered that the plates previously developed had been
treated before the sudden fall of temperature.
On procuring a supply of hot water with which to raise the tem-
perature of the developing solution itself to a normal of 58° or 60°,
and reapplying, the image at once commenced to appear, and pro-
gressed regularly and precisely as the previous ones had done. A
still more remarkable result accrued, and one which shows more
forcibly where danger may arise when an assistant neglected to raise
the water used to the proper temperature — an omission we failed to
discover for some time. Two plates had been exposed, one after the
other, on the same subject, the light having practically not changed in
the slightest, the second exposure, however, being about four times
as long as the other, which had been cut short owing to the movement
of a portion of the subject. The shorter exposure was developed first,
and proved, with suitable development, a fairly satisfactory negative.
It was on the finish of this that a fresh can of water was brought
in, the temperature of which was some ten or twelve degrees lower
than what we had been using. Unconscious of this, we proceeded to
develop the duplicate exposure, treating it in accordance with its
increase of time and the result obtained from the other. The progress
of development was much slower, and the contrast obtained much
greater, owing to the shadow details hanging back while the lights
were gaining density. On discovering the mistake, it was too late to
remedy the matter, for, though unnecessary detail was obtained in the
shadows, the high lights under the modified treatment became too
dense, and the second image appeared to have had much the shorter
exposure. This, of course, is a result that could only ensue from care-
lessness, but it shows in a marked manner the absolute need for
uniformity of temperature from day to day if equality of result is
desired.
It also shows, what it was attempted to demonstrate in a leading
article in these pages some years back, that the temperature of the
developer alone may have an effect on the cliaracter of the image that
no variation of the proportions of the ingredients will alter. It is not
necessary to recapitulate all that was said in that article, but it may
be stated in brief that the results of experiments showed that cold
developing solutions conduced to brilliancy and clearness, while a
higher temperature produced greater softness. This general result
could not be altered by vari.itions of the ingredients within the
bounds permissible for successful development. It appears, in fact,
as if the cold developer is incapable, with a given, or even with an
increased, exposure to search out details that are readily brought
out by a solution a few degrees warmer.
GLYCIN.
[Journal of the Photographic Society of India.]
Glycin appears to be identical with p. oxy-phenyl-glycocoll, or para-
oxy-phenyl-amido-acetic acid, with the formula —
J OH
^«^^4nh, CH„, COOH.
and is prepared, according to Vater, by the action of chloro-acetic
acid upon para-amidophenol. It is therefore a chloro-acetate of
para-amidophenol.
The sample I have is a light cream-coloured granular powder, not
altering readily in the air. It is not very soluble in water or in
alcohol, but dissolves easily by the addition of caustic alkalies or their
carbonates. The watery solution has a strongly acid reaction, but it
is quite colourless. Alkaline solutions take a yellow tint, which dis-
appears on the addition of sodium sulphite.
It is easily soluble in dilute nitric, sulphuric, and hydrocliloric acids,
the solutions being quite clear and colourless. It is not so readily
soluble in weak bromine water, but the solution becomes colourless.
Nitrate of silver first turns the glycin solution a turbid, dirty greenish-
black, but it afterwards takes a violet tint, like slightly darkened
chloride, and silver is precipitated, but not in the bright metallic form
distinctive of metol. The same change takes place if the glvcin
solution be acidified with nitric acid before the addition of tlie silver
salt; the silver precipitates, and leaves a clear solution of a beautiful
purple colour. With a solution of glycm made alkaline with potash,
nitrate of silver gave at once a thick brownish precipitate.
The manufacturer recommends two solutions for developing, ac-
March 24, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
181
cording as the negatives are required to be soft and detailed, or hard
and dense, and glycin is said to be especially suitable for reproduc-
tions of all kinds, photomicrography, &c. llie formula for the first
developer is : —
A. Glycin 4 parts.
Potash 15 „
Sodiuni sulphite (crystals) 12 „
Water 100 „
B. Potash 10 „
Water 100 „
For use, one part of A is mixed ^vith two parts B.
Heat is required to dissolve solution A; but I find that, on stand-
ing, the salts have crystallised out in very pretty, thin, long hexagonal
plates.
The second developer, for dense negatives, is as follows : —
2.
Glycin 5 parts.
Potash 26 „
Sodium sulphite (crystals) 25 „
Water 100 „
diluted for use with three parts of water.
In preparing this, it is well to first dissolve the potash in the water,
then the glycin, and add the sulphite. The solution is nearly colour-
less, or a dirty white, and does not readily change by keeping, either
in colour or in its developing power. I have not yet ascertained its
full keeping powers.
Both of these forraulse give powerful and effective developers,
yielding images of great density and brilliance, with clear shadows
and perfect freedom from stain. Like other para-amidophenol de-
velopers, they require good exposure, and the density depends a good
deal upon the length of time the plate is left in the solution, as is
also the case with ferrous oxalate and and the sulpho-pyrogallol de-
velopers. The action of glycin is slow compared with amidol and metol,
but not inconveniently so, and there is not the same tendency to a
general veiling over tlie image.
I find both developers quite suitable for ordinary landscape work,
the first formula being, perhaps, the better, while, for copying, the
second is more suitable. They also work very well with orthochro-
matic plates. I have not yet tried them for instantaneous work, but
with a suitable very rapid plate, and a large aperture of a quick-
acting lens, they would probably answer. Several plates can be
developed in a batch of developer without any marked change in it.
The stability of the glycin, both dry and in solution, the density and
clearness with which it works, and the latitude that appears to be
permissible in exposure, seem likely to give it a very great advantage
over para-amidophenol hydrochlorate and other new developers
lately introduced. Largely diluted, it would probably be an excellent
developer for lantern slides or for bromide paper.
A voltametric examination of the developer, made up according to
formula 2, shows that it evolves hydrogen more vigorously than any
other developer I have yet tried, and this would appear to favour the
hypothesis that developing power is dependent, other conditions being
suitable, on capacity for evolving hydrogen.
The dilute solution, made up in the above proportions, contained: —
Glycin 1-25 parts.
Potash (anhydrous carbonate) 6-25 „
Sodium sulphite (crystals) 6-25 „
Water 10000 „
This solution was first electrolysed in the tube voltameter, described
in a previous paper, with platinum electrodes, using, as before, a
battery of four gravity cells, the current being 280 miUiamperes, with
a pressure of 4'2 volts, the resistance of the galvanometer being one
ohm. The current through the voltameter at starting was eighty
milliamperes, with a pressure of 3'2 volts, and in twenty minutes it
had decreased to about seventy-five milliamperes, and 3'15 volts. At
starting, the solution in the tubes and the outer vessel was quite clear
and colourless, the temperature about 72'o'' Fahr. When the cur-
rent was turned on, tiie evolution of hydrogen was very brisk, and
the yield was, in five minutes, 2-5 c.c. ; in ten minutes, 6-4 c.c. ; and,
in fijfteen minutes, 7'C c.c.
This corresponds very closely with the results obtained from an
ordinary ferrous-oxalate developer containing four drops of a ten per
cent, solution of potassium bromide to 120 c.c, or about one drop to
the ounce. In this case 5 c.c. of hydrogen were evolved in ten
minutes, the current, with the same four-cell battery and voltameter,
being about seventy-five miUiamperes, with a pressure of Sl'o volts.
The solution in the oxygen tube turned a bright yellow, and the
anode was surrounded by a dense layer of yellow solution. The
general body of the solution in the outer vessel did not change colour,
nor did that in the hydrogen tube. At the end, when the oxygen
tube was removed and the solution in it mixed with the remainder,
the whole was a bright yellow with a slight blue fluorescence.
With silver electrodes, the evolution of hydrogen wa» not so briak,
possibly owing to the immediate formation of a falm of oxide on the
anode.
With the same battery the current through the voltameter at start-
ing was about eighty milliamperes with a pressure of 2'7 volts, and in
twenty minutes it decreased to seventy-five milliarapires with 2'5
volts. The yield of hydrogen was, in five minutes, 22 c.c. ; in ten
minutes, 4'6 c.c. ; and in twenty minutes, 9'3 c.c. The anode was
covered with a flaky deposit of silver oxide (P), and ribbon-like
streams of a turbid yellowish solution were given off above and below
the anode plate. As in the case of the platinum electrodes, the colour
of the solution in the outer vessel was not much changed ; and, when
the solutions were mixed at the end, the mixture was slightly turbid
and not such a bright yellow, but it was also fluorescent.
Dr. Eder, who reports on glycin in the Photographische Corre-
spondem for October, 1892, speaks highly of it, and gives a formula
for a glycin-soda developer as follows : —
Glycin 3 parta.
Sodium sulphite l.'i „
Crystallised soda 22 „
Water 200 „
The solution can be used at once, and keeps unchanged for a long
time in closed bottles. It gives clear and soft negatives, and, by,
lessening the quantity of soda or diluting the solution, the negatives
will be more transparent. By adding oromide of potassium, even
decided over-exposure can be remedied.
Baron von Hiibl has found glycin a very valuable developer for
collodion-emulsion plates when made up according to formula 1,
diminishing the water to 80 if greater intensity is required, or mixing
one part of solution A with three to five parts of B, or diluting the
normal developer if less density is required. He says that this de-
veloper gives, with collodion-emulsion plates, perfectly clear shadows,
a good and very compact deposit, rich half-tones, and a surprisingly
beautiful gradation. This agrees with my own experience of para-
amidophenol hydrochlorate as a developer for collodio-bromide emul-
sion plates. CoLONEi. J. Watbbhouse, I.S.C.,
Assistant Surveyor- General of India.
AMERICAN NOTES AND NEWS.
The Medal Question in California.— Our sprightly
young contemporary. The Pacific Coast Photographer, says : " We
wonder why the English photographic journals are so constantly
quarrelling over the disposition of medals — whether an already
medalled picture should be allowed to compete again in the form of
a lantern slide, or else in some other exhibition, or whether a con-
tributor with a string of medals as long as his arm has or has not the
right to enter his pictures and hunt for more 'honours;' and,
wondering, we are rather led to think that this is about all for which
English clubs are organized — holding exhibitions and distributing
medals. However, a liberal ray of truant light seems to have started
our foreign friends in a — to them — new direction, for there is now a
movement to establish a central photographic club with meeting
rooms, dark rooms, and work rooms. Out here, on the frontier, we
have had 'such an organization for a number of years. It is called
the California Camera Club. They have had only one public print
exhibition, and that was simply a quiet little time, and there were
no medals. The photographic press ought to use its space to better
advantage than squibbling about the awards of medals. As a pointer,
however, the way the matter would be settled over here — when a
man showed the disposition of greed to such an extent that, after
receiving tliree or four medals, he still wanted more — his desire would
probably be settled with the explanation, ' Do you want the earth ?'
But then, of course, we are merely an isolated and unpolished
community."
Medals and Medals. — The Journal of the Photographic
Society of Philadelpliia lias the following very sensible remarks on the
medal question : — " The photographic journals of recent issue seem to.
be unanimous in deploring what has been termed the 'medal nuisance.
182
THE BRITISH JOUR>fAL OK PIlOTOaRlPflY.
[March 24, 1893
A small deluge of 'metallic honours' has apparently been poured on
the heads of English photographers, and it does look as though the
Matter had been overdone. Is this a reason, however, why medals
should be abolished ? To us it seems that, if our leading societies
treat the evil in the right manner, it will cure itself. If little ex-
hibitions continue to award big prizes in large numbers to 'toy photo-
graphers,' will not the public quickly appreciate the fact that these
awards are of no value, and, instead of asking an exhibitor, ' How
many medals have you won lately ? ' the question will be, ' What
medals have you won?' The medals at our most important ex-
hibitions here and abroad are ."till as hard to win as ever—or probably
harder— as the amount of fine work produced increases each year.
In this country, three of the leading societies have made an agreement
which limits, so far as they are concerned, the number of 'open'
competitions to one each year. All photographers of the world are
invited to take part, and each year the invitation is more generally
accepted. At these exhibitions the very highe.st standard of excel-
lence is maintained, and the awards have a value which will never
grow lees so long as this aim is kept in view. The question may be
asked, however, ' Are not the conscientious and diligent workers, who
■are not quite up to the ' highest notch,' entitled to awards of some
kind?' 'This point has been met, where it should be, within the
■•' domestic circle ' of the societies. Local annual exhibitions are now
held in our principal societies, the competition being confined to their
•ewQ members, and awards of diplomas, or, in some cases, medals, are
made. These awards should not be numerous enough to become
cheap or easily won, and should always be awarded for decided merit
of some kind."
Viewing" Photographs by Transmitted Xilg-ht.— A
recent American invention embodies " a simple and improved method
of treating photographs, drawings, crayons, prints, &c., whereby the
picture is protected, and is adapted for exhibition, either as a surface
picture or as a transparency. A photograph, drawing, or print, is
imposed upon a sheet of translucent material, such as paper or thin
cardboard. Over the surface of the picture is secured, by means of
a suitable translucent adhesive substance, a protective sheet of mica or
other suitable material, which will not destroy the flexibility of the
mount, and which is sufficiently transparent to render the picture at
all times clearly visible. Upon the rear side of the translucent sheet
upon which the picture is imposed is placed another sheet, preferably
also of translucent material, upon which is printed or painted the
natural or desired colours of the picture subject. The colouring is
visible unless the picture is viewed, by transmitted light, as a trans-
parency."
Z*luoreBcence. — Professor L. H. Laudy, before the Society of
Amateur Photographers of New York, recently entered into a dis-
cussion of fluorescence, and described the experiments of Sir .John
Herscliel with an acid solution of sulphate of quinine. It was found
that such a solution, colourless by ordinary light, was opaque when
viewed by violet light. Professor Stokes made many experiments on
this subject, and found that in fluorescence the length of the light
wave is increased, and its velocity of undulation is diminished. The
vibrations of the ether in the incident ray appear to excite disturb-
ances within the complex molecules of the fluorescent medium,
whereby new vibrations are excited in the ether, different in period
from those of the incident ray. The portion of the light which has
produced this molecular disturbance is used up or absorbed, and
thereby lost to visible perception. By this means we are enabled to
make the invisible visible, to bring out that portion of the spectrum
that, to our eyes, produces no visible image. A design, traced on a
card by means of such an acid solution of sulphate of quinine, when
dry, is scarcely visible, but a photograph of the same reveals the
design in sharp contrast.
What a Retoucher Should XLnow.— In the course of a
paper in The Art Amateur on "An Occupation for Women," Mr.
George G. Rockwood says : " A retoucher should have some know-
ledge of light and shade in pictures. He should knoV something of
the value of a high light or a mass of dark, and should note carefully 1
how the light has fallen on the sitter, also whether it is a direct light
or a reflected one. This knowledge is especially necessary where he
is to supply lights that are entirely lacking in the negative. Sup-
pose he finds that his print is flat and tame : clearly, the way to
improve it is to put in some lights here and there. Perhaps the
hair may need a few sharp lines, being careful to follow the curves
of the locks, or the modelling of the face may be strengthened by
a delicate lightening of the prominent portions. Accessories, such
as drapery or furniture, often need little skilful lights, to give them
character or to add to the general effect of the composition."
The American Customs and American Dry Plates.
— We read that, when Miss Barnes took back her American plates
from her recent trip to England, the Surveyor of the Port decided
that she must pay a duty of CO per cent., as they came under the
head of " American Glass Manufactures Improved Abroad." The
duty was paid under protest, and a letter written to the Secretary
of the Treasury at Washington brought about a reversal of the
ruling, on the ground that the exposure of a plate did not consti-
tute sufficient evidence of its improvement, many of them being
ruined by this treatment.
RULED VERSUS GRANULAR GRATINGS.
I SEK, in your last week's issue, " Cosmos " alludes to the method I
recently described of makin^- gratings by photogriiphing a grained
surface under suitable conditions of fighting. 1 feel inclined, with
another of his admirers a few weeks back, to say, " Oh, that I could
write like ' Cosmos ! ' " but, as I cannot hope to do that, I must trv
and explain in plainer language why I described that method, and
why I use it instead of — I will not say " prefer " it to — the ruled
screen. If my cosmopolitan friend does not agree with me, I trust he
will not write me down an " unalterable " one, to use his latest term
of endearment.
I am prepared to admit that a properly prepared mechanically ruled
screen is better for the purpose I had in view, and to which " Cosmos "
also refers ; but I cannot agree with him that " more evenness and
regularity of grain would be likely to he obtained by mechanical
ruling " than by the method I described, in the hands of an amateur,
at any rate. Mechanical ruUug requires machinery or appliances of
the most delicate and perfect character, and these are not found in
the possession of photographers, either amateur or professional ; and,
if they were, something more is required than the mere ruling to
produce a usable screen.
Some years ago an acquaintance of mine, who was connected
with the photo-mechanical printing business, showed me a ruled
copper plate, not larger than a quarter-plate, which he had had
specially prepared, and which had cost him, he said, 10/. The
difficulty was that, perfect as was the plate itself — and it was the
finest piece of ruling I think I ever saw — he was utterly unable
to use it, mainly on account of its extreme fineness, and he came to
me to help him to do it by photographic means. But I too failed,
for ink impressions upon the most highly surfaced paper were too
tine to copy, the contrast between the lines and paper being so
faint. We tried printing direct on to thin sheets of gelatine, and
even on to stripped collodion films; but here the difficulty was to
get the ink to " take " evenly to the support.
I have seen samples of very fine ruled screens on thin, trans-
parent, flexible films, but do not know how they are produced, and
their price is prohibitive, running to about two shillings per square
inch, or, say, about twenty-five shillings for a quarter-plate size.
I should think they must be photographed direct from rulings on
a much larger scale, which means a tremendous amount of labour
and the extremes! skill.
I need not say that for this purpose absolute regularity — using the
adjective it its strictest sense — is necessarj' ; the slightest error in
spacing even a single line, or the least variation in pressure, spoiling
the whole screen. The difficulty of producing even a quarter-plate
grating with 100 or 120 lines to the inch by hand ruling, even with
the aid of a machine, may be imagined even by those who have never
tried it, which I have not. Possibly " Cosmos " has.
1 have tried a method described in the Joubnal two or three years
back, consisting in making a line of minute perforations in a strip of
tinfoil, using a finely cut file upon which to lay the foil while a sharp
point is passed over it with slight pressure in the same manner that
the printing cliche is made in Zuccato's papyrograph, and using this
March 24, 1893]
TnE BRITISH JOURNAL OF rilOTOGRAPHY.
18.1
perforated strip to form a series of fine lines by drawing it across the
surface of a sensitive plate. The principle is perfect, but in practice
it is extremely difficult to avoid missinjf one or more perforations in a
line of any length, and, as I have said, the least irregularity spoils the
-whole thing. . , . .
Now, in my makeshift method, there is no attempt at regularity, in
the sense of mi-clianical or mathematical regularity, but a grain of a
fairly uniform character, in which, from the absence of any attempt
at mathematical precision, the faults, if any, are not so noticeable. The
grain, too, when photographed, is represented by a vast number i>f
minute points with softened edges, which act as minute " vignetters,"
and so fielp to add perfection to the gradation, even when the
grain is comparativelv coarse. In other words, one of these minute
" holes," when printed "under a hiyh liyht, would be represented by the
merest pin point, but, if submitted to the far longer exposure it
would receive under a transparent shadow, would perliaps increase to
the dimension of a decided dot. In printing on albumenised paper,
with «n evenly ruled screen, a similar, though not so marked, effect
is produced.
Such is ray reason for using the plan I described, not because I
consider it superior to a ruled grating, for I do not, for the purpose,
at least, to which I apply it. In conclusion. I agree with "Cosnios,"
tliat, if photographers only appreciated the effects that can be obtained
in this manner, they would be inclined to introduce them as a
stimulant to business. ^^^ Lindsay.
AERIAL PERSPECTIVE.
(American Journal of Photography.)
Thk matter of focussing the image upon the ground-glass or focussing
screen of the camera, with regard to a determination of the amount
of definition in the photograph, is so important a one in its relation to
artistic effect, that we feel we may, without apology, be permitted to
supplement the excellent ariicle by Professor W. K. iiurton, " The
Stop to Use," published in the November number of this Jouknal, by
a few remarks which may make more intelligible what Professor
Burton evidently feels to be the case, but it is not clear enough upon
to assert as definitely as he perhaps should.
Objects, as we see them in reality, in addition to extending on a
plane parallel to our eyes, also extend towards us and from us, and as
one object after another Ls added to those constituting the scene before
us, there is an actual recession which, as in the ca^e of landscape
scenes, if we would travel from our point of sight to the extreme
boundary of our scene, would often take us very many miles away
from our starting-point. This continual receding of parts, which is
often spoken of as the natural perspective of a view, is so common to
us that it does not foim a matter of thought, or arrest the attention
in any way, until we come to see a representation of such scene or
view upon a flat surface, as in a drawing, or painting, or photograph.
Then it is that we feel the shortcoming of art, which cannot in any
way advance or recede beyond the surface plane of the canvas or
paper, except as in the case of scenery in theatres ; and yet this very
shortcoming contributes one of the greatest beauties and features of
attractiveness in a well-executed work of art, because by the art of
the painter is overcome the appearance of want of relief, and the very
deceptiveness of that which he presents to our vision adds to its
charm. It is the knowledge of this fact, and the effort of the higher
class photographer to vie with the painter, which has given rise to the
discussion which we see continually in progress of the effect of cer-
tain alterations of focus in portraying scenes with the camera to bring
about, if possible, this perspective effect.
There are two things upon which the painter mainly relies to bring
about the appearance of recession. The one, perspective, which is
really the diminishing in size of objects, under certain absolute laws,
as they recede from the eye, which is called linear perspective. The
other, the intervention of atmosphere between the receding passages,
which is known as aerial perspective. The former is unvarfinjj, the
rules being the same under all conditions, whilst the latter is simply
accidental, varying with the conditions of the weather and other un-
controllable circumstances. In addition to these two means within
the power of the painter to produce his perspective deception are
others, of minor importance, though often made use of, such as the
choice of bold features in his foreground, brilliant lights, deep
shadow touches, and coarser or more vigorous handling with his
brush or pencil. Some of these may be made available by the
photographer, others not.
The chief reliance of the landscape photographer for the attain-
ment of the effect of retirement in the receding passages of his picture
must be the intervention of atmosphere ; and here, again, is a nice
point, for there must be just enough of such haze to bring about the
desired effect, He cannot, as the painter does, at his will, change
and vary, perhaps bringing in more here and clearing away there, thus
sharpening and heightening hia effects — he must choose a time when
there is such a prevalence of haziness as precisely suits his aim. Not
too much, because then it will be impossible to attain a sufficient
amount of detail in his foreground before his distance will have been
irrevocably over-exposed, and not too little, or he will find bin
distant features faihng to retire, and his perspective effect will b«
lost.
There is a continual complication in this matter of effect of reces-
sion, between studio or group photography and that of open land-
scape views. In the former much more may often be conveyed by
alteration of focus than in the latter, because the effect of blurring
is much greater in looking at an object a few feet from the eyes, of
other objects in the rear of it, than is the case in takinff a comprehen-
sive out door view. Therefore the act of vision is better accom-
modated by the nature of circumstances.
In the case of groups, and what are known as picturesque fore-
ground bits, wherein the whole subject pertains comparatively to the
foreground, atmosphere can have little or no inlluence in the matter,
and a blurring of the background may do much in the way of ac-
centuation of the principal feature of the work. Let us especially
note here, however, that such blurring by unaccentuated focus can
have little benefit when the background features, are very marked in
light and dark, or vie in size and form with the principal feature, or
are ill-shapen. When a really fine picture is desired, such must be
avoided.
Some painters, more especially modern, have done much in giving
relief to their figures by finishing the latter highly and painting whatever
may have formed the background, even though it were near objects,
in a blurred manner. We recall some work by De Koninck as
especially happy in the effect of relief produced in this way, but the
background features were so chosen as not to vie too much with the
subject figure.
Backgrounds so treated — that is to say, blurred by being put out of
focus — must be of such a character as to be considered background
solely. Whenever any of the background objects assume sufficient
importance to be in any way a prominent part of the picture, it
becomes necessary to accentuate the focus sufficiently upon them to
make them distinct.
To return to landscape work : In order to attain the best perspective
effect, we must necessarily choose a time for taking our views when
there is just that nice amount of haziness which will give a duo
softening of each retiring passage of the work. Only the most careful
observation and continual practice will train the photographer in this
matter ; not only, as we said before, because the precise amount of
obscurity must be determined, but also because its character will
make much difference, there being a certain bluish-white, smoky
atmosphere prevailing sometimes, which will much more potently
affect the sensitive film than will be the case under other conditions
of murkiness.
Tliere can be no attainment of this desired artistic effect so perfect
as that of taking a view under the most favourable atmospheric
conditions. No simple blurring of distance by imperfect focus will
attain the desired aim when atmosphere is entirely absent.
Our remarks must be taken in the true artistic sense. We are well
aware that this quality of atmospheric perspective is understood by
but few in this country, and even in an admirable little work recently
published in Paris, upon orthochromatic photography, the author
gives two examples of an extended view with distant mountains and
middle-distance town, under what an artist would consider a favour-
able atmospheric condition, to show how much superior the view is
taken upon the orthochromatic plate, because the ap^arance of
haziness is entirely overcome by it, and the town and distant
mountains show up in all the distinctness of detail which would per-
tain to a clear atmosphere.
The best English photographers are working in the true artistic
way, and those who are relying upon good composition and light and
shadow, with the proper amount of atmosphere, are having the best
success, some of those who have relied solely upon alterations of
focus to attain their aim, notably Mr. Emerson, having given up in
despair. Xanthus Smith.
THE INFLUENCE OF DEVELOPMENT ON GRADATION.
Many of those photographers who carefully study the journals have
been, during the last few years, in a state of considerable doubt and
uncertainty as to whether thev have any power of controjlinjf and
improving the gradation of their negatives by means of suitable
treatment in development. That such a power existed had been
184
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Marcli 24, 1893
regarded as a well-established fact, the truth of which was sufficiently
confirmed by the opinions expressed on the subject by the best
authorities on photo^aphic matters, as well as by the ordinary
experience in the dark room ; but, in 1890, the publication of Messrs.
Hurter & Driffield's paper, with the striking and interesting experi-
ments therein described, showed a strong case against this generally
accepted belief, and gave rise to much doubt in the minds of many
readers. Dr. P. H. Emerson was so convinced of the truth of the
conclusions arrived at by those experimenters that he entirely altered
his views in consequence, in regard to the art side of photography ;
and others, while less hasty in fully accepting the suppoaedproof
that no modification in gradation could result from variation in
development, have still felt that the experiments of Messrs. Hurter &
Driffield could not be ignored, and that confidence in the older theory
was a good deal shaken. As I was one of those who thought so, and
having written a short article on the subject in the autumn as a con-
tribution to The British Journal Photographic Almanac while
in that rather unsatisfactory state of mind, I decided to undertake a
few experiments in order, if possible, to throw some light on the
matter; and as the result as regards myself has been to clear away
all doubt, an account of my experiments may, perhaps, be interesting
to others. .
Some of Messrs. Hurter & Driffield's critics have argued that their
experiments were unsatisfactory because of the shortness of the range
of exposures tested (viz., only those between 10 and 80 C.M.S.),
and can scarcely be considered exhaustive. It has also been pointed
out that the developers used did not vary sufficiently in constitution,
and that considerably greater departure from normal proportions
would be made by a practical photographer who wished to greatly
change the character of the gradation of a negative in consequence of
a known error in exposure. I therefore endeavoured in my experi-
ments to cover the whole range of sensitiveness of the plate, giving
exposures varying from those which were only sufficient to produce
the smallest appreciable density up to those which approached (or
entered) the " period of reversal," and, in developing, I went equally
to extremes. Pyro and ammonia was used (except in one experi-
ment), that being the developer which is generally understood to give
the greatest amount of control, and, in settling the proportions in
which the ingredients were to be mixed, I was guided by the valuable
and instructive series of experiments (quite inconsistent with Messrs.
Hurter & Driffield's conclusions) which Mr. W. K. Burton described
in 1885, choosing those proportions which had given the most and
least detail respectively among the mixtures which he used ; but I
found, in the latter case, that it was necessary to slightly increase the
amount of ammonia to suit the plates I was using. These plates
were the Ilford ordinary, which I believe are pretty regular in
quality and easily obtained. A few preliminary sensitometer experi-
ments gave pretty clear evidence of different action on the part of
two developers, and I then proceeded on the lines laid down by
Messrs. Hurter & Driffield. My first experiment in that way left no
doubt whatever that complete alteration in the character of a nega-
tive might be produced by different treatment in development, but, as
the two next were more satisfactory in some respects (especially in
being much cleaner in the unexposed parts owing to my having
backed all plates after the first experiment) I will omit details of
the first experiment, and give particulars of the two next. Five ex-
posures in separate patches were made on " plate B," each being ten
times the length of the previous one, and varying altogether from
1 C.M.S. to 10,000 C.M.S. The plate was then cut (of course,
lengthways) into two pieces, which were soaked a short time in water,
and developed separately in solutions mixed in the following pro-
portions : —
No. 1.
I'yrogallol J grain.
Sulf hite of soda 2 grains.
Bromide of potassium i grain.
Ammonia ■ 2 minims.
Water 1 ounce.
No. 2.
PjTogallol 2 grains.
Sulphite of soda 8 „
Bromide of potassium 2 „
Ammonia 1 minim.
Water 1 ounce.
One strip was developed in No. 1 for two and a half minutes, and
tlie other in No. 2 for ten minutes, but the action being rather slow,
the ammonia was then increased to one and a half minims jier ounce,
and development continued five minutes longer. " Plate C " was ex-
posed in the same manner, divided into halves, and the strips treated
as before, except that, in using the No. 2 developer, no addition wa*
made to the ammonia, but the strip was developed for thirty minutes
in solution containing one minim per ounce. The results produced
were similar in both cases, the strips which had been through similarly
constituted developers being very much alike ; but the two halves of
each plate showed great contrast towards each other. The No. 1
developer was clearly superior in the 1 C.M.S. patches, having
brought out good, substantial density, and such as would show up well
in the print if it formed part of the detail of a negative. When
developed with No. 2, these patches were certainly just visible, but so
very thin that the amount of deposit there would evidently have no
printino; value, and would be quite useless in a negative. In the
10 C.AI.S. patches the densities were much alike Ln all strips ; but, in
the results of longer' exposures, great differences again became
apparent. As developed by No. 1, the densities of the 100, 1000, and
10,000 C.M.S. parts were weak and thin, and hardly appeared to differ
when judged by mere inspection, although the photometer showed
that density had increased with exposm-e. On the other hand, when
developed with No. 2, these patches showed good contrast at each
stage, and those representing the longer exposures had great opacity
— strikingly different in appearance from corresponding parts of the
companion strips. The experiments showed, therefore, that where a
negative had received only an instantaneous or very short exposure,
in which the light acting on the various parts of the plate had ranged
from about 100 C.M.S. in the brightest parts down to some fraction
of a C.M.S. in the shadows, that then the No. 1 developer would be
much preferable to No. 2, as the more weakly lighted parts would
have a reasonable amount of deposit, and the high lights would not
be over-dense ; so that, if sufficient density were not obtained in
developing the plate, a good negative might, at any rate, be made by
intensifying. But if the exposure were full, so that no part of the
plate had received less than, say, 10 C.M.S. of exposure, then it is
clear from the above that No. 1 would give an entirely worthless
negative, and No. 2 a satisfactory one. It is evident that these results
are quite inconsistent with the principles advanced by Messrs.
Hurter & Driffield. If the densities resulting from one method of
development had been greater at each step than the corresponding
ones produced by the other, it miglit have been somewhat difficult to
prove that more prolonged development of the weaker strip might not,
at a certain stage, have brought all its densities equal to those of the
other half ; but, where we have some parts denser on one half and
some denser on the other, it is clear that no prolongation of develop-
ment or after treatment by intensification could ever have produced
the same range of gradation on both sides. A simple comparison of
the strips seems sufficient to prove the case, but photometrical
examination still further strengthens it, and is interesting as showing,
in figures, how great the difference is. I have examined the strips in
a photometer, constructed according to the directions given by
Messrs. Hurter & Driffield in their original paper, very slightly modi-
fied, and although I have, so far, had but little practice in photo-
metry, I have worked carefully, and believe my figures are fairly
accurate. The following table gives the densities found, and the
ratios between the densities, in each plate of the parts treated with
No. 1, and those treated with No. 2 : —
Plate B.
Exposure,
Plate C.
Exposure,
C.M.S.
Deve-
Deve-
C.M.S.
Deve-
Deve-
loper
loper
Katio.
loi)er
loper
Ratio.
No. 1.
No. 2.
No. 1.
No. 2.
1
•29
•09
•31
1
•30
•12
•40
10
•70
•70
1-00
10
•78
•75
•96
100
•95
1-58
l'()6
100
1^01
1-41
1^39
1,000
1'05
200
1^'JO
1,000
109
1^83
1^68
10,000
1-14
2-19
1-92
10,000
1-19
2^21
I'Sti
The greater density giveL by the No. 1 developer, in the
case of the 1 C.M.S. exposure is well shown by the table,
and 10 O.M.S., in each case, appears as having about equal
densities on both halves of the plate ; but the great superiority in
density brought out by No. 2 for the longer exposures then becomes
apparent, and increases at each step till, in the 10,000 C.M.S. patches,
differences are shown amounting to a density of 1 — that is to say,
the strips develoj;ed wi'.h No. 1 allow ten times as much light to pass
througli, at that part, as do the corresponding strips. I need make
no remark as to the " ratio " columns, except to point out that, if
March 24, 1893]
THE BRITISH JOUUNAl. OF PHOTOGHAPIIY.
186
Messrs. Hurler & Driffield's principles applied, the figures in those
columns should be practically identical for all exposures on the same
|tlate. II. J. Channon.
[To be continued.)
OX THE I'KODUCTION OF BLACK AND WHITE
NEGATIVES BY JMEAXS OF AUTIFICIAL LIGHT.
IV.
Ix a previous article I referred to the influence varying degrees of
tenipeniture of the developing solution had upon the plate. A perfect
black aii<l white negative previous to intensification should show no
reductions on the blacks, but at the same time have a good degree of
opacity in tiie whites. With such a negative, the process of after-
tntensilication offers no trouble, and, provided the plate receive a
sufticiency of washing before and after the application of the mercuric
■chloride solution, the transparent portions will in no way deteriorate.
The knowledge whether or not there has been any reduction in the
blacks during development will soon be acquired when the bleaching
operation takes place after the application of the chloride of mercury
solution. Provided there be no appearance of any bleaching on the
clear glass portions of the image, all will go well, but, if after the
application of the mercury it is seen that bleaching takes place, then
the negative has beeu over-developed, and a beginner would do well
to expose another plate on the same subject, giving less time, and by
A judicious use of pyro and bromide force up contrasts without carry-
ing on developments so far. By this means, a knowledge of how far
-a plate may be developed without causing a reduction in the blacks
is arrived at : and once a worker is able regularly to expose and
develop in such a manner he becomes master of the entire situation ;
it takes some practice, and in development a somewhat different
method of treatment from the ordinary practice when high lights,
middle tints, and on through shadows for details have to be looked
for.
It very frequently happens that, no matter how careful a worker
may have been to guard against the reduction of those portions of the
negative representing the blacks in the picture, that, after completion
of the lixing and the plate is taken out into daylight, a very
slight reduction will be noticed which was not apparent in the dark
room. When such occurs, the plate should be most thoroughly
washed, after which an application of a weak solution of iodine and a
further thorough wash followed by a very dilute bath of cyanide of
potassium will effectually remove the slight reduction ; these solu-
tions, however, must be freshly made up, and the greatest precautions
■taken to avoid staining the plate. When it is seen that there is no
deposit on the portions of the negative that ought to be clear glass,
tbe plate receives a very thorough washing, and is then ready for
being intensified.
_ In cases where ordinary negatives embodying high lights, middle
tints, and shadows are concerned, the application of a mercuric chloride
solution, followed by coi»ous washing and an aft«r-application of a
saturated solution of sulphite of soda, or, as some workers advocate,
a weak siilution of ammonia, will be found as effectual and perhaps as
convenient a method to employ as any ^ but in the class of work we
*re considering we have no middle tints to look after, but, on the
•other hand, the great aim is merely to increase to the utmost the
opaque portions of the negative ; and perhaps there is no betterplan
to follow or formida to employ than that of cyanide of silver. With
such the utmost degree of intensity is usually got. Any one using
such for the first time will be struck with the extra amount of density
noticeable after the plate has been dried. This will not be so
apparent whilst the plate is wet, but is very evident when dried and
finished.
As a rule, amateur workers are not conversant with cyanide of
silver as an intensifying agent, for the simple reason, doubtless, that
the highly poisonous nature of this chemical intimidates many from
nAn^ such. It is very useful, however, in the class of work we are
considering, and with proper care a worker need have little or no
scruples in making up a supply and using it.
To make a useful quantity of this intensifier, the following will be
found about the riglit quantities of chemicals to employ : — Dissolve
220 grains nitrate of silver in three ounces of water. In a large
jar place twenty-four ounces of water, and with a glass rod dissolve
in same by stirring one ounce of cyanide of potassium, when the
redissolved up, and eventually the solution will become quite clear.
It will work best after being a few days old.
The chloride of mercury, or bleaching solution, is made aa follows : —
In twenty ounces of water dissolve 200 grains bichbride of mercury
and 2(K) grains chloride of ammonium.
The plate, after being most thoroughly washed, is placed in a small
quantity of mercury solution, until the bleaching has gone right
tlirough the entire film; it is then thoroughly well washed again,
and the face of the negative well sponged with a large plug of clean
cotton wool, after which the cyanide of silver solution is applied just
like applying an ordinary developing solution. The plate will at once
a.ssume a jet-black appearance, and in a short time the silver solution
will permeate right through to the back of the film. When it is seen
that the film is blackentd right through to the glass, the negative
should, without any further delay, be well washed under the tap for
some minutes, and eventually washed in a water bath changed at
intervals for, say, an hour or so. If all these manipulations have
been carefully performed, and the chemicals properly prepared, the
result will be a black and white negative of a class seldom seen by
amateurs. The blacks will be represented by what is termed clear
glass, and the opaque portions of the negative so dense that no gas
name will be visible when the negative is held at, say, twelve inches
from it.
Some workers advocate economy by using these intensifying solu-
tions over and over again ; this means, they pour them back into the
stock bottles when they have been applied to the plate. I find, how-
ever, I invariably get cleaner results by using entirely fresh solutions :
so it is just as well to pour the used mercuric and silver solutions
down the sink when used, and always employ a clean, fresh supply
from the stock bottles.
With a negative having such a wide contrast, a worker will be able
to turn out results in the way of printing — either on sensitive plates,
such as is useful for lantern slides, either by contact or through the
camera — that will astonish those who have never been able to get
clean high lights ; whilst in platinotype or bromide printing, work
will bo rendered in a manner hitherto unapproached for pluck and
vigour. T. N. Abmstbong.
NORMAL AND SOLARISING DENSITIES.
The intervals of time expressed by the figures 5, 90, 1620, 29,160,
&c., given by myself as typical of the relative connexion existing
between the exposures necessary to produce, successively, the three
most characteristic combinations of two fixed densities under con-
ditions invariable as regards the nature of the subject, the intensity
of the light, the sensitiveness of the film, the strength of the developer,
and the period of immersion, form a geometrical series, having a
common ratio, and exhibit from first to last a uniformly retarded
fluxion.
The terms " normal," " neutral," and " reversal," which I carefully
selected to designate the three phases of two simultaneously presented
extremes of greatest and least contrast, or of transparency and
maximum opacity, and two equal opacities, amply convey — to any
mathematician at all acquainted with the subject — the fact that the
equal opacities are, and must be, mean densities, the ;three terms
alternately implying the idea of combinations of 0 + 1, 0'.5-f-0'5, and
1+0 densities, as otherwise the flux and increment could not corre-
spond, Bs I s'lnwed that they did.
GREAresT
Density.
/
s
f
•QO
1
1620 524880
MEAN 'I
Density.
/
90 Z9\6Q 9 + 4.7^40
LEAST ..f.
Density. "''
015
16 20 524830
Taking two extreme degrees of light and shade in a subject, we
observe as one of the leading features of solarisation that, whilst each
degree of luminosity in a shorter or longer interval of time affects the
film in apparently the same way, and imparts to the two correspond-
ing portions the power successively to acquire mean, greatest mean,
and least densities, it is to be specially noted that, although both, so
to speak, ascend and descend the same hill, yet is the one ever going
up as the other is coming down, and rnce versa, each moving simulta-
neously from base to summit and from summit to base with a con-
stantly retarded velocity, and meeting invariably between these
turning points or termini.
Let us regard the gain and loss of density by the two portions of
186
THE BKITISH JOUKNAL OF PHOTOGRAPHY.
[March 24, 1893
the plate respectively exposed directly and indirectly — or to the
greatest and least light — as the distance swung by a pair of pendulums
suspended close together — either side by side, or one in front of the
other. Let one oscillation to and fro be taken as equal to a complete
cycle of phases. If the angle included between the extremes of
position of the shaft were subdivided into any number of equal
fractions, representing density, each scalar step, grade, or degree of
density would, expressed to the required base, form a series of
logarithms corresponding to the periods in which they were described.
It would, of course, be essential that arcs of forty-live and ninety de-
grees should be described in periods with a common ratio, such, for in-
stances, as 5, 90, 1G20, 29,160, &c., or as 128, 16,384, 2,097,152,
268,435,456, &c., although .v, .vn, .rn^, .vrr, or r, r", r^, r^, kc, are
preferable, as of more general application, in which formulae .i' is
simply the exposure for the phase first found, and n or r tbo
number or ratio by which it must be multiplied or divided in order to
produces the succeeding or preceding phase.
In order that the conditions first pointed out by myself — from
which much in the way of detail may be elaborated — may be realised,
we must be able to see that the swing from O'O to Oo, and from 0-.5
to I'O, of the one pendulum is performed in the period in which th«
other describes I'O to 0-5, and from O'o to I'O. Whether the " swing "
is a " whole swing," a " half swing," or a "quarter swing," it will be
performed by the one pendulum in precisely the same time as that
taken by the other to move the same distance ; but, be it noted, one
quarter falling density corresponds to one quarter rising density, one
half increasing to one half decreasing, and so on. It may not pass
the wit of man to devise an irregularly accelerated and retarded
velocity by which these points may be enabled to coincide ; but at
the same time it is evident that, without proof to the contrary, the
uniformly retarded velocity proved by myself to determine the
extremes and means of density must he accepted as influencing
fractions smaller than one-half.
To summarise, then : — The swing in density from 0 to 1 of the in-
directly illuminated portion of the film being strictly isochronous with
the swing from 1 to 0 of the directly exposed part, and the half swing
from 0 to 0'5 or from 06 to 1 beins? likewise isochronous with the
half swing from 1 to 0'5 and from O'o to 0, it would naturally seem to
follow that the quarter swing and other swings describing smaller
fractions thnn I dealt with should obey the same law and be described
in proportionate periods, that is, in times whose common ratio corre-
sponds to the common difference of the densities. Without any
further data, then, we are in a position to conclude that the time
taken by the " solarising " or brightening portion of the film to lose
any fraction of mist density will be the exact period required by the
darkening part to gain the same amount. Hence, as the one quantity
depends upon the other in such a manner that that expressing the
time is equally multiplied for equal added or subtracted increments in
density, we know that the rate of growth is logarithmic and cannot
be otherwise. Knowing this, it is easy to calculate and interpolate
the exposures necessary, under similar conditions, to give 0'25 or 0'75,
or any fractional part of the unit of opacity, either for the least pro-
tected or the most protected part of the film.
My terms, " neutral," " normal," " neutral," and " reversal," taken
together with the figures I put forward typically, or, if preferred, with
the symbolic expression of the exposures necessary to produce the
densities the terms imply, bring out three important facts: —
1. The leading conception that what is true of the " image " of the
brightest light is equally true of the " image " of the deepest shadow,
and that both alternately decrease, increase, and decrease again in
their power to attract the deposit furnished by the developer.
2. That, unless the period required by the one form of image to
gain a given increment in density be the time taken by the other to
lose the same amount, the phases could not occur in the sequence
given by Professor Janssen, nor assume the forms described.
3. Since these selected phases are compounded of two densities,
each of which grows at the same rate, and that rate is stated both by
figure and formula, it follows that the law is thereby expressed which
numerically defines the condition of interdependence of the densities
upon the exposures, and of the exposures upon the densities. This
law, first given by myself in The British Joubnal op Photo-
GBAPHY for January 13, 1888, antedates by over two years the
publication of any verification or amplification of it.
Hugh Bbkbnkb.
BOUGH PAPEE.
[Fillebrook Athonseum Photographic Society.J
CoNsiDEKiNG the extent to which rough paper is now being advocated and
used for photographic printing, and the undue preference shown to
coarse-textured prints by Exhibition Judges, we may, perhaps, profitably
devote an evening to a consideration of the principles that should govern
its use.
Unfortunately, in every art, and especially in photography, there are
many who, seeing a success achieved by a picture in which some new
departure is made, cannot appreciate the art qualities that ensure its
success, but attribute it to the novel treatment. The inevitable result is
that these peculiarities or mannerisms become a craze, and are adopted
under all conditions and circumstances without any consideration of
suitability.
Some of our prominent workers having printed on rough-surface paper
with more or less good effect in special instances, the present craze is
" Rough paper," and, prefei-ably, the roughest of the rough, which is
frequently used with so little discrimination that, instead of enhancing any
artistic merit that the picture may possess, completely obliterates it.
The Judges at some Exhibitions are largely responsible for this state of
affairs ; for, when it is seen that the principal claim to recognition is the
adopting of certain " fads " or eccentricities in general treatment of sub-
ject, or coarseness of printing surface, or a combination of both, it must
be admitted that, to the ordinary mortal, the temptation is very great to
produce a result for the sake of winning a medal that his better taste
might condemn. " Cosmos," in his " Jottings " in The Bkitish
Journal of Photography of March 17, in alluding to Judges at Exhibi-
tions, writes : "The worst of it is that people of this kind get so imbued
with the idea that their way of making pictures by photography is the
right one, that any one who thinks otherwise, and proves the faith that
is in him by exhibiting, stands very little chance of an award."
As a striking example of this I may instance an award at our recent
Exhibition. An old architectural subject, about 10 x 8, printed on the
roughest paper, so that the truth of all straight lines was destroyed, and
any detail, which in masses of old stonework would be sufficiently varied
and broken, not only lost, but replaced by a regular mechanical series of
lights and shades, due to the undulations m the paper, and out of all
proportion to the scale of the subject— larger, in fact, than the blocks of
stone themselves. While this was medalled, far better photographs of
similar subjects, treated more as any artist in monochrome would have
rendered them, were passed over, because they were open to the objection
of being legitimate photography, sharply focussed, and carefully printed
in platinotype. Such awards as this tend to give a fictitious value to
rough paper, instead of good technique coupled with artistic merit.
It is frequently contended that rough paper and one or two other
kindred crazes are more artistic and painter-like, and that photographs
other than those that accord with these methods have no claim on the
attention of persons of refined and artistic tastes ; they are merely photo-
graphs, or even " topographical photographs," while the work ol the
faddists are pictures.
The pictorial qualities of a photograph— composition, balance of light
and shade, due prominence of foreground, and correct rendering of
distance, the whole treatment of subject— are quite independent of _ any
special fad, and are not the sole property of any one school in either
photography or painting. On the other hand, the indiscriminate use of a
method of treatment or printing surface, suitable only under special con-
ditions, is certainly not artistic— it is either studied eccentricity or utter
want of judgment.
A rough surface is said to give breadth of effect, which is simply the
massing of the lights and shades, and must be obtained by suitable
lighting. If this quality is not present in the negative, rough paper can-
not confer it.
Every art has its own peculiar character which gives it a special charm,
and, if the worker be a master of his craft, he will retain and emphasise
that character in expressing his ideas, however much individuality may
stamp his works. It would not be considered the highest ideal for an
artist in water colours to aim at producing a result that should be mis-
taken for an oil painting ; why, then, should the standard of quality in
photography bo that our works should look as unhke photographs as
possible ?
It is quite a new doctrine, that unfortunately seems to be gaining
ground, that the legitimate methods of photography are inartistic and
incapable of expressing sentiment ; that only as we depart from accepted
methods are our works to be considered artistic ; in brief, that careless
technique is essential to art. In painting, a man is judged by the
technical quality equally as by the sentiment of his pictures ; if either is
defective, his work is condemned.
I do not wish to convey the impression of totally condemning rough paper,
but only its indiscriminate use. The roughest should only be used for
very large work, and then only in special cases. The texture should
depend not only on the actual size, but equally on the character of the
picture. A bold, simple, or broad effect could be printed with good taste
on a far rougher surface than a dehcately treated subject, or one in which
fineness of detail was more or less essential. The grain should not be
obtrusive at the ordinary distance of viewing the picture, otherwise it
attracts to itself that attention that should centre on the subject of the
picture.
It is very much to be regretted that many whose works show an appre-
ciation of the beautiful in nature should so finish them that, instead of
giving pleasure, they only irritate by their coarseness.
Etchings and engravings are invariably on smooth surface paper, and
water-colour drawings, excepting those of very large size, on that of fine
Maieh 2t, 1893]
THE BlUTISH JOURNAL OF PIIOTOQAA-PHY.
187
grain or tiioderato texture ; hut they arc not considered Inartistic on that
account. Those photographers who affe<'t extremes in either roughness
of surface, or out-of-focus methods, or misty and gloomy effects, might
study with advantage the works of leading etchers, which show that
smoothness of surface, fineness of definition, delicacy of treatment, bright
and sunny scenes, are not inconsistent with the highest artistic quality.
Henhy W. Bennett.
AN ATTRACTIVE "OPTIMUS" EXHIBITION.
There ia at present on exhibition in the premises of Messrs. Perken,
Bon, & Rayment, 99, Hatton-garden, a large collection of pictures, both
direct and enlarged, of a very attractive nature. It is a selection of prints
the offspring of tlie 1892 Oplimus One Hundred Guinea Photographic
Competition. One of the main conditions of this highly creditable
contest was that each negative must be taken by an " Optimus lens."
The resulting prints, several hundred in number, including portraits,
landscapes, seascapes, arcliitecture, animal studies, &o., are of very high
order of merit from a technical as well as from an artistic standpoint.
The sizes varied from 15 x 12 down to quarter-plate. Many display a
minuteness of definition that is simply marvellous. Even the 24 x 18
enlargements (also made by " Optimus lenses") from 4Jx3J negatives
are so crisp that they may readily be mistaken for well-defined direct
work. We would strongly recommend the " Optimus " firm to enlarge
these quarter-plate negatives considerably further, feeling sure the most
critical would be amply satisfied with the results. Messrs. Perken, Son,
& Bayment must be much gratified at the class of work their prizes have
brought together. Among the contributors of prints we notice the names
of many of our recognised past masters at the art science.
We understand this firm has already announced its intention to offer
another one hundred guinea series of prizes for the best photographs
taken with "Optimus lenses" during the present year, the conditions
and entry forms of which will be published at the end of April.
RECENT PATENTS.
APPLICATIONS FOR PATENTS
No. 4814.^" Improvements in Photographic Cameras." B. F. S. Baden-
Powell.— /^ated March 6, 1893.
No. 4884. — " A Cabinet or Case for the Holding and Carrying of Laiitera and
other Slides." J. Potts.— iJated March 7, 1893.
No. 4951. — " Improvements in Photography by the use of New Developers."
Communicated bv the Chemische Fabrikauf actien vorm. E. Schering. S. Pitt.
—Dated March 7, 189-3.
No. 5035. — " An Improved Case or Chamber for Enclosing and Protecting
Photographic Printing Frames and Similar Apparatus with their Contents
during the Process of Photographic Printing and the like." G. C. J. Jklpke.
—haled March », 1S93.
No. 5170. — "An Improvement in the Mannfactnre of Lenses for certain pur-
poses." H. Van Dek Weydk.— jKated March 9, 1893.
No. 5219.— "An Improvement in Photographic Cameras." J. Theobald. —
Dated Ma'ch 10, 1893.
No. 52.32. — "Improvements in or relating to Photographic Cameras."
T. K C. WlLSOS.— Dated March 10, 1893.
No. 5350.—" A Field-glass Camera." A. F. Schoeble. — Dated March 13,
1893.
No. 5396.— "Improvements in Hand or Detective Cameras and Shutter
which can he ii.sed with other Cameras to advantage." N. Crouch. — Dated
March 13, 1893.
No. 6504.—" Improvements in or relating to the Manufacture of Films for
Photographic Purjjoses." Communicated by T. H. Blair. A. J. BouLT.—
Dated M'irck'U, 1893.
No. 5517.—" lnii)roved Silver Haloid Emulsions for Photographic Purposes."
W. H. Vrestwich.— Dated March 14, 1893.
No. 5554.— "An Improved Form of Jet for Optical Lanterns." J. H. Bab-
•tos.— Dated March 15, 1893.
No. 5624.— -" Improvements in and connected with Clips for Holding Photo-
graphic Films, Gla.s.s, Paper, or any Sheets of Thin Material." J.W. Baulow.
Dated March 15, 1893.
No. 5828.—" Improvements in Photographic Cameras and their Accessories. ''
W. J. LASCAaTr.R.—Dated March 18, 1893.
No. 5846.— "An Improved Photographic Apparatus." J. Dahoizeau. —
Dated March 18, 1893.
SPECIFICATIONS PUBLISHED.
1893.
No. 3014. — " Photographing Apparatus." Thiroux.
No. 5541. — "Limelight Jets." Noakes.
No. 6542.—" Pyroxyline Solutions and Compotmds." Fairfax.
iHeettnsd of ^octette^.
MEETINGS OP SOCIETIES FOR NEXT WEEK.
D«la o( MeaUni.
lUrch27
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April 1 ....
Name of Socictjr.
PUm of MMting.
Camera Clnb
Dundee Amatenr
Lantern Society
North Middlesex
Putney
Itiobmond
Blriiitnffbatn Photo. Sodoty ...
Great Britain (Technical)
Haokney
Halifax Camera Olnb
Lancaster (Annual)
Leith
Newcastlo«n-Tyne & N. Counties
Paisley
Rochester
Warrington
Bath
Burnley
LeytotiAtone
Photof^raphio Club
SoQtbport
Camera Club .<
Qlossop Dale
Halifax Photo. Club
HnU
Liverpool Amatenr
London and Provinoial
Oldham
HnU
Charing CroM-road. W.C.
Asto. Studio, Nathergata, DnndM.
20, HanoTerwH|iiar«.
Jubilee Honae, Honuey-road, K.
Boys' UymDasiam.Charlirood-road.
Greyhound Hotel,
Clnb Room, Colonnade Hotet
50, Great Russell-st., Bloomsbury,
206, Mare-street, Hackney.
Springfield Barracks, LancaJiter.
lo5, Constitution-street. Leittl.
Central Eiohanire Art Gallery.
9, Gauze-street, Paisley.
Mathematical School, liochester.
Museum. Bold-street, Warrin^on,
Roy. Lit. & Sc. Inst., Terrace-walks.
Bank Chambers, Hargreares-street.
Tho Affltrnilily Rooms, Uigh.road.
Auderton's Hotel, Fleet-«tre«t.K C.
The Studio, 15, Cambridge-arxaide.
Charing Cross-road, W.C.
Mechanics' Hall, Halifax.
71, ProBpect-street, Hull.
Percy-builiiinjrs, Ebcrle-street.
Champion Hotel, 15, Aldenwate-st.
The Lyceum, Union-st.. Oldham.
71, Proapect-iitreet, Hull.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
JIarch 16, — Mr. C. E. Atkins in the chair.
Thi.s being a Lantern Night, slides by Messrs. H. E. Davis, Wilkes, Beckett,
and a collection, illustrative of South Africa, contributed by the South African
Photographic Societies, were shown.
Mr. H. E. Davis showed a very light tripod stand, made by Messrs. Newman
& Guardia, and the firm's representative exhibited one of their new-jiattern
hand cameras.
North Middlesex Photographic Society.— The -lecond of the series of
Elementary Technical Classes being given by the above Society was held on
Wednesday, the 15th inst., the subject being " Development." Mr. C. Bbadlk
briefly explained the subject in hand before proceeding to the more p.actical
part, in which he was assiste<l by Messrs. J. Macintosh and A. J.'Golding.
The plates were exposed at a special outing held on Saturday, the llth inst,
each beginner developing his own plates, while the instructor stood by to
show and explain as development proceeded. These classes are given, free of
charge, to help Iwginners, and appear to be greatly appreciated, which is very
encouraging. The next 'Technical Class will be held on Wednesday, April 12,
the subject being "Toning Gelalino-chloride Paper." The Secretary, Mr. G.
Gosling, 13, Lausanne-road, Hornsey, will lie pleased to hear from any gentle-
man wishing to attend.
Harrlngay Photo^apblc Society.— March 16, Mr. Coghill occupied the
chair.— Mr. T. W. A. Ball gave a demonstration of Hetoiu-Mng. The
demonstrator showed how to reduce a negative with spirit, how to prepare
and apply the medium, and he then proceeded to retouch a negative. One
new member was elected.
Hackney PhotograpUc Society.— March 14, Mr. E. Puttock presiding.—
Members' work was shown from Messrs. Beckett and Dean. Question : " Is it
advisable to back all plates taken out?" Reply: "Yes; it is a great ad v.an-
tage, especially when light is strong ; in no case could it do harm." Question :
" What is the most reliable backing?" Reply: " Caramel aud burnt sienna,
as per formula given last June." Mr. NuNN mentioned red blotting-paper,
and Mr. Gosling carbonised manifold paper, as not bad substitutes. Mr. R.
Beckett said that films were better than unbacked plates ; but Mr. F.
HorcHTON found no halation on films exposed last week one-aixth of a second.
The Chairman- then read a paper by Dr. Paul Jeserich entitled Detection of
Crime by Photography. Whilst the lecture was being read a series of slides
wa-s shown through the Club lantern as alluded to. These were taken from
subjects forming criminal cases in Germany. Dr. P. Jeserich treated his
subject under the heads of Hairs, T31ood, and Forgeries. Hairs, he .said, from
the same individu.al were easily recognisable. Human hau-s and blood were
different from those of other mammals. He instanced cases where his evidence
resulted in acquitting some people accused of murder and pointed suspicion at
others, to which they ultimately confessed. Forgeries executetl in different
coloured inks, though the unassisted eye could not detect it, were photographed
by his process (presumably coloured screens and colour-sensitive plates). They
clearly showed the original handwriting faintly, with the additions strongly
contrasted. Spectra of blood were shown, which were apparently identical,
urging, as a strong point, that no two substances give exactly the same spectra.
In a short discussion which followed, Mr. Dkan objecte<l to the too dogmatic
way in which the paper was written, claiming that some of Dr. Jeserieh's
assertions were stronger than the stated facts justified, and that he ought not
to assume that human hairs from the .same individual have the same size and
the same-shaped roots ; that a cut hair grows from the middle of the cut end ;
that blood corpuscles from the various orders of the mammalia are so very dis-
similar from one another in size ; that no two spectra are the same. Hr. Dean
quoted a reliable authority that the differences between the spectrum of red
ink and that of blood, even under very high powers, are undiscemible. Slide*
from Messrs. Beckett, Hull, Smith, and Salmon were then put on the screen.
188
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[March 24, 1893
Flllebrook Atbenseum Photograplilo Society.— March 20, Mr. H. T.
Maltby in the cliair.— A iliscu,ssioii on Jlour/h Paper was opened by Mr. H. \V.
Bennett [see page 186]. Mr. J. W. Spurgeos said that one of the chief
characteristics of photojjrapliy, its ability to render detail, was destroyed if the
paper were too coarse for the subject. A style of photograph corning into
prominence was the " fuzzy ;" but, in his opinion, a sharp picture artistically
good was far superior. Mr. Caibd, spe^iking as a water-colour worker, said
that rough paper was inadniissiljle for tine work, and most photographs were
fine work on account of their small size. In water-colour drawing generally,
the whole method of working was broader than in photography ; even then
very rough paper was only suitable for large and broad effects. Mr. Mai.tby
considered that taste was shown in choosing a grain to agree with the scale of
subject represented. The te.vture had quite a different ohject in water-colour
drawing from photography, the irregularities of surface allow a play of light
and shade, and give transparency to masses of colour, and, by permitting simple
washes rather than laboured effects, greater purity of tone results. Next
meeting, Monday, April 17. Subject, What to Photugraph, to be opened by
Mr. J. W. Spurgeon.
Putney Photographic Society.— Dr. W. J. Sheppard in the chair.— Mr.
Henry Kimber, M.P., was elected a Vice-President, Mr. W. R. Few a member
of the Council, and Mr. F. W. Thompson an ordinary member of the Society.
Mr. W. E. Debenham gave his lecture and demonstration on Transparencies
hy the Carbon Process, this being one of the papers placed at the disposal of
affiliated societies by the Central Committee. Mr. Debenham commenced by
fully explaining the theory of the process, illustrating his remarks by diagrams
drawn on the blackboard. He claimed that for lantern slides carbon trans-
parencies were unbeaten, as the process g.ive great range of gradation, clear-
ness in the high lights, and transparency in the shadows, and, further, that any
colour could be obtained with absolute certainty ; the process was also greatly
used in the trade for reproducing negatives for enlargement, photogravure, &c. ,
for which it had been found to be very suitable. The tissue might be prepared
by the user without much difficulty, but amateurs would find it more con-
venient to buy it ready for sensitising, in which state it would keep for a long
time. They could readily sensitise it themselves by immersion in a solution
of bichromate of potash. This should be done shortly before use, as the tissue
will not keep mtiny days when sensitised, even when precautions are taken to
store it under the most favourable conditions. Mr. Debenham then proceeded
to explain and demonstrate the method in detail, from the preparation of the
tissue to the final transparency, giving many valuable hints of a practical
nature, which were greatly appreciated by those present, who tliroughout fol-
lowed Mr. Debeuham's remarks with much interest, .and, at his invitation,
asked questions as the demonstration proceeded. It is almost needless to say
that the whole of the process was brought very fully and clearly before the
members, both theoretically and practically, specimen transparencies and
reproduced negatives illustrating the lecture were handed round, and the
results fully bore out Mr. Debeuham's claims for the beauty and utility of the
process.
West London Photographic Society.— March 14. — Messrs. Hodge.s & Horton
read a paper on The Processes Applicable to Lantern Slides, and Hints on the
Management of the Lantern. Omitting the first part of tlie subject, as
likely to occupy too much time, the authors proceeded to enumerate the
optical and other desiderata of a good lantern, and, after reviewing the history
of lantern illuminants, and dwelling briefly upon the various forms of oil
lamps, including the improved lamp of Stock, they proceeded to describe
in detail the various types of limelight appliances, including the oxy-spirit,
blow-through, mixed jet, and oxy-ether, and to show samples of all but the
last in operation. The practical part of the paper was notable for the interest-
ing series of comparisons instituted between discs thrown on the screen from
two lanterns placed side by side, employing in succession a four-wick oil lamp
of ordinary make, a Stock lamp, an oxy-spirit jet, a blow-through jet, anil,
lastly, a mixed gas jet. Each illuminant, taken in the order enumerated
above, gave a distinct advance in light-giving power as well as in whiteness of
the light. At the conclusion an interesting series of slides, belonging to Mr.
Le Marchand, made by the albumen process, were shown.
Ashton Photographic Society. — March 16, Annual Meeting, the President
(Dr. Hamilton) occupied the chair. — Mr. G. H. Dean, Honor.ary Secretary,
read the report, which stated that twenty-nine new members had joined the
Society during the past year, making the present total 120, or eleven more
than last year. The library had been considerably augmented, through the
gift of the late Mr. Basil Hall's collection, by his brother, Mr. T. B. Hall. The
Council hoped, in the course of a few weeks, to have the books arranged and
ready for circulation .amongst the members. During the season seven outings
were arranged, but, owing to the inclemency of the weather, one was abandoned.
Mr. R. T. Marsland, the Treasurer, presented the balance-sheet, showing the
income to be 66^. 7s. 6(/., of which 42Z. lis. &d. had been received in subscrip-
tions, 13i. 3s. 6d. from the sale of tickets, &c., and 9Z. "s. Gd., the balance
brought forward from last year. The expenditure was 50/. \Zs. id., leaving a
balance to be carried forward of 15/. 12s. '2d. The Chairman, in moving the
adoption of the Secretary and Treasurer's reports, congratulated the Society
upon its increased and increasing efficiency. As far as he h.ad been able to
judge, the work of the members, photographically, had advanced distinctly,
not only in practical detail but in true artistic feeling, without which no
photographic society could ever make any real or clistinct progress. It was
gratifying to him to know that, in their Society, there had been a distinct
effort to realise this particular condition. One of their members, to whom they
were indebted in many ways, hiid endeavoured from the beginning to produce
real pictures. He referred to Mr. Glazebrook, whose work had received the
commendation of Mr. Arthur Severn, a well-known artist, and Mr. John
Ruskin, one of the greatest art critics of this century. He (the Chairman) did
not mention this with a view only of showing what a good worker Mr. Glaze-
brook was — although that was an important part of it — but to show that they
had realised what artists said photographers were not able to do. He had
never heard of any photographic .society being honoured by the favourable
opinion of two such eminent men. Major Bradley moved a vote of thanks to
Dr. Hamilton for the service he had rendered and the great interest he had
taken in the work of the Society. Dr. Hamilton was re-elected -President,
Messrs. J. W. Kenworthy, C. Lord, Thos. Glazebrook, and Major Bradley were
elected Vice-Presidents. Dr. Hamilton moved a vote of thanks to Mr. Deaa
for his services .as Secretary. Unfortunately for the Society, Mr. Dean felt
himself compelled through stress of work and throu;.:h change of residence,.
which took him further away from the rooms, to resign the office he had hel<i
during the last two years. He was sure they all regretted to part with him.
Mr. Josiah Matley seconded the motion, which was carried. Mr. Marsland
was elected Secretary, and Mr. Walter Leigh Treasurer. Mr. Walter Chadwick
was elected Librarian. The following were elected on the Committee : — Messrs.
W. C. Brown, T. Chayne, W. Chadwick, W. Greenwood, J. Hutchinson, J. T.
Lees, C. E. Redfern, and S. WooUey.
Birmingham Photographic Society.— March 14.— Three sets of slides, lent
us by the Liverpool Amateur Photographic Association — entitled fl) Illustrated
Boston, (2) In and Around ('oliimJins, (3) The Whi'e Mountains of Xev] Hamp-
shire— were shown on the screen and described l>y Mr. Middleton, with the help
of notes which accompanied them. Very interesting they were, 'showing old and
new buildings, landmarks, and busy streets, while the third set were perhaps
the more delightful pictorially. Fine mountains, streams, and wooded scenery
evidently aboun<l in this charming district. The Chairman expressed thanks
to the Liverjiool Amateur Photographic Association.
Liverpool Amateur Photographic Association. —March 16.— Mr. F. Hope-
Jones delivered a lecture on Eural, the deserted mansion of the Puleston
family on the river Dee, some fifteen miles south of Chester. Photographers
.are always on the look-out for fresh subjects ,at which to level their cameras,
and this interesting ruin provides picturesque material for them. In addition
to this, its historical associations are important, and form an excellent subject
for a lantern lecture.
FORTHCOMING EXHIBITIONS.
April 5-8 *Croydon Camera Club, Braithwaite Hall, Wellesley-
road, Croydon. Hon. Secretary, G. R. White,'
55, Albert-road, Croydon.
„ 10-29 ♦Crystal Palace. The Executive, Crystal Palace, S.E.
,, 12-15 ■'Bolton Photographic Society. Hon. Secretary, J. E.
Austwick, 10, Rushton-street, Bolton.
„ 17-29 *Photogr,aphic Society of Philadelphia. Hon. Secretary,
R. S. Redfield, 1601, Callowhill-street, Philadelphia,
U.S.A.
May 4-6 *Forfai-shire Photographic Association. Hon. Secretary,
W. J. Anckorn, West Port, Arbroath, N. B.
* Signifies that there are open classes.
Correspond.vfds should, never icri'tc on both sides r,j the -paper. Ko notice is taken
of communications unless the nairus and addrcssi s of the vcriters arc gioen.
BAPID SOLUTION MAKING.
To the Editor,
Sir, — I think it matter for unfeigned regret that Mr. G. W. Webster
should have introduced personal feeling into the discussion of a trifling
detail of laboratory practice.
I recall with pardonable pride the fact that I have enjoyed the privilege
of contributing to the pages of The British Journal of Photogr.\phy for
thirty-seven years, from seven pages in a month to a brief paragraph in a
week, and I think, Su-, you will bear me out when I say that never until
now have I been accused of making use of " covert sneers," or " accusa-
tions of making false claims,'' and I. beg to assure you that nothing was
further from my mind when writing the letter you did me the honour to
publish in your Journal for February 24.
I hope to have the pleasure of meeting Mr. G. W. Webster at the
Plymouth meeting of the Photographic Convention, and am therefore
specially desirous to avoid saying anything now which might lead to the
formation then of a " four-and-twenty feet ring, clear stage, and no
favour " in front of the Sir Francis Drake statue on Plymouth Hoe. I
beg to assure him that I was perfectly sincere in expressing the opinion
that photographers uninstructed in chemical manipulations should feel
indebted to the gentlemcK named — not specially to Mi-. Webster, but to
Messrs. Baird and Ayres, who, by the way, do not accuse me of sneering.
In his article in the Journal for February 17, Mr. G. W. Webster uses
the expression, "In my own case the im-entionvr&s spontaneous." 'What
is this but a claim to having invented an article on sale at Doulton's ?
Again I say I was equally sincere in feeling " amused " at this claim.
My acquaintance with hyposulpliites and their comparative instability
dates from 1843, and that "knowledge leads me to prefer freshly prepared
solutions rather than stale ones laid on in pipes, and after five years'
systematic study in a public laboratory, should have found Mr. G. W.
Webster's instructions re solution-making more acceptable if the accom-
panying sneer, so far from being " covert," had been less palpable.
I will not trespass on your space to defend " Atticus "' (whom I have
never had the pleasure of meeting) ; but as I feel grateful for his sugges-
tion of a calico -covered basket, which I consider preferable to the
March 24, 1803]
rTHE BRITISH JOURNAL OF PHOTOGRAtriY.
189
laoquerer's " dipping " basket or my own Btiainer, I cannot refrain from
exprcBsini; re)!Tet that he should have been the subject of laeh unguarded
personality as ia contained in the Jocbnaij for March 17. — I am, yours,
&e., J- Martin.
I'hotoyraphic IVorks, Neiv Southjiate, N.
" ATTICUS' " DEFENCE— RAPID SOLUTION-MAKING.
To the Editob.
StB,— " Atticns is of no account " (so Mr. G. WatmouRh Webster says
in last week's Jouiinal), "but appears to be readily amused." True,
" Attious " is amused at times at the resurrection of old processes and
methods, and, though they be reclothed in thick material, the disguise is
often not tliick enough.
Mr. Webster, however, is very thin-skinned, for Jeven gentlemanly and
just criticism produces literary convulsions of a rather inconvenient
nature to him ; nevertheless, he must not forget that the JouBNAii is
the mouthpiece of the profession, and not that of the individual.
He charges " Atticus " with untruthfulness; therefore, and not without
reason, " Atticua " sharpens his quill to repel and repudiate the charge.
" Atticus " is accused of not knowing the difference between a dark room
and a laboratory, and that he never uses sulphite in making stock solu-
tion of pyro. This is the red herring across the trail, and it must be
left to its own natural decomposition ; but it is advisable not to go too
near during the last stages of decay.
Mr. Webster, at page 100 of the Jocbnal, says, " We 'all know that
great minds think alike. Doubtless, in our case" (i.e., Webster and
Ayres) the imention was original, whichever claims priority of publica-
tion." However, at page 164, Mr. Webster changes front, and says,
" This principle of rapid solution" {i.e., the Doulton dipping basket) "is
of historical age, and tlial he used it thirty-five years ago."
Mr. Webster insinuates that " Atticus " must " have a specially original
copy of The Buitihh Jolhnal Photographic Almanac for 1893, for it
contains statements not to be found in any other copy." The article
quoted is " Rapid Solution Making," page 668. The writer says, " His
duties consisted in making sundry solutions for stock and otherwise, i.e.,
pyro, hypo, sulphite, chrome alum," &c. He " sought out the easiest
method, and found the Doulton dipping basket a complete success, dis-
solving the substances named (pyro, hypo, &c.) in a remarkably short
time." These are the statements Mr. Webster says that cannot be found
in any other copy of this year's Almanac. The dissolving of pyrogallic
acid in a Doulton dipping basket would certainly prove, most expe-
ditious !
Finally, Mr. Webster says (page 164), " It goes without saying that the
particular application of the dipping basket is only one of a hundred
plans that may be adopted for the same end." This may, or may not,
be tall talk, but if Mr. Webster will name six practical methods, out of
the hundreds he knows of, by which rapid solution can be effected — to
meet easily and practically the wants of an every-day photographer —
and will supply the information (within a reasonable time) through the
pages of the Journal, using cold water in all cases, and not adopting
any methods already published in his or his son's articles, " Atticus "
will give half a guinea to the funds of the Photographers' Benevolent
Association. — I am, yours, Ac, Atticus.
Maicft 20, 18'J3.
"CHEAP MOUNTS: A PLEA FOR QUALITY "—THE CAP FITS.
To the Editob,
Sib,— In your Journal of the 17th inst. we notice a criticism upon the
quality of some mounts just recently circulated. It emanates from a
card manufacturer.
There is no doubt in our minds as to the criticisms being intended for
our Rootls, consequently it will be only fair if you will kindly place our
reply before your readers, most of whom will have received our samples,
and liave read the short article referred to.
Tlie mass of buyers with ordinary foresight and sense can only be
expected to buy in the market which gives them best value for their
money. The selling individuals who have only used proper discretion in
pricing their goods, and have had the good fortune after twenty years'
sleep (I'idcKip Van Winkle) to awake to the fact that tliere is room for
other players on the Tom Tiddler's ground of photo-mount makers,
cannot be blamed for entering into competition with your irate corres-
pondent, " A Card Manufacturer."
As regards cheapness, so often referred to in the article in question, we
iibmit there is no doubt the prices are not extortionate.
There is one serious allegation made, and that is in regard to the
iurability of, presumably, our mounts, which, if allowed to go uncon-
tradicted, is calculated to do us a great deal of mischief ; and as a full
answer to tliis, we are prepared to prove that our " Special Bristol Mount "
(the cheapest of those submitted) contains more pure paper than many of
the mounts now being offered by other manufacturers.
As regards "A Card Manufacturer's" interests, they are, or should be,
mutual with that of the consumer ; and asraming yoar correspondant to
be an Englishman, it is time he learned that, l^ hi* rtradanl daacent in
prices, he is helping the foreigner to the whole of a trside that could, aad
should, be kept in Ureat Britain, and that there is only one way to regain
the photographers' and dealers' confidence, viz., by giving them prices as
low as our foreign amfr'rrea for an article equally as good. This is a Kip
Van Winkle's idea of the matter. — We are, yours, Ac,
Pro WiM.is * Co. (LiiOTBl)),
The Long Acre Card Works, London, W.C. F. W. Allbm.
THE SANDELL PLATES.
To the Editor.
Sib, — Needless to say I have read with interest Mr. W. J. StillmaD's-
note on the " Sandell " plates in your last issue, and, with your per-
mission, wUl endeavour to furnish answers to the pertinent queries
contained therein.
The first question, as to whether the absence of halation is due to the
thickness of the aggregate coatings, or to the use of emulsions of varying
degrees of rapidity ? In the case of interiors, it is undoubtedly due to
the latter cause, for the triple film, although obstructing a great deal of
light, transmits amply sufUcient to powerfully react on the most sensitive
films if its reflections could pass the lower strata, which is practically
impossible.
I may say that before adopting the multiple-film plan, I tried a much
thicker film of the rapid emulsion than the combined films furnish, but
the results were in no way comparable for the rendering of contrasts.
Not only was halation obtainable, but solarisation proved an insperable
difliculty, and then the thickness of the film used required an impossible
period for fixation.
Secondly, it is not possible that there is any interchange or inter-
mingling of chemical qualities during coating, as will, I think, be. under-
stood after the following explanation. The after-coating is only applied
when the previous one is perfectly dry, and the bringing into contact of,^
say, one part of emulsion at 130^Fahr., whose setting point is some-
where between 70° and 80°, with twelve parts of dry emulsion and glass
at 60°, will furnish the reason : the setting takes place too rapidly, the
absorption of moisture by the dry film or films promoting this. Of
course I am assuming that the insoluble nature of the sensitive haloids is
understood.
I should mention the fact, well known to emulsion-makers, that the^
dried emulsion would require a prolonged digestion at 130° to cause a
remelting, and I strongly hold the opinion that there can be no migratioa
of silver haloid in a set film.
This, then, will constitute my reply to the third query also.
Proof that the light has effectively penetrated the films in my interiors
is furnished by the fact that in almost every case the maximum negative
effect is always in the lowest film. Of this result I am assured when I
find my window already apparent before development on the surface of
the plate as a negative. This, however, disappears soon after develop-
ment is commenced, a perfect positive taking its place. Then I am sure
that solarisation is complete in the upper film (i.e., for the window),,
partially so in the second film, and at this juncture the third is si tine-qud-
nan.
Under-exposure of upper film, and under or over-development of lower
films, are the only probable causes of failures with these plates. A short
or the normal exposure of a single highly sensitive film may be developed
by a normal developer ; but where strong contrasts are photographed, a
weak well-restrained developer should be used until almost sufficient
density is obtained in the highest lights, then the shadows which are
rendered on the film surface should be brought up by a strong developer.
The seeming diffidence of our experts, Sir, in discussing the plates mast
be my excuse for troubling you to this length. — I am, yours, Ac,
Thorntun Heath, March 20, 1893. J. T. Sahdell.
CONTINENTAL POSTAL REGULATIONS AND PHOTOGRAPHIC
MATTER.
To the Editor.
Sib, — It is to be desired that representations should be made to th&
Post Office authorities in England with regard to the illiberality of their
treatment of photographic matter in transmission to the Continent, as in,
this respect they are behind most of the European powers. The
Italian Post Office permits the transmission of packets of photographic
material by sample post, under limits of weight, and with the declaration
that the value does not exceed four shilUngs (five francs), and allows
them to pass unopened if inscribed " tema la luce " (must not be exposed
to the light). If, on the contrary, I order a packet of Solio paper from
England, I am told that the end of the packet must be left open, and
if it be an order, though ever so small, that it cannot go as a sample
but must be sent by parcels post or as a letter. The con8e<iuence is tbat
the cost is such as to make the order out of question, and all this little
commerce, so convenient here, is forbidden na from England, with the
effect of making us dependent on Continental supplies. This is neith
190
THE BRITISH JOURNAL OF PHOTOGRAPHS.
[Maroh 24, 1893
ior the good of trade nor the convenience of amateurs, a numerous class
nowadays on the Continent, hailing mostly from England and America,
and naturally usini? English material by preference on account of the
sizes. A dozen celluloid films, 8 x 10, sent by sample post, would cost
about sixpence, but by parcels post about two shillings more. Then the
■Custom House here always respects the caution not to open in the light,
if made intelligible to the officers, and in the Club we have a special
label—" entered "—at the Custom House, and which secures any package
or sample from being opened. In fact, the Italian Government, poor as
it is, consults the convenience of the photographer, both as to security
and expense, while the rich English Government does neither. Is there
no member of the House of Commons who is an amateur, and would
make himself the mouthpiece of the class of travelling photographers,
and help to get this abuse corrected ? As it now stands, I am often
obliged to pay, in order to get some trifling object that I may have
"immediate need for, several times the value of the article.
What would be the injury to the income of the Post Office if the
rules of the Italian Office were adopted, viz., that any article under a
kilogramme in weight, and declared of no value, should go by sample
post, and, when inscribed by the sending house as sensitive to light, to
he allowed to go unopened?— I am, yours, &e., W. J. Stillman.
Rome, March 13.
GLYCEEINE.
To the Editor.
Sir,— On starting to read "Beware of Glycerine!" by Mr. Hector
Maclean, I expected to find some reference to its nitro compounds.
" Citric or other acid " is delightfully vague, and I would remark that it
flays very little for the permanence of the platinum image it these
tuppofed acids were the cause of fading. Was it not due to a mechanical,
and not a chemical, action by the image being formed above the paper
surface f
I have tested my stock of glycerine, but find no trace of acid reaction
in a colourless commercial sample. Your correspondent can get a well-
known British brand of glycerine for the asking, and it might have saved
him from an all-too-contemptuous observation, for I can assure him more
than shams are made in Germany, with brains too. — I am, yours, &c.,
March 17, 1893. Author Sfat.
♦
TESTING THE SPEED OF SENSITIVE FILMS.
To the Editor.
Sir, — Here is a point on which I should be glad to receive instruction.
Given two sources of light, the respective actinic powers of which are as
100 to 1, will the effect on a sensitive film be the same from an exposure
either of one tenth of a second to the stronger, or of ten seconds to the
weaker light, all other surroundings being equal ? My notion is that the
blow of the one will do more than the push of the other. The behaviour
of an exposed film, when acted upon by strong and weak disturbing
lorces, is perhaps of no scientific value in determing this question ; still,
it may be worth while to remember that a very fully exposed film will be
ruined as a negative by the rapid action of a quick developer, but can be
turned to good account by the use of a less vigorous reducing agent. — I
am, yours, &c., Aholer.
March 18, 1893.
MIXED DEVELOPERS.
To the Editor.
Sib, — I read with much interest your leader on mixed developers. I
have lately been using a mixed developer — eikonogen and hydroquinone —
with very good results. Having received some metol for trial from
Messrs. Fuerst, I found that, with the formula that accompanied it, it
was impossible to get sufficient density, though the detail was excellent.
I thought I would try it mixed with hydroquinone, and made up some in
the following proportions : —
No. 1.
Metol 3 J grammes.
Hydroquinone l" ,,
Sulphate of soda 25 „
Water 200
No. 2.
Water „ 50 grammes.
Potassium carbonate 12^ „
For every sixty grammes of No. 1, I add ten to twelve of No. 2. After
mixing No. 1, and letting it stand for a few hours, there is a dense floccu-
lent precipitate, which must be filtered out. The solution then remains
quite colourless for several days, and, as a developer, gives abundant
detail, and very good density. Perhaps some of your readers who are
chemists may be able to explain the nature of the precipitate. All my
experiments were made on snap-shot exposures. I may mention that the
mount ef metol in the developer is more than the amount recommended
in the printed directions ; but this is not the reason of the improved
density, as I tried the stronger solution without hydroquinone, and found
it did not give me sufficient density. — I am, yours, &o.,
Morristown Lattin, Naas, March 19, 1893. Georoe Ma !sriEi.D.
MADDOX FUND.
To the Editor.
Sib,— I have the pleasure to acknowledge t'le receipt from Dr. A. C.
Mercer, of Syracuse, New York, U.S.A., of the sum of 16/. 8s. i'ld. for tVe
above Fund, which was closed some time ago. I have placed the money
in the hands of Dr. Maddox. The sum is contributed as follows : —
Mr. Ed. Bausch (Bausch and Lomb) .*25
Syracuse Camera Club ?55
I am yours. Ac, Andrew Pringle,
Cromwell House, Bexley Heath, S.E. Hon. Secretary.
" HONOUR AMONGST PHOTOGRAPHERS."
To the Editor.
Sir, — A paragraph in your issue of the 17th inst., entitled " Trusting
to Honour," contains the following sentence: "We should like to see
the element of 'honour' entering more largely into competition among
professional photographers than this and other recent advertisements
would indicate as prevalent." You might, Sir, without doing any one a
crying injustice, have applied your remarks to photographic assistants
also, for in no case would it have fitted more neatly than between master
and man, and in no case does the " element of honour " stand more in
need of some revivifying influence. The following is an instance within
the writer's experience, and has its bearing upon both parties :— -
An assistant accepts the offer of a permanent situation in a provincial
town, settles to work, and does his level best through a busy season. A
week before Christmas, when work has slackened, and bids fair to remain
slack for a period, he receives a week's notice without any previous warn-
ing whatever. Upon reminding his employer of the terms upon which
he came, he is informed that it is a question of ability, and that com-
plaints have been made of his work — that, in fact, he is generally in-
capable. Should he proceed against his employer for wrongful dis-
missal ? He knows by this time he has a slippery customer to deal with,
and that the chief point in his favour — viz., that no previous complaint
has been made— he has but his own bare word to support. He accepts the
inevitable, therefore,', reating his employer's mean action with the con-
tempt it deserves. The vacancy created by his departure is not again
filled until fully fully three months afterwards. This latter should be
sufficiently significant.
The consequences resultant upon the wrongful dismissal are not at first
realised by the assistant. Truly, he is out of work at a slack time, but
then he takes the optimistic view that, to a man of ability, all periods are
ahke. He finds that not only is he out of work in a slack period, but
also a period representing the beginning of two or three years' photo-
graphic stagnation. He finds his optimistic impression confirmed, in a
sense, for many will employ him, but at a wage that every right principle
rises against. He can advertise — yes, of course, he can advertise — and
in doing so, finds that his modesty is shadowed by the wants of half-a-
dozen columns of high-class assistants. He finds that he must increase
the size of the adjectives applied to his own abiUties, to compensate for
the customary cum-grano-salis application of the employer — that, in fact,
he must lie with the crowd or be ignored as a duffer. Now, strange to
say, he considers himself above the crowd in the points of ability and
honesty, and is therefore shy of scrambling for his daily bread in com-
petition amongst it. He stands on one side to allow the crowd to pass,
but, before doing so, has the last straw of obnoxious conviction forced
upon him. Upon stating his requirements to a cert jin great man, he is
met with the calm reply, " My dear sir, you cannot surely expect to
obtain such a salary now. Look at the numher of i/ood assistants out of
work ! " which is merely the equivalent of saying, " Though not slack
ourselves, we must certainly take advantage of the general slackness, and
obtain assistance at a cheaper rate than we could do at a busier time."
Pure speculation ! Miserable money-grabbing ! that brings after it a
necessary train of evils. So the assistant gasps a little at this new con-
viction, and then stands aside, mentally putting his foot down in firm
resolve to take a position to which his abilities entitle him, or to accept
none; to wait for a better time and tide over the present by giving
occasional help, though identifying himself with no man's interest. A
foolish attitude possibly, but an honest one certainly, not actuated by
self-interest only, but with a small amount of thought for his brother-
assistant in a like case. Need it be said that this assistant still leads hia
Bohemian existence ?
This case, you will doubtless say. Sir, is ordinary enough to admit of its
authenticity being taken for granted. It is not a case towards which the
writer desires to call public attention ; neither is it one upon which he
wishes to base a literary endeavour of the descriptive type ; but rather one
that he wishes to state as an evil, and suggest a partial remedy thereto.
The cause, according to the writer's belief, is the lack of orderly division
March 24, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
191
amonRst photographers, the path from tlic lowest to the highest being
one smooth, gradual ascent, instead of clearly marked steps and landing-
places. Employer and assistant lack the distinctive stamp that shall
assign to tliem a defmitc position upon the photographic scale. It has
become a qnestion, not of what a man is, but of what ho colls himself,
and owing to the absence of honour to which. Sir, you have called atten-
tion, eacii — man to master, master to man— apply a rigid forefinger to
their olfactory organs, playfully but sceptically. Each views with suspicion,
and is viewed with suspicion again, owing to the " leaven of un-
righteousness " that exists among them. The cure can only be in rein-
stating the worth of man's word, or, failing that, by " separating the
sheep from the goats," the latter being the only practicable course. I
ask you, Sir, and any of your many readers, what assistant, conscious of
the fairness of his intentions, and of the reliance that may be placed upon
his abilities, would refuse any tost Butticient to ensure him a definite and
decided position upon the photographic scale? In former times a man's
testimoniixls seemed all-sutlicicnt, but now, what with bogus testimonials,
testimonials written by employers out of pity and knowingly false, added
to those firms who refuse testimonials at all times, the written character
is looke<l upon as so much waste paper. Numbers of assistants would
raise themselves above the crowd, free from the taint of suspicion with
which they are viewed, be they never so clever, were the means but open
to them.
Let me suggest a scheme for ameliorating the condition of retouchers.
Supposing a negative presenting average difficulties were carefully chosen
by, say, the Kditor of The British Journal of Photoobaphy, and a
number of negatives reproduced from it. Supposing the same authority
were then to invite any retouchers so minded to acquire one of these
repro<lnctions by payment of a certain fee, and guarantee to assign him a
distinct position on the list of retouchers according to the work he
produces from it — intensification, reduction, and all printing processes
being optional. Supposing that this list of retouchers were made containing
a certain number of grade?, and that each competitor were assigned a
><08ition in one or the other by careful comparison with the original print.
Supposing such an idea were put into practice, would it meet with approval?
To the man who fears a comparative test it would not ; but to the genuine
assistant it must, because of the secure footing it offers him. Some one
asks, " By what means ? " When a retoucher is out of work, instead^of
advertising, he sends up a fee and has his name placed upon the "open
list." Any employer wishing for a man of ability sends in a fee and
has his name placed upon the " Open List." Every employer wishing
for a man of ability sends in a fee and obtains a copy of the "Open List."
Selecting what grade or position he pleases, he corresponds with one or
another, and is shown the piece of work that secured the position ; being
satisfied as to ability, the rest is easy.
Such, then, is the rough outline of a plan, the strong point of which is,
it once started, it must act and react upon employers and employed —
employers taking to it as the best means of obtaining genuine abihty ;
assistants taking to it as a means of proving their genuineness. The
greatest fault will be found with it as a species of monopoly, though
surely the legitimate worker has a right to a monopoly that will exclude
none but fools and rogues.
I fear Sir, that, should you consider this worthy of publication, I shall
have already occupied too much space, although I have written but a
rough outline of all I would say. The details, however, would present
little difficulty should the rough sketch meet with approval, and my
apology must lie in the importance of the defence of the honourable
portion of a not now too honourable profession. — I am, yours, &c.,
March 21, 1893. N'Importe.
["A JIAED CASE."
To the Editor.
Sra, — Would you oblige me by giving your opinion on the following,
I went apprentice to a photographer on September 10, 1887, and was
bound January i), 1888, and came out of my time January 9, 1892—
serving four years' apprenticeship. For three years I took no photo-
graphs, then he told me if anybody came while he was out I could try my
band. I did so, and during the last year I took about thirty-five sitters,
mostly i-arles, and one cabinet group of three sitters. Some of the thirty-
five I took when he was in ; he did the arranging of positions, and I the
focussing. I never did a bromide enlargement, and only a few cabinet-size
ontdoor views. He does not do his own retouching, so I tried it at home on
tbeqniet, and got on fairly wellafterreadingMr.KedmondBarrett'swritings
an the subject ; toning and printing I had pretty well practiced ; very
little, indeed, practice at mounting. My principal work was dusting,
looking after tires, and filling up picture-frames, and suchlike work.
Taking the year all round, he does a good trade and a good deal of picture
work.
My wages were 2s. M. for the first year, 3«., is., 5«. When I came
ont of my time, he asked me to stay on with him for a year or so, so that
he could push me on. I consented to do so, for if I lelt so minded to
take another place, I could not have done so, owing to my knowing so
little. He said he would take another apprentice, and keep me to the
business. He said he would give me 10s. a week for the first six months,
and 12s. for the next. I then told him that I could do a little retouch-
ing. Ho said I should try my band, and, if successfal, bo would give me
a little extra. The first week I got 12«. , next lit., next 10s. tjti.,
next 13s., then 1.5(. ; now it has got to 17s. a week. He only took an
apprentice last week. I only took five sitters during the fifteen months,
very little outdoor work— only a few traps and a chnrch, I have never
taken a whole-plate or a 12 x 10. I never tried to do a bromide enlarge-
ment till last week ; in fact, instead of improving myself, I lost what
little bit I did leatn during the last year of my apprenticeship. Once a
couple came to be taken together, and my employer was at the back, and
I went into the studio with them and started taking, and he came in and
stopped me, and said before them that I had no business starting takini;
them when he was at home ; it was all very well when he was out.
Whether right or wrong on my part, he ought not to have spoken to me
like that before them, for them to tell it about to people. A few weeks
ago I asked him to push me on, an time was getting on, and there was a.
deal of opposition in our trade, which made it more reason why I should
try and learn more. He said he could not see how he could do any
different, as nobody came when he was out, and people liked him to take-
them when he was in. Since asking him I have not taken anybody.
He does all the operating himself. This is a large county town, and we
have plenty of the working class of people in, but not even them does he
let me take.
In fact I am in such a state that if anybody came now and he was out
I could not take them, I should feel so strange, as if I taever had taken
anybody before. Of course I feel thoroughly disheartened, and my time
is no pleasant one, as I have no prospect before me. Should yon advise
me to give it up altogether and turn to some other trade, as I cannot take
another situation, as I know so little, not one-quarter as much as I did
when I came out of my time, because what little I did learn I have
forgotten ? His daughter has been away to learn retouching, finishing,
Ac, and she is coming home in September. Of course he will not want
me then. If I took every sitter from now till then, I should only just
about feel competent of doing anything like at another place. Sorry I
have made my case so long, but it will greatly oblige me by your opinion. —
I am, yours, &c. A. E. T.
March 20, 1893.
iSicl)ange iffolumm
*^^* No charge is made Jor inserting Exchanges of Apparatus in this column ;
but none will he inserted unless the article wanted is definitely stated. Those
\oho specify their requirements as **a7iy thing tise/ul" mill there/ore understand
(he reason of their twn-appearance. The full 7iame of the uiloertiser must
in all co^es be given for pahlication^ otiierwise the Exchanges will not be
inserted,
WaQte<l» first class enlar^nf? camera, larsre size, in exchange for Uarion's flye*gQinea
embossing press, with four dies, as new. — Address, W. Walkeb, Scotbolme, Not-
tinfih&m.
Electric CDpraving' machine, in perfect ordtr, with battery, offered in exchange for
12x10 field camera in good condition. — Address, E. Waitb, 10, Grundy-street,
Kadcliffe, near Manchester.
Exchange enlarging lantern, nine-inch condensers, with front lens, blow-thronffh jet
for limelight, gas ba^, pressure boards, &o., for good safety cycle, cushion or
pneumatic tyres.— Address, A, Coupe, Photographer, Withington, Manche3t«r,
anstoersJ to ©orrcspontjents.
*,* All matters intended for the text portion of this Jouknal, including
queries and Exchanges, must be addressed to " The Editor, Thb BKrrisH
Journal ok PhotoorjVPHY," 2, York-street, Covent Oarden, London. In-
attention to this ensures delay.
*»* Correspondents are informed thai we cannot undertake to answer com-
munications through the post.
*,* Communications relating to Advertisements and general butirtets affairs
shotdd be addressed to Messrs. Henbt Greenwood & Co., 2, Tork-street,
Covent Oarden, London,
Photoorapbs Reoisterkd :
Robert Jennings, Blackburn.— Pdotojiojih of Bdicard John William$.
William Kmmett, Stivlybridge.— Photojroph (•/Li«ut..Coi(meI Swtcloltom, V.D.J.P.
Underwood & Underwood, Liverpool. — Fifty.one stereoscopic photographs of tariout
subjects.
Abraliam Flatters, Oponshaw.— PJiotograph of trantcrte sectiyns of the cotton fibre <m
micrometer scale,
John Clapperton, Galashiels. — Photograph of John Dunlop, champion bi>ycl« ridtr of
ScoUaiid, and lon<j distance ridsr of the world,
Marshall George Strapps, Wisbeob.— Phofogroph of carved oak /rams reprf»««tii»(|
ineidents in the life of the Right Hon. W. E, QiadsUme.
William Wort, Sotton Coldfield. — One photograph of FronI: ifoicson, pn>/««sumai
boxer; Joseph KnowUs, trainer ; and Arthur Hto6erson, assistant trainer.
H. Mace, A. McCann, and others. — In our next.
Powder. — The powder process is folly described at pages 417, 433, and 449 of
our volume for 1888.
192
THE BRITISH JOURNAL OF PHOTOURAPUY.
[March 24, 1893
C. N. Frith. — Pressure of other engagements prevents us from availing
ourselves of the honour. Thanks, nevertheless.
G. H. DuNMOBE. — Kemit one and sevenpence and three copies of the photograph
to our publishers, who will effect the registration for you.
A. Z. (Leeds). — If it is simply a monogram you have on the cards, no licence is
needed ; but if it is a crest, then a licence will be necessary.
Sorgeon-Gexeral Cook. — 1. At the office for the sale of Patent Specifica-
tions, price 8d. 2. Mr. Andrew Pringle's address is Cromwell House,
Bexley Hiath, S.E.
P. P.— If the prints are made quite dry they will not stick to the burnisher.
But it is a good plan to lubricate them with a solution of Castile soap, one
or two grains to the ounce of alcohol.
A. E. T.— It is quite true that a patent was applied for for a " Willesden
Paper" for photographic pictures. But, so far as we know, it has not been
put upon the market. Why we cannot say.
Don. — -As the marking can be seen on the plates before they are exposed, it is
clear they are not due to carelessness on the part of the user. If the marks
are in the film, there is no way of avoiding them when developing.
<J. Gr. Ablett (Port Elizabeth). — We think the set of three photographs marked
" Pluto " entitled to first place ; but the superiority over " Coningsby's " is
only very slight. We have forwarded the photographs as requested.
<;hemist. — If you wish to know what the action of light is on silver salts, con-
sult Dr. Eder's Chemical Effect of the Spectrum. Your question as to the
' ' action of light on certain substances "is, however, rather ambiguous.
Henry Sltton, Geo. Colley, B. B. (Antwerp), F. Johnson, W. H. P., T.
H. Faulks, S. H. R. Salmon, H. C. Jennings, W. Guttenberg.— On the
abstract subject underlying yonr various communications, we think it well
not to permit any correspondence to be opened in the Journal. But this
does not apply to records of actual experiments.
Samuel Wright.— In enlarging by daylight no condenser is necessary.
Simply direct the negative itself to the sky, or place a piece of white
cardboard at an angle of forty-five degrees, so as to reflect light from the
sky upon it.
Assay. — It is, we believe, illegal to use the current coin of the realm for
making chloride of gold. But, for all that, it is often used for the purpose.
Tliose who do .so, do not always publish what they have done, we suspect.
In employing gold coin, full value in metal is ensured.
E. Artis. — 1. If you can get the lens to give a sharp image in the centre of
the picture while the margins are out of focus, it Indicates roundness of
field, and that it has been corrected for sitting figures. 2. Either the
limelight or oil, it being merely a matter of exposure.
E. D. — Unless the ]iyro solutions were made up with a preservative, we fear
they would be useless for developing purposes. You might, however, try
the effect of adding solution of soda sulphite in the proportion of lour
ounces to the ounce of pyro. Recrystallisation would not, we think, he of
much avail.
W. T. Shei'pard. — Unless an unsuitable pyroxyline was used we cannot say
what is wrong. You do not say in what way the collodion is unsatisfactory.
We should advise you to get some commercial collodion to compare that of
your own make with. Bromo-iodised collodion is quicker than that simply
iodised, when iron developer is employed.
W. Emery.— 1. In commencing photo-micrography, you will do well to confine
yourself, for a time, to the use of low powers, say, an inch and a half or an
inch. Wheu some degree of proficiency is attained with these, the higher
powers may be tried. 2. We shall be jjleased to give our opinion on the
work from time to time. 3. Slow plates to begin with.
J. Blower.— The experience is not exceptional. Prints made on rose-tinted
paper invariably change when exposed lor long to a strong light. The colour
is simply discharged by its action. Had the prints l)een kept in an album
or portfolio, they would not have changed in that way. The loss of the pink
tint is not necessarily an indication that the photograph is fading.
E. B. J. says that some of his negatives have grown some curious excrescences
something like the scales of fishes, and although they can be washed oft", they
leave a mark. He asks what they are. From the description, there is very
little doubt that it is hyposulphite of soda crj-stallising out of the film. This
could only arise from the negatives having received only the most per-
functory of washings.
■C. R. — This correspondent says that he sent a negative to a firm for an enlarge-
ment, and explained that, although he was an amateur, he was going to
supply tliis picture as a matter of business. He complains that they will
not allow him any " trade discount." Why should they ? Trade discount
when given, is only allowed to bond-Jide professional photographers, and not
to those sailing under false colours.
Frank Osborne writes : " Can you give me any information how I can make
a solution of bichromatised bitumen capable of being developeil in cold
water, or where can I find any instnictions on the bichromatised bitumen
i)rocess ? "—We certainly cannot say. We do not know how to make
bitumen soluble in water, hot or cold. Has not our correspondent made
some mistake in the matter ?
B. Hersche writes : "I have made up thirty ounces of silver bath— fifty grains
to the ounce— and added a few drops of nitric acid. I have only used it
three or four times, and it has turned quite brown— nearly black— and it
now discolours the paper. Is the bath spoilt, and how?"— Tlie bath is not
hurt. If it be shaken up with a little kaolin, and then allowed to stand for
a day or so, it will be as bright and colourless as it was at first. The kaolin
may be allowed to remain in the bottle.
H. Piquet.— 1. The price you have charged is not only "reasonable" but verv
low, much less indeed than would have been charged by the majority o"f
photographers. 2. As for the time, it was very short to execute such an
order at that season of the year. We should say you will have no difficulty
in recovering the amount in the County Court. At the hearing of the case
you had better be provided with photographic witnesses of good standing to
testify as to the reasonableness of the charges. Y'ou will recover their ex-
penses as witnesses,
William Connor says : " I am trying my hand at enamelling prints. The
way I proceed is this. I first Frencli chalk the plates. Then coat them with
collodion and allow it to dry. Next place the plates on a levelling stand
and pour on a solution of gelatine, and, after this has set and stood a few
hours, I take the prints from the washing water and squeegea them down
upon it, and I have got excellent results. But now I have got a fresh lot of
gelatine, of a whiter kind than I have hitherto used, and this, when poured
on the plate, as soon as it begins to set, becomes studded all over with littlp
holes or specks. They don't seem to show much in the prints, but still they
are there. Can you tell me the cause and how they may be preventeil ? " —
The cause is an unsuitable gelatine — one that '* pits," as many foreign
gelatines do. The defect is generally attributed to grease in the gelatine.
If a very colourless gelatine must be employed, try one of those specially
adapted for dry-plate purposes.
Affiliation ok Societies. — Meeting of delegates at seven p.m., Fridav
March 24, at 50, Great Russell-street, W.C.
Photographic Society of Great Britain. —Technical Meeting, Tuesday,
March 28. A demonstration of Platinotype Printing, by Mr. F. Hollyer.
Among the papers to be read at the Society of Arts after Easter will be one
on The Optical Correction of Photogra^yhic Perspective, by Mr. H. Van der
Weyde.
Photographic Club. — March 29, Last Lantern Meeting of the season.
April 5, Adjourned discussion on The Sandell Plate and Toning Chloride
Pnnts.
A Free Lantern Lecture.— Tlie Harringay Photographic Society will give
a lantcni lecture to-night (Friday, March 24) at Emmanuel Church, Ducket-
road, Hnrringay, entitled The Thames from Source to Sea, at eight o'clock.
Admission free ; ladies invited.
London and Provincial Photographic Association. — March 30, The
Sandell Plate, demonstration by S. H. Fry ; also Stripping Gelatine Plates
for Cnllotiipe Work demonstration by W. J. Rawlings. April 6. A paper by
Mr. 6. F. Williams on the Detennination of Plate Speeds. 13, The InHuence
of tilt. Hand Camera, paper by W. T>. Welford. Visitors are welcomed.
Croydon Photographic Exhibition. — This Exhibition, which opens on
April 5, promises to be most successful. Messrs. B. Gay Wilkinson, T. M.
Brownrigg, J. Gale, and John A. Hodges give special lantern displays on the
four evenings during which it is open. The demand for the prospectuses has
been so great that a rejirint has been necessary. Our readers should note that
Saturday is the last day to receive notices of entry, which .should be sent (no
forms iiece-ssary) to G. R. White, 55, .\lbert-road, Croydon.
Vanderweyde's Chicago Exhibits. — Mr. Vanderweyde is evidently deti-:
mined not to occupy a .secondarj- position at the "World's Fair." He i
sending nearly forty of his choicest works; many of these demonstrate tl
advantages of his photo-corrector, which he has now brought to a state of pe;
fection or almost so. The salon in which they are to !« exhibited is richl •
furnished and complete, including carpet, and, being made portable, is to 1 -
jiacked up here ready to be set up. The most imposing of his pictorial colic
tion is a truly fine work of art, the subject being Ili/patia invoking Apnlln
It is eight feet in height, and, so far as the figure itself is concerned, is quit.'
untouched. In this noble work the artist has, to our thinking, exceedc'I
himself.
A Society FOR Beverley. — A meeting of amateurs was held last week at tin-
Church Institute for the purpose of consideri^ the desirability of foniiing an
Association for the town and neighbourhood. The Rev. F. J. Hall was voted to
the chair. After some discussion, in which it was stated tliat the iiumbfi n;
amateurs locally was about fifty, and that a good organization could be ii;
augurated, it was uiianimotisly decided to form a Society under thedesignatii'-
of the " Beverley Photographic Society," and it was further agreed that tl
first field day be on Easter Monday to Bishop Burton. Any pamphlet-
samjiles, society-working rules, &c., will be gladly received by the Hoi:.
Secretaries ^ro tem., J. J. Morley and A. Pickering.
OONTIiNTS.
ELEVATING THE POINT OF VIEW .... 177
THE WEI.SBACH LIGHT FOR STUDIO
WORK 177
COMBINATION PRINTING 178
TEiMI'EUATURE IN THE DARK ROOM 180
GLYCIN. By COLONEL J. WATER-
HOUSE. I.S.C 180
AMERICAN NOTES AND NEWS 181
RULED VKItSVS ORANUL.1R GRAT-
INGS. By W. LINDSAY 182
AERIAL PEBSPECTn'E. By XANTHUS
SMITH ISS
THE INFLUENCE OK DEVELOPMENT
ON GRADATION. By H. J. CHANNON 1S3
pAflF
ON THE PRODUCTION OF BLACK
AND WHITE NEGATIVES BY MEANS
OF ARTIFICIAL LIGHT.— IV. By
T. N. ARMSTRONG Is'
NOIIMAL ASK SOLARISING DEN-
SITIES. By HUGH IIREBNER l"-'
Bough paper. By henry w.
BENNETT V''
AN ATTKACTIVE "OPTIMUS" EXHI-
BITION M
RECENT PATENTS 1»7
MEETINGS OK SOCIETIES 18'
FORTHCOMING EXHIBITIONS 1»S'
CORRESPONDENCE !«
EXCHANGE COLUMN Wl
ANSWERS TO CORRESPONDENTS lal
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1717. Vol. XL.— MARCH 31, 1893.
:multiple-coated films.
It seems nidrc than likely that the subject of multiple-coated
films will form matter for interesting discussion for some time
to come, since, underljinj,' the fact that such films prove the
most effective cure for, or preventive of, halation'that has yet
been devised, there is the question as to how the eflfcct is
protluced. Is it the mere extra opacity of the double or triple
film that prevents the rays of light penetrating to the glass,
and to be thrown back again upon the sensitive layer of
gelatine, or do the separate films of varying sensitiveness react
in some peculiar way, one upon another, in such a manner as
to contribute to, if not altogether to bring about, the result 1
Such is the question already raised, which wiU have to be satis-
factorily answered.
Double films are by no means a novelty in photography, for
if we go back to the very earliest of practical dry -plate
processes — the coUodio-albumen — we find that that was a
double-film process, a preliminary layer of silver iodide in
collodion being subsequently coated with iodised albumen,
sensitised in a })ath of silver nitrate, washed and dried. There
is, however, little analogy between the double-coated film of
to-day and that of forty years ago. The former consists of two
separate layers of sensitive gelatine, each possessing a different
•degree of sensitiveness, while in the older process the sensitive-
ness was most probably uniform throughout the whole thick-
ness of the compound film, or as nearly so as is possible with
any bath film.
The lower, or collodion film, it is true, was, per ge, quite
insensitive, being prepared in such a manner, with excess of
alkaline iodide, that exposure to light before the application of
the second or albumen film was said rather to improve the
qualities of the plate than otherwise ; but, after recoating with
iodised alliumen, and immersion a second time in the silver
bath, the sensitiveness of the iodide of silver in the under layer
of collodion was restored, and little difference, we imagine, was
to be found in the character of the film at different depths.
Even when, later on, bromide was introduced into the second
film, it is questionable whether any alteration took place in
this respect, for the albumen would more or less sink into the
pores of the collodion, and form a practically homogeneous
layer instead of being altogether isolated, as in the modern
compound films. There is, however, one very noteworthy fact
that m«y bo mentioned in connexion with the old collodio-
albumeniscd plates, namely, that, although they were by no
means remarkable for opacity, they were wonderfully free from
the defect now known as halation.
Some seventeen or eighteen years ago double films cropped
up again, this time in a purely scientific rather than a practical
form. Captain Abney published the result of a series of ex-
periments of his own, showing that if a sensitive film after
exposure were recoated with a second layer of washed collodion
emulsion, and then developed, an image would be formed upon
both films, that which had not been exposed being affected in
some peculiar manner by the chemical action proceeding in
the other. The two films in this experiment were even more
completely isolated than is the case in the modern multiple
film, as, in order to prevent the second layer of enndsion
dissolving the film upon which it was poured, as well as to
enable the two films to be afterwards separated for examination,
an intermediate layer of gum arable, albumen, or similar sul>
stance, was applied in such manner that the two films were
actually not even in contact.
It is, perhaps, only right to say that there are those who
doubt the accuracy of the observations in connexion with the
production of the image on the unexposed film, but from our
own trials we think there is little doubt that, under favoiu-able
circumstances, it does occur, though there is considerable un-
certainty as to what the precise conditions are. We have on
many occasions obtained unmistakable evidence of develop-
ment on the unexposed film, and at other times, under
apparently precisely the .same circumstances, have altoirether
failed. So that it may be said there is some doubt as to the
possibility of any action taking place between films that are
completely isolated — at any rate, in the way of setting up a
developing action when there has been no exposure. The
reverse effect might possibly occur under precisely similar con-
ditions from easily explainable causes, as w-e shall point out
later ; in other words, development might be arrested in one
film by that going on in another.
As an outcome of Captain Abney's experiments, it was
attempted to utilise the principle of double coating for the
purpose of producing composite films combining qualities that
coidd not be obtained in the same emulsion. Thus, it will be
rememliered, by those of our readers whose acquaintanceship
with photography dates back to the period mentioned, that the
great difficulty with collodion emulsion workers was to combine
extreme sensitiveness with the necessary vigour required in a
printing negative. Very sensitive emulsions could be made- —
not approaching, it is true, the films of to-day — but they were
of no practical value, owing to the impossibility of intensifying
the images they produced by any known means. On the other
hand, it was quite easy to got any desired amount of vigour in
an emulsion, but unfortunately only in conjunction with com-
parative insensitivencss.
Acting on Captain Abney's suggestion, it seemed but natural
j that, if a plate were coated, first with a slow and vigorous
194
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[March 31, 1893
emulsion and afterwards with one of the rapid and delicate
type, the difficulty would be solved, and such in a partial
manner proved to be the case ; but, owing to the troublesome
character of the double-coating process, the matter was never
at that time seriously carried out. In more recent years, since
the introduction of gelatine emulsions, numei'ous suggestions
have been made, and, we believe, at least one actual com-
mercial attempt to introduce collodio-gelatine plates — that is
to say, double films of gelatine and collodion ; but, for one
reason or another, most probably the e.\tra trouble, the matter
has never been followed up.
"While the scientific aspect, if we may so term it, of double
films has been altogether neglected, the various attempts to
utilise the principle practically have hitherto failed, and it is
only at the present junctm-o, when success has been secured in
a direction not hitherto looked for, that interest is again
aroused. The special claims made for the modern composite
films are great latitude of exposure and capability of resisting
halation, and both of these seem to be well fulfilled. The
former partly covers the ground attempted some fifteen or
sixteen years ago, when it was endeavoured to combine rapidity
with density, for the result is arrived at by the same means,
namely, combining two emulsions of widely different sensitive-
ness, and so far the rationale of the behaviour of the compound
film is intelligible.
But it is on the question of halation that discussion will
arise. This formed no part of the argument in past years, if
for no other reason than that a very large number of collodion
films would have to be superimposed before the opacity of even
a single gelatine film would be reached, and, indeed, mere
opacity was not then looked upon as a cure for the defect.
Even now, as shown by Mr. Stillman's article of a fortnight
ago, tliere are those who doubt it, while Mr. Sandell's letter of
last week expressly states that mere thickness of film does not
prevent halation.
In order to thoroughly ventilate the question, it would be
interesting to experiment with films that could be easily
sejjarated after development, in order that the action of one
upon the other might be carefully studied. For this purpose
we would suggest a gelatine film on the top. of a collodion film ;
and, if a triple film be required, let the first, or lowest, be of
albumen, sensitised in the silver bath, and thus rendered quite
insoluble. Over this might come a collodion emulsion film, as
sensitive as can be made, and over that, again, a layer of gelatine
emulsion. With such a combination we should have certainly
a wide enough variation in sensitiveness, and, for purposes of
examination, any of the layers could be easily dissolved off
without affecting the others, which is scarcely the case when
gelatine lies on gelatine.
The effect of a double film, as now used, must not be con-
founded with that referred to in connexion with Captain Abney's
experiments. There, an exposed film was supposed to transmit
some action to an entirely unexposed one during development ;
in fact, an electro-chemical action was supposed to be set up.
In the modem double or triple film each layer receives a certain
exposure, which may be sufficient for the more rapid, but not
for the others, and amongst them they make a sort of com-
promise. Whether the rapid film is able to impart extra
energy to the slower film in contact with it or not is one of the
points to be decided ; but we think there can be little doubt as
to its power — where reversal occurs — of arresting development
in the other film, and it is, possibly, in great measure to this
action that the prevention of halation is at least partly due.
LENS FOG.
In a preceding article on this subject we descanted upon
some of the most familiar causes of this little-discussed defect,
causes that might be described as mechanical. But even that
category was not exhausted by us. Let us next refer to a very
evil condition of the lens that is sometimes seen in instruments
made by opticians in the foremost rank. It is, perhaps, seen
most commonly in portrait lenses, but there are some other
particular constructions of lenses in which it is often manifest.
We refer to the condition of the external margin of the lens.
Too frequently this portion of the glass is simply smoothed in
the lathe, and the lens is then burnished or screwed into its
cell without further treatment. But we aver that there are
very few instruments worked with full aperture where this
may not on occasion produce fog. When a lens so defective is
used in the open air, or even in a well-built studio, if the
camera be placed in such a position as to receive a fair share
of light from the sky, a portion of that light will strike this
part of tlie lens, and a portion be reflected into the camera
and on the plate, and no other result but a veiled image
could be expected. Every objective worked with full aper-
ture should have each of its constituent elements carefuUy
blackened at this part to prevent injurious reflection. An
asphalt varnish will, perhaps, be as good a medium as any-
thing to use for the purpose, as, when in proper contact with the
glass surface, it practically destroys any reflection likely to
occur. That a suggestion as to a desirable varnish is not un-
necessary is proved by a lens which is before us while writing.
It is made by an eminent foreign manufacturer, the posterior
combination being of very considerable thickness, and, possibly
to lighten the instrument, coned as regards its external figure.
If it is placed in the camera without a diaphragm, there is
seen such an amount of light dispersed from the inner surface
of this cone that it would be utterly impossible to take a good
negative with it if a particle of sky light fell upon the instru-
ment. A judiciously applied coating of asphalt varnish would
destroy all this danger. But we would further add, that the
protection would be more complete if the surface were more
roughly polished instead of smoothed, and rendered like the
ground glass of the camera.
Another little-observed form of lens fog, which is almost in-
capable of cure, is that caused by internal reflection from the
various faces of the lenses on the plate itself, when a very
brightly lighted object is before the camera. Who is there
who has not attempted, say, a group of sitters against an only
available background, a whitewashed wall, and been disappointed
beyond measure at the result 1 It is true that some of the
fogginess produced under the conditions described is due also to
the illumination of the bellows of the camera from the brightly
lighted plate, but the main portion is to be credited to the lens.
For photographing under these conditions there has been sug-
gested as a remedy a preliminary staining of the surface of the
plate sufficient to allow the penetration of the image, but
insufficient to light up camera and lens with actinic light.
Turmeric or logwood solution has, we have been told, been suc-
cessfully tried. The sensitiveness is diminished, it is true,
but the light sent back upon the plate is diminished in greater
proportion ; and so the evil is abated, if not, as sometimes
may prove to be the case, entirely cured. We do not remember
ever to have seen this kind of lens fog to have been alluded
to, but it very often is produced under ignorance of its true
causes. We liave often seen another example of lens fog,
where the sun strikes the glass surface of the lens itself.
March .".I, ISO,*?]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
19/;
AVhen stopped down and the surfaces quite free from dust,
it is possible that no evil may result ; but it is not impossible,
for the internal surfaces of the lens, their marginal surfaces,
and tiie blacking of the lens tube and shade require to be in a
condition perfectly adapted to avoid the kind of reflections wo
have treated upon.
From all these descriptions of the various kinds of lens
fog, there is one obvious moral to be drawn, a large pro-
portion of them are entirely avoidable by properly screening
the lens. Tn drawing attention to this point wo are well
aware that it is no news at all to many skilled workers,
but our readers will bear us out that, whenever a body of
photographers meet for outdoor negative -taking, the majority
of lenses are not so screened, except perhaps by holding
the black cloth, or perhaps a black hat, to shade the
objectiw. And in studio work how many cameras may there
not be seen, in the very first class of establishments, with
neither screen nor shade beyond the comparatively narrow
brass rim provided by the maker. If every lens — studio and
field — were shaded off till nothing could be seen from the lens
but the paiticular object or view to be photographed, there
would be such an improvement in tbe vast majority of the
negatives taken as to amount almost to a revolution in results.
The " aoyal " Photogrraplilc Society.— In a long ad-
vertisement in a suburban paper, of a local firm of photographers,
amongst the list of imperial and royal Exhibitions at which medals
have been awarded to them, the Royal Photographic Society of
Great Britain is mentioned no less than four times. The parent
' Society is advancing rapidly now, it is true; but we were unaware
that it had obtained a Royal Charter, although we believe it is
desirous of possessing one. As the town in which this firm is
located pos-sesses an energetic photographic club, which is affiliated
with the Photographic Society of Great Britain, and whose President
is one of its Council, the advertisement will, no doubt, cause its
members some little surprise or amusement.
K{ Simplicity. — In a recent issue of an evening contemporary,
' which devotes a column to notes and queries, appeared the
following: — "Coidd any reader kindly give me a receipt for the
wet-plate or positive process." Simple'/ In due course formuliB
are given, over a signature that appears in replies to questions on
•very conceivable subject. The silver bath is two ounces of nitrate
if silver and one drachm of collodion to sixteen ounces of water.
Fifty-five grains to the ounce is a little strong for a positive bath,
most people would think. The developer contains " galacial " acetic
acid. From the wording of the query one is almost led to inquire
if the wet-collodion proceas will in the near future only be associated
with glass positives.
rine Art Ezbibition.— .Vn excellent and highly representa-
tive Exhibition of paintings, by most of the leading artists, is now-
open at St. Jude's Schoolroom, Whitechapel. It will well repay a
visit to the " fur East," as it contains selections from some of the best
collections in England. This is the thirteenth show of its kind, and,
like all its predecessors, it is highly* appreciated by the East-enders,
;ia testified by the number of visitors, the larger majority of whom, it
is worthy of remark, are of the working classes, the Exhibition being
opened on Sundays. During the few days it was open last year, it
was visited by about 80,000 persons. It closes on the 9th prox.
Judging from the specimens exhibited in the show-cases of some of
the photographers of the neighbourhood, they woidd do well to visit
the Exhibition, and profit from what they will see. The art aspect
of photography at the East-end, like that of many other parts, is
open to improvement.
The Manchester "Spy" and Photogrraphers. — A
few montlis back we were the first to commend the <S)*y for its
action in denouncing the malpractices of "Mons. Sauvy," of Man-
chester, towards his lady sitters. The Spi/'t success on that occasion,
however, seems to have been instrumental in leading to the loss of its
editor's head, if we may place any reliance on the following facts,
with which we have been furnished. In December last several cases
under the Criminal Law Amendment Act were tried against some
Bolton tradesmen, and among them was a photographer, in regard to
whom the charge was dismisstid. Tliereupon the 'Spy launched out into
a wholesale attack upon the photographer (and photographers in
general), with the result that an innocent man has been brought to
the verge of ruin by our contemporary's unmerited onslaught. We
hear with pleasure that action is to be taken against the Spi/ on
account of Mr. Alfred Cowley, of Bolton (the photographer in
question), and trust that success will attend any efforts to make good
the loss of name and position he appears to have sustained from
the Spi/'s cruel and poisonous comments.
The Apprentice System.— In our issue of last week
appeared a letter headed " A Hard Case." The case as detailed is
but typical of scores of others. We are told, though wa hope it is
not true, that some photographers, like electrical engineers, make
more profit out of their apprentices, " articled pupils," and learners,
male and female, than they do out of their legitimate business. With
them they usually get a premium for three or four j'ears, and have
the whole of the work of the establishment done for nothing, or, as
in the case mentioned, at merely nominal wages. Too often the un-
fortunate apprentice finds, at the end of his time, as the one who
w-rites does, that the whole of his time has been wasted, so far as his
knowledge of studio work is concerned — and, indeed, many other
branches of the business. A master taking an apprentice is, by law,
bound to teach him his trade, and if he does not he is liable to legal
proceedings. But, we may ask, what is there now in an ordinary
portrait business to demand a heavy premium and several years'
services except studio practice, and that, as a rule, is what the pupil
gets least of ? Plates are now bought ready for the camera. The
paper ready-prepared, sometimesjeven ready-sensitised. The enlarging
is often put out to be done, and so, frequently, is the retouching.
AVith these facts before us, and considering the present depressed
state of the business, one is naturally led to consider that the masters
who take " articled pupils " or apprentices with a premium, and
secure their services for a term of years for nothing or for a merely
nominal wage, certainly make a better bargain than do the friends of
the apprentices.
Studio Portraits with Natural Backgrrounds.—
Just now professional portraitists seem to be exercising their minds
for some novelty to introduce in portraiture to give a fillip to business
during the coming season. That something is necessary to stimidate
trade there is no question. Now, seeing that there is but little
immediate prospect of anything actually new being forthcoming, it
may be well to consider whether or not some of the older ideas, that
may almost have become forgotten, could not be reintroduced as
novelties which, in some cases, they certainly would be at the present
time. Here is a suggestion that may be useful to some photographers
at seaside places and other pleasure resorts, though less so perhaps to
others in the metropolis or other large cities. Many of our older
readers will remember a style of portraiture that was, many years
ago, introduced by Mr. Edge, whose method of vignetting was inci-
dentally aUuded to last week. It was a portrait taken in the studio,
but with a background from nature. Not a painted background
placed behind the sitter, but a veritable photograph of the scene
depicted. As these pictures were first shown there was for a time
much conjecture as to how they were producc'l. This was the way.
The portrait was taken in the studio in the ordinary way with a very
light, though not white, background. This, if we remember rightly,
was shaded oflF somewhat darker towards the bottom. When the
negative was printed an impression was obtained on a lightly tinted
ground. Next, the figure was painted over neatly with gamboge.
Then this print was exposed behind a negative of soihe suitable local
196
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[March 31, 1893
landscape view till that was sufficiently printed. In wasMng out the
free silver previous to toning, the pigment was removed. As the
paper at the first printing becomes tinted, or toned down, the back-
grounds are always subdued and not obtrusive. Further, the land-
scape negatives, to be suitable, should be kept tliin in the development
and be taken without strong contrasts of light and shade. It is
needless to remind our readers that the lighting of the sitter in the
studio should be in accoi-dance with that of the landscape picture
which has to form the background. Many visiters to the seaside during
their holidays could, no doubt, be induced to sit for their portraits if
they could be taken with natural scenery of interest in the locality.
Camera Club Conference.— The 1893 Conference will be
held in the Theatre of the Society of Arts on Wednesday and
Thui-sday, April 12 and 1;^, under the presidency of Captain
W. de W. Abney, C.B., D.C.L., R.E., F.K.S. The following is the
programme :— Wednesday, April V2, Conference at the Society of
Arts, 18, John-street, Adelphi, to be opened by the President at
3 p.m. Papers to be read from 3 p.m. to 6 p.m. in the Theatre.
1. 3 p.m., opening by the President. 2. Mr. AVilliam Taylor, Tke
EstablMing of Stand'artU. 3. About 3.4o p.m., Mr. T. R. Dallmeyer.
Lens Systejns. 4. About 4.4-J p.m., Mr. Chapman Jones, On Certainty
in FhotiMjraphy. 5. About -j.SO p.m., 3Ir. Leon Vidal, On the In-
fluenee of Photography upon Vision and vpon Works of Art, both
in respect of form and colour. 7.30 p.m., Annual Club Dinner
for members and friends. Thursday, April 13, 3 p.m., renewal of
Conference in the Theatre, Society of Arts. Papers to be read from
3 p.m. to 6 p.m. 1. 3 p.m.. Professor E. Mach, Scientific Applications
of Photograph/. 2. About 3.30 p.m., Mr. A. AV. Clayden, M.A.,
The Organization of Meteorological Photography. 3. About 4 p.m.,
Mr. Hume Nesbit, Relations of Art and Photography. 4. About
4.40 p.m., Mr. Rowland Briant, Astigmatism ami Pictorial Effect in
Photography. '). About 5.30 p.m., Dr. J. M. Eder, On the
Determination of Focal Points in the Use of Photogrammatrical
Apparatus. Renewal of Conference at 8 p.m. 1. 8 p.m., Mr. H.
Van der Weyde, The Pictorial Modification of Photographic Per-
spective (illustrations by the " Photo Corrector," the working of which
will be demonstrated). 2. 8.45 p.m., Captain W. de W. Abney,
G.B. D.C.L., R.E., F.R.S., On the Speed of Plates and other Matters.
3. 9.15 p.m., Mr. H. M. Elder, M.A., Some Notes on the Effect of
Light 'in Plates. Friday, April 14, 8 p.m.. Exhibition of Lantern Slides
in the Theatre. Special tickets are required for this Exhibition. The
annual E.^chlbition of photographs by members will be on view at the
t;lub. Charing Cross-road, after conference week. Admission, on
Tuesdavs only, from 10 to 12 and 2 to 4, by tickets from members of
Club. The Exhibition will continue for about six week. All photo-
graphers are cordially invited to take part in the Conference, The
meetings at the Society of A.rts are open to ladies.
STUDIO-BUILDING.
IL
Befoee continuing my remarks upon this subject, I should like to
ask tlxat any one with whom I am personally unacquainted would
not write to me privately for instructions and plans. I do not object
to reply when asked for a maker's name and so forth; but it is
impossible to write to everybody who may start to correspond
with me on this subject. If their wants are sufficiently interesting
for the general body of readers of this Journal, I could reply in its
pages ; but to send one or two plans and particulars of various kinds to a
.■•ingle correspondent, for example, as I was recently asked to do, is
not reasonable or right.
Enough, perhaps, having been said upon the shape of the building,
a few words may be devoted to its size and proportion. As to the
former, the two ci insiderations of /. >«. d. and surrounding conditions
ure the chief factors in arriving at a decision, for, within ordinary
bounds, the larger a studio is the greater its convenience, and the
more complete the control of the lighting. Especially is this so in
large groups, as the nearer the group is to the light aperture, if such
an expression may be permitted, the more uneven will be the lighting
of the individual members composing it. Length of studio is most
important for group-taking also, as it is likewise for full-length
portraits.
It is always advisable to have a full twenty or twenty-two feet at
least between sitter and camera, but this must not by any means be
understood as the length the studio should be. At the very lowest
estimate, two feet should be allowed for the camera, and another two
feet for comfortable working behind it. Double these allowances
would not be too much. Then, at the sitter's end, allowance
must be made for head-rest (still of occasional use in every studio)
and for movable backgrounds. For these purposes four feet is the
minimum distance to be reckoned with. We thus arrive at thirty
feet as practically the shortest length a studio should possess, if it
is to be well adapted for the various purposes a professional por-
traitist would require it for. A still longer room will naturally offer
greater facilities, but when a greater distance than here named i&
allowed between lens and sitter it will be found that atmospheric
fog — unless the air be exceptionally pure, as in some seaside places —
will too often be sufficiently manifest to cause a foggy picture. Under
all ordinary circumstances, provided the camera is not too near to
cause disproportion or distortion, crisper pictures of single subjects
are taken when the sitter is near to, rather than far off, the camera.
It need not be said, however, that increased distance gives more
harmony of proportion as regards hands and limbs.
Breadth of studio, again, is very advisable ; when there is room to
spare on each side of the sitter, there is so much greater freedom in
arranging accessories, and increased command over the light, that
it is easy to avoid that tendency to conventional positions, lighting,
and management, so fatal to originality and artistic effect of the
work produced. Granted the maximum dimensions in length already
quoted, I would, if it were in my power, much prefer to increase the
breadth than the length.
The next point I have been asked about is the length and
thickness of the window bars, the size of the glass, how to j
glaze, and other similar subjects. Taking the size of the bars first, j
I should say this is entirely a question for the architect or builder; ]
but, above all, they should be stout enough. A little loss of light |
from these bars or sashes is of no account whatever in comparison j
with the danger of leaking and the glass breaking, through the strain ;
on the binding material, be it putty or otherwise, which is certain to
be incurred when the bars are too light. It is no unfair estimai
to say that nearly one half of the leaky skylights in the country ai'
caused by tlie frames beiuir too light. Under any circumstanci-
it will be necessary, for example, to have workmen occasionally
on the roof, and, if the bars cannot sustain their weight without a
sliglit bending, it will be found that the next shower, after
the glass roof has been so invaded, will discover several leaia-
spots. The bars can be chamfered off at the inner angles without
seriously reducing their stability. I have adopted that plan with
advantage, but otherwise have always made a point of having them
sti'ong and substantial. One very valuable recommendation as to the
shape of bars has been made which, though I have not tried it, I feel
sure must be of considerable use as against possible leakage. It is
that a deep groove should be cut into the bars for their whole lengtli
on each side on their inner surfaces, so as, in the event of water
gaining admittance, to lead it away towards the eaves. It will
be observed in cases of leakages that tlie water rarely drops down
whei-e it actually enters, it usually " follows " for some distanc'
the angle of glass and bar, and \vill then, perhaps, travel alon,.
the front face of the latter before it falls. This is one cause ot
the difficultv of localising the exact spot where the leakage exists.
It will be judged from this thdt I have not been without leakages;
though certainly they have been few, and would have been fewer
still if my instructions had been carried out by the glaziers. At
this stage it will be as well to point out a very important matte:
about arranging the roof. Whether for periodical painting, or h<
carrying out alterations and reconstructions, the inevitable work
man will at times be on the roof, and it will be wise to providi
against him and for him. I have experience of the array "t
ladders and boards slung on the glass, the time wasted, and tli'
March 31, 189S]
THE BRI-WSH JOURNAL OF PHOTOGRAPHY.
197
damage done, and for many years past have arranffed a method by
■which this inconvenience could be reduced to a minimum. Each side
of my gloss roof is provided with a specially constructed ladder for
the workmen to use. The roof of my present studio is a wooden
ridge, well protected with lead, and upon this ridge the ladders rest
prevented from slipping by a pair of iron hooks, which grip the
ridge piece and prevent any danger of slipping. The ladders are
alwayn kept .m the roof ready for use, and workmen greatly
appreciate the safety and convenience of such an arrangement
These ladders have long cross pieces at intervals to rest upon the
window bars, and prevent swagging and pressing upon the glass-
further, they are guarded on the side next the glass, to prevent a
careless foot slipping through, by longitudinal laths. My present
ladders are nearly worn out through constant service, and I am
hoping to be able in the next to introduce still further little
improvements,
In addition to these ladders, the skylight bars have permanently let
into them, and projecting some distance, strong thick .screws, for the
purpose of supporting the long planks which the British workman
generally finds it necessary to employ when he is on a roof. This
prevents the surreptitious use of a naU or two, which he is to apt to
insert in the woodwork to aid in securing his paraphernalia, with
the inevitable consequence of starting: a leak. One other point as
to workmen on the roof. The studio I built before my present one
was on a lofty building overlooking a large yard, over which I had
no rights or easements of any kind. I could not build even a pro-
jecting spout, nor put out a window. In consequence, to obtain
the effect of side light, I made the wall of the studio on that side
only four feet above the floor, and then the glass roof shot up sheer
and steep till the ridge was over twenty feet high. It was ditficult to
get workmen to venture on to it, and when they were there I was
so uneasy as to their safety, that eventually I got the builder to erect
a kind of iron bar fencing the whole length of the roof against a
possible accidental fall, and, further, encroached upon the glass by
fixing a narrow wooden pathway for the workmen to pass along,
taking care to line the glass for a few inches above it with narrow
wooden strips, to avoid breakage by an inadvertent footstep. When
this was done my mind was at ease, and I found no difficulty in getting
workmen upon the steep roof.
At the risk of unduly lengthening my paper, I will here narrate a
personal experience. A plumber and glazier had undertaken the job
of putting up the fence, and, when completed, I went upon the roof
to examine and test it. I was leaning against it ; if it had given
way, I should have known nothing about it, for the drop would have
been fifty feet on to the flags, and the workman said, " You had
better not lean against it, sir, it might give way ! " He had actually
made this safety fence of narrow thin iron gas piping, further
weakened by cutting the threads for the screws which joined the
sections. I was horrified at the risk I had been in, and, I need not
say, greatly incensed at the way the work had been executed. Of
course, all thi» had to bo taken down, and a soUd iron rod put in its
place. It is so entirely possible that others might meet with a similar
experience, that it will not be thought a needless encumbrance to
have narrated this occurrence.
G. Watmocoh Webster, F.C.S.
THE INFLUENCE OF DEVELOPMENT ON GRADATION.*
My next experiment was principally directed to finding how grada-
tion was affected by length of time in development, and again I found
reason to beUeve that the conclusions of Messrs. Hurter & Driffield
did not apply under the altered and extended conditions under which
1 was working. A half-plate (plate D) was given the same series of
exnosures as before, except that the last was increased to 100,000
t.M.S., as I wished to have an example of reversal ; this 100,000
O.JI.S. patch was very distuictly darkened before development. The
plate was cut into six pieces, marked with consecutive numbers, and
four of til em were developed together in the No. 2 developer for
varying lengths of time. The 100,000 C.M.S. patch appeared before
any other, and kept the lead for some time. The other two pieces
* Ooncladed from page 185.
were treated with developer No. 1 . The following table will give
the details of the experiment and the resulting densities : —
Plate D.
Developer No. 2.
Developer No. 1.
Number of
strip.
1.
2.
8.
4.
S.
a.
Strip
5xl^4,
Time of
4
10
20
60
2
4
Development.
mius.
mms.
mine.
inin».
rams.
ming.
C.M.S.
6
1
-00
•00
•06
•43
•22
•30
•31
g
10
•00
•00
-58
1-44
•57
•87
•80
g
100
•06
•35
1-54
2-59
•80
1^19
1-20
X
1,000
-12
•71
2-08
807
•97
1^30
1-m
H
100,000
•19
•76
1-66
2-37
•90
120
1-26
The different action of the two developers is again very strikingly
apparent; a comparistin of strip •'! with strips 5 and 6 shows that very
strongly. In regard to the length of time of development, Messrs.
Ilurter & Driffield's experhiients led them to the conclusion that the
ratios between the densities, produced by varying exposures, were
always constant, and that the only difference in result to be expected
from a long time of development over a shorter one was, that all
densities would be increased, but that the increase would always be
in the same proportion all through the scale, so that the ratios would
still remain unchanged. Now, in the case of strips 5 and 6, where the
alterations in time and density are within comparatively narrow
limits,that rule proves f airly co/rect; by multiplying the smaller densities
by 1"4 (as I have shown in the last column) we obtain figures nearly cor-
respondingto those of strip 6. But the strips developed with solutionNo.
3 certainly show no evidence of their being subject to such a rule. In
every case, an alteration in the time of development has led to a
complete change in gradation, and, so far as any theory can be formed
from a single experiment, this one appears to show tliat the parts
which have received the fullest exposure are the first to develop and
the first to flag. They have a long lead at first, and are always more
and more nearly overtaken by parts less exposed as development pro-
ceeds. I mentioned that the 100,000 C.M.S. patch appeared before
any other and kept the lead for some time ; this is quite in accoi-dance
with general opinions, as it has often been noted that, when negatives
are reproduced by the reverse action of light, a positive appears at the
first stage of development, which is afterwards overpowered by the
superior density of the less exposed parts. The figures are quite in
accordance with that fact, and show that, up to the time of ten
minutes of development, no reversal had taken place. If a negative,
therefore, had received .so long an exposure (on an " Ilford Ordinary"
plate) that it amounted in some parts to as much as 100,000 C.M.S.,
it appears that the picture might still be saved and all reversal avoided
by treating the plate with developer No. 2 and stopping the action
after ten minutes. It is true that the result would be very thin, but
still a fair negative might probably be made from it by intensification.
By comparing this with some of the previous results, some idea may
be formed of the great range of exposures from which it may be
possible, by proper treatment, to produce passable negatives. If we
suppose a subject to be chosen in which the intensities of the light
vary as much as 1 : 1000 between the brightest and darkest parts, and
consider firstly such an exposure to be made on it as would give a
range equal to -1 to 100 C.M.S. by means of rather prolonged treat-
ment with the No. 1 developer, there is little doubt a fairly good
negative might be made from it on an " Ilford Ordinary." The tables
I have given show some considerable density on the 1 C.M.S. line,
and, in another experiment, an exposure of -1 C.M.S. has produced
quite distinct though thin deposit ; so that in such a negative we need
have absolutelj' bare glass nowhere, and every variation in intensity
of light through the picture would be represented by some difference
in gradation in the density of the negative. Now, if that exposure
had been increased a thousandfold, we should then have only reached
a range of exposures of from 100 to 100,000 C.M.S., and it has, I
think, been shown that even then the case would not be hopeless.
And this is taking it for granted that the piesence of either bare gla&j
or solarisation on any part of a negative would be a fatal defect,
which is not the general opinion of photographers. Of course the
possibility of obtaining the ideal " perfect negative,'' which has all the
"values" correctly represented, would not exist in these extreme
198
THE BRITISH JOURNAL OF PHOTgGRAPHY.
[March 31, 1893
cases. Messrs. Hurter & Driffield have shown how such negatives
may be made, and the principles they advance on the subject are no
doubt generally correct, although I think they will have to be
modified by the conditions that the developer must be normal in
constitution, and the time of development regulated ; but whether the
same end may be reached by other means, whether the necessary
" period of correct exposure " would be shifted in position under
altered conditions such as those I have described, or whether it would
exist at all, would require much more elaborate experiments than
mine to discover. It is interesting to note how, in the last table, the
density of the 100,000 C.M.S. gradually falls behind the others. It
is first in strip 2, between 100 and 100v> C.M.S. in the next, and
considerably less than the 100 C.M.S. patch in the strip 4 column.
The following table will give the details of another experiment in
which I endeavoured to test the action of different species of developers.
The proportions given of the ingredients represent grains per fluid
ounce (minims of ammonia), and, except as regards strips 1 and 6, I
think they are in about ordinary working proportions. Sodic sulphite
was employed in all the solutions, but, as it was unlikely to affect
gradation it has been unnecessary to give the amount used in each
case.
Plate E.
Number of Strip.
1.
2.
3.
4.
5.
6.
■•^■M
ION
"S
NffI
i-trHM
(MOarH
:|
j^
Developer.
■S 1
-of,
in
Jl
as
O a,
1
•c
1
S
11
II
is :
i
lit
*.'S '■
"S g a
5-= '3
&.&.-«!■
HCU
<!ai
a^
Ph»<-<!
^S^<
Timeef
5
8
4
10
6
38
Development.
Minutes.
Minutes.
Minutes.
Minutes.
Minutes.
Minutes.
C.M.S.
■1
•01
•02
•01
•02
•01
•00
s
•25
•03
•07
•08
•07
•03
•00
a
1
•24
•42
•47
•31
•32
•03
§.
10
•93
1^74
1^75
1-37
1^51
•44
K
H
lOO
1-38
2-66
2^75
2-22
2^42
1-12
1,000
1-48
2^86
304
2^55
2^84
1^63
100,000
1-45
2^25
2^85
1^91
2^52
1^62
A comparison of strips 1, 6, and 6 will show, once more, that very
great alteration in gradation results from altering the constitution of
the pyro developer ; but in regard to the four species of developers,
when used in normal working proportions (as in strips 2 to >5), I do
not find so much variety in the ratios as I should have expected.
These densities may be compared more conveniently by examining
their ratios when compared with a standard exposure. I have
therefore taken 10 C.M.S., which is a fairly regular exposure,
and now give the ratios of other densities when those of 10 C.M.S.
are made equal to 1, omitting, however, the results of shorter
exposures than 1 C.M.S., as the accuracy of such small figures cannot
be depended on.
Number of Strip,
1.
2.
3.
4.
5.
6.
C.M.S.
s
1
•26
•24
•27
•23
•21
•07
a
10
1^00
1^00
1-00
l^OO
1^00
1^00
Oi
100
1-43
1^53
1^57
1^62
1^60
2^55
X
H
1,000
1-59
1^64
1^74
1^86
1^88
3-70
100,000
1^56
1'29
1'34
1^39
1^67
3-68
The range of exposures used by Messrs. Hurter & Driffield would
be covered by the difference between the 10 and 100 C.M.S. lines,
and the ratios between these in regard to strips 2 to -5 certainly vary
very Uttle, not more than in similar experiments described by those
gentlemen; and even on the 1000 C.M.S. line the variation is not
great, although eikonogen is found (as it was also by Messrs. Hurter
& Drifiield themselves) to give less density th»n other developers.
The phenomenon of reversal, however, seems to be much influenced
by the species of developer used^ being far less strongly marked when
pyro has been employed ; but perhaps it is the alkali used which has
the principal influence in that matter. In strips 1 and 6, it will be
noticed, the density of the 100,000 CMS. patch is practically the
same as that of the 1000 C.M.S. I do not think, however (taking
the experiment with plate D into consideration), that this absence of
reversal is altogether owing to the composition of the developers. It
is probably mainly due to the fact that the action was not carried so far
in developing those strips as in the other cases, so that, in consequence,
the less exposed part only just reached the same density as the
100,000 C.M.S. patch ; more prolonged development might probably
have given the formera considerable advantage. Apart from reversal,
this experiment shows little difference in the actions of the various
kinds of developers, but I doubt whether other experiments may not
give very different results. The experience of Messrs. Hurter &
Driffield with para-amidophenol may, very possibly, be repeated in
other cases, and what has been found to apply to that one developer,
prove to be true of all. That is, that the special action of a developer
may be found to depend very much on the quaUty of the plate, so
that, while two species may give very similar gradations for equal
series of exposures on some makes, they may yet prove to be very
different in their effects when other plates are used. In using eikono-
gen in the autumn, on a different quality of plate, it certainly seemed
to me to have an advantage over pyro and amidol for short expo-
sures, which is not shown in this experiment with the "Ilford
Ordinary."
On the whole, I think the experiment shows that development is,
unfortunately, not so simple a matter as Messrs. Hurter & Driffield's
experiments gave good reason for believing. Considering that there
are now so many varieties of developers, every one of which may be
greatly modified by altering the proportions of its ingredients as well
as by various additions or omissions, and considering also how great
is the difference between various qualities of dry plates, it would have
been very satisfactory to have found that, after all, there was a simple
rule which applied to every case. But, as that now appears to be more
than doubtful, we have scarcely any scientific guidance to fall back
upon, and development is likely to remain a mere rule-of-thumb
matter, but it is much to be desired that those photographers who
have time on their hands will devote some part of it to an attempt to
add something to the small knowledge we now possess of the action of
developers.
I ought to mention, perhaps, that I have in all cases used the
expression "density" in the sense adopted by Messrs. Hurter &
Driffield, viz., as representing the logarithm of the reciprocal of the
transparency. A density of 1 .stands, therefore, for a transparency
of y\, ; a density of 2 for a transparency of i\ts, &c. It is the ratios
between such logarithms, and not those between the transparencies
themselves, which, if Jlessrs. Hurter & Driffield's original principle.s,
as described in the paper on Photo-chemical Investiyations, were
correct, should be unalterable (after exposure), and not at all
dependent on the method of development employed.
H. J. Channon,
FURTHER NOTES ON QUAIACOL AND ALLIED PHENO-
LOID COMPOUNDS AS DEVELOPERS FOR GELATINE
DRY PLATES.
LPhotographio Society of Great Britain.]
In May, 1890, 1 brought to the notice of the Photographic Society of
Great Britain, that guaiacol, or methyl-catechol, possessed fair powers
of developing dry plates. It cannot be recommended as a practical
developer, on account of its very strong smell, and its slow and weak
action as compared with the ordinary developers. It has, however,
recently been found useful by R. E. Liesegang as a developer for
bromide paper prints.
In a very interesting paper published in the Bulletin de la Society
Fran^aise de I'hotographie, vol. xxxvii. p. 310, Messrs. A. and L.
Lumiere, of Lyons, have given some results of their investigations
into the relations between the chemical constitution of a large number
of reducing agents, and their action on silver bromide altered by light,,
and have found that in various bodies belonging to the aromatic series
of benzene derivatives, to which most of the ordinary organic dry-
plate developers belong, certain conditions must be fulfilled in order
that they may possess the power of developing a latent image ott
silver bromide.
The principal of these conditions are r —
(a). In order that a substance of the aromatic series may act as »•
developer of the latent image, it is necessary that the benzene
nucleus should contain at least two hydroxyl groups Oil or two
amidogen groups Nil.,, or even one hydroxyl and one amidogen..
The power of developing also holds good when the molecule con-
tains a larger number of groups OH or NH,„
March .11, 1803 1
THE BRITISH JOURNAL OF PHOTOGRAPHY.
199
(6). S\ib8titutions which raav bo effected in the lyroup OH or in the
(^oup N n., destroy developing power in all cases in which at
least two of tliese groups do not remain intact in the molecule.
Now guaiacol I C„nXoH 0 P""*^^"'^ * substitution in one of
two hydroxyls, and although Messrs. Lumi&re's first experience as to
its developing p<iwer agreed perfectly with my own, the fact that it is
a developer stt^med to them opposed to the principl» laid down in (b).
They remark, however, that the guaiacol of commerce is not a per-
fectly defined product, and contains, besides methvl pyrocatechin, a
number of other substances, among -which may be some diatomic
phenols to which the developing properties may be due, and that the
question is one for further inquiry.
Is Guaiacol a DKvKLoprNG Agbnt ?
In a more recent communication to the Photographic Society of
France, Messrs. Lumiere announce that they have been able to prove
that pure guaiacol is not a developing agent, and that the developing
powers shown by certain samples are due to impurities. I have not
yet had an opportunity of seeing their paper, nor am I a sufficiently
Sood chemist to corry out an investigation on the lines they have laid
own in their first paper, even if I had the leisure to do so ; but I
have again tried my first sample of guaiacol, together with a fresher
and apparently purer one, and have also made some experiments with
creosote and creosol, which should have been made earlier, and find
that there is every probability of Messrs. Lumiere's statement being
correct as regards guaiacol. Creosote and craosol have both shown
developing powers, and even carbolic acid itself > when oxidised, shows
this power, though it does not do so when pure.
The guaiacol used in my first trials in 1890 is now quite brown and
oxidised. It is labelled "f/imiacol jmrisa" and was obtained from
Dr. Schucliardt, of Gorlitz ; but he prepares a still purer product,
which I have not tried. 1 1 would be impossible to obtain here am
absolutely pure sample, but a fresher and perfectly colourless sample
wliich came from the same source as the first, and is nominally of the
same quality, but has been with me for about a year unopened, has
also been tried and found to be a very much weaker developer than
the first sample was and now is. Whereas the brown oxidised
g-uaiacol with potash will develop a well-exposed plate with fair
rapidity and moderate intensity, the colourless sample will, under the
same conditions, only give a very weak but well-detailed image, even
ufter a very prolonged development. From this it appears highly
iirobable that an absolutely pure sample would not develop at all, and
it is possible that the slight developing action observed may be due to
the oxidising action of the air during the prolonged development, as
seems to be also the ease with carbolic acid. It may 'be noted also
that when first tried the now oxidised sample of guaiacol showed a
slight green tint with alkalies, and it now gives quite a dark green
solution, while the solution of the fresher sample in alkalies is almost
colourless, and shows no trace of green oxidation.
In these last experiments the guaiacol has been dissolved in caustic
potasli solution, about 1 c.c. of guaiacol to ■■> c.c. of a 10 per cent,
solution of the potash, and the clear solution diluted to about .3.3 c.c.
It was noticed that the old guaiacol was not so readily soluble as the new.
GuAiAC Resix.
If the developing power shown by guaiacol be not due to oxidation
products, but to some impurity, it becomes interesting to know what
that impurity is, because it may possibly be a powerful and effective
developer in itself, as it must presumably only be present in very
small quantity in the purified samples of guaiacol I have tried. The
uature of this impurity will no doubt depend on the method of pre-
paration of the guaiacol, as to which I have no information. As this
substance forms the principal constituent of beechwood creosote, and
may be obtained by fractional distillation from it, the guaiacol of com-
merce is probably obtained in this manner, but it may also be produced
by the dry distillation of guaiac resin, and by other chemical methods.
As regards guaiac resin, I find that a solution of it in aqueous
caustic potash solution is only a very feeble developer of silver bromide
I IB gelatme dry plates; the developing agent in commercial guaiacol
1 would therefore not appear to be one of the constituents of guaiac
I resin in its ordinary state, and we may look for it with better chance
j of success in creosote, some samples of which have been found to
!' possess much stronger developing powers than guaiacol.
1 By destructive distillation guaiac resin yields guaiacene (0,11,0),
gniuacol (C^H^Oj), creosol (C,H,„0„), and pyroguaiacin (C;^n„0,).
If the latter product fulfils Messrs. Lumiere's conditions, it might be
worth examination.
Crkosol a DkVKT.OI'ER.
Creosol is a colourless oily liquid, with a strong aromatic odour, not
«o pleasant as guaiacol. It is not more ssluble in water than creosote.
but mixes in all proportions -with alcohol, ether, )tlacta1 acetic acid,
and alkaline leys. The sample I have is, however, of a brownish
tinge, and is not ao soluble in alkaline solutions as guaiacol. A
developer w»» made up as follows: —
Creosol 1 c.c.
Solution of caustic potash, 10 per cent 7 c.c.
Water, to 30 c.c.
The solution of the oil was not complete, a well-exposed plate took
a long time to develop, but seemed to give fair density, which went
off somewhat in fixing. With carbonates of soda and of lithia it only
gave very weak images. It should be noted that, as in the case of
guaiacol, the specimen of creosol I have used is not pure, and th«
experiment should be repeated with the pure product, which is un-
obtainable here.
Ckeosote also has the PowEa of Development.
Creosote from wood tar is a very complex mixture of phenoloid
compounds, varying in character and quantity according to the method
of distillation employed. In Thorpe's Dictionary of Applied Chemiitry,
Mr. B. Nickels gives the following list : —
Monokydric phenols : Phenol, paracresol, xylenol or phloral.
Meihylic ethers of dihydric phenols ; Guaiacol, creosol, homocreosol,
cojrulignol.
Methylic ethers of trihydric phenols : Dimethyl -pyrogallate, di-
raethyl-methyl-pyrogallate, dimethyl-propyl-pyrogallate, and methyl-
pyrogallate.
The principal constituents are, however, guaiacol and creosol, the
former predominating in Rhenish beechwood creosote, while creosol
forms the chief constituent of creosote from Stockholm tar.
Of two samples of creosote, one " beech-tar " creosote of German
origin and the other ordinary creosote, probably English, obtained from
a local druggist, I find that both have the power of developing a
gelatine dry plate when mixed with alkali ; but, while with the
former the images obtained have been weak, those obtained with the
latter show a good printing density, and are of a good brownish
colour, free from stain or fog. The developer was made up as
follows; —
Creosote (English) 1 c.c.
Solution of caustic potash, ten per cent 6 c.c.
Water, to , 35 c.c.
With ammonia the German creosote was only slightly soluble and
developed a very weak image.
The English creosote had quite a, different smell from the German,
and more tarry. Both were only slightly yellowish in colour.
It is difficult to ascertain what is the cause of the great diflferenc»
in the developing powers of these two samples of creosote; but further
investigation may lead to its discovery and the isolation of the sub-
stance which produces it. In any case the developing powers of
creosote seem to be worth further inquiry, though it is not likely to
come into use as a developing agent in ordinary practice.
Old Cabbolic Acid has Developing Powehs.
I have also found that some very old carbolic acid (Calvert's No. 2)
which has been kept here for some years, and become brown and
oxidised, possesses distinctly marked developing powers when mixed
with potash. The colourless crystals of unoxidis-ed carbolic acid of
the same manufacture have almost no such power, though after pro-
longed development in contact with the air a feeble image becomes
visible. In this case tlie developing power is probably due to the
formation of hydroquinone and pyrocatechin under the oxidising
influence of the air.
Electkolysis of the Developers.
1 have tried some of these developers by the electrolytic method,
noticed in a recent paper on the amidol developer, published in the
December number of the Journal of the Photographic Society of India,
A solution of
Guaiacol (colourless) .5 c.c.
Caustic potash solution at 10 per cent .30 c.c.
Water, to 120 c.c.
WAS electrolysed in a voltameter with platinum electrodes about onie
inch apart, using four gravity cells giving a current of 'IS amp^rs
with a pressure of about 4-2 volts. .\t first the current through the
voltameter was about 7 milliampores with a pressure of 1'3 volt, but
it ran down steadily, and after thirty minutes was only 23 milli-
ampores, with a pressure of 8 volt. Flydrogen was given off in a
frothy form, at first fairly briskly, the yield being about -4 c.c. in five
minutes, 'G c.c. in ten minutes, I'O c.c. in twenty minutes, and l"3c.c.
in thirty minutes. The anode became coated with a brown resinous
200
THE BRITISH JOURNAL OF PHOIOGKAPHV,
[March 31, 1893
substance, wliicli stopped the current. This substance was only par-
tially soluble in alcohol -with a maroon-brown colour, and was very
similar to a deposit formed by treating English creosote with baryta
water. The same coating of the anode was noticed with silver
electrodes, and the current was almost stopped, although the coating
was very thin. The colour of the solution after electrolysis was a
light maroon-brown with greenish reflections. The developing power
of the solution was not found to be improved much by electrolysis,
though the formation of the image seemed to be somewhat ac-
celerated.
A solution of the old discoloured guaiacol with carbonate of potash
electrolysed under the same conditions gave similar results as to the
yield of hydrogen, though the current through the voltameter at start-
ing'was about 6'6 milliamperes with a pressure of 1'8 volt, and after
forty minutes was4'25 milliamperes with a pressure of 1'4 volt, which
is very much higher than in the first experiment. The yield of hydrogen
was about '3 c.c. in five minutes, "6 in ten minutes, I'O in twenty
minutes, and 1-9 in forty minutes. The solution, to start with, was a
very dark green colour, which became paler in the hydrogen tube and
still darker in the oxygen tube. The solution generally also darkened.
The anode had a reddish-brown deposit upon it. The developing
power of the solution after electrolysis was not tried till next day,
and was found to have decreased considerably.
Carbolic acid solutions electrolysed gave somewhat similar results
as to the coating of the anode with resinous matter, and the conse-
quent stoppage of the current.
A solution of : —
Old carbolic acid 8 c.c.
Caustic potash solution, ten per cent 3^ »
Water, to 120 „
was electrolysed with three dry cells giving a current of six amperes
with a pressure of 3'7o volts. The evolution of hydrogen was very
brisk, and some oxygen or other gas was given off at the anode. The
yield of hydrogen was 1 c.c. in five minutes ; 1'9 c.c. in ten minutes ;
2'6 c.c. in twenty minutes, the yield of gas from the anode in the
same time being '5 c.c. The current through the voltameter at
starting was six milliamperes with a pressure of 3'7o volts, and in
twenty minutes was six milliamperes with a pressure of I'C volts.
The solution in the hydrogen tube became lighter in colour, while that
in the oxygen tube darkened. The electrolysed solution seemed to
have considerably increased developing powers, but this is uncertain,
as it was tried under different conditions to the unelectrolysed solution.
A similar trial of fresh carbolic acid and potash in the same pro-
portions, using platinum electrodes and four gravity cells, was made.
The current through the voltameter at starting was S'TS milliamperes,
with a pressure of I'S volts. This pressure remained almost constant
for thirty minutes, but at the end of that time the current was only
3".5 milliamperes. The yield of hydrogen was '5 c.c. in five minutes ;
"9 c.c. in ten minutes ; 1'8 c.c. in twenty minutes ; 18 c.c. in thirty
minutes, and -8 c.c. of gas was given off into the oxygen tube. The
solution in the hydrogen tube remained colourless, that in the oxygen
tube took a bluish dirty violet colour, and the solution generally had
a turbid greenish tint. In a V voltameter with silver electrodes, the
anode became coated at once with a brown varnish-like substance,
and the current from six dry cells (about eight volts) barely passed
through. The solution after electrolysis had no apparent developing
power.
I have not yet been able to complete these electrolytic observations,
or to try creosote and creosol in that way.
"With the exception, perhaps, of creosote, none of the substances
experimented on appear likely to be of any practical use as developers, '
but I have thought that the fact of their having developing powers
might be worth recording, and a further investigation of the sub-
stances which cause impure samples of non-developing phenoloid
compounds to exhibit developing powers may have useful results.
Addendum.
Since the above was written, the mail has just brought the Moniteur
de la Photographie of December 1, containing Messrs. Lumiere's
last paper, in which they show that guaiacol, after thorough purifi-
cation, no longer reduces haloid salts of silver after exposure to light,
and therefore is not a developer. They made a search for the sub-
stance which communicates its developing power to guaiacol, but with-
out the slightest success; the aramoniacal liquor in which tlie crude
guaiacol was first washed develops an image, but all efforts to
isolate and nnalyt'e the active agent failed, probably because it was
only present in very minute proportions in the ammoniaeal liquid.
Tliev remark that of some substances a very small quantity is
sufficient to bring about the reduction of tilrer bromid". Forin«tancp,
a photographic plate may be developed with an iilkiliiie soliitiun of
para-amidophenol at one-ten-thousandth or less than two grains to a
quart.
As noted in my paper, my later experiments with guaiacol tend to
confirm Messrs. Lumiere's conclusion that it is not a developer.
Messrs. Lumiere do not seem to have observed with the pure product
any trace of an image which could be attributed, as I have thought
possible, to oxidation products. Consequently the faint images I
have observed with my purer sample of guaiacol, and with clear
crystals of carbolic acid, are probably due to oxidation products or
other impurities present in my samples, and not generated during
development. The question is a complicated one, and would require
much closer investigation than I am able to give it.
In connexion with the foregoing. Colonel Waterhouse has the
following on the above subject in the Journal of the Photographic
Hociety of India : —
Guaiacol, Phloeol, and Ckksols.
Since my last note, in the January number, was ^^■ritten I have
tried two fresh samples of guaiacol, one of them purified from potash
and the other an ordinary sample of English origin, obtained locally,
which seems to be very pure, judging from its freedom from colour
when mixed -with potash and the slowness with which it develops.
Both these samples have, however, undoubted developing powers, and
it seems diSicult to obtain a sample of perfect purity and without any
developing power, unless one prepares it for oneself, 'as Messrs.
Lumiere have done. It is an operation requiring more care and time
than I can give it at present.
I have also tried some other derivatives of creosote, among them
cresol, para-cresol, and phlorol, and find that, mixed with potash,
they are all capable of developing an image on a dry plate, though
not practical developers. Phlorol seems the most active, but cresol
develops without difficulty, while para-cresol only gave a very weak
image in two days. The solution of the latter in caustic potash has a
strong orange colour, which deepens by exposure to the air. It
remains to be seen if this strongly coloured solution may be turned to
useful account in conjunction with other developers. In this case
also it is probable that the developing power may be due to impurities
or oxidation products formed during the progress of development.
As it seemed possible that the impurity which confers on these
phenols the property of developing might be pyro-catechin, or some
homologous substance, an experiment was tried to ascertain how
small a quantity would suffice to bring ont an image. It was found
that a solution of one-fifty-thousandth of pyro-catechin in a one per
cent, solution of caustic potash (or about one grain of pyro-catechin
in five pints of a five-grain solution of potash) was sufficient to
develop a distinct but very weak image. It is possible that even a
smaller quantity would suffice, and under these circumstances it may
readily be understood how enormously difficult it is to obtain these
complex derivatives of wood-tar and creosote absolutely pure and free
from substances which have developing power. v,
CoLONBL J. Watkbhous'e, I.S.C.
ENLARGEMENTS PRINTED ON PREPARED CANVAS.
In the "Answers to Correspondents,'' on page 9;"i, two alternative
methods of making enlargements on prepared canvas are mentioned
as being suitable because they give permanent results — "carbon
transfers " and " dusting-on." Both are bichromate processes, and
both, although the colouring materials are permanent enough for this
purpose of being printed without the canvas being removed from the
stretcher, and for painting upon in oil colours after having been printed,
are about the most unsuitable that could be recommended.
The carbon print must be made and developed on another (the
flexible) support, and transferred to the oil-painted canvas, adopting
suitable means to secure it thereon. I have tried to, and succeeded
in, .squeegeeing the carbon tissue when printed direct on to the canvas,
and developing it there, but it will be seen at once that the risk run
of spoiling the prepared canvas by the hot water is so great that it is
not a desirable way to work, nor would any artist of note risk the de-
struction of his after-work on such a ground if he knew of it. The
coloured gelatine of more or less thickness is also so antagonistic to the
oil surface that, even when properly fixed, it is, so to speak, always
struggling to remove itself. So opposite are the two bodies that a
coating of gelatine, glue, or size, is used to prevent the preparation sink-
ing into and spoiling the appearance of the back of the canvas, and this
is sometimes done so maladroitly that pictures, especially if they are
of considerable age and kept for a lengthened period in a damp place,
will frequently scale off in large blisters as thick as egg-shells. This
takes place where the sizing which the canvas generally undergoes is.
MMch 31, 18!13]
THE BlilTlSH JOURNAL OF PHOTOGRAiriY.
■Ml-
8S preTiously mentioned, too thickly coated or the sizing too strong.
The sixe first swolls from the absorbed damp ; then, after a time, de-
composes, piving forth vapours, and the paint and canvas part com-
pany, entailing;, wliere the picture is a valuable one, no end of care,
time, and trouble in putting a new canvas on the baclt of the old and
rotted one, or otherwise removing the canvas, thread by thread and
libre by fibre, from the scale of paint and picture, and cementing that
down on a new canvas. Such a thing can bo done, l)ut never without
injury to the picture. Where a gelatine film of appreciable thick-
ness is interposed Ijetween the prepared ground and the oil colours
■which compose the picture — say, portrait — there the elements of de-
struction are laid. I have seen such an example, even with a silver
enlargement, whore gelatine in excess had been used ; the entire
picture reticulated, so that, on looking through it in sunlight, it
seemed as if pierced with a fine network just like a Meissenbach
of transparent cracks, which they were. This was one of the pre-
sent President of the Edinburgh Society's works, which he will
remember, for he condenmed it at once as unfit to leave his establish-
ment, asking my opinion of the probable cause of so unusual an
appearance, and had another executed in its stead. Awell-known
master, the late Norman Macbeth, U.S.A., a frequent contributor to
these columns. Sir Georire Watson Gordon, P.K.S.A., as well as others
who could be named, would never allow their cloths to be sized at
all, but primed on the cloth direct, almost forcing the first coat
through to attach the paint and canvas thoroughly together, just as
plaster is forced through lathing and riveted, as they call it. So
much for the association of the gelatino-carbon image with the oil-
painted portrait enlargement. How this is, or may be, produced need
not be noticed here.
The dusting-on process is one that is based on a very different
principle, the bichromatised colloid body being so treated that it
becomes hygroscopic, and in printing from a negative a negative is
the result, from a positive or transparency a positive. The print is
produced by action of the humid atmosphere upon the insolated
surface, and brushing over it a colour which sticks to the slightly
tacky surface For this purpose very finely levigated black lead is
probably the best. Gas black, or lamp black, also do well. Ivory
black is recommended, but has not been so successful in my hands.
There are also many of the other colours in powder which can be
chosen if black is too strong in tint for the painter's scheme. The
specifically lighter they are, the better will they take on the tacky
surface of the colloid composition. One great objection to the
working out of this process with any large size of plate and canvas is
the difliculty in our climate and in most work places of keeping the
air sufticiently dry and at an even equable temperature and degree
of humidity during the process of brushing on the powder. Even in
breathing upon it to confer the requisite degree of humidity, there is
the great probability if the subject is large, say up to life size— of
making one place more tacky than another, and so causing a heavy,
blurred, smeary image, which no after-working seems able to clear
This, which annoying in large subjects, is quite unfelt on small sizes,-
where the aid of a friendly open fire assists in securing images fine
enough for enamels, of which J have made several examples on opal
glass as well as on the orthodox enamel plaque. The image, when
finished from the enlargement, after washing, drying, &c., is too
delicate to stand rough work with tlje painter's brush, and must be
floated over with a coat of thin varnish, the thinner the better. All
this trouble and care must betaken to produce an image which, in
addition to its colloid nature, although that is hardened by exposure
to light in conjunction with a bichromate, yet even that which is
hardest, and also that which lias not been so affected, must retain, even
when washed free of all surplus bichromate, and such sugar, or honey,
or glycerine, or other hygroscopical addition, acted upon by acid,
alum, &c., a most undesirable quality as an intermediary between two
surfaces of oil paint, the canvas ground, and the artist's colours.
The same remarks apply to another medium which is often used
for cheap enlargements in o"il, " collodion transparencies " transferred
to the canvas, and for that class of work they should be more
strongly emphasised.
Remains now the printing of the image on the prepared canvas
ground itself, without an intermedia'ry, or only that with which the
artist paints, Avhich will allow intermixture and penetration so that the
material of which it is formed becomes one with the colours and the
ground, and that is our old and safe friend, nitrate of silver, which,
in spite of all that may be said as to permanency, is, in the method
to be described, most permanent, one proof of which may be quoted.
I was shown a short time ago by one of our best "artists one of
several such prints on canvas that had been done by myself considei^
ably over twenty years ago, which had been knocking about the studio
for all that time. It was a figure subject, copied from one of his own
designs, on 26 x 1.5 stretcher, and there was no sign of change or
fading whatever ; the whole thing was «o vigoroua that I wa.-* amaced
it did not tempt the artist to begin and finish it, and said so; but
he said, " I have already painted lialf a dozen of them, and am tired
of it, even though 1 have been asked to finish it. I'll rather paint a
new subject on the same canvas ; " and, on again calling at a later
date, it had been painted out and was ready for the new subject.
To begin with the prepared canvas itself : do not, as is the usual
photographic habit, purchase the lowest priced, " made-in-Germany "
kind of material at so many or so few pence each, or shillings a
dozen, stretchers included, land of thing ; for, if that class of stuff is
made use of for this purpose, it is almost certain to prove a failure.
Rather use, although it costs more, that material made by such old-
established London houses as Charles Roberson, Winsor «& Newton,
Newman, Lechertier, Barbe, & Cie., and people of that stamp, who
have a reputation to lose. If the buyer has a choice, take the oldest
in stock. Prepared canvas is like collodion and wine — time ripens
and improves it ; and, in selecting it, see that it is sound and some-
what elastic, and without that habit, which some over-sized rolls have
of cracking when handled, bent, or folded. Age also seems to
abolish some of the bad habits of the newer or more youthful material,
habits not suited to the best qualities of photographic printing, for
which proceed as follows : — Take the strained canvas, wash it over
with a cloth (flannel by preference) and water, using a little dry,
washed whiting along with it to remove any surface impurity, finger
marks, or grease, which often occur to sully the surface : wash clean
with water, after this, and while the painted surface is still damp rub
over and into it, with a small bit of cloth rather than a brush, or pad
of cotton, a sponge kept for the purpose does well enough, the salting
solution, which is made up of half a pint of tepid water, 40 grains
of common salt, to which add 10 drops of acetic acid and 5 grains
of previously melted gelatine. When this is dried, wliich can be
done in front of a fire, take a 30 to 40 grain solution of ammonia
nitrate of silver, the method of making which is, or should be, well
known, and with a bit of Canton flannel, or a fine sponge does as well,
having marked with a pencil round the negative or negatives, say
of the head and hands, the position they are to occupy in the picture,
those places only need to be salted and silvered, rub lightly over with
the ammonia nitrate in all directions, and dry at once in front of an
open fine. Go over the same places a second time, dry as before,
and the canvas is ready for printing. It is well to have a toard the
tliickness of the stretcher and slightly less than the inside size, to keep
the canvas level, and, having arranged this wliere the canvas can lie
flat, place the negatives in .their proper place with any little thing to
weight them, on two sides only, there is need for nothing more in the
way of pressure. The printing is very rapid, as silver printing goes,
and may be fairly well judged by the colouration of the parts outside
the negative or through the broad crosses, which should be scratched
through the film to the glass. These also assist the registration
when examining the print, which can easily be done by holding the
qdge of the negative with one hand and raising it slightly with the
other. When sufliciently printed, wash with water run on from the
tap until the surplus free silver is removed ; do not tone, as there is
no need for that, and fix with hyposulphite of soda poured on and
kept in motion till fixation. This can be determined by the simple
test of rubbing with the finger, when, if not fixed, the silver remains
fast ; but, if .-ufticiently ."o, then the silver will rub off easily under
tlie finger. All that remains is to run the tap for a few minutes, for,
the surface being itnpervious, there is nothing to retain any trace of
hypo, the infinitesimal quantity of gelatine not being able to retain any
of tlie fixing salt. The finished proof may be dried either in the
air or in front of the fire, and is then ready for the artist. I have said
nothing of the placing of the figure in the proper place, or of the
sketching in with a crayon the outline of the figure where the nega-
tive is not made sufficiently large for this purpose, but will say a few
words on the subject if that be needed. W. H. Daviks.
PHOTOGEAPHIC liVDUSTEIES— JIESSRS. MOBGWUs" & KIDD'S
WORKS AT BICHMOND.
That the present popularity of the gelatino-bromide process for enlarge-
ments is due to the efforts of Messrs. Morgan & Kidd, of Richmond, more
perhaps than to those of any other firm, will bo easily recognised when it
is understood that it is now some twelve or thirteen years since those
gentlemen began to practise and exploit this system of photographic re-
production. The artistic beauties and technical excellencies of the
bromide work which they themselves turn out to such a great extent, con-
joined to the admittedly high qualities of the now universally known
bromide paper of their own preparation, entitle them not only to recogni-
tion as among the earUest pioneers of the process, bat also to the thanks
202
THE BKITISH JOURNAL OF PHOTOGRAPHY.
[March 31, 1893
tfhotogiaphers generally for having been the means of firmly establish-
ing an enlarging method which, on ffisthetie grounds and on the score of
Tjermanence of results, has long since achieved a most favourable place in
ptiblic estimation.
The growing use of gelatino-ohloride paper may possibly tell adversely
on bromide paper for contact work in small sizes, but for enlargements
we have yet to make the acquaintance of the process which will displace
gelatino-bromide, or even challenge its pride of position. This reflection
was forcibly borne in upon us on the occasion of a recent visit to Messrs.
Morgan & Kidd's works at Bichmond, when we were favoured with the
opportunity of making a rapid inspection of many of the departments in
active operation. In what may be tei-med the exhibition gallery hang
many charming bromide enlargements on paper and opal, both plain and
coloured, which exhibit the capabilities of the process to perfection,
while, before our departure we were shown some pictures over eight feet
by four feet, intended for the Chicago Exhibition, and betraying a
delicacy of gradation, wealth of detail, and harmony of effect such as one
would expect to find in the very smallest work.
Numerous rooms are set apart for making enlargements, and in one of
these, Mr. Kidd, who kindly piloted us through the intricacies of these
many-roomed works, allowed an assistant to make a 23 x 17 enlargement
for US "while we waited," and the vignetting of the picture and the
masking off of portions of it during exposure by the deft use of a
large card with an aperture in it, was in itself a capital object-
lasson in a valuable item of photographic practice. It was also
interesting to observe how the picture was developed in a very
■shallow glass-bottomed dish with a quantity of solution which scarcely
looked enough to cover a half-plate print, let alone one the size under
treatment. Needless to say that the dish was not merely rocked, but
kept in rapid motion from side to side, so as to ensure the even flow of
the developer. Iron still reigns paramount at Eichmond, by the way.
We notice that fixing of the prints is allowed to proceed in subdued light,
that after washing they are well sponged down on an upright sheet of
glass, and that they are cleared with acetic acid. For enlarging
purposes daylight (with external reflectors) is used ; in dark weather and
at night the electric light is available.
A system of rapid contact printing, which we saw in progress, struck
us as being very ingenious, and it will be of interest to the many thou-
sands of readers of our Ai.junac, as the picture of the German Emperor
given with the volume for 1892 was printed in this manner. The
negative in a movable frame is fixed in an opening in the wall, behind
which is a Welsbach light. The frame carrying the large sheet of
bromide paper, upon which a number of exposures is mad'e, is placed in
position, the negative by a simple movement brought into contact, the
exposure given, then the negative thrown out of contact, the frame carry-
ing the paper moved, the negative again brought into contact, and the
sncceeding exposure given. At the time of our visit a large number of
prints from one of Mr. Kidd's negatives of Durham Cathedral were being
made.
Each batch of bromide paper that is made is subjected to test
exposures under a graduated screen, and a trial picture is taken bv
exposure to a test negative having the widest range of tint. One room is
set apart for the examination of the coated paper before packing ;
another for a critical review of prints before they are sent out. We saw
the operation of packing the paper in the now familiar tubes, the making
of frames for the finished enlargements, gilding, moulding, &c. (here a
department of considerable extent and importance in itself), and were
permitted to have a view of the large staff of lady and gentlemen artists
at work on bromide paper and opal and carbon pictures.
Time did not allow of our making a detailed inspection of all the
departments at Eichmond, but we were fortunate enough in passing a
considerable portion of our stay in the, rooms devoted to the latest
addition to their business which Messrs. Morgan & Kidd have made.
This is the photo-mechanical and collotype department. Of the latter
process a number of most charming specimens in various coloured inks,
liang in an annexe of what we have called the Exhibition Gallery, which
certainly take rank among the finest examples of this now favourite
process of reproduction. In the collotype section, rooms are devoted to
the coating, sensitising, and drying of the plates, the details of the process
employed being given in a short paper by Messrs. Morgan & Kidd
which we published a few weeks ago on the occasion of the demon-
stration given to the members of the Eichmond Camera Club. Both
hand and steam power are employed for the printing, the former for very
small work. The collotype machines used are those of Messrs. Schmeirs,
of Leipzig, and work up to the largest sizes ordinarily available. Ex-
amples of Messrs. Morgan & Kidd's collotype work appear in the Yachts-
man, Kiimeledge, and other publications ; and while we were at Bichmond
we were shown, among other specimens, reproductions of corals for a work
on the subject being prepared under the superintendence of Dr. Gunther,
of the British Museum. Our last Almanac, as our readers know, also
contains an example of the process, which has been highly eulogised.
As occasion requires the electric light is availed of for enlarging and
illuminating purposes throughout the establishment. The non -actinic
light employed in the enlarging rooms is of a most agreeable nature,
oiled orange paper screening the lamps. Some of the developing trays in
occasional use are of such enormous size that they can only be actuated
on a species of ball-and-socket arrangement placed on the floor to support
them. The ordinary water used at the works is drawn direct from the
adjacent Thames, and passes through a huge carbon filtering apparatus
much resembling a gasometer on legs. Asked how much paper was
coated per diem, Mr. Kidd, in preference to committing himself to any
arithmetical statement, smilingly said that the daily quantity would
last almost any photographer a lifetime.
The premises cover a large area of ground, including, as they do,
departments, in addition to those mentioned, for carbon printing, the
coating and drying of the bromide paper, plate-making, &c. The number
of rooms occupied defied our own attempts at counting, and Mr. Kidd's
memory. But we did learn that the firm employs over a hundred persons
(with the precise number of which, in contradistinction to the rooms, Mr.
Kidd humorously said every Saturday made him acquainted), and in
concluding these brief notes of a highly interesting visit we cannot more
fitly do so than with congratulations to employers and employes at the
good and cordial inter-relations which we did not fail to observe exist at
Messrs. Morgan & Kidd's works at Eichmond.
VARIOUS METHODS OF ADDING CLOUDS TO
L.lNDSCAl'ES.
These has been so much said and written on this subject that one
might think tliat everybody knew everything about it, and that the
reiteration of the oft-told tale was but so mucli wasted time and
paper. Notwithstanding this, a large percentage of those wlio
practise photography for amusement consider it either a too trouble-
some a process to adopt, or do not feel themselves sufficiently
expert to risk spoiling a print that is good in all other respects
by an addition of which they feel somewhat doubtful of properly
performing.
I am induced to make these remarks having occasionally met most
painstaking and apt amateurs who would not hesitate to spend money
and trouble over their hobby, and yet who make their prints with
quite blanli skies, or not more than .ilightly tinted, just sufficient to
tone down the glaring whiteness of the paper. This, then, is my
excuse for recapitulating the well-worn topic of liow to put clouds to
landscapes. The methods of performing this really simple process
are somewhat varied, and most of them capable of producing satis-
factory work when properly handled. The busy photographer will
undoubtedly give the preference to that plan which is most easy to do
and gives a minimum of waste. In the first place, a few words about
taking a cloud negative will not be out of place.
We must not start with the idea of a cloud negative being neces-
sarily that which will print an excellent study bi/ itself, as many
excellent pictures, from this point of view, are utterly unsuitable for
adding to landscapes. The most useful in this connexion would
probably make very poor, flat pictures by ttiemselves. Imjirimis,
find your clouds by selecting some elevated or other position wbere
there are no obstacles in the foreground or middle distance to inter-
fere with a clear and unobstructed view of the horizon. The effect
of perspective must be considered in clouds as much as in land-
scapes, and those taken with a level camera are generally the best and
most effective. A little tipping of the instrument is of no conse-
quence; but clouds, like the earth beneath tliera, are subject to the
same laws of perspective, although these laws may be violated with
less chance of attracting attention. It is preferable to set about
copying them on a right principle.
The seaside offers the very best opportunities for good cloud studies,
hut it will he observed clouds formed over the sea are somewhat
different in character to those over the land, especially as they ap-
proach the horizon. The photographer should have both kinds at
hand. With regard to the position, one looking west affords most
opportunity for effect, especially if we are desirous of moonlight or
sunset effects. Of course, clouds may be found at all points of the
compass, and those formed in the north-ea,-t or south-east are often
very Ijeautiful. A morning suiiri.se is not so good for our purpose as
an evening sunset, owing to a greater proportion of vapour and haze
than later on in the day, it being almost impossible to get sufficient
March 31, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
303
contrast in clouds if any haziness intervenes, a very little destroying
the delicate nuances of shading that add so much to the cloud beauty.
This fact makes cloud photography in towns diflicult, for there is
generally enough smoke to obliterate all clouds for some degrees
above tlie horizon, if nothing else interferes in the form of chimneys
and buildings. Clouds on the zenith are absolutely useless for any
photographic purpose, always looking manpy and out of perspective
when added to a landscape. This difficulty, no doubt, deters many
from trying to make cloud negatives. Patience and opportunity are
undoubtedly required, and a little disappointment must not be minded.
Generally siwaking, stormy weather provides the greatest variety of
forms, and quiet after the storm is usually best of all.
Very tine cumulus clouds may be secured in settled summer
weather, but the spring months generally aiford opportunities for
cloud work that should not bo neglected. Some think a mackerel sky
good for printing in ; but, as this pattern of cloud depends for its
effectiveness on tlie contrast of pearly white with deep blue, it is
somewhat disappointing in the negative. Of all patterns of clouds, a
rather dark one, with a bright edge, is most useful for combination
printing, especially if there is only a small space to till.
Our station being selected, its aspect carefully noted, there is no
alternative but to wait for the clouds to arrange themselves to suit
the fancy of the photographer. A finder in the camera is very
useful. Unfortunately, a day when the most effective grouping
occurs is often objectionable on account of wind or showers, and the
elevated position selected adds to the discomfort. Bearing this in
mind, a light, llimsy outfit is less suitable than a heavier and more
substantial one. A good waterproof cover for the apparatus will often
come in useful. It sometimes happens that the shutter of the dark
slide has to remain open for some time longer than ordinary in order
to make the exposure at exactly the right time. Extra precaution
must be taken to prevent access of 'light to the plate in the interim.
A cord tied to the camera screw, and pulled down firmly to the
ground immediately beneath by means of a peg, a stone, or a loop in
which the foot can be placed, will add considerably to the rigidity.
Any good, clear-working plate can be satisfactorily used, and should
be backed. Excessive rapidity is a drawback. A plate such as the
Ilford ordinary is quick enough with an exposure of half a second, and
with a stop about /-64 for the time. No part of the limb of the sun
should be visible in the negative if the clouds passing the sun %te to
be taken, or a dense patch of light will result, quite spoiling the
effect.
The quality of negative required is a clear, thin one, showing good
contrasts, and plenty of detail, with little density. The exposure and
development must be calculated for this effect. Any lens giving a
flat field and good definition is suitable. "Very rapid exposures are
not required, as a rule, although now and again an instantaneous one
may be necessarv ; but better results for our purpose are obtained by
longer exposures, the development being calculated accordingly. There
are so many opportunities of taking clouds when they are nearly
motionless, that such times should be selected for taking them. Owing
to their distance, a slight movement in the masses of vapour is not
noticeable on the negative with the short exposure required.
As to development, any of the usual kinds will answer. Such
combination that would be used to render white drapery will make
good clouds. Ilydroquinone answers very well, but most of mine I
have developed with pyro-ammonia well restrained. I would suggest
that the kind of development to which the photoffriipher is most used
is best. Knowing what he wants, he sets about getting it as with
any other sort of negative, and as far as I know there is no particular
treatment required. A clear, thin negative is to be tried for, so thin
that the prints over which it may be laid are distinguishable through
all biit the very densest portions. In a good diffused light (direct
sunshine must always be avoided) a cloud negative should be suffici-
ently printed in ten minutes or less. The effect of using a too dense
negative is to get a patchy effect, the dark clouds coming too dark for
the landscape, and the light ones deficient in detail. If the printing
is continued to get out detail, the whole thing will look heavy and
bad, and the picture will lack atmosphere and become worthless ; on
the other hand, a clear, thin negative will enhance the atmospheric
effect.
One great difficulty in using unsuitable cloud negatives is to so mask
the picture that the junction between the two is unobservable. It is
almost imp^iblo to do this without either letting the clouds encroach
on the distmce of the landscape and get muddled up with it, or show
a clear wliite space between the two, either of which is fatal to artistic
effect. If the printing is properly managed with suitable negatives,
I if even two or three are used, the closa»t scrutiny should fail to discover
the junction of them with the landscape, or any signs of double
I printing whatever. Edward Di'nmoek.
{To be coHcliuh'd.)
ON THE APPLICATION OF PHOTOGBAPHT TO SEISMOLOaY
AND VOLCANIC PHENOMENA.
Tbxbe is scarcely a branch of art or science that does not at the present
day call in the aid of photography, either directly or indirectly, and
seismology is no exception. It may, therefore, not be out of place, in the
case of a journal particularly devoted to this subject, to enumerate and
briefly describe the various applications of photography that have
actually been made, or that ore suggested, in connexion with earthquake
and volcanic phenomena.
Effects ok Eabthqcakks.
First, of course, we have the common application of photography to
record the effects of earthquakes and of volcanic eruptions. The value
of photographs of this kind cannot be over-estimated, but it will not be
fully appreciated till considerable time has elapsed, and until future
seismologists want to compare the effects of earthquakes and eruptions of
their time with those of the present time. We can imagine of what
value they will become if we think what we would give for an accurate set
of photographs of the effects of any historical earthquake or eruption,
say, of the last century. Undoubtedly, a hundred or two years hence,
it will be of the greatest importance to geologists to be able to compare
the condition, for example, of Bandai-san with its condition within a
few days of the eruption that blew its upper half into the air nearly five
years ago. The more rapid changes in the interior of the craters of active
volcanoes can also thus be noted with advantage. Even such secular
movements as the gradual rising or depressing of coasts may also,
perhaps, be recorded more definitely than they have been heretofore.
There is one thing that should be emphasised here, and that is the
importance of preserving systematically all photographs of the kind
mentioned, printed by some permanent process. In cases where the
photograph is of such general interest that the outside public may be
looked upon for the purchase of anything over about fifty copies, the
collotype process is, at the time of writing, to be recommended ; in other
cases the platinotype, in spite of its present comparative expensiveness,
on account of the recent great rise in tlie price of platinum. Up to the
present time, so far as the writer knows, such photographs as are of
particular seismic interest are to be found scattered through various
publications, but have not been systematically brought together in any
single collection.
CCBVATCBE OF THE SIDES OF VoLCAHOKS.
Professor John Milue has used photography in determining the curvature
of the sides of volcanoes.
That is to say, the inclination and curvature were measured from
photographs at the time in existence. In using photographs for this
purpose it is necessary to be sure that the swing back of the camera
was vertical at the time the photograph was taken, otherwise the
measurements will not accord with the truth. Now, although photo-
graphers have been pretty well drilled into appreciating the necessity of
having the swing back of the camera vertical in the case of buildings,
there are few that appreciate the necessity is oases where the subject
contains no right lines, and the greater number of photographers " tip "
the camera without bringing the swing back to the vertical again in
photographing a high mountain. This is, indeed, one of the reasons for
the commonly unsatisfactory rendering of mountains by photography.
The effect of tipping back the camera without readjusting the swing
back is to give an effect in the photograph as if the mountain were
leaning away from the camera to just the amount that the f^roimd glass
leans back. In other words, the slope of the mountain is reduced, and the
mountain is dwarfed. There may also be slight errors due to refraction.
Copying Seismogbaphic Records.
We next come to another set of uses of photography that need little
more than enumeration. Thus the record of an earthquake, by nearly
every seismograph, is scratched on smoked glass, the smoke film being
afterwards fixed with common photographic varnish. It goes without
saying that photography is the best way of obtaining copies of such
records. The blue process is most commonly used, although, in the case
of the small diagrams given by bracket and duplex pendulum seismo-
graphs, more delicate processes have a decided advantage. Except for
want of permanency, albnmeniscd paper is to be preferred to anything,
else.
It scarcely needs to be stated that photography has been useful in pro-
ducing illustrations of seismological instruments, also, in a number of
matters of detail such, for example, as the production of scales, with.finei
division than any that were readily procurable machine divided.
Pbofessob W. E. BintTOS.
(To be eontinued.)
204
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[March 31, 1893
LEICESTER AND LEICESTEBSHrRE PHOTOGRAPHIC
SOCIETY'S EXHIBITION.
The second public exhibition of photographs by members and others of
the above Society was opened on the 22nd inst. by the Mayor of Leicester
(Alderman Underwood), in the Co-operative Hall, the latter a handsome
apartment, no doubt admirably adapted for functions of a poUtical or
theological tendency, but leaving much to be desired when the object in
view is to display to the beat advantage a collection of pictures. How-
ever, arrived at length, mentally recalling a couplet well known on the
Tyne-side—
" Stairs, stairs.
Who climbs them, swears!"
at the locale selected, we are able to chronicle a distinct success for the
Leicester Society, and to congratulate them on a small but very creditable
and interesting exhibition.
Some sixteen members sent in frames, and others were contributed by
workers in various parts of the county. Dealing first with the work of
the members, it is clear that the chief honours fall easily to the President
(Mr. Porritt) and Mr. G. Bankart, both in reference to the artistic
selection of the subject and careful, tasteful, technical handling of the
negative. Mr. Porritt shows various enlargements, all excellent and
pleasing, Old Cottages at Knighton, perhaps, taking the palm. The
President's smaller work is also very good — No. 7, Roman Bridge, a
difficult subject well rendered ; No. 17, lioman Baths ; and some charming
studies in Derby and Wales, all worthy of particular notice.
Mr. Bankai't's work is so well known and so good as hardly to call for
further criticism. He contributes eighteen views — carbon prints — all, with
one exception, rather cold in tone. It is a' question whether a rigid
adherence to one tone, say, engraving black or Indian ink, is desirable; we
tliink not, and fancy that several of these fine pictures, notably the pure
landscapes, would have looked better in sepia or brown. Mr. Bankart's
carbon prints are, in quality and finish, up to anythingwe have seen in this
beautiful process. Mr. Frank Brown ghows several enlargements, all in
his best style. Mr. F. G. Pierpoint also contributes three enlargements,
all showing a considerable amount of work, but effective and pleasing,
Haddon Hall making a striking picture. Mr.Pickering (the Hon. Secretary)
is represented by a few architectural studies, all of good quality. Messrs.
Seville & Co. exhibit, with other work, a very good enlargement in bromide,
Now for a Sail— Yarmouth Beach, a familar and artistic sabjeet. Mr. J.
H. Seddon shows promise of better things to come in Views in and around
Knighton. Other exhibits by members are contributed. Messrs. S. P.
Baker, Cowdell, Robt. Frost, F. JoUiiJe, S. S. Partridge, J. Toone (whose
landscape work is the better), G. E. Woodcock, and A. W. Wilson. Mr.
T. Scotton also proved a tower of strength to the home side by his
collection of fine enlargements and architectural subjects, Lincoln and
Peterbo/viigli Cathedrals being particularly deserving of praise. The
exhibits loaned, and most of them shown at other exhibitions, comprise
work by Bernard Alfieri — The drey Baton, SnTViCt, Against the Shy, &c. ;
examples by Mr. S. Francis Clarke; some half dozen charming studies by
Mrs. Clarke ; medal pictures by A. R. Dresser ; studies and enlargements
by the Autotype Company and G. W. Wilson ACo., the latter's exhibit
including also work byF. M. Sutcliffe, the ever-welcome Jl'ater Hats and
A Stem Reality ; and Chas. Reid. Mr. J. Pike, of Leicester, sends six
frames ; Mr. Martin J. Harding, of Shrewsbuiy, some fine " bits " and
snap-shot pictures, these latter very good indeed ; Mr. Isaac Slater, of
Llandudno, six landscapes, which for detail, selection and perfect tone are
very hard to beat ; and Mr. R. Keene, of Derby, a series of his well-known
views.
Lantern slides by the President (Mr. Bankart), Mr. Wilson, Mr.
Pickering, and others, were shown on the screen at intervals during the
evenings ; vocal and instrumental music also diversifying the proceedings.
It should be mentioned that the Hon. Secretary (Mr. Pickering),
immediately after the opening ceremony, became the happy recipient, at
the hands of the Mayor, on behalf of the members, of an optical lantern
by Archer & Co. ; this lantern was used for the projections, and is evi-
dently a very fine instrument. It only remains to be said that the ex-
hibits were well arranged, that a neat little catalogue was issued, and that
the public attendance was everything to be desired.
Opiimus Spihit-level.
Messrs. Pkbkbn, Son, & Rayment are intrcdHcinp; a small spirit-
level for attaching to the side of tlie camera, and capable of being
©ur IBlJitorial 3ratle.
Stereogbaphs.
By HOBATIO N. KiHG.
Mr. King has sent us some choice stereographs, both ancient and
modern. Those of the former class are views on paper of the Bum-
ham Beeches, from collodion negatives, taken by him, in company of
the late Frederick Scott Archer, over forty years since. The nega-
tives from which these were printed must be in a state of (rood
preservation, showing, as they do, no evidence of having faded. The
others are transparencies on glass, forming views respectively in
Windsor Castle, Haddon Hall, and Hampton Court Palace. These
are backed by a matt varnish having an exceedingly fine grain.
used either laterally or horizontally, as indicated in the cut, the level
itself folding back to the side of the camera, and being observable
when in that position. It should prove a useful little adjunct.
RECENT PATENTS.
PATENTS COMPLETED.
iMrliOVEMENTS IX THE il.VNUFACTCRK OK PvKOXVLIXE SOLUTIONS AND
COMrOUNDS KOR VakNISHES AND COATINGS.
(Communicated by Frederick Crane, Bloomfleld, New Jersej', United States of
America.)
No. 6542. Joseph Sixclaib Faihkax, 433, Strand, London.
February 18, 1893.
This invention, as communicated to me by my foreign correspondent, relates
to improvements in the manufacture of pjToxyline solutions and compounds
thereof for various useful purposes ; and it refers to solutions and compounds
of a similar nature to those employed in my application No. 6543 of even date
lierewith.
The pyroxyline, or nitro-cellulose, used in the manufacture of these com-
1 lounds is of the kind or grade known as soluble pyroxylinc, and is obtained
ijy suly'ecting vegetable fibre to the action of nitric acid, or of nitric and
sulphuric acids, in a manner well known.
The solutions and compounds referred to are in a liquid, or senii-liquid, con-
dition at the time of their use or application as varnishes or coatings, and
which eventually become set and hard. The invention consists in the employ-
ment of certain known tiuids wliich have been discovered to possess tlie pro-
perty of dissolving pyroxyline at ordinary temperatures, and whicli also
impart to the pyroxyline solution or compound made by tlieir aid certain
peculiar and desirable jiroperties. For many purposes for which pyroxyline
compounds are used, and particularly where sucli compounds are used iii the
form of thin solutions for hicquei's or varnishes — or in the form of lieavier
solutions to be evaporated down to a solid film — it has been foimd especially
desirable to use a solvent for the pyroxyline which would volatilise with con-
siderable rapidity, and at the same time would not absorb water or moisture
from tlie atmospliere to any aiipreciable extent. So far as hitherto known, no
one solvent for pyroxyline combined both these properties of quiclc dryiii" aud
non-atlinity for water, and it has been customary to use a compound solvent
therefor. By this is meant a solvent consisting of several distinct substances
artiticially united for tlie purjiose of proilucing the kind of solvent required,
and this compound solvent would consist — in p,art at least — of liquids having
an allinity for water ; as, for example, methyl alcohol and acetone. The com-
pound solvent would also partly consist of non-hygroscopic liquids (not having
an affinity for water), such as amyl acetate and benzine, the two classes of
solvents being mingled in such proportions as would be necessary- — in each case
— to produce a solvent suflflciently non-hygroscopic for the use for which the
pyroxyline compound was required. ^
Now, it has been discovered, and communicated to me by my foreign corre-
spondent, that the substance commonly known to the trade as acetone oil,
when purified as hereinafter mentioned, is not only a powerful solvent of
pyroxyline, but dries with considerable rapidity : tliat it is practically non-
liygroscopic, and can be used either .alone or in combination with some miscible
and cheaper liquid (such .as ben/ine) as a solvent for pyroxyline in all
pjToxyline compounds where heretofore it has been necessary to use compound
solvents.
March 31, 1893]
THE BRITISH JOUKNAL OF PHOTOGUAl'HV.
206
This acet'Uio oil is coiiii>ose(l niainly of wliat are known us volatile ketones,
lioilinK IhIow 140° C. Those ketones may be obtained by the destructive ilis-
tillation o:' inctiilliu acetates. While a clieinically pure and dry acetate aliould
viilil a I'Urc acetone with simultaneous forniutiou of the corresponding car-
liouatt^-. tlio crude or coniiuercial acetate will yield a distilljite containing in
udditi"ii to acetone and water these higher ketones along with certain acetates
and otlur dcfoniiiositiou pnxlucts.
Tlie : •etonc :ind water liavinp l>een eliminated by the usual procenses of
fractionatifin :ind absorption witli deliydrating agents, tliere remains an oil,
which my foreign coiTe«iioudent informs me has valuable projierties.
Kor some uses, liowever, it is not necessary to remove the acetone, for it is a
solvent of pyroxyline, and, where a non-hygroscopic liquid is not required, it
is not ii!] lions to tlic comixiuml, even if present in considerable proportions,
while, it .. j.vactically non-hygroscopic solvent is desired, a small proportion of
acctiini' is rcndoicd innoxious by the pre.<ence of these non-hygroscopic higlier
boiling ketones.
Wlien t!'e acetone oil has been purified, as above stated, by removing the
1 '(ino and water, the volatile ketones remaininj; are but slightly
•Aater— that is, are practically nonliygrosiojiic — and are miscible
Ui :„ portions with [letroleum and mineral naphtlias, and many of the
other iiciuids useful in pyroxyline solutions or compounds.
It is to be understood that I do not confine myself to any particular source
for, or I'rooess of, obtaining this mixture. For example, the acetates of
calcium, iariura, strontium, lead, and jirobably others, when destructively
distilled, all decompose with the formation of ketones as an invariable
feature ; and therefore I desire to avail myself of any of the acetates as a
.source of tlie said ketone oil mixture. In applying the invention I may em-
ploy these ketones alone, or with other miscible harmonious liquids in com-
jioiinds of pyroxyline. Xor do I intend to coufine myself strictly to the
lioilin;; i)0int mentioned, but merely give the boiling point of 140° C. as one
at which the most valuable of these products will nave come over in tiav-
tion.atioK.
Having, thus outlined the invention, I will now i>roceed to specify some of
the mixtui-s aud uses to which the same may be apiplied. For pyroxyline
compouuiU to be used as Lacquers or varnishes where it is essential that tlie
film or < oating remauiing after the solvent has evaporated should be adhesive,
tough. l:aril, smooth, free from cloudine-ss, and especially where quick-drying
<iualities iw-i essential, the following formulas have been found useful : —
lf> gallons methyl alcohol or acetone.
5<i gallons petroIe\ira naphtha.
35 gallons volatile ketones or acetone oil.
25 pounds soluble pyroxyline ;
Or tor a solution required to be still more non-hygroscoipjc: —
50 gallons volatile ketones or acetone oil.
50 gallons petroleum naphtha.
'25 pounds soluble pyroxyline.
It will be understood that the consistency of tliese solutions may be varied
by usiiii: more or less pyroxyline, but the above will dry at ordinary tempera-
tures, anil will produce a varnish film having tlie desirable qualities above
mentioned, and that other substances may be combined with the above to
meet sywcial requirements.
Claims :— 1. The combination of acetone oil with pyroxyline, substantially
as aud lor the purpose hereinbefore described. "2. The combination of purified
acetone nil or higher ketones with pyroxyline to form a practically non-hygro-
scopic i|uick-drying solution, substantially as and for the purpose hereinbefore
described. 3. The combination of acetone oil, or of higher ketones, with
pyroxyline and miscible hannonious liquids, substantially as and for the pur-
IMwe hereinbefore described. 4. The combination of acetone oil, or of higher
:etones, with p)Toxyline and miscible harmonious liquids, substantially as
and in the propox'tions hereinbefore described and specified.
Impkove-mexts IX AXD nEr.ATixG TO Automatic PHOTOGUArHixo Apparatus.
No. 3014. Hbctoi! Joseph Bonavextdke Thikoitx, Boulevard
Henri IV., Paris, Fmnce.—Feljruar!/ 16, 1893.
This invention rel.ates to jihotographing .apparatus intended, on the receipt of
the desired coin, to automatically expose a sensitive plate, and thereafter
develop and produce a jwrmanent photograph thereon, and deliver the same to
the purchaser.
In the improveil apparatus, the necessary baths into which the plate is
dili]«d after exposure are arranged in a straight line, and the plate is canied,
while in each bath, by a pivoted carrier, operated by a rack movement on, or
controlled by, a carriage moving along over said series of baths.
&ich carrier, on lifting tl>e plate from the respective bath, holds the same
under a rose, while the carriage automatically opens a cock by which water is
supplied from a resen'oir to flow over the plate ; the plate is then transfen-ed
to the next carrier and immersed in the next bath. When any person desires
to be photographed, that person stands in front of the machine ami draws out
a handle, which carries back the carriage to its commencing position, lifting
the c.iver from in front of the dark chamter, ami so exjiosing a sensitive plate
in the camera by a lever action operated by the carriage. On dropping the
requisite coin into the slot, the lens is uncovered, and at the proper time
again covered. The carriage, having been as aforesaid drawn back by hand,
on 'release of the han.Ue moves gradually forward under influence of
a Weight, and imder control of a .suitable speed governor, so thit the
ejtposed plate, dropping into the first carrier, is dipped in the first
bath, and undergoes the successive operations necessary for pro<lncing a
fluislicil jihotograph by being transferred from carrier to carrier and bath
to bath, as before mentioned, untl the carri.ige arrives at the end of its
course, when the speed govenior and carrier operating racks are thrown out of
gear, so as not to oi>erate when the handle is again drawn out. In connexion
with this apparat\is I employ an electric incandescent light, of sufficient power
for illumination of the person photographed just at the time of exposure,
causing tlie mechanism to close and inteiTiipt the circuit exactly at the correct
moments, so that the electric supply may not be wasteil. I also employ a
snudl continuous electric light upon the machine ■ufficient to enable tint
instructions, 4c., to be read.
A further improvement consiitts in on electric beatina device to dry the
photographic plates previous to delivery. This device u abo internuttent,
being supplied with current at the time only at which the plate to be drieil is
passing adjacent to it. It consists of a fabric of wire warp— for instance,
cop]ier, platinum, or other convenient metal — to be heated by passage of the
current, and a weft of asbestos fibre.
iMPBOVBJIKXTS IN PHOTfH;RAPHIC C'AMBRA-S.
No. 6744. Waltkk Palmer, Westfield, Tteoiling, Berks.— /Wruory 25, 1893.
M v invention relates more especially to the photographic cstmeras known as
" hand " cameras, and has for its object to reduce the size of the camera and
to enable the focussing to be very rapidly effected.
According to my invention I employ a frame or part known as the front of
the camera (to which is attached the lens and shutter of the camera), a central
frame or jiart, and a frame or part known as the back of the camera (which is
aiTanged for the holding of the negative picture). Tliese frames or parts may
be of any convenient shape. They are connected t(^ether from iioints within
or without their sides by a system of lazy tongs, which may be applied to
either two or more sides of the camera.
The lazy tongs start from one point of attachment on any one side of the
back or front, crossing the central frame in one point within or without that
side, and ending in one point on the corresponding part of the front or back.
The systems of lazy tongs are in planes either parallel or at right or other
angles to each other, and the centres or points of attachment on which the
parts work are fixed on the front central frame and back respectively, thus
ensuring a rigid and parallel backward and forward movement of the front
and back, the central frame being at the same time maintained at the projier
distance between the front and back, no matter what may be the amount of
expansion of the lazy tongs.
The movement of the lazy tongs also enables me to arrange a convenient
focus indicator.
Within or without or both within and without the lazy tongs is a non-
actinic casing or covering, capable of expsmding or contracting with the
movement of the front and back.
Mnting^ of Societtesi*
MEETINGS OP SOCIETIES FOR NEXT WEEK.
I>ate of Mooting.
Name of Society.
April 4 Birmingham Photo. Society ...
,, 4 Beaton Photo. Society
„ 4 Brixton aud Glapham
,, 4 Bxeter .-.
„ 4 Hackney
„ 4 Herefordshire
„ 4 Lewes
„ 4 North Loudon
„ 4 Oxford Photo. Society
,1 4 Paisley
„ 4 Rotberham
„ 4 1 ShetBeld Photo. Society
„ 4 1 York
„ S Edinburgh Photo. Society
„ 5 ' Leytonstone" ,
„ 5 1 Photog^raphic Olnb
„ 5 1 Southport
„ 5 j Southsea
„ 5 1 Wallasey
„ 6 \ Binuingham Photo. Society ...
„ 6 1 Camera Clnb..-.
„ 6 j Dundee and East of Scotland ...
,, € Glasgow Photo. Association
„ 6 Glossop Dale
Hidl.
Place of Meeting.
Clob Boom, Colonnade HoteL
10, Bnshton-street, Bolton.
376, Goldharboar-lane, Brixtou.
City Chambers, Gandy-st., Exeter.
206, Mare-street, Hackney.
Mansion House, Hereford.
Fitzroy Library, Hi^h-at., Lewes.
Canonhm-v Tower, Islinftton, N.
Society'3 Booms, 136, High-street.
9, Ganze-strect, Paisley.
S, Prederick-street, Rotherham.
Masonic Hall, Surrey-street.
Victoria Hall, Goodramgate, York.
3S, Ca.stle-street, Edinburgh.
The Assembly Room;', High-roacL
Anderton's Hotel, Fleet-8treet,B.C.
The Studio, IS, Cambridge-arcade,
o, King's-road, Southsea.
Egremont Institute, Egremont.
Club Boom, Colonnade Hotel.
Charing Cross-road, W.C.
Lamb's Hotel, Dundee.
Philoso. Soc. Rooms, 207, Bath-et.
71, Prospect-street, Hidl.
Meclmuics' Institute, Leeds.
„ 6 ' Leeds Photo. Society -
„ 6 ' London and Provincial ' Champion Hotel, 15, Aldersgate-at.
„ 6 1 Oldham The Lyceum, Union-Htreet.Oldham.
„ 6 Tunbridge Wells I Mechanics' Inst., Tnnbridge Wells.
„ 7 1 Cardiff
„ 7 1 Croydon Microscopical PnblicHall.George-street.Croydon.
„ 7 Holboi-n
„ 7 j Leamington Trinity Church Boom, Morton-st.
„ 7 1 Maidstone "The Palace," Maidstone.
„ 8 1 HiiU.„ I 71, Prospect-street, HoU.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
March 23, — Mr. .K. Haddon in the chair.
Angle ok View.
Mr. Hadikix (having temporarily vacated the cliair for the pnrpo.se) soul
that Mr. Everitt stated that some ye.ars b.ack the late J. H. Dallmeyer, in a
pamphlet, had given exactly the same rule for calculating the angle of \-iew
included on a plate as he (Mr. Haddon) had done in his Almanac article. He
(Mr. Haddon) would like to say that he was ignorant of that fact. Criticising
Mr. Everitt's remark that artists sometimes placed the point of sight outside
the picture itself, and the same gentleman's nile for finding the angle included
bv measuring the distance from the iioint of sight to the furthest point of the
plate, Mr. Haddon asked, " If the rule were carrieii to an extreme, and applied
to only a small part of the picture, would it be right to say that, in the latter
case, the angle included was as great as in that of the former !"
206
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[March 31, 1803
Mr. P. EvKRiTT, in ciuotingMr. Haddon's rule, said its mistake was in tak in
tlie long' side of the plate instead of the diagonal, and quoted Professor W. K
Burton and Dr. Eder as supporting his (Mr. Everitt's) views. ^ ^ . ,
It was understood that the subject would he further discussed at a future
meeting.
The Association's Technical Lectures.— II. Cameras, Dark Slides,
AND Tripods.
Mr. Edgar Cui-ton delivered the second of the series of technical lectures
already announced. In it he showed the development of cameras in use at the
present time, describing the simple form of box camera used by Nii-pce m
1818 ; the collapsible camera ; the telescopic camera of metal, suggested by
Grubb, .and which Mr. Clifton was of opinion might be serviceable for large
sizes now. The first bellows-body cameras were made on the concertina
principle. Having shown that the Kinnear camera, introduced in 1853, had
been perpetuated in the conical-bellows cameras now in present use, Mr.
Clifton e-xhibited a modern camera of that form, also one of square form, and
dilated upon their respective advantages and disadvantages from a pr.actical
point of view. Latimer Clark's stereoscopic camera was shown and described,
and the lecture concluded with an examination of dark slides, ancient and
modem, as well as the various types of tripods.
A discussion followed, the lecturer being thanked.
The lectures, with the discussions upon them, will he ultimately published
in book form, hence the brevity of our report.
Affiliation of Fhotograpliic Societies. — Meeting of Delegates, March 24,
Mr. Edgar Clifton (Photographic Club) in the chair.— The Secretary announced
that, since the last meeting of delegates, seventeen more societies had been
admitted, bringing the total to forty-six in all. The sub-committee which had
carried out the technical lectures on photogravure presented their report, in
which they expressed an opinion that their success yields great encouragement
towards undertaking something on similar lines in the future, and that they
were very greatly indebted to Mr. Herbert Denison, and to Mr. Horace Wil-
mer, for their assistance. On the proposal of Mr. F. A. Bridge (Photogi-aphic
Club), seconded by Mr. Beckett (Hackney Photographic Society), the report
was adopted. 'The Chairman said that, owing to the lamented death of Mr.
William Bedford, it would be necessary to appoint a fresh chairman, and on
the proposal of Mr. P. Everitt (London and Provincial Photographic Associa-
tion), seconded by Mr. A. Mackie (Photographic Society of Great Britain), Mr.
Andrew Priugle was unanimously appointed. Mr. Everitt remarked tliat, up
to the present, they had not received a balance-sheet, and he was of opinion
that a regular date should be fixed upon which the annual balance-sheet should
be presented, and he would propose that the Treasurer be requested to funiish
a balance-sheet to date, and that such balance-sheet be presented at the next
meeting of delegates. After some discussion it was seconded by Mr. Mackie
and carried. The appointment of an independent Treasurer was raised, but at
the suggestion of Mr. Bridge this was deferred until the balance-sheet should
be in the hands of the delegates. The question of the organization of the
'Technical Albums was raised, and the Secretary was instructed to communicate
again with the Secretaries of the Societies in the matter. A lengthy discussion
ensued on the advisability of the AlHliation inviting a conference of Judges to
consider exhibition rules, and it was finally decided that this should be done,
and a sub-committee was appointed to arrange preliminaries, the sub-
committee to consist of Mr. Beckett and Mr. Mackie, together with the Chair-
man, Mr. Andrew Pringle, with power to add to their number.
City and Guilds of London Institute. — March 22. — A paper was read by
Mr. Stayxes on PinJwle Photoi/raphy. A special prize is being offered by Mr.
Staynes for this class of work at the forthcoming competition of the Society.
North London Pbotographic Society.— March 21, Mr. Oakley in the
chair. — A Special Lantern entertainment was given in the reailing-room at
Canonbury "Tower, when there was a large attendance of the members of the
Canonbury Constitutional Club as visitors. About 300 slides were shown,
which, with few exceptions, were of excellent quality. A selection from the
Leeds set was also shown, and some slides kindly lent by Messrs. H. M.
Hastings and Guardia were much admired. The next meeting will be on
April 11 instead of Easter Tuesday.
Harrlngay FhotograpMc Society. — March 24. — A Lantei-n Lecture, entitled
The Thaincs from Sunrce to Sea, was given by the President of the Society (Mr.
Dudley Towers), and a collection was taken for the liquidation of the debt on
Emmanuel Church.
Hackney Photographic Society. — March 21, 1893, Mr. R. Beckett pre-
siding.— Question: "Can any member give his experience of the Zokahand
camera?" Reply :" Good, as a low-priced camera. ' Question: "What lens
is best for landscape work ? " Reply : " Rapid rectilinear, or single landscape,
if it will work at/-ll." Mr. R. Beckett recommended having a lens tliat will
cover a size larger than the plate, so that it will cover when the lens is raised.
Mr. S. Herbert Fey then gave his demonstration of the Sandell plate. A
<ine9tion was asked, " If any special precautions were to be taken, such as
against the light," &c. Reply: "No." A print was handed round — the
subject showed the bright sun in one corner, boy on bicycle, rails against the
sky in the Imckground ; there was no halation.
Putney Photographic Society. — The Members' Annual Lantern Slide Com-
j)etition was held at the Society's rooms, Charlwood-road, on Monday, the 20th
inst.. Dr. W. .1. Sheppard in the chair. Mr. A. Horsley Hinton officiated as
.Judge. There were two classes, viz. , (a) Landscape and Seascape .and (6) Figure
Studies, Street Scenes, Portraiture, &c. The Society's bronze medal was given
as first and a certificate as second prize in each class. The slides, in sets of
six, having been passed through the lantern by Mr. Ovey, Mr. Horsley Hinton
awarded the prizes as follows : — Class A, first prize, Mr. H. Faulkner ; second,
Mr. A. E. Smith. Class B, first prize, Mr. W. F. Gorin : second, Mr. W.
Martin, jun. Having the power under the rules to award a silver instead of a
bronze medal to the best set should it merit tliat distinction, Mr. Horsley
Hinton stated that he had no hesitation in giving the silver medal to Mr.
Faulkner for his excellent set of landscapes.
Kichmond Camera Club.— March 20, Mr. G. W. Ramsay in the chair.— Mr.
J. R. GoTz gave an able and interesting demonstration of the treatment of the
difi'erent varieties of gelatino-chloride, and colloido-chloride pajiers of the well-
known Obernetter make. Having shortly traced the history of chloride papers
from then- first introduction by the late Mr. Obernetter in 1867, Mr. Gotz
described the different makes of Obernetter pajier now in use, and showed
finished prints upon each of them. He then proceeded to tone a number of
prints in difi'erent toning baths, such iis '-aurol" (consisting of gold, sulpho-
cyanide of ammonium, and chloride of strontium), the phosphate of gold bath,
•' Platinol," and others. Very beautiful results were obtained, especially with
the matt-surfaced paper toned with aurol. He then developed some lightly
printed pictures on colloido-chloride paper, our old friend pyro being the
agent, and toned and fixed some in a combined, nnd others in separate, baths.
Printed-out transparencies on glass and celluloid, and opals were also shown,
the same emulsion being used as for the papers ; and specimens were toned
with gold and platinum. Mr. Gotz .also showed and explained his changing
box for cut films, an admirably designed piece of .apparatus capable of holding
three dozen films.
South London Photographic Society.— March 20, the President (Mr. F.
W. Edwards) in the chair.~-A considerable number of prints for the "Winter
Work " Competition were handed in for adjudication. Mr. Bainbridge Lyon
was declared to have secured the first place with his picture entitled Roydon.
Mr. W. E. Harman's two farmyard studies, and Mr. E. J. Lester's snow-
covered trees came next in merit in the order mentioned. The judging was
done by the President, assisted by Mr. H. CJ. Banks and the Secretary. Mr.
Ransom exhibited a hand cimera called "The Queen," the invention of a South
London resident. Miss Nellie Crouch.
Brixton and Clapham Csimera Club. — M.arch 21, Annual General Meeting,
Dr. .J. Reynolds, F.R.G.S. (President) in the chair. — The statement of accounts
showed that for the year's working the income slightly exceeded the expenditure,
notwithstanding the fact th.at considerable additions had been made to the
apparatus and general stock. The new officers are as follows -.—President :
Dr. .1. Reynohls, F.B..G.S.— Vice-Presidents : Messrs. J. W. Coade, F.Goldby,
and W. H.Harrison.— 6'OTnmi«ee; Messrs. Bartrop, Butler, Dockree, Edwards,
Kent, and Levett. —//<)«. Treasurer and Curalo-r : Mr. R. G. F. Kidson, 37,
Villa-road, Brixton, S.W.—Hon. Secretary: Mr. B. E. Finder, 7, Macdowall-
road, Camberwell, S.E.
Tooting Camera Club. — March 22, Annua! General Meeting, the President
in the chair.— The Hon. Secretary read his report, and submitted Treasurer's
balance-sheet for the past year, showing a balance in hand of 3/. The follow-
ing ofticers were unanimously re-elected: President : Mr. A. H. Anderson. —
Vice-President : Mr. J. H. Beckett.— Cowi/wiWec- Messrs. H. Berber, G. H.
DoUery, W. Irwin, andR. Simmons.— ifo/i. Treasurer: Mr. C. D'E. Stowell.—
Hon. Secretary : Mr. J. F. Child.
Croydon Camera Club.— March 22, the President (Mr. H. Maclean. F.G.S.)
in the chair. — A large number of members' slides were passed through the
lantern for selection to show at the Exhibition which opens on April 5. So
numerous were the slides that, after nearly three hours, the further completion
of the task was adjourned to March 29. The slides submitted were limited to
such as would illustrate the following subjects ;— " A Trip on the Continent,"
"In and About Croydon," " Holid.ays by the Sea," and " Rural Surrey,"
which will be respectively the titles of the sets shown by the members on the
four evenings of the Exhibition, in addition to those of Messrs. Gale, Wilkin-
son, Brownrigg, and Hodges. Messrs. Ryan and Hereford were elected
members.
Ashton-under-Lyne Photographic Society.— Miirch 20.— Mr.L. E. Moroax,.
of Messrs. Fuerst Brothers, London, gave a demonstration of Amidol beeeloper.
Mr. Morgan said that amidol was a new developer of one solution, and was
very useful for the tourist. He also showed its working by develojnng a half-
plate negative, a bromide print, and also a lantern slide exposed in the room.
One of the members brought a quarter-plate negative he had exposed during
the day, which Mr. Morgan developed very successfully.
March 23. — Mr. J. T. Lees gave a lecture on Photographic Opti's. He ex-
plained the difi'erent forms of lenses by means of a large number of diagrams,
also the use of the stop, and why and when it ought to be used. His lecture-
was very instructive, and of great benefit to the members present.
Glasgow Photographic Association.— March 23, Mr. William Lang, jun.,
F.C.S. President, in tlie cluair. — The lecturer was Mr. J. Buchanan, who gave
a very 'interesting and graphic account of his personal experiences of Cliili and
Chilian civil war. Gold mining and prospecting in the Andes were fully de-
scribed, as was also the nitrate industry. The lecture was illustrated with a
large series of slides from photographs ttikeii by the lecturer, seme showing the
bombardment of the towns by the Heet : others, gold mining and nitrate opera-
tions on the Andes, at a height of 10,000 feet above sea level. At the close,
Mr. Buchanan was awarded a vote of thanks.
Photographic Society of Japan.— February 3.— Dallmeyer's new "tele-
photographic" lens was shown and explained by Mr. W. K. Buiton. The
lens consisted of a Dallmeyer patent portrait lens, with a back attachment in
the form of a diverging lens of short focus. Tlie lens gives an image many
times larger than can be got by an ordinary lens, with the same extension of
the camera ; moreover, liy making certain adjustments, the focal length of the
combination can be changed at will, so that, within very wide limits, any size
of image that w.as desired could be obtained. For example, a photograph of
Ueno, from Kaga Yashiki, had been taken on a 12x10 plate, with a single
rapid rectilinear lens of sixteen-inch focus, and a photograph had been made
with the new "tele" lens, adjusted so as to have the same back focus The
photograph taken with the rapid symmetrical lens showed half of the race-
course with the hill behind ; but the whole of the griind stand could not findi
room on the plate with the " tele " lens. Mr. Burton had been successlul from
his very first experiment, but had to admit that he had found some difiiculty
in making the adjustment for correcting spherical .aberration when the focus of
the lens was changed. This difiiculty he had no doubt, however, he could
overcome. It was necessary to ensure absolute steadiness of the camera, as the
slightest motion resulted in lack of definition. The lens shown was mounted;
March ;!1, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
207
u aluminium, and was cxt ordinarily lijfht. Negatives taken on the
' Sandell " plato were shown, an 1 an explanation of the platis was given. Tlie
Bute was ooatid witli several tllms of the emulsion, one over the otiier. Next
le glass was a film of very slow emulsion ; on the surface, one of the highest
8ensitivene.ss. It seemed impossible to get halation with this plate. The ex-
planation of this lay in tlie fact that a very slow eniulsiou transmits red liglit
only, so that no lii'tinic light can reach the back of the gl;uia to Iw reflected
therefrom. Further than this, if under-exposure were avoided, it was not of
mucli consequence how long an exposure was given. If the upper film were
«Ter so iinicli over-exposed — even sol.irised— it was only necessary to continue
development till an image was developed in the film Iwlow. "f lie fog of the
upper, overexposed film could be removed by a reducer.
♦
FORTHCOMING EXHIBITIONS.
April 5-8 *C'roydon Camera Club, Brnithwaite Hall, Wellesley-
road, Croydon. Hon. Secretary, G. R. White,
65, Albert-road, Croydon.
„ 10-29 ♦Crj'stal Palace. The Executive, Crjstal Palace, S.E.
„ 12-15 *Bolton Photographic Society. Hon. Secretary, J. E.
Austwick, 10. Rushton-street, Bolton.
„ 17-29 'Photographic Society of Philadelphia. Hon. Secretary,
R. S. Redfleld, 1601, Callowhill-street, Philadelphia,
U.S. A.
.M;iv4-i) *Forfarshire Photosrraphic Association. Hon. Secretary,
W. J. Anckorn, West Port, Arbroath, N.R
* Signifies that there are open classes.
♦
EAPID SOLUTION MAKING.
To the Editor.
Sir, — In response to the challenge of " Attions," I herewith send you
tlie required list in a sealed envelope, merely premising, firstly, that,
before opening and publishing it, you satisfy yourself that the money
\(t11 be forthcoming if the adjudication be against that correspondent ;
and, secondly, that " Atticus " consents to your adjudication being final.
With regard to such other part of his letter not thus touched upon, I
can only say his quotations are mainly incorrect or garbled, and his
statements mainly incorrect. The original article referred to, and the
letter of "Atticus," are all published, and any one sufficiently interested
to refer to them can gee that. I am stating pure facts. " Atticus "
refers to " gentlemanly and just criticism." I think the space of the
JooBtiAL would be less wasted if he confined his remarks to subjects he
was familiar with.
As to Messrs. Martin, I at once accept their disclaimer as intending a
covert sneer, but I must say that I think any ordinary reader would see
it as I did ; but, it the paragraph quoted from their first letter on the
subject had used the words of this last, " photographers uninstructed in
chemical manipulations," no objection would have been raised.
I regret that Messrs. Martin still persist in accusing me of making a
false claim in the same breath that disclaims any such act. They say,
quoting me, "What is this but a claim to having invented an article on
sale at Doulton's?" I reply I made no such claim, for, if I did, it would
he false ; the words I use hear no such interpretation.
I do not think it is worth more discussion, and I can sincerely say I hope
to be able to have a friendly hand-shake with Mr. Martin at the Plymouth
Convention. — I am, yours, Ac., G. WATMorcn Wkbsteb.
Uarch 27, 1893.
[The sealed envelope referred to by Mr. "Webster is in our possession,
and we shall be plad to hear from " Atticus" as to his willingness to
accept our adjudication as final. — Ed.]
MASKING NEGATIVES.
To the Editor.
Sir. - 1 see in your article in TnE British Jocbxal of Photoobapht of
to-day's date on " Composition Printing " the plan of painting over the
part to be masked with gamboge or some other non-actinic colour is
attributed to Mr. Edge. 1 may say the device was my own, introduced
at the time I was manager for Mr. Edge, and which I have found a plan
of great value many times since, and for many other purposes than that of
adding natural backgrounds to portraits. — I am, yours, etc.,
27, (Haitliorn-road, IC, March 24, 1893. Ebwabd Dcnkobe.
for snch departure. May I therefore, as one who has nied the cyanide o(
silver process of intensification for, say, some yean, ask whether the
formula given by him has any advantages over the ordinary (omiiila aa
originally given by Dr. Monckhovcn, and known by hia name? The
(ormola is simplicity itself, being just.
No. 1.
Bichloride of mercury 10 grains.
Bromide of potassium 10 „
To each ounce of water.
No. 2.
Nitrate of silver 10 grains.
Cyanide of potassium 10 „
To each ounce of water.
which at least is easier to recollect than Mr. Armstrong's arrangement.
Further, I would ask intending users to pause before they throw away
their used solutions. They are not the cheapest solutions that photo-
graphers use, and I, for one, have never found the least detriment to
result from using them over and over again ad libitum, and almost ad
inHnitum. If my experience has been unusual, I should be glad of
correction by others who have also fairly used the process. — I am, yours,
Ac, W. Bishop.
23f7t March, 1893.
ANOTHER "HARD CASE."
To the Editor.
Sib, — Could you inform me when the Photographers' Assistants' Union
is going to think about business 1 Although long talked of, nothing
seems to move, and I think, as every other assistant I meet thinks, it is
high time we had some Union, considering the way employers are
imposing on us. I have a wife and four children to keep, and the highest
wages I can now obtain is 25.s. per week (which is next door to starvation),
although I have been an operator these last fifteen years. I have just
been compelled to give up a situation at above wages because, not being
able to afford to ride, I had to walk sixteen miles per day, and work from
9 a.m. till 7 p.m. with nothing inside me but a few slices of bread and
butter every day. Myself, wife, and children are in nothing hut rags,
and we have to all live in one room. I cannot put it down to depression
of trade (although I know trade is bad enough), for the last man I worked
for, whose takings averaged about 40i. per week, only paid me 25s. per
week to do about three people's work, but thought nothing of squandering
away 6?. to 7/. per week in cigars, cabs, and champagne nearly everj-
week. A friendly hint in your paper would do much towards some sort
of Union amongst assistants, and would secure you our most hearty
thanks. — I am, yours, Ac, Sweated.
March 27, 1893.
REDUCING ACTION OF HYPO ON AMIDOL-DEVELOPED
PRINTS.
To the Editor.
Sir, — I had a corions experience a few days ago which I have not seen
previously mentioned, i.e., the reducing power of a hypo bath in which
bromide prints developed with amidol have been fixed.
I developed four bromide prints with amidol and fixed them in a
freshly made hypo bath. On the following day I developed another print
with amidol, and as I bad not time to mix a fresh fixing bath I used the
one of the day before. I left the print in the bath rather longer than
usual (about half an hour) and was astonished to find that the image had
almost entirely disappeared. I tried another print afterwards as an
experiment, and the same reduction took place. The hath was certainly
not fit to have used a second time, being discoloured through insufiicient
washing of one of the prints fixed the previous day, which had probably
carried a good deal of the amidol developer into it. I should like to know
if this reducing action has already been noticed. — I am, yours, Ac,
18, Hough-green, Cheater, March 27, 1893. J. N. Hiosett.
INTENSIFICATION.
To the Editor.
Sir, — Mr. T. N. Armstrong always writes with such a completeness of
knowledge, and out of such a fulness of experience, that whatever he
propounds is of interest, and whenever he recommends a departure from
the erdinary, one is ready to believe that he has found some good reason
MIXED DEVELOPERS.
To the Editor.
Sir, — In reference to your remaiks on the above, I may mention that
I find metol a very useful addition to pyro developer in certain cases. If
the detail hangs back after the full quantity of soila is added, I find a
small quantity of a two-grain solution of meiol is wonderfully active in
bringing it out. — I am, yours, &c., CuvroKo E. if. Nash.
Cheltenham, March 27, 1893.
♦
A PAIR OF COMPLAINTS.
To the EorroB
Sin, — From an advertisement in your paper I forwarded on approval a
camera and three slides to a photographer in a small town on the borders
of W'ales. The camera and slides were quite new, and I sent them on
208
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[March 31, 1893
jnst as they came from the makers in a wooden box by parcel post.
After a good deal of delay and writing several times, I hear from the
photographer that the camera is in a " swollen " condition (note it was
perfect and just as it left the maker's), and that he would not pay return
postage ; so I sent stamps for it to be returned. Not contented with
this, he actually keeps the wooden box camera was sent in, and retm'ns
it and the slides simply wrapped up in paper without any protection, and
the consequence is it arrives in a damaged condition, and wiU cost
probably 10s. to 20s. to repair. Truly a mean act, and a specimen of
what the borders of " gallant little Wales " can do.
I should also like to say a word as to my experience of how some of the
"cash with order" firms treat their customers. Say a varied order
amounting to 21. or 3/. is given and cash sent. From this will be
deducted 3s. to 5s. for box and packing, when the box often consists of a
frail piece of cardboard, or at best an old grocer's box, probable value M. ;
and goods accordingly are kept back, thus adding ten to fifteen per cent,
to the price of the articles. Often, again, goods ordered are not in stock,
and you are kept weeks and sometimes months waiting without any
compensation ; and should you mUdly suggest tliat having paid the
money you expect the goods in a reasonable time, you are told it would
be simply impossible to keep everything catalogued in stock, &o., do.
Should firms insist upon "cash with order," they should be in a position
to supply the same or refund money by return. — I am, yours, &c.,
Finnart House, ISallantrac, Ayrshire, March 25, 1893. John Powek.
Ensstoew to Otorrcsponticnts.
^* Communications relating to Advertisements and general husiness affairs
should he addressed to Messrs. Henkt Greenwood & Co., 2, York-street,
Covent Garden, London.
-Received ; thanks. We had already aiTanged to be repre-
H. PlCKElUXG.-
seuted.
C. Gaedxer. — The collotn>e process is not patented. The patent for the
Woodburytype process has expired.
J. C. W.- — If you have not registered the copyright, there is no redress.
Treatment such as you detail is by no means unusual by the illustrated
ptipere.
A. White.— Send a sketch or rough plan of the proposed studio and the
surrounding buildings. On the other matter, refer to tlie local regulations as
to buildings.
S. W. — A lens with an an aperture otf-6 will do admirably for a hand camera,
but we doubt whether any lens of this aperture, of four-inch focus, will
cover with line definition to the edge of a quarter-plate.
H. Thorne.— Quite true. It is illegal to copy a bank note by photography
or any other means, even if tlie size be difterent from that of the original.
Probably, if the size was an inch or so less, no notice would be taken ; still
the illegality is the same.
W. WiLioncHBY.— Burton's work on Photo-mechanical Printing, published
■ by Messrs. Marion, Soho-square, deals fully with collotype. Numerous
articles on the subject have also from time to time appeared in tliis
Journal, which siioukl be of assistance to you.
SOBA. — 1. See reply to H. Mace. 2. In the same way as .albumen prints are
burnished if they are made perfectly dry. 3. Not if you can get practical
lessons from a competent teacher. 4. It depends upon the result required.
The majority of sitters are not satisfied with prints Irom negatives that have
not been retouched.
H. Mace.— Without knowing the form of the studio, it is difficult to advise as
to the area of glass that should be employed ; but, if it be of the usual ridge
roof form of the dimensions stated, then the glass, starting, say, foui feet
six inches from tlie background end, may extend for ten or eleven feet at the
side and top. If you send us a sketch of the studio, we shall be able to
advise you more definitely.
Studios.— Several correspondents have written of late, asking advice as to
glazing studios— the amount of glass, its position, &c. If these communica-
tions had been accompanied by a rough sketcli of the .structure, and its
aspect, we should Lave been en,abled to advise more definitely. The amount
of glass in a studio should be ilependent upon its size, its aspect, and the
purpose for which it is required.
T. Biggs.— We cannot advise you authoritatively. The case had better be
submitted to a respectable patent .agent. This much, however, we can tell
you, if you have made, and publicly used, or sold the apparatus prior to
the date of the patent, and can prove th.at you have done so, you can go on
making it without let or hindrance. If tlie patentee, under these conditions,
takes proceedings, he is sure to be defeated.
A. McCann.— Mildew stains can be removed from engravings by "cleaning or
restoring" them. The u.sual method is to treat the engr,iving with a solu-
tion of hypochlorite of lime, to which an acid, such as oxalic, has been
added, and then well wash with w.ater to remove the bleaching agent. If
the engravings are valuable ones, this kind of work had better be intrusted
to experienced hands, or good prints may be ruined.
Percival & Co. — The so-called " gohl bronze "on the tissues does not seem
to us to contain any gold at all ; at any rate, it .all disapjiearedwhen touched
by nitric acid. As gold is quite unaffected by this acid, you may draw your
own conclusions. We do not think, however, it will prove injurious to the
photograph, more especially as the ink upon which the bronze' is dusted and
the pajier intervene between the bronze and the picture.
E. G.— If the prints turn yellow in the fixing bath, it shows that the solution
is out of order. "Two ounces of hypo to the sheet " is no criterion as to
the strength of the solution used. That should be four ounces of hypo-
sulphite of soda to the pint of water, and should be made fresh for each
b.atch of prints If this strength be employed, and the hj'jjo is good, there
should be no yellowness in the prints, provided the time of immersion is
sufficient.
C. Wade. — Prom what you say of the camera, we think it wants thoroughly
scraping and re-French polishing. If you are not u]i to this work, and do
not have it done for you, we should say the best thing would be to obtain
one or other of the commercial furniture polishes, and use ifaccording to the
directions su])plied with it.^taking care, first of all, that all dirt is carefully
removed with soap and water. If this be not done, the dirt will show more
prominently than it did before.
Received. — W. Coles, and others.
Fallowtield's "Remembrancer." — The last issue of Mr. Fallowfield's
list has been received. It contains particulars of a wide range of bargains
and novelties.
South London Photographic Society. — Fixtures : April 3, Excursion to
Ely Cathedral, starting from Liverpool-street Station at a quarter to nine.
h. Annual Meeting. 17, Lantern Evening, North Wales, Mr. Jolm A. Hodges.
Photograi'HIC Club.— April 5, Tlie " Sandell" Plate, and adjourned
discussion on Toning and Fix-ing Baths for Oelatiyio-chloride Paper. 12,
Members' Open Night.
London and Prontnci.al Photographic Association. — AprU 6, a Paper by
Mr. G. F. Williams on JJetrnninatimi of the Speed of Plates. 13, P.aper
by Mr. W. D. Welford, Thr Influence of the Hand Camera. Visitors .are
welcomed.
FoRFARSHtHE International Photographic Exhibition.— The Committee
of this Exhibition ask us to say that the 3rd of April is the last day for re-
ceiving entry forms from intending exhibitors, and e.xliibitors requiring forms
must apply at once.
National Photographic Exhibition. — Owing to the Easter holidays inter-
vening, it has been decided to extend the time for receiving entry forms to
Wednesday, April 5, 1893, .and it is hoped that exhibits may be delivered at
the Crystal Palace not Later than that date,
Kodak Conceiit. — The Kodak Dramatic and Musical Club gave an enter-
tainment to their fellow worlcers and friends in the " Mona Hotel " on Thurs-
day, last week. The room was crowded, and the programme very attractive.
Much credit devolved alike upon those who man.aged and those who took part
in the proceedings.
We understand that Mr. W. J. Belton, the well-known pliotogr.apher of 26,
St. Paul's-crescent, Camden-square, has been appointed by the Paget Prize
Plate Company to demonstrate their printing-out opals and lantern slides before
the photogi'aphic societies. Secretaries desirous of arranging a demonstration
should apply to the Paget Prize Plate Company, Watford, N.W.
Dr. Andresen's Photograi'Hic 1)e\'Elopers ant) Cheiiicals. — We are
informed that Messrs. Sharp & Hitchmough (of Liverpool), Messrs. James
Woolley, Sons, & Co. (of Manchester), and Messrs. Mawson & Swan (of New-
castle-on-Tyne), have been appointed wholesale agents for Dr. Andresen's
preparations in tliose to\vn8 and their surrounding districts respectively.
The "Shasin Sow a."— We have received a set of the Shosin Soica, a
monthly journal th.at lias been running for over a year. Anglicised, the
Shashin Shmca is " Photograpliic Chat," and it is published (at Tokyo) in
Jiipanese. Mr. W. K. Burton is an occasional contributor, and his articles
are (fortunately) printed in English, otherwise it would have been diificult for
us to decide as to the precise character of onr young contemjiorary.
Photographic Competition at the Welsh National Eisteddfod. — A
this Eisteddfod, which takes place at Pontypridd in August ne.xt, the follow"
ing photograpliic competition will t.ake place : — For set of not less than six
or more than twelve photographs, illu.strating the coal industry from the
cutting to the shipment ; prize 6/. For set of not less than six photographs
illustrating the industries of Wales ; prize 5?. For set of six instantaneous
photographs of a football match, illustr.ating various phases of the game ;
prize 11. For landscape pliotograph ; prize 1/. For architectural i>h'itograph ;
prize 1/. Adjudicators : — Messrs. T, Forrest, B. Thomas, and Lawrence.
Pliotognaphs to be sent to the Genenal Secretary, National Eisteddfod of
Wales, Pontypridd.
*»* Several answers to correspondents are unavoidably held over till ne.et
wee/,:
OONTENTS,
Faqx
multiple-coated films I'JS
lens KOG 1!«
studio IIUILDINO— II. By O. WAT-
MOUOH WEIISTER. F.C.S !»»
the influk.sce OF development
on giuimtion. by h. j. channon 1117
fukthkr not>s on ouaiacol and
allied phenoloid compounds
as developers for gelatine
dry plates. bv colonel j.
WATERHOrSE, l.S.C 108
ENLAROEMKNTS PRINTED ON PRE-
PARED CANVAS. I!y W. H. DAVIES 200
P H c 1 T c 1 Q li A P H 1 C INDUSTRIES:
MESSRS MORGAN * KIDD'8 WORKS
AT RICHMOND 201
Page
VABIOI-S METHODS OF ADDING
CLOUDS TO LANDSCAPES. By
EDWARD DUNMOKE 202
ON THE APPLICATION OF PHOTO-
GRAPHY TO SEISMOLOGY AND VOL-
CANIC PHENOMENA. By PBOF.
W. K. BURTON 20S
LEICKSTEK AND LEICESTERSHIRE
PHOTOGRAPHIC SOCIETY'S EXHI-
BITION 2l«
OUR EDITORIAL TABLE 'Xi
RECENT PAIENTS 204
MKETINGS OF SOCIETIES 206
FORTHCOMING EXHIBITIONS 205
CORRKSPONDENCE 207
ANSWERS TO CORRESPONDENTS 2US
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
Ko. 1718. Vol. XL.— APRIL 7, 1893.
COMBrXING ENLARGEMENTS FROM DIFFERENT
NEGATIVES,
li' au enlargement from two or more negatives were re-
quired to be made on bromide paper, so .is to form cue picture,
there are many who wouki not know how to proceed in order
to obtain a successful result. We have, indeed, known pro-
fessional enlargers to decline to undertake this class of work.
Yet, the matter is easy enough, provided the system of pro-
tecting the first exposed image with a non-actinic pigment,
while the second is being impressed as described a fortnight
ago, in connexion with combination printing, be adapted to the
circumstances. Of course, as the image after the first exposure
has been made is not visible to the eye, the procedure has to
be somewhat modified. By way of illustration of the method,
let us take two negatives similar to those cited in the article
referred to, namely, a group of several persons, and it is
desired to introduce a figure or two that is in cne negative
into an enlargement from the other. The latter being the
principal subject, we will term this the first, and the other the
second negative.
In the first instance, make a print from each of the nega-
tives, and cut out such portions of that from the second one
iis are to appear in the enlargement, and stick them in position
on the print from the other. This picture is to serve as a
guide for arrangement in making the enlargement. Then stop
out with black varnish all portions of the second negative,
except those utilised in the guide print. In place of stopping
out with black varnish, a paper mask cut out from a print
may be fixed on the negative ; but, by whichever plan the
blocking out is done, it must be complete, as any light that
would pass through it would destroy brilliancy. Now take
the two negatives together with the guide print into the en-
larging room, and put the masked negative into the enlarging,
camera or lantern. Project the image on to a piece of white
paper, fixed on the easel, of the same size as the enlarged
picture is to be, and arrange it in the position it is to occupy
in the finished picture, .as guided by the small print, and focus.
€ap the lens, and substitute a piece of bromide paper for
that focussed upon, then make the exposure, giving such
time as this negative may require. It will be obvious that, if
the paper were developed at once, the figure would be obtained
on a perfectly plain white ground.
It is now necessary to protect this already impressed image
\(^hile the exposure to the primary negative is being made.
Cover the lens with a piece of orange glass ; that will allow of
the optical image still being seen, while the light will have no
notion whatever on the paper. Now, without disturbing any-
thing, neatly paint over the image with a nou-actinio pigment.
With prints on albumen paper, almost any water colour can be
employed ; not so, however, with gelatine paper, owing to the
coating being more absorbent of water, so that a permanent
stain of the pigment might be produced. The l)est pigment to
use is powaered gamboge — to be obtained from all druggists —
mixed with alcohol, as then the gelatinous coating of the paper
is not moistened with water at all, and the risk of staining from
the colour is thereby avoided. As, however, the gamboge is
difficult to see in the feeble orange light, it is advisable to mix
some other pigment with it so as to make the brushwork more
easily distinguishable. A little finely powdered ivory black
answers admirably, and the resinous character of the gamboge
serves as a sufficient adhesive to fix it temporarily to the paper.
The pigment will dry in a few minutes, though it is not at all
necessary to wait for that.
When the first exposure has been properly protected, the
negative is removed, the paper being left undisturbed ; the
other, the principal, negative is now put into the enlarging
apparatus, the yellow glass still being kept on the lens, and
adjusted so that the enlarged image from it will occupy its
right position as regards that already impressed on the sensitive
paper. The small print must here be brought into requisition
as a guide once more. It is at this stage of the work that the
advantage of strengthening the colouring power of the gamboge
in the yellow light, with the little black, will be most appre-
ciated. After the right position of the principal negative is
obtained the image is focussed, the yellow glass still being
retained on the lens. When all is ready, the second exposure
is made, of course, in accordance with the density of this
negative, and quite regardless of what the previous one may
have required.
The doubly exposed paper is now taken to the dark room,
and the pigment removed with a soft sponge or pledget of
cotton wool moistened with spirit. It is then ready for
developing and fixing in the ordinary way. There is, however,
a little precaution to be taken. The spirit, wlien the pigment
is applied, has a slightly hardening action on the coating of
some gelatine papers, so that they become rather less readily
absorbent of water. Therefore, it is a good plan to allow the
paper to soak for a rather longer time than usual in the water
before the developing solution is applied. This prevents any
unequal action of the developer on the two exposures.
In the foregoing it has been assumed that the proportions of
the images in the two originals are identical, but it often
happens that they are widely different. Hence they have to be
brought into unison by the greater or less amplification of the
one than the other. This often necessitates the paper being
removed from the easel and replaced between the two
210
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 7, 1893
exposures. Therefore an accurate system of registration is
imperative. Want of space necessitates this portion of the
subject being deferred till some future occasion.
WASHING THICKLY COATED FILMS.
The tendency during recent years in the preparation of
gelatino-bromide plates has been in the direction of thicker
films than were in vogue in the earlier days, that is to say,
films of greater robustness, both in the matter of silver and of
gelatine. Films composed of a more than ordinarily thick
layer of gelatine, containing a comparatively small proportion
of silver — making up in thickness, in fact, what they lacked in
richness — had been tried, as had also the reverse conditions, a
maximum of silver salts in conjunction with a minimum of
gelatine ; but, while the former were usually found to be slow
in action and deficient in range of gradation, the latter were
wanting in delicacy, and too often wanting in keeping quality.
Perhaps, however, the greatest difference to be found between
the two classes of plates was in their physical character, more
especially in their behaviour imder the action of developing,
fixing, and washing. With the earlier workers in gelatine
plates the great difficulty experienced was in conjunction with
the length of time occupied, as compared with collodion, in
development, and, subsequently, in fixing and washing. It
was soon found that this difficulty increased in proportion to
the comparative richness of the emulsion in gelatine, and that,
if the same quantity of silver bromide were spread upon the
plate with less gelatine, the result was an image of equal or
greater vigour, and capable of passing through the various
operations in a far shorter time. The difference, in fact, in the
behaviour of different makes and batches of the earlier plates
was very puzzling, if not misleading, and slowness of develop-
ment was frequently set down erroneously to want of exposure,
and vice versd.
For many years past, the necessity has been recognised of a
fairly robust film of gelatine, if the plate is to possess the
intrinsic qualities now considered desirable, and also the
capability of withstanding ordinary wear and tear both before
and after exposure and development. But still more recently
several of the leading makers have put on the market special
plates, bearing films of more than ordinary richness both in
silver and in gelatine, and the present season sees the intro-
duction of two, and even three, films, coated one on top of the
other. The advantages claimed for such special films are suf-
ficiently obvious, and need not be discussed here, our object
being rather to consider what have been put forward as their
disadvantages, or as objections to their use.
These objections — if they can be so called — centre, as we
have suggested, in the length of time the various solutions take
in acting upon the thick layer of gelatine. It stands to reason
that, if a careless operator, accustomed to the use of thin films,
or those weak in gelatine, gets hold of one of the thicker ones,
and tries to treat it in the same way, failure will be the in-
evitable result ; but he can scarcely blame any one but himself,
as the instructions issued with such plates invariably draw
attention to the necessity for increased care, especially in the
matter of washing. But, on the other hand, the most careful
worker may find the extra time occupied in fixing and washing
too great a tax upon him for ordinary work, in which case the
remedy is, we think, very simple, namely, to reserve the
specially coated plates for the particular purpose for which they
are intended, and for all ordinary work to use ordinary films.
In thus acting, he will be only following the dictates of common
sense ; for, clearly, it must be an unnecessary outlay, both in
money and time, to employ say, a triple-coated film — neces-
sarily an expensive article — where a single one would answer
every purpose as well or better. Let special films, in fact, be
reserved for their special work.
Where, however, abnormally thick gelatine films are em-
ployed, it will be as well always to bear the fact in mind and
to act accordingly. In the first place we have to deal with the
development, which, like the various other operations, takes
place more slowly than with a comparatively thinner film.
Except, however, in the matter of a slightly increased difficulty
in judging density, no trouble will be experienced here. There
are possibly still some operators who adhere to the old-fashioned
plan of soaking the film in water before applying the developer,
but a very short experience with the thickly coated films will
suffice to cause them to relinquish that system for reasons
already sufficiently obvious.
The first portion of the manipulations in which unsuspected
trouble may lurk is the washing after development and
before fixing. In the ordinary course of work perhaps too
little care is generally given at this stage, though with plates
of normal character the result is not very serious. The neces-
sity for washing at this stage arises from two causes : to stop
development, and, which may appear to amount to the same
thing, though it really does not, to remove the developing
solution from the pores of the gelatine. The first result is
arrived at, for all practical purposes, by rinsing the solution
from the surface, after which very little further action will
occur; but the application of a very weak solution of bromide
will effectually arrest all further action. But if the plate — we
are speaking now of one of the thick films — after but a brief
rinse, be passed into the fixing bath, with its pores still im-
pregnated with developer, another action altogether is set up.
The hypo commences to dissolve the, silver bromide, with the
result that there are present side by side on the film, not only
a soluble salt of silver, but also a reducing agent in the form
of the unremoved developer, and until that developer is ex-
hausted it will go on reducing the dissolved silver, and so cause
fog or veil.
This is no imaginary picture, but actually what does occur,
as may be proved in five minutes by actual trial. Where
ordinary care — the ordinary care bestowed upon a normal
plate — is given to one of the double-coated and no more, the
result as regards veil is not great, but it is sufficient to take
away from the negative that sparkle and purity of colour that
belongs to a perfect image. The result does not take the
form of a stain that may be removed by means of the alum
bath, but consists of reduced silver of precisely the same nature
as the image, and can only be removed by similar means — in
other words, by reducing solutions.
Very many operators are in the habit of examining their
negatives by daylight before fixing, a practice which has been
over and over again condemned, but still prevails. With the
thick films of to-day there is more than ever reason why the
negative should be completely fixed before it sees daylight,
owing to the greater difficulty of eliminating the developing
solution, which, under the renewed action of light, must in-
evitably veil the plate.
The question of the possibility of preventive measures may
be considered, although, in similar matters, we are always in
favour of letting matters take their proper course with correct
April 7, 189S]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
211
troatnieiit— that is to say, with fair washing, and plenty of it.
The alum biith, either plain or acidified, may be applied after
development ; but it is, in our opinion, objectionnble, for the
same rensou already referred to, the difficulty of removing it
before fixini; ; for, as has frecpiently been pointed out, the appli-
cation of ft solution of alum to a film containing hypo, or vice
versd, is hif.;lilv injurious instead of beneficial. But if a solution
of mutabisulphite of potash, or, what is nearly equivalent to it,
a solution of sulphite of soda, acidified with citric acid, be
applied to the film, it may be passed into the fixing bath almost
immediately without danger, while the action of the developer
will be completely arrested, as well as its staining power
destroyed.
So far as the subsequent action is concerned of the fixing
agent and alum, if used, and their removal, there is, we fear,
nothing but patience and care. To facilitate the fixing opera-
tion itself, the bath must be of good strength, and the tem-
perature kept up to 00°, or even higher. The practice of
throwing a few handfuls of hypo into a quantity of cold water,
to make an ice-cold solution for immediate use, will certainly
not work satisfactorily with thick films. The temperature
must be kept up, and, to ensure perfect fixation, a second bath
should be used, and plenty of time given after fixing is ap-
parently complete. After that, very thorough washing in a
changing stream of water is the only means by which the
stability of the negatives can be ensured.
A Iiarg'e Photographic Society. — We learn that the
Photographic Society of Vienna has a membership of over .500.
With one e.xception, we in this country have no society with such a
memhersbip.
Platinum or Platinum -toned Prints.— At the last
meetinsr of the Photo<,'rapliic Society of Great Britain the Chairman
(Mr. John Spiller) stated that a solution of cyanide of potassium
formed a test for ascertaining whether a print he in pure platinum or
U a silver print toned by the agency of that metal. In the latter case,
the silver forming part of the image is attacked by the cyanide, while
the print in pure platinum is unaltered.
Meeting' of Exhibition Judgres.— The AfliUation Com-
mittee of the Photographic Society of Great Britain and the allied
Societies are, we understand, taking steps to call a meeting of E.xbi-
bition Judges with a view of arriving at rules for their guidance. It
will have been observed that Mr. Andrew Pringle has been appointed
Chairman of the Committee, as a successor to the late lamented Mr.
Bedford. The choice of Mr. Pringle could not well have been
bettered. _^__^^^.^^__^_
Gaiacol (or Ouyacol). — As bearing upon Colonel Water-
house's recent experinaents with gaiacol, Messrs. A. Buhal and E.
Choay's remarks on the subject may be of interest. They find that
the guyacols of commerce are essentially variable products, tlieir
boiling points ranging from 200' to 21.3°. None of them contain
more than fifty per cent, of definite guyacol, the rest consisting chiefly
of cresylol and ciesol. Pure guyacol is a white, crystalline solid,
fusible at 28-.')' and boilins at 2b.")-l°.
The Central Photogrraphlc Club. — We understand that
the Couunittee of the Club, as the result of several meetings, have
formulated a set of rules for the government of the Club,, and have
also come to a decision as to the financial basis upon which it will
be carried on. A recommendation as to suitable premises has also
been arrived at. In addition to the foregoing, several other matters
of importance will bo laid before a meeting of intending members
and others interested in the Club, to be held at the Memorial Ilall,
Farringdon-street, on Monday evening, April 17, at eight o lock.
XypoBulphlte of Ammonium. — At a recent meeting of the
Societi) Fran9ai9e de Photographie M. Labarro detailed the results of
some experiments with hyposulphite of ammonium as a fixing agent.
He recommended it for paper prints in preference to hypo, used at
the same strength. It is more easily eliminated from the print, while
it keeps better, and, if any deposit forms, filtration suffices to leave
the efficacy of the solution unimpaired. These characteristics, as well
as the ready solubility of the salt, its colourlessness, &c., confirm the
results of the German experimentalist's conclusions which we quoted
a few weeks back. The salt at present is very costly, butM. Labarre
promises to give a method of preparation on an industrial scale.
" The First Photograph."— According to a daily contem-
porary, an interesting object for exhibition at the World's Fiur at
Chicago has just been dispatched to America. It is the first sun
picture of the human countenance ever taken, and it has been lent
ijy Sir William Herschel to the University of the City of New York,
and will form a part of their exhibit. I'his Daguerreotype of his
sister was taken by Professor Draper, of the New York University,
on the roof of one of its buildings, and early in 1840 was sent as a
present from that gentleman to the late Sir John Herschel, by whose
family it has been preserved to the present time in exactly the same
state as that in which it was sent to England. The loan of this in-
teresting photograph has been made by Sir William Ilerschell at the
request of the llev. Henry M. MacCracken, Chancellor of the
University, transmitted through the American Minister in London.
The lady of which it is a portrait still lives, at the age of eighty-
seven, and a recent portrait of her will be exhibited side by side
with the picture mentioned above.
NATURALISTIC PHOTOGRAPHY.
[Photogrraphic Society of Groat Britain.]
Two years ago I withdrew my book, Xaturalistic Photography, and j
owe you some explanation for so doing. My researches into tbe sub-
ject of vision and perspective drawing were mainly responsible for
that act, and if you will bear with me for a little I will endeavour to
explain my position. When I first took up photography I was told
by the whole photographic world (including optical experts) — told by
ail, without exception, that if the photographic observer closed one
eye, and placed the other eye at the focal distance of the lens used in
taking the photograph under observation, he would see the picture
" true to nature." I felt all along that such was not the case, and
maintained the " sharp ' or any other photograph, when viewed under
such conditions, was not true to nature — to nature as the tioo eye*
see it, and hence arose a long and inky warfare.
Gentlemen, it was in this as in many other disputes — we were both
right and we were both wrong.
The opticians were right from the mathematical standpoint, and I
was right from the piiysiological and psychological standpoints, and
80 it was evident there were two truths to nature — the perspective or
mathematical truth and the psychological or visual truth. After
many practical experiments I found the closest truth to natmre in
PHOTOGRAPliv {from the physiological point of view) was to be ob-
tained by throwing the background of the picture out of focus to an
extent which did not produce destruction of structure — that W!VS my
limit ; the principal object of the picture being either sharp or just
out of the " sharp." This convention I termed the naturalistic
method of focussing, and pointed out it had no connexion with a
general soft sharpnesn such as that produced b}- Mrs. Cameron's badly
corrected " Jamin," or by pinholes, or by throwing the rohole of the
picture out of focus — practices all inferior from the naturalistic stand-
point, in my opinion, to my method — which is a deliberate and con-
scious act to be modified according to circumstances, and no hap-bazard
"dodge" Uke the "soft sharpness "' or " bastard naturalism," as my
friend, Mr. Balfour, calls the more mechanical " soft-.-<harp " method.
This naturalistic method I practised and advocated, and found
later on, by further research, that it was justified by physiolo^.
Well, gentlemen, all this led to a great storm in a teacup, and dSs-
putes arose as to how we did see with two eyes, and what was really
truth to Nature from the visual standpoint. In the course of this
212
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 7, 1893
argument, I was pleased to find a broad-minded optician taking an
interest in these matters. I refer to my friend Mr. Dallmeyer, whose
acquaintance I did not make till after the publication of my book, and
whose knowledge in practical optics has enabled him to make a lens
of my conception (i.e., the tele-photo lens), a lens which, to my mind,
is the most powerful tool yet put into the hands of the decorative
photographer, but still a lens that, I hope, is only a step to a better. _
"Weil, gentlemen, all this argument— though warm at times— did
good, and set many thinking, and at last I was lucky enough to drop
upon the key to the solution, which key I published in April, 1890, in
a number of Photography. It was a short paper, entitled, " A Note
on Naturalistic Focussing." My friend Mr. Goodall, who has always
been interested in the practice of photography, was told by me of this
little research, and immediately he took it up enthusiastically, and
suggested some new proofs and experiments, and together we pub-
lished the results in a pamphlet, entitled. Perspective Drawing and
Vision, a pamphlet that created another storm in the teacup, but a
pamphlet whose propositions, I venture to say, still remain unshaken,
though the Royal Astronomer at Sydney was invited to a public
argument in the Photographic News — a challenge still open to him, or
any other person of physiological or psychological training ; and here
I may say Dr. Griffiths and Mr. Sutcliffe were the only two photo-
graphers who were acute enough to see and acknowledge in public the
force of the pamphlet.
Well, gentlemen, from this pamphlet it was self-evident to me that
there is no absolute truth to Nature from the visual standpoint, for,
as each man's sight is different, the only absolute truth to Nature for
each man is his own view of her (though certain broad features
remain true to all). On the other hand, from the mathematical stand-
point, or perspective drawing standpoint, there is an absolute standard,
such as the sharp photograph taken with rectilinear, and otherwise
duly corrected, lenses.
Now, gentlemen, I will quote you a paragraph from a text-book on
psychology, published only last year, a passage which shows how this
view is now so far accepted that it has entered psychological text-
books for students. The quotation is : —
" Almost all the visible shapes of things are what we call per-
spective distortions. Square table tops constantly present two acute
and two obtuse angles, circles drawn on our wall-papers show like
ellipses, &c., and the transitions from one lo another of these altering
forms are infinite and continual."
That, gentlemen, is the position. Whence it is evident that no
photograph gives things as we see them with our two eyes, though
some photographs give results nbabeb to what we see than others,
and those are the naturalistic photographs.
The next question I put to myself was, " How true must the photo-
graph be so that it may be considered naturalistic ? " And this gave
me much trouble, but at last I think I can offer the solution, which
is, it must be true in fundamentals to the point of illusion. Thus a
man's boots must not be twice as big as his hoad, and so on with
everything.
So, gentlemen, what I advocate is, truth to the point of illusion
(for I am not considering to-night scientific photographs, but decora-
tive or pictorial photographs) ; and I may now say the methods of
practice I advised in Naturalistic Photography I still advise, and the
artists I held up for admiration in that work I still hold up as the
best exemplars of their various crafts, but my art philosophy is dif-
ferent, as I shall show you to-night ; and, lastly, I do not consider
photography an art, but regard it as a mechanical (I say mechanical
advisedly) process, whose results are sometimes more beautiful than
art, but are never art, just as Nature is often more beautiful than art
— just as the beautiful Japanese lilium auratum surpasses the painted
lily — yet is the real lily not art but Nature. So the photograph is not
art, but a mechanically recorded reflection of Nature. To state this
matter more clearly, I have adopted a genealogical form of presentation.
NATUEE.
(The fountain-head of sensuous impressions, but not necessarily of ideas. )
One branch.
Photography.
(A cross. between Nature and a rtmchiTui.)
Two branches.
Realism.
(The sharp photograph — wherein
sentiment, illusion, and decoration
are disregarded ; merely a register of
bald facts mathematically true.)
Naturalism.
(The more or less correct reflection
of Nature, wherein truth of senti-
ment, illusion of truth (so far as pos-
sible), and decoration are of first
importance. )
From which it is self-evident that I believe there is no true realism
nor naturalism in the arts proper, but only in photography ; for tbuk
realism and naturalism are impersonal — the results of a mechanical
process, which photography logically is — because, under the same
physical conditions, the same results will always follow. Place the
camera under certain physical conditions, and the same results will
always follow, wliich is not the case with art, which is personal;
indeed, the personal element in real art is paramount and all-pervad-
ing. Thus, art is a cross between man and Nature, or ; —
ART.
(Cross between man and Nature— no machine intervening.)
Two branches.
Impressionism. Idealism.
(Which is a purely personal vision (Cases in which the imagination is
of Nature as thus : an impressionist used ; that is, the combining of
may paint sharply, or may paint several ideals into one harmonious-
colours wrongly from defect of whole. The idealist may transcend
vision — as does Monet.) Iniown Nature, and so the vase is
produced.)
In brief, what I submit is, that all artists (who do not use photo-
graphy, and such are bastards) are either impressionists or idealists,
and that logically they cannot be either realists or naturalists, for
thev can never be truly impersonal. M. Zola calls himself a
" naturalist," but he is not, as Mr. Thomas Hardy has pointed out ;
were 1 to classify him, it would be as a morbid impressionist. On
the other hand, JI. Viaud, a fur more sensitive artist, has been called
a " naturalist ; " he has publicly denied it, calling himself an " idealist,"
which he is not — he is an impressionist ; morbid, too, in his way. On
the other hand, Theocritus I should call a sane impressionist, and
Milton an idealist — or, to put it into paint, Mr. Whistler is a sane im-
pressionist, and llossetti an idealist. And there can bo insane im-
pressionists and idealists, as lunacy students know, as well as
mediocre, mattoid impressionists, as was the late Richard Jefferies in
literature, and (say) Prout in paint.
But still there is a link binding Nature, art, and photography
together — a touch of kinship — and that is, decoration. The artist
admires Nature wlien she " sings in harmony," i.e., is decorative ; he
admires the photograph when it "sings in harmony," i.e.,is decorative;
and he admires works of art when tliey " sing in harmony," i.e., are
decorative. Thus photographs must be decoratAve to appeal to
artists, but that does not make them art any more than Nature is art
when she is decorative. In a word, art is the personal expression of
:i personal vision of Nature or ideal. A decorative photo"fraph is a
mechanical reflection of Nature when she " sings in tune, ' the good
pliotographer requiring to linow when Nature does " sing in tune."
Ill a word, he must have true perception of the beautiful to succeed,
iifter that be is merely the starter of a machine.
If you will allow me to digress for a moment, let me hero m?.ke a
reservation. It is that it matters not, for merely decorative purposes,
what lens be used, or how it be used; what exposure be given, or how
it be given ; what developer be used, or how it be used ; what print-
ing metliod be adopted, or how it be handled, provided alsvays the
result be decorative, for no photograph can be said to have any " art
qualities" (this does not allow it can be art) without being first of all
decorative — a harmonious whole. That is the first quality which
differentiates the few photogi-aphs from the thousand. But there are
higher qualities — degrees of interest and distinction, as it were — -and
to possess these it must be illusively true, and fine in its natural
sentiment, as well as decorative; in a word, "naturalistic." And
even Mr. Whistler (a far greater artist than philosopher) gives him-
self away upon this very point in what I, years ago, called his brilliant
but illogical " Ten o'clock," though such an acute critic as Mr. Henley
has called this lecture the greatest art writing of the century, which
I submit it is not. In this " Ten o'clock," Mr. Whistler advocates
throughout his work art, for art's sake {i.e., pure decoration), as the
be-all and end-all of art. But I submit that he gives his case away
when he writes : — "As did her high-priest Rembrandt, when he saw
NOBLK DIGNITY in the Jens' quarter of Anuterdam." Or — " To the
day when she dipped the Spaniard's brush in light and air, and made
his people .... stand upon their legs, that all nobility and
sweetness, and tenderness and irmgnificence should be theirs by right."
Gentlemen, "noble dignity," "tenderness," &c., have nothing
necessarily to do with decoration, but they are the all-essential
qualities for fineness of sentiment in^ the pictures cited.
It was on this very point that our greatest poet, Mr. Swinburne
fell foul of Mr. Whistler and got worsted. I venture to think had
Mr. Swinburne merely quoted tliese and similar passages his position
would have been invulnerable, but he^ must " writei" Indeed, truth
April 7, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
2ia
gunsuous
of eentiment and fineness of sentiment are distinctly advocated as
Tirtues in those passages, and as 1 have always claimed them to bo,
and 80 what becomes of rnrt jmur tart tlienrv and the nonsense that
" subiect " has nothiiiK to do with it. I have always maintained
" subiect " is as necessary ns decoration for the perfect work, and I
stiU maintain it; but the incompetent misunderstand "subject' —
confounding it with " st«ry-telUiig." ,. .„ . , ^ .
What is wanted in naturah.sm is a decorative illusion of >iature, a
decoration erabodving some fine and true vatural sentiment, the
" n without the sentiment (not sentimentalitv) is a mere
patchwork of colour, the sentiment without tlio decoration
is mere -'literature in the flat," and the truthful illusion without
either sentiment or decoration is a mere statement of fact, which ex-
plains why Mr. Whistler's masterly "Carlyle" must always be of
more interest than (say) a " still-life " picture by the same hand.
This may be a fitting place to insert a warning against an error
born of misunderstanding. It has been said many times that, by-and-
bv photographers will do works of art when they get " soul into
tfieir photograplis ; this and all sorts of pretentious rubbish has been
written by third-rate painters and second-rate photographers. Gentle-
men, the photograph that is fine in sentiment and decoration and true
to illusion can never be impi-oi-ed upon any more than can the statue
of the Venus of Melos. A perfect work is good for all time, as Mr.
■WTiistler has said. Means are now at the command of photographers
to produce the perfect black and white photographic work, though
in future increased facilities for producing such work may be found
by inventors. P- "• Ehbrson, B.A., M.B. (Cantab.)
( To be concluded. )
ON THINGS IN GENERAL.
Onb of the events of the month must be considered Mr. Taylor's
paper on Spirit Photoijraphy. What were the results, and how
obtained? That is tlie question, and the reply has not yet been
given. It was amusing to see the truly logical reply of the veteran
fencer to Mr. Downey, who thrust at him straight, " Does Mr. Taylor
think there were such things as spirit photographs ? " " The question
is outside the subject," was the ready reply. Here. was an exact
parallel to the'once famous, or notorious, lecturer who roamed the
country under the name of Parallax, delivering a course of three
lectures proving, or to prove, that the world was not a globe, but a
flat surface. Wonderfully ingenious were his arguments, and re-
lentless the logic with which he was usually able to demolish the
opponents who disputed with him in the public discussion that
followed each lecture. The usual taunt cast at him by the overthrown
logicians was, " Oh, you don't believe the earth is flat, after all'.'
Mr. Taylor's reply was on all fours with his.
Another paper on a perennially interesting topic that was bound to
attract attention, if only from tlie personality of the writer, was that
of Dr. Emerson on " Naturalistic Photography "—almost the same
old story and stale arguments, the trite aphorisms that are always used
to adorn the subject, all the more interesting as being from the mouth
of a recusant teacher. This time, however, Dr. Emerson has soared to
a height of repudiation that the most rampant of photographic
detractors has not attained. Not content with denying all claims to
fine art, he will not admit photography to be even an art. Now, on
the point of fine-art photography, as those (if any) who give my
lucubrations any thought will be aware, I have consistently held that
it is not only an art but a fine art— one, it is true, with an extremely
limited range, but still a fine art. I never have seen a satisfactory
reply to two queries I make. If there is no fine art in photography,
how is it that it is possible to produce by photography ascene, a view.or
a representation ( I will not use the word " picture " for fear of offence)
that no artist can toll by simple inspection whether it is an engraving
in one class, or a sepia or monochrome painting in another ? Secondly^
if a painter of repute took pains to learn photography, would, or
would not, some of his results be more artistic than those of the photo-
grapher with no art education ? If the reply be in the affirmative,
would not the cause of the difference, the art feeling of the painter put
into his photographic work, be rendered evident to those who looked
at the photographs ? Dr. Emerson argued that sharp photographs
were not true to nature ; but, using his words exactly in the sen-ie he
uses them, it is very certain that many a painting of acknowledged ex-
cellence is not true to nature, and indeed is further from it than most
photograi)hs. Bearing on this topic, Mr. H. W. Bennett's paper in
last week's JotniNAL may be read with considerable interest, and I may
be forgiven for quoting from it. " The indiscriminate use of a method
of treatment or printing surface, suitable only under special conditiona
is certainly not artistic— it is either studied eccentricity or want of
judgment." Then, again, " etchings or engravings are invariably on
smooth surface paper, and water-colour drawings (excepting those of
very large size) on that of fine grain or moderate texture ; but they
are not considered inartistic on that account. Those photographer*
who affect extremes in either roughness of surface, or out-of-focus
methods, or misty, gloomy effects, might study with advantage the
works of leading etchers, which show that smoothness of .surface,
fineness of definition, delicacy of treatment, bright and gunny scenes
are not inconsistent with the highest artistic quality."
We have further matter in the same issue of this Journal which
will well repay careful perusal, in a paper by Mr. Xanthus Smith.
He writes most justly on the relation of part to part, a most im-
portant consideration in photography. What he says about fore-
"•rounds and backgrounds, under particular cases, is pregnant with
food for thought. He appears, however, to be wrong in one part cf
his paper, an unimportant part as regards photography, though the
writing is so involved as to leave his meaning in some obscurity.
He says that we feel the shortcoming of art, which cannot in any
way advance or recede beyond the surface plane of the canvas or
paper, except as in the case of scenery in theatres. Now, as a matter
of fact, paintings on a flat surface have been exhibited in which
advance and retreat were so positive that ninety-nine out of a hundred
spectators were utterly unable to say whether it was s painting or
nature that was before them. I am not sure whether I have appre-
hended Mr. Xanthus Smith's meaning, taking his preceding paragraph
into consideration, but I think I have.
The paper by Mr. H. J. Channon on the influence of development
on graduation is an excellent contribution to a much-discussed subject.
He shows clearly by experiment that, as every careful and practical
photographer knows is the case, graduation can be controlled by
development. Messrs. Hurter & Driffield say in effect, in their
original paper, that has been the basis of many arguments, that it
cannot be so influenced. It is, however, of little use to prove the
existence of this power of control, for if these experimenters intervene
they will be able to point to a letter in which they say that they have
not asserted the impossibility of this control. This blowing hot and
cold with the same breath is disconcerting to a searcher after truth ;
thus, after all, it may be made to appear as merely incidental, and not
proper to the argument proper of Messrs. Hurter & Driffield.
I will conclude my letter by expressing the great pleasure I felt on
reading a letter (which I hope will be the forerunner of rigid investi-
gation on the subject) from a firm of English card-manufacturers
referring to the integrity of the mounts supplied to photographers.
This is far above everything the most important question of the day.
I hope the Editor will put in italics my assertion that more faded
silver prints are due to the mounis they are printed on than to all other
cawes put tor/ether. Photmjraphers have tamely submitted too long to
their pictures being ruined from this cause. They shoidd call upon the
Photoc/raphic Society of Great Britain to select a committee to investi-
gate the mtdter. The result would be a gigantic surprise. Hundreds
of thousands of photographs are yearly placed upon mounts that icill
teith certainty lead to their utter ruin. This matter should be investi-
cated thoroughly by every means at command till an ex-cathedra
statement can be given to photographers everywhere.
Fbeb L.ufCB.
VARIOUS METHODS OF ADDING CLOUDS TO
LANDSCAPES.*
Great diversity of opinion exists with regard to masking. The
following plans are adopted by various operators:— Painting out the
sky on the landscape with opaque colour or black varnish, then making
a mask of a print and laying it in clo-se contact with the pnnt to be
clouded below the cloud negative. This plan leads to much trouble ui
spotting the finished print, for it is almost impossible to get them in
accurate register, a white or dark line showing here and there round
the edges. The fact of painting out a sky invariably destroys a proper
• Conclnded from page 203.
214
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 7, 1893
artistic effect, however correct the register may be in all ordinary
landscape). Strictly architectural or sea views, where the line of the
horizon is not diversified with hills, are the only subjects that can be
80 treated with a fair chance of success.
If it can be possibly avoided, never block out a sky cl>se up to the
subject on the face, the tint on it is an advantage rather than other-
wise. An undoctored sky printing rather patchy and uneven will
look all right on the addition of clouds. A maslc, roughly following
the outline of the landscape and laid mttside the cloud negative, is
better : but a duster or cloth roughly folded and laid over the part,
to be protected, is best of all, and a plan I always adopt. It occasion-
ally happens that a picture with a church spire or similar brightly
lighted object projecting above the line of the horizon into the sky,
requires protection from the light more effectively than can be
managed with ordinary shading. If this occurs, paint over the pro-
jecting object with a thick coating of gamboge on the print itself,
and let it dry. It will all come off in the wash water without leaving
a stain or trace, and is by far the best method of doing it. An
alternative plan is to make a print, cut out the sky and the projecting
objects of importance, but not otherwise following the outline, and
gum it on to a piece of glass sufficiently large to cover the whole of
the sky portion. This mask can be laid on the prints and the cloth
tised as already directed. The reason the ffjass must be large enough
to cover the whole of the sky and distance is to prevent the edges of
it making defects on the print.
The next plan of adding clouds is by painting them on the negative
itself. As compared with real clouds, this is but a make shift ; still
there are occasions when this plan has its advantages. For com-
mercial work, where large numbers of small pictures have to be
printed, it would scarcely pay to double print each one ; then, painting
on the negative adds nothing to the trouble after being once done.
A well-painted sky would pass muster as a real one with nineteen
of twenty of the general public. Even the knowledge of its being
hand work will not decrease but rather enhance the artistic value of
the subject.
In many cases mere suggestions of clouds are sufficient for the
purpose of breaking up a blank space. The density of the sky in the
landscape negative determines the best plan of proceeding. When a
sky prints absolutely white (but very few do so), it is no use painting
clouds on it ; but if there is the least suspicion of tinge when con-
trasted with unprinted paper, a little thin black varnish put on the
back with the finger tips or short-haired brush in the form of clouds,
will break up the blank space and show plainly on the finished print.
If it is permissible to doctor the negative itself, the sky portion may
be reduced by any of the usual methods before doing anything to
the clouds, which can then be put in in the orthodox fashion.
It is necessary to prepare the backs of negatives for painting upon,
either by grinding the glass itself with moistened emery powder
rubbed on with a small block of glass, or by attaching some papier
mineral to it with gum. Providing the glass is quite flat — patent
plate, for instance — grinding is far and away the best; but with
irregular surfaces the labour incurred to get an evenly ground surface
is so great and occupies so much time that the papering process is
generally adopted, albeit it may require more frequent renewals.
The back of the sky portion of the negative being prepared, cloud.<<
can be painted or drawn upon it with India ink or black lead. If
paper is used, the lower edge of it shoiUd be made to follow the out-
line of the landscape in such a way that any little difference in density
will not be very observable. The distance itself is often improved by the
covering of paper. It seldom happens that any improvement can be
made in the clouds on the face of the negative, although much may be
done on the landscape itaelf . Negatives so prepared must not be printed
in the sun, or the edges of the paper will make defects on the prints :
as the paper gets soiled with use, this precaution becomes more and
more necessary. There is no trouble of this kind if the surface of the
glass is ground and the clouds worked on that. Clouds may be
drawn on a separate piece of ground glass, and the two printed
together; but this plan scarcely commends itself to the busy printer,
who very often resents any addition to the risk and trouble of his
work, however .slight.
Natural clouds may be made on a film and attached to the negative
providing the sky is sufficiently thin, but with most of those of the
usual density the delicate gradation of natural clouds is quite lost,
and they really do not look so real on the finished print as the
imitations made in a coarser manner. In almost all instances the
prints on which artificial clouds have been impressed are much im-
proved by slightly tinting down the whole of the sky by a short
exp;>sure to the light, it seems to harmonise them with the landscape
better than any other plan. When we print a cloud negative on to a
print prepared for it, tne print is laid down on a perfectly fiat surface,
glass for instance, the cloud negative properly adjusted, a cloth thrown
over the landscape portion, and the whole exposed to diffused light
for a sufficient time to get the required depth of printing.
When we examine the picture to find out how the printing is pro-
gressing, great cai-e must be exercised not to shift the arrangament
and blur the impression ; if the hand is firmly pressed on the lower
edge of the plate, so that it acts a hinge and the upper edge raised, the
progress of the work can be ascertained without difficulty. To print
clouds by development is a much more troublesome task, for we
cannot see what we are doing at the time. Artificial light is prefer-
able for this work, not only on account of its being more under con-
trol, but because of its uniformity in compari-son with daylight, an
exposure of a definite number of seconds, at a uniform distance from
it, will give identical results, other things being equal. Let us
suppose that the landscape has been printed; we mark with a lead
pencil the space occupied by it on the edge of the print to act as a
guide and also on the frame, the cloud negative is adjusted, a piec-t
of cardboard, with the edge roughly made to follow the outlines of
the land-icape, and large enough to cover the whole from the action
of the light is cut, the exposure is made, during which time the card
is kept gently moving in front, always keeping the landscape part
covered, and vignetting it, as it were, into the .sky.
As a matter of economy, it is best to try various exposures on small
pieces of paper until one is found to suit the landscape by causing the
sky to develop the proper strength with it. Once fimnd, there will be
no further trouble in this respect. It is best for all exposures by gas-
light to filter the light through a piece of ground glass. The illu-
mination will be found more equal, and very little difference in the
exposure than when the naked light is used. The distance of the
print from the liglit should not be less than two feet. A fairly Ion"'
exposure is much more under control than a rapid one, and more espe-
cially advocated for this class of work. A cloud negative that would
be suitable for printing out may be quite unworkable for develop-
ment. Clouds made specially thin are best. A strong, bright nega-
tive will probably develop patchy, although it will give unexceptiou-
ally good results for printing out.
With platinotype an actinometer of some kind is required, as there
will be no visible image until development. As in the bromide pro-
cess, a few small pieces of paper should be used as trials, and, when
the right exposure is secured, a small piece of sensitised silver paper
laid on the frame in which the printing is done, or in the same lignt,
on attaining a certain tint will be a good future guide. In other
respects it is precisely as a printing-out process. One is able to see
the landscape, and can judge of the best position for the clouds to be
pl.iced without any difficulty.
General directions may be summed up by saying : Always print the
clouds subservient to the landscape, never allow them to encroach on
it, or show through light objects in relief against it, or exhibit any
decided line of junction in any part whatsoever.
Edward Dunmobk.
PHOTOGRAPHY AT THE CAPE OBSERVATORY IN 1892.
I RECOLLECT ouce re.ading a story about an individual who resolved
to be his own architect, and design and superintend the building of his
own house. All went well until the ground floor was finished, and
then it was discovered that he had forgotten to provide a staircase.
Most new schemes suffer from such defects. It is easy to design, but
when the practical working (^f the scheme comes to be carried out it
is surprising how many essential details have been oveilooked. So
it was with the International Star Chart. Not that a part so
important as the staircase was unconsidered, but it was found that in
many important respects our knowledge of stellar photography was in
its infancy, and these points had to be investigated. The instruments
were ready and set up, the heavens had been parcelled out to the par-
ticipating observatories, but much experimental work had also to be
distributed before the work could be really commenced on a uniform
plan. What exposure was to be given, and were screens to be used
or not as guides to the various magnitudes ? what degree of accuracy
was advisable as to the pointing of the instruments? should the
catalogue or the chart plates take precedence ? and so on. It is not
my purpose to take all the various questions in detail and state how
they were worked out. It will be quite enough for the general
reader to know what is now actually being done, and with that end
in view I will give an outline of the various operations carried out
now the work is in actual progress. But first, and this is the chief
reason for my writing, I want to give a few particulars of some
researches of a purely physico-astronomical character that were
carried out here before the regular work was definitely started. Some
AprU 7, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY,
215
of those results are now being exhibited in the form of lantern slides in
England. Few in number, they might furnish matter for several
lectures in astronomy, but too long a description at an ordinary lantern
show would be out of place. Hence I only penned the slightest sketch
by way of description, and tliat sketch I wish to supplement here in
order to indicate to those interested what important problems yet
await solution that only photography can elucidate. J'his article,
then, let me say at once, is an elaboration of my brief article in The
BaiTisir JouuNAL Puotoquaphic Almanac.
Basing my remarks on the lantern slides, let us consider tliem first.
Taking a general view of it, it may be regarded as, in one respect, a
specimen of the shorter exposure or catalogue work of the Inter-
national scheme. The slide is on about the same scale as the Inter-
national, but, being only one-fourth the size of tlie regulation star
plate, it only shows one-fourth of what the International Catalogue
plate would show. The exposure of five minutes which it received
would be rather less than that given to a Catalogue plate on an
average night; but, as it was taken on a good night, we may speculate
on its showing stars up to, or about, the eleventh magnitude. The
diameter of tge slide U about twice that of the moon : consequently
■we must not expect to find many stars on it tliat the naked eye would
see. Yet there are a very considerable number, for it represents one
of the richest parts of the sky, but not one of the many stars visible
in the photograph can the unaided eye distinguish. Viewed parti-
cularly, it is of special interest, for not only is that region one of the
brightest parts of the Milky Way, but it is centered by a star which
is one of the still unsolved problems of tlie stellar universe. ?; Argus,
the central star, is of a reddish colour, and about the eighth
magnitude. " It seems to me it is a little brighter than it was, but I
don't know ; that we shall have to look into," said Dr. Gill when he
saw it last. The great astronomer Halley found it visible to the
naked eye, and classed it as of the fourtli magnitude in his catalogue,
constructed a.d. 1677, the first catalogue that can be depended on.
Lacaille, who did some splendid work here in the middle of the last
century, ranks it as of the second magnitude, and the later catalogues
of Brisbane — Johnson, Fallows, and Taylor — also give it as a " second."
When Sir John Herschel first saw it, in 1834, it appeared as a very
large star of the second magnitude, or a very small one of the first,
and for three years its magnitude remained apparently unchanged.
"It was on the 16th of December, 18.37," says Sir John Herscnel,
" that, resuming the photometrical comparisons in question, in which,
according to regular practice, the brightest stars in sight, in what-
ever part of the heavens, were first noticed, and arranged on a list,
my astonishment was excited by the appearance of a new candi-
date for distinction among the very brightest stars of the first
magnitude, in a part of the heavens with which, being per-
fectly familiar, I was certain that no such brilliant object had
before been seen. After a momentary hesitation, the natural
consequence of a phenomenon so totally unexpected, and, referring to
a map for its configurations with the other conspicuous stars in the
neighbourhood, I became satisfied of its identity with my old ac-
quaintance >i Argus From this time its light continued to
increa.se. On December 28 it was far superior to Bigel, and could
only be compared to a Centauri, which it equalled, having the ad-
vantage of altitude, but fell somewhat short of it as the altitudes
approached equality. The maximum of brightness seems to have
been obtained about January 2, 1838, on which night, both stars
being high and the sky clear and pure, it was judged to be very
nearly matched indeed with a Centauri, sometimes the one, some-
times the other being judged brighter." On the twentieth it was
" visibly diminished." By April 14 it had so far faded as to bear
comparison with Aldebaran. But again it advanced in lustre until
it was almost as bright as Sirius, according to the Rev. W. S. Mackay,
1843, and Mr. (afterwards Sir Thomas) Maclear, Astronomer Koyal
at the Cape. In 1844 it had again slightly diminished, but at the
beginning of 184.") it had blazed out again, and then began to decline.
A similar phenomenon had previously been noticed by the traveller,
W. J. Burchell, long after Halley 's observations, but some years pre-
yious to those of Sir John Herschel. Now, as I have before stated,
it is only of the eighth magnitude. Will it ever blaze out again ?
As I hope to show, there is some probability of its so doing. It Is
not a temporary star. Some stars liave suddenly appeared, and just
as suddenly been extinguished ; but rj Argus, bright or faint, has
been visible for centuries.
And now let us take the second photograph, that exposed for forty-
five minutes. The stars visible in the five-minute photograph have
visibly increased in size, owing to the longer exposure ; but, in addi-
tion, are a large number of star discs, not visible in the first slide.
Itoughly speaking, all the stars visible up to the thirteenth magni-
tude now appear, and possibly even a few fainter ones stilL But
note, too, that round some stars a curious phenomenon is appearing.
Clinging to those stars, as it were, is some nebulous matter. It is
not halation, for halation round a point appears in the form a ring,
whose diameter varies according to the thickness cf the glass. Be-
sides, the plate was backed with that best of all backing, optically
speaking, a backing that ^ves some trouble to manipulate though,
common Brunswick black, procurable from any oil and colour shop.
A glance through the ten-incli telescope, moreover, reveals to us a
great deal more than appears in the forty-five minute photograph ;
the small field embraced by the eyepiece is full of nebulous matter,
save and except a shoe-shaped darli portion in the centre, midway
between the toe and the heel, lying to one side of the red star
7) Argus.
With an exposure of about three hours, we get on the photographic
plate a repre-'^entation of what is to be seen in the telescope, but it is
far more definitely outlined. In addition to the nebulous matter is a
vast congregation of stars — as many stars as Sir John Herschel saw in
his twenty-four inch reflecting telescope, but hundredfold as many
stars as he dared attempt to map. To map as many stars as appear
in the three-hour exposure would have taken him best part of his
natural life. Y^et photograpliy has done it in three hours.
And now we go on to the twelve-hour exposure. It was not done
on one night. Four nights were occupied. The slide was shut and
covered with dark cloths, to exclude light. When the next night
came, the star ij Argus was brought back to its same position on
the cross wires, everything connected with the eyepiece of the
observing telescope being clamped up rigidly. The photograph
shows more of the nebula) than Sir John Herschel could depict
with months of patient watching and careful toil. It might have
shown more still, but, unfortunately, the nebula surrounding i; Argus
is not particularly actinic — far from such in comparison with
other well-known nebulse. But the stars ! Slowly but surely their
light has been gradually accumulating on the sensitive film. On a
space of sky that might be covered by a shilling held at arm's length
are to be seen something like 200,000 stars — only six times as many
as have been catalogued in the space of, say, ten years, by an in-
defatigable astronomer, backed by an efficient staff.
But let us disregard the stars. The nebula is actinically faint, and
therefore better suited for eye observation. But what does Sir John
Herschel say in reference to his own drawing ?
" The accurate representation of this nebula with its included stars
has proved a work of very great difficulty and labour, owing to its
great extent, its complicated convolutions, and the multitude of stars
scattered over it. To say that I have spent several months in the
delineation of the nebula, the micrometrical measurement of the co-
ordinates of the skeleton stars, the filUng in, mapping down, and
reading off of the skeletons when prepared ; the reduction and
digestion into a catalogue of the stars so determined, and the execu-
tion, final revision, and correction of the drawing and engraving
would, I am sure, be no exaggeration. Frequently, while working at
the telescojie on these skeletons, a sensation of despair would arise of
ever being able to transfer to paper, with even tolerable correctness,
their endless details. However, b)' breaking it up into parts, and
executing each part separately, it has been accomplished, and I trust
with such exactness as may afford a record capable of being appealed
to in future, whether the question of internal changes of the form and
situation of the nebulous branches shall be gone into."
Comparing Sir John Herschel's drawing with the photograph, it is
strikingly noticeable how the draughtsman had seized the most con-
spicuous features, and, so far as they agree witli the photograph, with
remarkable fidelity. But in the photograph also is a vast amount of
small detail that is absent in the drawing, to say nothing of the
multitude of stars which the telescopic camera has charted down
with unimpeachable fidelity. The great astronomer wlien he made
some of the important discoveries that advanced the early progress of
photography, when he took, over fifty years ago, the first photograph
on silver chloride obtained in the camera, little knew to what goal bis
efforts would ultimately lead ; and no one would have rejoiced more
than he to see the ])resent state of the science, though his own labour
of love, the work of many a night's watching and day's recording
was to be superseded by a few hours' work of the gelatino-bromide
plate. Carefully as his drawing was executed, too, and intended as a
foundation for the observation of changes in the nebula, he little
iriieseed that doubt might be thrown on the accuracy of hi" eye.
Y'et there are vast differences between the drawing and the
photograph. In some parts, portions of the nebulie are fainter
or brighter in the one than in the other. One noticeable feature
is a zigzag stretch of nebulous matter, visible in the drawing but
entirely absent in the photograph. How are these discrepancies
to be accounted for.' Was it that, in drawing the separate
216
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 7, 1893
portions of the nebula on different nights, some parts f^ot unduly
represented, according to the atmospheric conditions being more
favourable ? Scarcely ; for Sir John was not the man to omit con-
sidering the drawing as a whole, though the parts were done at
different times. Was it that — in the fainter portions, for instance —
the imagination had greater play ? Perhaps ; for we know that the
eye has not proved entirely trustworthy in recording many physical
phenomena. Or may we look for the cause in the supposition that
various parts of the nebula are richer than others in rays of higher
refrangibility ? Possibly : for such affords a simple and reasonable
explanation." All these and other questions naturally arise; but I
consider it not improbable that many real changes may have taken
place in the intervening sixty years, more especially when we consider
the remarkable changes that have taken place in tlie star itself. But
to decide this point we want the uniaipassioned mechanical observer,
and photography alone answers to this description. Time will tell,
and future photographs of the nebula will be eagerly looked for.
Photography ^"ill set this question at rest, as it has already decided so
many others.
A question that naturally arises is, Is the star behind or before
the nebula and disconnected with it, or do star and nebula form
part of the one system ? On this point the drawing and the photo-
graph are in accord. No change can be detected in the position of
the star relative to the nebula, and it is only reasonable, therefore, to
assume that the two are part of one system ; it is the conclusion that,
in the present condition of our knowledge, is the more justifiable.
And what is the connexion between star and nebula ? Can we
explain the sudden outbursts of splendour in the star by the impact of
meteoric masses forming part of the nebula surrounding it ? If not,
ill what other way? Photography, in the future, may reveal that
to us.
In one corner of the original photographs, but not in the lantern
.slides, are two stars, which in the three-hour exposure begin to
show surrounding nebula. In the twelve-hour exposure this nebula
has extended so far as to show that there is a real, though in the
telescope invisible, spiral nebula connected with and enveloping both
stars. In many parts of the Milky Way photography is beginning
to reveal many analogous phenomena. Years of patient labour are
required to elucidate these many points that are outside the range
of the regular Observatory work. The foundation has been laid by
the Herschels. To take that work, and follow it step by step by
ihe photographic method, would enlarge our knowledge of the
universe in an extraordinary work, and that is why I suggested
the research in The British Joubnal Photogkaphic Almanac.
I foolishly talked there about the " young millionaire." Happily,
much more modest pecuniary possessions are all that is required.
I trust that I have not written at too great a length to tire the
patience of Editor and reader. As it is, I have omitted to describe
two important photographs exhibiting the power of the photographic
compared with the older method. I must reserve them for another
article, when I will also, by describing in brief detail the ordinary
international work as carried on here, conclude the subject of the
title of this article. C. Ray Woods,
Photographic Assistant at the Cape Observatory.
ON THE APPLICATION OF PHOTOGRAPHY TO SEISMOLOGY
AND VOLCANIC PHENOMENA.*
Special Adaptations of Photogbaphy to Seismology.
We now come to a consideration of more special adaptations of photo-
graphy to seismology, and, to avoid the necessity for repeating his name
every few lines, I state here that nearly all these adaptations are the
work of Professor John Milne, F.E.S., the writer sometimes giving assist-
ance in some of the purely optical and photographic parts.
Some two years or so ago, an attempt was made to find whether any
elrnnge in electrical potential between the earth and the atmosphere
preceded, accompanied, or followed earthquakes. An instrument to
keep a continuous potential record was devised on the following lines : —
One terminal of a mirror galvanometer was connected with a metal plate
in a well of considerable depth, the assumption being that the potential
of the well water would be the same as that of the earth at the same
depth. The other terminal was carried to a metal plate at the ground
level. A beam of light was thrown on the galvanometer mirror and,
being reflected, was received on a photographic plate, narrow and long,
kept moving slowly in the direction of its length by clockwork. A con-
tinually changing potential was shown, and there were several cases in
which there were decided deflections at the tunes of earthquakes, but
' Concluded from page 203.
there was not sufficient consistency in these to make it evident that they
were the result of anything but the mechanical effect of the shocks on
the galvanometer. The subject is one that yet requires attention.
Earth Tkemoiis and Earth Tilting.
There has been much investigation of " earth tremors " and " earth
tilting." We are accustomed to look on the "solid earth," apart from
its planetary motions, as the very type of what is stable and steady, but
it is now known that it is never at rest. It is always trembling, and
there is reason to believe that its surface is often slowly tilting in one
direction or in another. These motions are extremely small ; to get
indications of them, much less to measure them, is very difBcult, and, up
to the present, it has been impossible to separate them one from the
other with certainty. Thus no tremor recorder has yet been made of
which it can be said with certainty wliether it is recording true tremors
or " tips." An ordinary pendulum will be affected by " tilts " but not by
tremors, unless these happen to coincide with its period. The difficulty
is to record in any way the extremely small motion of the bob of the
pendulum. A partly successful attempt was made to solve the difficulty
by photography. A silver bead was suspended by a silk fibre in a hollow
stone column, which prevented atmospheric influence. A beam of light
was thrown on the bead, and the image of the point of light, passing
through a micro-objective placed vertically below the bead, gave an image
of the spot of light on a plane at a considerable distance below it, along
which a photographic plate could be made to travel by clockwork, the
motion of the bead being, of course, greatly multiplied — being, in fact,
multiplied in the ratio of the distance between the bead and optical
centre of the lens, • and the distance between the optical centre of the
lens and the plate receiving the image.
A word or two should be said on the optical principles here involved.
If a silver bead were a perfect sphere, or indeed, it the surface were
everywhere convex, the form only approximating to a sphere, the spot of
light produced by the reflection of any source of light, say a lamp flame,
could be made as small as might be desired, without being reduced in
brightness. The further the source of light is moved away from such a
bead, the smaller becomes the spot, but its brightness remains the same,
and is, indeed, at all distances, leaving air absorption out of the question,
the same as the source of light itself, less a constant percentage of loss on
account of absorption of light at the reflecting surface. This arrange-
ment is, in fact, the " artificial .star " used by opticians in testing tele-
scopic and other objectives, when it is not convenient or possible to foons
on an actual star.
It was thought that, in the case of this instrument, as the spot of light
could be made indefinitely small at will, the image of the spot could be
made as small as might be desired, however great the amplification. It
was found, in practice, that this was not the case. If the amplification
were great enough to be useful, the spot of light was too large to draw
anything but a very wide line. The lens was a high class Jinch micro-
objective, and the fault was probably not in it. It is likely that the
bead was not really convex throughout, but that the surface consisted of
minute facets, or more likely grooves. It a bead of mercury could by
any means be used the results would probably be much better.
Excellent results have been got by the aid of photography by the tremor
recorder described in a report on the " Volcanic Phenomena of Japan.'
(BritUh Association Reports, 1892.)
The only ditticulty here is that it cannot be known for certain whether
these instruments are showing tremors or " tips." In this case the light
passing through a narrow vertical slit, behind which there is placed a
small lamp, passes farther through an objective, is received on the
mirror, and is from it reflected on to a horizontal slit in the front of a
box which contains a photographic plate moving vertically by clockwork.
Of course any motion of the mirror of the instrument, whether produced
by tremors or " tips," is amplified by the beam of light, whilst the hori-
zontal slit cuts off all superfluous light, so that a spot only reaches the
plate. Daily observations were taken on plates twelve inches long, two
and a half inches broad, moved by clockwork, at such a rate that they
took twenty-four hours to travel their whole length. With this slow
travelling vibrations were not separately registered. The breadth of the
line across the plate indicated the ampUtude of the vibration at any
particular time, and showed that there attained a maximum at intervals
five to ten minutes. In working with these slow speeds it was found that
the light of a small kerosene lamp was ample, if the plates were rapid,
but it was considered advisable to get a record of the actual separate
vibrations during " tremor storms." To do tliis the plate was caused to
travel rapidly, at the rate of twelve inches in about thirty seconds. With
this rapid travelling the light of a lamp was quite inadequate, and a
* More strictly one of tUc ".principal points " of the len^.
April 7, 1893]
Til BRITISH JOUUNAL OF PHOTOGRAPHY.
217
maguesinm light produced by tho burning o[ magnesium ribbon was ugod.
I prepared a diagram to illustrate the sort of records that wore got on the
slow travelling and on the iinick travelling plates, showing tho result on
II slow travelling plate, in actual size, representing a part of tho plate
only ; and showing tho result on a quick travelling plate, redaced to its
present size from a leugtli of twelve inches.
Of course the line of liKht that did the actual photographic work was an
imago of tho slit, which slit was made very narrow. I was surprised, in
connexion with tliis. to find how little difference it made what kind ol
objective was used to oast tho image. A high-class portrait objective
was suggested, as on account of the perfect correction for both the
spherical and chromatic aberration of the pencil's axial, or nearly so, I
thought that the results would be much superior to those got with an
inferior lens. To my surprise there was very little difference between the
results got by the use of such a lens and those got by the use of a single
double-convex, or " crossed " lens, not even achromatised.
In 188V MM. Fouque and Michel Levj- described a set of experiments
they had made to determine the rate of transmission of shook of an
earthquake nature, jiroducod bj' exploding dynamite, and in other ways,
tlirongh different kinds of soil, using a photographic arrangement for
recording the time and durations of vibrations. An incandescent electric
lamp threw a beam of light at an angle through a lens and on to the face
of mercury in a dish. The reflected beam of light was brought to locus
on a revolving plate. If there were no motion, of course tho light simply
drew a circle ; if there were any vibration, the beam of light was set in
motion, and the circumference line of the circle was widened, and became
indistinct. Thus the beginning, duration, and ending of the motion were
indicated.
Contemplated Applications of PHOToonAPHY.
So much for what has already been done. It may be worth the neces-
sary space to say a word or two about applications of photography that
are, as yet, only contemplated.
In the case of all seismographs at present in use, the " steady point "
is a comparatively heavy mass of metal. Tliere are no objections to this
in the case of slight earthquakes, but, in the case of great ones, when we
have tilting the mass is liable to over-swing the mark and to exaggerate
the motion. There is also the objection that it is never known for certain
whether " tips " or lateral motions are being registered. It is possible
that this difficulty may be got over by the use of very light " steady
point," but, in such a case, the ordinary method of drawing the record by
a point scratching through a smoked film or glass will not be admissible,
as the friction would be too great. It will be necessary, in this case, to
lesort to photograpliy, which introduces no friction to all.
At places where no regular seisological observatories are situated it is
often desirable to have a record of the time of occurrence of earthquake.
The simplest way of doing this automatically is to have an arrangement
whereby a clock is brought to a stop at the moment an earthquake begins.
One objection to this anangement is that thus stopping a clock makes it
often dillicult for observers to reset it at standard time. It has been
suggested tliat a photograph of the face of a common watch might be
taken at the instant an earthquake occurs. Were earthquakes so con-
siderate as always to take place in the day-time, there would be very little
difficulty about the affair ; but unfortunately they are not, and the difiB-
'Culty is about a night illuminant, because, of course, the exposure must
be very short to show the seconds hand of a watch fairly well, and this
necessitates a very bright artificial light. Some experiments made
several years ago were very encouraging. Since then " magnesium
cartridges" have been introduced, and there is no doubt that an arrange-
ment could be devised whereby one of these could be ignited at the instant
an earthquake occurred, and, if the ignition took place fairly near the
dial of a watch, a photograph showing the liands could be made even with
a lens of only moderate angular aperture. It is somewhat doubtful, how-
ever, whether such an instrument could be placed in the hands ol one
unskilled in the use of scientific instruments, and the object of watch
photography is to get on appliance that may be placed in the hands of
any one.
On the other hand, it has suggested itself to the writer that the difficulty
might be got over by fixing a minute silver bead on the end of each of the
three hands of the watch. On the principle described above, in connexion
with the pendulum tremor recorder, the spot of light reflected by such
beads ought to impress themselves on a plate with a fairly short ex-
posure, even if the light be nothing more powerful than an ordinary
lamp. The arrangement whereby a camera, with shutter to bo released
by an earthquake, a watch, and a lamp might be enclosed in a box so as
io effect the desired result would not be complicated.
There are various other investigations in coaneiion with which photo-
graphy may possibly be used. Thus, although the motion of an earth
particle during an earthquake has been very faurly investigated, there arc
still wanting data as to the relative motion of two earth particles at some
distance from each other. It is of great importanoe to know what such
relative motions are, as, according to whether the motions of the earth
particles at some distance apart are nearly in the same phase at the same
time, or are in entirely different phases, is the effect of an earthquake on
a building due to the inertia of the mass alone, or is due to racking. The
construction of buildings to best resist these two destructive influences
would be entirely different.
It is possible that photography may be used in connexion with such
investigations, but it is more probable that entirely meohanioal means
will be employed.
If the very long water level (at least several miles) proposed some time
ago by Professor Milne to discover whether there is any slow, tipping
motion of the land in certain planes, be carried out, it may be found
convenient to register the height of the water at the two ends of the
level photographically. Professor W. K. Burton.
ON THE THEOBY AND PBACTICE OF INTENSIFICATION.
[Croydon Microscopical and Natural History Society.]
Either from under-development or from the exposure' not having been
sufficiently prolonged (or it may be from other causes), a negative is
sometimes found not to have sufficient density for printing purposes.
Due regard must, however, be had as to the final use to which the
negative is going to be put. Thus, for all kinds of paper printing, t'.'/.,
albumen, gelatino-chloride, or platinum, a strong negative would probably
yield the best result ; but for enlarging, bromide work, and lantern slides
a weaker negative would possibly prove more satisfactory.
Preliminary Processes of Intensification.
When it has been decided to resort to the intensification of a negative,
certain preliminary processes are essential, i.r.: —
1. — All trace of hypo must be absolutely removed ; very thorough
washing, followed, if there is any doubt, by immersion in —
(n) Peroxide of hydrogen, two drachms of tho 10 vol. solution to five
ounces of water. Soak for half an hour, and then wash.
(b) Alum solution, freshly made, and acidulated with hydrochloric add
(about half an ounce to a pint of saturated solution of alum). The
acidification is desirable, not only to assist in decomposing the hypo, but
to keep the gelatine soft, as alum alone hardens the film, and renders the
subsequent removal of the soluble matter difficult. Soak for half an hour,
and then thoroughly wash.
(<■) Iodine solution, made by dissolving iodine in a strong solution of
potassium iodide till it is of a black colour, adding some of this to water
till of a sherry colour, and immersing the plates. When a blue colour is
persistent, all the hypo is gone, and the plate is then rinsed, treated with
sodium sulphite to remove excess of iodine, and then washed. The
absence of hypo may be proved by testing the washing water from time
to time, either with iodide of starch, which has its blue colour de-
stroyed if hypo is still present, or with potassium permanganate, which
has its beautiful pink colour destroyed and manganese oxide precipitated
by hypo.
2. — Any trace of fog or veil must be carefully removed, because it must
not be forgotten that any such fog or veil would be intensified too, a
result not to be by any means desired. This is best removed by the
careful application of a reducer, and possibly the hypo and fenicyanide
of Howard Farmer is the best, care being taken to thoroughly eliminate
the hypo.
3. — The negative must be soaked in water for half an hour if it has
become dry, because it should be thoroughly and uniformly wet to ensure
success.
Thus it will be seen that a certain amount of work has to be done
before intensification proper is commenced. This prelimmary work is,
we are afraid, often neglected ; in many cases we know it is so, with the
usual result that the process itself is condemned, while the real fault lies
with the operator.
We will now assume that the negative is ready for the actual intensify-
ing processes, of which we have a considerable number to choose from ;
and in this connexion it is instructive and amusing to note how one pro-
cess is strongly advocated in one text-book, while the very next book you
pick up as strongly deprecates it. No wonder, then, that the mind of the
beginner is as badly fogged as perchance liis plate may be.
Various Processes.
For our present purpose we may divide these intensification prooesMS
into three divisions, i.e. : —
1. — The image is first bleached by the application of a certain chemioal,
while another chemical is employed to darken it again, producing greater
density.
'2. — The image is darkened by the application of certain chemioals
witlwul previous bleaching.
218
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 7, 1893
3. The image, after being first bleached, is treated after the manner
of an exposed but undeveloped plate. This is called intensification by
redevelopment.
In the first case, in which bleaching precedes the darkening of the
image, the bleaching chemical perhaps most generally employed is
mercuric chloride.
We take
Mercuric chloride 100 grains.
Potassium bromide 100 „
Distilled water 10 ounces.
Or—
Mercuric chloride 5 parts.
Pure hydrochloric acid 1 part.
Distilled water 100 parts.
Dissolve and filter if necessary, as any undissolved particles of the mer-
curic salt would be liable to produce spots on the negative.
Into this solution place the negative, previously well washed (or soaked)
and freed from hypo, until it is bleached right through, and appears of a
white or greyish-white colour on both sides ; it is then again thoroughly
washed, and is now ready for the darkening solution. In this process
the following reaction occurs : —
Ago + 2HgCl2 = 2AgCl + HgaCU.
Now, there are several methods employed to darken the image. We
propose to take three, and refer to them in the order of the effect they
produce.
(n) If we have a fairly good negative, which is, nevertheless, somewhat
thin and produces a flat print, we may introduce the necessary sparkle
by using sodium sulphate as the darkening chemical. If the bleached
and thoroughly washed negative be placed in a ten per cent, solution of
sodium sulphite, acidulated with citric acid till it is darkened throxnjh,
again washed, and dried, we shall attain our end. The reaction in this
case is as follows : —
HgjCl.^ -t- Na„SO., + H.,0 = 2Hg + Na^SOj -I- 2 HCl.
Should the density not be considered suiScient, the bleaching and
darkening with sulphite may be done a second or even a third time.
(6) A more pronounced effect is produced by the employment of am-
monia, and this chemical was very generally used, and is so still to a
great extent. The bleached and washed negative is immersed in a \oeak
solution of ammonia, i.e. about ten minims of the '880 solution to one
ounce of distilled water, till it is darkened right through, and then
washed again and dried. The reaction here being —
Hg.Cl, H- 2NH3 = NH,HgXl -f NHjCl,
the dark substance, NHoHgjCI, being dimercurousamraonium chloride.
(c) The third method certainly gives very decided results, but with
regard to it authorities differ. For instance. Captain Abuey has great
faith in it ; Mr. Bothamley says the only drawback is in the use of the
highly poisonous potassium cyanide ; Professor Meldola does not raise
any objection to it ; but Mr. Chapman Jones says this formula has been
proved to be unreliable, and there is no need ever to use such a process.
For ourselves, all we can say is, that negatives intensified by it (carefully,
of course) some five years ago show no sign of change. Putting difference
aside for the moment, the process is as follows: — The bleached and
waslied negative is immersed in a solution made thus —
No. 1.
Silver nitrate 100 grains.
Distilled water 10 ounces.
No. 2.
Cyanide of potassium 100 grains.
Distilled water 1 ounce.
Dissolve. Add 2 to 1 gradually, and with stirring, till the precipitate first
formed is nearly but not quite dissolved, as it is very essential not to
have any excess of the cyanide, otherwise after intensification a weaken-
ing action ensues, the same result obtaining if the negative is left too
long in this solution of potassio-silver cyanide. The reaction in this case
is somewhat complex, but may be as follows : —
Hg„ CI2 -f 2AgK (CN)„ = Ag„ 4- 2Hg (CN)o -f 2KC1.
These comprise the process of mercurial intensification so far as
previous bleaching is concerned ; but those who have not already done
80 we would recommend to carefully study the paper by Chapman Jones
in The British Jouhnal of Photography for February 3, 1893, p. 70,
and in I'hotography for March 9, 1893, p. 146.
NON-BLEACHING PROCESSES.
We pass now to the second division of our subject, i.e., intensification
vrithout previous bleaching, and for this purpose several chemicals are
used, e.g., lead, uranium, gold, platinum, biniodide mercury, and a
solution made by the Platinotype Company called the " Perfect
Intensifier."
In using lead several precautions have to be taken, and as it is a
troublesome process, and is, moreover, liable to cause fog, it is but seldom
Med. Its chemistry depends on the formation of the ferrocyanide of lead
and silver, by reduction of the ferricyanide by metallic silver when a
negative is treated with the following : —
Lead nitrate 20 grains.
Potassium ferricyanide (clean) 30 ,,
Distilled water 1 ounce.
Dissolve, filter, and acidulate with acetic acid. But, as the ferro-
cyanide of lead and silver is white, it has to be blackened, after very
thorough washing, with a dilute solution of ammonium sulphide, the
first reaction being as follows : —
2 Ago -f 2 Pbs Fe„ (CN)., = Ag^ Fe (CN)^ + 3 Pb„ Fe (CN)g,
the white ferrocyanides afterwards becoming the black sulphides.
Instead of the ammonium sulphide, which is a very nauseous smelUng
body, and not an advisable adjunct to a dark room, one of the potassium
chromates may be used, in which case we obtain, instead of the black
colour, a red one if the dichromate is employed, and a yellow one if the
chromate is used.
With the uranium intensifier an analogous action takes place, only
that, as the uranie ferrocyanide is of a dark brown or chocolate colour,
the subsequent application of a darkening agent is in this case un-
necessary.
The solutions suitable for the purpose are those now commonly em-
ployed for producing warm tones on bromide paper, and are as follows : —
No. 1.
Uranium nitrate 20 grains.
Acetic acid J ounce.
Water up to 10 ounces.
Dissolve.
No. 2.
Potassium ferricyanide (clean) 20 grains.
Acetic acid i ounce.
Water up to 10 ounces.
Dissolve.
Mix these two solutions in equal proportions, and let the very
thoroughly washed negative soak in it till the desired colour is attained.
Should the action go on too far, a careful application of a weak solution
of ammonium carbonate will weaken it, care being taken not to use a
strong solution, or allow it to act too long, or the image may disappear
altogether.
The next intensifier is simplicity itself. A solution is carefully pre-
pared as follows : —
Mercuric chloride 1 drachm.
Potassic iodide 3 drachms.
Distilled water 12 ounces.
Dissolve.
The quantity of iodide being just exactly sufficient to redissolve the bril-
liant scarlet precipitate first thrown down. Into this solution tho nega-
tive, first well soaked, is placed until the desired effect is attained, after
which it is well washed. Objections, it is true, have been urged against
this method, in that the image resulting from its use is, or may be, sub-
sequently affected by the action of liglit.
Similar objections have been raised in regard to the uranium process,
hut we believe the supposed effects have been, in both oases, exaggerated.
In the case of gold and platinum the change is of the simplest
character, one or other of these metals being substituted for the original
silver, according to the following equations : —
Gold 3Ag„-f2AuCl3 = Au.,-f6AgCl
Platinum . . .2Ag., -f PtCl^ = Pt 4- 4AgCl
The last intensifier in the second division is the " Perfect Intensifier" of
the Platinotype Company ; the composition of this is, of course, a secret,
but Captain Abney states that it contains mercuric chloride and a salt of
platinum. We can speak from actual experience of the excellence of this
intensifier, and also as to the easy and cleanly way in which it can be
used. The process is simplicity itself. The first thing to do is to soak
the plate in alum solution acidulated with hydrochloric acid, for the
purpose, as previously explained, of removing all traces of hypo. Wash
well, and immerse in the intensifier, somewhat diluted with water, untH
the desired effect is obtained. The action, quoting Captain Abney
again, is gradual and effective, and seems to be unaltered by time.
Bedevelopment Pbocesses.
We now come to the third division of our subject, i.e., intensification
by redevelopment. In this, as in all previous cases, the first step con-
sists in the thorough removal of all traces of hypo by means of the
acidulated solution of alum and thorough washing. The negative is then
bleached in an aqueous solution, cold and saturated, of mercuric chloride,
to each ounce of which two or three minims of strong hydrochloric acid
have been added (this is preferable to employing a solution of mercuric
chloride with potassic bromide or ammonium chloride, as is frequently
done). When thoroughly bleached and well waslied, the negative may
be developed after the manner of a newly exposed plate by most of the
developers in common use. We have not had time to try them all, but
may say that amidol appears to give a alight increase of density, is clean
April 7, 1893]
;HE BRITISH JOURNAL OF PHOTOGRAPHY.
219
in use, and gives a clear and quick-printing negative. Hydroqninone
gives greater density, is also easy and clean to use, and produces a clear,
good printing negative. In one case in which we tried it, and acci-
dentally left the negative in too long, we got the orange hydroquinone
stain, exactly as would have happened to a recently exposed and newly
developed plate.
But pel haps the best method is that of the ferrous-oxalate develop-
ment, which is strongly recommended by Professor Meldola, Chapman
JoneH. and others. In the first jjlace it is simple, and then again a con-
siderable increase of density is obtained, because all the silver and
mercury present in the tilm is left behind in the metallic state; and,
lastly, like the sodium -sulphite method, it can be repeated over and over
again till the necessary opacity is obtained.
The solution used should be one part of the saturated solution of
Jerrons sulphate to six parts of the saturated solution of potassium
oxalate, and it is essential that both solutions should be acid. Sulphuric,
acetic, citric, or oxalic acid may be employed for this purpose, and three
or lour parts of water. No bromide is required.
The previously bleached negative is allowed to soak in this till the
image is blackened right through to the back, and is then well washed.
It is desirable that the first washing waters should be acidified with
hydr' "chloric or acetic acid (as is done in developing bromide paper) to
prevent the precipitation of any iron salt or lime from the water.
The reaction which takes place here may be represented by the follow-
ing equations : —
silver Perrons Pohassiam Ferric Potassium
Clilorirto. Oxalatu. Oxalate. Silver. Oialatc. Cliloridu.
1.— 2AgCl -i- 2FeC.jOj -h KX.jOj = Agj + FejlC^Oj)., -f 2 KCl.
Mercai-ou3 FMrrous Pota^siam Ferric Pot.assiam
Cbloritlo. Oualata. Olalite. Mercury. Oxalate. Chloride.
2.— HgsClo + 2 FeCjO^ + KjC.,Oj = 2 Hg -f Fe. (G,0^).^ + 2 KCl.
We have thus endeavoured, so far as the time at our disposal will
lUow, to pass in somewhat hurried review some of the principal pro-
cesses employed in the intensification of negatives, and to indicate the
chemical changes involved in these processes, and it is in such work as
this that a knowledge of chemistry comes in useful, for the purpose of
teaching us not only what to do but why we do it, and to this end we
hope the paper we have had the honour and pleasure of laying before you
may have contributed. J. H. Balcock, F.C.S.
♦
COPYING ENGRAVINGS AND DEAWINQS.
Before the West London Photographic Society, on March 28, Mr.
H. Peal, President of the Ealing Photographic Society, gave a
lecture on Copying Emjravings and Draitiiigs. As requisites, he recom-
mended daylight, preferably a top light, including a wide angle of sky,
and appliances specially arranged for the purpose. Tiie lecturer described
the apparatus employed by himself in copying engravings in books, con-
sisting of a baseboard of bos-girder form with sliding carrier for the
camera, and an adjustable frame to hold the book or engraving. He
advocated the careful ruling of sets of lines in rectangles upon the
ground-glass screen of the camera to ensure facility in focussing. The
camera front was raised and lowered by the turning of a disc mounted
eccentrically. Coming to the method of working, the lecturer stated that
the engraving must be centered with the lens, then focussed, and the final
adjustment given. He used small stops, ranging from ./'-ll to /-22, to
obtain due sliai-pness.
Mentioning the exclusive employment by professional photographers of
wet collodion for copying, he claimed equally good re.sults with less
trouble from dry plates, such as the Mawson photo-mechanical plate.
He found no advantage in backing the plates, but he impressed his
hearers with' the necessity of carefully dusting them, and of excluding
dost from the dark slides. For regulating exposure, he used the Watkins
meter. For reference, he marked all negatives with a series number, a
snbject number (in relation the Watkins meter), and an initial to indi-
cate the developer used. After mentioning that he employed his nega-
ti^ea for the double purpose of producing prints and making lantern
slides, the lecturer described a convenient apparatus for the latter pur-
pose, in which the top light was reflected through the negative by a
ground opal glass plate. An ingenious arrangement of cams was em-
ployed for centering and holding the plate in the camera.
For development, the new developer, amidol, had many advantages,
notably its quickness of action, cleanliness, and power of developing
several plates in rotation, whilst it enabled the photographer to do with
one-third of the usual exposure, and the developing dish required no
I rocking. The formula was —
Amidol 4 grains.
Sulphite of soda 45 „
Bromide of potassium ^ grain.
Water 1 ounce.
The lecturerer developed two plates with this solution, under somewhat
adverse conditions, with complete success.
©ut IBUitotial CTatle.
DlF. I'hotokrbamik.
Uj- JuLiOB KrOoer and Jacob Hoskii. Vienna, Pustb, and Liepiifr : A. Hartlebenn.
This little work treats exhaustively of burnt-in pictures on porcelain,
glass, itc, giving formulic and working details of sutiicient fulnesi
and clearness for the ordinary photographer to take up this beautiful
branch of photography with successful results. It is fully illustrated.
Mkssbs. Tucs. Illingwobtu & Co., of Willosden Junction, have
sent us their trade price list of printing, enlarging, finishing, framing,
&c. The growth of Messrs. Iliingworth's business is a testimonial
to the excellence of their work.
Wb have received from Mr. G. V. Oartland, photographer, of Windsor,
a flashlight photograph taken at midnight after the recent performance
of liecket, before the Queen and Court, by Mr. Irving and his com-
pany. The scene represents the four knights and Rosamund gathered
round the body of the murdered archbishop. The photograph is a
fine piece of work.
Mn. J. R. Goxz, of 10, Buckingham-street, Strand, has submitted to
us samples of Iris diaphragms which can be made to any size desired
within limits, and to any possible aperture, and can be adapted
to the lens without the tube being cut. Tlie novelty Mr. (jotz claims
is the adoption of vulcanite for the blades, which, for damp
climates, should be an advantage. These Iris diaphragms are neatly
made and work easily and smoothly.
Mawson & Swan's Exposcbb Note-book.
Wb have received the latest issue of Messrs. Mawson & .Swan's ^.r-
poaure Note-book. Besides useful hints on exposure and spaces for
recording exposures given, a variety of formulie and suggestions that
would be serviceable in development and other operations are included.
Habbison & Sons, Leeds, send us an illustrated sheet showing their
new form of head-rests, which, by comparison with their original
stands, seem much lighter and in various forms, some for standing
on the floor, others for attaching to the back of a chair. Several of
them have also supports for the back of the subject.
The Weeks & Brill Co., photo-engravers, of 702, Chestnut-street,
Philadelphia, have forwarded us several examples of their copper
half-tone process. The reproductions, which are chiefly of well-known
pictures, are charming m their softness and gradation, and are,
besides, extremely well printed.
Antho.vy's Internaiionat Annual contains more than the usual
number of really fine photographs and engravings. The frontispiece
is a lovely portrait by Dana ; others are by Zabriskie, Dr. P. H.
Mason, Romyn Hitchcock, John G. Bullock, Horace Gridley, Husnik,
J. T. Bedford, Pach Bros., G. W. Wundram, W. A. French, and
others. The literary matter is of the usual class.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 5922. — " Iruprovetiients in Apparatus for Separating .ind Manipulating
Plates, Cards, or Films, primirily applicable to Plates, Films, 4c., in
Photographic Cameras." H. G. M. Convbe.vue. — Dated March '20, 1893.
No. 5932.— "An Improvement in the Manufacture of Photographic Plates."
0. Magkkstkdt. —Z>a(e<J March 20, 1893.
No. 5980.—" An Improved Hand Camera." A. C. Smtth and A. A Siara.
—DaUd March 21, 1393.
No. 5993. — " Improvements in, or appertaining to, the Exposmg Devices of
Hand Cameras or the like." C. Uovenirv.— />«<«<< Marck 21, 1893.
No. 5894. — " Iniprovemeuts in. or appertaining to, the ExiHwing Devices 6f
Hand Cameras or tue like." C. CoVbxtby. — Dated March 21, 1893.
No. 6335. — "Improved Construction of Tripod Framing for Pbotograpbic
Cameras, Music and Reading Desks." J. H. Rosomas.— Ai(«i March 24,
1893.
220
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 7, 1893
SPECIFICATIONS PUBLISHED.
1892.
No. 5756. — " Photographic Dark Slides." Kirby.
No. 8316. — "Photographic Plate-holder." Scott.
No. 8324. — " Photographic Cameras." Bell.
No. 8646. — "Photographic Cameras." Estcodrt.
No. 8659. — " Photographic Cameras." Edwards.
No. 10,353.— "Photography." Maeoniez.
PATENTS COMPLETED.
Improvements in Means tor Obtatninq Photographic Images.
(Communicated by Aiigiiste Luniiere and Louis Lumiere, 21, Rue St. Victor,
Lyon MontplaLsir, France.)
No. 5892. Claude Kennedy Mills, 23, Southampton-buildings,
Middlesex.— /'cfcrwary 25, 1893.
In treatint; alkaline manganates or permangan.ites with acids, and more par-
ticularly ■with organic acids, such as tartaric acid, citric acid, o-talic acid, l.ictic
acid, &c., the communicators have succeeded in obtaining salts of sesqnioxide,
or of binoxide of manganese, the greater number of which have been incapable
of preparation hitherto.
These manganic salts are sensible to light, and under its influence are reduced
to the condition of manganous salts.
The invention consists in the application of this property to the obtaining
of photographic images by a process of which the following is a description :^
The salts of sesquioxide and of binoxide of manganese, employed alone or
combined with reducing substances, or with bodies which increase their sensi-
tivity, are reduce<l by light.
These salts can, therefore, be employed to impregnate paper (ordinaiy,
gelatinised, coated, albumenised, &c.) either by using them in aqueous solution
in a collodion, or mixed with mucilages.
The collodions with manganic salts, or the mucilaginous solutions of these
same salts, can also be spread upon glass or other support.
The sensitive surfaces are brown, yellow, greenish, or red, .according to the
manganic salts employed. They become white at the parts acted upon by
light.
In treating the proofs thus obtained with an approximtite reactive inert upon
manganous salts, but capable of giving a precipitate or a colouration with the
manganic s.alts not reduced by light, the image will be fixed, and at the ssune
time its colour and intensity will be modified.
In order that the invention may be more clearly understood, I will give the
description of one method of working.
Perm.inganate of jiotash is treated with lactic acid, which gives a brown
solution ; to tliis is ad<led glucose, a reducing body which increases the sensi-
tivity, then it is filtered, and on the surface of this liquid is floated a sheet of
gelatine paper.
This is dried and exposed to the light behind a positive image. When the
proof is well decolourised in the ground, it is treated with a solution of
hydrochlorate of para-amidophenol, which, in becoming oxidised wherever the
manganic salt has not been acted upon by light, gives a brownish black
colour to these places. It is then only necessary to wash and dry it.
The lactic acid may be replaced by another organic acid (oxalic, citric,
tartaric, acetic, &c. ) ; the permanganate of potash may be replaced by
another alkaline or earthy alkaline pemianganate, or even by a manganate,
and the glucose by anotlier reducing agent (sulphite of soda, hydrate of
chloral, &c.)
The following substances may be used as developer fixers ; — Salts of mona-
mines, of diamines, of amidophenols, their homologues, &c. The following
substances have given good results ; —
Nitrate of aniline, sulphate of diphenylamine, hydrochlorate of naphtyla-
mine, toluidine, hydrochlorate of phenylene diamine, hydrochlorate of benzi-
dine, sulphate of para-amidophenol, aniline, toluidines, guaicaol, &c.
Various tones can be obtained by then treating with a base or with an
acid.
What is claimed is : — The application to photography of manganic salts,
employed alone or combined with reducing substances, to obtain a sensitive
surface, which, after exposure to light, will be treated with reactives capable
of differentiating the non-afl'ected manganic salts from the manganous salt
resulting from the reduction of the manganic salt by light.
Improvements in or relating to the Dark Slides of Photographic
Cameras.
No. 6756. Akthont Hogarth Kihby, 20, Cornwall-terr.ice, Manningham-
lane, Bradford, Yorkshire.— itfarc/t 4, 1893.
This invention relates to the dark slides or receptacles for containing plates or
films sensitive to light to be exjiosed in photographic cameras, and has for its
object to provide a means or stop for preventing the sliding shutters of such
dark .slides from being pulled out too far when exposing a plate or film to
light.
According to my invention I cut out of .sheet metal, preferably brass, two
L-shaped or similarly shaped springs for each of the sliding shutters of the
dark slide. These L-shapcd springs are countersunk into the substance form-
ing the inner lower portion of the sliding shutters, one on either side of same,
and such springs are made fast at their bases by means of screws, for instance,
to the said sliding shutters so as to slide up and down between the grooves in
the framework of the dark slide. A small portion of the framework inside the
top i)art of the grooves is cut away in such a manner that, when the sliding
shutters are drawn out the full distance to effect the exposure, the L springs
shall take into such cut-away parts, and so prevent the shutters from being
further withdrawn, but yet allow of their beuig easily slid back after the
exposure.
Improved Plate-holder or Dark Slide fob Photographic Purposes,
No. 8316. Thomas Scott, Victoria-crescent, Eccles, Lancashire.
March 4, 1893.
My said invention relates to an improved construction of plate-holder or dark
slide for holding pl.ites or other sensitive media, and exposing them in a
camera.
According to my said invention, the " rabbet," or equivalent projecting part
of the holder opposite to the shutter, and against which the plate bears when
in register, is formed on, or attached to, a hinge or Hexible flaj), in such a
manner th.at when the shutter is withdrawn the said Hap may be raised and the
pl.ate may be removed. When, however, the sliding shutter is closed, the
shutter presses down the s.aid flaji and retains the plate securely in position.
When the plate-holder is in the camera, and the shutter is withdrawn, the said
flap will bear against part of the body of the camera, .and, being securely held
thereby, the plate will be retained in register, and prevented from falling into
the camera. A groove is provided for receiving the shutter, and more securely
holding the flap down while excluding light. For the latter purpose the joints-
of the flap with the sides of the plate-holder are also made angular or bent.
A corresponding hinged flap may be formed immediately under the shutter at
the end where the shutter is inserted or withdrawn in such a manner as to
simultaneously .act as a "rabbet" for retaining the plate, and as an
automatic "cut off" to exclude light when the .shutter is entirely withdrawn.
My said invention is applicable to both single and double plate-holders. For
the Latter the flaps are arranged in pairs on opposite faces of the plate-holder.
One or more springs may be provided for causing the flap to he continually
pressed upwards, and I preferably make the edge of the "rabbet" which
receives the end of the shutter with a bevelled or curved edge, on to which the
end of the shutter may easily slide.
The usual springs are provided for pressing the plate upwards again.st the
bearing surfaces to ensure perfect register, as will be well understood.
i.mpr0vimekts in means for changing fllms and plates in
Photographic Cameras.
No. 8646. Ernest Estcoubt, 8, C'anfield-gardeus, H-ampstead, London, N.W.
■ March 4, 1893.
This invention has reference to improved means or apparatus for triinsferring
films or plates, one at a time, from a m.agazine adapted to be applied to a
photographic camera into a bag or receptacle formed of material impervious to
light, in order that the film or jilate can then be transferred, in a manner well
understood, into the exposing chamber of the camera, the object being to
enable a greater number of films or plates to be can-ied in a magazine of a
giveu size than has heretofore been usual.
For this purpose I provide at the back of the magazine a frictional feeding
device that may advantageously consist of friction wheels or rollers covered or
provided at the periphery with snitatile material such as indijirubber. that will
cause motion of a film or plate pressed in rubbing contact therewith.
^eettngjES of Soctett>jEJ»
MEETINGS OP SOCIETIES FOR NEXT WEEK.
Date of Meeting.
April 10 ..
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NRme of Sooiety.
Camera Club
Darlington
Dundee Amateur
Lantern Society
Norfolk and Norwich
North Middlesex
Putney
Richmond
Birmingham Photo. Society
Derby
Great Britain
Hackney
MancheBter Amateur
Newcastle-on-Tyne&N.Conntieg
Paisley
Roche.'iter
Stockton
Ipswich -
Leicester and, Leicestershire
Leytoubtone
Munster
Photographic Club ,
Sonthpoi-t ,
Stockpoi-t
Birkenhead Photo, Asso
Camera Club ,
Cheltenham
Glossop Dale
Hull
London and Provincial ,
North Kent ,
Oldham
Bristol and YTost of England
Cardiff
Croydon Microscopical
Halifax Camera Club
Holborn
Ireland
Maidstone
West London
Hull
Place of Meeting.
Charing Cross-road, W.C.
Trevelyan Hotel, Darlington.
Asso. Stndio, Nethergate, Dundee.
20, Haiiover-sqnare.
Bell Hotel, Norwich.
Jubilee House, Horiisey-road, ?J.
Boys' CTymua.ginm,Charlwood-roftcl.
Greyhound Hotel.
Ctnb Room, Colonnade Hotel.
Smith's Ecstaurant, Victoria-sl.
50, Great Russell.st. Bloomsbiiry,
206, Mare-street, Hackney.
Lectnre Hall, Athena3um.
Central Exchange Art Gallery.
9, Gauze-street, Pai.-.ley.
Matbelhatical School, Rochester.
Mason's Court, Higrh-street.
Art Gallery, Ipswich.
Mayor's Parlour, Old Town Hall.
The Assembly Rooms, Hiph-road.
School of Art, Nelson-plaoe, Cork.
Anderton'3 Hotel, Fleet-street.E.C.
The Stndio, 16, Cambridgo-ai-ciidt.
Mechanics' Institute, Stockport.
Y.M.C.A., Grange-rd., Birkenhead.
Charing Cross-road, W.C.
71, Prospect-street, Hull.
Champion Hotel, 15, Aldersgate-st.
Gravesend.
The Lyceum, Union-st., Oldham.
Rooms, 28, Berkeley-sq., Bristol.
Public Hall, George-street, Croydoi:
Rooms, 15, Dawson-street, DubllB.
** The Palace," Maidstone.
Ohiswick School of Art. Chiflwicfc^
71, Prospect-street, Hull.
I
April 7, 1893J
THE BRITISH JOURNAL OF PHOTOGRAPH V.
221
PHOTOOUAPHIC SOCIETY OF GREAT BRITAIN.
March 28,— Technical MeetinK,— Mr. J. Spiller (Vice-President) in the chair.
Platinotyi-k Printino.
Mr. F. Hollyer, who was to have given a demonstration of platinotype
printinc, was unable to be present on account of illness. In his absence a
short discussion on the subject took place, opened by
Mr. H. A. I.AwntANOE, who a-slted how to prevent objectionable browo tones
when printing from a hanl noRative ?
Mr. CHAi'MAS .loNEs said he usually found clear glass give good blacks.
Mr. K. \V. Paufitt had Iweu informed that the brown tones complained of
were <Iuo to new paper.
Mr. W. E. Dkhenham thought a brown image could be obtained by over-
print ing.
In reply to a question, Mr. Lawuance said he did not find the acid clearing
bath airjct the tones of platinum prints.
Mr. T. Skhastian Davis remarked that the early experiments of the
chairman negatived that.
Mr. I.AWKANC'K saiil it .seemed to him that platinum paper had a compara-
tively small range nf gradation as compared with carbon or silver.
Mr. Chai'Man Jones said it dependeil on the negative. Platinum paper
night be made to give almost any cur>e.
Mr. L. W.vunkiike .said lie had tried platinum paper by means of his sensi-
tometer, and found he could see the gradations a great deal better than on
silver paper. He had fouml the same result with iron paper.
The Chaiuman asked wliat were the advantages in tlie new cold process over
the hot, lookini; ivt the splendid results the latter gave.
-Mr. Wahnkuke .s:ud that it admitted of loeal development.
-Mr. Dkbknham also said that, when the prints were successful, a finer range
of tone could be obtained.
A}>ropos of platinum-toned prints, the Chairman said that, in order to
ascertain whether a print was in platinum alone or was a platinnm-toned
silver print, the application of a solution of potassium cyanide would decide
the point. The cyanide would attack the toned print, and not the pure
platinum print.
After further discussion on the subject, the evening concluded with a
display of lantern slides sent by the Leeds Photographic Society, an affiliated
Society.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
Mabch 30,— Mr. J. S. Teape in the chair.
' The Affili.\tios Scheme.
I The Hos. Secretary read a letter from the Photographic Society of Great
Britain, stating that under the new rules of the Society members of affiliated
societies wlio had been members of those societies for not less than two years
were eligible for election to the Photographic Society of Great Britain on the
nomination of the secretaries of their own societies and without entrance fee.
In reply to a question from the bo.x asking for methods of getting clouds on
\ the same plate as tlie landscape, Mr. R. Beckett said that brushing the sky
portion of the picture over with a solution of bromide had been recommended.
Another plan was to start development with a very small proportion of pyro,
in order to get the image out all over tlio plate belbre obtaining density.
The Sandeii. Plates.
Mr. S. Hkrhert Fry delivered .in address on The Sani1e.ll Multiple-coated
Plates. [The paper will appear in a future number.] In illustration of points
in his address, Mr. Fry showed a number of negatives and prints by Mr.
Sanilell, and jmiiited out that although some of them were taken in strong
ranlight soft results were obtained. The rapidity of the upper film was
evidenced by several hand-camera negatives which were shown. Having
described the nature of the double and triple films, Mr. Fry went on to speak
of development, and said that, although the makers recommended eikonogen-
hydroquinone, experience hail shown that pyro was suitable. For over-
exposure development should be tentative. Various claims had been made on
beoalf of the plates, namely, that they were suitable for instantaneous work
and Interiors, that they provided a cure for halation, that they gave better
and rounder images with better " aerial perspective " than ordinary plates, and
' " V were specially useful for beginners. Having dealt fully with each of
irns, Mr. P'ry concluded by advising users of the plates not to resort .
Mr.'VV. E. Debenham observed that Mr. Fry had said that the use of the
ndell plates would enalde one to obtain a larger range of gradation in a
■qih, andhad pointed out that, although .some of the pictures shown
.■■n in sunshine, the brightly lighted parts appeared as well lighted as
' iphs taken of subjects where there was no sunshine. He (Mr.
jeiiliam) regarded these as extremely valuable feature.s. It had long Ijeen
veproach to photography that no method would give a full range of grada-
!i, but in the examples before them they certainly got a much greater
nroach to it. As to the claim that this form of plate materially prevented
■ evil of halation, it wxs a point the importance of which he was fully alive
Tliey must all recognise that of the pictures sent to the most recent
hibitiona a good many had suffered terribly from that evil. Tliereforo,
ything which tended to show photographers how much better their work
,'ht be was exceedingly useful. How few pictures in an exhibition did we
■ where the ffradation in bright sunshine beats that seen in the examples
>wn, particularly in the picture of the Queen's vinery ? If the statements as
Sweater range of grailation and freedom from halation are borne out by
1 eated and carefid trial and experience, as they appear to have been home
• in the specimens shown, photograi)hers would learn so much that they
)uld no longer be content to send to the next exhibition photographs
lelective in technical qualities.
I Mr. Sarceant said that a day or two before he hail exposed fonr of
homas's plates on the interior of a first-floor room in the Adelphi, but had not
obtained the-best resnlts. He had tried again, using Sandell pUtea, and had
obtaine<l very successful negatives. The jjhotogTaphs were really beantifal.
He hail followed the instructions given as to exposure and development, his
only trouble being in the fixing, vvhich took a long time.
The Chaiuman had used the General plate experimentally to test its power
of preventing halation as compared with an ordinary plate. He ha<l compared
an ordinary plate with a San(lell plate, and, as regards halation, the latter was
undoubtedly a great advance, but members of that Association well knew that
there were means that could be used to prevent halation, and if they were
used the Sandell plate com))ared with ordinary {dates backe<l was not such a
great advance as it appeareil at first sight to be. In his experiment he had
used an opaqne screen with eight diamondshaned boles, and to these he bad
exposed a Sandell plate, an unliacked Paget X.\.X plate, and a backed Paget
X.\X. In the experiment he had not used the best backing meiliura, other-
wise the result would have been still more remarkable. The three plates were
exposed at the same time at a distance of fifteen inches from the diuminant,
which was five inches of magnesium ribbon burnt in lengths of quarter inch
half inch, and so on, up to the full quantity. The three plates were developed
in one dish, and treated in jirecisely the same manner. Tlie halation in the
unliacked jilate was enormous, in the backed plate there was a little lialation,
but in the Sandell plate very much more. After describing other experiments,
the Chairman observed that his experience was that with backed plates with
the most prolonged exposure there was no fear of halation. The backing he
used was as follows : —
Caramel 1 ounce.
Gum solution 1 ,,
Burnt sienna 2 ounces.
Methylated spirit 2 „
In the course of his reply, Mr. Fry suggested that the Chairman should
repeat his experiment with this modification, which is a vital one, that
instead of treating both plates alike with the same developer, he should
do the best for each plate. If he developed the Sandell plate in a tentative
manner, he would secure the image clear and sharp. He (Mr. Fry) had maile
two exposures of three minutes on Sandell plates, and developing one had got
the most horrible blurring and rertection. He cut the other one into four, and
with a weak developer ami the use of bromide he had got absolutely no trace
of the blurring of the image.
The Chairman iiromised to repeat the experiment in the manner suggested
by Mr. Fry, and after some further discussion a vote of thanks was pas.sed to
Mr. Fry for the paper.
«
North Middlesex Pbotographlc Society.— JIarch 27.— Mr. Cox produced a
print toned with uranium, wliich had become bronzed in the shadows, but he
sliowed that this bronze could be removed by rubbing with a soft rubber
eraser, and showed no tendency to return. .Mr. S. E. Wall then read his
paper, entitled, Photorirap'it/ and Ardvodoipj. He fully explained the dif-
ferences between the different .styles of architecture, beginning with the Roman,
and following with the Saxon, Norman, Gothic, to:. He exhibited on the
screen numerous slides of the most notable examples of the different styles,
explaining their beauties and chief characteristics, beginning with the Roman
batlis at Bath, erected about A.D. 400, and following with Norwicli, Hereford,
Tewkesbury, Canterbury, Winchester, Salisbury, '&c. He strongly recom-
mended photographers to piiy more attention to architecture, as being a subject
abounding with interest.
Hackney Photographic Society.— March 28, Mr. K Puttock in the chair.
— Mr. Gosling asked, "could a portrait lens be used for landscapes ? " Mr.
R. Beckett said, " Yes, in many instances ; but there was a weakness, on
account of the liability to flare-spot. Stopping down decreased spherical
aberration." Mr. Dean a.sked if any member could say where a table could be
found in which the relative proportions between light reflected and that
refracted from a polished plane surface of glass at various angles, ignoring the
factor of opacity in the glass diminishing the strength of rays refracted .' Mr.
Aveut thought it could be found in MinicI:hon-n's Optics. Work was shown
from Mr. Cross. Mr. Grant s.aid, when the Sandell pkte first came out, he
took a view at sunset — light strongly reflected from water, very dark under
trees, without h.alation — with an exposure that could not liave failetl to have
produced it on any other plate. Mr. Sodeac suggested for comparison to try
exposures on a Sandell and ah ordinary, backed with caramel and burnt
sienna. A series of views by Jlr. Scamell, entitled London Street fries, was
then put through the club lantern, after which a few slides from Mr. Hudson
were shown.
BUckheath Camera Club.— March SO; Mr. J. F. Field (Vice-President) in
the cliair. .\ lecture on the Sandell plate was given by Mr. S. Herbert Fry.
The lecturer laid much stress on the suitability of these plates for hand-camera
work, as the top film is very rapid, and the plate will stand any amount of
forcing in development. The claims that these plates will not show halation,
and will give full details iu the shadows without the high lights becoming
blocked, were fully substantiated by the numerous tirints shown, all of which
were of very fine ijuality. Time exposures shouki always be ample, as the
plates cannot practically be over-exposed, but in such cases development
should always be started with a weak solution, to avoid darkening or fogging
the ujiper film, and thus prevent the operator from watching the jirogress of
the image on the lower film. In cases of extreme over-exposure, the upper
film becomes .solarised, the image being formed on the slower film underneath.
A fixing bath of eight ounces to the pint was recommended, on account of the
unusual thickness and richness of the film.s.
Ashton-under-Lyne Photographic Society.— March 29.— Dr. A. Hauiltok
gave a demonstration on I'laiiiuittjpc Printing (new cold process), and de-
veloped three prints. The first was done by passing the print through the
solution ; the second, by placing the print on a sheet of glass, and then, by
means of a brush, dtstributing tne ileveloper over it. The last was a picture
222
THE BRITISH JOURNAL OF PHOTOURAPHY.
[April 7, 1893
which be had not been able (by any other means) to get a satisfactory print
from before. By this process he brought it out beautiiully. He did this by
local development with the brush.
Uverpool Amateur Pnotographlc Association. -March 30 Mr. Paul
I ^nirp in the cUair —Seven new members were elected. Mr. F. A. Schierwater
^h^ited and explained a new dark slide for films, and Mr. B. J. Sayce
showed some pape'r negatives taken in 1850 to 1S52. . Mr. W J. Ceadwick, of
Manchester gave a lecture and practical demonstration of the optical lantern,
showing the advantages to be gained by the use of triple condensers ; also the
aoDlication of the lantern for scientitlc purposes, for chemical and electrical
experiments, cohesive figures. &c The flr.^t excursion ot the season was
announced to take place on Saturday, April 1», to Ince Blundell Hall.
FORTHCOMING EXHIBITIONS.
AnrU 7-8 *C-oydon Camera Club, Braithwaite HaU, Wellesley-
^ road, Croydon. Hon. Secretary, G. B. White,
55, Albert-road, Croydon.
XO-29 'Crystal Palace. The Executive, Crystal Palace, S.E.
12-15 *Bolton Photographic Society. Hon. Secretary, J. E.
" Austwick, 10, Rushton-street, Bolton.
17-29 'Photographic Society of Philadelphia. Hon. Secretary,
" R. S. Redtteld, 1601, Callowhill-street, Philadelphia,
U.S.A.
May 4-6 'Forfarshire Photographic Association. Hon. Secretary,
W. J. Anckorn, West Port, Arbroath, N.B.
* Signifies that there are open classes.
CorresJiJOttlrencr.
' Correspondpntfi should never write on hoth sides of the paper. No notice is taken
of communicatioii'i unless the names and addresses of the vcriters are giaen.
TINTING PLATINUM PRINTS.
To the Editor.
Sib, — I enclose herewith a cold-bath platinotype print which has been
toned with a stroiig infusion of black tea : and, as no other process with
which I am ac(iuainted gives the same look of age, I thought perhaps you
might think it worth while to let the readers of the next issue of Thk
British Journal of Photography know how simply this look of a very
old print can be given to a platinotype when the subject is a suitable one
to be thus toned. The enclosed was copied from a very old andbrilliantlij
coloured engraving or print, an isochromatic plate and yellow screen was
used, and the colour value is exceedingly well rendered. — I am, yours,
A'C, J. Reynolds, M.D.,
President of the Brixton and Clajihani Caitiera Club.
11, Brixton-hiU, S.W., April 3, 1893.
[In the print sent, Dr. Reynolds has well simulated the effects of
aa-e. — Ed. i
TEMPERATURE OF DEVELOPING SOLUTIONS.
To the Editor.
Sir, — I am hall inclined to question a statement in the last number
about the great danger in developing in cold weather with ordinary water,
on account ot its increased coldness, as I have always been under
the impression that water supplied from the mains was wonderfully
eijual in temperature summer and winter ; and that it to the hands water
felt colder in winter than in summer, the feeling was due more to the
state of the surface of the body than to an actual difference in
temperature.— 1 am, yours, *c., Geo. H. Slight.
165, Romford-road, Forest Gate, March 29, 1893.
REDUCING ACTION OF HYPO ON AMIDOL DEVELOPED PRINTS.
To the Editor.
Sir, — A correspondent, in your last issue, asks if anyone has similar
experience to his as to bromide enlargements, developed with amidol,
fading away after thirty minutes in the fixing bath. I beg to say that I
have h.ad the same experience after twenty to twenty-five minutes. The
hypo was a fifteen per cent, solution. I have not observed any ill effects
after five to ten minutes. — I am, yours, Ac, S.
April 1, 1893.
A PLEA FOR QUALITY.
To the Editor.
Sir, — Though, when writing my leiter of March 7, which ynu had
the kindness to publish, I was cognisant of the fact of samples and price-
lists having been sent out by Messrs. Willis & Co., nevertheless it seems
strange to me that this firm should in such a hurry apply my criticisam
to itself personally and alone. This I never intended, and there is not a
phrase nor sentence in my letter which could thus be interpreted. If
Messrs. Willis * Co. supply something good in quaUty of board and aUo
in finish, and at a cheap price, why, tlien all right, 1 will be the last to
feel aggravated. I would not dare to intrude upon the columns of your
Journal for the sake of fighting for material interests ; even a business
man — the man of figures — should also have ideal aspirations, and not
consider his own personal existence as of paramount importance.
I pointed out in my letter that " I do not plead in my own nor [the
type-setter put of his own accord, it seems, the word but : why, I don't
know] in the interest of card-manufacturers of a higher level, hut in the
interest of the photogra2)kic art!" and in this way I think I defend best
also the interest of the consumer.i. For a tendency in another direction
— a degeneration of quality and finish — one can hardly ever expect to
deserve or earn the gratitude of the consuming public. Finis ! — I am,
yours, &c., A Card-manufacturer.
March 30, 1893.
♦
"ATTICUS'S " LAST WORDS.
To the Editob.
Sir, — Mr. G. Watmough Webster is mentally idiosyncratic, and
" Atticus " had no desire, therefore, to disturb Mr. Webster's literary
placidity. "Atticus's" first letter contained two points. First, he
describes a home-made appliance for rapid solution making. Second, he
owns to being amused at the " resurrection " of old methods and
processes. This produced an ebullition of bile— literary or otherwise —
causing Mr. Webster to reply offensively, stating that " Atticus " " was of
no account, and made statements not to be found in any other copy."
Tlie succeeding letters ot "Atticus" were therefore purely defensive, the
quotations being from Mr. Webster's own articles, which your readers on
reference thereto will find truthfully quoted. To insert the full text was
impossible for obvious reasons.
Mr. Webster is entitled to his opinion ; certainly " Atticus " has his,
and Messrs. Martin & Co. have theirs. Opinions may differ, hut state-
ments and claims made in a public journal are permanent records, and
open to public criticism. If Mr. Webster now denies making a claim tor
inventing the utensil in question, what does he mean when he stated,
"In my own case the invention was spontaneous Doubtless in our
case the invention was original, whichever can claim priority of publi-
cation?"
Mr. Webster has objection to "covert sneers." " Atticus" don't like
them— covert or otherwise. " Atticus " therefore indignantly protests
against (as exceeding the limits of ordinary courtesy) Mr. Webstei's
" covert sneers "—under advice to the Editor— for that gentleman to be
satisfied that the money is forthcoming in case ot adverse adjudication
against " Atticus.'' This request has a flavour of fishing for the verdict.
" Atticus " considers this an unwarrantable impertinence and interference,
and the only course open to him is to peremptorily withdraw from the
controversy, which he now does regretfully in consequence.
However, the half-a-giiinea promised to the funds of the Photographers'
Benevolent Association, in case the award was adverse to " Atticus,"
is enclosed ; '■ Atticus " requests that it be forwarded to the Secretary of
the Benevolent as a further evidence of "Atticus's" interest in, and good-
will towards this invaluable Institution.- 1 am, yours, itc,
April 3, 1893. Atticus.
[As " Atticus " has withdrawn his challenge, we have returned Mr.
Webster's letter to the latter gentleman — of course, unopened.
" Atticus' " cheque for 10*. Qd. has been duly handed by us to the
Hon. Secretary of the Photographers' Benevolent Association. The
matter here terminates. — Ed.J
PROPOSED HAND CAMERA CLUB.
To the Editor.
Sir, — Will you kindly allow me to propose, through your columns, tlio
formation of a Hand Camera Club. I consider the time quite ripe for
such a movement, and it must be admitted that the hand camera reeeivi.s
but slight attention in the routine of ordinary society work. This must
of necessity be so, as it only forms one branch ot many. Yet I venture to
think that the earnest hand-camera worker would like greater opportuuity
of discussing and hearing about hand cameras. Several well-known
workers to whom I have mooted the idea think favourably ot it, and 1
now ask any one interested to communicate with me direct. The proposed
lines would be : —
1. A nominal subscription, say, about '2$. Gd.
April 7, 1803]
THE BIUTISII JOUKNAL OF PHOTOGRAi HY.
223
2. Condacted on social lines, like the Photographic Club.
3. Confined strictly to actual workers, but no other restrictions.
4. Meetings monthly at tjrst.
5. Comparing re.'sults, discussions upon new apparatus, and, in fact, the
usual kind of society show, but confined to work.
0. Some system, perhaps, of a circulating portfolio to keep in touch
with provincial members. «
7. Some of the meetings, perhaps, in the provinces.
And, of course, there are other matters. If the idea meets with any kind
of support, I shall be pleased to call a meeting.— I am, yours, Ac,
57 and 58, Chancery -latu, W.C. Waltek D. Wklfoiid.
A SOCIETY FOB CHEETHAM.
To the EniioB.
Sir,— A new Society, open to amateur and professional photographers,
has been formed in Cheetham, Manchester, and the Secretary is Mr. W. E.
Hurnell, 21, Ijarch-street, Hightown. Next meeting, April 11, there
will be a demonstration by Mr. W. T. Wilkinson (the I'resident) on
Development. The Society meets at 490, Cheetham Hill-road, Man-
chester, every alternate Tuesday. — I am, yours, Ac,
W. E. HuBNELL, Hon, Sec.
21, Larch-street, Hightown, Mancheiter.
" A PAIR OF COMPLAINTS."
To the Editor.
Sir, — Whilst commiserating with Mr. John Power upon his unfortunate
negotiation, I must say liis sneer at "gallant little Wales" is most un-
generous. Does he think that all photographers on the borders of Wales
are Welshmen > I can assure him not Jii-e per cent. are. Are there no
English photographers in "Bonny Scotland?" It may have been a
Welshman who served him the scurvy trick, but to apply the tar-brush to
the xclwlc borderland of Wales is a bit unjust. There are "black sheep "
in most lands — Mr. Power happened to find one ; but surely, having the
man's address, a remedy lies in Mr. Power's hands, if it's " worth the
candle." — I am, yours, &c., J. Horton.
26, Caroline-street, Cardiff.
THE CONVENTION SLIDES LOSTi
To the Editoe.
Sir, — May I ask you to give prominence to the fact that the circulating
set of slides, issued by the Devon and Cornwall Camera Club in con-
nexion with the forthcoming meeting of the Convention, has been lost in
transit ?
As I cannot recover any trace of them to the present, I am reluctantly
compelled to provisionally cancel their engagements, but will put them
on the road again as soon as I recover them, and will arrange fresh dates
for those Societies that have been disappointed.
To the present I have absolutely no information as to their where-
abouts, and can only express my regret to all who have been disappointed.
— I am, yours, Ac, B. Hansford Worth, Hon. Secretary.
42, George-street, Plymouth, March 28, 1893.
"A HARD CASE."
To the Editor.
Sir, — Having passed through, in my early days of photography, the
painful experience — or, rather, want of experience — of your correspondent
in "A Hard Case," I can sympathise with him much.
Let "A. E. S." take courage from the following: — After three years'
apprenticeship, which meant, in my case, a knowledge of silver printing
and the art of mounting — and but little else practical photography except
that gained in my badfc garden — I found myself expected to take a " sit."
away from home. Not feeling any more confidence in myself than
"A. E. S.," I took a place as assistant operator and retoucher, and
managed (by hard work) to suit my employer. Leaving there, I next
obtained a " sit." as operator and retoucher in a busy seaport town, and
practised on the sailors, &c. ; after nine months of that, during which
period I had won half the battle, viz., gained confidence, I a^^ain sought
pastures new, and obtained an appointment in a good-class business as
operator and retoucher, which shortly resulted in my being made manager.
Therefore; my advice to " A. E. S." is to' get a place in a cheap-class
business first, and quietly work his way " up," and I feel sure he will
soon reach his level — I am, yonrs, &o., Masaoeb.
March 28, 1893.
icxcftangc Column.
\* No charge ii tnad^ Jot inserting Exchanges of Apparatus in this column ;
but none toiU he inaerted unless the article wanted is definiteUj stated. Those
who specif y their requirements as *^ anything useful" will ther^ore understand
the reason of their non-appearance. The full name if the advertiser must
in all cases be given for publication^ otherwise the I^xchanges wilt not be
inserted^
Will exchange whole-plato camera with three-fold stand for a cushios •afet7.<~
Address, G. Claukk, Grove^place. Saffron Waldea.
Wanted, exterior background, in (jrood condition, in exchange for a fijie-t«necl
mandoline.— Address, W. J. Richard, Photogtaphcr, Fore-street^ Collingtoiit
Cornwall,
12x10 camera, new, all movoments, in exchange for good hand camera ; aUo good
carte lens, exchange for whole-plate wide-angle lens.— Address, W. G. Mabtih, 115,
High-street, Merthyr Tydfil.
Will exchange a portrait leu« byLerebours (cabinet), a fine vi^oiotttidSxG background
and buruislier, fur whole-plate portrait lens. — Address, R. Urowm, Chateau Studio*
Boulevard, Weston-super-Mare.
Wanted, set of Haddon Hall steps ; offered, in exchan^, Dallmeyer 15x 12 lena, good
as now, ia leather case, or a midget camera for taking six on a half-plat^, with ftix
portrait lenses.— Address, A. Debbnuam, 28, Unton-street, Ryde, Isle of Wight.
Will exchange vol. xxsix. and Nos. IftlS to 1651. clean, unbound, Tus British
JOUENAX OF Photogiiaphy, and vol. liii. EntiliKh Mechanic (Hanover on " Construc-
tion of MicrOBOope"), unbound, for Thornton -Pickard time and instantaneoas
shutter, or one of good make, size of leuF-hood one and a half inches.— Address^
W. H. NicaoLSoai, 44, Windsor-street, Brighton.
EncfUJCtjj to ©orresponticnts.
„* All matters intended for the text portion of this JouBNAL, includinff
Sueries and Exchanges, must he addressed to ''The Editor, The British
ODRNAL OF Photography," 2, York-street, Covent Garden, London. In-
attention to this emures delay.
,* Correspondents are informed that we cannot undertake to ansxcer com-
municalions through the post.
\* Communications relating to Advertisements and general business affairs
should be addressed to Messrs. Hknry Gkeknwood U Co., 2, rork-streei
Covent Garden, London.
Photographs Registered :
John Stuart, Glaepow.— Pour photograT^hs of the Rev. Adam Cletjlicm Welchf
lielen&biirgh.
Charles Walker Clarke, Devizes.— Pho(ojrap7i of a dratcing of the ifarket-plote,
Devizes, in the olden time.
Francis Hoare, Cirencestor. — Photograph of a collection of enlarged photograjths at
the Cirencester Industrial and Art Exhibition, Apnl 3, 1893.
O. Watmongh Webster, Chester.— Photograph of the (^ictier Beagles, xcith groupof
people without tli. Master; also a photograph including the Mailer.
W. BiKRELl Received; thanks.
F. C. Green (Chihuahua). — Received and forwarded.
P. Bebbisgtox.— Write to Mr. T. .Samuels, Linden House, Hadley, Bamet.
J. Austin.— 1. Rives paper is mostly used. 2. There would not be any copy-
right in such prints.
F. B.— 1. You will have to pay duty on taking English plates into the States.
2. Yes, ii X 3;J is an American size.
OuVRiBR. — We cannot say whether you have a legal remedy ; we should
recommend you to consult a solicitor on the point.
Herr Richard Leo (Paulinenstrasse, 48, Stuttgart).— Mr. Gambier Bolton's
address is. The Camera Club, Charing Cross-road, W.C.
Dial (Glasgow).— In our volume for 1891 you wUI find a series of articles on
Bumt-in Enamels, which will give you the necessary information.
A Russian Reader.— The apparatus named is excellent The makers would
no doubt adapt the shutter to the camera front. A larger front coiUd, of
course, be made to take it.
B. F. — The formula will do very well. Use a gelatine similar to that em-
ployed for dry plates, say, Heinrich's. The paper must be used the day it is
sensitised. In cool weather it will sometimes keep till the following day.
W. A. M. — If the lens is so firmly fixed in the flange that it defies the oniinary
method of unscrewing it, run a little jiaraffin oil round the thread from the
inside aud allow it to souk for an hour or two. This treatment will generally
enable the lens to be unscrewed witli ease.
C. R. — If the lens is not in focus when it is set according to the scale on the
mount, it is clear that the scale is in error. It may be that the camera is
not the right one for that particular lens. Call the attention of the manu-
factiu'ers to the matter. They can easily rectify it.
S4
THE BRITISH JOURNAL OF PHOTOGRAPH 1.
[AprU 7, 1893
Medal. — The photographs in question were not taken direct from the coins.
They were taken from casts in plaster of Paris specially made for the
purpose. It is more than probable that the plaster was tinted .so as to be
more amenable to the plate ; anyhow, that is the usual method.
C. Wade.— The price charged between plate glass and sheet glass, for the
frame for the enlargement, is by no means "extortionate." The price of
plate glass is about twelve times that of sheet glass, and as there is ten
square feet of it, you can judge for yourself as to the reasonableness of the
charge.
W. Kersh.\w.— The pictures are a little flat, from the lighting. There is
evidently too much front to]i light. We .should advise you to have the side
light in the studio made larger. That will enalile you to obtain better
results. A longer exposure would have been beneficial in the examples
forwarded,
P. Kellt. — There is nothing in the picture to indicate that the lens is in any
way faulty. But as you say the picture was taken with the smallest stop,
it is scarcely a fair criterion', for a lens must be very inferior indeed that will
not take a fairly good picture with a very small aperture. What will the
instrument do with its full opening !
B. A. Thomas asks how to ascertain what size condenser is required for
enlarging from a given size negative, whether there is any set rule in the
matter ? — Measure the diagonal of the negative, and whatever that may be is
the diameter of the condenser that is necessary for the work. It is always
well to have it a quarter or halt an inch larger, to allow for any little mar-
ginal defects.
D. Campbell asks if it is possible to make a mi.xture of albumen and gel.atine
that will keep good so that it can be used as required. — Yes. The best way
will be to beat up the albumen as for preparing albumenised paper, then
dissolve the gelatine iu the desired proportion of water, mix, and afterwards
add an antiseptic, sach as a little carbolic acid or thymol. When the
mixture is again liquefied, it must not be heated beyond the coagulating
point of albumen.
Warwick says ; " I have sent to two dealers in photographic chemicals for an
ounce of cyanide of potassium, and they refuse to supply it, as they, so they
say, would incur a heavy penalty by so doing, and refer me to the chemists.
On applying to no less than four of them they said they did not keep it.
Surely there should be some means of obtaining the material ?" — Cyanide of
potassium is prohibited under the Pljarmacy Act to be sold by other than
duly qualified pharmaceutical chemists ; but, as the salt is not contained in
the pharmacopffia, very few keep it in stock. It may be procured from any
pharmaceutical chemist who makes a speciality of photographic chemicals,
and there are many about London and the large provincial towns.
P. E. C. says : " 1. I should be greatly obliged if you could answer the follow-
ing : — I have found, almost immediately after sensitising, my paper is
covered with metallic spots, as piece enclosed. Cannot solve the difficulty.
2. Also would you oblige by answering the following : — I work with the
chloride of lime toning bath. What is the cause of it not toning rightly
after addition of gold 1 I make every precaution not to get the bath in any
way mixed up with any chemicals whatever." — 1. Tlie spots are caused by
particles of foreign matter floating on the surface of the bath or settling on
the paper while it is drying. 2. If the bath is riglitly prepared, it will tone
properly. Probably some injurious substance lias contaminated it as in
the case of the paper.
A. E. & Co. write : " We are desirous of building another glass house to print
in, &c., during wet weather, but we wish to erect it in a way so as to be free
from all risks of having to pidl it down again by order of the Council.
Neither do we want to submit plans, with the accompanying expense, delay,
&c., to the district surveyor. Can you help us out of our difficulty ? We are
told, by||making it a movable one, we are within the limits. Is this so ?" —
No. On the whole, we are inclined to think the best plan will be to consult
the district surveyor. The County Council are very particular as to all
buildings that are not " fireproof " under the meaning of the Metropolitan
Building Act. If the work is done without the offices of the surveyor,
the Building Acts had better be obtained, and their conditions duly con-
sidered before commencing operations.
H. W. L. writes : " Could you give me the cause of the spots on the enclosed
print ? This is only one of a number I have had like this the last few days.
If I had not fixed them myself, I should have put it down to their not being
moved about sufficiently; but I fixed them myself, and kept them moving the
whole time, and fixed for about twelve to fifteen minutes, time that I always
have given my prints, but have never had this sort of thing before. Tlie
only thing I feel it can be put to is this. On the first occasion that tliey
appeared I opened a fresh tub of hypo, and I think that some inferior article
has been sent me and charged at full price. Do you think it could be
cau-sed by the hypo ? I am going to use a fresh sample to-night, when I
may be able to draw a better conclusion ; but perhaps you will give me your
opinion on the matter." — We have seen very similar effects caused by the
use of inferior hyposulphite of soda, but it is impossible to say if that is the
case in the present instance. Of course, as a fresh sample is obtained the
results by the two kinds can be compared and an opinion formed.
X. A. Y. writes as follows : " Last week a monument to a late very popular
man in our town was erected in the public cemetery. As soon as it was
finished, a rival of mine photographed it, and the following day I also took
a photograph of it. Now I have received a lawyer's letter, saying that his
client, the other photographer, has made his photograph copyright, and
threatens me with legal proceedings if I publish my picture. Can he stop
me publi-shing my picture? I have just learnt that the lawyer's letter was
not sent from a solicitor, but was wxitten by a friend of his, a solicitor's
■ jlerk. I fancy the whole thing is a bit of bounce, but your opinion will
be esteemed." — Our correspondent cannot be prevented from publishing
his picture to his heart's content. The first man can only secure copyright
in his work, not in the monument itself. With regard to the " lawyer's
letter," if this is written in such a way that it comes from a duly qualified
solicitor, it should be forwarded to the Incorporated Law Society, who will
possibly take action against the writer for penalties.
PHOTOonAPHlC CLtTB.— April 12, Members' Open Night. 19, Cold Bath
PlaUnotype Experiences.
NBvvcASTLE-ojj-Trsne and Nokthern Counties' Photographic Associa-
tion.— April 11, Mr. William Parry will read a paper on lU'touchim.
London and Provincial Photographic Association. — April 1.3, Paper by
Mr. W. D. Welford, The Influence of the Hand Camera. 20, Monthly Lantern
Night.
Photographic Society of Great Britain. — April 11, Ordinary Meeting,
a paper on The International Congresses of Paris, 1889, and of Brussels, 1891,
by Mr. Leon Warnerke.
Messrs. R. Sutton & Co., of Ludgate-hill, have in the press a new etlition
of The Microscope, and Hovj to Use it, by Mr. T. Charters White, M.R.C.8.,
F.R.M.S. It is illustrated with photo-micrographs by the author.
The Forfarshire Photographic Exhibition. — At the request of English
exhibitors, the time for entry forms for this Exhibition to be returned has
been extended to Tuesday, April 11. The Judges are Messrs. Marshall Wane,
Adam Diston, and W. D. Welford.
Statu.^rv Portraits.— Mr. C. C. Bradshaw, of 57, Market-street, Man-
chester, has been appointed agent for Messrs. G. B. Bradshaw & Co. of
Altrincham's method of producing statuary portraits, and is prepared to grant
licences to photographers desiring to .adopt it.
We are informed th.at Messrs. Mawson & Swan's largely increased trade has
rendered it uecessary for them to enlarge the size of their factory. The new
buildings are now complete, and in full working order, and have doubled the
size of the factory ias compai-ed with this time last year. The firm have pwt
down new engines, electrical and other machinery.
The Sandell Exhibition.— During the week April 17 to 22 an Exhibition
of photographs, chiefly those taken by Mr. Sandell (on "Sandell" plates)
during a recent visit to Italy and Switzerland will be on view at 24, Regent-
street, S.W. The proceeds are to be handed over by Messrs. R. W. Thomas
& Co. to the Photographers' Benevolent Association, a body wliich, we are
pleased to notice, has lately been doing such a large amount of good among
needy members of the profession that it deserves on this occasion to be widely
supported. Admission is by ticket only —Monday, Tuesday, and Thursd.iy, \s. ;
Wednesday (special ticket). Is. 6rf. ; Friday and Saturday, Gd. Tickets may
be obtaineil of the Hon. Secretary to the Benevolent Association, Mr. H.
Snowdeu Wanl, Memorial Buildings, B.C., or at the offices of The British
Journal OF Photography, 2, York-street, Covent-garden, W.C.
The Free Portrait Scheme.— At Folkestone Quarter Sessions on Wednes-
day, George Gould was to have surrendered to bail to answer an indictment
charging him with conspiracy with otliers to defraud a large number of persons
of various sums of money by means of the free portrait scheme. There were
over seventy witnesses iu atteud.ance, many having come from Ireland and
Scotland, and the Treasury liad retained Mr. Crump, Q.C., to conduct the
prosecutiou. On Gould's name being called, no answer was made, and it was
eventually decided to treat the defendant as an absconder. The recognisances
of his sureties, two in 200/. each, were ordered to be estreated, and a bench
warrant was issued for the arrest of Gould. The sureties stated that the
defendant left the town about three weeks ago, and as soon as they learnt of
his absence they followed him to Loudon, but failed to discover his where-
abouts.
Photographers' Benevolent Association.— Meeting of Committee, held
iu the rooms of tlie Photographic Society of Great Britain, on Monday,
March 27, Mr. A. Mackie iu the chair. — The Secretary reported that he had
just secured a permanent situation for an assistant who had received help
from the Association at intervals all through the winter. There were five
applications for assistance, and three of the applicants attended. In one case
a loan amounting to 6/. , and iu another case 'Al., was granted. In the third
case, which was a particularly difficult one, owing to the apjilicaut's inability
to speak much English, a temporary grant of 10.9. was made, and applicant
was referred to a gentleman of hi.s own nationality. The two cases in which the
applicants did not appear personally were referred back to the Secretary, with
instructions to make further inquiries, and to grant assistance in certain con-
tingencies. Messrs. H. D. Miles and G. Fowler Jones were accepted as
subscribers, and the Secretary acknowledged special donations 'from the
Photographic Review of Reviews charitable fHn<l, 21. 2*.; anonymous, os.;
two prize winners in photogi-aphy competitions. Vis.
OONT
Paob
COMniNIKG ENLARGEMENTS FROM
DIFFERENT NEGATIVES 209
WASHING THICKLY COATED FILMS .. 210
NATURALISTIC PHOTOGRAPHY. Bv
P. H. EMEP.SON. B.A., M.E. (CiSTiu I.. 2U
ON THINGS IN GENERAL. By FREE
LANCE ilS
VARIOUS MEIHOllS OF ADDING
CLOUDS TO LANDSCAPES. Bv
EDWARD DUNMOBE 213
PHOTOGRAPHY AT THE CAPE OB-
SEUVATORY IN 18M. By C. RAY
WOODS 214
INT8.
ON THE APPLTOATION OF PHOTO-
GRAPHY TO SEISMOLOGY AND VOL-
CANIC PHENOMENA. By PROF.
w. K. BURTON :ii;
on THE THEORY AND PRACTICE OF
INTENSIFa'.\TION. By J. H. BAL-
DOCK. F.O.S -ni
COPYISO ENGRAVINGS .\ND DRAW-
INGS -iW
OUR EDITORIAL TABLE 219
BEOKNT PATENTS 219
MEETINGS OF SOCIETIES 220
FORTHCOMING EXHIBITIONS '-M
CORRESPONDENCE 222
EXCHANGE COLUMN 211
ANSWERS TO COIUIESPONDENIS 223
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1719. Vol. XL.— APRIL 14, 1893.
LENS STANDARDS.
The chaotic state in which the spring of 1893 finds our lens
standards is far from being creditable to any one concerned.
Reasoning from analogy, it would be sui-ely possible, by concen-
trated action, to confer an inestimable boon upon a long-suffering
photographic public. The analogue is one to which we have
on a previous occasion directed attention, and held up as an
example — the microscope.
Many years liave not yet elapsed since, when visiting an ex-
President of the Royal ilicroscopical Society, he showed us an
instrument of great excellence in his possession, and we were
specially struck by the array of adapters for object-glasses
which formed a part of the outfit. It appeared that only a short
time previous to this eacli maker of microscopes was a law unto
himself, and the objectives of one manufacturer would by no
means ;fit any but the one instrument for which they were
made; hence the multitude of adapters required. This evil
was terminated when, by a pronuii/damento of the Society, one
standard screw was adopted by every maker, in virtue of which
the objectives of A or B fit the microscope stand of C with
equal facility as those sent out with it. This is the kind of
thing we desire to see universally adopted in regard to the lens
fittings and flanges in use by photogi-aphers.
So long a time has elapsed since a Committee appointed by
the Photographic Society of Great Britain delivered their
report and recommendations, that it is a matter of surprise
their standards have not long ere now been adopted, and yet
the number of those manufacturers who have done so is still
limited.
This subject is being brought by Mr. William Taylor, of
Taylor, Taylor, ife Hobson,|before the notice of the Camera Club
Conference which opens on the Wednesday of the present week,
for we write this before the meeting has yet been held. We
are a& yet unaware of how the subject will be treated by
Mr. William Taylor, who by the way, we know to be an
exceedingly expert and cultured mechanic, and one whose firm
has received high medal recognition in connexion with their
photo-optico-mechanical exhibits at the last Exhibition of the
Photographic Society of (ireat Britain, but we cannot doubt
that from his mechanical training he will recognise and urge
the importance of absolute uniformity in lens flanges being a
■ntie-qiul-mn. His is one of the firms that have adopted the
standards of the Photographic Society of Great Britain, whicli
were not suggested without much care and deliberation, and,
doubtless, we shall hear much concerning these standards that
will interest and instruct.
For ourselves, we do not care so much about the adoption
of any one species of standard over another, whether the final
suggestion emanates from France, Germany, or England, as for
the ensurance of uniformity that will be of an international
character. Tliat the following scene should be capable of being
enacted is nothing more nor less than a disgrace. A few days
ago we took to the country a whole-plate camera with three
lenses of somewhat differing foci but of nearly equal flange
screw apertures. But not one would precisely fit the other,
and in consequence we had to take three camera fronts, with
their respective flanges screwed on, these flanges differing
in aperture from each other only to the extent of a sixteenth of
an incL That such could be the case is not creditable to the
state of mechanical photographic art at the present day.
We can perfectly sympathise with old-established firms who,
having long ago adopted certain flange standards, have stuck
to them, and feel loth to make a departure ; still, we consider
that, in the interests of those who use lenses, a sacrifice ought
to be made in the cause of uniformity.
This uniformity in apertures of diaphragms is a matter of
quite subsidiary interest, because, although these apertures
might be ever so antagonistic one to the other, it is a matter
of trumpery moment, for one can always fall back upon the
" F " or area system and name the intensity ratio for himself
by a simple measurement of aperture to focus ; but, in the
case of flanges, it is a totally different thing. If this were once
established, then could dealers all the world over keep adapters
in stock in readiness to sell to any one who, on the spur of the
moment, desired to adapt a small lens to the large flange
screwed on his camera front.
THE CITY AND GUILDS INSTITUTE AND PHOTO-
MECHANICAL WORK.
We are pleased to observe that increasing efibrts are being
made to place within popular reach practical instruction in
photo-mechanical work, the need of which has recently been
freely expressed, coupled with something like a general belief
that not only are our Continental friends superior to ourselves
in the quality of the results they produce, but also in the
facilities they enjoy for obtaining the requisite technical and
practical knowledge at comparatively low fees. A study of
the advantages possessed by the magnificent photographic
educational establishments at Berlin and Vienna under Vogel
and Eder will demonsti-ate the superior position in which young
photographers of Germany and Austria are placed in respect of
studying photo-mechanical processes compared to those of this
country.
The recent lectures and demonstrations on photogravure,
organized by the Photographic Society of Great Britain, were a.
226
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 14, 1893
step in the right direction, and, from the general interest
evinced in them, we have every confidence that — at least,
indirectly — they will bear good fruit by promoting increased
attention to the preparation of intaglio plates for photographic
reproduction.
The subject has evidently attracted the notice of the City
and Guilds of London Institute, which, as our readers are
aware, holds periodical examinations in photography ; for we
have received a notice stating that "the Council of the
Institute, recognising the increasing importance in the
mechanical reproduction of pictures, will, in the forthcoming
examinations to be held on the 3rd and 13th of May next, give
special importance to this branch, by dividing the examination
in the Honours Grade into two classes — one for pure photo-
graphy, and the other for photo-mechanical photography.
Special examiners have been appointed for each branch, and
candidates have the option of declaring in which branch
it is their intention of entering. They will not, however, be
allowed to compete in both branches. The certificates granted
will show in which of the two divisions the candidate has
passed."
We join with the Council of the Institute in the hope that
the encouragement thus given to the photo-mechanical division
will tend to form in this country a school of competent crafts-
men in this branch of photographic work.
A Stinday Show. — ^Most are now familiar with the work of
Mr. Burne Jones through the excellent platinotypes of Mr. Fred.
Hollyer. It is interesting to know that, while the Burne-Jones
Exhibition at the New Gallery was open for three hours on Sunday
last, it was visitpd by nearly 2400 persons, who were admitted by
tickets. Evidently Mr. Burne Jones's work is appreciated, and so are
Sunday exhibitions of paintings.
A eift to the City.— The Art Gallery of the Corporation of
London, Guildhall, is to be further enriched. Sir John Gilbert, R.A.,
has intimated to the Lord Mayor his desire to present to the Gallery
a selection of his works, both oil and water-colour, which have figured
in recent years at Burlington House and Pall Mall. Of coxirse, the
valuable gift will be accepted. It is not generally known to many
that the City Corporations possess, though not an extensive collection,
fiome very fine works of art that will repay a visit.
Seath of DTr. VIcat Cole. — Landscape painting has met
■with a great loss by the death of Mr. Vicat Cole, R.A. One of Mr.
Cole's finest works is the Pool of London, which was exhibited a few
years, and was purchased out of the Chantrey Fund. It is now at
South Kensington. The works of this artist might well be studied
by photographers, as the majority of the subjects are such as are gene-
rally dealt with by landscape photographers. We understand that the
late artist's last work is to be exhibited at the Academy next month.
Recent Sunllgrht.— It requires no argument to prove that we
have had sunlight far above the average in amount during the last
month. Mr. Sowerby, of the Botanic Gardens, Regent's Park, has
published the exact proportions in which we have been favoured.
March 1887 had 62-.^>5 hours ; 1888, 33-4 hours ; 1889, 48'3 hours ;'
1890, 65'6 hours I 1891,76-3.5 hours; 1892, 69-5 hours; the present
year, 116'16 hours ! Such an amount is almost phenomenal, for this
record is not the mere total of the sun's appearance, but of the hours
it was powerful enough to stamp its mark on the cards of the instru-
ment for recording sunshine used in these Gardens.
Animal Charcoal. — Few of our readers but have at one time
or another attempted to use charcoal for decolourising, as, for
example, with shellac varnish. It is not, however, always under-
stood that vegetable charcoal, the kind usually purchaseable in the
chemists' shops, is of no use for this purpose : animal charcoal must be
used. The form in which it is usually called for varies in different
countries where the main demand is for purifying sugar. Thus, in
Austria, pieces the size of a walnut were used. In Germany the
maximum size is a filbert. In France the size varies from that of
grains of linseed up to that of a filbert. In England and America it
is required almost wholly of the size of millet seed. The decolourising
action is explained by one set of authorities as chemical, and by
others as purely physical.
Another New Process. — It was announced some time ago
that the Messrs. Lumiere were experimenting with manganic salts as
photographic agents. In our last issue will be found the specification
of a patent they have applied for in this country for their process.
From that it will be seen that it is not difficult to work, neither
ought it to be costly in practice, and it is said that a variety of
tones can be obtained. MM. Lumiere's process will, doubtless, quickly
receive attention at the hands of experimentalists. Whether silver
will ever meet with a formidable rival in manganese or not remains to
be seen. Anyhow, the subject is an interesting one, just now that
silver printing is apparently entering somewhat on a new phase as
regards commercial work, and it should receive consideration. There
is one point in connexion with the manganic method that does not
add to its simplicity in working, namely, that the prints are not
made direct from the negative, but, as in the primuline process, from
a transparency. This rather handicaps a printing process, however
otherwise excellent.
Fading- " Permanent " Prints. — It may seem an anomaly
to speak of permanent prints as fading, yet the thing is, in a sense, of
every-day occurrence. Collotypes and prints by other photo-mechanical
proce.«ses may be classed as permanent, yet a considerable pro-
portion of them undergo a very marked change with even a com-
paratively short exposure to light. This is not due to the processes
themselves, but to the employment of fugitive pigments in the ink,
and also to the frequent use of paper tinted with evanescent dyes.
We have before us now some enamelled paper supplied by a Conti-
nental house for collotype work, which is as deeply coloured, and
apparently with the same dye, as the rose-tinted albumen paper, and
the colour is equally as fugitive by exposure to light. If these roseate
pigments were simply entirely discharged, the prints would often not
suffer materially ; but unfortunately they usually leave an unplea-
sant, dirty, yellow effect behind. The marked effect of the light on
this class of picture is frequently to be seen after a few days' exposure
in the shop windows or at railway book-stalls.
ItXeasurlng: Flasks. — Every one accustomed to exact work is
acquainted with the value of flasks rather than graduated glass
measures for accurately measuring liquids. For making pyroxylin,
for example, it is not possible to obtain sufficient uniformity in
successive products when the required quantity of water is measured
with an ordinary graduate ; a flask should always be used, where
the liquids are not indeed weighed. In using flasks, there is some
time wasted in obtaining the liquid exactly up to the graduation line,
and Mr. Alex. F. Reid, in the Chemical yetvs last week, has described
a simple and efficient mode of facilitating the operation. It consists
of a wooden or indiarubber plug, with a flange to support it, and
fitting loosely into the neck of the flask, and of such size that the
part of it that goes in the flask has the same volume as the part of
the flask above the mark. To use it the flask is filled with water,
say, past the graduation mark, and then the stopper dropped in and
withdrawn. The surplus water runs out and the right quantity
remains. The stopper has a tapered point, to admit of quick
insertion and facilitate the running off of the water upon withdrawal.
April 14, 189.'5]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
227
XienB-ezpoBingr in the Studio. — VVc havo just spoken of,
lui a comiiiim Htudio expedient, llie use of an internal shutter for por-
trait work. It is true that it is common, hut it is very far from
being universal. We have heen in very many studios where this
primitive raetliod — by no other less unflattering name can it be called
—of exposing the plate by uncapping the lens is still employed.
Yet this is very remarkable, the advantages of a shutter with pneu-
matic action are so patent. Take, for example, the exposing of a
group. The eye of tlie photographer ought never to leave his sub-
ject's, yet it is most diflirtih to avoid doing so unless the exposure is
made mechanically. Tiio same in taking photographs of young chil-
dren; ten minutes may elapse before a single favourable moment
arrives, and tlie mere action of raising or moving the hand sufficiently
to uncap the lens is enough to upset the child's face. The verdict of
experienced workers with wiiom we have discussed this matter is,
that a shutter self-setting is the best — one that is always ready for
use, and merely requiring a squeeze of the pneumatic ball and a re-
lease^to expose and leave set for the next exposure ; also that it is
far better for it to work inwde the camera, thus leaving nothing what-
ever that can draw the sitter's attention, be he child or adult, while
the exposure is proceeding.
Photographs on Textile Fabrics.— Seeing that so many
photographers are now .seeking for some new or novel style or
description of picture, one cannot but feel some little degree of
.surprise that the production of photographs on textile fabrics is so
much neglected. The thing i.s by no means new, as we saw silver
prints on silk, and really good ones too, some five-and-twenty or
tliirty years ago. Photographs on fabrics could bo utilised in many
ways, especially for decorative purposes. They can be made on a
great variety of materials, and by several different processes. A few
years ago we were shown a collection of photographs of fans printed
on satin by the collotype process that were of very recherche
character. Of course, instead of satin, any other fabric could have
been employed, and, in place of collotype, p.ny of the other methods
of mechanical printing might have been used. Direct prints on
fabrics are easily obtained either by silver printing or by the platino-
type process. Fabrics ready prepared for both processes were — and, we
believe, still are — regular articles of commerce. Then, again, there is
the primuline process of Messrs. Green, Cross, & Bevan, which
enables pictures, in a great variety of colours and almost any kind of
fabric, to be obtained in a veiy simple maimer. With so many
methods of production at disposal, there is no reason why this phase
of photography should have been so much neglected.
A, Precaution for Continental Tourists. — The season
is now coming on wlien tourists will be considering their holiday
arrangements. Those who propose to travel on the borders of France
and Germany will do well to provide themselves with pa.ssports; more
particularly is this the case if they are accompanied with photographic
impedimenta. Passports are not really necessary for either France or
Germany, but we were told at the Foreign Office a short time back
that it was advisable for British subjects to be pronded with them
when travelling on the frontiers of the two countries. Photographing
in the neighbourhood of fortifications on the frontier is strictly for-
bidden, even though they are not included in the view, or cannot
even be seen from the print. Through ignorance of this rule, foreign
visitors have sometimes innocently been subjected to great incon-
venience, not to say indignities. It is in such cases as this that the
passport is of advantage. The holder of an English Foreign Office
passport, duly vised, would at once be acquitted of being a spy by
either country. A passport can be obtained for two shillings by
application to the Foreign Office on the proper form. When the
document is obtained, it is well to get it countersigned at the
Consulates of the two countries. Passports, like revolvers, are
rarely required when travelling now, but when they are tiiey are
generully of great service.
The Camera in Anthropologry.— Mr. E. F. im Thurm
recently gave a paper on this topic before the Anthropological Society
of Great Britain. He points out that, in taking photographs of
savages, special care has to be taken to avoid getting them in that
"non-natural" state so often characteristic of such pictures. For
example, he has seen the same savage native in a town and in the
country, and he looked like two different individuals, though hia
costume was little more in each case than a yard of tape — literally, a
single strip of cloth about a yard long and two or three inches wide.
It cannot but be remarked that the lecturer himself did not go about
his work in a very workmanlike manner for the end in view. Thus,
instead of working a camera with an internal concealed shutter, he,
in a description of a very amusing experience, tells us he simply caps
and uncaps his lens. '' The first time I tried to photograph a red
man was among the mangrove trees. My red-slrinned subject was
carefully posed high up on a mangrove foot. He sat quite still while
I focussed and drew the shutter. Then, as I took off the cap, with a
moan he fell backward off his perch on to the soft sand below him,
nor could he by any means be persuaded to prepare himself once
more to face the unknown terrors of the camera. A very common
thing to happen to foil the efforts of the photographer at the very
moment when he has but to withdraw and to replace the cap is for the
timid subject suddenly to put up his hand to conceal his face," &c.
It is surprising that it never occurred to Mr. im Thurm to adopt a
studio expedient now common enough.
CBYSTAL PALACE PHOTOGRAPHIC EXHIBITION.
The " National " Photographic Exhibition at the Crystal Palace opened
on Monday last, April 10, and is advertised to remain on view until the
2yth inst. It is to be regretted that in neither the apparatus section nor
that devoted to photographs does the Exhibition redeem tlie character of
" National" that has been assigned to it, a result that must undoubtedly
create an unfavourable impression in the photographic world, and at least
a feeling of surprise among the general public. Taking the photographs
first : the responses of exhibitors, although producing on the whole a
passable di8play,'eannot be considered at all representative of the present
state of photographic art, while as regards the apparatus the exhibits
scarcely exceed ten in number, and these betray an unfortunate paucity
of novelties, and are, besides, of such meagre extent that the entire con-
tents of the stalls might comfortably be placed in a shop of moderate
size.
The ArpABATUs Sectiox.
At four o'clock on Monday afternoon the following was the state of the
Apparatus Section :— Messrs. E. & J. Beck, of Cornhill, had a handsome
stand showing a series of fine enlargements from negatives taken in the
" Frena' hand camera ; Messrs. J. Theobald & Co., of 43, Farringdon-
road, an extensive display of optical lanterns, coloured slides, limes, con-
densers, stand cameras and stands, hand cameras, and photographic
sundries generally. Included among Messrs. Theobald's exhibit is a
cheap and ingenious hsuid camera, the "Meteor," in which sheathed
films or plates are used, the sheath with the exposed plate being released
by a single turn of a screw at the side of the camera, and sliding down an
incline into the back of the camera as shown in the cut. The " Meteor "
has but two little brass knobs, and the
handle to Scarry it by, projecting, and
two view finders (which are let in flush
witli the body) ; is cloth-covered, has
twelve sheaths carrying twelve plates
or films, the special lens working with
a time and instantaneous shutter inside
the camera, and again worked by turning
a little brass catch. It can be used for
taking views or portraits both vertical
and horizontal, and all for 128. 6<2. !
Messrs. D. Noakes & Sons show several serviceable lanterns, cameras,
with lathes at work ; Messrs. T. W. Couch & Co., of 11, Bow-lane, a
selection of pictures set in a variety of choice frames ; Messrs. Piatt <fc
Witte, of Kingsland, cameras and camera fittings ; Mr. J. D. England,
film negatives and prints from them, as well as lantern slides ; the
Sciopticon Company, of Colebrooke-row, lantern slides of their well-
known quality. The Cresco-fylma Company, of Surbiton, have a display
of excellent cresco-fylma enlargements from transparencies on opal
supports of various elegant shapes other than the purely rectangular,
witli matt and glazed surfaces. The Company are to demonstrate the
process during the Exhibition.
228
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 14, 1898
The Welebach light as arranged for 6tudio portraiture, which we
raoently described, is to be shown in action by Mr. C. F. Treble, of
Clapham Junction. The only other exhibit we observed was a mechanical
contrivance for showing a number of photographs in rotation by Mr.
Southward. In this a wound spring drives an exterior fan, which rotates
a series of cog-wheels that actuate a series of holders upon which the
photographs can be placed and inspected as they rotate. When wound,
the apparatus keeps in motion for ten hours.
The Pictures.
In the absence of a catalogue or of any information with regard to the
cltkssifioation of the photographs or the competitions for which they are
entered, it becomes rather difficult tor us to criticise them with special
reference to those conditions, and we must therefore take them seriatim.
Inasmuch, however, as most of the pictures on view have already, run
through numerous competitions, and are consequently familiar to our
readers either by reputation or from closer acquaintance, we are hardly
called upon, in most cases, to devote a minute attention to their particular
merits or demerits. There is, nevertheless, one feature in connexion
with this part of the Exhibition to which we ungrudgingly accord a
favourable notice, and that is the arrangement of the photographs in
separate alcoves, and the capital light by which, happily, they can be
inspected. In this respect exhibitions of photographs at the Crystal
Palace always stand out pleasantly, as compared with the indifferently
hung and poorly lighted displays it is our misfortune so often to encounter
in exhibition halls of the usual type.
The "National Challenge Cup," for the best collective exhibit by a
recognised photographic society, has, so far as we could discover, attracted
entries from the following societies : — Birmingham, Hackney, South
London, West London, Tunbridge Wells, Hove Camera Club, Brixton
and Clapham Camera Club. If any other alcoves devoted to society work
have been omitted from this list, the fault is not ours.
The Birmingham Society send up about eighty frames, most of them
of very great excellence, and including some fine portraits. The names
of the various members are not attached to the frames, so that it is im-
possible for us to write in detail of the pictures, but of their general good
quality there is no doubt.
The Hackney Society play a strong hand with Mr. S. J. Beckett's
Norwegian series, Mr. G. Hankins's hand-camerawork, Mr. J. Carpenter's
exquisite study of flowers. Dr. Roland Smith's technically good interiors,
Mr. J. 0. Grant's Shceji Shearing and Adjutant. Mr. R. Beckett shows a
forcible study of a head, and Mr. W. F. Jones a clever flashlight picture
entitled A Poser, two gentlemen seated at chess. The alcove, on the
whole, is an extremely good one.
Mr. F. W. Edwards is a tower of strength to the South London, that
gentleman's architectural and Tinworth work, beautifully printed in
platinum, being unexcelled in the Exhibition. Other members who are
particularly prominent are Mr. Oakden (with good interiors of Ely Cathe-
dral, and a cleverly composed view of Norwich), Mr. W. Howell, Mr.
H. E. Farmer (architecture, and a successful Study of Beeches in Epping
Forest), Messrs. J. W. and W. F. Slater.
In the West London Society's alcove the eye is arrested by the Presi-
dent's (Mr. Hodges) very impressionistic Drear December, Mr. W. S.
Eogers's Coaling— Tyneside (a small study full of life), Mr. W. L. Coil's
pretty view of Basingstoke, Mr. L. C. Bennett's famiUar Pool and Rubbish
Burners, Mr. L. Selby's reposeful Evening Calm, Mr. Adam's Frozen
Swamp, and Mr. W. H. Whitear's tiny, but clever, study of moon and sea,
ThcMoonpath; Mr. Charles Whiting, Mr. Charles Winter, and other
members, also combine to make the West London exhibit a particularly
fine one.
The Tunbridge Wells Society's exhibit comprises some good cloud
studies and views in Cairo by Mr. J. Chamberlain ; whUe Mr. F. G.
Smart, with a fine snow scene and an attractive view of Aberdeen
Harbour, renders material support. The rich warm tones, the careful
selection and exceptionally good technique of Mr. E. E. Ashton's
Monastery, — El Ghariani, and a series of similar subjects, impart a dis-
tinctive charm to the Society's alcove, in vfhich Messrs. CaBsinghaia,
Wood, and others are advantageously represented.
Mr. A. H. Webling has ably managed the lighting of a charming view.
Across the Lake at Arundel, and also shows another clever effect in
Sunset— Shoreluim Harbour, and these, with Mr. Charles Job's hand-
camera work, and Mr. J. Williamson's unforced picture, Easy Times (a
group of fishermen gossiping), are perhaps the most noticeable exhibits of
the Hove Camera Club.
Dr. Reynolds, the President of the Brixton and Clapham Camera Club,
in the Club's alcove, shows a realistic tea-tinted platinum copy of an old
print, Smoaking, and several evenly rendered interiors obtained by expo-
Bores at five, six, and seven hours on asphaltum-backed plates. Mr. C.
F. Archer's delicate and well-lighted study, Grandpa, Mr. W. Thomas's
small sheep studies, Mr. J. A. Butler's well-chosen, bustling View in
Amsterdam, the charming lady in Mr. Archer's harmoniously lighted
Interested, and excellent pictures by Mr. Bartrop, Mr. Kent, and Mr.
Golby, are conspicuous in the Club's exhibit.
On the whole, the competition for the challenge cup among the com-
peting societies is so keen that we do not envy the Judges the task of
coming to a decision.
Coming now to the other exhibits, Mr. W. M. Wameuke, of Glasgow,
has a series of masterly direct portraits of Toole, Miss Kingsley, Wilson
Barrett, Miss Johnson as Desdemona, Vezin'as Shylock, together with
half a dozen comparatively small landscapes. We have so often com-
plimented Mr. Wameuke upon the excellence of his large work that
criticism becomes superfluous ; but, if there is one picture more than
another in his present exhibit that we prefer, it is the Vezin picture,
which is full of the freest, boldest handling, and conveys an effect of
massiveness not often seen in character portraits. Mr. H. Hallier, of
High- street, Upper Sydenham, shows about forty frames of portraits and
interiors, his pictures of children betraying great skill in juvenile por-
traiture. In Messrs. Morgan & Kidd's alcove are some very refined
examples of carbon, platinum, and collotype, but interest must un-
doubtedly centre in the fine big bromide enlargement (from a negative
by Mr. Van der Weyde) of Miss Mary Anderson, in which the softness and
gradation are perfect. A scene from Hypatia (from a negative by Alfred
Ellis), enlarged to 8 x 4 feet, and another enlarged portrait, are of equal
excellence. They are splendid examples of bromide enlarging.
Messrs. James Robinson & Sons have some very fine portraits, notably
one. An Irish Beauty, which has a character and vigour not always to be
discerned in ladies' porti-aits. Miss K. Orcaii, Tlie Earl of Aberdeen, and
Marie Roze give Messrs. Robinson an opportunity of showing the posses-
sion of high artistic skill. The beauty of the sitters in An Irish Lady
and The Countess Annesley make us almost forgive Messrs. Robinson the
slight unevenness of tone apparent in the gelatino-chloride pictures ; but
otherwise they are of high merit. In another alcove Mr. P. Lange is
represented by some capital hand-camera work, and, passing by some
clever pictures of turkeys and pigeons by Mr. P. Parsons, we come to a
number of pictures of ironclads and kindred subjects by Mr. J. E. Goold,
with which, technically, no fault can be found. One of them represents
an instantaneous photograph of a torpedo leaving the ship's side at a
speed of forty feet a second, and showing the angle at which it strikes
the water. As a photograph it is a marvel of sharpness.
Mr. F. T. Palmer has a numerous collection of portraits, and Mr. F.
Fitzpayne shows a capitally exposed Nave of Wells Cathedral. Here-
abouts, too, are Sir Henry Eoscoe and Mr. Lunt's Bacteria from Sewage ;
a series of views by Mr. P. Welch illustrating the North of Ireland tourist
district; Diston's humorous Rehearsal, Soldier's Retiirn, and Highland
Smugglers ; Mr. Lord's How's that > some animated illustrations of
Golfing by Mr. Lange ; and a selection from Mr. Sandland's lion, tiger,
and buffalo pictures, and his excellent horse picture Unyoking. May we
suggest to Mr. Sandland that he is less successful with his composition
subjects including the human species than with his animals ? Messrs.
S. B. Bolas have some good examples of collotype ; Messrs. Poulton, a
selection from their well-known series ; Messrs. Gregory, of the Strand,
coloured types of the British army.
Mr. W. P. Marsh, of Bognor, has rarely shown better seascapes than
those he has here, both small and large. He seems to have studied the
sea in nearly all its moods, and the result is a fine collection of wave
pieces, all cleverly caught. A blue carbon print, After a Sou' -Wester, is
especially good in its realism, and a study of A Breaker noi less so.
What soft, evenly lighted work can be produced by flashlight, Mr. E.
SUngsby, of Lincoln, shows by several very fine examples. Mr. Douglas
Pym's touched and untouched portraiture are both noticeable for their
good qualities, aud in Dad's Pipe, a boy in tlu-ee stages of a bout with
the paternal calumet, there is considerable quiet humour as well as
great photographic merit. We do not like Mr. Pym's Repose, however.
This shows a very lightly clad, finely limbed young lady, simulating sleep
in a recumbent position, with so little relief in the face that the result is
not convincing. Mr. Dresser has a screen filled with his well-known
works. Mr. E. M. Stone shows three small views, A Yorkshire Coble,
Filey, and On the Thames, with nice sepia tones, sharp, crisp, and well
printed, which are certainly amongst the finest tilings of the kind in the
Exhibition. Mr. Court Coles's interiors, the Hon. S. Bethel's Shipping at
Guernsey (a freely handled picture), and the same gentleman's Clouds,
with Mr, T. Scotton's Musselburgh Fishwives and cathedral studies, are
safe to hold the attention of even the non-photographic visitor to this
part of the display.
Examples of statuesque portraits of a high degree of skill are shown
April 14,
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
by Mrs. Prank Holmes, of Bristol. Wo would recommend professional
pUotographors to study them. Steathj, two men fishing, and in tlie act
of getting a bite, is a clever bit of work by Mr. H. Young, the effect being
perfect.
Mr. T. M. Brownrigg'B Winter Sunset, Derwentwater, and Morning on
the Wey are especially evident in an Exhibition singularly free of
impressionistic pictures. Messrs. Alfred Werner Sc Son show a few
large portraits of a superior quality, pose and lighting being exceptionally
fine. Finally, Mr. Goodwin, of Anerley-road, makes a highly meritorious
display of portrait work — indeed, tlio Exhibition is commendably strong
in professional portraiture— and Mr. C. F. Treble, of Clapham Junction,
besides exhibiting some examples of portraiture by theWelsbach light,which
show perfect tone rendering and freedom from harshness, includes a
varied collection of large and small portraits of great beauty in his
alcove. Mr. Treble's examples in sepia platinotype are remarkably
engaging in their compromise between critical sharpness and diffusion ;
and, indeed, the exhibit as a whole is a fine one.
It should bo mentioned that the Judges only met for the purpose of
making awards on Thursday (yesterday), and that wliile the Exhibition is
open there will be nightly lantern entertainments.
AMERICAN NOTES AND NEWS.
The Smartness of the '< Heathen Chinee."— It is
pretty evident that the mental or, rather, the moral characteristics
of the Celestials in America have not suffered any change since those
days when Ah Sin, the gentleman vrhose " smile was so childlike and
bland," engaged in the ever-celebrated g&me of euchre -with truthful
James and Bill Nye. In May next the Chinese Registration Act
comes into force. This necessitates each Chinese labourer in the
country presenting himself at the office of the Collector of Inland
Revenue with proper vouchers from the Chinese Consul, on which
certificates are to he pasted a photograph of the bearer, a dupli-
cate of this being returned to him, which he is compelled to show on
demand to any United States official as his authority. Here, now
comes the smart part of it, for which information we are indebted to
Mr. Julius F. Sachse, Editor of the American Journal of Photography.
The photographic part of this certificate is in reality the only means
by which it can be determined whether the holder is the same indi-
vidual to whom it was granted, as the description given would in
most cases fit ninety-five out of a hundred Chinamen. But a photo-
graphic chemist in Philadelphia has been teaching the Celestials how
to produce photographs which, within a few months, would so fade
as to fail in the identification of the individual, while the written
description would still remain. The authorities are taking steps to
circumvent and punish the conspirators.
Cleaning- and Photographing- Old Oil Palntlng^s.—
A writer in the same journal, who has had experience in copying oil
paintings, gives the following as his mode of cleaning old paintings
previous to their being photographed :— After dusting, wash the
painting by a sponge and rain water, and then sponge over the
surface the following : — The white of two eggs, beaten up and cleared,
a tablespoonful of glycerine, and half a litre of water. The ohject
of adding the glycerine is to prevent the albumen from drying in
spots, which would appear dull, and prove of injury to the
reproduction.
Focal Plane Shutter.— The employment of this class of
shutter is strongly advocated in our Philadelphia contemporary. It
is constructed in the same way as the Thornton-Pickard shutter, hut
its position, instead of being close to the lens, is situated in front of,
and as close as practicable to, the sensitive plate. The roller blind
composing the shutter has a narrow slot in it, and travels rapidly
across the plate. We are personally aware that some bicycle scenes,
of exquisite sharpness and well lighted, were taken by Mr. James
Inglis, formerly of Montreal, by a metal shutter constructed on this
principle, and working at the focal plane. These were exhibited six
years ago at one of the London societies. It was estimated that the
exposure was about the thousandth of a second.
aequlrements for Suoceas.— Mr. Xanthus Smith layii
down as conditions of success in the studio or portrait branch of
photography, perseverance, good business ability, a large amount of
good address and tact, and, highest of all, artistic taate or good
judgment in matters of art. The special qualifications for outdoor
photography are, in his estimation, good general artistic sense, quick-
ness of perception, rapid and sound judgment in selection and timing,
this last being necessary to cope with the changes in the conditions of
lighting, of subject, and of exposure.
Animal Xilfe.- In the portrayal of animal life, Mr. Smith holds
the utmost pains should be taken; in tho first place to acquire a
knowledge of the poses in which different animals show their good
points to the best advantage, the best lighting and accompaniments,
chiefly as to background, for the success of a great part of animal
photography is marred by carelessness about the background. In
addition, great patience and perseverance are required in the manage-
ment of animals in photography ; but, when success is attained, we
have in refined pictures of handsome animals one of the most
interesting phases of the photographic art.
SKiss Barnes's Sng-lish Trip. — In the American Amateur
Photographer Miss Barnes continues the account of her camera trip
in Great Britain, illustrating her paper wdth several views, mainly of
archaeological subjects in Yorkshire, such as Fountain's Abbey and
Old Remains in the City of York, very nicely phototyped on stout
calendered paper.
Coincidence or Plag'iarism? — Enowing|the honesty of the
American journalists, and their promptness in acknowledging the
sources from which their reprint articles are taken, we are the more
surprised at Dr. John H. Janeway making himself, in his Index
Jterum Pkotoyi-aphie, an exception to this well-recognised rule of
courtesy. Interested in seeing what he had to say on the flare-spot
or ghost, we read his (?) article on that subject in the last-named
serial, and found it to be a reproduction, verb, et lit., of what we
published a few years since, without the slightest acknowledgment.
While we feel it a compliment to have articles from this journal re-
produced by American friends, we must certainly draw the line at
such appropriation as that just indicated.
DETERMINATION OF PLATE SPEEDS.
[London and ProTincial Photographic AsBociation.]
Befobk commencing my paper, a few words are necessary to explain
the reason of my appearance before you this evening. Those of you
who read Thb British Joubnai. of Photography may have noticed
that, on January 27 and February 3, there appeared two articles over
my signature, headed, "Determination of Plate Speeds.'" Imme-
diately following publication, there also appeared a mass of corre-
spondence, some of it of a very violent tone, and most of it irrelevant
to the question at issue. To tliis correspondence I replied briefly, to
the effect that I should abide by my experiments ; and such was my
courage of my own opinions that I offered to submit everything to a
disinterested jury, and I further offered to repeat any individual ex-
periment such jury might select. To this challenge none of my
dissentients have responded. It might be thought that, in making
such offers, I would be pretty safe, by reason of the disinclination of
any of these parties to try conclusions ^vith me, especially when so
wide a chasm separates us in the views we hold of the theory
involved in the matter ; but, as I was not disposed to allow this
subject to rest where it was, it is with full belief that I shall be
fairly dealt with at your hands that has prompted me to lay
before you an account of my " investigations," accompanied by
examples. I thereby constitute the London and Provincial Photo-
graphic Association my jury, and I shall be glad if you will accord
me a patient hearing.
In bringing this subject before you, I am assuming that most
S resent will have read my previous remarks in Thr British
OURNAL OF Photoguai'HY of January 27 and February 3. In
case any have not, I will endeavour shortly to outline them.
Messrs. Hubier & Dbiffiki,ds Invkstigations and the
Spebds of Plates.
You may be aware that some three years ago Messrs. Hurler &
Driffield published their " Investigations." Beyond creating some
230
THE BBITISH JOURNAL OF PHOlOaRAPHY.
[April 14, 1893
surprise in photographic circles, I am not aware that their remarks
produced any further effect than what might have been _ expected
from the publication of matter of so distinctly controversial a clia-
racter. Many of their conclusions were so totally at variance with
the preconceived notions of most photographers, including myself,
that, lilje other things, one might have expected the subject would be
a nine days' wonder, and then fall into oblivion; but, for reasons
best known to themselves, certain manufacturers of dry plates have
thought fit to adopt the system introduced by these gentlemen, and
have issued boxes of plates marked on the outside with speed numbers
in accordance with the method of Messrs. Hurter & DnlEeld. I, like
others, have been a purchaser of these plates. Without recapitulating
much that has already been published in my previous articles,
suffice it, perhaps, to say I think it is beyond controversy that, if we
purchase plates bearing speed numbers according to any method or
system, we have a right to demand that the goods so sold shall be
what they are represented. From the dealers and from the makers
direct I purchased many boxes of plates, bearing speed numbers of
37, 80, 95, 100, 135, and 140. I tried a variety of experiments m
different ways, to ascertain whether the relative speeds, as indicated
on the boxes, were borne out in actual practice, and I finally adopted
the method of exposing two competing plates side by side in a stereo-
scopic camera. I need not dilate upon the accuracy of this method
beyond any other known method of competitive camera comparisons
of the sensitiveness of different plates. Supposing the possibility of
error, the method I adopted of making dupUcate, and even triplicate,
tests, and thereby reversing the positions of the plates, at once serves
to expose any error, and enables one to judge with accuracy any
difference in results.
As you will see bv the examples I will hand round, the subject was
one well calculated "to test the rapidity of plates against one another,
and very fine shades of extra sensitiveness in one or the other of any
given pair of competing plates could be readily observed. I must
point out to you where the variations in sensitiveness are chiefly to be
detected. The stove you see in the negatives is dead black, and stands
within the recess of a dead black gi-ate. "i'ou will detect differences,
vrhere it exists, in the sensitiveness by closely examining all around
these dark parts, and in the relief ornament of the grate, the horse-
shoe form of which is visible in some plates and not in others.
Another point for the detection of sensitiveness will be found in the
detail, or the absence of it, in the clothing hanging in the corner in
the shade of the chimney-breast. When examining each pair of nega-
tives, I must ask you to read the explanations written at the foot of
each, and also to "bear in mind the conditions involved in producing
each pair. Since I mounted these examples, I have gone over them
and marked in red ink my estimates of the percentage differences in
their sensitiveness, together with other remarks, in accordance with
my published list of experiments on pages 69 and 79 of The Bhitish
JotjRXAL OF Photography, copies of which are on the table.
Messrs. Hurter & Driffield have said that I cannot estimate dif-
ferences of ten per cent. If I tell you that in several instances, in
order to check my estimates, I gave the additional exposure to the
slower plate, and thereby obtained identical negatives, as far as two
different emulsions will yield two similarly exposed negatives, I think
you must give me credit for knowing what I am talking about ; and
I shall leave you to judge of the general accuracy of my estimates,
of which a large number are submitted to your inspection.
The Method op Development Emploted.
Now let me add a few words of explanation of the method of de-
velopment employed. 1 have previously stated that the plan on which
I proceeded was to give such exposures as would leave me tlie
shadows — even the very deepest shadows round the stove — clear up
to the end of prolonged development. The plates were developed by
the formulae of the manufacturers, and development was, in every
instance, carried on until no further detidl would come. Any attempt
to ascertain differences of sensitiveness by developing for any arbitrary
length of time must, in my opinion, result in unfairness to one or
other of the plates under trial, and especially so if they are of different
makes. I maintain that by the treatment I adopted can we alone dis-
criminate differences of sensitiveness between competitive plates with-
out favouring or prejudicing either one or another. If, with a given
exposure of identical duration for a pair, one plate shows, under pro-
longed development, greater detail in deep shadow, I should certainly
say that plate is the more rapid of the two. If I verify this result by
making a repeat, or yet a third test, no room for doubt exists. I
must point out in connexion with this, that if we expose so as to get
a pair of fiillt/ exposed plates, on development the pair, even if of dif-
ferent makes and sensitiveness, will frequently appear almost identical,
and I must insist that full exposures or over-exposures are no tests
whatever of the rapidities of plates. In all experiments of this class
8ome little heed must be given to the thickness or thinness of the
coating, which does influence the result, but least of all in those parts
the least exposed, viz., in the deepest shadows.
No GaUDGB AGAINST IIUBTBE & DeIPFIELD's MbTHOD.
Judging from the tone of the correspondence I have alluded to as
following my original articles, one might imagine that when I wrote
them I had sat down with the deliberate intention of demolishing
the Hurter-Driffield theory, or that I had some especial grudge
against plates " speeded " in accordance with that method. As a
matter of fact, I bad no such idea, and I disclaim any intention other
than that of putting to the test of actual use the plates so marked, to
ascertain whether they bore out the theory. This they f aUed to do ;
and I am left to adopt either of two conclusions : —
(a.) If these plates had ever been submitted to examination in an
instrument of precision, such as we are led to believe the Hurter-
Driffield modification of Bunsen's photometer is, then I say, if the
system is right, the plates are wrong, and the examiners either do
not understand the system or they have blundered.
(4) If, on the other hand, these plates have been accurately
examined and "speeded" by the system, then the system is wrong, for
the plates most certainly are incorrectly marked, and do not carry out
the system.
I have already alluded to the tone of the correspondence, I don't
know that I should have noticed it but that the damning admissions
made by one of the writers affords me the opportunity to expose what
is either gross ignorance or a wilful perversion of facts. This brings
me to another branch of my subject not previously dealt with.
Just let me read you two extracts from letters already published.
The first is from a letter in Photoyraphi/, 26th January last, page 63,
and is signed " Platemaker." He says : —
" So little does the question of daylight versus candle-liglit come into
practical effect that Mr. Driffield teUs me that even ortho plates, as far as
he is able to observe, are correctly read by the candle for ordinary day-
light exposures."
The next is from a letter in The British Joitbnal op Photo-
graphy, February 10 last, page 94, and is signed by James Cadett.
He says: —
" I now come to the candle question. It is manifest that, provided that
all makes o£ plates obey the same constant in the relative sensitiveness to
candle-light and daylight, it does not matter a fig what that constant may
be. Do plates obey that constant, generaUy speaking ? All that I can say
is this, that, after hundreds of tests, neither Messrs. Hurter & Driffield,
Mr. A. Cowan, nor myself, are able to say that plates vary in this respect.
Even orthochromatic plates for ordinary landscape work obey the same
constant very well, though, of course, it is easy to see that under certain
conditions of screen and light such plates would require a different
constant."
Now, gentlemen, I am not quite so intent upon pointing out to you
the strong family likeness that exists in these two letters (which may
possibly be the result of accident) as I am anxious to inform you that
the statements there made are absolutely incorrect and untrue so far
as orthoc,hromatic plates are concerned. Whilst I am sorry that such
erroneous dogma should get publicity, I feel compelled to adopt the
only course open to me, which is that of giving it a deliberate con-
tradiction, and now I am going to prove it to you.
Proof to the Contrary.
The pair of specimens (mounted on opal glass to make them very
easily judged) which I shall place in the Chairman's hands were
produced in the following manner. Taking a box of " Ordinary "
plates and another of " isochromatic medium" plates, we shall find
their rapidities to dayliirht very nearly equal, and these will enable
us to make a most conclusive experiment. I cut two plates down the
centre, and take half of each to an experiment. I place a simple
graded screen in an ordinary printing frame, and put half an
" ordinary " plate and half an "isochromatic" plate thereon, and
expose briefly to usual daylight at midday. The result of this
exposure, developed to completion, will be found on the right hand of
the specimen, and is marked "daylight." You will probably agree
with me that their sensitiveness to daylight as read by this means
will be about two points in favour of the isochromatic plate, viewing
the densities as transparencies.
I then take the other two halves of these plates, and place them just
as before, but instead of daylight I submit them to candle-light.
As a matter of fact, the pair at the left hand had ten CM. seconds.
You will see that even ten C.M.S. impress the " iso " plate to such an
extent as to reveal the last grade of the screen (16) with great
force, whilst the " ordinary " plate responds in a remarkably feeble
manner. A longer exposure, such as fifteen C.M.S. or twenty C.M.S.,
AprU 14, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
231
will (five you a bettor reading on the " ordinary " pkte ; but so
sensitive are the " iso " plates to candle-light that great density results
up to tiie full scale of toe screen, and the comparative reading^ are
valueless. As it is, and viewing these results by transmitted light, I
think you will allow that there are from ten to twelve points in
favour of the " iso " plate, and to verify this the Chairman shall be at
liberty to cut the specimens off the opal glass after they have been
all round, and then compare the relative gradations. Viewed by
reflected light, the difference is even greater.
Now, gentlemen, how do you find it? On the one hand look at the
two letters of " Platemaker " and Jas. Cadett, and, on the other hand,
weigh these experiments ! Please accept my assurances that these
experiments have been repeated over and over again, and always
with a like result. Do you find that ordinary and isochromatic plates
obey the same constant — the candle, or do you think with me that
any one who could be rash enough to make such an assertion must
surely have forgotten the very raison-d^Hre of isochromatic plates ?
If I needed confirmation of the results I place before you, I need
but refer vou to an article bearing strongly on this very subject,
by Mr. DeSenham, and you will find his experiments recorded on the
very same page of The Buitisii Joubnai. of Photogbaphy (page
60) as my own. As this page is before you, please refer to Mr.
Debenham's figures. He gives you for camera exposures with day-
light, " ordinary " aud " isochromatic instantaneous," equal periods ;
but for lamp-light you will see he fixes the rapidity of the " isochro-
matic " plate at no less than eiyht times that of the ordinary !
With no intention of either attacking the system nor yet of inter-
fering with any man's trade, I repeat that my object has been solely
to ascertain whether and how far the theory and the practice of
determining the speed of plates would accord, and in the alternative
as to whether the theory could bo of any assistance (or otherwise) to
practical photography. If time permitted, I should like to have read
to you a leader from Photography, signed " A. P.," and dated March 2.
As it is, I must content myself with a short excerpt therefrom.
Alluding to Messrs. Ilurter & Driffield, the writer says : —
" . . . .If they mean that, after all, we can materially control our
practical results by controlling the developer and the following opera-
tions, tlien no more need be said ; but, with their writings before us,
we must say that it is by no means clear what they do mean in the
matter."
As I have not found that the theory of these gentlemen has been
borne out by the plates issued in conformity with their system, I
decided to place my findings on record ; hence all this storm, and
hence, also, my appearance before you this evening, which I deter-
mined upon even if it involved further encounter with my cavillers,
or entailed a recital of the tenets of my photographic creed.
I trust that the subject may have interested you sufficiently to
induce discussion whereby we may gain photographic knowledge,
and endeavour to arrive at perfection and the truth.
G. F. Williams.
NATURALISTIC PHOTOGRAPHY.*
And now we will return to the main subject, which I shall lay
before you in a series of propositions only, for psychology has not yet
become a science in the true sense ; psychological work is merely in
the working hypothesis stage, though by no means at the worked-out
hypothesis end.
Proposition I. — That the material universe may be regarded by us
•8 eternal (though varying in aspects), and the fountain-head of all
our sensuous impreasions.
ProjHMition II. — That accepting the doctrine of evolution the mind
has evolved from the merest crude .sensations of the amcBba to the
complex and subtle sensations of the master artists of to-day.
Proposition III. — That in the course of this evolution there arose
the sensation and perception of the beautiful,! and this emotion was
followed by acts intended for ornamentation of their persons or
homes.
Proposition IV. — That from this germ developed the sense of the
beautiful, until in civilised man this appreciation of the beautiful may
be divided into three steps : —
1. That of sensation. 2. That of perception (intellectual). 3. That
of emotion.
That these three be three distinct processes, yet they are one —
indissoluble.
ProjMisition F.— That the appreciation of the beautiful is thus sub-
jective, an ideal existing in the minds of men in varying degrees of
development ; and that, though Nature (by which the objective world
* Concluded from page 213.
t According to Darwin this is a fact first noticeable in bu-ds.
IS meant) has probably produced at various times exquisite harmonie*,
it took man to recognise these as beautiful, and so it has been said
the artist is the master of Nature.
I'roposition VI. — That, as the nkbvocs system developed, these
appreciations became more delicate and subtle, and so a man with a
naturally delicate sense of vision gradually purges himself of the
coarser emotions, and his perceptions are more purely cerebral acts.
A master artist regards first of all by mere acrjuaintance the decora-
tive harmony of a picture or natural scene, then by previously
acquired knowledge he knows why it is lovely, fit, true in sentiment,
and distinfftii, and that knowledge gives way to the emotion of joy,
which is expressed physically by his smiling face.
That the reverse is the process with the Philistine ; the crude and
tawdry appeals first to his emotion, hence the popularity of the senti-
mental subject ; of the anecdote ; of " literature in the flat."
Proposition VII.— Th&t we have physiological proof that men's
sensitiveness varies in degrees of fineness ; thus a virtuoso in flour knows
samples grown in different countries by their feel, a virtuoso in wine
knows a glass of port taken from near the bottom from one taken
from the top of the bottle, and the blind Laura Bridgeman knew
purely by touch the clothes of all the inmates of a workhouse. From
which it is self-evident that in all persons the boundary of their
I appreciation is hard drawn ; in some cases, therefore, fatally limited
by their very organization. A man whose vision is not delicate can
rieeer see the delicacies of line, colour, and tone patent to a moro
delicate nervous organization. Such a limited person is for ever
doomed to be outside the pale of tlie pictorial art world, as the man
with no ear for music is for ever doomed to be an " outsider " in the
musical world.
Proposition VIII. — That, as the sense of beauty is a human ideal,
this ideal \\'ill vary with individuals and in the individual from day
to day, nay, from hour to hour. Indeed, so complex are the brain
processes, and so dependent upon each other, that an artist may begin
a picture with one ideal and finish it with quite a different ideal.
Indeed, it la one of the great difficulties of the artist to keep steadily
to his original ideal throughout the work. A glass of wine, a santo-
nine powder, may completely change his ideal or power of execution.
From which it is plain how delicate a thing is a work of art, how
thoroughly personal is every touch in a work worthy the name of art,
what a perfect index of the creator's mind.
Proposition IX. — That the ideal existing in any given brain at any
moment is a complex and refined essence, the result of the man's
whole previous life up to date ; wherefore this ideal is no mere re-
flection of Nature, but a result of imagination, or the selection from
various ideals or parts of ideals ; and thus man may go beyond Nature
and conceive things that do not exist in the world— such as the vase,
the phonograph.
That fine art is the artistic expression of this ideal by a personal
method, and that no man is an artist who has the ideal and can see
the beautiful if he have not the power of execution as well. Art is
therefore achievement. By their results alone are artists to be
judged ; as thus a very inferior technician may be a very delicate
seer of the beautiful, but the world rightly only gives him credit for
his picture— Ai« result— andi if that be poor, if his hand cannot express
his ideal, he does not rank highly, nor often does he get credit as a
seer. " Art is therefore with the man," as Mr. Wliistler has said.
Proposition X. — That Nature sometimes sings in tune, or succeeds
in producing glorious and exquisite harmonies, harmonies fully ap-
preciated by the seers of the beautiful, for many more may appreciate
than can depict; hence the rarity of real artists. Whence also a
layman may be a far keener seer than most painters ; but seer and
masterly executant is genius itself.
Again, that the harmonies of Nature are altogether different from
the harmonies of art — are dependent on different phenomena, and that
Nature and art are different worlds. That Nature sometimes sings in
tune Mr. Whistler himself has allowed, but I submit that it is abso-
lutely impossible to reproduce that harmony on a plane surface ; it is
a thing by itself, a thing apart; though a number of unphilosophical
painters think they do reproduce Nature, but they do not. Here is a
very simple proof suggested to me by my friend Mr. Havard Thomas, a
sculptor. Let the observer look at a distant landscape behind some
reed-stalks in the foreground. The reed-stalks in Nature, under cer-
tain conditions, do not blot out any of the background, we see round
them, and see the ivhole landscape beyond. In art the reed-stalks
would always Uot out part of the background. I think our sense of
the third dimension of space or " distance " arose first through this
peculiarity of vision. For further and deeper proofs of the utter
impossibility of reproducing Nature as we see her I must, in a brief
paper like the present, refer you to Professor Hemholtz's Scientijic
Lectures, to Mr. Rood's Chromatics, and to our Perspective Drawing
and Vision. A careful study of these publications, aided by a few
232
THE BRITISH JOURNAL OF PHOTOORAPHY.
[AprU 14, 1893
experiments made for himself, will convince the veriest neophyte
that it is impossible to reproduce Nature or make a " mere transcript."
Proposition XI. — That in photography we are confronted with a
new phenomenon, in that we find some of the results of a machine
give true pleasure to master artists which has never hitherto been the
case with machine-made works. _ .
Proposition X77.— That photography is not art because a machine
comes between the man's ideal and Nature, and the result is machine-
made, the trapping of a sunbeam. Say the photographer, like the
painter, goes to Nature with certain ideals — we will, for illustration's
sake, assume that two men have exactly similar ideals of the beautiful
(which is, of course, impossible). They go together to Nature, and
find a beautiful natural harmony in a lovely stretch of purple sands
by the sounding sea. The photogi-apher at once sets up his machine,
focusses, and exposes ; but in these very processes his ideal has gone.
What results may be beautiful, but it is no more the representation
of his ideal, the vision he first saw. It is something else, for the
machine imposes certain conditions which were never in the photo-
grapher's mind at all. How often has the most experienced of us
been disappointed with the photograph of what wtis fine in Nature —
fine to our eyes that is, and sometimes ince versa 9
The painter, on the other hand, begins, and if he be an expert each
touch helps to his desired or ideal end ; this wavelet is delicately put
in, that breaker strongly and broadly, and so on ; everything is done
unto one end, and all is certain from the first — whereas the photo-
grapher has boxed a maimed and contracted reflection of what he
saw. True, it may be a beautiful reflection ; but, after all, it is Nature's
drawing, and not the man's. Still such machine-drawn pictures may
in certain cases satisfy, or rather harmonise with, the photographer's
ideal of beauty, or, indeed, with the master painter's, as does a beautiful
natural landscape; and yet, again, the beautiful photograph is not art
any more than the natural scene of which it is a reflection.
Proposition XIII. — That, though the machine draws the photograph,
yet in the production of a photograph there are a few (very few)
very limited incalculable elements, as there are in organ-grinding and
engine-driving.
These are — (1) Selection of view. (2) Selection of lens. (3) Selection
of focus. (4) Selection of developer. (5) Selection of printingimethod.
These limited incalculable elements give a man a very limited oppor-
tunity of blending his materials to his ideal, and though, bv taking ad-
vantage of these with knowledge, he may surpass other pliotographers
in decorative work, still they are too limited for him to express to
any degree of certainty or fulness his ideal; and, since the drawing is
mechanical, these few very limited incalculable elements cannot
enable a man to express his ideal in anything like the same degree as
does a personal art. Indeed, photography is not nearly so personal an
art as sailing or rifle shooting, both of which have very little of the
mechanical about them and much of the personal.
In photography man puts the machine under certain physical con-
ditions, and the machine will always (under these same conditions)
bring about the same result ; therefore the process is logically
mechanical. On the other hand, a personal art is one in which the
results would differ again and again under the same physical condi-
tions, for the mind would work differently on each so-called " replica "
of the original — no artist could paint two pictures e.vacthj alike. A
photographer might take fifty views of a subject exactly similar, from
which it is self-evident that photographs are not works of art in the
sense accepted by artists, though photography may be an art or craft
in the old sense of the word art, as surgery is an art ; but such a use
of the word " art " aa applied to photography would not satisfy the
dilettante, for the word used so would include every photographer as
an artist, which is not what the ambitious amateur means at all.
Proposition X/F.— That therefore it would be wiser for all photo-
graphers to drop the use of the words " art " and " artist " in con-
nexion with photography (photography is a science, or hopes to be
some day), and classify exhibition works as —
(1) Decorative or pictorial (when the intention is merely and purely
to produce a beautiful thing). (2) Scientific (accurate mathematical
reflections).
By using the terms "decorative or pictorial photographs" and
"scientific photographs" we should, I think, allay all opposition
from artists— not to say painters— and critics (who are right in re-
fusing to call photographs works of art), and should be at the same
time working in a less pretentious way and in a legitimate pursuit,
humble as compared with painting, 'tis true, though'the best results
surpass all but the masterpieces of art in beautv. And I would
^ggest that this Society sets the example at their forthcoming
Mubition and describes the works submitted into two classes, scien-
tific and "decorative or pictorial," for works should be classed ac-
cording to their intention.
Proposition XV. — That decorative photographs are worth doing (if
well done) because they give us certain beautiful qualities art cannot
give, hence their raison-d'efre. That the producers of such may prove
themselves as keen seers (not artists) of the beautiful as the master
artists themselves. They may have art knowledge too; yet, if they be
no creators by personal method, I submit they are not "artists."
But, then, this does not mean, on the other hand, that mediocre
draughtsmen, whose vision is vulgar or obtuse, are to crow over these
seeing photographers, for such mediocrities are not "artists" and,
indeed, seeing photographers have far more claim to the title, as the
masters would allow.
Proposition XVI. — That, though photographs are sometimes more
beautiful then art, they never equal iS'ature when she sings in tune.
Indeed, I submit than when Nature " sings in harmony " she is more
beautiful than photography or art, unrivalled in her dehcacy, fineness,
and distinction.
Proposition X VII. — That " idealism " and " impressionism," if used
in connexion with photography, are mere contradictions of terms, and
used by slovens in thought — -or worse.
Gentlemen, let us conspire not to be called by any false or vain
names such as " artists,'' but to produce beautiful decorative work,
each of us in his own way. Let us in friendly and unselfish spirit
band together for the furtherance of this end, and let the too eager or
ambitious (I will not say vain) neophyte remember that the proof of
his dehcacy of vision is in a measure what he shows us of his own,
and that, as there are few Laura Bridgemans with perfect touch, so
there are few seers of the most delicate beauties, because few
organisms have delicate vision. Let the neophyte and others re-
member that the seers of the beautiful are as rare as the limners of
beautiful scenes ; that physiology proves that most are for ever
fatally limited to remain without, and no disgrace either, if such have
but the honesty and pluck to own it ; the disgrace is pretentiousness
and imposture — in pretending to see.
Amongst these bUnd have been the vast body of persons who have
ridiculed Mr. Whistler ; indeed, nearly the whole press has ridiculed
him, and yet, gentlemen, to-day his pictures hang in the most honour-
able position in Paris, the city at present the Queen of the Arts, and
so it will always be, for I for one tjelieve that truth is great, and will
in the end prevail over obtuseness and dishonesty, for I am optimist
enough to think the majority of men are fair-minded, honest, and
manly, and that, though they maj- for a time let the rogue and the
cad live their little days, they wiU in the end arise and put their
houses in order and turn the unclean from their temples.
As for these propositions, gentlemen, I do not intend to fight over
them, for they are propositions, and therefore no fighting matter, but
provisional until psychology shall either prove or disprove them.
I offer them to you frankly and trust you will deem them worthy
your consideration, after which I leave you to accept or reject them,,
as your honest judgment dictates. At any rate, they may prove
interesting to some of you, at least I hope so, for they are an attempt
on my part to solve what has long been a vexed question, a problem
to which no satisfactory or rational solution lias hitherto been
offered. P. H. Emkhson, B.A., M.B. (Cantab.)
PHOTOGEAPHIC INDUSTRIES— THE OPTICAL WOEKS OF
W. WEAX, HIGHGATE, LONDON.
For many years has the name of Wray been associated with the con-
struction of astronomical, microscopic, and similar achromatic object-
glasses for high-cla33 instruments of precision. It is only within the
past six or eiglit years that the firm has been induced to add to the above
departments the sister branch of photographic lenses, which has already
developed into one of great magnitude and importance. In the belief
that our readers would like to know something, however little, of the
inner life of a recognisedly high-class lens-making establishment, we
visited the place one afternoon, note-book in hand.
The premises are situated on that suburban slope known as North Hill,
Highgate. This locality was originally selected as being on an elevation
considerably above the lower parts of London, in which smoke and fogs
find a congenial resting-place not conducive to the testing of object-
glasses for large astronomical telescopes. There is no shop or anything
else visible from the adjoining public road which would lead any one to. the
belief that just inside of the gate, and within a hundred feet or so of it,
were quite a number of workshops, forming the elementary parts of a
great factory, the lathes and other mechanical forces in which were in
direct communication with a Crossley gas engine, which the Messrs.
Wray find more convenient than steam as the motive power.
Entering the first of these workshops, we observe four rows of turning
April 14, ISnSJ
THE BIIITISH JOURNAL OF PHOTOGRAPHY.
283
Istbes extending from end to end. Some of those are elaborately fitted
with slide rests, face plates, and simitar belongings incident to such
'machines. At one end we observed an elaborate mechanical appliance
which wo could not relegate to the department of either lathe, planing, or
Bhaping machine, being unlike anything we had previously seen made
■use of in connexion either vvith the construction of louses, telescopes, or
microscopes. This, Mr. Wray informed us— demonstrating its modus
operandi — was an entirely new machine they had made for the produc-
tion of Iris diaphragms, it being used for cutting and drilling the slots
and holes which form a portion of their internal mechanism. This
machine, when once set for any special size of tube, did its work with a
degree of perfection quite impossible to be attained by the most careful
and skilled hand-work. The mechanical resources of the establishment
are such as to have enabled them to construct this useful machine on the
premises. The blades used range from twenty-four in number down-
wards, according to size of tube, and are made of steel about one two-
hundredth of an inch in thickness. These are cut out in a screw press,
and we saw a large rack full of the steel-cutting tools, one pair of each
being used for each size of diaphragm. The blanks for the Waterhouse
diaphragms are also cut out in the same way, the apertures being turned
in special chucks in the lathe, hard steel gauges being used for the pur-
pose. Close by is the riveting machine for fixing the pivots into the
blades of the Iris. It is driven by a strap from the shaft overhead, and
delivers something like sixty blows a minute, each one, of course, with
absolute precision, and is under perfect control, instantly stopping or
starting with a slight pressure of the foot. By an ingenious device the
pivot is withdrawn from the bed plate after the operation of riveting is
completed. So perfect is the working of this machine that Mr. Wray
informs us that he has never heard of one of the pivots becoming loose.
In the lens-grinding department we saw much to interest us. Com-
mencing with the raw material, the glass : this, we learnt, is obtained
from Chance, of Birmingham, and Mantois, of Paris, and, in order not to
waste any time in grinding any piece containing an imperfection, each
was critically examined previous to being placed in the hands of the
toughers, who, with coarse emery and iron curve tools, ground it to the
semblance of a lens. The way we saw one disc examined will serve as a
general description of all of them. This was to form the " flint " element
of a rectilinear of four and a half inches diameter, thirty-two inches
focus, and to work with an aperture of/-8. It was a disc of considerable
thickness, and had been polished not only at repeated intervals on the
edge, but also on both sides, all this being done solely for the purpose of
enabling the internal structure of the glass to be critically examined.
The indices of refraction and dispersion having been ascertained and
noted, the body of the glass is then examined through the edges and sides
by a magnifying-glass for the discovery of such defects as -tears, strife, or
mechanical disturbances of like nature. But an examination extending
only so far would not be complete, for there is a powerful factor still to
be determined, which is the homogeneity of the glass. Owing to some
imperfect carrying out of the annealing process in the glass works, there
might be present strata or patches of unequal density. This is tested for
by polarised light, which instantly reveals the slightest departure from
perfect homogeneity. Not until the glass satisfies all the conditions
impUed by the tests mentioned is it sent down to the roughing shop to be
ground approximately to such curves as have been determined by the
circumstances of each case. Such an examination as we have described
is, we are aware, practised by all high-class opticians, and here comes in
one point of difference between what we have termed " high-class " lenses
and those pretty, low-priced productions redolent of polish and lacquer,
which come to this market in such shoals from abroad. Such makers
could not possibly afford, even if they possessed the knowledge, to make
a selection or examination of the glass, but take it as it comes from the
glass works, soften it by heat, and, by discs, press it into the curves re-
quired, finally grinding and polishing the surfaces. When done and
placed in their mounts, some by a fluke may be passable, whUe others are
—well, not so. With our best opticians, both at home and abroad, each
lens forma a matter of individual study from beginning to end.
But we must follow the fortunes of the particular lens which we left in
the hands of the roughers. When it has been brought into shape, it goes
into the grinding and polishing shop, where it is ground and smoothed
on a tool of the exact radius of curvature necessary, emery of various
grades of fineness being used in succession. With each change of emery
the workman washes the surface of the glass, and examines it through a
magnifier to see that no grits from the penultimate grinding have been
left nnground out, and that the surface is that due to the grade of emery
last employed. The final grinding leaves the surface in a state of extreme
smoothness, although still grey. The lustrous polish is imparted by a tool
from which every trace of emery has been removed, and a fresh surface
of pitch or some unyielding cement of a nimilar nature has been given.
To this, while still warm, a tool the exact counterpart of the other ie
applied, by which the true curve is imparted to the cement aurface, to
which is now applied the rouge or putty powder requisite in the impart-
ing of the highest polish capable of being attained by the glass. This
being the way in which the astronomical lenses for which this firm is
Celebrated, are polished, its oae has been continued in the construction of
their photographic objectives. In the olden times, and even still yet in
some cheap factories, the lenses were polished on felt or textile fabrics ;
but this causes a rounding of the margins, and is apt to change the figure
of the lens. But the lens is not yet finished. It has next to be centered.
To this end it is cemented on the (ace of a chuck in a lathe of special
construction, and, before the pitch or other cement has set, the lens is
moved by little and little from one side to the other until the reflection
of a gas flame in front is seen to be stationary and free from wobbHng
when rotating the lens in the lathe. When this has been done, and the
cement is quite cold, a plate of metal charged with emery is by slow
degrees and by screw adjustment brought to bear upon the edge, and
continued until the lens is ground circular and is of such a diameter as is
required.
After cementing' with Canada balsam the component parts of an
achromatic lens, blackening the edges to prevent light from being re-
flected, and placing the lenses in the cells of the mount, the combination
is ready for being tested. Several tests are employed in Wray's establish-
ment, one being the examination of an artificial star formed by a thermo-
meter bulb filled with mercury. Several of these bulbs are used, the
nearest being fixed at a distance of probably 150 feet from the lens to be
tested, and it was astonishing to note tjie rapidity with which the trained
eye of Mr. Wray could almost in an instant note anything connected with
the correction of the objective and give directions for alteration, should
such prove necessary. Flatness of field and covering power were ascer-
tained by attaching the lens to a camera much larger than the effective
covering power of the lens demanded, and to this end trees and the
general scenery at a distance, not omitting to mention houses at no great
distance, the black windows of which bore small white eaamel letters,
lent invaluable slid, especially to any one unversed in the values of the
higher optical tests and who desired to see how a lens would perform on
an average landscape subject.
One of the sons of the founder of the establishment ensconces himself
in a quiet comer, surrounded by the other members of the working staff,
who devote themselves to the microscopic object - glass department.
Another son is at the head of the photographic lens department, while
still another member of the family takes cognisance of the astronomical
object-glasses, and all that appertains to them, yet is the training of
these chiefs of departments so complete that any one can interchange
with another. Incidentally, we noticed that the smallest of the photo
graphic objectives — those of the wide-angle class — were being made by
workmen engaged in the department devoted to microscopic lenses.
An inquiry as to the relative demand for lenses with Iris diaphragms '
contrasted with Waterhouse and others, revealed that the Iris is pre-
ferred in the ratio of three to one. There is a fully equipped dark room
on the premises, and the actual working of any lens can be practically
demonstrated in a camera which always stands ready for use. In the
brass-turning shop we observed what seemed to us some hundreds of
mounts of various dimensions in every stage of progress, there being a
preponderance of small ones intended for hand cameras.
Standing in the grounds, and at a little distance clear of the work-
shops, are two equatorial telescope stands, having all the fittings for the
testing of astronomical object-glasses. One of these receives all objec-
tives up to five inches in diameter ; in the other, and larger, objectives
from six to twelve inches diameter are finally tested on celestial objects,
after having passed the preliminary optical tests.
Apropos of charges we and others have occasionally brought against
artists for the untruthful drawings often indulged in by them, more
especially in the case of the sun or moon, we were shown, by Mr.
Harry Wray, a couple of photographs that demonstrated the truth of this
charge in an effective manner. Placing a lens of fifteen inches focus in
a camera, and selecting a time when he knew that the full moon would that
evening be within the field of view, be exposed a plate daring the day,
and left the camera undisturbed till evening, when the moon was in the
scene, when he exposed a second plate, on which he got an instantaneous
view of our satellite. On carefully comparing the relative angles sub-
tended by the objects in these two negatives (now in our possession), and
contrasting these with a picture of a similar scene drawn by an artist, we
find that we understated the case when we said that some artists made
the moon four or five times larger than it appeared in nature.
This business was established in 1850 in Windmill- street, Tottenham-
234
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 14, 1893
court-road, and was removed from thence to Highgate for reasons already-
hinted at. Beginning in a small way, it has grown, until it now gives
employment to about two dozen hands— all expert workmen.
CENTRAL PHOTOGRAPHIC CLUB.
As already announced, a meeting of intending members and those
interested in the Central Photographic Club will be held on Monday
evening next, April 17, at the Memorial Hall, Farringdou-street, when
the chair will be taken at eight o'clock precisely.
The principal object of the meeting will be to receive the report of the
Executive Committee appointed on March 6 to
(1) Select suitable premises.
(2) Decide upon what financial basis the Club should be conducted.
(3) Draw up a set of rules for the government of the Club.
In regard to the first, the Executive Committee immediately ap-
pointed a Premises Sub-committee to seek for suitable premises within
a limited area which might fairly be considered central, and, after con-
siderable trouble and investigation, the Sub-committee recommended
the Executive Committee to decide on premises in Fleet-lane, Farringdon-
street, as being in every way suitable for the purposes of the Club. The
Executive Committee have endorsed the recommendation, and the meet-
ing on Monday next will bo asked to adopt it.
As to finance, the Executive Committee unanimously agreed that the
Club should be administered and carried on by a limited company, so
that the liabilities of members might be restricted to the amount of their
annual subscription, the profits, if any, after five per cent, has been paid
to the shareholders, being devoted to the benefit of the Club. A con-
siderable proportion of the capital has already been subscribed by the
members of the Committee and friends.
After careful consideration, the Committee have adopted the following
rules for the government of the Club : —
EuLES OF THE Central Phoiogk.iphic Club.
I. The title of the Club shall be the Central Photographic Club.
I {2. The object of the Club is to provide a central meeting-place for
those interested in photography where they may enjoy social and technical
advantages.
3. All gentlemen interested in photography shall be eligible for
membership.
4. The annual subscription for town members shall be 11. Is., and for
country members 10s. 6d. For life membership a payment of 101. 10s.
shall be required. The first 500 members will be admitted without
entrance fee. Those joining after that number has been reached shall
pay an entrance fee of 1?. Is. for town members, and 10s. 6rf. for country.
Gentlemen residing within a radius of twenty miles of Charing Cross
shall be deemed town members.
5. The management of the Club shall be vested in a Committee of
twelve, six to form a quorum, consisting of an equal number of share-
holders and ordinary members, to be elected by the members in general
meeting annually. The Committee shall have power to fill up vacancies
during the current year.
6. An Hon. Treasurer and Hon. Secretaries and an Hon. Librarian
shall be elected by the members annually in general meeting, and shall
be ex-officio members of the Committee.
7. Candidates for membership must be proposed and seconded by two
members of the Club. The name and address of the candidate, and the
names of the proposer and seconder must be sent to the Hon. Secretaries at
or before the stated meeting previous to the one at which it is proposed
to submit such candidates for election. Such names shall be read by
one of the Secretaries to the meeting, and posted on board till the next
meeting.
8. The election of members shall be by ballot at any stated meeting of
the Club, and a vote of four-fifths of the members present and voting
shall be necessary to elect a new member.
9. Every candidate on his election shall be notified in writing with a
request for payment of his subscription and entrance fee.
10. No member shall be entitled to use the Club until his subscription
for the current year has been paid.
II. The annual subscription shall be payable in advance on the first
day of July in each year. Subscriptions to be paid to the Club Company.
12. Members joining the Club before September 30 shall pay the full
subscription. After the end of September and before January 31 the pay-
ment shall be two-thirds ; after the end of January and before May 31,
one-third ; the subscription of any member elected after May 31 shall be
considered payment for the following year.
13. Any person who shall by any means cease to be a member of the
Club shall, nevertheless, remain liable for and shall pay to the Club
Company all moneys which at the time may be due from him to the
Club.
14. Any member making himself obnoxious to the members of the
Club shall be reported to the Committee, who shall investigate, and, if
necessary, call a special meeting of the Club to discuss the matter ; then,
if the majority so decide, the offending member shall be expelled the
Club, and lose all interest and benefit in it, such decision to be taken by
ballot.
15. An annual general meeting of the members shall be held in the
first week in July to receive the report of the Committee, to pass the
accounts, to appoint officers for the ensuing twelve months, and to elect
members of the Committee to supply the places of those retiring. The
newly elected officers and members of the Committee sliall come into
office at the conclusion of such meeting.
16. Ordinary meetings of the members shall be held weekly.
17. The Committee may, whenever they think fit, and they shall on a
requisition made in writing by ten members, convene an extraordinary
general meeting. Any such requisition shall specify the object of the
meeting required, and shall be signed by the members making the same,
and shall be delivered to the Secretaries.
18. Every member of the Club shall be entitled to one vote only. The
Chairman shall have a casting vote in addition to the vote to which he
may be entitled as a member.
Bye-laws for the' Club House, and such other rules and regulations as
may be found necessary when the Club premises are opened, will be drawn
up by the Committee, and submitted to the first general meeting of
members for approval.
It is hoped that as many as possible intending members of the Club
will attend the meeting on Monday next. The Hon. Secretary pro tern.
(Mr. Thomas Bedding, 2, York-street, Covent Garden, W.C.) has already
received a very large number of applications for membership from all
parts of the country, and from both professional and amateur photo-
graphers, and the Executive Committee anticipate that the adoption of
the above and other recommendations to be made will enable them to
approach all classes of photographers in London and country with the
certainty of obtaining such a numerical support as will result in the
formation of the largest photographic club in the world — a club that shall
be at once a home, a rendezvous, and resort for all those interested in
photography, whether residing in London or the country — a powerful
agency in furthering photographic progress, and a representative force in
each of the many branches of modern photography.
CROTDON CAMERA CLUB EXHIBITION.
This Exhibition was held on the Wednesday, Thursday, Friday, and
Saturday of last week, when, besides the pictures on the walls, the now
customary evening attractions of music, lantern displays, and technioa
demonstrations were included in the programme. A display of some
sixty or more of the most successful photographs of recent yeai's, by such
men as Ralph Robinson (whose loan collection included his fine Sir
Frederick Leightoii), Bio-wnrigg {Wiyiter Sunset, &c.), Byrne (direct por-
traits and studies of children), Earl Greger, Colonel Gale {An East Country
Quay, etc.), H. P. Robinson {Carolling), Seymour Conway, T. J. Bright,
and Adam Diston (about twenty-six examples of this master's work, com-
prising the ever-delightful Gloaming), Ufted the Exhibition, as a whole,
to a point of excellence which the non-competitive exhibits did little to
support.
The Judges were Messrs. J. Gale and Thomas J. Bright, and the mention
of their awards in Classes A and F must suffice, inasmuch as the classes
were small and poor. In Class C, for outdoor views (members only),
however, some really meritorious work was shown, Mr. C. E. Whitaker's
picture of The Gateway, Hever Castle, catching the eye as a technically
well-rendered photograph. Mr. William F. Frost's views on The Mole,
Mr. G. R. White's series, and A Study of a Mill Pond by Mr. A. E. Isaac,
as well as the same gentleman's clever bit of realism in the effects of
Winter, being conspicuously prominent. To our thinking, however, the
beautifully crisp definition, relief, and panoramic-Uke effects of Mr. Hirst's
Deepdene and Arundel constituted the pick of the class. We hope that so
manifestly a good and careful worker will be content with effects like
these, and turn a deaf ear to the pipings of the foggy school. In Class D
{genre or figure subjects, members), a group of Three Fishermen easily and
naturally posed was, perhaps, the best ; but the work in the class was not
good. In Class F (any subject) Mr. A. J. Sargeant had some capital
interior work {Langton's Chapel), and Messrs. W. J. Wright, George
Corden, H. E. Holland, and G. R. White were represented by excellent
landscapes.
In the class for members' exhibits not for competition, Mr. B. G.
Wilkinson was a tower of strength with several of his famous studies,
and the President (Mr. Maclean) had a good selection, of which we
preferred a little picture The Causeway, a waterside study, in which the
arrangement of land and water was accomplished with the happiest
Aprfl 14, 1893]
THE BlUTISH JOURNAL OF PHOTOGRAPHY.
28S
artistic efTeots. In the same olase, Hr. O. B. White had a leries of
intoriora of dwelling rooms, difficult subjects successfully handled.
Useful exhibits of photographic apparatus, Ac, were shown by Messrs.
Hurst, & Co., of St. Michacl's-road, West Croydon, and D. P. Roberts,
120, North-end, Croydon. The Exhibition must have given great gratifi-
cation to local photographers. It was small, bnt well arranged.
The following were the judges' awards : —
Class A (Best prints illustrative of hand-camera work) No. 9 (first
award), George B. White.
Class B (Lantern slides).— No. 22 (first award), H. E. Holland ; No.
25 (commended), George Corden.
Class C— No. 18, to 50, Series (first award), William P. Frost; No.
63 (commended), George B. White. No. 67, 69, 70, Series (commended),
A. E. Isaac.
Class D.— No. 79, FUhennen (first award), C. E. Whitaker; No. 81
(commended), H. E. Nceves.
Class E.— No. 105 (first award), Miss J. E. Fooks.
Class F.— No. 148 (first award), A. E. Isaac.
WEST SUBBEY rHOTOGRAPHIC SOCIETY'S EXHIBITION.
TuE fifth annual Exhibition of this Society was held during the week at
the Public Library, Lavender Hill, S.W. The competitions were restricted
to members, and about one hundred and sixty photographs were placed on
the walls. If we remember aright, the Exhibition of last year had the
advantage of including a number of Colonel Gale's and Mr. Davison's pic-
tares which added materially to its average of excellence. This year no
srach assistance is forthcoming ; but, as if by way of compensation, the
members' work is undoubtedly superior to that previously shown, although,
perhaps, numerically smaller.
Naturally an exhibition of members' work is only of confined interest,
and therefore, criticism of it in detail is superfluous. Some of the pic-
tures, however, well deserve commendation by name — notably an enlarged
study of the Waterfall, Battersea Park, by Mr. E. Pointon, possessing
great softness and naturalness ; two large platinum views of the choir
and nave, Lincoln Cathedral, by Mr. F. P. Smith, capital pieces of interior
work ; a delightful view of Eijnsford, by Mr. Winsford, and a triptych by
Mr. P. Martin, Seeing the Show, children all agog with expectation in the
street, waiting for a Lord Mayor's procession or something of the sort and
held back by a man in blue. Mr. E. Calland showed a portrait, which,
in the way of "diffusion of definition," would have been bad to beat,
sapposing the use of a lens. Two tiny views in carbon, on very large
mounts, by Mr. G. H. James, were reminiscent of Mr. Davison, and the
same exhibitor's portrait of a lady, a gracefully posed warm-toned pic-
ture, was undoubtedly the best picture in the room. We liked Mr. J. S.
Bond's well-printed platinotype view of Melrose, and a plough horse piece,
A Surrey Team, also by Mr. Bond ; Mr. E. Swingler's river scene with
shipping, A Still Day, a refined tender view ; and Mr. W. Graham's
minute crisp studies of Caiitor Beach and On the Bure. Mr. J. L. Lyell's
capital studies of Indian Architecture agreeably diversified the Exhibition,
which contained much other really meritorious work.
We may note, in conclusion, tliat the West Surrey Society has its Own
journal The Photographic Gazette, edited by Mr. G. H. James. The April
number, containing the catalogue of pictures, includes weU-written and
practical papers on " Enlarging " by Mr. Agars, " Autotype Printing " by
Mr. Calland, " The Dominant Factors of Exposure," by Mr. G. H.
Seward, and other instructive photographic matter. The Gazette is
a credit to its Editor and the Society.
THE INFANTS AND THE PHOTOGBAPHER.
Ix the Worthing County Court last week, the Judge delivered judgment
in the case of Simmons versus Edwards, which was an action to recover
10s. (id. paid to defendant, a photographer, under circumstances which
we referred to a few weeks back. Two sisters, both under age, paid, one
the sum of 7s. (id., the other 3«., to defendant to photograph a family
group. Defendant expressed himself prepared to fulfil the contract, but
the plaintiffs' father forbade the photographing of the family, and, at his
instigation, the girls sought to recover the money from Mr. Edwards.
His Honour, while pointing out that one action should have been brought,
And not two, confessed that he did not pretend to understand the father's
reasons for forbidding the photograph. His Honour said that in his
opinion the case fell within the Infants Relief Act, 1874, and the contract
was void ; and, if not so under the Act, still he thought that the
Iilaintiffs, being infants, were entitled to void or rescind the contract.
Further, there was the question whether they could get their money back,
and whether they had derived any benefit from the contract. Defendant,
in his opinion, was in the same position as he was before the contract
wan entered into, and he could not treat the making of an appointment
as work done. There would therefore be judgment for plaintifTs, bnt
without costs. He thought it would have boon much better if defendant
had been allowed to carry out the contract. Defendant: "Thank you, sir."
©ur IBlJitorial Eatlt.
Elbmentaby Photooeaphy.
By John A. Hodoes.
In this work, which forms No. 7 of the " Amateur Photographer's
Library" (Hazel, Watson, & Vine^), all the various processes of
practical photography are described in such simple language as befits
a teacher who is imparting his knowledge to young and inexperienced
aspirants after the photographic art. In recommending the selection
of a camera, he give preference to one of the half-plate size on the
score of comfort and convenience. After describing the special
features of some of these, and of some of the lenses in common use,
the author describes non-actinic lanterns and the fittings of a dark
room, the preparation and uses of the various solutions, and, in short,
goes through all the m'ocesse.s of making negatives, printing and en-
larging from them. The manual will be useful for beginners — the
class for which it is intended.
[Photogeaphs by H. Yko, Plymouth.
A SBBIE8 of photographs of children — or more correctly of a child
— attests the skill of this artist. The story is in reality the history
of a soap bubble illu.strated by a small series, from the cradle to the
grave sort of idea, which tells its own tale. But, quite apart from
this, the pictures as a whole and the poses of the chief actor — a pretty
little girl — are admirable. The prints are in platinum, and as
pictures are charming productions, the e.xpressions on the face being
natural and in keeping with the stages of progress of the soap bubble,
from its birth at the pipe to its collapse in mid air.
RECENT PATENTS.
APFLICA-nONS FOR PATENTS.
No. 6931. — "An Improved Mask with Border for Photographic Purposes."
A. C. JaCKSOS.— Dated Airril 4, 1893.
No. 7051. — "An Improvement in or connected with Hand Frames for
holding Photographs, Pictures, and the like." W. S. Simpson. — Dated April
5, 1893.
No. 7061. — "Improvements in Photogr.aphic Draining Racks, whereby
several Sizes lof Plates can be Accommodated together or separately." W.
Tylab.— jOa^eii April 6, 1893.
No. 7231. — "Cheney's Retouching Apparatus or Retouching Machine for
Retouching and Stippling Photographic Negatives and other Pictures." J.
Cheney.— flaferf April 8, 1893.
No. 7281. — " Improvements Relating to the Production of Negatives." E.
Albert.— Z)afed April 8, 1893.
PATENTS COMPLETED.
Improvements in Photographic Hand Cameb.is.
No. 8324. John Skynnbh Baily Bell, 3, Wentworth-place,
Newcastle-upon-Tyne. — March 4, 1893.
My invention relates to and is for improvements in apparatus for photographic
hand cameras, aud I carry it out in the following manner : —
The camera case may be of the usual shape or form, or otherwise, and with
any additional or necessary adjuncts if required.
Within the camera, and immediately behind the lens, I have the exposure
chamber, and behind this chamfSer, and divided from it by a suitable par-
tition, there are two chambers, one above the other, and divided by a hori-
zontal plate or partition at or near the middle of the height of the camera.
The upper one of these chambers is the unexposed chamber for the reception
of sensitised plates, aud the lower oue is the exposed chamber, to receive the
sensitise<l plates after being operated upon in the exposure chamber, the back
end of this chamber being the usual light-proof end cover.
In these two latter chambers there is a cage having a horizontal top plate of
thin sheet iron or other suitable material. The bottom plate is similar to the
upper one, and they are connected together with small rods passing through
the horizontal partition and let into grooves in the camera sides or otherwise,
the whole being free to .slide up and down in the two chambers, the downward
motion being actuated by the weight of the cage or otherwise.
The cage being, say, at the top, the upper part is in contact with or con-
tiguous to the upper part of the unexposed chamber.
There is a horizontal slit or opening in the unexposed chamber at the bottom
in the vertical partition dividing it from the exposure chamber. This slit or
opening is just large enough to allow oue sensitised plate with its sheath to
slip out into the exposure chamber, and there is another slit ui the upper part
of the partition of the exposed chamber diviiling it from the exposure chamber
sufficiently large to allow a plate operated on in the exposure chamber to pass
into the exposed chamber.
Immediately in frout of these slits there is a shutter kept close by a soitaUe
spring or springs.
236
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[AprU 41, 1893
In the exposure chamber there is a tumhler or pivoted plate of siiitable shape
to receive the sensitised plate, having its edges turned up at the two sides and
at one end. This plate is pivoted on a horizontal axis at or near its centre, and
having spindles or pivot pins let into the sides of the camera case. One of
these pins is continued outwards, and on its outer end there is a suitable
milled head or other device or contrivance so as to give the tumbler the
necessary amount of motion, and having an index finger to show the position
inside. There is a stop piece below the slit in the partition of the exposed
chamber for the edge of the tumbler plate to rest upon when it is at its
lowest position, that is, in a position to deliver a plate into the exposed
chamber.
There is also a stop piece at the top of the exposure chamber, so that the
tumbler may rest in the vertical position, that is in a plane at right angles to
the axis of the camera, when a photograph is being taken. At one side of the
exposure chamber there is a thin strip of metal as a spring or other contrivance
which the tumbler plate presses against in its rotation which steadies the
tumbler and arrests unnecessary motion. This spring has a projection or knob
at such a point that the tumbler is arrested in its motion when in a position
suitable to receive one of the sensitised plates from the unexposed chamber on
to the tumbler plate.
There may be an index and register, actuated by the cage, so that the de-
scending cage, acting on a hinged lever inside the exposed chamber, communi-
cates motion to an axle, which axle is continued to the outside, and an index
finger fixed on it there will show the number of plates operated upon — or
other form of index and register may be used if desired.
The method of working is as follows : —
The cage in the unexposed chamber is charged with sensitised plates up to
its highest point, the top of the cage being above the highest of these plates.
The tumbler plate is in the vertical position or plane, at right angles to the
camera.
The first operation is to rotate this plate the necessary quadrant of a circle
or so by the milled head, until it is in a position to receive the sensitised plate
from the unexposed chamber. In its downward motion it has pressed the
shutter downward before it, so that there is a clear opening for one sensitised
plate. The camera is slightly tilted forward, and the plate slides out on to
the tumbler plate in the exposure chamber. Secondly, the tumbler, with the
sensitised plate upon it, is now rotated into its proper position to receive the
impression. The photograph is taken, and the tumbler, with its plate, is
brought down to the lower stop, carrying the shutter before it. The camera is
slightly tilted backwards, and the plate slips off the tumbler through the slit
on to the bottom plate of the cage in the exposed chamber. The tumbler is
now slightly rotated, and is checked by the knob at a position to receive a
fresh plate from the unexposed chamber, and so the operations are continued
as before until the supply of plates is exhausted, the cage dropping down as
each separate plate is removed from the unexposed chamber.
It will thus be seen that the plate is moved into its various positions with-
out violence or risk of breakage.
The various parts may be of any suitable shape or material.
The claims are : — 1. Self-acting apparatus for supplying the unexposed plates
from the unexposed chamber and returning them again into exposed chamber,
and method of retaining unexposed and exposed plates in separate chambers.
2. The method of changing the plates by the revolving tumbler — in bringing un-
exposed plates into "register," and returning them after exposure into exposed
chamber. 3. The whole arrangement substantially as described in specification
and drawing, having the whole of the mechanical operations of changing the
plates actuated from one finger-pieee.
iH^ettnsS of aoctetiejJ*
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of MeetinR.
April
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Name of Society.
Place of Meeting,
Charing Cross-road, W.C.
Asso. Studio, Nethergate, Dundee.
Fillehi-ook Lecture Hall.
180, West Regent-street, Glasgow.
Camera Club
Dundee Amateur
Fillebrook Athenaeum
Glasgow AWesit of Scotland Am.
Hastings and St. Leonards
Leeds Photo. Society ^Mechanics' Institute, Leeds.
Richmond rGreyhonnd Hotel, Richmond.
South London I Hanover Hall, Hanover-park, 8.E,
Birmingham Photo. Society ...' Club Room, Colonnade Hotel.
Brixton and Clapham j 376, Coldharbour-lane, Brixton.
Hackney I 206, Mavo-street, Hackney.
North London
Paisley
Brechm
Bury :
Leytonatono
Manchester Camera Club
Photographio Glub
Southport
Southsea
Birmingliam Photo. Society
Camera Club Charing Cross-road, W.C.
GIossop Dale !
Greenock (Annual) j Mnsenm, Kelly-street, Greenock.
Hull ; 71, Prospect-street, Hnll.
London and Provincial I Champion Hotel, 15, Aldersgate-st.
Oldbam i The Lyceum, Union-street, Oldham.
Oxford Photo. Society ~ . . . - .
Cardiff
Croydou Microscopical
Holborn
Leamington Trinity Church Room, Morton-st.
Maidstone •' The Palace," Maidstone.
Hull 71, Prospect-street, Hnll.
Canonbnry Tower, Islington, N.
9, Gauze-street, Paisley.
14, St. Mary-street, Brechin.
Club Rooms, 13, Agar-street, Bnry.
The Assembly Rooms, High-road.
Victoria Hotel, Manchester.
Anderton's Hotel, Fleet-street.B.C.
The Studio, 15, Cambridge-arcada.
3, King's-road, Southsea
Club Room, Colonnatle Hotel.
Society's Rooms, 136, High-street.
Public HalljOeorge-streetjCroydon.
PHOTOGRAPHIC SOCIETY OP GREAT BRITAIN.
April 11,— Ordinary Meeting, Mr. W. E. Debenham in the chair.
The attendance numbered fifteen, which was considerably reduced before
Mr. Warnerke had got half way through his paper.
Mr. Hubert J. Elliott and Lieutenant H. Wood, R.E., were elected
members.
It was announced that the following presentations of pictures shown at the
last Exhibition had been made to the Society : Aylesfmd, by Mr. A. R. Dresser ;
a series, Blowing Buibles, by Mr. H. Yeo ; and Sunset in Winter, by Mr.
Cerabrano.
The South London Photographic Society were ad'mitted to affiliation.
The Ch.urman stated that Mr. W. England would, in May, liemonstrate the
Daguerreotyjie process, upon which occasion there would be an exhibition of
specimens, to which members were invited to contribute.
The Paris a>t) Brussels Intkrnational Congres.sks, 1889-1891.
Mr. Leon Warnehkb read a lengtliy paper on this subject, describing the
origin and labours of the two Congresses, and concluding with a detailed
account of the decisions arrived at with regard to photographic standards
and units. He mentioned that the next Congress would be held at Geneva in
the ensuing summer. [We shall make extracts from the paper when it is
published.] Mr. Warnerke said that Captain Abney wanted him to make a
critical report, but all he would then say was that the work was conscientiously
done. At the same time the decisions of the Congress were such that they
could not be adopted in this country, particularly with regard to the size of
plates, screw threads, and Hanges.
Mr. Chapman Jones said that photographers had not troubled much about
these congresses, but they had not had till now any conuected account of them.
With regard to a standard light, it seemed to him that they would, after all,
have to go back to standard candles : but he would like to a.sk Mr. Warnerke
whether the congresses had got us any nearer a standard light of any other
kind.
In the course of his reply, Mr. Warnerke admitted that this question
as well as that of the determining of the sensitiveness of plates, was yet
unsolved.
Mr. G. ScAMELL said that, as regards delegates to future conferences, the
affiliated societies should be invited to act in the matter.
The Chairman, in closing the discussion and moving a vote of thanks to
Mr. Warnerke, said that Mr. Warnerke had gone to very great labour in
drawing up the p.iper, but it was unfortunate that photograpliers would not
trouble about the work of the congresse.s. One of his (the Chairman's) objec-
tions to the decimal system was the difficulty there would be in abolishing it
in favour of the duodecimal, whicli he thought would ultimately be adopted.
The inch and the foot were more convenient than the metrical measure, as they
were so easily appreciated by people in this country.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
April 6, — Mr. E. J. Wall in the chair.
Determination ok Plate Speeds.
After the disposal of other business, Mr. G. F. Williams read a paper on
this subject [see page 229].
Mr. .\. Cowan said he would like to have the chance of meeting some of the
points in Mr. Williams' paper. In his (Mr. Cowan's) opinion Messrs. Hurter
& Driflield were not such fools as platemakers seemed to think. It was
impossible to judge of exposure by eyesight. Messrs. Hurter & Driffield's
test enabled one to obtain the exact rapidity of any plate of unknown rapidity.
The exposures could just as well be made to daylight as to candle-light, .and he
(Mr. Cowan) would undert.ake to prove that to whichever light an exposure
was made the results would be identical.
Mr. W. E. Debenham agreed with Mr. Cowan as to the general similarity of
the iiehaviour of plates to caudle-light as well as to daylight, with the exception
of orthochromatic plates. The difi'ereuce in results given by Wai'nerke'a sensi-
tometer to daylight and caudle-light was much exaggerated.
Mr. J. Stebry said there were four factors in the Hurter & Driffield system
which were estimated sejiarately. These were, relative exposure, relative degree
of developer, the character of the plate itself, and the chemical fog, which
varied in dillerent plates, and which, if we estimated it simply by the eye,
made it necessary that we should eliminate the action of the other three
factors. But chemical fog did not affect the matter at all. His chief point,
however, was as to the relative amouut of developer to use, and in that con-
nexion he would like to ask Mr. Williams how to distinguish between the effects
of twenty-five per cent, extra exposure and twenty-five per cent, extra de-
veloper, as both increased density, but in a different manner ? It was
distinguishable by the photometer numbers, the speed showing by the relative
position of the curves, and the developer by the angle which the straight lines
made with the base lines. Fog was estim.ited by direct measurement. It was
impossible to make two plates which were identical, and thus judging results
by the eye was an extremely fallacious plan. To estimate density by this
plan it was easy to go utterly wrong, as the surroundings upset the estimation.
Mr. James Cadett observed that Air. Williams had asked the supporters of
the Hurter & Driffield system to go before a jury of practical photographers
to judge a question which they knew nothing about. He could hardly ex-
pect that system to be accepted by the people who had no practical experi-
ence of it. Mr. Williams had called the system a fiasco, and plates tested by
it utterly worthless, and in that he had shown bias. We had been in the habit
of reading the speeds of plates by what we observed in the shadows. The
action of light was to produce density on development, and density must
therefore hold some relation to speed. It was the oliject of Messrs. Hurter &
Driffield's system to show that relation. He (Mr. Cadett) had given plates
which yielded different densities to different photographers to test with various
exposures, and errors of about 300 per cent, were obtained by the camera. It
was in confusing density with speed that Mr. Williams condemned the system,
basing his condemnation on what some platemakers had put on some boxes of
April 14, 1803]
THE iJRITISH JOURNAL OF 1>HOTOORAPHY.
atr
plates. He, however, shouUl Imvejtcstwl his system ag&inst the photometer. He
admitted that his own plates Imd Iwcn in one instftnce marked too high ; their
ipeed, instead of 130, should have been 108. As regards orthochromatic
plates, an enonnous dilTeruniie in their orthochromatic effects to candle-light
and daylight had been noticed, but with his own plates, which were not ortho-
chromatic, Mr. Driflield had found that they obeyed the same constant. Mr.
Driffield had also found plates tested by caudle to give exceedingly good
negatives in daylight — he had, in fact, not observed any difference in their
qniditie-s in that respect.
Mr. Cowan observed that he had tested plates by the candle, and was able
to tell thi- maker of the plates what amount of exposure he could give.
Mr. Cadett (continuing) put in a ple.i for the use of the photometer, saying
that they were unable to judge of density by the eye, wliereas the photometer
showed it instantly. Taking the case of two plates which had received identical
exposures, the only difference might be that one would have a higher density than
the other. One would look umler-exposed, and the photometer woidd indicate
a lower cnne. The same detail would come out with a slower plate, but
measurement of the density with the photometer would at once show the
difference. In one case a difference of 300 jier cent, had been found. If
density was not related to speeil, how was it to be made use of? He (Mr.
Cadett) thought Me.'isrs. Hurter & Driffield's principles should be attacked.
Alluding to Mr. Cowan's exi>eriraents, he said that, under the conditions, he
was a far better ju<lge of the system than Mr. Williams, who had simply
based his expcrimouts on the numbers on makers' plate-boxes. There was
another point. Thickness of coating had an enormous influence; but
by cutting a plate in halves a mean reading between the two should be
obtained.
Mr. W. J. Wil£ON said that his impression of Hurter & Driffield's system
was that, within its own limits, it was perfect — th.at is, within what was called
the perio<i of correct exposure with a certain developer at a certain tempera-
ture, and excluding the question of the spectrum altogether. It was a question
how far the spectrum question came in. No two makes of plates would act
in the same way as regajxls the spectrum. In most ordinary circumstances we
had to deal with white light, and practically the spectrum did not give any.
They hail heard it stated that two plates of dilTerent makes might have the
same relative speeds in different lights — that is, they might be equal in speed
at one o'clock and different at six. As to the developer (juestion, he believed
Messrs. Hurter & Driffield started by asserting that a photographer had no
control over gradation by varying his developer, but he (Mr. Wilson) had some
reason to believe that Messrs. Hurter & Driffield had since modified their
statement. He (Mr. Wilson) had found that rodinal sometimes showed a
plate to be three an<l a half times as quick as one developed with pyro and
ammonia, and if that was admitted it needed investigation, and the speeds of
plates according to certain developers should be recorded. It came to this,
that one developer acted better with one plate than with another. Another
point, as to temj)erature of developer. Messrs. Hurter & Driffield hatl tried
development at a certain temperature, but, had they develope<l two plates of
different makes with the same developer at, say, forty degrees Fahr. ' There
might be a variation with the same make of plates at different temperatures.
In conclusion, he thought that within certain defined limits and conditions the
system was a perfect one ; but whether, where .all the conditions did not come
in, the other conditions were vitiated was an open question.
Mr. Cadett thought that Messrs. Hurter & Driffield had corrected their
remarks in their original jiaper as to a plate being found more sensitive to one
developer than another, ina.«much as they had stated that they had found no
difference worthy their notice. Those who were using Hurter & Driflield's
system had learned that the speed of a plate could be altered by a developer.
The photometer enabled them to observe the periods of over and under-
exposure. Before the Hurter &• Driffield system came out, we were content
with 100 per cent, errors in the speed of plates ; now, ten per cent, was looked
upon with horror. The time of development did not alter the speed of plates
very materially, but density was widely different.
Jlr. P. EvEBiTT pointed out that, in two of Mr. Williams's results, there was
a difference, whereas, according to the speed numbers of the plates, they
should have lieen exactly alike. The difference was possibly due rather to the
delicacy of the plates rather than to the opacities. Alluding to the actino-
graph, jhe said that, with different speeds of plates, and working strictly ac-
cording to exposure, ho found the speeds practically correct.
After further observations from Mr. Haddou, Mr. Cowan, and the Chair-
man, Mr. Williams briefly replied to some of the criticisms on his paper, and
the discussion was adjourned till Thursday, April ^0.
(
Holbom Camera Club.— April 7, Annual General Meeting, Mr. Fred.
Brocas in the chair. — The Secretary read the annual report of tTie Committee,
which w.-ui adopted. The Treasurer presented the balance-sheet, showing a
balance in favour of the Club of 14/. 18«. 8irf. The following officers were then
elected: — President: Mr. A.. Horsley Hinton. — Vice-Presidents: Messrs.
Fred. Brocas, S. T. Chang, and R. D. Lowe. — Committee: Messrs. J. H. Avery,
E. H. Bayston, J. Bush, T. 0. Dear, A. T, Ebsworth, A. W. Miller, and J.
Stevens. — Librarian: J. Brittain. — LanternUt : Mr. E. Benest. — Treasurer:
Mr. Allwrt Bell. — lion. Secretary : Mr. F. J. Cobb. — Assistant Hon. Secre-
tary: Mr. Herbert Thompson. Several alterations in the general arrangement.')
and rules were made, and the meeting separated. The first official outing was
held on Saturday last at Hampstead Heath in excellent weather. A copy of
Mr. J. A. Iloflges' " Elementary Photography " has been presented, by the
publishers, to the Club library.
Harringay Photographic Society.— April 6, Mr. C. Watson presided.— A
S radical ■It-iiioustration of The Frtiut System was given by Mr. Bynoe, and
lustrated with diagrams on the screen. 'The demonstrator first showed the
new and improved system of changing films, the use of the swing back,
and, the patent and very ingenious time and instantaneous shutter. Some
pictures taken with the "Frona" were shown on the screen, and were much
admired.
Hackney Photographic Society.— April 4, Mr. F. W. Gosling iiresiding.—
MiMulxis' work shown, .Mr. Dean and Mr. Nunn. Qnestion : " Is tnerc a limit
to length of time between iirinting and developing the cold-bath platino
pajier without deterioration ?' Reply : " It is always advisable to develop at
once. Paper absorbs moisture ; even when under mackintosh, the edges will.
Undeveloped printi were put away for six, four, and two months,{and recently,
and, although all care was taken, the last only were good. When the paper is
dry, it curls film side outwards, and, when damp, the opposite. It is not
generally known that, if the negative be very thin indeed, a good print can be
obtained by printing under light blue glass ; also, if a print be very mach
over-exposed, so th.at all the details are out, a good result comes by fixing in
the .acid bath without developing." Qnestion : " What is the relative exposure
Ix'tweeii limelight and daylight portraiture!" lieply : " For i)Ortmiture the
light must be diffused, either by several lights or white pa|>er reflectors, hence
limelight is not satisfactory. Magnesium ribbon for high lights and gas
for shades recommended." Mr. Dean then rea<l Mr. Dawson's paper on
Photogravure.
South London Pbotograpbic Society.— April 5, Dr. T. G. Munyard in the
chair. — The Coniiiiittee presented their fourth annual report, which showed
that the Society was continuing to progress, and that the number of paid-up
members was 105. The proportion of working members had, iluring the year,
largely increase*!. At the hi-monthly meetings demonstrations and papers
of great interest had been given and read. The Club camera (12 x Wj, lantern,
and slides had been in much request. Several valuable contributions to the
library were made during the year, and the demand for the loan of the various
works had been good. 'The Committee tendered their thanks to the editors of
the photographic papers for copies of their papers. An excursion secretary
was appointed at the beginning of the year, and endeavours were made to put
the outings on a better footing, which had met with much success. An ex-
hibition on more e-xtended lines was held in November last, and favourably
commented upon by the photographic press. The Treasurer's report showed
that the members had obtained the maximum benefits for their subscrip-
tions, a considerable Jamount having been expended in apparatus, which
left the accounts just balancing. The report and balance-sheet were
adopted, and the election of officers proceeded with, which resulted a.s follows : —
President : F. W. Edwards, E.sq. — Vice-Presidents : Mes.srs. Maurice
Howell, Dr. T. G. Munyard, W. Rice, and H. G. Banks. — Committee : Messrs.
BoxaU, Buckle, Claridge, Esler, Fellows, Greaves, Lester, Lyon, and Miller. — '
Curator : Mr. (i. H. Jtoss. — Treasurer: Mr. E. A. Whitby. — Hon. Secretary:
Mr. Charles H. Oakdeu, 61, Melbourne-grove, East Dulwich, S.E. — Hmi.
Assistant and Excursion Secretary : Mr. W. F. Slater, 169, Southampton-
street, Camberwell, S.E. The Affiliation scheme was discus.sed, and it was
decided to join the Affiliation Committee.
Lewisham High-road eamera Club.— April 7, Annual General Meeting.—
The following gentlemen were elected: — Vice-President: Mr. A. H. Miles. —
Committee: Messrs. M. Stodart, B. Davidson, E. Eastwood, R. W. James,
M.I.C.E., C. Churchill, W. C. Chaffey, Professor Lambert, H.X.—Hmi.
Treasurer : Mr. E. B. Eastwood, 26, Breakspears-road, Brockley. — Hen. Secre-
tary: Mr. H. M. C. Sprunt, 192, New Cross-road, S.E. — Hon. Assistant Secre-
tary : Mr. H. L. Davis, 95, Cranfield-road Brockley.
Croydon Microscopical and Natural History Club (Photographic Sec-
tion).— April 7, Mr. J. H. Baldock in the chair. — Mr. S. H. Fry discoursed
on the "Sandell" plate. These, he explained, differed from the ordinary
plates in being coated with two or three emulsions of different degrees of sen-
sitiveness, the most rapid being on the top, and resulted in several great
advantages, enormous latitude in exposure, freedom from halation, &c. Pro-
ceeding to the development, he laid special stress on the adoption of a tentative
system, using a weak developer when the exposure given was longer than the
norm.al for the top film, and he attributed the want of success experienced by
some to their not having so treated them. The stripping of the top film was
strongly deprecated ; if veiled, it should be cleared. A series of very fine
15 X 12 prints, taken by Mr. Sandell, showed the great success with which
Alpine scenes, irrcgiUarly lit interiors, and other strongly contrasted subjects
could be photographed on these plates. A number of snap-shots, taken by the
lecturer, were also shown.
Leeds Photographic Society.— April 6, Mr. J. H. Walker (President) in the
chair, Lantern Night. — Many lady friends were present. The Indian and
Colonial set of slides belonging to the Photographic Society of Great Britain
and affiliated societies and a set of prize slides were exhibited. Both
sets were much admired, many of them receiving hearty applause, and the
Society feels deeply indebted to the Photographic Society of Great Britain and
affiliated societies, the slides being only one amongst other sets they distribute
amongst their affiliated societies. Such, amongst other benefits, only requures
to be Known to induce other societies to join.
Photographic Society of JapaiL— March 3.— Some very fine photographs
were exhibited, sent by Messrs. B. J. Edwards & Co., London, shelving the
difference between the photographs taken on ordinary plates and on theSr
isochromatic plates ; the contrast between these was very striking, especially
in the photographs of flowers. Mr. Kajima Sebi then exhibited an extra-
ordinarily large bromide print (36 x 42) taken direct on a negative in his big
camera exhibited at a previous meeting. Some views taken by the Dallmeyer
tele6C0])ic lens were sent to the meeting by Mr. W. K. Burton, he himself not
being able to be present The telescopic lens was again shojvn, this time fitted
with gear to enable the focussing and spherical aoerratiou aiijustmont to be
made more readily. Mr. Beilter showed a new lens by Carl Zeiss, of Jenxi,
called the apochrornatic triplet. It is claimed that this is more complete and
correct for spherical .and chromatic aberration than any lens which has hitherto
been produced, and certainly some extremely beautiful views of cabinet siae
taken with the lens were exhibited, as also some larger views on aristotypo
paper taken by the same instrument ; these were much admired.
238
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 14, 1893
FORTHCOMING EXHIBITIONS.
April 14-29 *Crystal Palace. The Executive, Crystal Palace, S.E.
li-15 . . *Bolton Photographic Society. Hon. Secretary, J. E.
" Austwick, 10, Kushton-street, Bolton.
17-29 *Photographic Society of Philadelphia. Hon. Secretary,
" R s: Eedfield, 1601, CallowhiU-street, Philadelphia,
U.S. A.
Mav 4-6 *Forfarshire Photosraphic Association. Hon. Secretary,
^ W. J. Anckom, West Port, Arbroath, N. B.
* Signifies that there are open classes.
iS.Tcl)an(jc orolumn.
,* No charge is made jor inserting Exchanges 0/ Apparatus in this column;
but none mil be inserted unless the article wanted is definitely stated. Those
whospecify their requirements as "anything useful" will therefore understand
the reason of their non-appearance. The full name of the advertiser must
all cases be given for publication, otherwise the Exchanges will not be
Exhango eight-inch gas burnisher, 5 x 4 bellows camera, and silver Albert chain for
whole-plate camera.— Address, J. Bennett, 38, James-street, Swiinsea.
Exchange Dallmeyer carte lens, splendid deiinition, for good-make half-plate bellows
camera lens, and three dark slides.— Address, W. Melling, 147, >ewport-street,
Bolton.
Doublet lens, bv A. Boss, 18x16, has been used regularly for plates 21x18; exchange
for 15 X 12 wide-angle tourist camera, half -plate.— Address, A. Ooi & Co., Tavistock-
chambers, Nottingham.
Will exchange Emmerson's head rest for two backgrounds, on« in-door and one ont ;
or half-plate camera and lens, for out-door work ; must be perfect.- Address, F.
MoOBE, 36, WoUaton-road, Beestou, Notts.
Will exchange a heavy burnisher, by Richardson, eighteen-inch bar Cosoillating) ,
perfect condition, and with gas burner ; wanted whole-plate wide-angle lens, any
make.— Address, 0. Bennett, lOt, High-street, Ljmington, Hants.
€ottesJt>ontrence»
Correspondents sJtould never vyrite on hoth sides oj the ■paper. No noiice i» taken
of communications unless the names and addresses of the writers are given.
MR. PEINGLE AND THE SANDELL PLATES.
To the Editor.
Sib,— Although Mr. Pringle has confined his reply to my letter of the
17th ult. to another journal, I think the matter of such universal interest
that it should get directly into the hands of your readers, and so you
will oblige by inserting the following contribution to it. I hasten to
reciprocate Mr. Pringle's kindly feelings. Mr. Pringle has been a friend
to ourselves, speaking for my Company, and to myself, and trust he may
ever remain so ; but there happens sometimes in human experiences a
period when it is well to be saved from one's friends, and this I have
taken to be one of those interesting occasions. Mr. Pringle expresses
regret that I did not attend at the meeting of the Camera Club. Well, I
thought the matter was so simple that, in the hands of such an expert,
the subject was quite safe ; secondly, I disliked the appearance of
" exploiting " at scientific meetings ; and, lastly, I did not think it con-
sistent with my amour propre, inasmuch as I had some time previously
been advised by Mr. Pringle that I should not be considered worthy of the
Club membership. Of the first idea I have been altogether disabused,
and it is entirely due to Mr. Pringle's handling of the subject that it has
been thought desirable to give instruction in the uses and capabilities of
the plates by demonstration at the Societies.
Mr. Pringle seems to wish to represent my former letter as dealing
" mainly with opinions." Nothing is further from my desire. I want
facts, and facts only ; and I maintain the facts of the case are so easy of
proof as to be within the reach of all.
Mr. Pringle objects to my use of the adjective " preposterous." I can
only repeat that the idea of stripping the films in practical negative
mt^ing is preposterous, and consider I was justified in being so emphatic
on the point when a gentleman, Mr. Gregor Grant, who admittedly had
received instructions from Mr. Pringle on the proper use of the plates
previous to starting on a trip, is reported to have said at a meeting of the
West Kent Society that he gave enormous exposure, developed, and
stripped off the top film ; but I understand even then nine good negatives
were secured out of twelve, the remaining three being under-exposed. I
take it the latter were the cause of Mr. Grant's adopting Mr. Pringle's
notion, that a little over-exposure produced a failure with the plates.
In discussing the question of rapidity, I contend I am entitled to have
from Mr. Pringle some suggestions as to why he should go out of his way
to represent the plates as slow, in order to release him from any suspicion
of being disingenuous. Either he must imagine I cannot make a fast
emulsion, or must have an idea that the successive coatings interfere with
one another.
Mr. Pringle must surely know there is every inducement to put the
most rapid emulsion on the surface, for, with the increase of rapidity,
halation is increasingly troublesome in the single film. As a matter of
fact, the plates are as rapid as any plate of any make I have ever tested,
and I am more than sanguine of soon being able to provide a plate of
much greater rapidity still.
Mr. Pringle's assertion at the Camera Club, " I found that in a view
with trees in it, the normal exposure to get a good negative on the top
film was ten seconds at/-32," if unaccompanied by an extempore explana-
tion, was an outrage. I will here point out that the questionable
advantage possessed by the ordinary plate of the supplementary exposure
from reflection (which I maintain is stupidly called halation) is absent.
Why I think the term halation stupid is, because it detracts attention
from the undue density, and what may be called the inner effect of the
reflected rays when not sufficiently strong, or the angle of reflection is
not large enough to produce the halo.
Mr. Pringle, in his use of the adjective " absurd " in connexion with my
assertion as to the practically unlimited latitude of the plates is, I submit,
somewhat unscientific. If it is possible to do, as I have done, give an
exposure on an open landscape of half a second, and another of one
hour with the same stop (and, in all probability, six hours would have
answered equally), is my claim unjustified ? I should be glad to know
who requires greater latitude. Mr. Pringle says he has not found the
plates an absolute cure for halation. I shall esteem it a great favour if
he will furnish me with details of the alleged failure, and will guarantee,
if the exposure is within the province of what can be fairly described as
practical photography, to make a negative free from it.
On the question of quantity of light passing a film, Mr. Pringle appears
to give himself entirely away, or I cannot understand his language. He
says, " I tliink under-exposure is one of the most certain ways to produce
halation." Now, taking it for granted that the halation meant is reflec-
tion, and as the reflected rays are only a small percentage of those trans-
mitted, it stands to reason that a large quantity of lipht has passed the
fllm even in the cases of under-exposure. Then, am I right or wrong in
claiming a great advantage for the double films in cases where one wishes
to develop up all that is possible ?
Now on the question of amenability to development.
I have not the advantage of a knowledge of the results obtained by the
savants referred to as having " studied the subject."
It has been a matter of daily, almost hourly, study to me for the past
fourteen years, and this is the only way in wliich I can account for the
fact that a weaker developer is necessary for a slow plate than for a rapid
one, and also for another fact, that a weak and restrained developer with
a rapid plate will furnish a finer-grained negative than a strong one.
Why this, unless it is that the finer grains are more easily reduced?
This, in my opinion, also furnishes the correct answer to the Kev. F. C.
Lambert's question as to the appearance or non-appearance of the posi-
tive effect in negatives, propounded at the Camera Club on the same
evening. Mr. Pringle, I expect, will agree with me that light and heat are
only different manifestations of the same iiatural phenomenon. Now, in
sensitising an emulsion, heat is as necessary as light is in making a nega-
tive. We know the effect of light is, up to a certain point, to facilitate or
render possible the development to maximum density ; beyond that point
it renders it more and more difficult, and at last it makes development by
any known method an utter impossibihty ; in other words, the salt of
silver is what is termed perfectly solarised.
Then I suggest the action of light and heat being similar, that in the
more highly sensitised emulsion we have an approach to the effects of
solarisation, and consequently density is less easy of achievement, as it
is well known to be with the most rapid emulsions.
I can assure Mr. Pringle there are many items to be found in the
philosophy of a dry-plate maker, which are not to bo found in the philo-
sophies of the majority of our handbooks ; neither is it fair to expect it.
We, as emulsion-makers, make thousands of gallons of emulsion of
different kinds during the year, whereas our authors may make their few
half pints. . .
In conclusion, I can only beg of Mr. Pringle not to fail to pay a visit to
the Exhibition which is being lield during next week at 24, P.egent-street.
If he cannot there find that I have more than proved my case to the hilt,
I shall be surprised.— I am, yours, &c., J. T. Sandell.
Thornton Heath, April 10.
REDUCING ACTION OF HYPO ON AMIDOL-DEVELOPED
NEGATIVES.
To the Editor.
Sib, — The reducing action of hypo on amidol -developed images is not
confined to bromide paper. A few days ago I developed in amidol and
fixed in a somewhat strong bath two hand-camera exposures. The
negatives produced were fairly strong and of good gradation, without fog,
and fixation appeared to be complete. I rinsed them under the tap'for
about three or four minutes, and placed them in a draining rack, intend-
April 14, 1808]
THE BRITISH JOURNAL OF PHOTOURA±HY.
ing to finish washing them as soon as I had developed the remainder of
the exposed plates in the magazine.
I was then called away for two or three hours, and, aa soon as I returned,
at once proceeded to complete the washing of the negative. To my
consternation, I found only the merest ghost of an image left. There
was no sign of fog, and the gradations had not sufTored.
It has long been an article of my photographic faith that negatives
underwent merely apparent reduction m the fixing bath, and that pro-
longed fixation did not perceptibly increase this apparent reduction. An
exception must evidently be made in the case of images produced by
amidol.
I would recommend a comparatively weak fixing bath for both plates
and paper when this developer is used.— I am, yours, Ac,
54, Lo/tiu-iO(ul, W., April 7, 1893. L. Crossl*.
To the Editor.
Sib,— In the last two issues of The British Journal of Photoorapht I
have read letters on the above subject, and write these few lines to inform
your readers that, having used the above developer upon several different
brands of dry plates for negative work, I have noticed that when the
negatives have been left in the fixing bath for, say, two hours, their
density appeared to be reduced a little as compared with their density
after about half an hour's stay in the fixing bath, which for all
ordinary plates is the length of time I consider necessary in order to
thoroughly fix the image. I may also mention that I have even left
negatives developed vnth amidol for at least twelve hours in the fixing
bath, and, although they have been a little more reduced in density, none
of the finest details appeared to have suffered in the least, and in no cant
did the i/iiai/c entirely disappear.
It will be interesting to many of your readers to know that negatives
developed with pyro, hydroquinone, eikonogen, and rodinal will be
reduced a little in density if left in the fixing bath for several hours ; hut
I do not think that amidol-developed negatives are reduced to a greater
extent than those developed with the other developers above mentioned —
at least, this hae been my experience. An ordinary, and not an acid,
fixing bath is always used in my dark room ; therefore I cannot say what
effect the latter or any other kind of fixing bath may have upon the
image.
The foregoing facts riiay set many of your readers' minds at rest as
regards the permanency of their negatives — from this cause, at least ;
indeed, this is the only reason why I wrote this letter. — I am, yours,
&c., J. T. Hackktt.
Fleet, Hants, April 7, 1893.
CYANIDE OF POTASSIUM.
To the Editor.
Sir, — May I be allowed to correct a statement you make in answer to
correspondents, re cyanide of potassium ? You say this is only sold by
" qualified pharmaceutical chemists." All registered chemists can sell
it ; but the latter are not pharmaceutical chemists, although both are
registered as duly qualified to sell poisons. At the same time, you will
find it in the British Pharmacopoeia method of making its characters and
tests. — I am, yours, &c., J. W. Wright.
141, St. James'gstreet, Burnley, Lanes, April 7, 1893.
ALBUMENISED PAPEE VERSUS P.O.P.
To the Editor.
Sir, — As so much has been written upon the superior permanence of
P.O.P. paper over albumenised, there is one test I have never seen
mentioned, viz., hot water. Our old friend will stand boiling ; the other
— well, try it.
I should recommend amateurs to be wary of discarding old and tried
friends.— I am, yours, &c.. Amateur.
April 8, 1893.
[Our readers will he amused to be told that the " permanence " of
gelatino-chloride print.s is open to question because they will not
resist the application of boiling water ! Our correspondent's test is
»uch a ridiculous one that it obviously explains why he has never seen
it mentioned. — Ed.]
»
TRADE DEPRESSION— THE CAUSE AND THE REMEDY.
To the Editoe.
Sib, — Your valuable Journal, ever alert to the interests of those who
seek a livelihood by, and are entitled to a position in, our much-abused
profession, will gladly entertain the above — the burning photographic
qnestion of the day. The thorough practical remarks of " N'Importe " in
your issue of March 24 are a step in the right direction. So let us pro-
ceed to consider the facts. When circumstances are adverse to pro-
gress, we must understand the cause thereof, and what is conducive
to improvement ; in our case, this is not difficult. While we submit to
incompetents usurping the rights of genuine aspirants, the present state
of matters will prevail, to the discredit of a nation whose boast is,
" Liberty and the suppression of all unrighteousness," Let us follow the
expedient adopted by other trades and professions, and prove our genuine-
ness by technical examination and registration. Those unable to survive
a test would find their proper insignificance seeking pastures new, while
those who proved their superior claims for a position in the photographic
world would no longer incur the sceptical view, as one of the many sheep
in the fold (black included), but as a distinctive class. To further our
interests we have established our National Association of Professional
Photographers, Photographic Society of Great Britain, and others. If
they wish to uphold their profession as an honourable one, will they not
endeavour to suppress the existing evil ? In this advanced age, when
competition is so keen, we must establish measures for the protection of
a genuine business career. Then, and not till then, can photography
maintain the high position which it is destined to, and deserves to occupy,
as one of our many arts and sciences. — I am, yours, &c.,
April 10, 1893. Onus Pbobasoi.
PROPOSED HAND CAMERA CLUB.
To the Editor.
" The cry ia still they come.''
Sir, — I note in your last impression a proposal for a Hand Camera
Club. As there is now a Photographic Society in most parishes, I
should have thought that the hole cut in the stable door for the fowls
would have been large enough for the chickens ; however, I may be
wrong, and the new Club may fill a long-felt want, after all.
Should the proposal succeed, I would suggest a " Half-plate Club,"
a " Seven and a Half Five Association," and a " Whole Plate " Society
(with power to add to their number), the subscription to be in proportion
to the size of the plate adopted, thusly, quarter-plate, 2s. &d. ; half-plate,
5s. ; 7J X 5, 7s. 6d. ; whole plate, 10s. ; and, when these are all in good
working order, an " Iris Diaphragm " Society, a " Portable Symmetrical "
Club, a "Tele-photographic" Association, and a "Concentric" Union
might be started. I was going to add an Eccentric Club, but possibly, by
the time the others are in full swing, there will be several of these under
other titles.
I would also suggest that, if these Societies are formed, some of the
meetings should be arranged for the daytime, as at present there are
only six evenings in the week available for those who make either a hobby
of, or a livinc by, photography. — I am, yours, Ac, Drop Shuitke.
April 10, 1893.
THE GENESIS OF THE GAS REGULATOR.
To the Editor.
Sir, — AUow me to say that Birrell's Gas Regulator was patented and
used on his automatic oxy-hydrogen apparatus on July 25, 1875, seven
years earlier than 1882. His regulator is different from all the other
regulators, his is a Bellows and Stud Acting by means of a lever and Con-
necting Rod on a Keyed Cork.
The latter is a more certain form than a valve as any dust between it
and its seat regulator renders the regulator entirely useless. His has one
of his Anti-friction Keyed Cork which reduces the friction of the key to a
minimum.^I am, yours, &c., William Birrell,
109, Graham-street, Airdrie, N.B., April 10, 1893.
anetoew to ©orresponDcnts.
,* All matters intended for the text portion of this JoubnaL, including
mieries and Exchanges, must be addressed to '' The Editor, The British
JOURNAL OF Photography," 2, York-street, Covent Garden, London. t»-
attention to this ensures delay.
,* Correspondents are informed that we cantwt undertaJce to answer corn-
municattons through the post.
„* Communications relating to Advertisements and general business affairs
should be addressed to Messrs. Henry Greenwood & Co., 2, York-street
Covent Garden, London.
Photoqbafbs Reqistered ;
John AndergoD, Dairy, Ayrshire. — VhMograph of the JSot}iit Lodge ofScoiXani,
Mackintosh & Co., Kelso. — Four photograp/is of the Qrave of the late Q. A, Bairdm
R. Davis. — The prints will not curl if they are well rolled.
Hermann Schnacss. — We shall be pleased to receive the article.
240
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 14, 1893
Bbutus. Your post-card was quite inexplicable, please write more fully.
John A, Llotd.— Sharland, Thavies Inn, Holboru-cirous, is the address you
lost.
.B_ 0. We have no information as to any imminent scientific Exhibition at
Islington.
XXX.— Try the effect of refixing the plate in an acid (bisulphite of soda) hypo
fixing bath.
H. W. H.— The tincture meant Is the compound one in which water is the
solvent.
Collotype. — Apply to Messrs. Waterlow, Messrs. Bemrose, or the London
Stereoscopic Company.
■A. E. Platt. — The negatives are out of our possession. Try either daylight
or magnesium, whichever is most convenient at the time.
J. W. — Practical information on the subject of process-block and collotype
work is given in the Editorial article of the last Alma:? AC.
John Buchanan.— 1 : 15 and 1 : 6 in the formula mean solutions containing
respectively one part of gold chloride to fifteen parts of water, and one part
of hypo to six parts of water.
E. H. — Hydroquinone, as well as eikonogen, may be obtained from all the
dealers. Neither article is, or ever was, kept by ordinary druggists. You
are misinformed as to its being withdrawn from the market.
T. G. Shape.— If the seller says the rose tint on the albumen paper is per-
manent, it ought to be. The thing is easily tested. Expose a piece in a
pressure frame to the sun for a few days, part of the paper being shielded
by a mask.
■COMP.vRE. — 1. No bag is needed for changing the plates, the reservoir being
complete in itselt It is adaptable to any camera. 2. The lens mentioned
will, when stopped down to /-8, do all the work that can be done by a lens
in which this is the maximum aperture.
A. E. — The combined toning and fixing bath, at one time universal, was
abandoned for albumen paper prints some thirty years ago. The theory of
its action will be found iu some of the earlier editions of Hardwich's P)ioto-
graphic Chemistry ; see the sixth and seventh.
:Septimus. — Any of the wholesale stationers who supply enamelled paper for
lithography will also supply paper suitable for collotype. Sometimes the
plates have to be modified to suit any particular make of paper. But the
makers can modify the surface of the paper to order. Of course, they will
only do this when a suflicient quantity is ordered at a time.
W. HoBBS. — We cannot hazard an opinion as to the safety of the mounts.
Methods for ascertaining the influence of the mount upon the photograph
have been published in the Journal. In the meantime you may plaster, by
means of water, a print face down upon a mount, and plaice under pressure
for a fortnight. You will then see whether any signs of spots or other im-
perfections are apparent.
'T. RowE says : "I always see it recommended for the photo-lithographic and
other mechanical processes that wet collodion be used for the negative. Will
not dry collodion do as well '. Siu'ely a negative may l)e as good by one process
as it is by another ? " — It matters not by what process a negative is made, so
long as it is of the kind suited to the work. Wet collodion yields negatives
of the ch.aracter best suited to most of the photo-mechanical processes. It
is for that reason that it is almost universally employed.
A. Mounter. — If eight girls are employed in the establishmentyou are engaged
in, we should certainly say that it comes within the Factory Act, and that the
emjiloyer is not justified in keeping the hands employed for so many hours
a day, particul.irly with only three-quarters of an hour for the three meals.
You are certainly entitled to the Saturday half-holiday according to the Act.
. Communicate with the factory inspector of the district, or write direct to
the Home Office, Factories Department, Whitehall. According to your
account, you are all being "sweated."
C. Fermer.— We are not familiar with the "liquid gum" named, and do not
know its composition. Many of the cements sold ready for use, though ex-
■cellent adhesives, are quite unsuited for photographic "mounting purposes,
by reason of the injurious action they would have on the print. Some of
■these liquid cements, we are told, contain bichloride of mercury as an anti-
septic. We need not say the effect such a one would have on a silver
picture. As a mountant, nothing is better thau starch, or gelatine, and
either is easy of preparation as required.
*1. W.— When a youth is apprenticed, the indentures, whether a premium is
paid or not, shoidd be properly drawn out and duly stamped, otherwise they
are not binding on either party. It should also be clearly stipulated as to
what the youth is to be taught ; otherivise the apprentice, at the end of his
term, may find that he has wasted his time to no purpose, unless he obtains
redress by legal proceedings. In the indentures have it stipulated the time
he is to serve in each department, so that the whole of his time is not ex-
pended in mere drudgery. See letter and comment in our penultimate issue.
D. McMahon.— 1. If the collodion you have made peels ort' the glass while the
plate is in the silver bath, it shows that it is not suitable for negatives. In
a first essay of the wet-collodion process, a beginner had better purchase his
collodion of one or other of the well-known makers, he will then be sure of
obtaining what is neces.sary. 2. The "metallic markings " on the glass are
due to its not being perfectly clean. 3. In working the collodion process,
the plate is not placed in a dish for development. Why not get a lesson or
two from an old hand, as you wish to work the process for commercial
purposes ? you would save much time by so doing.
J. R. Willis writes as follows : " I often see it mentioned, in connexion with
the stability of some of the old silver prints, that they were made on
slightly albumenised but heavily salted paper — fifteen or more grains to the
ounce — and sensitised on a hundred, or stronger, grain bath. Can you tell
me who supplies such a paper, ready sensitised, as I should like to give it a
trial, for all my prints show signs of deterioration after a year or two ? " —
Such paper, either sensitised or unsensitised, is not a commercial article now.
If our correspondent requires such a paper, he will have to prepare it
himself.
Photoobaphic Club.- April 19, Cold Bath Platinotype Experiences. 15,
Saturday Outing, Hadley Wood; meet at Hadley Wood Station at three
o'clock.
Messes. Marion & Co. write : " It may be interesting to you to know
that the successful group taken at Windsor by Mr. Cartland was with
Slingsby's flashlight apparatus."
Brlxton and Clapham Camera Club. — At the next meeting on April 18,
Mr. T. C. Hepworth, F.C.S., will lecture on Photography applied to Journalism,
with lantern illustratioos.
London and Provincial Photographic Association. — April 20, Adjourned
Discussion, Determination of the Speed of Plates. 27, The Influence of tlie
Hand Camera, W. D. Welford. May 4, Developers, Technical Lecture of the
Series, E. J. Wall.
The London Sensitised Paper Company writes : " To meet the demand for
our albumenised and matt-surface sensitised paper, ' Sans egal ' brand, also
to provide accommodation for machinery and plant for two new brands we
are going to introduce at an early date, we have found it necessary to acquire
new and spacious premises — Cavershara Works — which we are fitting up for
the production of silver printing papers. Our new ofllce address is 2a,
Caversham-road, N.W."
The Bradford Amateur Photographic Society hold their annual Exhibition
at the British Art Gallery, on May 1, 1893. The form of entry to be returned
on or before April 28, to the Secretary, 15, Beech-grove, Pollard-lane, to-
gether with a postal order for entrance fees, payable to Mr. F. B. Pickles. The
entrance fee is 2& 6<2. for each class.
Received.— An Amateur ; T. H. Faulks ; Morgan Backus, many thanks.
We shall probably utilise.
ilR. W. M. Warneuke, of Glasgow, occupies a considerable space at the
Chicago Exhibition with several large direct portraits, some of them about
40 X 30 inches, in sepia platinotype.
Mr. S. Herbert Fry writes : "I shall be much obliged if you will permit
me a little of your space to add the following remarks to your report of the
meeting of the London and Provincial Photographic Association for M.arch 30.
The Chairman of the meeting, Mr. J. S. Teape, showed some comparative
results upon a ' Saudell ' plate and one of another maker. If the result
appeared somewhat to the disadvantage of the multiple-coated plate, it was
only because it was not given the trejitment which would develop its qualities.
A multiple-coated plate can be spoiled in use. In this case it was. Given
an exposure which is longer than what I may describe as a normal exposure,
development must always be tentative. By this I mean development must be
commenced with a solution which is both weak and restrained. If this be
done, and the developer strengthened only sufficiently to produce an image of
the same character as the image upon an ordinary dry plate, then the
inherent advantages of the multiple-coated film will be utilised to their utmost.
Backing, judiciously done, does in a large measure prevent halation, but the
advantages of multiple-coated films are not confined to this one point. They
are also practically over-exposure-proof, a quality which is by no means be-
stowed by backing."
*»* Owinff to great pressure oh our columns this week, we are compelled to
hold over several interesting articles and other communications that we have i»
type.
OONTENTS,
lens standards , S2S
the city and guilds institute
AND photo-mechanical WORK .. 225
crystal palace photographic
exhibition 227
AMERICAN NOTES AND NEWS 229
determination of plate SPEEDS.
By G. F. WILLIAMS 229
NATURALISTIC PHOTOGRAPHY. By
P. H. EMEKSON, BA., M.B. (CiOTAB.).. 231
HOTOORAPHIO INDUSTRIES:
THE OPTICAL WORKS OF W. WRAY,
HIGHQAIE, LONDON 232
PaoB
CENTRAL PHOTOGRAPHIC CLUB 234
CROYDON CA.MERA CLUU EXHIBITION SM
WEST St;RREY PHOTOGRAPHIC SO-
CIETY'S EXHIBITION 235
THE INFANTS AND THE PHOTO-
GRAPHER 21:.
OUR EDITORIAL TABLE •£'■■
RECENT PATENTS as'.
MEETINGS OF SOCIETIES 2Si;
FORTHCOMING EXHIBITIONS 5."
EXCHANGE COLUMN iSf'
CORRESPONDENCE 23i
ANSWERS TO C0BBESP0MDENI8 2:4
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1720. Vol. XL.— APRIL 21, 1893.
THE CAMERA CLUB CONFERENCE— VAN DER
AVEYDES PHOTO-CORRECTOR.
It is difficult at first sight to account for the lamentable
falling off that this year cliaracterises the gathering of the
members of the Camera Club at the annual conference which
was held on the Wednesday and Thursday of last week. The
attendance altogether was meagre in the extreme, and, but for
the presence of the press and a few others belonging to the
outside world — at the second day's proceedings six of the press
in an attendance of eighteen — it would have been simply
appalling.
We have said that at firet sight it is difficult to account for
this, but imagine that a factor towards the solution of the
problem is to be found in the attitude lately taken by the Club
in its relation to the public by interdicting the outside press
from publishing any of the papers which from time to time are
read, or the communications made at the meetings.
It is only in accord with human nature that those who have
anything valuable to say would prefer to have their dicta pre-
sented to the whole world rather than be confined to the
limited number of the Club members who may liappen to be
present on the occasion of such communication being made,
and thus be inclined to select some other wider channels for the
dissemination of their ideas. In adopting this new exclusive
course, the executive are acting quite within their rights, but
they might consider whether it would not be a kind and
graceful act to open their doors, so far as publication is
concerned, to their professional and less favoured brethren
throughout the world.
It seems we were not wholly right in our surmise lastweek when
indicating, as we did very briefly, the direction wliicli ^Ir. William
Taylor (not Thomas, as we had it) would take in his paper on
the Eitahluhing of Standarth in photography, for this paper was
of wider scope than we had anticipated, and not merely em-
braced the screws and fittings of photographic lenses, but
every point on which there was likely to be a divergency of
opinion, such as the metre or the yard ; the centimetre or the
inch ; the granmie or the grain ; the sizes of plates and films,
itc. His paper, however, was not so much practical as philo-
sophical.
The knowledge that Mr. Henry Van der Weyde was to disclose
the secret of his so-called photo-corrector on Thursday evening
lirought a larger attendance than had hitlierto been tiie case.
Pending the time when in another week an exliaustive paper is
to be read on the subject before the Society of Arts, and which
we will publish in due coiu-se, we may here give the following
brief explanation of what an artist might call the photo-corrector,
but which would be designated by a scientist as a photo-dis
torter, each of them being right from his own particular point
of view. Let us suppose that the hands, or the feet, the nose,
or, in short, any part of a sitter were, from the nearness of the
camera, represented in the photograph on a scale somewhat
larger than was quite satisfactory to the fair sitter, the ([uestion
arises how are these individual portions to be reproduced
photographically on a less accentuated scale, and so as to be in
harmony with the desires of the sitters, if not of their actual
measurements "!
In addition to the ordinary or primary lens in front of the
camera, and by which the image is formed, there must be
interposed in the path of the rays coming from the lens to the
ground glass one or more otljer lenses having a peculiar form,
and mounted so as to be adjustable directly in front of the
offending hand, nose, or foot, or, for that matter, of the whole
head, for Mr. Van der Weyde is of opinion that many heads are,
speaking artistically, formed on a scale too large for the body,
and should therefore be curtailed in dimensions in order to
fulfil or satisfy the conditions of art. By the interposition of
the lens referred to, the focus of such rays is virtually short-
ened, and the size of so much of the picture as is produced
thereljjT is reduced.
The form of the lens required to effect this is peculiar ; it is
not plano-convex, but as if a plano-convex lens were cemented
to a disc of fiat glass, and made to rise almost imperceptibly
from the surrounding piano instead of suddenly — very much,
in short, as a gently undulating hill would rise from a level
prairie or plain. This would undoubtedly reduce the dimen-
sions of the portion acted on, but it must do so at the cost of
magnifying all the surrounding parts. This will be apparent
if, instead of a lady's hand or her nose, or any other part of
her figure, the central spots on a chess-board be selected for
this class of remodelling or reducing in dimensions, leaving the
margins unaltered. Just try to imagine how this could be
done.
The law of compensation demands that the space vacafed by
the diminution of one part must be added to its immediate
surroundings ; that the reduction, say, of the mouth, must be
attended by the enlarging of the muscles or space in its
vicinity. Mr. Van der Weyde admits that photography cannot
lie, ojitirall;/ ; but lie says optical truth is not visual truth.
As far as jjhotography is concerned, optical truth is the result
of a mere mechanical impression on a plate, which, while some-
times wonderful and beautiful, is sometimes so brutal in its
fidelity, and microscopically vulgar, as to give a disagreeable
surprise. Visual truth, on the other hand, depends for its
appreciation on the artistic sense and power of observation on
the individual, which he claims to be hereditaiy. Whereas in
242
THE BRITISH JOURNAL OF PHOTOGRAPH i.
[April 21, 1893
the fornaer the camera fociisses every spot at the same moment
■without favour or prejudice, in the latter they have to please
the family relatives and friends of the subjects wlio are most
familiar with their appearance, and in this case the visual
truth is the outcome of loving and friendly contemplation.
Mr. Van der Weyde is undoubtedly a clever artist, and pro-
duces admirable work ; but wc shall prefer waiting before
writing more until he further promulgates his ideas before the
larger world of the Society of Arts, for which, we observe, he is
down for the 26th inst.
Before quite leaving the subject at present, we may notice
that artists are and have long been in the habit of improving
upon nature, especially as regards the human figure. We have
heard Sir George Harvey, President of the Royal Scottish
Academy, speak in approving terms of the action of the late
Kenneth Maclea, who invariably when painting a photograph
or using a photograph to mak an oil painting from it, drew
the eyes larger than nature had represented them. Possibly
it was this craze, so prevalent in former times, that accounts for
the large goggle, saucer-like eyes to be found in so many of tlie
ivory miniatures of by-past times. Whatever artists may say,
and however much they may decry optical truth, there is no
doubt that photography has conduced to a more accurate and
healthy tone in their drawings.
LENS SCREENS.
It has been objected by thoroughly practical men that our recent
suggestions as to the need of lens screens, especially in studio
work, err on the side of unnecessary precaution, the ground
our objectors take being that in their own personal experiences,
covering long periods of time, they have produced thousands of
negatives without taking any such care as we have stated to be
needed, and yet have had no negatives spoiled by "lens fog."'
Quite apart from the legitimate argument that a number of
negative results do not necessarily invalidate an apparently
sound logical predicate, it is enough to say that the particular
conditions of every individual studio have to be taken into
account before forming a judgment upon the subject at issue.
Now, it is very easy to show that the position and construction
of the studio itself may be such that a natural screen, if bricks
and mortar may be so called, may exist. Thus, take in the first
case a studio built upon a roof-ridge roof, lean-to, or other style,
a lens screen is a nne-i/ud-non to the production of uniformly
good results, for under many conditions of lighting the light
must enter the lens from the sky or clouds, and frequently
under such conditions will mar the otherwise attainable perfec-
tion of result. Let, however, as is often the case, a studio— one
worked from one end only-— be built against a lofty building,
say, on the ground level in the gardens of a square, the sitter
being so placed that his back will be against the outer building,
there will be practically no need for the precaution of a lens
shield, seeing that the building itself intervenes between lens
and sky and so shuts out objectionable outer rays.
We have thought it well to allude again to this subject
and the objections brought against it, seeing that it affords
an opportunity of emphasising our advice and further
pointing out conditions that may render them unnecessary.
That under the majority of circumstances a screen is highly
desirable our arguments conclusively show, and we cannot too
strongly or emphatically recommend every photographer not
using one to look around and see whether he cannot better his
results by adopting some plan of screening. If we thought
our argument needed fortifying, it would be enough to point
out that it is no new theory, for such screens are by no means
uncommon among professional portraitists, though we laid
stress upon the recommendation, knowing that they might
with advantage become far less uncommon. Their forms are
very numerous, every user of them having his particular views
as to the most suitable construction. One of the most elaborate
we have seen is the patent Lafayette camera stand, fitted with
curtains and blinds. So complete are the arrangements in this
that the camera itself is screened from the light, while provision
is made for the lens itself to be hidden from external useless
rays of light by the curtains of the stand, further aided
by a spring-roller blind in front, which may be drawn down to
any extent required to shut off" sky light; and this blind is still
more increased in protecting power by two hanging side pieces
for cutting off side light that might offend.
The simplest form that has been brought before our notice
is a provision for hanging black velvet over two projecting arms,
swinging in sockets attached to the camera itself. Another
good plan is a light wooden skeleton framework lined with
velvet, and attached to a wooden support, which slides under
the camera in grooves cut on the under side of the stand. This
can be pushed in or out according to the conditions of light
and the particular lens used. To describe all the expedients
we have seen wo\ild need far more pages than are to be found
in a whole number of this Journal. We have said enough to
show the need, and to impress on those who have not before
felt it the desirability of adopting some one or other plan to
meet it.
The same remarks apply to cameras for outdoor use. It may
here be said that, seeing the great want of some plan of this
kind for outdoor use, it is very unfortunate that we now never
see lenses provided with the attached shutter, such as were
fitted to the original Ross doublet lenses. These, it may be
remembered, had an outside flap for use as a screen, and an
exposing arrangement inside the lens. This use of the flap
was little understood, and we have frequently seen the inner
exposing arrangement always set open, and the shutter or flap
used for making the exposure. It answered for that end, of
course, and occasionally, at the same time, subserved its original
purpose. But with the advent of dry plates and instantaneous
shutters the sky shade seems to have dropped out of existence,
the more the pity. Then, again, before the elaborate cameras of
modern days, it was no unusual mode of construction to have
them with a sunk front, which served both to protect the lens
when the whole apparatus was folded and put away, and for
use as a sky shade when landscape work was going on. It
needs no instruction for any one to devise an arrangement,
economical or elaborate, to provide a screen. There are abroad
contrivances as numerous as those used by portrait photo-
graphers. All we say is, let every one give careful thought to
our arguments and carry into his daily practice the adoption
of some scheme or other in which these recommendations will
be embodied.
The Photographic Society and Affiliated Socie-
ties.— The recent revision of the rules of the Pliotographic Societv
of Great Britain has resulted in the adoption of a rule which shoiiM
greatly facilitate the ing-re.^s of members into the Society. In future,
members of affiliated societies, who have belonged thereto for a perioil
of two years, may be proposed for membership of the Parent Society
on the nomination of their own Secretary, and will be admitted witli-
out entrance-fee.
April 21, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
243
Water-colour ZSxIxlbltloii.— The Exhibition of the Royal
Water Colour Society, wliich opened on Sloflday last, is one that
photographers, particularly those devoted to landscapes, will do well
to visit. A large proportion of the pictures are just that class of
subject that the majority of amateur photographers delight to
render. A visit cannot fail to be profitable, as the photographer will
see much to imitate, and, in a few instances, what to avoid.
More Photogrraplis for Cblcagro.-- English photography
in its various phases will, apparently, be well represented next month
at the World's Fair. At the last meeting of the Astronomical Society
it was mentioned that Dr. Ainslie Common had, at the request of the
Council, produced a fine series of astronomical photographs for the
Exhibition. The series includes a number of diagrammatic enlarge-
ments of different solar eclipses with corona tliat will prove highly
interesting to Transatlantic scientists. Every one is familiar with Dr.
Common's astro-photogriiphic work, so there is no question that this
branch of English photography will be represented at its best.
The Photographers* Benevolent Association.— It is
to be hoped that this institution will receive a good benefit from the
Sandell Exhibition. It did from Mr. Fred Hollyer's recent Exhibition
of platinotype reproductions of Mr. Burne Jones's and others' works.
The Photographic Society of Great Britain annually gives the Asso-
ciation a benefit night, and the Photographic Club did so once, and
it is somewhat surprising that other Societies have not followed
the example; for, by this means, the funds of the Association
might be considerably increased. By the way, could not the Bene-
volent Association get up one or two entertainments during the
winter season, as it once did, on its own account ? There is con-
siderable talent, both vocal and instrumental, in the photographic
world, most of which would be forthcoming gratuitously for so
deserving an object. We commend the idea to the Committee,
although it would be too late to carry it out this season.
Success of Societies. — Xotwithstandins the number of
Photographic Societies that have sprung into existence during the
past few years, the majority of them are in a flourishing condition.
The annual report of the South London Photographic Society shows
that it has lOo paid-up members. This is many more — probably
double— the number that the original South London Photogi'aphic
Society possessed in its palmiest days. Yet the old Society pre-
served an active life for more than a quarter of a century, and its
meetings were well attended by experienced workers. The roll of
members cannot be taken as a criterion of the activity of any Society
— it is by the attendance at the meetings, and the business transacted,
that an opinion must be formed. For example, the original North
London Photographic Association, if we mistake not, had something
like 120 paid-up members at the time of its decease. It died of
inanition — the members took but little interest in the meetings. The
new South London .Society is to be congratulated on its membership
and the attendance at its meetings.
The Eclipse of the Sun. — The total solar eclipse was ob-
served at Para Cura, on Monday, under favourable conditions by the
British astronomical expedition under the charge of Mr. Albert
Taylor, assisted by Mr. AVilliara Shackleton. The clouds were heavy
shortly before contact, but afterwards dispersed, leaving a clear space
for observation during totality. The photographs taken are not yet
developed, but are believed to be satisfactory. Professor Pickering,
of Harvard College, states that the atmospheric conditions prevailing
at Minacaris during the solar eclipse were perfect, and that the results
of his observations were very satisfactory. Professor Pickering says
that he observed four streamers proceeding from the corona, two of
which stretched over a distance of more than 4.'!5,000 miles. Several
dark rifts were also visible, extending directly westward from the
moon's limb to the utmost limit of the corona. Several solar promi-
nences attained freat distinctness and brilliancy. During the eclipse
the surface of the moon appeared almost of an inky blackness by con-
trast with the dazzling brightness of the inner corona. The observa-
tions, I'rofessor Pickering remarks, showed very conclusively that the
present condition of tiie sun is one of great disturbance. There were
very distinct evidences of a large number of spots, and of the presence
of faculm. The corona was whitish rather than red in tint. The
results obtained may be said to be a combination of the observations,
as drawn by Liais, of the eclipses of 18(57 and 1871. The photographs
taken on the present occasion. Professor Pickering concludes, were
both numerous and satisfactory.
aichmond Heads — a Novelty. - Just now portraitists are
on the alert for anything in the form of novelty to give a fillip to
business during the coming .season. We were recently shown some
portraits that possessed great artistic excellence, and, although the
style was by no means new, it, under its present aspects, was certainly
novel, hence our allusion to it. The portraits were vignetted heads,
cabinet size, by the platinotype process, but, instead of the figure being
merely shaded off in the usual way, some delicate hatched lines were
introduced in the vignetted portions of the figure and the background
after the manner of Richmond's celebrated heads. This destroyed
much of the photographic appearance of the picture, and gave ita close
resemblance to a chalk or crayon drawing, particularly when it was
on moderatelj- rough paper. As we have just remarked, the style is
not new. It w.is introduced by Mr. N. Sarony for carfes-de-visite,
and patented by him something like thirty years ago. It did not take
then, probably because the crayonli'ue hatching on such small pictures
on highly glazed paper was quite out of keeping. But with larger
sizes on a matt surface, as in the platinotypes referred to, the effect
is widely different. There are many ways by which the hatching can
be introduced, such as that of Sarony by a double exposure in the
camera, first to the sitter and then to a liatched background, double
printing, using a vignetting glass upon which the lines are etched by
fluoric acid, or with the lines scratched on a plate coated with black
varnish. la the present example, the hatching was introduced by a
second printing from a negative made from some artistically hatchf d
lines of larger ^ize ; indeed, from one of the lithographed backs that
used to be supplied for the old photo-crayon portrait.
Graver versus Process. — It is always well to look an
adversary squarely in the face. This is th-i attitude that was only
slightly taken last week at the first aimual dinner of the International
Society of Wood Engravers by Mr. W. L. Thomas, R.I., who presided.
While it is quite true, as he observed, that the much-threatened art
of wood-engraving has never been more worthily upheld than by the
engravers of the present day, and that a fine engraving of this class
lias an inexpressible charm about it, still we know that process work
has made fearful havoc among the ranks of wood-engravers — a havoc
that is constantly increasing, witness the numbers that are being
compelled to retire from that profession in consequence of the rapidly
advancing tide of •' process." But since the times of Palmer, who
was the first to strike a blow at wood-engraving, process work has
undergone a revolution, which dates from the time that photography
has been impressed into the service, for not till this was done was
there any real danger to the profession. Over a quarter of a century
has elapsed since, apropos of the Graphotype process, which was then
being introduced, we published an article entitled " A Blow at W^ood-
engra\ing," which led to some far-seeing engravers taking just alarm
at the prospects of their profession, and providing against a possible
further development of that encroachment ; yet did the danger from
the source named pass away with the failure of the Company that
worked it and controlled the patents. It is really the Gillotype, or
its congeners, for line work, and the grated screen system for half-
tone that have imparted the most severe blow yet given to the wood-
engraver, and these processes have come to stay, and will eventually
oust skilled hand work from its strongholds, at any rate, from the
important position it has so long occupied in relation to serial and
book illustration. The time has now passed when wood-engravers
can afford to treat photo-proiess work as " a foeman unworthy of
244
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 21, 1893
their steel." AVe know of numerous draughtsmen who are producing
their drawings ^v-ith special reference to their being engraved by
process, and the encroachment cannot afford to be ignored. It may
be remembered that a hostile attitude was taken against portrait
photography by miniature painters some forty or fifty years ago, but
photography eventually proved to be too strong.
. — ♦■
RESTORING FOGGY PLATES.
A SHOni time back, in turning out a box that had not been unpacked
for several years, and which was supposed to contain only books and
papers, I came across a packet containing some dozens of dry plates,
which had been entirely forgotten during all that period. From the
memoranda on the various packages I found that the plates were all
over ten years old. some of them nearer twelve, having been made at
various times for experimental purposes ; and from other data I have
to go by I know that most, if not all of them, contained a certain
proportion of chloride in their composition, while many also contained
iodide. I had, however, nothing to guide me, except in one or two
instances where the information was pencilled on the packet, as to
their precise composition, but I take it that they were all either
bromo-chloride or bromo-iodo-chloride films.
An examination showed that they were all more or less— some Tery
badly— affected by iridescent markings round the edges, a fault which
has been said, with what truth I cannot decide, to be a necessary
concomitant of the employment of chloride. On submitting some of
them to development, the worst cases were found to be hopelessly
ruined by fog, while others, though comparatively free from heavy
fog, fell far short in quality of what a modern plate of even moderate
character is expected to be. The greyness and veiling of the image
was in all cases accompanied by a poorness and difficulty in obtaining
density that rendered the plates quite useless for practical work even
when giving a fairly clear image.
I tried every possible means, by ringing the changes on modifica-
tions of development, to overcome the tendency to thinness, but with-
out any great degree of success. But I may say here, in passing,
that our old friend, pyro, once more proved itself a more trust-
worthy servant than any of its newer rivals, for no modification,
either "in strength or otherwise, of bydroquinoue, eikonogen, amidol,
or para-amidophenol, produced the slightest improvement. With pyro,
however, on increasing the strength to about six grains to the ounce,
printing density was obtainable with some of the better samples ;
but this, unfortunately, was accompanied by an increase in the veil
or fog that practically nulUfied the advantage gained.
It so happened that I ran out of plates of a particular size for
some work I was doing at home, and, as there were some of that size
amongst the defective ones, I resolved to try if they could not be
restored to workable condition. From the fact of the plates having
been packed away, instead of going to the " wash-tub," I conjectured
that they had at one time been of good quality, and indeed, except
for the iridescent edges, they appeared all right even now, being rich
and dense in character; indeed, from a knowledge of the formuhe I
was in the habit of employing, I knew they contained a liberal
quantity of silver, if it could only be brought into available condition
for use.
The first attempt at renovation was made with a plate of medium
character, neither one of the worst nor one of the best, but picked out
almost hap-hazard, since I concluded that, if the treatment answered
for one, it would for all, in which it subsequently turned out I was
correct. A solution was made as follows : —
Bichromate of potash 2 drachms.
Bromide of potassium 1 drachm.
Water 10 ounces.
In this the plate was immersed in a dish for five minutes, and then
it was carefully rubbed over, especially at the edges, with a fine and
very soft Turkey sponge, rinsed with water, and returned to the
bichromate solution for another two or three minutes. It was then
copiously washed from a jug and left to soak afterwards for an hour,
face downwards, in a basin of water, the latter being changed some
half-dozen times during the interval.
It was then taken out, drained, and exposed wet, a comparatively
long exposure being given, and on development it turned out as good
a quality of negative as could possibly be desired. The loss of sensi-
tiveness brought about by the treatment, too, had been over-estimated,
for, though not over-exposed, a shorter time would have sufficed.
The next experiment made was with a view of improving the sen-
sitiveness, for which purpose the plate before exposure was immersed
for three minutes in a weak solution of ammonia — three minims of
strong liquor ammonias to the ounce of water ; but, though this had
the desired effect so far as it brought the sensitiveness back to about
that of an " ordinary " gelatine plate, it reintroduced a slight tendency
to fog, which without the ammonia treatment was conspicuous by its
absence. As the work I required the plate for did not necessitate
any great rapidity, the ammonia was relinquished for the time, though
as I shall show, I later on succeeded in securing the extra rapidity
without the addition of fog.
The process of restoration as thus conducted was all very well under-
the circumstances, where the plates were wanted, and it was the only
way of getting them ; but it was an eminently tedious one for ordinary
use, and, of course, entirely out of the question for outdoor work. So
I set to work to [improve upon it by removing the fog and restoring
the plates to the dry condition, so that they might be available for
any purpose whatever.
The films as they stood consisted of gelatine with a mixture of
silver haloids and probably some unremoved soluble matter that had
assisted in bringing about the deterioration, though, no doubt, the
silver chloride they contained contributed more than anj-thing else ta
the result. The action of the bichromate solution is primarily to
remove the fog and next to convert the chloride of silver into bromides-
while the various washings the film has to undergo further bring
about the removal of any soluble matter. Therefore it seemed
reasonable to anticipate that, if the plates were treated as already
described, washed with sufficient thoroughness to remove every trace
of bichromate and dried, the result would be not only films that were
usable, but that would keep owing to the elimination of the dele-
terious agents that had led to the previous deterioration.
I need not enter in detail into the various e.xperiments that led up
to the final method adopted, but will briefly describe the process as
completed : — The plates were treated eighteen at a time in rack,
holding that number, being dipped first of all into a tank containing
the bichromate solution, in which they remained five minutes. The
sponging of the individual films may be resorted to, but I came to
regard it as an unnecessary refinement, and relinquished it. The
racks were transferred one by one to a large tub of water, each re-
ceiving the contents of a large jug of water to remove the large excess
of bichromate solution from the plates and rack. Living, as I do, in
the country, though I have unlimited water supply, I have not the
facilities for keeping up a constantly changing current, and must
therefore rely upon periodical changes, which necessarily prolongs the
time occupied in the process. However, by drawing off and replacing
the water once every half-hour for a couple of hours, I found, with
the volume employed, that the bichromate was practically eUminated :
but, with a constantly changing stream, it would be, no doubt, removed
in a much shorter time.
As the treatment with ammonia for restoring sensitiveness had
proved a failure, or pai-tially so, I cast about for a better plan, and
succeeded at last by imitating as nearly as possible the condition
that prevails in the sensitising of an emulsion by the " ammonia pro-
cess." Here the silver haloids are subjected to the action of ammonia, not
alone, but in the presence of excess of soluble bromide and of the by-
products produced in the act of sensitising, in other words, nitrate of
potash or of ammonia, both of which act as fog-restrainers. This
gave me the "tip" for the next part of the process.
After a couple of hours wasliing the plates were transfened for
half an hour to a solution composed as follows : —
Liquor ammoniie 2 ounces.
Bromide of potassium 1 ounce.
Nitrate of ammonia 2 ounces.
Water 40 „
This, while adding to the rapidity of the films, further ensures th»
total removal of the bichromate, the slightest trace of which allowed
to remain would be fatal to sensitiveness, and, if present in any
quantity, to development, except in the best lighted portions of the-
Alpnl 21, 189a]
THE BRITISH JODRNAL OF PHOTOGRAPHY.
345
image. Altlioujfli for actual working purposes it is not «o absolutely
necessary to remove every trace of the above solution, still it is most
desirable it should be done ; and, indeed, if the plates are to be kept
for aiiy length of time, it really is needful. A preliminary rinse,
followed by a soaking of half an hour in three or four changes of
water, will do all that is necessary.
All that remain.s now is the drying, which may be effected by
simply re.sting the plates on end on a few thicknesses of blotting-paper
in a dark cupboard or a lai-ge packing-case. Films of ordinary thick-
ness will thus dry perfectly in less than twenty-four hours. But to
ensure perfect regularity of drying, and also to materially hasten it, I
prefer to remove the superfluous moisture from each individual tilm
by one or other of the following means : — I prefer to use a sort of
roller squeegee, formed of a wooden roller mounted in a handle in the
usual way, and covered, first of all, with several thicknesses of blotting-
paper, round which is finally woimd, for two or three times, a short
length of soft, o/il linen, neatly sewn, so as to leave as little ridge at
the edge as possible. Before using this, the plates are allowed to
drain for a few minutes until they become nearly surface dry ; they
are then taken singly, laid on a flat surface, and the squeegee passed
over them with considerable force or pressure, which will squeeze
a good deal of moisture out of the film, and leave the surface perifectly
even.
Failing the squeegee, a thick pad of blotting-paper faced with soft
linen, free from " fluff," will answer the purpose very well ; it is
simply laid on the plate on a flat surface and rubbed with the hand
with considerable pressure. After either of these methods of treat-
ment, the films will dry with great evenness in a few hours.
I have mentioned this method of restoring plates, firstly, because by
its means or similar I have not, for the first time, been able to utilise
otherwise useless films ; but, secondly, because it may frequently
prove of value to either amateur or professional who may have the
misfortune to light upon a bad lot of plates. I have, for instance,
only to-day made a good negative on one of a batch of commercial
plates that have hitherto puzzled me entirely. The trouble involved
is really very little, although it may seem so in description, for, with
fairly convenient washing arrangements, three or four dozen plates
may easily be treated in an evening and left until next day to dry.
The quality, moreover, is scarcely to be surpassed by the best com-
mercial plates now on the market.
1 omitted to say in connexion with the sensitiveness that, although
I have not obtained— for I have not really tried— the rapidity of the
quickest commercial plates, yet the films I have restored are quick
enough to be used for groups and animal pictures, using /-ll, and
taking the cap off and on as rapidly as possible. No doubt still
shorter exposures would do, but I have not tried them.
W. B. Bolton.
JOTTINGS.
Thf weather recently has been phenomenally fine and genial in
this country — except in the vicinity of Sydenham, where, according
to all accounts, it has developed Siberian severity since Monday week.
The wintry visitation gives every indication of lasting till April 29,
when a change for the better may be expected, consequent on the
closing of the National Photopfraphic Exhibition on that date. Th*
photographic press is unanimous in characterising the apparatus
section of the Crystal Palace show as a fiasco. On the principle of
evil coming out of good, the trade, the dealers, and the manufacturers
are to be congratulated at standing aloof from the Exhibition, and the
moral of their action, it is to be trusted, will not be lost on
organizers of future exhibitions who may be blind to the fact that
they do not possess the confidence of those they aspire to represent,
or who shut their eyes to their own unfitness for the task they under-
take. Such is the vanity of photographers, that it is not difficnlt
in these times to get up a large and fairly good exhibition of
photographs, but business men do not a? a rule give way to the
pleasant vice unless there is money in it, so that it is becoming
increasingly difficult to get up a good apparatus show. I throw out
the suggestion, that any future exhibition of photographic apparatus,
on a large scale, should be managed by the trade, and for the trade. It
is a matter that might well have fallen within the province of the
defunct trade as-sociation, in collaboration with a small committee of
photographers charged with the care of the pictorial department.
I read in an American photographic journal that the Camera Club
have forbidden the English photogruphic press from reproducing
])apers read before the Club and published in its Journal. Strange
to say, in others of the American papers issued at about the same
time as the one I have referred to, I came across several Camera
Club papers printed in full. The Club, I suppose, can do what it likes
with its own, but I wonder whether the ukase meets with the
approval of readers of papers who are thereby prevented from
iiddressing on occasion the photographic world at large, of which
the Camera Club, much as I respect that body, is, after all, only
a trifling fraction ? The action of the Club, which finds no parallel
in any learned Society, from the Royal Society, of which the Club's
President is a Fellow, down, is explicable on two grounds alone :
First, that the photographic pabulum served up at Charing Cross-
road is too intellectual for the vulgar photographic public, in which
case I hope the legislature will at once pass a Bill making it penal
for anybody not a member of the Camera Club to pretend to know
anything at all about photogi-aphy ; or, second, that the said photo-
graphic pabulum has got too ridiculous for reproduction at the hands
of charitablj- disposed editors anxious, as far as possible, to give
everybody a hearing in their pages, so that the Club are simply
protecting the readers of papers against themselves. In this case, let
us be grateful for small mercies, and say, The Lord be thanked I
I see it stated "that, if a platinum print be very much over-exposed
so that all the details are out, a good result comes by fi.xing in the
acid bath without developing." Granting the accuracy of this, have
we not here the germ of a simplified process for platinum printing ?
I draw the attention of Mr. Willis to it in the hope that he will
make a note of it. I suppose the presence of moisture would be
essential for obtaining the necessary quantity of reduction product,
unalterable in dilute hydrocliloric acid, and that it would consist of a
mixture of platinum and iron. It is a great pity that when these
interesting communications are conveyed to us they are not accom-
panied by some attempted explanation of the phenomena observed
and the conditions prevailing. I have tried platinum printing accord-
ing to the method described, and could get nothing but a faint image,
looking more like a stain than a deposit.
I beg to ask Mr. H. VV. Peal, the President of the Ealing Photo-
graphic Society, who read a paper on Copying Engravings and
Drawings before the West London Society on March 28, and which
is given in the Jouhnal of April 7, upon what experimental evidences
he bases the statement that amidol enables a photogi-apher to do with
one-third of the usual exposure? I am well aware, from practical
observation, that a plate is frequently found to be faster to one
developer than another — a fact which is easily conceivable by any
one having the slightest acquaintance with the physics of emulsion-
making — but, until it is proved to bo the case, I refuse to believe that
there is any known developer combination in current use which, all
else being equalised, will allow of the photographer reducing his
usual exposures two- thirds. Think, Mr. Peal, how nice and con-
venient for the portrait man it would be if he could give studio ex-
posures of two and three seconds instead of six and nine, simply by
substituting amidol for pyro ! lie can't ; take my word for it.
Ditto to you, " Drop Shutter ! "' What possible object a Hand
Camera Club can serve, beyond contributing a more or less appreciable
addition to the pretty little game of you-scratch-my-b.ick-and-I'll-
scratch-yours, which is such a marked feature in photography-
nowadays, I'm afraid very few people could tell, even in a prize-
gues.sing competition. There are too many photographic Societies
as it is. Every parish, as " Drop Shutter" points out, possesses one ;
and to ask us to believe that adequate facilities are not afforded in the
broad kingdom of hole-and-cornerdom which those Societies occupy
for talking about the hand carnvra and all that appertains thereunto.
246
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 21, 1893
is to draw an uncommonly big bill on the credulity of the photo-
graphic public ; for, after all, I fear the hand camera " is a thing of
beauty and a toy for ever " with most of those who use it, and who
have neither the capacity nor the desire of completing their photo-
graphic education. It will be found, I believe, that the few good
hand-camera workers we have are in other respects capable photo-
graphers, and for them there are plenty of Societies where they can
secure opportunities of listening to their own voices. According to
the published reports, that is about all for which moat of the photo-
graphic Societies are useful.
"Sweet Spirits, hear my Prayer." This would have been an
appropriate sentiment for Mr. Traill Taylor when that gentleman was
maliing his now famous experiments in psychic photography. I
wonder if, in the midst of the subsequent alarums and excursions
which his paper has provolted, he has been inclined to parody the line
and mutter, " Sweet Spirits, hear me swear ? " Whether they heard
him or not, you couldn't blame him if he did use a big, big D or two,
could you? Cosmos.
RETOUCHING.
pJewoastle-on-Tyne and Korthem Coanties Photographic Association.]
I FEEL I must not begin to-night without offering a sort of apology
for the brevity and the incomplete state of this paper. I would fain
have got off altogether, but have not dared again to mention it to
the Secretary, as he has already let me off once before. It was my
intention to have prepared examples and slides to illustrate it, but I
have really had no spare time to devote to slide-making, having been
so fully occupied with business lately. On some future occasion I
hope to be able to give a more complete and comprehensive paper,
with lantern-slide illustrations.
Retouching is the art of improving or doctoring a negative or
positive by the aid of a lead pencil, or by the use of a sable brush, and
not, as a certain writer on so-called naturalistic photography would
have it, when he says it is a process by which a good, bad, or indif-
ferent photograph is converted into a bad drawing or painting. Now,
I cannot agree with that in the slightest degree. I do not mean to
say but that there are many instances where a good negative,
without any retouching whatever, would give a finer print than if it
were given into the hands of the most competent and experienced re-
toucher. Retouching, like many other things, is an operation which
is very much abused, and has been overdone to an alarming extent.
It has been said many times that some operators depend entirely on
the skill of the retoucher, caring very little whether his subject is
well or badly lighted, thinking all will be put right by the retouching.
Now, this is perfect nonsense, for, unless a good and well-lighted
negative is put into the retoucher's hands, all the skill and artistic
knowledge he possesses will not enable him to make it into a perfect
negative. Certainly a badly lighted and defective negative may be
considerably improved by judicious retouching and careful printing.
Some recommend thin and weak negatives as being the best ; others,
again, strong and denser ones ; but from experience I find that the
best results are got from negatives that are all round good, both in
lighting and everything else. It is, no doubt, true that retouching — •
that is, a certain kind of the work — has done much harm to photo-
graphy, and, unless the operator and retoucher work in harmony
together, each striving to get the best possible results, the standard
of retouching is considerably lowered.
Retouching is a branch of photography which an amateur does not
often attempt. In working upon the negative with the pencil, one of
the greatest difficulties to amateurs and beginners is to be able to
obtain texture, a process by which much time is generally wasted,
and the result very often disappointing. He tries to get a good result,
but without knowing how to go about it. I think amateurs are
often much puzzled by a too elaborate description of how to do this
and how to do that ; whereas, if the thing was put in a more practical
form, many would be better able to accomplish more in the way of
such operations as retouching and improving the printing qualities
of their negatives generally, than they would with such impractical
instructions.
It must not be supposed that retouching can be learnt easily by
taking a course of lessons, no more than drawing or painting can, but
can only be attained by careful practice and experience, and the ex-
amination of good examples by first-class men. I just intend giving
a few verbal instructions to amateurs present, which are in no way
tended for any professionals who m ay be here to-night. Th e
simplest method of all is the working on the back of the negative
and often a very great improvement can be made by doing so, especi-
ally in the case of much heavy shadow and want of detail. There
are various methods of preparing the back of the negative. A fine
quality of tissue paper or, better still, an oiled paper called papier
minirale, pasted carefully on the back, and, when quite dry, worked
over lightly with the pencil on the parts that are too transparent, at
the same time cutting out those parts that may be already too dense.
I have seen a harsh printing negative yield a very good print after
such treatment. This answers as well for a landscape as a portrait,
and is what I frequently do in practice. If a negative is too weak
and wanting in contrast, the higli lights can very easily be strengthened
by stronger lines with a soft pencil, or crayon can be used.
I believe, some years ago in America, the use of both black and red
crayons was recommended for certain kinds of work, but I do not
think with much success. Crayon powder is sometimes useful, but
more diflicult to work. I find, if there is only very little work re-
quired on the back of a negative, it is quite sufficient to give a light
wash of madder brown in water colour, with a little gum added, on
the gla.is itself. It may seem a difficult operation to spread an even
wash of colour on glass ; but it is not so, requiring very little practice,
only the glass must be perfectly clean and the colour" free from grit
or dust. In a landscape clouds can sometimes be worked over a thin
sky so as to be passable, but I would rather recommend blocking out
the sky entirely and printing from a cloud negative. Working with
a pencil on the film side is not such an easy matter for the beginner.
For this a retouching desk is necessary, which is a piece of apparatus-
needing little or no explanation. It must have a piece of very finely
ground glass, or the coarseness of the grain will be visible through the
negative, and will confuse the retoucher. I also would explain that,
if the negative be raised up from the ground glass to the extent of
about an inch, leaving a little space between the negative and the
glass, the grain is destroyed when the eyes are focussed on the part
to be worked upon.
I may here give a word of caution with reference to the eyes. On
no account practise retouching if your eyes are not strong or suited
for it, as the injury done to weak eyesight by persistent retouching,
with a strong light on them, is considerable. A good plan, if the
eyes are weak, is to cover the reflecting mirror with white paper,
which gives a very soft and pleasant light to work by, unless, of
course, the day is dull. Some use a magnifying-glass for small heads,
but that I don't recommend, as the point of the pencil is also mag-
nified, and very awkward to use in consequence ; the natural eyesight
is preferable, if the eyes are strong enougn to bear the strain. With
regard to the surface for retouching upon, it is necessary to roughen
or abrade the bright surface, so that the pencil will bite. There is
great difference of opinion with regard to the proper kind of surface ;
some prefer using a matt varnish, others prefer rubbing the part with
turpentine or powdered cuttlefish bone. There are many other
methods of preparing the surface so as to give a tooth to the pencil.
I have tried almost all, but cannot find anything better or simpler
than powdered resin, applied to the part with the tip of the finger and
dusted off with a flat camel's-hair brush. In the dajs of the collodion
negative, a little very fine coal ash, rubbed on very carefully, gave an
excellent surface for working on, but great care was required to avoid
damaging the delicate film ; with gelatine plates it is quite different,
as it is surprising what an amount of rough handling they will stand,
without damage.
The pencils are an important item in the retoucher's outfit. The
best for the purpose are either Faber's or Hardtmuth's; HB, HH,
and F are the most suitable, although I have known four and six H's
to be recommended, which is very absurd. The pencil must be
sharpened to a fine point, and, as it wears away quickly, it must be
kept in condition by rubbing it gently on very fine emery cloth. The
be.st way to use the emery cloth is to glue a narrow strip on a piece
of flat wood.
In bnginning work at the desk, sit in an upright position ; do not
bend or stoop over the work, do not look too closely at the negative,
unless you are short-sighted ; a far better effect is got by working
at a little distance ; you will find it more comfortable, and not so
tiring.
Before commencing to retouch a head, it is advisable to take a
rough print from it, although it is rarely done by the profession.
Now comes the most difficult part, the actual retouching. If the
negative has been properly lighted, a correct exposure, and carefully
developed, the work will be quite easy, unless the subject is muck,
marked with freckles, in which case it requires a certain amount of
skill and patience to remove them. It will be best seen from an
examination of the rough print what is required. Many spots and
blemishes will be seen which really are in the subject's face, but con-
siderably exaggerated in the [photograph ; to get rid of these and.
April 21, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
247
soften strong shadows, without in any way losing the likeness,
is tlie work of the retoucher. Different faces require different
treatment; old faces may be worked over without in any way
altering the character, but still may be improved. Some faces
are patchy, which would bo unwise to leave so ; the patchincsa
must bo removed, whicii will not affect the likeness, but will give a
more pleasing expression. Children's faces require very little work,
unless much marked with freckles. In the faces of young ladies and
gentlemen tliere should be no very strong lines or wrinkles. About
the mo3t difficult faces to do, to give satisfaction, are those of middle-
aged ladies. The majority of lady customers say nothing about
wanting to be flattered, but it seems to be an understood thing that
the photographer is to do his best in that way. Of course, there are
exceptions. One lady gave me special instructions to touch out all
lines and wrinkles, and to make her look as youthful as pos-ible.
Only once, I think, have I been asked to do it, and only once have I
been requested by a gentleman not to touch up his photograph at all —
he wished to come out just as he was, as Oliver Cromwell said, warts
and all. But I did touch him up, and he was perfectly satisfied.
When commencing a head, the better plan is to give it a general
clean up, get rid of all the defects first, and soften shadows and lines
that are too strongly marked. Do not fill in all shadows alike, or a
flatness will be the result.
Rules cannot be laid down as to the movement of the pencil.
Almost all workers have a different style of their own, some working
with certain comma-like strokes ; others, again, in small circles, in
straight lines, in cross hatchings, and a variety of other ways. I
prefer partly cross hatching and a sort of zigzag rubbing motion as
being as good as any other. Delicacy and freedom of touch can only
Tje acquired through practice and experience ; strokes of the pencil
should run in the direction of the muscles as much as possible. I re-
member many years ago, when retouching first came into general
use, some of the heads done in the " Berlin " style, as it was then
called, looked more like a person who had had a very bad attack of
small-pox, .so coarse was the grain on the face.
There are many who condemn retouching altogether, and no
wonder when we see such attempts as we often do in every-day
work. Some faces are covered with white spots, others are like sand-
paper ; children, old men and women are all made alike. Others,
again, are in favour of it, and, I think, rightly so,many photographers
using it only as a necessary continuation of good and careful work.
I think a good retoucher is as useful a member of the photographic
profession as any other, and I think, if amateurs would devote a little
time to retouching, their negatives would be sometimes much im-
jiroved by it.
"William Pahry.
SOME NOTES ON NATURALISTIC PHOTOGRAPHY.
[Photographic Society of Ireland.]
My excuse for giving a paper to-night on a subject so much debated
already, and one having given rise to so many violent and wordy
contests, is the fact that Dr. Emerson has come forward once again
from his retirement as the champion of his old ideas on art and their
adaptability to photography. In fact, in his recent paper read before
■the Photographic Society of Great Britain, he takes up, with very
slight modifications, the doctrines he taught in " Naturalistic Photo-
^aphy.'' There can be no doubt that the first feeling his reappear-
ance gave rise to was one of genuine pleasure at his return to the
photogi-aphic fold. I must confess that I strongly feel what an
advantage it is to have on the side of photography one so enthusiastic
on the theories of art, and possessing a large amount of artistic taste
combined with a practical knowledge of photography. There can be
no doubt that " Naturalistic Photogi'aphy " has done an immense
deal of good to photography ; there are certain principles laid down
in it, there are ideas suggested that have revolutionised our art, and,
in fact, have created a new school ; and it is a strange fact that in
several instances the pupils have produced very superior practical
results to their master in carrying into effect his principles.
Having thus freely expressed how much I appreciate the teaching,
theoretical and practical, of Dr. Emerson, I will now, with equal
libertj', say how thoroughly I am at variance with many of his
theories, assertions, and criticisms, which are marked with an extra-
ordinary narrowness of view and an absolute want of appreciation of
the position taken up, or of the arguments advanced by, any one hold-
ing views opposed to his own. Nothing is more conspicuous in his
writings than his absolute want of judgment. He poses above all as
a cntic, and yet he cannot even correctly judge his own productions.
In liis book, Naturalistic Photography, his first and truest merit is,
that he saw clearlj^ ond boldly advocated the high pocition that
photography had a right to claim amongst the methods of pictorial
representAtion. Could this be better expressed than when be says :
" I'hotography may be, and is, in the hands of an artist, a method of
expression producing works of fine art, because no such worlu can be
produced in photography by a man who is not an artist." And,
again, " Photography stands at the top of the second or tone class of
methods of expression, so nearly perfect in its technique that in
some respects it may be compared with the third or colour class.
The scale here, too, is limited, but le.ss so than that of any other
black and white method. Its drawing is all but absolutely correct —
that is, if the lenses be properly used. It renders the values relatively
correct if orthochromatic plates are used, and it renders texture per-
fectly!" The first passage occurs at page 17 of the work, the second
at page 277, so we may say that, from beginning to end, his book is
an eloquent pleading in favour of the claim of photography to a high
place in pictorial art. In this respect the only fault to find with the
author is that perhaps his enthusiasm makes him go a little too far,
for, much as I love and appreciate photography, I feel that it has
serious limitations which can never be removed.
It was, no doubt, the consideration of these limitations, and par-
ticularly those connected with perspective and the altering of ratio
in development, that brought about Dr. Emerson's renunciation,
wliich renunciation is, however, for all practical purposes, itself re-
nounced in his latest paper, for there we read : " I may now say the
methods of practice I advised in naturalistic photography I still ad-
vise, and the artists I held up for admiration in that work I still
hold up as the best examples of their various crafts; but my art
philosophy is different, and I do not consider photography an art."
The difiiculty about perspective is settled by the admission that the
opticians are right from the mathematical standpoint, and he was
right from the physiological and psychological standpoints. Of
Messrs. Hurter & Driffield's theories on development, on which he
laid so much stress in the renunciation, there is not a word in his
latest utterance. Dr. Emerson's art philosophy, when it deals with
pure theory, is often very hard to follow ; it consists too often, as Mr. A.
Pringle aptly said in the discussion that followed the paper, " of a num-
ber of truisms as old as the hills and a certain amount of extremely
debatable matter clothed in high-flown and enigmatical language."
The principal point where his latest theories lead him to differ from
liis former opinions is the denying to photography the title of art,
and to photographers that of artists.
To me the whole thing seems a mere question of words and defini-
tions, for when he admits that " photographs are worth doing if well
done, because they give us certain beautiful qualities art cannot give,
and that the producers of such may prove themselves as keen seers
of the beautiful as the master artists themselves, and they may have
art knowledge too," I think it matters very little whether Dr. Emerson
calls them artists or photographers. You might just as well dispute
over the question whether a man should be called an artist or a
painter. Again, the so-called difference between mathematical per-
spective and physiological perspective seems to be a distinction with-
out a difference. There is really but one perspective, which is ruled
by the mathematical laws which govern the correct rendering of
different solid objects in different planes on a flat surface. The shapes
and sizes of objects thus depicted may appear distorted, altered, or
exaggerated from being taken from a point of view from which we do
not usually see them, or even could not actually see them, and from
which an artist would never take them, becau.se, as Dr. Emerson
rightly says, a photograph, or a picture, must be " true in fundamen-
tals to the point of illusion.' Speaking practical photographic
language, this means, we should use as long-focus lenses as pcssible,
'so that no object in a picture should strike us as looking different to
what wo see it in nature. The painter has the advantage of being
able, in case he cannot change his standpoint actually, to be able to
do so mentally, and thus render the objects at the same time true to
mathematical perspective, and yet so little at variance to the way we
see them as to produce the desired illusion. Of course, some painters
have purposely altered the true perspective to produce certain effects,
but these are exceptions that only prove the rule. The e.xample Dr.
Emerson refers to — a man's boot being twice as big as his head —
means, I presume, his own pictures, entitled, The Barley Harvett, and
The Basket-niaher, and I think any ordinary photographer would tell
him that, if he had used a longer-focus lens, and taken his picture
from a greater distance, the difference of size would hardly have been
noticed. Indeed, Dr. Emerson so well understands this, that he hails
with delight Mr. Dallmeyer's new tele-photographic lens, and its
length of focus is the only advantage it possesses for artistic work.
Used to its full power — as in taking the pictures exhibited last
season in London — it could scarcely receive his praise, for a pictaie
248
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 21, 1893
taken under the conditions described in the Exhibition catalog-ue
would seem very different to anything he ever suggested. The fol-
lov^ing is the description : — " Mont Blanc, at a distance of iifty-six
miles ; smallest stop ; extension of camera, sixty inches ; seven minutes'
exposure ; windy weather." There, everything is pretty well the
opposite to what Dr. Emerson recommends in the practical part of his
work.
Having now placed before you the position assumed by the author
before and after wliat he calls his renunciation, and having, I think,
made it pretty clear that it is in point of fact unchanged, I wiU now
examine what are his methods of teaching, and what is the practical
outcome of this teaching.
In his last paper he would seem to reduce his influence on photo-
graphic art theory and practice to the discovery by him of the fact
" that the closest truth to nature in photography was to be obtained
by throwing the background of the picture out of focus to an extent
that did not produce destruction of structure, the principal object
of the picture being either sharp or just out of the sharp." I think
if he had said that this was the hase from which he started to edify
the structure of Naturalistic Photography, he would have more cor-
rectly stated his position. It was certainly no new discovery to find
out that the background of a photograph should he less sharp than
the foreground, nor was it quite new to assert that even the fore-
ground might be part out of focus and yet produce good results.
The first was taught by a large number of landscape photographers,
the second had been practically demonstrated by Mrs. Cameron and
some other portraitists, and the producers of pinhole photographs.
The merit, then, of Dr. Emerson's book is not that it gives us these
facts for the first time but that, starting from the beginnings of
art, it traces up the gradual development of naturalistic feeling in
the works of the painters of every age, till it culminates in the
modern French school of landscape painting as represented by
Rousseau, Corot, Daubigny, Trojon, J. F. Millet and their followers,
whom he holds up as models for all times and all men.
Perhaps the hardest thing in all this writing is to find a definition
of this natu) alistic feeling ; the nearest thing to it is where the differ-
ence is desciibad between realism and naturalism (p. 24). " The
realist makes no analysis; he is satisfied with the motes, and leaves
out the sunbeam. He will, in so far as he is able, paint all the veins
of the leaves as they really are, ard not as they look as a whole. For
example, the realist, if painting a tree one hundred yards off, would
not strive to render the tree as it looks to him from where he is
sitting, but he would probably gather leaves of the tree and place
them before him, and paint them as they looked within twelve inches
of his eyes, he might even imitate the local colour of things them-
selves ; whereas the naturalistic painter would care for none of
thes3 things, he would endeavour to express the impression of the tree
as it appeared to him when standing a hundred yards off, the tree
taken as a whole and as it looked, modified as it would be by various
phenomena in accidental circumstances."
Having examined the history of art from this one standpoint — and
I fear sometimes grievously misjudged it, as men will do when they
try to judge things with one preconceived idea — having shown us his
ideal in art, he devotes the rest of the work to demonstrating how
photography can to a great extent be moulded into the form of this
ideal.^ Now, this seems to me the strong point of Dr. Emerson's
teaching, for it at once raises tha status of photography from that of
a mere inechanical device for copying nature to a graphic art for
reproducing nature with a personal modification, as far as its limited
means allow. _ The chapters which follow on the phenomena of sight
and art principles derived therefrom are highly instructive. We must
not, however, forget that when, in examiu'ihg and describing tbe
functions of the eye, we compare it to a photographic camera and
lens, that we must not for a moment think the view we perceive,
admire, and wish to reproduce, if we possess artistic faculty, is simply
the miniature representation thrown on the retina as on a ground
glass ; it is the image as translated hv the brain in its full size and
proportion, in all its aerial harmony and natural solidity. I think
this explains in a great measure the object of throwing a picture
out of focus and n.^ing rough surfaces for printing, which gives an
impression of size and texture as seen in the mind better than the
inic.roscoiiic dcfinitiun of a lens or a very smooth surface.
The chapters on the practical part of photography are good .and
useful, but contain little that is new except the part on focussing,
which expi-estes its author's well-known opinion and which many are
too apt to associate with his name, to the exclusion of the teachings
thnt have led up to it.
In this pH(t (if 1 he work occurs his strong advocacy of grey day
fflt-cr* nn 1 a ^-Hii^ml pff.'u-nee for gl-'om and hnziness c"iver sunshine,
lj.ij;Liiitrtj, ui.d Wa.ii-tu. Ti,i.- nuy, 1 think, h^ trdccd to two cause-",
his admiration for Millet, whose genius was inclined to those effects and
to the difficulty that photography has in reproducing correctly strong
effects of light and shade. Neither seem to me sufficient reasons for
renouncing such beautiful and exhilarating phenomena of nature as
sunshine and brightness of atmosphere. What can be more false
" quality ? " This finishes my notes, and I trust that I have fairly
described and judged the system advocated by Dr. Emerson and its
results. As I said in the beginning he has done much to advance
photography from an art point of view but has done much to spoil
the effect of his teaching by the narrowness of his views and by allow-
ing his natur,il artistic faculty to be interfered with by prejudice.
He has sometimes also given pictures of his own to the public which
were quite at variance with the theories he has taught andunworthy
of his undoubted talent. G. Mansfield.
INFLUENCE OF DEVELOPMENT ON GRADATION.
Mb. Channox has done us the honour to make five experiments on the
lines we have laid down, with the result of satisfying himself that the
hundreds of experiments we have made go for nothing, and that our
conclusions are erroneous. We cannot submit to be thus summarily
disposed of, and as Mr. Channon's opinions may carry some weight, and
so retard the progress of what we consider to be the truth, his recent
article calls for soue reply.
Mr. Channon's conclusions, summed up by himself in one sentence,
are, "Development is likely to remain a mere rule-of -thumb matter.'"
Nevertheless, he invites photographers to devote some part of their time
to an attempt to add something to the small knowledge we possess of the
action of developers. Assuming that we have done nothing whatever to
throw even a gleam of light upon the action of developers, we think Mr.
Channou might at least have credited us with showing photographers
how to go about such an investigation, and with having worked out a
system of experimental quantitative photography, of which he has not
hesitated to avail himself, and of which he has so far approved as to
draw sweeping deductions by its means.
It is not encouraging to us to bo informed that things are, after all,
only where they were before we devoted our attention to the subject ; and
we warn those who accept Mr. Channon's invitation to make investiga-
tions on development that, whatever may be the results they arrive at,
they are sure to interfere with somebody's so-called experience, and to
call down upon themselves the fulminations and the ridicule of such who
cannot or will not adapt themselves to newer and brighter light. That
the old views on the subject of development were not very deeply rooted,
because not based upon sound experience, and were consequently easily
shaken, is, we think, proved by the flutter and misgivings caused by our
original paper.
While Mr. Channon's opinion that " rule-of-thumh " development still
holds sway may find acceptance on the jjart of that extraordinary body
of photographers who revel in trying to correct " known errors of ex-
posure," we venture to think that the majority of photographers would
prefer to avoid " known errors of exposure," and to regard development
as, on the whole, no very complicated matter ; indeed, as the compara-
tively simple matter which our experiments have shown it to be, .and, as
we sh<all presently proceed to show, it is demonstrated to be by Mr.
Channon's recent and independent experhneuts.
If, after five experiments, we had, like Mr. Channon, despaired of ever
finding in photography that which is characteristic of every other pheno-
menon in nature, namely, laws of causation, he would, in all probability,
have been spared the doubtful honour of having his name associated with
the sentence which his despair has called forth. We were not satisiied,
however, with five experiments ; and, looking broadly at the whole of the
hundreds of experiments made before and since the ijublication of our
paper by ourselves and others, we say still that gradation of a iwjativc is
essentially a function of the exposure, and cannot he altered at will hy
modifications in development.
Mr. Channon has investigated six differently constituted developers in
their behaviour to five specified exposures upon one particular make of
plate — the Ilford Ordinary. In making his experiments he has closely
followed our methods, the exposures given being expressed in our unit of
exposure, C.M.S., and the numerical results expressed as "densities" in
our sense of the word. Mr. Channon has, with respect to five (he says
four, but it really applies to five) of these developers, found that there
was not so much variety in the density ratios (gradation) as he had
expected, and he willingly admits that between the exposures 10 and 100
C.M.S. the density ratios in his experiments vary not more than in
similar experiments of our own. He further gives one experiment
April -21, lS||f]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
349
Dj and D.iHn which our conelnsion, that gradation is not affected by
time of development, is as accurately conlirmed as we ourselves could
possibly expect, and within limits very unnecessarily wide, but for this
reason all the more satisfactory to Mr. Channon.
The only difference between Mr. Channon's experience and our own is
confined to tliis abnormal behaviour of an abnormally restrained de-
veloper. In order to show this clearly we have retabulated all his experi-
ments with thu exception of those in which this abnormally constituted
developer was used. The following table gives Mr. Channon's results
calculated so that the density for the exposure 100 C.M.S. is represented
by 100, the other densities being percentages of the density obtained by
;U!tual experiment for the exposure 100 C.M.S. :^
s
6
a
a
c
i
1
1
Pyroyailol.
o
a
o
1
a
■<
1
1
i
Bl. Ct
D5.
D6.
El.
1
i ES.
E2.
E.S
E*.
1
21-0
30-5
29-7
25-5
25-2
18 0
13-2
15-8
17-1
14-0
10
68-1
73-6
77-2
66-2
731
6»-y
62-4
65-4
63-0
61-7
lOO
100
100 100
100
100 IfKI
100
TOO
100
100
1,000
iio-s
110 1 107
112
109 i 111
117
107
110
114
10,000
lis 5
120 117
, —
— —
—
10(1,000
!)C-1
104
101 1 109
1104
84
85
86
Looking at these results broadly, and considering that they were
obtained upon four different plates at different times, that there is no
guarantee that the four different plates were equally thickly coated, or
that the coating was absolutely uniform on any of them, and that there
is no guarantee that the illuminations were exactly the same in one
■experiment as in another, either relatively or absolutely, the wonder is
not that the results are so different, but that they are so similar. The
similarity is so great that we aie sure no expert could have distinguished
prints from the nine negatives, supposing them to have been so de-
veloped that the densities due to the 100 C.M.S. exposure had been all
alike.
We are entitled to maintain that, instead of Mr. Channon's results con-
tradicting our statement, they fully bear it out within the widest ranges
■of exposure, and it is inconceivable to us how this similarity of results
did not lead Mr. Channon to the same conclusions. Were it not that he
has candidly admitted that, within the range of exposure we adopted for
most of our experiments, his results and ours agree, we could only
assume that he is simply desirous of opposing our views at all hazards.
The only fault which Mr. Channon and other critics have found with
our work is that, in most of oui' experiments, we limited the range of
exposure to from 10 to 80 C.M.S. If Mr, Channon and our other critics
realised, as we have long done, how exaggerated this general impression is
as to the range of light intensities which occurs in ordinary photographic
\rork, and that the contrasts to be photographed are usually no greater,
and seldom exceed the ratio 1 : 20, either in portraits or landscapes, and
if our critics were alive to the fact that a range extending from one to
eight is the only really useful range of most brands of plates, they would
perhaps have seen that we were wise, in so extensive an investigation, in
.eeping only practically applicable ranges in view.
It will be perceived from the table that, on an Hford ordinary plate'
the whole useful range lies somewhere between 1 and 100 C.M.S. ; for
•he whole alteration brought about by extending the range from 100 to
1 0.OOiJ C.M.S. lies only between 100 and 120, and consequently negatives
lUtained within this extended range of exposure, and developed with any
■! the developers used by Mr. Channon, would yield fiat results, i.e., over-
exposures.
Mr. Channon considers that his developer No. 1 is excellently
suited for the development of under-exposed negatives, or, as he ex-
presses it, of "instantaneous or very short exposures, in which the light
acting on the various parts of the plate ranges from about 100 CMS. in
the brightest parts down to a fraction of a C.M.S. in the shadows. It has
apparently not occurred to him that every other developer he tested on
plate E (No. 2 pyrogallol excepted) would have given identically the
same, or rather better, results in gradation than thii developer No. 1,
and that, as far as under-exposure is concerned, his whole research falls
to the ground, and ends in the conclusion that no ordinary developer
mown to him will alter the gradations materially. A glance at our
diagram. No. 16 would have Informed Mr, Channon that an ilTamination
of 100 C.M.S. already belongs, in the case of the Ilford plates, to what
we have termed the period of over-exposure, and the speed of the Ilford
Ordinary plate has, since our paper was publisked, been materially
augmented.
Mr. Channon's great discovery, however, consists in the pyrogallol
developer No. 2, which is compound of —
Pyrogallol 2 grains,
Sulphite of soda 8 ,,
Bromido of potassium 2 „
Ammonia , 1 minim,
Water '. 1 ounce,
or, when expressed centesimally (assuming the ammonia to have been
O'SSO specific gravity = 0-300 grammes per litre), 100 o.c. contain
Pyrogallol Oi57
KBr ; 0-457
NKj 0062.5 at most.
If this be compared with the developers used in experiments Nos. 10
and 11 in our original paper, it will be seen that it approaches the con-
dition of a highly restrained developer, the bromide being seven times
the weight of the ammonia ; and that it belongs to that class of which we
said " development is entirely prevented within four minutes when the
amount of bromide is about ten times that of the ammonia present." In
experiment No. lli we go on to show that, if time is only allowed for the
development to extend to all the details, i.e., if the usual rule is followed
of developing until detail in the shadow is visible, in the negatives then
produced, even with developers much richer in bromide than Mr.
Channon's was, the density ratios are practically undisturbed. Mr.
Channon's developer was so feeble that it took fully fifty minutes before
the exposure 1 C.M.S. produced a distinctly measurable result ; but, when
this was attained, the resulting negative differed in no material degree
from the mean result obtained by the other developers.
The following table gives the results obtained by Mr. Channon with
this developer, arranged according to time of development, the result of
100 C.M.S. being put 100, and the mean of all the other experiments
being added for comiiarison : — .
-^^—
Expnsnre
D
o
B
D
0
E
D
Mean of
O.M.S.
4min8.
to mins.
15 mins.
5-7
20 iiiiDS.
30 mins.
SO ming.
50 mins.
other Erpts.
1
3 9
85
2-6
16-6
21-0
1')
17-1
4*3
37-6
531
S»-2
55-6
68-1
]o.)
100
100
100
]U0
100
100
100
100
100;)
•^00
202
l-i6
135 •
1!9
145
119
110-8
lO.ooij
-^
._
138
—
15ti
—
118-5
100,000
316
217
—
107
—
144
91
96-1
Had the development been continued, say for 100 or 120 minutes, we
have no hesitation in saying there would have been no essential difference
between the negative produced with this developer and those produced
with any other.
Thus, Mr. Channon's results with developer No. 2 are in perfect
harmony with our experiments on a similarly or even more restrained
developer. We admit, however, that the alteration in the rate at which
the different densities make their appearance was not investigated by us ;
the fact that, when properly developed, the density ratios remained the
same as with other developers was, at that time, the only fact of im-
portance to us.
But Mr. Channon thinks that practical use may be made of the inter-
mediate stage in development of over-exposed plates, or of what Mr.
Chapman Jones terms the " lagging stage." We say that it cannot ; and
we point to Mr. Channon's results as giving the reason for such an
answer. He proposes to stop development after ten minutes, and then
to intensify. The densities obtained with his developer would, however,
be so small, and the range of gradation so contracted, even after intensifi-
cation, that such a negative would serve no useful purpose. After ten
minutes' development he obtained, for 100 C.M.S., a density of only
0-35 ; and for 1,000 C.M.S., a density of only 0-71. Supposing these
densities had been fully intensified — they would, at most, have become
070 and 1-42 respectively; thus giving a printing range of only
1-42-0-70 = 0-72, which would be too small to yield even passable prints.
After twenty minutes' development, the density for 1000 C.M.S. reached
208; and for 100 C.M.S. 1-54. Such a negative would not stand in-
tensifying, and, its printing range being only 0-54, would render it wholly
useless.
We intend to make an expmment to show the futility of correcting
unde^ and over-exposure b^ Mr. Channon's No. 1 and No. 2 developers
250
THE BRITISH JOURNAL OF PHOIOGRAI'HY.
^AprU 21, 1893
respectively ; but, as we have not leisure to do this without delaying the
publication of this article, we will reserve our report of the result for
another occasion.
We are glad that Mr. Channon has afforded proof that most of our
worli will bear repetition by others. We are sure that he must see the
value of all our units, and of our system generally ; and it affords us
pleasure to say that we agree entirely as to the facts he has observed,
but we differ wholly from him in the sweeping conclusions he has
arrived at. We yet hope to accomplish the task of rescuing development
from a mere rule-of-thumb operation.
Mr. Channon had the courtesy to send us his plates for inspection,
and we are glad to state that his work was done accurately, and that we
agree to most of his measurements. His pistes bear evidence of serious
logging, and, unless Ilford plates have materially deteriorated, they
should yield better results than those obtained by Mr. Channon. The
smaller exposures ought to have produced more decided results, and the
apparatus used for exposure seems to have been of a very primitive de-
scription. It is clear to us also that the ratios of exposures 1 : 10 : 100,
■&C., were not in all plates of quite equal value. F. HuruTt;r.,
V. C. DlilFFIELD.
CAMERA CLUB CONFERENCE.
The Seventh Annual Conference of the Camera Club was opened at the
Society of Arts, on Wednesday afternoon, April 12, with a comparatively
small attendance. The President (Captain Abney), in the course of a
brief introductory address, said the Conference must be of benefit to
every one interested in photography. Photographers were most strongly
conservative, and it was only when radical alterations were proved to be
improvements that they were adopted. Those alterations could only be
effected at long intervals.
" Establishing Lens Standards."
Mr. WilUam Taylor (Messrs. Taylor, Taylor, & Hobson) read a paper
on this subject, in which he traced the efforts of the Photographic Society
of Great Britain, and the International Congresses of Brussels and Paris
to standardise units of light, sensitiveness of films, the sizes of plates, Ac.
After stating that the central purpose of standards should be simplicity,
he examined the means necessary to secure their adoption, such as
practical convenience, emulating ideals, the force of international law (as
in the case of the adoption of the metrical system by France), and the
force of accident. Incidentally referring to the standard sizes of plates,
Mr. Taylor said he believed that the standardising of large sizes migh'
be useful as affecting the smaller sizes. So long as the standards se
lected were convenient, he believed they would ba ultimately adopted.
The Photographic Society of Great Britain, ten years ago, went into the
question of screws for the attachment of lenses to the camera, and a new
series was suggested. The results were disappointing, as lens-makers^
for a long time, did not offer to supply them. The standards, however,
were sometimes adopted, and he believed that they were gradually esta-
blished, as they contained a large measure of practical convenience, which
was a strong force tending to secure their adoption.
Mr. J. Traill Taylor, after urging the adoption of standard screws for
lens flanges and lenses, put in a plea for a standard screw for attaching
the camera to the stand. He had a great many such screws, which when
held a couple of feet from the eye looked identical. He entirely sym.
.pathised with the subject of the paper.
After some remarks from Mr. Sturmey,
Mr. L. Warnerke thought that the focal lengths of lenses should be
engraved on the mounts, and in the case of doublet lenses advocated the
interchangeability of screw threads, so that the back and front combina-
tions could be used at will.
Mr. W. Taylor, in reply, pointed out that the focus of a lens engraved
on its mount had no reference to any other lens in the world, but the
.question of standard screws was of universal interest. As regards Mr.
Traill Taylor's reference to the adoption of a standard screw by the
makers of microscopic object-glasses, it should be observed that only one
screw was dealt with. The makers readily undertook a little trouble in
the matter, but it was difficult with photographic opticians, who would
he put to great expense.
The President, in moving a vote of thanks to Mr. Taylor for his paper,
which, he said, was conceived in a philosophic and scientific state of
mind, expressed the opinion that standards would not be adopted until
photographers had a kind of trades union of their own, who would decide
that nobody was to buy only what that union laid down. The matter,
therefore, must be relegated to public opinion, which in due time would,
no doubt, make up its mind. He pointed out that beginners in photo.
graphy were ignorant of the requirements of standards, and therefore
simply took what was sold them without question. |
Lens Systems.
Mr. T. R. Dallmeyer read a paper on Lens Systems, illustrated by
diagrams and formulae, in which he dealt with the question of focomctry
when applied to lens systems in which the Gauss points are considerably
removed from the elements of which they are composed. At the conclu-
sion of the paper Mr. Dallmeyer projected on the screen, with the tele-photo
lens, images by positive and negative combinations of equal size, as
illustrating a convenient method for determining the "equivalent lens "
of a system containing negative lenses of a powerful nature.
In the course of a short discussion which followed Mr. H. M. Elder
said that the paper gave them some new ideas about the capacities of the
tele-photo lens. He was glad that Mr. Dallmeyer had put the Gauss
points so much in evidence ; ordinary writers on photographic optics
were ignorant of their existence. In the ordinary rectilinear compounds
they were not, perhaps, of much importance ; but in other combinations
they became of very great importance indeed.
Mr. Dallmeyer pointed out that the images shown in both cases were
the same, so that the same angle was necessarily included on the same
plate, no matter what the focus was ; but there was nine degrees more
included with the negative in front than with the positive in front.
A vote of thanks was passed to Mr. Dallmeyer for his paper.
On Certainty in Photography.
Mr. H. Chapman Jones read a paper on this subject, which dealt with
the theory of development as propounded by Professor Armstrong, and laid
down the conditions of exposure and development under which certainty
of uniform results could be obtained.
Mr. H. A. Lawrance reminded the President that he (the President)
had read a paper in that room on the photographing of a subject of a
uniform colour which bore on the want of truth of photography, and he
(Mr. Lawrance) was wondering how the two papers could be reconciled ?
Mr. .7. Sterry had proved that, if development were stopped in an early
stage, the ratios were not the same as if the development were continued.
The President said that a year or two ago he had read a paper in
which he stated that he did not think it possible to obtain a true photo-
graphic rendering of black and white, and he still held the same view.
Mr. Chapman Jones, on tlie other hand, wound up his paper by saying
that it was possible to get a truthful photograph of an object with
uniform exposure, development, &c. ; that was easy to talk about, but
we must take what was theoretically perfect. He had been shown nega-
tives and positives superposed in which the pictures gave even tints,
but this was no proof that a theoretically perfect photograph was
obtained. In the paper he had shown that there was a possibility of
getting a fair approach to truth ; but he had proved by calculation that
a certain amount of variation was always obtained. In looking through
a negative two densities might seem exactly alike, but he would bet a
crown to a penny that those two densities were different when measured.
After further observations, the President moved a vote of thanks to
Mr. Chapman Jones.
Influence of Photooraphy on the Vision.
Mr. Davison (the Hon. Secretary) read a paper by M. Leon Vidal,
whicli dealt with the influences which the work of Muybridge, Marey, and
others, who had photographed rapidly moving objects, had exercised over
the art of painting, and also their effect in training the eye to see
( objects in motion as photography showed them to be.
A discussion followed, chiefly on the point as to the educational
influences on the eye which instantaneous photography has had, in
which Messrs. Webber, Davison, Keene, Conybeare, and Godbolfl took
Scientific Applications of Photography.
On Thursday afternoon the Hon. Secretary (Mr. Davison) read a paper
on this subject by Professor E. Mach, treating of the employment of
photography in photographing sound waves, flying projectiles, waves and
vortices of air, by means of the electric spark.
Ohoanization of Meteop.ological Photography.
The next paper was on this subject by Mr. A. W. Clayden, who gave
for the guidance of photographic societies and individuals, rules for the
photOKraphing of cirrus and cumulus clouds, lightning, and other natural
phenomena. The paper was in substance a n'sume of previous remarks
on the subject which have appeared in our pages. A discussion followed
on a remark by Mr. Webber that he had obtained good cloud effects with
a slow plate and a yellow screen, it being pointed out that the nae of the
latter simply served to prolong the exposure.
Apriljai, 1803]
THE BIUTISH JOURNAL OF PHOTOGRAPHY.
251
Thb New Abt and Photooraphv.
Mr. HamejNisbet dealt in a critical spirit with recent developments ol
impressionism in brash work, concluding as follows : —
" But what I wanted chiefly to say, when I dragged in those very modem
amateur impressionists with their foolish affectations, was that they can,
not^ help you in any way, but that there are impressionists, such as
Whistler, who can lielp you if you study carefully their snggestiveness,
action, and refined naturalism.
"In order to come down to the level of the young school ofjthe so-called
impressionists, the plan would be to get the worst plate in the market,
put your sitter in the most ungainly position, and unlearn all you have
learned of composition, then over-expose your plate while the sitter is
encouraged to move about as much as possible, bother as little as you can
help about the developing of your negative, and then print as hard as
you can in a blazing sunshine ; that's the way to become an impressionist
photographer, and doubtless you might, if you do this, get some of our
new youthful critics, who know as much about painting as they do about
the other secrets of humanity in genoral, to write a glowing article about
that mysterious print, whose relations of idea and sound should affect us
as beauty, and advise the other lunatics to watch until some mysterious
affecting note comes out of the blank ; and if all this does not come to
them by watching, then this critic will loftily tell the nnappreciative that
the confusion and affliction from which tliey suffer are incurable."
Mr. Hector Maclean recommended photographers to leave Whistler
and other impressionists severely alone, and to keep to the proper
province of photography.
Mr. Rowland Bryant defended impressionism in photography. It gave
one more trouble than ordinary photography. Impressionism was the
expression of soul with as little external detail as possible. By its mean*
they endeavoured, as it were, to get behind the eye. Years ago Whistler
was laughed at, but his work was as good then as it is now, in his
popularity.
The President and Rev. F. C. Lambert continued the discussion, when
Mr. Nisbet painted an impressionistic picture, which he called a " Purple
Thrill in three Gasps." Nobody seemed to know what it meant, and
Mr. Niebet did not enlighten the meeting.
Astigmatism fob Pictorial Effect in Photooeapht.
Mr. Bryant's paper treated of the effects produced with spectacle lenses,
and the use of various slit diaphragms. He showed a number of pictures
in illustration of the subject.
Mr. E. J. Humphrey said the best answer to Mr. Bryant's paper was
to read tho paper read before it. He believed in softness in certain
parts of the picture, but of seeing it as nature enabled one to see
it. Mr. Bryant's pictures made nature appear one hopeless, unin-
teresting, deadly blur.
Mr. W. D. Wei ford said that before any one could see nature as the
pictures showed it he would have to be drunk.
Mr. G. Davison said that no doubt Mr. Welford was able to speak with
authority on that matter. (Much laughter.) As regards diffused defini-
tion, he thought it was much a matter of individual preference.
The Rev. F. C. Lambert admired the way in which Mr. Bryant had
modified his results, and they owed him a debt of gratitude, if he had
only pleased himself and was original. He (Mr. Lambert) confessed a
preference for out-of- focus effects where occasion — such as a brick wall
used as a background — permitted of them.
Mr. Bryant hailed Mr. Lambert as a valuable disciple to the school of
softness.
The President, in moving a vote of thanks to Mr. Bryant, said that the
effect of some of his pictures upon him was to make him sick. It
seemed to him that the same effects might be obtained by shaking the
camera in the direction in which the diffusion of the focus was required.
He sympathised with Mr. Bryant ; but, if he (the President) could not take
better photographs than his, he would not take them at all.
The Photo-cokbectok.
In the evening, before an improved attendance, Mr. H. Van der
Weyde read a paper, with lantern illustrations, describing the use
of his photo-corrector in the curing of the visual distortion of parts
of a portrait by the interposition of a local lens when reproduc-
ing the negative. To this we refer elsewhere. The Conference
concluded with a paper on The Speed of Plates by the President, and
Sorne Xotts on the Efect of Light on Plates by Mr. H. M. Elder. The
discussion on these two highly abstruse papers was adjourned to a fatnre
meeting of the Camera Club.
THE SANDELL EXHIBITION,
In aid of the funds of the Photographers' Benevolent Association, an'
Exhibition of photographs from negatives on mnltiple-coatod plates by
Mr. J. T. Sandell and other gentlemen was opened at 21, Begent-street,
on Monday last. In all about 140 pictures are on view, the exhibit*
being arranged on the walls of two rooms.
Regarding the photographs taken by Mr. Sandell himself, we expresaed*
ourselves in general terms in our article, on March 3, on Multiple-coated
Films, so that we have very little to add to the opinion then given. Aa
examples of Mr. Sandell's interior work, the photographs of the Scalchi
Church (Venice), ;the Jesuit Church (Venice), St. Paul's-withont-the-
Walls (Rome), St. Peter's at Rome, the Vinery at Frogmore, and other
specimens, are, notwithstanding the advantages which the use of the
multiple-coated films entails, admirable from a technical point of view,
and, in spite of Mr. Sandell's modest protest that he is not a photo-
grapher, do him infinite credit. The marble columns in the view of
St. Paul's and the Royal Vinery (the latter having an exposure of fifteen
minutes in bright sunlight) give an exceptional accuracy of rendering.
Some large Alpine views are also of especial merit in the delicacy of
their gradation, both as regards near and distant objects.
Prominent among Mr. Sandell's other outdoor views are the Colosseum
(a fine photograph), St. Mark's, Venice, St. Peter's at Rome, General'
View of the Roman Forum (perhaps the best as regards composition).
Team of Oxen, Sermione (which, notwithstanding that it was taken in
full sunlight, is characterised by great softness and perfect half-tone);
and a capital exterior of Wells Cathedral.
Mr. Sandell supplements his own pictures with contributions of great
excellence from several other gentlemen. Of these, a series by Mr E J.
Hughes of Canterbury Cathedral are perfect of their class. Messrs.
Green Bros, of Grasmere show some charming Welsh views in platinum,
or bromide, thereby relieving the almost universal prevalence of gelatino-
chloride, C. F. Oakley (clever snap-shots), A. J. Sargeant (architectural
subjects), S. H. Fry (enlargements), and A. Leblanc (a good enlarge-
ment from a snap-shot of a cat). A frame of really meritorious small
views taken by Mr. Lane, who was using a camera for the first time, is
also shown.
All the pictures hung are from negatives on Sandell plates, and the
catalogue gives full particulars of light, lens, stop, exposure, and plate in
each case. Armed with this catalogue, the young photographer may gain
a fund of technical information from an inspection of the pictures on the
walls which should be of the greatest service to him. The Exhibition-
remains open to-day and to-morrow (Friday and Saturday).
CENTRAL PHOTOGRAPHIC CLUB.
On Monday evening last a largely attended meeting of intending members:
and others interested in the Central Photographic Club was held at the
Memorial Hall, Mr. W. D. Welford being voted to the chair.
Mr. Thomas Bedding, (the Hon. Sec. 2^'o tern.) having laid a statement
of the position of the club before the meeting, the recommendations of
the Committee as to the premises in Fleet -lane, Ludgate - circus, for
administering the affairs of the Club by means of a limited Company,
and the rules as already published were unanimously adopted.
Mr. Howson was appointed Hon. Treasurer, and Messrs. W. Fenton
Jones, 12, King Edward-road, Hackney, N.E., and C. H. Oakden, 53,.
Melbourne-grove, East Dulwich, were appointed Hon. Secretaries,
®ur iEliitorial Caftle.
Photoqkapheb's Guide to Oban.
B; M. Isaac i, Riddle, Esplanade.
This is, without doubt, the most terse guide we have ever seen, for it
contains only four pages, and is of such dimensions as to go into one's
card-case. It is issued by a firm of well-known photographers, and
its raison-cTetre is to inform tourist photographers that they reserve
a dark room for their exclusive use, where for a small sum they may
change plates with safety and procure plates, paper, and chemicals.
It also contains a list of places in the neighbourhood that form good
pictures. Accompanying the Guide are a few " scraps " showinj^
what one may expect to get who is enthusiastic enough not to be
afraid of a rough walk ; and in a note from the firm we are informed
that every information relating to the neighbourhood will be imparted
252
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[AprU 21, 1893
by Mr. Riddle, who woiked the ground for many years in the
interests of one of the large photo-publishing houses in Scotland.
The " scraps " referred to are charming, one of them being the
finest view of Kilchum Castle on Loch Awe that we have ever seen.
In the interests of the amateur photographic tourist we recommend
him to call upon this firm, who will give him good welcome and
render his holiday enjoyable. Oban is a pretty place in itself, and
forms a nice centre of operation.
Hints on Enlabging.
By the London Stereoscopic and Photographic Company, Limited.
These hints are compiled with special reference to the use of the Com-
pany's patent " Black Band " enlarging apparatus. They are well
written, and evince the hand of one who has an intimate and intelli-
gent acquaintance with the subject. After bringing the preparation
of the print (a bromide enlargement being understood) up to the final
stage of being mounted, it is then a question as to further finishing,
and we are told that crayons, either black or coloured, may be effec-
tively employed. It is recommended to employ a special kind of
black crayon sold under the name of " Bromide Pencils," with which
the shadows may be deepened, high lights relieved on lace or drapery,
and any obtrusive detail toned down. Beyond this the average
amateur is advised not to go, unless he or she has had some experience
or training in artistic work. If the effect of a brown tint on the
paper is required for working upon in black and white crayons, after
the manner of the many art studies published as drawing copies, the
print is to be soaked in cold weak coffee until the desired tint is
attained. Price sixpence.
EiKONOGEN Developing Cartridges.
Mb. Arthur Schwabz has sent us a sample of some new developing
cartridges prepared by Dr. M. Andresen, and, from a fair trial, we
very willingly attest not only the convenience but the real excellence
of eikonogen as thus put up. The powder from one cartridge having
been dissolved in 100 cubic centimetres of water (distilled water by
preference, although rain or any soft water will do) is then ready for
use, and in this solution quite a number of plates can be developed.
Over-exposure is simply met by diluting the developer up to twice
its volume with water, and, if necessary, a few drops of a solution of
bromide of potassium may be added. The resultant image is singularly
clean and brilliant, and the tone is a fine black. The simplicity of
developing powder put up in this form will commend itself to all,
and more especially to a photographer on tour.
Practical Pocket-book of Photogeapht.
By Db. E. Vogel, Berlin. London : Swan Sonnenscbein & Co.
The name of Vogel attached to any book is a sufficient guarantee as
to the soundness of the tiution imparted thereby. The present little
volume, which is a translation, by E. C. Conrad, F.C.S., from the
second German edition, treats with a considerable degree of succinct-
ness on apparatus, the arrangement of the dark room, various negative
processes, printing processes on albumenised and plain paper, bromide
papers, carbon, platinum, ferro-prussiate, and aniline. Colour sensi-
tising of plates both wet and dry finds a place, and all the methods
of preparing the developers in common use also find a place in this
comprenensive " Practical Pocket-book." Dr. E. Vogel has compressed
mucn sound information in this manual.
A SMALL sample of sensitised albumenised paper, " The Perfect," has
been submitted for trial by Messrs. Williams, Read, & Co. We find
that, as stated in a circular by which it was accompanied, it prints
quickly and tones readily, and, so far as our trials were permitted to
extend, we had no blisters or spots.
Mr. Francesco Duran, of 21, Terrace-road, Handsworth, Bir-
mingham, has submitted to us a number of photogrBphs of scenic and
clouded backgrounds painted in flatted oil which he is supplying.
The subjects and effects are of a most diversified nature and are
generally characterised by artistic taste, while the backgrounds are
moderate in price.
♦
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 7307. — "Turn-cards, an Apparatus for Displaying Photographs, Pic-
tures, Advertisements, Samples &o." F. K Suddabd. — Dated April
10, 1893.
No. 7341. — "Improved Means for Preserving Paintings, Prints, and Photo-
graphs against Atmospherical Deterioration." W. S. Simpson. — Dated Aiyril
10, 1893.
No. 7343. — "Improvements in and relating to the Colmiring of Photo-
graphic Prints, Transparencies, .and Negatives." Complete specification. C.
Klary.— JOffl^ed Aiwit 10, 1893.
No. 7443.— "An Improved Method of Photogiaphing Persons or Object^ in
Motion, and Improved Apparatus for Effecting the s.ime, and Improved
Apparatus for Exhibiting the same, and for Applyins; it to the Optical Lan-
tern." J. D. BVRTOa.— Dated AprU 1% 1893.
No. 7480. — " Improved Objective for Use in Photographic Cameras." Com-
municated by A. Steinheil and R. Steinheil. W. P. Thompson.— /Ja<ed April
12, 1893.
No. 7481. — "Improvements in Photographic Cameras. " W. Rice. — Dated
April 12, 1893.
No. 7656. — " Coin-freed Apparatus for the Autom.itic Production of Photo-
griiphs," Complete specification. Communicated by A. Hahn. A. Strauss-
CoixiN.— 7te/ea April 14, 1893.
No. 7680. — "An Automatic Safety Bar and Ejector for Use in Haud
Cameras." R. Crowe and H. Hicholla.— Dated April 15, 189-3.
PATENTS COMPLETED.
ISIRl'OVESIEJITS IN PHOTOGRAPHIC CAMERAS AND IN STANDS KOR SaJIB.
No. 6303. John Boultbee Brooks, 115, Great Charles-street, Birmingham,
"Warwickshire. —March 18, 1893.
I MAKE the case or dark slide for the plate of cardboard or other suitable
material, the slide consisting of two parts, the plate-holder and its cover. The
plate-holder is a flat box, open at its front face to expose the surface of the
plate, and is a little longer at each end than the plate is. At the back of the
plate-holder at one end is a hole, and at the other end a stud, for the purposes
hereinafter described. The cover is a flat box open at one end only, and is
just sufficiently large to slide over the plate-holder and completely cover it,
except a small part at the one end.
The cover has a slot or groove, which extends nearly from end to end of its
length, to admit of the stud above mentioned as being on the plate-holder.
The cover can thus be slid back and forth, covering or exposing the plate, but
the stud engaging in the slot prevents the cover being drawn completely ofi'
the inner case.
To prevent the light from entering when the slide is closed, the cover has a
tongue projecting from its front edge, which, when the cover is closed, enters
a groove across the end of the inner case.
At tlie rear part of the camera is a slot which admits the dark slide to enter
a groove which runs round the inside of the camera ; and at the back of the
camera, at the side opposite to the slot, I attach a bolt— preferably a spring
bolt — which projects through to the inside.
Thus, when the slide is slid into the camera, the bolt engages with the hole
before mentioned which is in the back of the plate-holder, and holds the latter
fast while the slide cover is drawn out of the exposure. After the exposure,
the cover is again thrust in, and on the bolt being pulled back the whole slide
(now closed) can be drawn from the camera.
I put an exposure plate or shutter on the camera as follows : — The lens is
sunk flush with or below the outside of the camera box, aud on the outside of
the camera I fix a pair of parallel grooves or slides, one on each side of the
lens. For simplicity of manufacture, I may make these grooves by taking a
strip of metal .and turning the two longer edges over to form a groove down
each side. A hole is then pierced out of the centre of the strip to allow the
lens to show through. The shutter is a flat striji of metal of the proper width
to slide easily in the grooves, and of such length that when it is at either end
of the grooves it covers over .and shuts out the light from the lens. The shutter
has a hole pierced in its centre to give the requisite exjiosure, and a small
projection or a notch at one end to engage with the catch hereinafter men-
tioned. At one end of the grooves I fix a screw or stud, projecting from the
camera, to which I attach a spring of indiarubljer ; the other end of the spring
I attach to the shutter. Or, instead of attaching the spring to oue jioiut on,
the camera, as described, I may attach it to two points ,at a distance from each
other so as to use a longer spring. At the opposite end of the grooves I aflix
to the camera either a spring trigger catch or a catch bolt, so tluit when the
shutter is drawn down by the finger it is held by the catch, and on the catch
being released the sliutter is drawn rapidly across the lens, tlie central hole
making the necessary exposure.
For giving a time exjiosure, the spring may be detached from the shutter,,
and the shutter worked with the hand.
I construct a stand for supporting or carrying the camera in the following
manner: — I construct a metal top plate having on its under side flat nietali
brackets arranged radially. Towards one end of each bracket I pierce a hole,
and at the other end a quadrant-shaped slot. I cut out a slot in the end of
each of the wooden supports or legs of the stand, so that it will fit on the
metal bracket, to which 1 pivotally attach it by means of a pin passing through
the leg and the hole of the liracket. A screwed pin is now passed through the
leg and the quadrant-shaped .slot, and by tightening this pin the leg or support
is fixed at any desired position or angle.
I make the.se wooden supports in two or more lengths, and I fix them in any
position I desire by means of spring clips hereinafter described. The clip is
made from a piece of folded metal, which is made fast to one of the supports
by encircling it and fixing with a screw or rivet. The remaining portion of the
clip encircles the other part of the sujiport, but slides thereon readily, and is
fixed or tightened by means of a lever so arranged that it draws the two ends
of the clip together when pressed downwards, and releases on the action being
reversed. This lever action is mucli quicker and readier than a screw.
I may also make the support to the camera so that one leg only is employed,
and in "so doing I affix the albresaid clip on the camera, and let the support
slide into it ; or I fix a peg or projection on the camera and the clip on the
support, and let them slide into one another.
April 21, 1803J
THE BKITISH JOURNAL OF PHOTOGRAPHY.
263
muting^ of SsotittitjS*
MEETINGS OP SOCIETIES FOR NEXT WEEK.
sue St XMtini.
ApriS Ai
at
2*
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25
25
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24
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25
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*'
25
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25
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25
26
2ti
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26
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26
**
2ii
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27
27
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!8
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29
5ame of Society.
CuMnOlnb
Dnodee AmAtenr
Lantern Society
North Middleiex
Putney
Itichmond
Birminf^haiu Photo. Society
Great Britain (Technical) ..
Hackney
Halifax Camt-ra Club
Lancaster
Leith
Newoastlcon-Tyne&N.Comities
Paisley
Rochester
Warrington
Bath ~...
Burnley
Leytonbtone
Photofrraphio Club
Sonthport
Camera Ciub
Glossop Dale
Halifax Photo. Club
HuU
Ireland
Liverpool Amateur
London and Provincial
Oldham
Cardiff
Croydon Microscopical
Holbom
Maidstone
Swansea
West London
HnU
FUee of Ueetlng.
Charing Cross-road, W.C.
Aaso. Studio. Nethergate, Dundee.
20, Hanovor-squiiro.
Jubilee House, Hoi-nsey-road, N.
Boys' Gym imsinm.Charl wood-rood.
Greyhound Hotel.
Clnh lloom. Colonnade Hotel.
.V), Groat Uussell-st., Bloonubnry.
206, Mare-street, Hackney.
Sprinjrfield liarrackn, Lancaster.
165, Constitution-streirt, l.eith.
Central Exchaiipre Art GjUlery.
9, Gauze-fltroet, Paisley.
Mathematical School, Rochester.
Museum, Bold-street, Warrington.
Boy .Lit. & Sc. Inst., Terrace-walks,
Bank Chambers, Hargreaves-street.
The Assembly Rooms, High-roa<l.
Anderton's Hotel.Fleet-street.K.O.
The Studio, 15, Camhriilgo-arcad*.
Charing Cross-road, W.C.
Mechanics' Hall, Halifax.
71, Prospect-street, Hull.
Rooms, 15. Dawson-street, Dublin.
Percy-buildings. Kberle-streot.
Champion Hotel, 15, Aldorsgate-gt,
The Lyceum, Union-st., Oldham,
Public Hall, George-street, Croydon
** The Palace," Maidstone.
Tenby Hotel, Swansea.
Ohiswick School of Art. Chiswick.
71, Prospect-street, Hull.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
ApniL 13, — Mr. T. E. Freshwater in the chair.
Tliere was a long discussion on private matters connected \vith the
A.'<sociation.
A work on Eleinentary Pholography by J. A. Hodges was presented to the
Atsociatiou.
Notice was also given of the Sandell Exhibition, proceeds of which were to
be devoted to the Photographers' Benevolent Association.
Ex PEBIMKXTS WITH P. 0. P.
Mr. George Lorimer brought forw.ard experiments which he had made. He
took a piece of P.O. P., exjwsed it under a negative, lileached it with mercury,
and fixed it ; all the image disapjieared. He took another piece, exposed,
toned it with gold, and iixed it, then treated it with mercuric chloride ; found the
image vanish a little. Another piece, toned with platinum and then treated with
mercuric chloride, was found to be scarcely affected at all. He then followed
the treatment advised by Mr. Spiller in The British Journ.vl of Photo-
GRAi'HY, but he found the print so treated lost a great deal. He found also
that platinum toning degrades P.O. P. very much in the high lights, especially
the jiink-tinted paper.
Mr. Haddom alluded to Mr. Lorimer's experiments as proving conclusively
that platinum was deposited in a print that had been toned with platinum,
and said he believed that Mr. Lorimer had sent several prints to Mr. Howson
showing such result.s.
The Sandeli. Plate.
Mr. J. S. Tbape stated that he had followed Mr. S. H. Fry's suggestion to
repeat his experiment of exposing the Sandell plate to various lengths of
magnesium ribbon, and, instead of using a normal developer, to try tentative
development ; so he retlucud the strength of the developer by adiling eight
ounces of water to one ounce of developer. In twenty minutes a faint image
appeared. He then added a drachm at a time of a stronger developer, and
ultimately found, after one hour's development, that the results were no more
satisfactory as regiirtls halation than wlien using a normal developer. He did
not wish to find any fault with the S;indell plates, and he would suggest that
by using them backed tliey would be proof against any halation whatever.
The plates he used were double-coated.
Mr. Beckett asked whether a triple-coated plate should not have been used
if such a test as Mr. Teape's was applied ?
Mr. Archer Ciabke referred to Mr. Sandell's exposures abroad, and would
like to know what was used to develope them, as they were told all the various
exposures were developed in the same solution. He also referred to a make of
plate that was not in the market now tliat for interiors was perfectly fi-ee
from halation. He believed the emulsion contained a large quantity of iodide.
North Ulddlesex Photographic Society.— April 10.— Mr. J. Humphries,
F.S.A., the former President, attended, and showed samples of a new lantern
plate which had Ijeen patenteil. The great advantages claimed were that it was
unbreakable and non-burnable, thus being able to stand the fiercest heat
produced in any lantern. "The support was a prepared mica. Great
trouble had been taken to find a way of treating the njica to give it such a
surface as would take and retain colour, but this, he claimed, had at last been
accomplished. The specimens he produced were all by a mechanical process,
bnt he expected that they would shortly be on the market coated with eniul-
■ion for ordinary photographic use. The mica was beautifully clear and
translucent, of a fine white colonr, and absolutely tne trom spots and bletniahc«»
Mr. Cox opened a discnasion on development. He reatricted his remarks to
the pyro developer, as he found he could get resnlts with that agent that were
not surpassed by an; of its more modem rivals. He recommended sulphite of
soda as the preservative, with citric acid to render it neutral, using four
ounces of sniphite and eighty grains of citric acid to the ounce of pjrro. He
produced some of his stock solution which had been kept eighteen months,
and it had only changed to a straw colour. He dealt fully with the develop-
ment of over and under-exposed plates, and for the latter recommende<i a
preliminary batli of either hypo (1 or "2 parts to 1000 of water) or a weak
solution of ammonia followed by a developer weak in pyro, strong in ammonia,
and strong enough in bromide to prevent fog being caused by the ammonia,
and followed, should the negative be wanting in density, by a fresh solution
strong in pyro and weak in ammonia and bromide. To get the fullest grada-
tions of nature a thickly coated plate was necessarj-, as, although printing,
density could be obtained on a " starved " plate, the range of tone would be
limited. He always used cathedral green glass and one thickness of canary
fabric as being better to work by than a ruby light, and by exercising care in
keeping the plate from the direct light rays no fog caused by light would be
found to take place. A mo.st interesting discussion ensued, in which Mes-srs.
Beadle, Mattocks, Gregory, Mcintosh, Wall, Smith, Marchant, and others took
part. Mr. McIntosh mentioned that metabisulphitc, if used as a preservative,
became more acid by keeping, and required the addition of more ammonia,
often leading beginners to think their plates under-exposed. The award for
the best print from jilates exposed at the outing at Penshurst was gained by
Mr. II. Smith. Next meeting on the 24tli, when the subject of Retouchin/j
will be treated by Mr. J. Matthews, who will illustrate his paper with lantern
slides.
The fourth of the series of elementary technical classes being given by thfr
above Society was held on Wednesday, 12tli inst., when Mr. J. C. S. Mummery
dispensed pr.^ctical instruction in toning gelatino-chloride i)ai)er, with both
the combined and separate baths. The next evening has l)een fixed for
May 10, when the subject will be the improvement of negatives (intensification
and reduction), by Mr. J. Mcintosh. Any gentleman wishing to attend is
requested to make application to the Hon. Secretai-y, M. G. Gosling, 13, Lau-
sanne-road. Honisey.
Hackney Photographic Society. — Mr. E. Puttock in the chair. — The Hon.
Secretary (Mr. W. Fenton- Jones) was welcomed back by the members after
his tour through Italy and Switzerland, and he informed them he would give
an account of his trip later on in the year, with slides from negatives taken by
him. From the question box : " Wh.at is the cause of a negative turning
pink ?" A suggestion was that the hypo had not been eliminated sufficiently.
Mr. Beckett showed a table showing loss of reflection from polished glass-
plate (lent him by Mr. Wall). Messrs. Sodeau and Smith showed comparative
tests in unbacked, backed, and Sandell plates. In the backed and Sandell
plates there w.os hardly any halation, but the unbacked one had much halation.
Other work was shown Ijy Messrs. Salmon, Koofe, Richardson, Hudson, after
which lantern slides, the work of Messrs. Roofe, Roder, Carpenter, Wire,
Barker, Barton, Dean, Salmon, Cross, Olney, Harvey, Hudson, and Beckett
were shown.
Kensington and Bayswater Photographic Society.— April 17, Mr. C. W.
Brununell in the chair. The Hon. L. M. St. Clair gave a lantern lecture on
Norway and Sweden, and also .showed slides from negatives taken in Nepaol,
Thibet, and India. The lecturer also exhibited native weapons, &c., describing
the manners and customs of the people in each of the countries.
West London Photographic Society.— On the 11th inst., Mr. W. S. Rogers,
the Hon. Secretary of this Society, gave a practical demonstration in Frame-
making. He explained the method of cutting the mitre joints, and showed how
the four sections of moulding conld be readily glued up to form a picture frame-
Mr. Rogers employed for the purpose of his demonstration a bench by Messrs.
Syer & Co., and he exhibited and explained a very ingenious mitre-cutting
machine, by Mes.srs. Booth Bros., both of which had been lent for the occasion.
Afterwards a series of slides by Mr. H. Selby, illustrating a tour in the counties
of Durham and Yorkshire, were put through the lantern, and Mr. Selby gave
an interesting discursive lecture on the places represented.
Croydon Microscopical and Natural History Club (Photographic Sec-
tlon).— April 14, Lantern Evening, Lecture on WincheUea and Rye, by Mr.
A. Brooker. — In tracing the history of these picturesque and old-fashioned
towns, tlie lecturer showed, by means of ancient maps, the vast changes that,
owing to tiie vagaries of the sea, had taken place round the mouth of the
Rother, whereby the.se ports had Ijeen left stranded, high .and dry, surrounded
by marshes. The lecture was copiously illustrated by views of the numerous,
.archteologic.il remains, and of marshland and shipping scenes, some of these
latter being particularly fine.
Liverpool Amatetir Photographic Association. — A Reception and After
noon Tea w.as given by a few of the ladies of tlie Association on Thursday,
Aprd 13. A large number of the members and their friends attended. The
arrangements were in the .ible hands of Mrs. Marriott, Miss Adams, Mrs.
Morrison, and Mrs. Southell. The Club room had quite a holiday appearance
with the decorations, flowers, and other comforts known to the fair sex. In
the evening a practical demonstration on Alpha and Jlrmnule Paper was
given by Mr. VVilkinson, of Manchester. He also exhibited and gave the
formula for a home-sensitised print-out paper.
♦
FORTHCOMING EXHIBITIONS.
April 21-29 "Crystal P.alace. Tlio Executive, Crystal Palace, S.E.
„ 21-29 'Photographic Society of Philadelphia. Hon. Secretary,
R S. Redfield, 1601, Callowhiil-street, Philadelphia,
U.S. A.
May 4-6 'Forfarshire Photoerapbic Association. Hon. Secretary,
W. J. Anckom, West Port, Arbroath, N.R
* Signifies that there are open classes.
254
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[AprU 21, 1893
©ort^jSpontrence*
Corrcspondmts should ntver vrriU on both sides of the paper. No notice is takm
of commv-nications unless the names and addresses of the writers are given.
LENS STANDAEDS.
To the Editor.
Sib,— I was pleased to read your article on " Lens Standards " in your
issue of April li, not alone because of your kindly reference to my work,
but because your Journal may thus be one of the most effective instru-
ments in the real establishing of such standards as those to which you
refer. It has fallen to my lot to observe, perhaps more closely than any
one, the progress made in the establishing of standard interchangeable
fittings for the attachment of lenses to cameras, and I have been parti-
cularly struck with the fact that, while every one recognises the great
conveniences which will be secured to photographers by the effective
establishing of such uniformity of practice, each individual concerned
seems to expect that it is the business of every one but himself to act in
the matter.
There is a tendency among users of lenses to look to the opticians for
the necessary action. Few photographers can, however, realise the
enormous cost in cash and inconvenience which the departure from his
old standards will entaU on each individual optician, and it cannot be
expected that opticians will adopt new standards except under pressure of
public demand.
I believe that the time has now arrived when sufficient interest has
been awakened in this matter to secure among photographers the solid
belief that these standards must ultimately be everywhere adopted, and
what I should like to point out is the need of individual effort. Any
photographer who wishes to have standard fittings to his lenses can have
them, probably by merely specifying these standards when ordering
lenses, although the optician may not offer the standards under ordinary
circumstances.
I believe that the work of improving these fittings which is associated
with the name of my firm, will do much to make the standards popular,
through securing to them several great advantages of practical usefulness
which belong to no other system. — I am, yours, &c.,
Leicester, April 17, 1893. William Taylor.
DETERMINATION OF THE SPEED OF PLATES.
To the Editor.
Sir, — I gather from the freport in your issue of April 14th of the
remarks made by Mr. G. F. Williams before the London and Provincial
Photographic Association, that he bases his conclusions on the fact (as he
asserts) that certain speed numbers placed on boxes ot plates by makers
who have adopted Messrs. Hurter & Driffield's system have not proved in
practice to represent truly theif relative speeds.
During last season I had a considerable number of plates from different
makers tested by means of Messrs. Hurter & Driffield's system by Mr. K.
C. Phillips, of Oxford-street, Manchester, the result of which testing
showed that frequently the printed descriptions of the plates on the boxes
were very misleading. Certain boxes were marked with speeds purporting
to represent accurately their speed on the Hurter ct Driffield scale. It
turned out, however, that in some cases the numbers were entirely wrong,
the fact being that the makers had either misunderstood or misapplied
Messrs. Hurter & Driffield's method of testing. This was admitted to be
the case with some of the batches first tested.
The correctness of speeds, as determined by Mr. Phillips, were subse-
quently verified when the plates were used in the camera, the exposure
being, of course, calculated with the actinograph. I believe I am correct
in saying that I have not had a single incorrect exposure on the numerous
plates so used.
I, like Mr. Williams, felt that I had a right to demand that the goods
sold to me should be what they were represented to be. It is easy to
understand, however, that, in first adopting the system, errors might be
made ; and it is unfortunate that any makers should have placed the
speed numbers on the boxes before they had made quite certain that they
were using the system aright. I have little doubt that, by this time,
experience has taught them to use the method correctly.
If Mr. Williams did not have any of the plates he experimented with
tested by Hurter & Driffield's system ittdependeiUltj, it is evident that he
may have obtained some, as I did, wrongly marked, which would be
sufficient to account for his having formed an adverse opinion of the
system, though his method of testing can scarcely be considered an
accurate one, and he would certainly have arrived at very different, and
probably correct, conclusions had he tested the system itself.
As regards orthochromatic plates, Mr. Phillips tested only one of such
for me, with the result that the speed given by the same procedure as in
testing the other plates was very largely in excess, as one might reason-
ably expect, of its true daylight speed.
Mr. PhilUps tells me, however, that he finds no difficulty in establish-
ing a special constant for any particular make of orthochromatic plates,
though, of course, it is not very likely that the same constant would be
applicable to plates orthochromatised by different methods and treated
with different staining substances.
I trust that these few remarks may be the means of deterring those
who have read some of the recent adverse criticisms of Messrs. Hurter &
Driffield's system from forming an opinion that it is faulty or unreliable.
No one who is competent to form an opinion on these researches can
do otherwise than appreciate their scientific value and thoroughness.
Beyond this, however, experience of the practical application of the
system proves it to be perfectly reliable and of enormous convenience
and economy, and I am confident that, if the numerous users of the
system will make known their experience, this fact will be fully sub-
stantiated.— I am, yours, &c., Walter Boubke,
Worsleij, April 18, 1893.
^
MR. TEAPE AND THE SANDELL PLATES.
To the Editor.
Sir, — ^Will you kindly allow me a brief reply to the remarks of Mr.
S. H. Fry in your last issue ? I consider that I was quite justified in
using the Thomas's hydroquinone developer undiluted under the circum-
stances.
I purchased a box of Sandell plates. There were no instructions of any
kind in or on the box. This was mentioned at the meeting. I asked
Mr. Fry if the method of tentative development was given in the instruc-
tions with the Sandell plates. Mr. Fry answered, " No, he believed not.
New instructions were being made out."
I think you will see by this that I had no information to guide me to
any particular mode of development for the Sandell plates, and that there
was nothing remarkable in my selection of the said developer and using
it undiluted.
My experiments were comparative, and made for the purpose of show-
ing the presence or absence of halation in the two kinds of plates given
absolutely the same exposure and treatment in development. If this is
rough treatment for the Sandell. it should prove the same for the other
plate in the production of halation. This is proved to be the case, for,
in my later experiments developed tentatively as explained by Mr. Fry,
the same relative amount of halation is shown — that is, most halation on
the unbacked Paget XXX, less on the Sandell, and none on the Paget
XXX backed.
I have also used the Paget XXXXX under the same conditions, with
the same result. The development of these plates extended over sixty-
five minutes, and I could have withdrawn the Paget plates in forty-fire
minutes, for they had attained quite enough density, but I kept them in
for the same time as the Sandell. This must have been a great strain in
the direction of producing halation on the Paget XXXXX. These plates
are in the library of the London and Provincial Photographic Associa-
tion, and may be seen by any one interested in the matter. — I am,
yours, &c., J. S. Teape.
London, April 15, 1893.
THE CONCENTRIC LENS.
To the Editor.
Sir, — I note that, in a communication to one ot the photographic-
journals. Professor Burton says that the concentric lens, when used with
a stop of /■-22, "gives excellent definition." I send you some spoiled
negatives — not caring to put good ones in a letter, though on Eastman
films — to show that the definition of the concentric with /-16 is as good
as with a smaller stop. The two pairs were made simply with a view to-
test this power of the lens, and are the centres of 8 x 10 negatives, taken
with an eight-inch lens, one with /-16 and the other with f-iii. Will you
be good enough to examine them, and say frankly if you find that the
larger stop shows any inferiority in definition ? The negatives were
spoiled by a crack in the camera front, which let light in on the fore-
ground, and the development was not completed ; but I may say that up
to the workable dimensions of the negative, say 7 x 9, there was no falling,
off in the margins as far as definition was concerned, though certainly
there was a better illumination up to the very corners in those taken with
the /-G-l than in the others. But it must be remembered that this is a
case of straining the lens, for, the focus being eight inches, we have no
right to expect it at/-lG to cover a field of 8 x 10 with equal illumination.
Should there be no near foreground, the lens will cover a whole plate
with the./'-16 so well, that for all ordinary observation no one could teU-
whether the stop was,/'-16 or/-6t when it comes to the printing.
As the Roman season for photography is just opening, and colleagues
of the camera may be drifting this way, I take the opportunity to supply
an omission in the Alm.inac of this year by giving the address of our
Amateur Club, which we regard as the primate of Italy. It is in the
Piazza di Pietro, at the back of the Bourse, and visitors will find there
all facilities for developing their own negatives, or having them done by
our technist, Cav. Montagna. We have an excellent portrait studio,
enlarging room, and half a dozen dark rooms, some for cold and some
for hot weather. In the Via di Pietro, which leads to the Piazza, there
is a very quiet little hotel, the Hotel Cesari, kept by a member of the-
club, one of our most enthusiastic amateurs, where the visitors will
April 21, 1893] I
THE iJRITISH JOURNAL OF PHOTOORAPHY.
2S6
find, at tho top of the house, a stadio and a dark room always at his
service if he does not care to go to the club. The Cesari in excellently
suited to wanderers, as it does not furnish meals except breakfast,
leaving the client free to dine and lunch where he pleases. He takes his
room, and, if he likes, his coiTee in the morning, and comes homo at
night, with no further limitations. The quarter is the healthiest in
Home.— I am, yours, Ac, W. J. Stiu.mas.
Home, Aiiril 16, 1893.
THE SPEED OF PLATES.
To the Editob.
Sir, — In Mr. Williams's remark? respecting determination of speed of
plates by the Hurler & Driffield method, made before the London and Pro-
vincial Photographic Association, there occurs a little inaccuracy, convey-
ing a wrong Impression.
In Marion k C!o.'s letter to Mr.
Williams, published February 10,
Jlr. Williams says : they say :
"To this corresi>ondence I replied "Kuowingthe vtilue of the system
briefly, to the ett'eot that I should from more than twelve month.s' daily
abide by my experiments, and such working, we are most desirous of
-was the courage of my own opinions, offering the utmost facilities for its
that I ofiered to submit everything to trial. Wo should be pleased if Mr.
a disinterested jury, and I further Williams or any cmnmiUte of exparts
offered to rejieat any individual ex- wovld take the matter up with us.
periment such jiuy might select. To We invite Mr. Williams to favour us
this challetif/e none of my dissentients with a visit at Southgate, and, in
have responded." conjunction with our Mr. Cowan,
practically test the tjieed numbers."
Mr. Williams could scarcely expect us to respond to his challenge when
he himself has not cared to accept ours, which was issued a week previous
to his own. We still leave our challenge open for Mr. Williams' accept-
ance, with any committee of experts nominated by the Society before
whom Mr. Williams' paper was read. — We are, yours, *c.,
April 19, 1893. Mabion & Co.
IJIPOKTAXT NOTICE— AMIDOL OR DIAMIDOPHENOL ; METOL
OR MONOMETHYL-PARA-AMIDOPHENOL ; GLYCIN OE OXY-
PHENYL-GLTCIN— PATENTS IN ALL COUNTRIES.
To the Editob.
Sir, — We beg to inform you, and we shall feel obliged if you will give
publicity to the fact, that the patent disputes between the manufacturers
of the above developers have been settled amicably by mutual consent,
and hi future the sale of same in Great Britain and colonies will be
effected through the undersigned firms, at even prices and terms.
All photographic dealers will supply these products at the retail prices
advertised, and professionals as well as amateurs will, no doubt, continue
to derive satisfaction from the use of these now well-known developers. —
We are, yours, &c.,
FiTEBST Brothkks, Henet Haussmann,
17, Philpot-lane, London, E.G., Dashwood Hotue, Xew Broad-
Sole Agents for street. London, E.G.,
J. Hauff, Sole Agent for
Chemisehe Fiibrik, Dr. M. Andresen,
Feuerbach, near Stuttgart. ActiengeseUsehaft fuer
A nilinfabrikation, Berlin.
an£ftoer0 to Correspontients.
"*,* All matters intended for the text portion of this JomtNAL, including
queries and Exchanges, must he addressed to " The Editor, The British
Journal of Photography," 2, York-street, CoveiU Garden, London. In-
attention to this ensures delay.
,* Correspondents are informed that ice cannot undertake to anmser com-
munications through the j>ost.
***i ^''!'"'"'^'<^''tions relating to Advertisements and general hisiness affairs
should be addressel to Messrs. Hknry GBEEXWoob & Co., 2 York-street,
Covmt Garden, London.
PHOTOORArBS Registered :—
Alexander GendaU tabaon. Penzance.— Tuio pholographt of t\e thip " HwM -flthore
at St. MartiTi r, Scilly Islci..
Aleinnder Gendall Git-gon, Penmnce.— Turo phoiogrttpht <-/ the «Mp " Hor.a "
athoreat SI. Martin't, ScUUj Islet. y 4 i j
James Soamcs, Jan., Oiford.-Photojmph o/ a buVdoa dvemed in fiiotball cap ond
jertey. Two photographi of bulldog, in iKimsl.r.' costumes.
a. W. H.— In the formula referred to, cyanide of pota.?sium and tincture of
lodme are meant. '
Rajar inquires if we can tell him of some good provincial town where the
club system has not yet been introduced f — We cannot.
X. Y. Z. — From your description, we cannot quite nndentand the alteration
mode on the lens. Please send a rough drawing.
IjIgiits. — Tlie address of the Incandescent Lights Company is Palmer-street,
Westminster, S.W.
W. J. N. — It is certainly possible to use sympathetic ink in printing, but water
is usually the solvent for snch inks, whereas you will require an oleaginous
ink.
C. R. — llie question is one entirely for the County Court. As the man was
acting as an agent, and not as a servant, we do not see how he can be charged
with embezzlement
AuoDST Baer (Winterthur). — We do not know the name of the manufacturer
of the air brush, but Ross k Co. are the sole agents for this country. See
advertisement in Almanac.
Kd(;ar Scamkll.— Of the two designs for a studio we should prefer No. 1, if
the ridge be carried more towards the centre and the glass also taken op
proportionately higher.
Avondale.— We have heard the London-made production well spoken of, but
cannot speak of its capabilities from personal knowledge. We^think, how-
ever, it should serve your purpose.
E. Walker desires to know if grit would make his Beard's regulators unwork-
able, and asks Mr. Birrell's ojiinion as to this, and further, as to whether the
anti-friction arrangement could be adapted to them.
Erratum.— We are reminded by Mr. W. Wray that, in giving their sources of
supply of optical glass in our article last week, we have omitted the Jena
glass, of which they use a considerable quantity.
H. Dunning. — We have returned the correspondence to you. Possibly the
matter had better end with the expression of our opinion that the matter
was entirely one for settlement between you and the other party.
W. W. T. — 1. We do not know any work which treats specially of photo-
graphing anatomical subjects. 2. A paper on Architectural Photography,
by Mr. S. F. Clarkson, published in our volume for 1886, may help you.
Salop.— If you have publicly charged the man with infringing your copyright
photograph, while you have no copyright in it, you wUl most likely find
yourself in an unpleasant position. An apology ought to be tendered.
B. W. C. — Ether should be used for thinning down collodion, especially so if
the thickness arises from evaporation. We do not know the composition
of any retouching varnish such as you describe, in which collodion plays a
part.
S. Singlf.ton. — No difficulty will Ije experienced in photographing in Germany,
provided the camera is not used in the neighbourhood of fortifications. It
will, however, be advisable to be provided with a passport in case of
accidents.
Inquirer.— We do not know any American paper that takes just such a posi-
tion. Your course is first to determine in what city you would wisli to
reside and then advertise in those papers published in that city. Having
thus decided, you may write to us again.
G. I. J. — The opening out of the aperture in the lens to f-9 should, theoreti-
cally, cause it to work with an equal degree of rapidity to the rapid recti-
linear of similar aperture, although of difi'erent focus, provided its correction
is such as to give sharpness when thus opened.
P. E. G. — We suspect that your cyanide ha.s lost its virtue by long keeping.
Stick cyanide at best is but weak. As an alternative, try a strong mixture
of solution of ferridcyanide of potassium and hyposulphite of soda, or you
may use them singly, the ferridcyanide first, of course.
S. Runniclhs (Braila). — The cement referred to may be obtained through any
English stationer. Nothing is better for mountiug photographs than freshly
made starch paste. Most, if not all, the cements sold that do not require
heating are not to be reconmiendcd for photographic purposes.
T. Jennings. — If the transparencies are not dense enough, they can be
intensilicd. Carbon transparencies are intensified by treating them with a
solution of permanganate of potash. The strength is uuirajiortant. Teu to
fifteen grains to tlie ounce of water is, however, a good proportion.
Dubious. — As you say that the toning and sensitising baths are in good onler,
and that ouly three or four prints out of a batch are detective, it is clear the
l)aper is not at fault. Therefore the trouble is due to the manipulation, but
in what way it is impossible to say without seeing the operations carried
out.
Louis Meldon. — On examining the negative microscopically, we find a well-
marked nucleus in the centre of each spot, but how cau.sed, or what it con-
sists of, we are unable to say. Place a little of the water employed in a
clean test-tube, and examine for any floating specks through a magnifyiag-
glass.
H. B. W. — If the negatives are very much under-exposed, there is no remedy
in the development to anything like the extent there is with over-exposure.
Amidol will sometimes bring out detail where pyro fails. Try that, and use
a fair share of patience. Then some of the plates may be made to yield fair
negatives.
A. Rawson. — There is certainly no novelty in the idea of coating albumen
prints with collodion with the oliject of making them more permanent.
This was tried in a series of comparative experiments many years ago, and
the result was that some prints treated with the collodion were found in
some instances to fade quicker than corresponding ones that were not coated.
From this it will be seen that the proposed patent, if obtained, would not
be valid.
2oC
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 21, 1893
W. O. J.^Head the articles on the various photo-mechanical processes in the
AxMAKAC and then experiment for yourself. We fear you will not get much
that is reliable with regard to the practical details of working without paying
for it — and rather a good price, too. Practical details are treated much in
the light of trade secrets.
A. X. Y. — Very likely, if you exhibited, you might get a medal. We have
seen worse pictures that have obtained medals at societies of the Little
Peddlington type. These are the societies that the avowed " pot hunter"
usually seeks. In the best societies he is usually conspicuous by his
ab-sence. The prints would be best in platinotype.
A. JIackixxox. — Your trouble is, no doubt, increased by over-sensitising the
tissue. Five minutes' immersion in a five per cent, bichromate bath at this
season is too much. Reduce the strength of the solution to three per cent,
and the time of immersion to three minutes. Are you aware that carbon tissue
can be purchased in small quantities ready sensitised !
.SULPHC. — 1. By procuring a copy of the Poisons Act from Eyre & Spottis
woode, Xew Street-square, you would be able to see if the chemicals are
scheduled. 2. We scarcely understand the question. Sulphite, as a pre-
servative for pyro in solution, is best in a neutral state, although, as a rule,
it is faintly alkaline. If it is placed with the soda solution, it is also doubt-
less present with the pyro.
W. C. Dru.mmoxd. — It will be very difticult to etch on glass by the method
you adopt, because no portion of the surface is quite denuded of gelatine,
which acts as a resist to the etching fluid, wliich we suppose to be fluoric
acid. The interposition of a grating might aid you. Instead of glass, yo\i
might try a copper or brass plate, and etcli in the manner adopted by Fox
Talbot.
DuBLix. — There are many causes that may conduce to an emulsion yielding
foggy plates. If it were prepared strictly according to the formula quoted,
we sliould say the most probable cause was over-cooking. lYy again, and
boil for half the time, and see the result. The gelatine appears to be tlie
right brand. But we may add that many of the finer kinds of thin gelatine
are so simihir in appearance tliat it is quite impossible to recognise them by
the examination of a single flake.
A. J. BoxsoR writes as follows : "I have a quantity of chloride of silver from
the wa>bings of jtrints. Is tliere -any means by which I can convert it into
nitrate without sending it to the retiuer ? I may say tliat I have no furnace
by which 1 could bring the chloride to the metallic state. I have heard or
read somewhere that there is a metliod by which it can be done. " — Proceed
as under : Wash the chloride, and drain it clo.sely. Then strongly acidify
it with siUphuric acid and drop in a few pieces of Jiure zinc, and allow it to
rest for a day or so. This treatment will n-duce tlie chloride to metallic
silver. Any zinc remaining must be carefully removed, and the silver well
washed. After the zinc is taken out, it is a"good plan to add some more
sulphuric acid to dissolve any small fragments of zinc that may have become
detached. After the silver is tlioroughly washed, it is dissolved in nitric acid
and crystallised.
♦-
Eeceived :— ilorley & Cooper's price list of cameras.
Photographic Club.— April 28, Xoveltics in, JIand Cameras. May 3,
Lenses/oi' Co^^ifinr/.
The fishing picture, Strad)/, at tile Crystal Palace, wiiidi we referred to as
being by Jlr. H. Young, should have been attributed to Mr. H. Sndth.
Photographic Society of Great Bhitaix.— April 25, Technical Meeting,
Tlie Manufacture of Gelatine Plates. A demonstration by Mr. J. Desire
England at 8 p.m.
Erilvta. — Mr. W. Birrell writes : " Permit me point out to vou that you
have put ' cork ' instead of ' cock,' which renders the meaning of liiy last week's
letter hard to discover."
We have received from Mr. W. F. Slater, of 169, Southampton-street, S.E.,
his price-list of frames and mounts. .Mr. Slater's frames are always distin-
guished by excellence of taste and other good iiualities.
Messrs. Arthur Schwahz & Co. inform us that the specimens of coloured
photographs sent in for the Bnmn's Gossy Colours Competition are on view
at the National Photographic Exhibition now being held at the Crystal
Palace.
Messrs. Mariox & Co. inform us that thev aje bringing out a new trade
catalogue in sections. They have sent us a copv of the section relating to
camera stands and shutters, which is replete with illustrated descriptions
thereof. Other sections will appear in due course.
Redcctiox of Amidol Prixts ix the Fixixg Bath.— With reference to
this, Mr. A. K. Dresser has handeil us our bromide prints, developed each
respectively in sulpho-quinone, metol. eikonogen, ami amidol. The develop-
ment was in each case carried to tlie same stage, and tlie prints were soaked in
a strong solution of liyposulphite of soda for a night There is no apparent
reduction in any of them. It is Mr. Dresser's opinion tliat tlie reduction of
amidol-developed images would not be heard of if photographers would give a
shorter exposure and a longer development.
Cry.stal Palace Natioxai Photoobaphic Exhibitiox.— List of awards.
Xational challenge cup, the West London Photoeraphic Society : Gold medal
VV. M. Wameuke ; silver medal, E. T. P. Goodwin ; bronze medal, Messrs.'
Morgan k Kidd, A. R. Dresser. Art division : Silver medals, William Howell,
C. H. Oakdec, W. .J. Wright, J. E. Goold, C. Job, E. Hawkins, (i. Hankins
Miss A. Heath ; bronze nied.nls, F. W. Edwards. G. H, Catt, R. H. Lord •
certificiites, Douglas Pym, E. M. Stone, C. Court Cole. Scientific photographs '
SUver medal, Sir Henry E. Roscoe and .loseph Lunt (joint exhibit) ; bronze
medal, John Carpenter. Lantern-slide division (professional photographers)-
Silver medal, George E. Thomson; bronze medal, P. H. Fiucham. Amateur
photographers : Silver medal, F. Golby ; bronze medal, J. Shaw, G. Bingley ;
certificate, Harry Holt ; silver medai, W. E. Cowan ; lironze medal, J. O.
Grant ; certificate, W. Taverner : bronze medal, W. C. Beetham ; silver
medal, F. Auyon ; bronze medal, E. Dockree.
Destrpctive Fire at a Babxsley Photographer's.— a fire which caused
considerable damage occurred on Wednesday night, April 12, on premises in
Sheffield-road, owned by Mr. Walter Guest, tobacconist, and occupied by
Eastman's, Limited, butchers ; Mr. Eddison, photographer ; the Danish
Butter Company ; the London and Counties' Tea Company ; and others. The
fire was discovered by Inspector Mellor and P.S. Williams about nine o'clock
on the night named. They at once gave information to the Corporation Fire
Brigade, who were soon on the spot. They were able to obtain a good supply
of water from the street mains, and the fire was totally extinguished by eleven
o'clock. The greatest amount of damage was done to the property of Mr.
Eddison. The room which he occupied was used as artists' room, and con-
tained a number of pictures that were ready for sending out, and also frame
mouldings. Mr. Eddison estimates the damage at about 1000?. His nroperty
was fully insured witli the Royal Exchange Assurance Company. Tlie* damage
to the building is computed at 350/., and is also covered' by insurance.
Messrs. Eastman's damage .amounts to about 50Z. ; and the Tea Company's
to from 50/. to 100/. It appears from subsequent examination that the fire
began in a small place partitioned ofl' from the butcher's shop, to which it
belongs.
Boltox Photographic Society's Exhibitiox. —On Wednesday, April 12, the
Bolton Photographic Society openedan e.xhibition of itswork. Mr. J. R. Bridsou
J.P., the Presidentof the Society, had for exhibition over a dozen fine pictures,
including portraits of Princess May, Miss Bridsou, Miss Fortescue, and various
landscapes, some of which were workeil up iu colour and crayon. In portraitxire
therewasaveryfairrepresentationof professional artists hi the town, some highly
iinishedworkbeingexhibitedljy Mr. Xatlian S. Kay, Mr. F. Proctor, and Messrs.
Weatherley, Bros, whilst Mr. H. Birtwistle was also an e.xhibitor in this clas.s.
Mr. J. S. Roscoe, a skilled amateur, had several landscapes on view, and also
worthy of special mention in the miscellaneous exhibits were Messrs. Walter
Staton, W. Collier, W. L. Entwistle, H. Haywood, J. Kellett, W. Green, and A.
Harper. Other exhibitors who figured very creditably were Dr. Johnston, and
Messrs. E. J. Roscow. F. Roscow, J. Thomley, Jabez Boothroyd, R. Fielding,
jun., R. Paiton, S. L. Coultluirst, A. Graham, J. Leach, Jas. Morris, J. H.
Galloway, R. Leigh, R. Gregson (Blackburn), J. H. Cowan, J. Lomax, 1.
Brooks, and J. Young. Several manufacturers of photographic materials had
on view specimens of tlieir latest processes, and local dealers iu jdiotographic
outfits, including Mr. W. Banks, Corporation-street, and Mr. T. H. Heyes,
Deansgate, had very interesting exhibits of their speciiilities on view, 'fhe
Eastman Company had on exhibition eight views as specimens of their bromide
and solio processes : but the exhibit which was the commanding attraction in
the room was .Messrs. Elliott & Son's green carbon enlargement, Jireak,
Weak, break, at the foot o.f thii crags, 0 sea.' which is seven feet by five feet
in size, and attracted great attention at the Pall Mall Exhibition last year. In
ojiening the Exhibition Mr. Bridsou expressed his pleasure at seeing so large
an assembly and such an encouniging manifestation of interest by the puldic
in the science of photography. He thought the display on view that night was
a gi'eat improvement on its predecessors. The Bolton Society had V>eeu in
existence fourteen or fifteen years, and had a niembe.r.ship of one humlred,
which he trusted might be iiicnascd as the result of the Exhibition. The
results of the judging were then announced as follows : — Members of the
Society only : Class 1 : Best set of six jihotogiMphs from negatives taken since
March, ISSO. — ], Silver medal, W.-dter Staton ; 2, bronze medal, H. Heywood ;
3, bronze medal, A. Harper ; and liighly commended. Dr. Jolinston. Class 2 :
Best set of at least six photographs taken at Society's outdoor meetings during
1S92. — 1, Silver medal, W. Collier ; 2, bronze medal, W. L. Entwistle.
Class 3 : Best set of transparencies from negatives taken during 1S92. — 1,
Silver medal, W. L. Entwistle ; 2, James Kellett ; 3. Ernest J. Roscow.
Class 4 (open to all professional photographers) : Best set of six portraits. — 1,
Silver medal, N. S. Kay : 2, bronze medal, F. Proctor. Classes 5 and 6, no
competition. Class 7 : Best picture in the Exhibition, belonging to any mem-
ber of the Society. — 1, Silver medal, J. S. Roscow ; 2, bronze medal, W." Green.
As supplementary attractions to the Exhibition the Committee arranged a
series of musical entertaiuments and an excellent programme of American and
otlier scenery. The Judges were Messrs. J. H. Welch, E. L. Marriott, and
H. Hall, of the Liverpool Amateur Pliotographic Association. The Exhibition
closed on Saturday. The room was crowded, the chief attraction being a
lantern display, the I'caks and Dales of Derbyshire, which was highly
ajipreciated. During the four days the Exhibition has been open ujnvards of
1200 people have visited it, and it has been a thorouah success in every way.
*»* We have receiveil from Mr. Joseph George Hudson the sum of 15.5., the.
proceeds of sale of groups taken by him at Anclcrton's Hotel on February 11,)
18512, and which, as requesteil, we have handed over to the Treasurer of thS
Photographers' Benevolent Association.
CONTENTS,
Paob
THE CAMERA CLfE CONFEREXCE-
VAX DEI: WEYIIES PHOTOCOIl-
HKCT0R •• 241
LESS SCREEXS 213
HESTORIXQ FOGGY PLATES. By W. B.
UilLTOX 341
JOITINOS. By COSMOS 215
UETOCCHIXO. By WILLIAM PARRY.. 240
Sli.ME XOTES OX XATUEALISTIC
I, PHOTOGRAPHY-. By O. JIAXSFIELU 217
IXFLIEXCE OF DEVELOPMENT ON
GUADATIOX. By V. HURTER akb
V. C. naiFHELIi 218
Vxam
CAMERA CLUB CONFEREXCE IM
THE SAXDELL EXHIBITIOX
CEXTRAL PHOTOGRAPHIC CLUB 251
OUR EDITORIAL TABLE 251
RECENT PATENTS M»
MEETINGS OF SOCIETIES
FORTHCOMING EXHIBITIONS 881
CORRESPONDENCE IB*
ANSWERS TO C0BBESP0XDENI8 »
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1721. Vol. XL.— APRIL 28, 1893.
PERSPECTIVE IN PORTRAITURE.
SoMEWUAT allied to, and suggested by, the subject of our article
laat week on the so-called photo-corrector, is the cognate subject
of incorrectness of portraiture, produced by placing the lens
and camera too near to the sitter.
Every one knows that, if the hand or foot projects, it will be
rendered on a scale larger than it ought to be in comparison
with the rest of the figure ; but every one does not, seemingly,
realise that this applies also to the projecting parts of the face
ju relation to those further away from the lens. This perspec-
tive distortion is, in both cases, the more pronounced the closer
the lens — the point of sight — is to the figure. By receding, or
withdrawing the camera to a greater distance, this disproportion
becomes less and less, until it ceases to be noticeable.
While no one with any artistic perception would pose a
figure so as to allow the hands or feet to unduly project, still
t may be well to indicate in what manner such may be
equalised without the necessity for having recourse to ad-
ventitious modes, such as are afforded by retouching or " photo-
•correctors."
The simplest and most obvious means for adoption is to
avoid placing the camera too near the sitter. If, as we have
seen some do, the lens is brought to within six or eight feet of
the sitter, or even still closer, as when a large head is desired,
what can one expect other than this distortion of perspective ?
"While it is true that the perspective is not really false, still it
is violent, and the portrait obtained in this way may not convey
an accurate idea of the sitter. A useful object-lesson is to
make a direct large portrait of a sitter from a distance of four
to five feet, and then remove the camera till twenty-five or
thirty feet intervene between them, afterwards enlarging the
portrait last taken until of the same size as the first, and then
comparing the two. It wiU be seen how much superior the
one is to the other. Some studios may not be sufiBciently
long to permit of this being done ; and this is a great misfortune,
for, while no studio should be under twenty feet in length, it is
still better wheu it exceeds this by twelve feet, or is thirty-
two feet long. If it is found that at a distance of about fifteen
feet the portrait is too small for the dimensions required, it is
much preferable to attain this end by employing a lens of
longer focus than moving the camera much closer to the
sitter. What is said here about diminishing the too violent
perspective of the component parts, so to speak, of a single
sitter, applies also with even greater force to the taking of two
or more figures in one picture.
In the case of a sitting figure, in which the feet almost
necessarily project, any apparent enlarging of them can be
reduced by the judicious use of the rising front and swing-
back of the camera, observing this, that, in order to reduce the
size of the feet, that part of the focussing screen — the top — on
which these members are depicted must be brought nearer to
the lens, although, when the face has been brought to a sharp
focus, the feet, especially if the lens is at full aperture, will be
less .sharply defined than if the tilting were in the opposite
direction. This defective definition must be ameliorated by
stopping the down lens. The adoption of the system here
outlined will prove useful, if not quite necessary, to the photo-
grapher whose studio is limited in length.
Who that is interested in the perspective distortion of the
human face does not remember almost with a shudder the
"chamber of horrors " opened iu our midst in 1872, on the
occasion of the late Mr. Robert Crawshay, of Cyfarthfa Castle,
Wales, having offered liberal prizes for the pro<luction, direct
in the camera, of life-sizf heads ? Every large lens capable of
doing the work, with others specially constructed for the
purpose, was pressed into the service of photographers anxious
to produce faces from five inches and a half to nine inches.
This was in the times of collodion, and as the lenses, which had
to be close to the sitters, could not be stopped down too much
on account of the prolonged exposure then necessary, it is easy
to conceive of the horrid caricatures of the " face divine " that
often resulted from working with a moderately open portrait
lens at such a short distance. The days when these things
could be tolerated are now happily past, and a better taste
prevails.
0
COMBINING ENLARGEMENTS FROM DIFFERENT
NEGATIVES.
Is an article a few weeks ago, it was explained how enlarge-
ments from different negatives <;ould easily be combined into
one picture. Then it was assumed that the negatives were in
duplicate, and the object was to replace one or more faulty por-
traits in the one by more satisfactory ones from the other. It
sometimes happens, however, that it is required to introduce the
portraits of persons who do not figure in or were not even
present when the original group was taken, while the only
negatives of them available are on a different scale from that
of the one to be enlarged. Suppose, for example, a cabinet-
size negative, a group, say, of half a dozen persons has to be
enlarged, and it is desired to introduce a couple more people,
and the only negatives to be had of them are single figures on
a larger scale, for instance, a head and bust in the one case,
and a three-quarter figure in the other. Here, it is manifest,
these negatives will require considerably less enlargement than
will the principal or group negative.
If the method described in the previous article were followed.
268
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 28, 1893
it would prove, except with a deal of practice, somewhat trouble-
some, and then not altogether satisfactory. Anyhow, it will be
clear to all that it would be convenient to be able to remove
the sensitive paper from the easel. We are again assuming
the picture is to be on bromide paper, between the different
exposures, so that the various negatives can be adjusted to
size, got into position, and focussed on a separate screen. This,
as will presently be seen, is really easy of accomplishment.
Supposing that the finished enlargement is to be twenty-
four by eighteen inches, we take two sheets of stout, white
mounting board of these dimensions. On one we fix the bromide
paper with strips of gum paper at the edges, or with a few
touches of indiarubber solution at the back. This can then be
put on one side till required. The other card is to be used as
a focussing screen. A print is taken from the principal nega-
tive, and the positions the new figures are to occupy decided
upon and then roughly sketched in with pencil. It will be
better, in the majority of instances, for them to appear behind,
rather than in front of, the others. Indeed, when bust por-
traits have to be dealt with, it becomes imperative that they
do so. It must also be decided how much of the subject in the
original negative is to be included in the enlargement, and this
must be marked upon it at its margins with bold ink or pencil
lines. Next, those portions of the two or more supplementary
negatives that are not required are neatly stopped out with
black varaish, leaving only such portions of the figures as are
wanted. The negatives are now all ready for use.
The principal negative is placed in the enlarging camera or
lantern, and the image projected on to the easel, upon which has
been fixed the plain mounting board. But this must be so
fixed that it can be removed from time to time, and replaced in
exactly the same position and registration by that bearing the
sensitive paper. This is easily ensured by utilising tlie
principle adopted by lithographic printers in arranging " the
lay. " When the cardboard is placed in position on the easel, drive
in a couple of small nails, or drugget pins, for it to rest upon ;
then, say, on the left-hand side, near the top, drive in another
nail for the board to butt against. A few drawing pins will
retain it in position. Now, it will be obvious that this board,
the focussing screen, and also that carrying the bromide paper
can be removed and replaced as often as desired, and identically
the same position secured, if the simple precaution be taken
that they always rest on the bottom pins and that the sides
butt against the side one.
The image of the principal negative is now adjusted to size
and focussed. The outlines of the figures are then roughly
traced in with a black-lead pencil and the marginal marks, that
denote the amount of subject, are also traced exactly — that is
important. The card is then removed, and the tracing supple-
mented with sketches of the other figures that are to be included,
and in their proper proportions. It is then replaced on the easel.
The negative is then taken out, and one of the others put into
its place. Its image is now adjusted so that it occupies the
same position on the sketch, and is of the same size that it is
to be in the finished picture. The focussing card is now
replaced by that carrying the bromide paper, and the first
exposure made. The lens is now covered with a yellow glass
screen, and the image painted over as described in the former
article (see page 209, ante). The paper is then taken away,
the focussing screen substituted, and the image of the second
negative arranged in position, and to size, upon it, and focussed.
The paper is again put upon the easel, and the second exposure
made. This image is also painted over, as was the other, the I
same procedure being followed if any more figures have to be
introduced. The supplementary figures all being exposed and
painted over, the focussing card is again put up and the
principal negative introduced in the camera, and adjusted so
that the marks on its margin, indicating the amount of subject,
exactly coincide with those made on the sketch. This will
ensure the image being accurate to the scale, and in the
precise position first decided upon. It only remains now to put
the sensitive paper once more in position, and make the final
exposure. The pigment is removed with spirits, and the paper
developed in the usual way.
Photog-raphy for Discovering^ minor Planets The
use of photography in this connexion seems likely to become em-
barrassing, as astronomers can scarcely keep time with the march of
discovery. Thus, last month, no fewer than fourteen were discovered
by the camera, the total number now known amounting to 375.
Death of ZIX. Xietelller. — We are sorry to learn of the death
of Monsieur E. A. Letellier, who was a frequent contributor to several
of the French photographic journals. M. Letellier, who was fifty-nine
years of age at his death, was an officer of the Academy of Science,
and was associated with several photographic and other learned
societies.
International Photogrraptalo Exhibition at Geneva.
— During the ensuing mouth of August an international Photographic
Exhibition, under the auspices of the Association des Photographes
Suisses and the Soci^te Gent5voise de Photographie will be held at
Geneva. The Hon. Secretary is M. Th. Penard, 3, Boulevard de
Plainpalais, Geneva, of whom particulars and entry forms may b&
obtained. The session of the Union; Internationale de Photographie
(the third International Congress of Photography) will he held con-
currently with the Exhibition in Geneva, during the week from
August 21 to 26.
An Exhibition of Dagruerreotjrpes.— On May 23 Mr. W.
England will demonstrate the Daguerreotype process before the Photo-
graphic Society of Great Britain. In connexion with the demonstra-
tion an exhibition of specimens of the Daguerreotype process is being
organized, to which the Assistant Secretary, Mr. R. Child Bayley,
50, Great Russell-street, will be glad to receive contributions from
those possessing them. We hope those of our readers having such
will communicate with Mr. Child Bayley. A collection of Daguerreo-
types would, we are sure, be of great historical and educational interest
to many modem photographers, who have only a hearsay acquaintance
with this charming process.
Gold Xtesldues. — From inquiries we have made, we are in-
clined to think that the saving of gold is not much practised by photo-
graphers, although a considerable amount must be annually put aside
in rejected baths and naturally accumulated in the stone bottles for
toning solutions. The method of most simple employment would be
that by solutions of iron, which throws down the gold almost imme-
diately. It is, however, weU to point out that so much silver chloride
accompanies most gold deposits from photographic solutions that the
best way is to redissolve the washed precipitate, precipitate again,
dry, and weigh. The powder so obtained is nearly pure gold, quite good
enough for chloride-making ; the chloride may be roughly estimated
as being equal to about double the weight of this brown gold powder.
A solution made with a minimum of acid may be used without
crystallisation, care being taken to neutralise the acid before use.
" The Iiinked Ring'."— We gather from a Haddingtonshire
paper, an extract from which has been sent us by a friend, that Mr.
W. Crooke, the well-known photographer, of Edinburgh, has been
April 28, 18»a]
THE BRITISH JOURNAL OP PHOTOGRAPHY.
209
■*' asked to join a select body of amateur and profesBionnl photo-
graphers known as " The Linked Ring," the object of which is to
promote artistic photography. It is understood that " The Ijinked
Ring" has taken the Dudley Gallery for an exhibition, which is to bo
held in the autumn of this year." We wish the new Association, if
formed, all the success it may deserve, and hope that it will falsify
the fears to which a body having the usual attributes of a " select
ring " inevitably gives rise in the minds of the public. A great dea'
•of secresy seems to have been observed about the matter, a feature
that rarely tells in favour of any movement.
Volatilisation of Preciotis Metals. — We have been
assured by a veracious correspondent that when reducing silver from
residues iu a, strong heat — a blacksmith's forge being the means em-
ployed— he dissipated a large proportion of the metal by volatilisation,
on account of an assistant, through a misapprehension, continuing the
heating of the crucible for a couple of hours. How far he was right
we are not able to say, but in a recent paper by T. K. Rose, read
fcefore the Chemical Society, he conclusively shows that gold is
volatilisable at a high temperature. We may give the brief summary
■of his results, merely premising that to photographers they would
possess more interest if they had referred to silver, gold residues being
mostly treated by wet methods. Mr. Rose says an increase in the loss
of gold takes place when the temperature is high. A large amount is
volatilised in an atmosphere mainly consisting of carbonic oxide. A
■comparatively small amount of gold is carried away by the more
volatile metals, copper appearing to exert an exceptional action.
Photogrraphy and the Star Maps. — The advent of
photography for this purpose was hailed as unerring, convenient, and
useful beyond compare ; but, as investigations are pushed, it is found
that this handmaid to science needs considerable " looking after." It
was found that different telescopes gave different results, as also
which any practical photographer would have expected, did different'
makes of plates. Recently it is shown, by Schaeberle, that the height
in the heavens is a most important factor. Thus a star at the zenith
that had a photographic brightness represented by 1 would at a zenith
distance of 79° be only '87 bright, and on the horizon '01. Lately
JI. Loewj- has shown that the negatives obtained thus still remain
important corrections to be made in the measurements. He show^s
that an error of +0'1" is a probable error in the equatorial co-
ordinates ; in his own words : '' Comme il faut encore admettre les
■erreurs reelles plus fortes que les valeurs theoriques calculces, il
devient evident que le degro d'exactitude obtenu, bien que suffisant*
est loin d'etre exagM!"
Zilg'ht and Electricity.— Some very singular light effects,
as linked with electrical manifestations, have recently been described.
In a paper to the Royal Prussian Academy, Dr. Philipp Lenard gives
a description of some interesting experiments he has made regarding
the phosphorescent light from the negative pole of a Geissler tube.
Thin'metal plates are quite transparent to these rays; and, taking
advantage of this fact, he closed a small aperture in the glass tube by
a very thin plate of aluminium, and so could study their properties
outside the tube. These rays, passing through metal, produce a
slight luminosity in air, and when falling on phosphorescent bodies
near the metallic window caused them to glow. A quartz plate
entirely arrested them, but gold, copper, or aluminium leaf allowed them
to pass almost unchecked. The most remarkable fact about the.se rays
— one which is the very opposite of all previously recorded behaviours
of light rays — is that they do not pass in straight lines, but are
diffused to such an extent that it is not possible to obtain a sharp
shadow of a body placed between the window and a phosphorescent
substance. These rays, composed of the smallest known waves, are
thus acted on by gas as though it were a non-homogeneous medium,
■each molecule acting as an obstacle in diffusing the rays. Then, in
another direction, M. Edouard Branly, in last week's Comptes liendus,
notes some very interesting light results. A disc of aluminium
polished, and after a few days charged with electricity, parts with it
in the usual gradual manner whatever light is allowed to act upon it i
but, if charged immediately after polishing, the loss of electricity is
rapid even in diffused light, and is only slightly diminished by
surrounding it by orange glass, thus showing that the loss bos not
been, as has previously been thought, due, to any great extent, to
what are commonly termed the photographic active rays, i.e., those of
the more refrangible end of the spectrum.
ALBUMEN BROMIDE PAPER FOR CONTACT PRINTING.
SoMB few years back a formula or method was published by which
ordinary ready-sensitised paper — or, for that matter, any sensitised
albumen paper — might at a pinch be converted to the purpose of
enlargement, the chloride and excess of nitrate being converted into
bromide of silver by floating on a solution of bromide of potassium,
when, after a pretty thorough washing to remove the superfluous
soluble salts, the paper might be exposed either wet or dry, and sub-
jected to development in the same manner as gelatino-bromide or
other papers. That such paper possessed any advantage over or even
equalled the ordinary commercial productions I do not think was ever
claimed, but that it formed an easily prepared makeshift in an
emergency was proved.
I am not now going to recommend such a process as possessing any
claim to practical utility when there are so many different kinds of
paper both for printing out and for development on the market, and
so easily obtainable that almost every country town that boasts a
chemist's shop affords a supply ; but, following out the lines indi-
cated in connexion with dry plates in an article in last week's issue,
I wish to showjhow a somewhat similar process may not uufrequently
prove of use in working off what would otherwise be waste material,
tit only to go amongst the residues.
Those who are in the habit of using ready-sensitised paper are, I
dare say, like myself, not unfamiliar with the fact that a batch of
paper will sometimes " go wrong," or discolour in an abnormally
short time. It may be that it has been " old stock " before it reached
the consumer's hands, or possibly the fault may be due to some defect
in preparation, but the fact remains that a batch of spoilt paper is a
by no means uncommon occurrence. Such a batch at present in my
possession I can scarcely with fairness blame on to the paper iUelf, or
on the sensitiser, since I have had it in stock for nearly twelve
months, and during an illness, lasting through the best part of last
summer, it remained simply wrapped in paper, without any further
protection against the heat and variation of atmospheric conditions.
When I add that it has passed the winter in a particularly damp
cupboard, its condition, when I opened it a short time ago, may he
easily imagined.
It occurred to me, more for the sake of experiment than with any
hope that it could be converted to any practical use, to submit it to a
somewhat similar course of treatment to that described in my artide
last week. Of course, there was no prospect of restoring it to usable
conditions as a printing-out paper — at least, if such were possible, the
game would scarcely be worth the candle — but there did seem to be a
possible chance of converting it into a practically developable con-
dition. The appearances were certainly not promising to commence
with, for, in addition to its being " as yellow as a guinea," much of it
was covered with irregular patches of metalUc surface-bronzing.
However, I decided to try the experiment.
In the first water the paper was washed to remove the free diver
" before submitting it to further treatment ; but this seemed to be an
unnecessary waste of the precious metal, of which there was none too
much present, so in subsequent experiments the paper was floated at
once on the restoring solution, floating seeming to offer the better
chance of a uniform conversion of the free silver.
The restoring solution consisted of a five-grain solution of bichro-
mate of potash, to each ounce of which a few drops of hydrochloric
acid were added. The action of this solution was rather slow, but I
found it necessary to use it weak in order to avoid the yellow stain
otherwise produced. Subsequently I used a soluble chloride in place
of the hydrochloric acid, but even then a slight trace of the acid
seemed desirable. The action of this solution was to slowly restore
the paper to its pristine whiteness— that is to say, after it had been
' washed to remove the bichromate— and tlus took place even in the
260
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 28, 1893
parts affected by the metallic markings. In fact, so far as appearances
■went, the change was far more complete than I had expected, and,
indeed, as perfect as need be wished.
As already stated, the restored paper could not be expected to
■work as a "print-out," owing to the entire absence of free nitrate or
any organic salt of silver ; on direct exposure to light it darkened
pretty rapidly to a dull, cold, slaty grey colour, and there stopped.
On development, however, after a brief exposure in the printing
frame, a better result was obtamed, though I have not yet succeeded
with chloride of silver in getting just the tone I should like, nor in
securing perfect cleanness in development, possibly because I have
not yet hit the right way. Plain chloride of silver is notoriously
more ^difficult to develop satisfactorily than bromide, but with old
and very weak ferrous oxalate, and with amidol also used weak, I
managed to get very tolerable results, though not perfect.
The sensitiveness of the paper so restored was, I found, by no
means of a high character, fifteen or twenty seconds with a negative
of ordinary density being required in good daylight by contact, so that,
for enlarging, the paper would have been practically useless. I there-
fore resolved to try the conversion into bromide paper instead of
chloride, in the hope of securing greater sensitiveness, as well as a
better tone and character of image. In this expectation the trial
proved that 1 was quite justified, for the results obtained on the first
attempt proved really surprising, and, so far as the technical qualities
of the paper are concerned, as nearly perfect as possible. With
ferrous oxalate, the delicate grey image of the best gelatino-bromide
priats was obtained without difficulty, while, by a modification of
the same developer, or, better still, by using amidol, a pure neutral
black tone and image of greater robustness was the result.
The mode of procedure was precisely the same as that already
described, with the exception that the restoring solution can be used
• stronger, for the reason I shall point out. In fact, the same solution
as that applied to plates may be used, namely : —
Bichromate of potassium 2 drachms.
Bromide of potassium 1 drachm.
Water , 10 ounces.
Upon this solution the paper should be floated with as much care
as in sensitising paper in the ordinary way, and, of course, the same
precautions must be taken for the avoidance of air bells, &c. If any-
thing, I think, perhaps, a little more care is needfulj for any check in
the even flow of the solution over the surface of the paper has a
tendency to leave a permanent mark, as occurs under similar circum-
stances in " dipping " a collodion plate. This arises, without doubt,
from the action of the bromide in the restoring solution upon the free
and organic silver salts in the paper. The floating must be continued
for at least five minutes, in order to convert the whole of the chloride,
for the solution is not strong in bromide ; but it is not safe to greatly
increase the quantity above that given, owing to the solvent action of
a stronger solution upon bromide of silver. If hydrobromic acid be
substituted for the bromide, or partially so, then a more rapidly acting
solution may be employed.
In order to facilitate the floating it will be found a good plan to
take the " curl " out of the paper in the usual way — that is to say,
by laying it face downwards upon a sheet of clean paper, and, with a
paper knife or straight edge pressed firmly on it, to draw it sharply
across the edge until it curls in the reverse direction. It is then in
condition to be easily and quickly floated without danger of air bells
or other trouble.
Perfect conversion of the silver salts into bromide is the end to be
attained, and beyond that the time of floating is immaterial — that is,
floating for a longer time than is absolutely necessary is not injurious
as in sensitising— er//o, float long enough. There is just the chance,
if the floating is protracted excessively, that the bichromate may
cause a permanent yeUow stain, but this can be removed afterwards.
After floating, the paper is first rinsed rapidly in one or two changes
of water, and then left to soak for an hour or two, or until, on test-
ing the drops that come from the paper itself in draining, there is not
the least trace of chromic salts. This last may be performed by
allowing the greater portion of the water to drain from a piece of the
paper, and then causing two or three of the last drops to fall on a
sheet of white blotting-paper. If the spot so formed be touched with
a glass rod dipped in a solution of nitrate of silver, a red stain wUli
be formed if any chromate be present. The test will be rendered
more delicate if the solution of silver nitrate be preceded by a wealt
solution of carbonate of soda.
Should there be any tendency to permanent yellowness from the
action of the bichpomate upon the albumen surface of the paper, it
may be discharged, if not very pronounced, by adding a very small
quantity of hydrochloric acid to the washing water. In worse cases,
the liquid sulphurous acid of the chemists' shops will be preferable, or,
if it be at hand, metabisulphite of potash, which, by virtue of its
free acid, reduces the yellow chromate, and removes the stain. Ordi-
nary sulphite of soda, to which a small quantity of liydrochloric acid
has been added, will produce the same effect, but in employing this
solution it is necessary to bear in mind that bromide, and especially
chloride, of silver are dissolved by it. Hence the strength of the
solution must be kept down ; indeed, in restoring the paper to the
form of chloride it is scarcely safe to use sulphite .at all, on account of
the easy solubility of silver chloride.
After thoroughly washing the paper, there remains nothing to be
done but dry it, an operation that requires no special care, except to
protect the paper from light; when once dry, the albumen paper may
be expected to keep at least as well, and probably much better, than
most gelatine papers, owing to its thoroughly insoluble film, and the
entire absence of any soluble matter or organic silver compounds. It
has the great advantage over gelatine paper of insolubility of surface,
and capability of being treated with warm solutions, if needful.
As regards sensitiveness, I have not used paper prepared in this
manner for enlarging, but I should judge it is fully sensitive enough
for the purpose. A momentary exposure to diffused daylight in the
printing frame, or from ten to twenty seconds to lamplight, are suffi-
cient for contact printing, and the development may be with ferrous
oxalate or amidol, according to the tone preferred. So far I have
only atterrpted black tones by development alone; I do not know
whether it is possible by lengthy exposure and weak development to
produce warm tones, but very probably such is the case.
W. B. BOLTOX.
*—
AMERICAN NOTES AND NEWS.
A New Telephoto Objective. — Another new photographic
lens, and Europe is not "in it!" Credat Judeeiis! We have seen
no account of the nature or construction of this wonderful lens which
is, from what we hear, going to lick all creation. True, we are put
in possession of some of what we may term its externals, but are
afforded no clue as to its optical nature. This, however, may not be
a very difficult matter on which to hazard a guess. The invention,
so far as we glean from a paper by the inventor, Mr. Albert B.
Parvin, read at a meeting of the Philadelphia Photographic Society,
consists of an objective, all the parts of which are momited in a solid
tube — that is to say, a mount in which there are no draw tubes by
which to provide for any adjustment in magnitudes of the image.
The mount is of short length, and can be screwed in the camera to
alternate with the lenses in ordinary use. Wliat Mr. Parvin claims
specially as his invention is — a photographic objective of simple con-
struction and effective action for enlarging the image of an object or
objects at equal or unequal distances from each other with respect to
the position of the camera ; an objective having a non-extensible
tube provided with a compound or combination lens ; and a single
negative lens of different length with respect to each other for
securing enlarged images of distant objects with a marked degree of
sharpness of detail. Now, by what means, different from those
already recognised on this side of the Atlantic, are these features to
be attained ? The reply is tantalising. They are " due to the
character of the lenses employed," and this is all. We certainly do
learn a little more, but that little conveys no optical information.
For example, in a 7 x 5 objective, "the combination positive lenses
are CJ inches focus, the negative single lens is (5 inches focus, and
these are mounted in a tube of 2 J inches long. The diameter of both
lenses is lA inches." Now, while there is but little real information
here imparted, we very cheerfully admit that, judging from a lovely
specimen of its work given in the Amencan Journal of Vhotographij .
and from the high encomiums given at the meeting by Mj. John
April 28, 189H]
THE BMTISH JOURNAL OF PHOTOGEAl'llY.
261
Oarbutt, the new lens will prove good and useful. We think, how-
ever, that Mr. Carbutt can scarcely have been lucidly reported, fir,
while ho says that this lens "excelled" anything that had yet been
brought before the public— and this with special reference to Euro-
pean productions of the sort— yet he felt certain that, in the near
future, America would turn out lenses " equal " to any that came
from Europe. Perhaps Mr. Carbutt will kindly enlighten us as to
this. .
Who first applied Bromine In Dag-uerreotypingr ?—
A matter of much interest in reference to historical photography has
been brought before the Franklin Institute (an American Society,
something like our Society of Arts, only more technical) by Mr.
Julius ¥. Sachse,who brings a second Richmond into the field. Here
have we, and all the world, for these wist numbers of years, been
quietly reposing in the belief that the first man who applied bromine
in the sensitising of Daguerreotype plates, and by which that process
was rendered sufficiently sensitive to enable portraiture to be easily
possible, was J. F. Goddard, a lecturer in the Koyal Polytechnic In-
stitution of London, and who, between thirty and fort/ years ago,
received fnirly handsome recognition of his discovery after a long
delay. Xow, says in effect this Franklin Institute Iconoclast, you
have been altogetlier wrong, for it is an American discovery. "\Ve
have read Mr. Sachse's paper carefully, and in all fairness must state
that the claim he has put in on behalf of Philadelphia having
been early indeed in developing photography, seems just. He has
arraved a large number of facts, notes, and dates. From these we
learn that another Goddard — not ours, but Dr. Paul Beck Goddard,
of Philadelphia — in December, 18;30, produced perfect specimens of
the Daguerreotype, through the agency of bromine as an accelerator,
and proof of tills is adduced by reference to vol. iii. page 180, of the
Proceedings of the American Philosophical Society, to which we have
no present means of obtaining access. Now, it was in the autumn of
the year following that our Goddard (curious coincidence of names)
made his discovery, and published it in the Literary Gazette of
December 12, 1840, and two months later (February, 1841) deposited
a paper in the Archives of the Royal Society, detailing his sensitive
process of bromine with iodine, for taking portraits from life by the
Daguerreotype process. Be it understood that we are not here dis-
cussing the question as to who was the first to use bromine in photo-
graphy in general, so far as it e.xisted in those days — for that honour
belongs, unquestionably, to Fox Talbot, who published his discovery
nine months previous to the date claimed for the earliest of the other
rivals — but who first applied it to the Daguerreotype ? It is curious
that both these should, although unrelated, bear a similar name, and
that both should have been experimenting in a similar direction. It
is highly suggestive of the simultaneous discovery of the planet
Neptune by Leverrier, of Paris, and Adams, of Cambridge. Mr.
Sachse further gives a facsimile of what is believed to be the first
portrait ever made by the Daguerreotype process, which was taken by
Robert Cornelius, in Philadelphia, November, 1839. But, as we
recorded only a few weeks ago (April 7, page 211), the " first " por-
trait Daguerreotype, which is now on its way for exhibition at the
World's Fair at Chicago, and which was taken in New York by
Professor Draper in 1840, interposes an element of disturbance, for, if
the Philadelphia history be correct, the New York one cannot be so,
and vice versa. The subject is not likely to cause a war between the
"Empire City" and the " City of Brotherly Love," but the photo-
archteologists of these rival cities must somehow have the matter
settled. To do this once and for ever ought not to prove a very
difficult matter.
Strong: Hypo.— We learn that a chemical company in
Massachusetts is manufacturing a hyposulpliite of soda of a strength
one-fifth greater than has ever before been accomplished. Although
primarily intended for chrome tannage in the manufacture of morocco
leather, it will, doubtless, soon find its uses in photography also.
class periodical, but now non-existent. He fell upon hard times, and
in his old age became almost entirely blind, helpless, and destitute.
But for Mr. W. H. Clark and Mrs. Fitzgibbon Clark, of the HI.
Umi» and Canadian Photographer, poor Snelling's lot would have
been a hard one, indeed ; but these friends rescued him, brought him
to St. Louis, and have kept him an inmate of their bouse for seven
mouths. They have made appeals to the fraternity, with mich effect
that Mr. Snelling has been admitted into the Memorial Home of St.
Louis, wherelhe will be well cared for during the remainder of His
life. Jlr. Snelling, many years since, was an occasional contributor
to The British Journal of PnOTOGKApny.
A Mew Order.— The photographers of San Francisco and Oak-
land have started an organization bearing the title of United Order
of Photographers, Studio No. 1. The meetings are to be held
weekly. Their intention is to endeavour to remove the many evils
which they say beset a number of their galleries, and to elevate the
scale of prices to a paying basis. The Pacific Coast Photographer
considers that, in order to effect the desired ends, it will be requisite
that every gallery enters into the arrangements and compact. It
anticipates much good to result from the organization.
An American in Eng-land.- A short time since we were
much gratified at receiving a visit from one of America's oldest and
most experienced technical photographers, Mr. T. C. Roche, who has
for 80 many years been connected with the firm of E. & H. T.
Anthony, New York. Mr. Roche is a man of vast information, both
historically and technically, and has probably seen more of the
American ^continent in company of his camera than any other man
alive. We embrace this opportunity to say that any American visit-
ing London during the forthcoming summer will always be well
welcomed by us, and will have the privileges of our dark room for
changing or developing his or her plates.
A Kind Act. — An act such as we are now about to mention
deserves being placed on record. Mr. H. H. Snelling was, two score
years ago, conductor of the Photographic Art Journal, a high-
PHOTOGRAPHIC METASTASIS.
Sooner or later all investigation aims at elucidating "the whole
truth." In this endeavour it is of paramount importance that, as a
basis of operation, as far as it has gone, it is in possession of " the
truth, and nothing but the truth!"
But this standpoint can only be attained by a few of those who
have before them all the evidence that has hitherto been produced.
For, although memory, penetration, reason, and impartiality are com-
mon gifts, they are seldom bestowed all at once, in ecmal measure,
and in more than average quantity, on all and sundry. Therefore the
dictum of him who has read much, of liim who sees clearly, of him
who reasons deeply, and of him who simply reads, sees, and reasons
without bias are alike untrustworthy. Consequently, as the study of
photography presents an exceptional array of facts difficult to recon-
cile with each other, and as photographers are as unfamiliar with
the scientifc method as the scientist is ignorant of photooraphic
phenomena, it naturally follows that, although we have a plethora of
nebulous hypotheses, we have not a single theory, worthy of the
name, or capable of holding water, sufficient to quench the mildest
milk-and-waterest thirst for knowledge.
The following remarks are intended as an elucidatory introduction
to a description and analysis of the form, localisation, and nature of
the various and variable parts of minute simple images, obtained by
widely varying exposures, but submitted for the same length of time
to the action of a constant developer. These images were of many
different shapes, and were produced by two general methods. The
first way was that of concentrating upon the film the images of severoj
kinds of flames by means of a lens. The second was that of allow mg
light from divers sources to penetrate apertures of many geometrical
forms cut in an opaque screen interposed between the light and the
film. , . . .
The chief outcome of these experiments was a speculative investi-
gation as to the nature of a clear " halo " " nimbus," or " ring, as I
have indifferently termed it, and I would earnestly request the reader
of these lines constantly to bear in mind that, where not otherwise
specified, it is not the developed or fixed image which is the subject of
conjecture, but the " latent ''^" developable " or potential image at the
moment it is brought into contact with a given developer of constant
constitution, and at that moment only.
262
BRlliiSJ JOURNAL OF PHOTOGRAPHY.
[April 28, 1893
Now, although I have no desire to press the analogy too far, I
cannot but perceive, and be keenly impressed with, the very close
reaemblance between the growth of a plant and of a photographic
image, for both forms of growth are subject to a twofold action of
light— one chemical, the other mechanical. In both the chemical
action at least gives rise to electrical displacement ; both are retarded
by cold and accelerated by heat. The presence of an alkali or basy-
lous element, and the formation of a solution of the plastic material,
ia essential to both ; and in both an excess of some essential— light, or
one or other of its coefficients— greatly modifies or reverses the
original form of growth. ^^
When the light acts too strongly the plant becomes " struck, or
« stuck " as it is technically termed, and when thus gorged it assumes,
80 to speak, a petrified or constipated aspect, and blanches through the
destruction of the plastic material, the green colouring matter. A
plant is only in normal robust health when the forces acting on its
system are properly balanced. In botanical economy the two chief
factors in the nutrition of the plant are the processes of assimilation
*nd metastasis. Assimilation, which I regard as the counterpart of
that norm^ reduction which gives rise to the normal negative or
positive " plucky " image, or " perfect " picture, is only performed in
cells containing chlorophyll, and then only under the influence of
light, and ceases in the dark. The elaboration of the inorganic
elements of two oxides (CO, and H^O) into a carbohydrate I look
upon as the type of the multiplication or development of the elemental
molecules of the changed sensitive silver salt.
This process is quite distinct from that by which the assimilated
<;arbohydrate undergoes further alteratioti and changes its position from
one cell to another, this transference being accompanied by a change
in chemical composition which constitutes metastasis, by which one
compound, the carbohydrate, the protoplasmic prototype of our
normally developable nucleus, is changed into another. But the
resemblance between the conditions under which assimilation and
metastasis occur, and between the circumstances accompanying a
change from " normal '' to " reversal " by no means ends here ; for
we have not only — ■
(a) Assimilation of inorganic elements into (organic) compounds,
■compared and contrasted with the metastatic resolution of these
compounds into others which I accept with certain definite reserva-
tions as embodying the conditions under which the normal and re-
versing developable nucleus exists at the moment of contact with the
developer, but we have —
(6) Assimilation taking place only in the ^presence of chlorophyll,
•whereas metastasis occurs indifferently either in the presence or
absence of the green colouring matter. The former of these reactions
is here to be viewed as equivalent to that state of matters in which
the presence of a silver salt is essential to that aggregation of par-
ticles which admits of the formation of a normal image. The latter
■corresponds to that disintegration and displacement of the plastic
material which takes place independently of the presence of a silver
salt, as such,
(c) Assimilation, as a process which can only be accomplished under
the influence of light, is different from that continuing metastatic
process which, initiated indirectly by reflex action under that in-
fluence, goes on or is developed quite independently of its presence
afterwards.
Note.— We must here carefully guard against confounding the
parallel just drawn, and which runs closely throughout, with that
■tohich might suggest itself in the case of carbon printing . My leading
idea is the comparison of the phases of silver salt normal, neutral,
reversal, neutral, and normal, potential images, with a plant tvhieh,
though it ultimately dies, sprouts, blossoms, remains comparatively
stationary, fades, remains comparatively stationary , and blossoms again
periodically.
(d) Assimilation as a process in which a chlorous element (oxygen)
is liberated, is opposed to that metastatic process by which the
chlorous element (oxygen) ia recombined and its equivalent (in 00.^)
liberated. These reactions are analogous to those conditions re-
spectively admitting of the separation and recombination of the
elements of the silver salt, developable alternately into a normal or
reversal.
(e) In assimilation the dry weight of the plant is increased by the
fixation of the essential element (carbon), and by the formation of
carbohydrates. In metastasis there is loss of weight through pro-
duction of removable chlorous (oxygenous) compounds from the
organism. In normally exposed, developed, and fixed images the
greatest density occupies that part of the film which has received
most light; whereas, in the reversal, the part which has received
most light develops no density and fixes more clearly. Thus we
-again see that the phases themselves form the scale upon which the
difference between the assimilated or metastased material is read off,
s upon a vernier, thus : —
(1) Half density = assimilation mean.
(2) Normal = assimilation at a maximum.
(3) Neutral or double half density = assimilation mean and meta-
stasis mean.
(4) Reversal = metastasis at a maximwn. Hugh Bbebneb.
DETERMINATION OF PLATE SPEEDS.
A Reply to Mb. Williams.
[London and Provincial Pliotognipliic Association.]
Havinh had the opportunity of seeing Mr. WUliams's paper ia print
I venture the following remarks.
The first point that strikes me is where he says, " Such was the
courage of my own opinions that I offered to submit everytliing to a
disinterested jury;" and he then says, " To this challenge none of my
dissentients have responded." In reply to this, I must remind him
that a week previous to this the firm I have the honour to represent
invited Mr. Williams and any committee of experts to practically
test the matter at their works at Southgate, where every means is at
hand to fully investigate the matter, but that, up to the present time,
he had not availed himself of the offer.
Next Mr. Williams says, " For reasons best known to themselves,
certain manufacturers have thought fit to adopt the system introduced
by Messrs. Hurter & Driftield." All I can say in reply to this is that,
for ourselves, the reason we adopted it was that, after exhaustive
trials, we were compelled to admit that it was practically far and
away the best method we were able to find for estimating the speed
of plates, and after some thousands of trials we are more than ever
convinced that we were right in taking the matter up and giving to
the public the rapidity exactly as we found it of each batch of
plates.
That we may have made some mistakes is quite possible, but I
think if they had been very grievous ones we should certainly have
heard about them soon enough ; but I am sure that, if such has been
the case, they have been quite accidental, and only incidental to the
difficulty of at once perfectly mastering a rather delicate operation.
Mr. Williams, in the beginning of another paragraph, says :
"Judging from the tone of the correspondence, one might imagine I
had sat down with the deliberate intention of demolishing the Hurter
& Driffield theory." Now, I think, if Mr. Williams will refer to the
opening paragraph in bis original paper, he must really see that he did
give some occasion for this idea, for his words were, " So one event in
photographic history has been the complete discrediting of the results
shown by the Warnerke sensitometer,and we shall probably not have
long to wait before we see a similar fiasco." But I am glad to see
that he concludes the paragraph in the present paper with, " As a
matter of fact, I had no such idea."
In connexion with the paragraphs marked a and b, all I can say is
this, such is my confidence in the Hurter & Driffield principle, that,
if plates we mark do not answer to the relative speed number marked,
it is we that have, as Mr. Williams puts it, " blundered," but that
the "system is right." And members of this Society know how
often, from time to time, I have shown results that fully bear out
this contention, that the system is right.
With regard to the isochromatic portion of the paper, I submit
that it would have been better not to have imported it into this dis-
cussion at all, as it is certainly a subject that requires separate
attention.
Mr. Williams, in his concluding paragraph, quotes Mr. Andrew
Pringle's article, alluding to Messrs. Hurter & Driffield as saying, " If .
they mean that, after all, we can materially control our practical results
by controlling the developer and the following operations, then no
more need be said ; but, with their writings before us, wo must say
that it is by no means clear]wliat they do mean in the matter." Now,
I really think that, if their original paper is carefully read, it will be
found that they have been very careful to express what they really
did mean.
They first began by asking the question, " What is a perfect nega-
tive ?" and defining is as being, " mathematically, the true inverse of
the original when the opacities of its gradations are proportional to
the light reflected by those parts of the original which they re-
present."
Again, they say "their experiments conclusively show that the
only control the photographer has over the development lies in se-
curing a greater or less density of image, and that he has no control
whatever over tlie gradations of the negative."
" That, with a well-balanced developer, there is a limit to density,
April 2S, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
26S
which depends upon tho action of lipht, nnd that, so far, the only
control tlie pliotoRrapher has lies in deciding whether he will reach
that limit or not."
" That the length of time of development does not affect the ratio
of densities nmong themaeWes, but increases every density by pro-
portional amounts.''
" That during tho period of under-exposure the amount of silver
reduced is directly proportional to the exposure."
"That during "the period of correct ropresentation the densities
are proportional to the logarithms of the exposures."
So that a negative can only be theoretically perfect by "carefully
adjusting the time to the intensity of the light, that the exposures may
fall within that period of correct representation."
" That thickly coated plates give a very much greater latitude of
exposure." This I take to mean, in the matter of over-exposure.
" That thinly coated plates, on the other hand, need very accurately
timed exposures."
And lastly, " that, when the inertia of the plate is known, it is pos-
sible to time the exposures in the camera so that the densities of the
gradations are almost exactly proportional to the light intensities
which produced them."
After these quotations, it can scarcely be fairly said that " it is by
no means clear what they do mean in the matter."
I was very pleased to find, on referring to this leader in Photography,
quoted above by Mr. Williams, that in the sentence immediately pre-
ceding it Mr. Andrew Pringle says : " We have, from the first,
applauded and valued the investigations of Messrs. Hurter & Drif-
field, and it is possible that we are at one with them ; in fact, of late
we have begun to think we are at one."
There is only one other point that occurred in the discussion that I
should like to make a remark upon, and that was Mr. Williams's re-
mark that you could not be sure of getting the same speed number of
a batch at different times. In answer to that, I can only say that I
have reproduced the same number at various times from pieces of
the same plate (seven times), extending over a period of eight months,
with the greatest error of four per cent.
In conclusion, I should like to read you part of a letter I received
on Saturday from a member of this Society, at whose request I had
tested five different plates and films which were unknown to me.
He wrote: "No. 5 is one of the sample plates you sent me some time
ago. In this case the Hurter & Driffield numlier on the box tallies
exactly with the one now given me, viz., 7-5. This goe.s far to prove
that your method of testing is accurate, as, of course, you could not
know that No. 5 was your own plate. When I get back into the
civilised world, I must come to you to see how you do this testing,
as it certainly seems the truest that I know of."
Alkxandbb Cowan.
THE MULTIPOTENT CAMERA.
[Cardiff Photogrivphic Society. Abridged.]
Thk camera which I am to show you this evening was invented by
me in February last year. It represents an attempt to make a com-
plete camera for small plates, and has, I think, important advantages.
This machine is the first model, and those which I am now making
will be better, as, until I had made and tried the first model, it was
impossible to settle the best size for every part.
I had hoped that one of the three now being made would have been
ready to show you, but both the mechanic who is making them and
myself have had so many other things to do that we have been able
to devote very little time to them. No professional camera-maker
has worked at this camera, so you must excuse imperfections. The
only important alteration in the new camera is that I have greatly
Bimplified and, I think, improved the mechanism for actuating the
shutter; but the store-box grooves and all the parts are more ac-
curately made to the sizes I have found best by the experience gained
with this model.
The construction will be found fully explained in my complete
specification, patent No. 3680 (1802), and I shaU be pleased to lend
«ny one a copy who raav wish to understand the details ; but I will
not weary you by reading it now, but will briefly explain the camera
and method of working it, and will afterwards point out its ad-
vantages.
In the upper half of the camera is the exposing chamber. There is
a rising front, which carries the lens and contains the shutter at one
end, and them is a door for focussing at the other. Below the ex-
poang chamber is a fixed store box, extending from the back of the
lens to nearly the plane of equivalent focus. This store box is
grooved to hold twenty-five plates ; it has a door at the bottom,
through which the plates are inserted, and light is excluded from the
top of it by leather bands, which are attached to s slotted plate, whicfa
is covered by a sUding door.
There is an exposing frame, which traverses the exposing chamber
over the store box. This is actuated by a tail piece, which passes out
through the back of the camera and is hinged so as to lie down in a
recess. It has twenty-five holes drilled b it (in series of five), corre-
sponding with the twenty-five grooves in the store-box.
If I want No. 13 plate, I put a peg in No. 13 hole and push the
tail piece in till the peg stops it, then invert the camera, and No. 13
plate slides into tho exposing frame and, still keeping the camera in-
verted, I pull the tail piece fully out, and press it down into the recess
against a focussing screw which will be found there. This brings the
plate into true focus for whatever distance tho focussing screw is set.
To return the plate when exposed I again invert the camera, and
push the tail piece into the peg (which has been left in No. 13 hole),
then turn the camera the right way up, and the plate falls back into
No. 13 groove in the store box. If, as generally happens, I want the
next plate, I put the peg in No. 14 hole and proceed as before; but,
if I want a lower number, say. No. 5, I first pull the twl piece fully
back and then pull the pointers, which are attached to the leather
bands, and which move in a slot at the bottom of the camera, for-
words, put the peg in No. 5 hole and proceed as before.
The rule for changing plates is :— When the exposing frame it-
empty, the camera must be held the right way up whilst the tail
piece is moved. When the exposing frame has a plate in it, the
camera must be inverted whilst the tail piece is being moved.
I fill the holes in the tail piece with coloured wax to correspond
with the kind of plates in the store box. For example, ordinary
plates, white ; extra rapid, red ; isochromatic, green ; and so on.
When a plate is changed the peg pushes out the wax, so that I can
tell at a glance what plates have been used and what are left.
The shutter is a disc perforated with two openings, one of which
is shaped so as to give equal exposure over the plate, the other so as
to give more exposure to the foreground than to the sky. The disc
is attached to a drum, round which two cords are wound in opposite
directions, and each cord is fixed to a spring. There is a catch on the
drum, which is held by triggers. There are four triggers. If the
right-hand spring is pulled down and held tight by a screw, it will
pull the right-hand cord and cause the catch to press against the
lower right-hand trigger. When this trigger is pulled, the catch ia
released, the disc flies round half a revolution till the catch ia stopped
by the left upper trigger, and the opening, which gives more exposure
to the foreground than to the sky, will have passed across the lens.
For the next exposure the right-hand spring is released, and the left-
hand spring pulled down and secured by its screw, and to make the
exposure the lower left-hand trigger is pulled. In landscape work this
opening is used for about eight pictures out of ten, but when the other
opening, giving equal exposure over the plate is required, the upper-
triggers are pulled instead of the lower.
For time exposures the triggers are put out of gear and the disc
moved by pulling down the screw. This is a simpler way of actuating
the disc than in my first model. I have not tried it yet, but I believe
it will work as well, if not better. In the model a rocking lever is-
used to pull the drum round. This I have now done away with.
I prefer not to use a finder, but to work with a spirit level in combi-
nation with the rising front. My experience, when I used a finder, was
that I was very apt to get buildings all wrong, but by working with
the level there is no difficulty — all one has to do is to keep the camera
level and point in the right direction and the horizontal line is settled
by the rising front. Usually, of course, it will come about one-third
up the plate.
The following appear to me to be the chief advantages of my
camera : —
1. It is very small and portable. The quartei^plate size, witb
■li-inch rapid rectilinear lens is only 7| inches high, o inches wide,
and GJ inches long ; equals 265 cubic inches, and yet it carries 25
pistes. This is considerably smaller than most automatic magazine
cameras which carry only 12 plates.
I believe the new one will weigh about four pounds. It is well,
balanced, the centre of gravity being under the middle instead of at
one end as usual.
2. It has a full-size ground-glass screen, which can be carried and.
used when the camera is on the stand as an ordinary focussing screeiu.
I usually carry this in No. 25 groove.
3. There is a gripping contrivance so arranged that the camera can
be easily attached and detached without shaking the tripod.
4. This enables stereoscopic pictures to be taken sufficiently (juickly^
to do most views and some groups by first taking a picture with the
left side up, and afterwards another with the rignt side of the
camera up.
264
*TliE BRITISH JOURNAL OF PHOIOGRAPHI.
[April 28, 1893
5. TTU front rises both for vertical or horizontal pictures.
6. The focussing can be adjusted from four feet to any distance,
and, unless altered for any special reason, the focussing of every plate
is' jmtoiflatic.
7. The plates can be chanffed at the rate of three a minute.
8. Ordinary qmirter- plates, extra rapid isochromatic, fUms in
sheaths can be carried together, as well as ground-glass focussing
plate, and used in any rec[uired order. Any nmnber can be carried up
to tioenty-flve.
9. The coloured wax shows clearly what plates and what hind of
plates have been used, and what are left, so there is no fear of double
exposure.
10. T!i£ shutter automatically covers the lens when not exposing,
and is ever set. It will give exposures of any length.
11. The shutter will give equal exposure over the plate, or more
crposure to the foreground than to the sky, as repeired for each
picture.
12. The camera is easy to use and works well. I find it much easier
to use than an ordinary camera, whether for hand or stand work.
Even with this first model there are no hitches, except when the
plates are too thick. I did not make the grooves sufficiently wide for
some of the thicker plates which occasionally come in a box. In the
new camera that is rectified, and also the grooves are accurate, which
is not the case in the first model.
13. There appears to he a singular freedom from halation. I think
this is due to the construction of the camera, by which the light has
to pass through the plate some little distance before it reaches any
backing.
What I have done with it in the limited time I have been able to
give to it I will now show you with the lantern. I think you will
agree that the interior of the Cardiff Market, or tlie Arcade outside
our rooms here, is the most difiicult, as they had both to be done in
about one-tenth of a second. I used /-5'65 and very rapid plates for
them. T. E. Hbath.
<©ur ©iiitorial Cable.
Cadett's "Snap-shot" and "Lightxing" Plates.
Mbbsbs. Cadett & Neaxl, Ashtead, have sent us samples of their
"Snap-shot" (12o°Hurter & Driffield) and "Lightning" (140°) plates.
Both kinds of plates work to a remarkable degree of rapidity — the
"Lightning" especially so — and yield with normal development
images of great fineness and brilliancy. It should be mentioned that
Messrs. Cadett now pack some of the sizes of their plates face to face
with the films imcut.
Optimus Opai Pbinting Fbame.
By Pekken, Son, & Rjlyuent.
Tins well-known firm are placing on the market an opal printing
frame which is calculated to prove eminently useful to all who
practise opal printing. The frame is hinged (book fashion) in the
middle. In one half provision is made for holding the negative so
rigidly that it cannot possibly get displaced, similar provision being
made in the other wing for holding the sensitive opal plate, which can
be brought into the most intimate contact with the surface of the
negative and remain undisturbed throughout, no matter how often
the frame is opened up for inspecting the progress of the printing.
This perfection of registration will commend itself to the user. The
frames are being made in various sizes.
Amateub Photography.
By W. L. Adams. New York : The Baker & Taylor Co.
T.91S little volume has not been written for the scientific or practical
photographer, hut for the class which desires to have a popular know-
ledge of an art of which every person is now supposed to know
something. It forms in a large measure a reprint of popular articles
■ivritten for the Christian Union and Outing. "We think the author
doss not do his countrymen full justice in saying that instantaneous
photography is but a few years old, and that it was only made possible
by the introduction of gelatine plates, for not only have instantaneous
street views of New York taken by collodion been reviewed in this
■louENAl, nearly a quarter of a century since, but the taking of such
pictures has been specially referred to in Snelling's New York pub-
lications in 1853. The brochure, however, forms pleasant popular
reading.
The New Cataloguk of Mobgan & Kidd, Richmond,
London, S.W,
This is a most useful and comprehensive price list of all the specialities
of this firm, which are now of a very extended nature. Compre-
hending their argentic gelatino-bromide papers for enlargements and
contact prints ; enlarging apparatus and materials; dry plates and oil
paintings on canvas, with or without photographic hase ; enlarging
on every practicable medium, whether canvas, opal, or paper ; minia-
tures on ivory ; platinotype, collotype, mounts, and even frames, aU
find place in tabulated form in this well-arranged price list.
The Brighton Enlarging Company, of 57 and 58, Clarence-square,
Brighton, are issuing a revised trade price list of enlargements in
carbon, bromide, platinum, &c. ; copying and negative making ; print-
ing in silver, bromide, &c. ; and painting in oils and water-colours.
The prices appear to be very reasonable. We note with pleasure, as
evidence of the progress of trade printing at the Queen of Watering-
places, that the Company has an installation of electricity for lighting
and drying purposes.
The Imperial Dry Plate Company, Cricklewood,havei3sued a booklet
containing the formula; which the Company consider the best to use
with their plates, as well as hints regarding the dark room, exposures,
taking the negative, toning, &.e. The information and hints are in
such a form as to be very useful, not only to users of the Company's
excellent plates, but also to photographers generally.
REGENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 7743. — " Improved Method of Photographing in Colours." J. Jolt. —
Dated April 17, 1893.
No. 7851. — "Improvements in Photographic Printin;; Frames or the like.
F. L. Pbhken, E. T. Pbeken, A. Rayment, and H. Huntke. — Dated April
18, 1893.
No. 8122. — " Magazine Plate-carrier Slide and Changing Box." J. G. Reid.
—Dated April 22, 1893.
SPECIFICATIONS PUBLISHED.
1892.
No. 6243.— "Camera." Williams.
No. 9721.— "Photography." E. S. & J. S. Lauder.
No. 12,029. — " Regulating Photographic Shutters." Hill & Adams.
No. 13,926. — " Photographic Cameras." Parsons.
PATENTS COMPLETED.
illprovemunts in and relating to film packages poh photographic
Cameras.
No. 8650. B. J. Edwards, The Grove, Hackney, Middlesex.
March 4, 1893.
My invention relates to film packages for photographic cameras .ind roller
slides, and to means for adapting my unproved packages to be used in ordinary
roll-holders or cameras.
One object of my invention is to provide a light-tight film package for roller
slides, which may be used in existing cameras or roll-holders, and changed in
daylight, and which packages will take the full width of film for which such
cameras or roll-holders are constructed.
Another object of my invention is to make the film packages interchangeable,
so that in existing cameras the empty roller, with its sheath, can be changed
and used as a receiving roller.
According to one part of my inveation, I provide a film package so con-
structed that the extreme length of the said package exceeds but a very trifling
amount the width of the film to be contained therein, and so mount the roller
in a sheath that no light shall be admitted to tlic interior of tile package. To
this end I construct my improved packages with special end pieces or caps of
very thin material, which also serve as efficient bearings or support for the
roller, and also allow of the roller being rotated from the outside of the case.
My improved package comprises a roller on which the film is wound, and a
sheath or covering for enclosing the film and protecting the said film from
light. The sheath or covering is made of cardboard or other suitable material
shaped or folded so as to form a hollow tube having .a slit or ojiening through-
out its entire length, through wliich slit the film is drawn. This slit is made
liglit-tight by binding its edges with strips of velvet or the like. I provide the
folded sheath or covering with end pieces constructed of very thin niiiterial,
preferably of thin slieet metal, which can be very cheaply produced of the
required shape by stamping. The bearings I form as follows : — 1 provide an
annular recess in each end of the roller, .and I stamp or otherivise form a
central circular opening in each cap or end piece, and turn inward the edges of
tlie said openings so as to form flanges which fit into the said annular recesses
in the roller and serve as bearings therefor. The outer edges or rims of the
said cai)s are turned or flanged inward to fit tightly over the euds of the sheath
April M, lS9a]
THE jJttlTISH JOUliNAL OF PUOTOORAPIIY.
266
or coveriiiR. By tliia construction 1 not only utilise th« full length of tlie
roller for the film, but I iivoid, in a siniplo manner, all risk of the light tlnrting
its way into th« covering and so 8)>oiling the tilni. I constnict one or tiotli
vjuU of the roller to form n >dut<:h to engage with the fittings of tlie camera or
roU-hoUliT, tlureby enabling the roller to be torned from the outside of the
(.-.ISO liy the winding key.
In iinlir to euiiblc my innirovod light-tight ilm packages to bo used in roll-
holders or cameras as usually eonstructed, which are not adapted for being
rhorged or refilled in daylight, and in which the fittings of the nischarging and
receiving rollers are not of a uniform pattern, I provide a device which I term
an " adajiter." This device is adapted to fit without tuniing in the end of my
iiuprovol spool or roller, and is shaped :it its outer end to fit on the Msnal key
or clntch of the receiving roller of the ordinary roll-hoMcr or camera. This
"adapter " can be arranged to fit or connect with any kind of clutch, and is
removable or interchangeable. By means of this device my film packages can
lie u.sed in existing cameras and the empty spool or roller with its light-tight
ca.se may be u.sed as a receiving roller, the ordinary receiving roller fteing dis-
l>en.sed with. When the receiving roller is full, it can be removed and an empty
.spool with its light-tight case put in its place, the "adapter" being changed
from the full roller to the empty one.
The claims are :— 1. A film package or c.ise having a roller provided with an
:innular groove in one or both ends, to form a bearing surface or liearing sur-
faces on which the roller can turn for the purpose specified. 2. A. film package
or case provided with caps or end pieces having annular interval projections to
form bearings for the roller, substantially as described, for the purpose speci-
fied. 3. In a film package or case, a roller having an annular groove formed
in one or both ends, fonning bearing surfaces for the roller, in combination
with end pieces having central openings, the ed^es of which are turned inward
and are adapted to fit in the said annular grooves for the purpose specified.
4. The combination with the light-tight sheaf or covering and the roller, of
thin sheet metal or other suitable end jiieces, having rims adajited to fit tightly
on the shcatli and central circular ojienings, the edges of which turn inward
and are adapted to enter annular grooves in the ends of the roller, and form
iiearings for the roller, with or without other fa.stenings to hold the ends in
place, substantially as described for the purpose specified. 5. A light-tight
film package or case prorided witli internal annular bearings for the roller,
which enable the roller to be rotated from outside the case, substantially as
described. 6. A light-tight film package or case constructed substantially as
<lescribed with reference to the drawings. 7. In a roller slide a movable
■■adapter," which enables the rollers to be interchanged, substantially as
described. 8. The combination of the light-tight sheath, its end pieces, the
roller, and a sensitive film wrapped on the roller, substantially as described.
Mutim^ of aocietiesi*
MEETINGS OP SOCIETIES FOR NEXT WEEK.
I>atc ol Meeting.
Jlajl
'*
1
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1
1
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1
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l.„
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2.
8
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8
2
2
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2
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2
2
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2
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2
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2
h
2.
3
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8
3
3
3... .
3
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4
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5
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Name of Society.
Camera Clnb
Bundee Amatoor
Petorborough ,.„...
Putney „
Richmond
South London
Stereoscopic Club
Birmlnf^ham Photo. Society ,
Bolton Photo. Society
Brixton aud Clapham
Exeter ;.,
Haclniey
Herefordshire
Lewes
North London
Oxford Photo. Society
Paisley
Rotherham
SheiBeld Plioto. Society
York
Edinburith Photo. Society ....
Leytonstone
Pboto^rraphic Club
Southport
South&ea
Wallasey
Birmingham Photo. Society .
Camera Club
Dnndee and East of Scotland .
Glasgow Photo. Association....
Olosaop Dale
Hull
Leeds Photo. Society
London and Provincial
Oldham
Tnnbridgo Weils .'
Cardiff ,
Croydon Microsoopical
Holborn
Leamlnirton ],
Maidstone
Hnll ■■■
Place of Meetin([.
Charing- Cross-road, W.C.
Asso. Studio, Nethergate, Dundee.
Museum, Minster Precincts.
Hfgh-street, Putney.
Greyhound Hotel, Richmond,
Hanover Hall, Hanover-park, S.E.
Brooklands Hotel, Brooklands.
Club Room, Colonnade Hotel.
10, Rushton-street, Bolton.
376, Coldharbour-lane, Brixton.
City Chambers, Gaudy-st., Exeter.
206, Mare-street, Hackney.
Mansion House, Hereford.
Fitzroy Library, High-st.,- Lewes.
Canonbury Tower, lalin^rton, N.
Society's Rooms, ISfi, High-street.
9, Ganze-street, Paisley.
5, Frederick-street, Rotherham.
Masouic Hall, Surrey-street.
Victoria Hall, Goodramgate, York.
38, Castle-street, Edinburgh.
The Assembly Rooms, High-road.
Anderton's Hotel. Fleet-street.K.C.
The Stuilio, 15, Cambridge-arcade.
3, Kimr'j^-road, Southsea.
Egi'emont Institute, Egremont.
Clnl) Room, Colonnade Hotel.
Charing Cross-road, W.C.
Lamb's Hotel, Dundee.
Philuso. Boc. Rooms, 207, Bath-st.
71, Prospect-street, Hull.
Mechanics' Institute, Leeds.
Champion Hotel, 15, Aldersirate*Bt.
The Lyceum, Union-street, Oldham.
Mechanics' Inst., Tnubridga Wells.
Public Hall,George-Btreet,Croydon.
Trinity Church Room, Morton-st.
"The Palace," Itaidstone.
71, Prospect-street, Hull.
PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN.
'^'^"' ^■—Technical Meeting,— Mr. T. Sebastian Davis in the chair.
- ■ vl* • ^*<"*t'"'y exhibited and explained a model of a new hand camera
:>y Messrs. Campion * Delacre. It has a refiecting mirror inside, so that the
lawge can be seen of the size of the original. The principal movements are
elTected by working a lever at the side of the camera, which first of all uncorem
the lens, then covers it np, actuates the ahntter, and changes the plate. It
was said to be possible to expose a dozen plates in twenty-live Mconds in thki
camera.
"Tht Masl-facttrr ok Okijitijib Dry Pl.*tw."
Mr. J. Bismi^: Bnhland gave a practical demonstration of gelatine emnlsion-
making, saying that if no great rapidity was desired, the first process he should
ilcscrilw was a very simple one for the purpose. Sensitiveness depended upon
the formula and metho<l of working, as well as many small details. The pre-
jiaration of an emulsion might be divided into three stages— the mixing, the'
einidsilication, ami the washing. Tlie gehitine for the first stage should be of
a soft kind, such as Nelson's No. 1, and for adding to the cinu'sicn a liard kind,
such as Ileinrich's or Drescher's. Having reviewed the stewing, boiling, and
ammonia methods of emulsification, he gave the following formula, recom-
mending a temperature of 110" to I'iO" Falir., for mixing Nos. 1 and 2.
1.
Potassium bromide 90 grains.
Potassium iodide 3 „
Soft gelatiue ..] 20 „
Hydrochloric acid 2 minims.
Water IJ ounces.
2.
Silver nitrate 120 grains.
Distilled water 2J ounces.
3.
Gelatine (hard) 11)0 grains.
The silver solution was jmssed slowly into the bromiile solution through a
plug of cotton wool placed in the neck of a funnel, the wool also acting as a
filter, the bulk of the gelatine being adderl afterwards. The acid obviated fog,
which would be caused by the gelatine and Ijromide of potassium being alka-
line. When first mixed, the emulsion should be of a ruby colour by trans-
mitted light, showing that the particles of bromide were in a finely divided
state ; the colour passed by boiling for an hour or so to violet, blue, green,
grey, but the latter should be avoided or the plates would fog. Mr. England
then gave the following formula for an ammonia proce-ss which, he said, gave
great rapidity, and was due to Mr. Henderson, a great authority on the
ammonia method : —
1.
Soft gelatine 20 grains.
Potassium bromide 180 „
Potassium iodide 3 ,,
Water 4 ounces.
2.
Silver nitrate 240 grain-s.
Distilled ■water 4 bonces.
3.
Gelatine 360 grains.
No. 2 is converted into silver ammonio-nitrate with the strongest liquor
ammonia, and 1 and 2 mixed at 105-110° Fahr. The emnlsion should be
placed in a vessel, and in three qtiarts of water at 130°, and when the water
has cooled the emulsion might he considered sufficiently rapid.
Mr. England then recapitulated the various metho<bi of wa.shiiig, demon-
strating the process by squeezing some set emulsion into tine shreds through
some mosquito netting into the wash water. After washing for four or five
hours in different changes of water, it is melted at 110°, five per cent, of methy-
lated spirit and from one-eighth to one-quarter grain of chrome alum per ounce
added. It is then filtered through swansdown, which, tied over one end of a
lamp-glass, Mr. England finds a useful filter. He recommended coating with
the emulsion at a temperature of 100-105°, and for drying, .said nothing
answered better than the drying box suggested by his father, Mr. W. England,
several years ago.
Most of the points mentioned in his address were demonstrated by Mr.
England, who was thanked by the meeting. A discussion took place, but no
new point of interest was elicited.
m
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
April 20,— Mr. E. J. Wall iWhe chair.
Messrs. F. B. Shaw and T. ' J. Honeylwume were elected members.
Determination ok Plate Speed.s.
The .adjourned discussion otrMr. G. F. Williams's paper was resumed by Mr.
A. Cowan, who read a reply thereto [see p. 262].
Mr. James Cadett said he had had an opportunity of reading Mr. Williams's
pai)er in print, which began with an attack on the Hurter & Driffield system
and finished with a personal attack on a platemaker, of which he (Jlr. Cadett)
did not know the true motive. Therefore perhaps Mr. Williams would say,
as there was a general idea that he was connected with the llford Company,
and had written in Plwlographic Scrapsas "Technique," whether he was in the
pay or the employ of any platemaker whatever, lie asked the <|uestion because
there seemed to some animus on Mr. Williaras'.s part Mr. Williams, in his
first paper, condemned the system, but in the second he altered his conclusion,
saying, "If these pLates " (the plates he had tried) "had ever been submitted to
an examination in an instrument of precision, such as we are led to lielieve the
Hurter & Drillicld modification of Bun.sen's photometer is, then I say, if the
system is right, the plates are WTong, and the examiners either do not under-
stand the system or have blundered. " It showed a very poor decision on Mr.
Williams's part if he was unable to decide where the fault was. If Mr.
Williams was uni>iassed, ho might have suggested that the apparattis was
wrong, or that some matter had upset the results which would not destroy the
theory. He had said elsewhere tliat he did not care to accept Uis (Mr.
Cadett's) challenge, knowing that the theories of both of them were so wide
apart, but- Mr. Williams had never given his view of the theory. Mr.
266
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 28, 1893
Williams said he did not believe the statement with regard to the densities, or
rather of the opacities, being proportional to the exposure, therefore the theory
was wrong. The whole theory of the system was that the opacities were
directly proportional to the intensities of the light that produced them. That
was either right or wrong, and if Mr. Williams said it was wrong, perhaps he
would tell them why. Mr. Williams had pointed out the admission of an
error on their part. It was true that in December he and Mr. Cowan had
admitted errors of twenty-five per cent, with the standard candle, but that
was stated in Dry Plates before Mr. Williams's paper appeared. As regards
what Mr. Driflield had said as to orthochromatic plates, he wished to qualify
what he had told them. He had made no systematic or exhaustive investiga-
tions on the subject. In the few instances of orthochromatic plates tested, he
had found the speed ascertained by candle to be confirmed in the camera.
Having complained of Mr. Williams's tone with reference to orthochromatic
plates, Mr. Cadett said he had not conveyed that orthochromatic plates were
not orthochromatic. They clearly were so. Last week at the Camera Club
Conference, he had attended Captain Abney's and Mr. H. M. Elder's lectures
on the speed of plates, and he was exceedingly pleased to find that they both
confirmed the general accuracy of the Hurter & Driffield system. Captain
Abney was a strong opponent of the system, but it was a pleasure to argue with
him. He (Mr. Cadett) could confirm what Mr. Cowan jiad said as to the
system being right. Mr. Williams said the system would probably be thrown
up. Mr. Williams was wrong. They wanted figures before them before they
gave it up. At the previous discussion Mr. A. C. Edwards remarked of the
two plates passed round by Mr. Williams, one of which was developed more
than the other, that any one could see that one had had a little more exposure
than the other, and asked wliy Mr. Williams should have forced it. Even
among two opponents of the Hurter & Driffield system, they found very con-
siderable divergence. With regard to the Warnerke system, there were two
reasons why it was not successful ; one was the practical dilficulties of making
the screen, and the next was that all those who used it found that if they
judged the exposure by the last few faint tints, it did not agree with the
camera tests. In Mr. Williams's tests he went for the last faiut tints and those
only. In using the screen we got into that very period of under-exposure
which Hurter & Driffield pointed out. We used to get into the habit of in-
cluding the last five figures, and try and judge by the row immediately pre-
ceding them. Messrs. Hurter & Driflield said that, theoretically, the point
chosen by them to indicate the speed of the plate was not the correct one ; it
was a sort of geometrical mean in the densities, but practically it would not
be easily found, so that they carried tlie line to the base, and made a constant.
Those who found fault with the figures in the Warnerke system were trying to
get at what Hurter k Driffield had got at. In testing plates to-day, they only
found a very small period of correct exposure, all the rest was either over or
under-exposure. The result was, that unless we took a range throughout the
speed, it was quite impossible to tell what the correct speed was. During the
last two days he had tried some foreign orthochromatic plates with regard to
the Hurter & Driffield system. He found that the period of under-exposure
was so enormous, that he practically got two straight lines in the two
cases.
Mr. W. K Debenham said that, with regard to the question of orthochro-
matic plates, the use of a candle was really equivalent to that of a screen ; the
light contained some blue, but it was very rich in yellow. If a plate was
found which bore the same proportion to candle-light and daylight, it should
not be called orthochromatic. Those who have affirmed that they find no
difference, should make some conclusive tests, and show them to be similar.
His impression was they would come out as from 4 to 10 : 1.
Mr. Cadbtt did not find that the orthochromatic plates he had tried were
very slow in the camera.
Mr. Cowan had cut two standardised plates in half, and taken two medium
and two instantaneous isochromatic plates. One of each three was exposed to
candle-light without any screen. Upon measuring, the ordinary plate came
out 1-15, the medium isochromatic I'l, the instantaneous -55, j>ractically
double the speed of the medium. Then he had exposed the other three, using
the yellow cap and the readings were respectively, '80, -775, -475, so that the
three plates practically kept then- same relative rapidity with the glass that
they did with the candle.
Mr. Cadett had witnessed measurements of orthochromatic plates by the
spectrum, when it was found that their sensitiveness to yellow had increased
500 times.
Mr. Debexham understood Mr. Cadett to say that he found the camera not
accurate. If by comparison with Hurter & Driftield's tests it was not accurate
then that system nmst be wrong. Mr. Cadett had sjjoken of the Warnerke
sensitometer giving incorrect results if we took the last few figures. On that
point Mr. W. K. Burton and he made some experiments several years ago,
proving that if the last few numbers on the Warnerke screen came very much
alike they ought to be disregarded, and that they ought to take the point
where there appeared to be a decided increase. Messrs. Hurter & Driflield
had done a very good thing in carrying that idea out, and showing where the
point of departure should come. As regards Mr. Cadett's question to Mr
Williams as to whether he wrote for Photographic Scraps as " Technique " he
would ask Mr. Williams in consideration of journalistic etiquette not to give
any reply to the question.
After some remarks from Mr. J. B. Spurge, who said he got the same shape
of curve with any system, and who promised to develop the subject of his
remarks on a future occasion,
^.r^,""' ■'^^•"'^'' Cowan read the following remarks on the subject :— In Mr
Williams s original paper he mentions that, "when the unreliability of
Warnerke s sensitometer became apjiarent, our plate-makers quickly relin-
quished the issue of plates bearing any actinometer or sensitometer number
and a pretty general return set in to using the old nomenclature, such as
ordinary, medium, instantaneous, drop-shutters," &c. And Mr. Williams
further remarks that the description given to their plates by makers of good
brands is such as probably fulfils all present requirements ; the name fiirly
indicates the speed, and in the absence of any reliable method is actually
preferable to misleading numbers. Now, I think that Mr. Williams if he
always made his exposures according to these names only, would find himself
more at sea than if he went by these numbers ; for to suppose that plates
issued as ordinary or special, or whatever title it may be, by different makers,
should of necessity be of the same speed, is out of the question, and, as has
been the case this last year, where plates of even the same brands have been
probably nearly doubled in speed. It is rather surprising that Mr. Williams
(who in the commencement of his original paper) regrets that in photography
we have no apparatus for the nicety of measurements such as we have in kindred
sciences, should be content to judge his results in an unscientific manner when
he can have at his command a system based on scientific principles, and
which has taken years of patient thought and experimenting to build up and give
as it was freely to the world for the advancement of the science of photography.
The fact that the conclusions arrived at by Messrs. Hurter & Driffield are at
variance with the ideas of Mr. Williams and other photographers does not of ne-
cessity in any way invalidate their system, any more than the old idea that the
earth was flat did not in the least alter the fact that it was round all the time.
And I hope in the same way we shall h.ive Mr. Williams, when he has gone more
carefully into Messrs. Hurter & Driffield's system, and worked it out for him-
self with the proper instruments, that he will find there is more in the prin-
ciple than he at present thinks. Mr. Williams, I suppose, will admit that for
every plate exposed, on whatever subject, there must be within the limits of the
plate and the subject some correct exposure, and I should think he would admit
that the more data that can be given to enable the operator to correctly judge that
exposure the more nearly will his result approach perfection. Mr. Williams
took objection to Messrs. Hurter & Driffield's photometer, and said that he
found that he could not read the same with precision within two or three
degrees. Claiming perhaps to have made as many readings with this in-
strument as any one, I must emphatically .say that, if readings cannot be
made within five per cent, of error, it is the fault of the operator, and
not the instrument ; only, of course, it cannot be expected tliat the
first time any one reads with an instrument of this sort that they can
at once master all the technical difficulties that have to be contended with,
any more than if we set a novice to weighing in a chemical balance, anil
expect him to do it off correctly at once. Mr. Williams will, I should
think, admit that when a new system is brought out, and a system which re-
quires a certain amount of experience to work, it is not to be expected that, at
the first go off everything is to be perfect. It must of necessity be a work of
time to find out and rectify any little difficulties that may be met with, and, if
any errors have occurred at the outset, they are surely not sufficient evidence
to bring forward against the system itself. Mr. Wilson mentioned that he
thought Messrs. H. & D.'s system was correct, within certain limits, but
that development and temperature might affect the result. It was for
this very reason we recognised the necessity that all who used this system
should work with a developer of fixed proportions for a fixed time and
at a fixed temperature, and we hope to be .ible in time to give a nu-
merical value corresponding to alterations in development and temperature.
But it must be understood that those who use this system and wish to work
to the same standard of speed should carry out all their tests under precisely
the same conditions. Dr. Hurter at the Camera Club very ably expressed in
the form of an equation the different factors which governed the negative or as
he expressed it, R the result.
R=I, L, T (S) D, t', (p.
He shows that R, the result, is governed by the following factors : —
First, the I or intensity of the light ;
T, time of action of that light ;
L, lens which reduced it on to the plate.
These for simplicity we may call (k) or exposure. Then we have the
speed of the plate (s) :—
(D), development ;
(<'), time of development ;
k, temperature of development.
. ■ . We have an equation,
R = E, (S), D, «, 0 ;
So that here we see Messrs. Hurter k Driffield do admit there is
control of the negative.
From this equation we know that, keeping all conditions the same, our result,
R, must be the same.
And therefore, to get always the same value for S, the speed of the plate, we
must keep the remaining factors constant. Then, when we know the speed of
the plate, we can find what alterations we can get in R, our result, when we
vary either E, D, t, or 0. So that here we have a very valuable stepping-
stone to enable us to estimate the value by different alterations in develop,
ment, temperature, etc., what we certainly did not have, before Messrs.
Hurter & Driffield gave their valuable discovery to the world.
Mr. P. Evekitt said that the difference of results which Mr. Williams had
noticed when compared with Messrs. Cadett and Cowan's might be largely due
to the manner of procedure. Mr. Williams, perhaps, had not been accustomed
to using Messrs. Hurter k Driffield's instruments, of which Messrs. Cadett and
Cowan had had extensive experience. Mr. Williams was in the position of a
man with a delicate chemical balance, who was used to weighing with a
chandler's-shop scales. A person who judged densities as Mr. Williams had
done was in that position. [Laughter.] They must also bear in mind that, if
the Hurter & Driflield system was based on the standard candle, it liad a
variable balance to work on. It did not militate against the system if the
results varied. The difference lay in the instruments used rather than in the
system.
Mr. Debenham remarked that if Mr. Everitt had been aware that Mr.
Williams was one of the earliest experinientei-s with rapid plates, he would
have withdrawn that observ.ation.
Mr. Everitt did not mean to make the observation with any personal intent.
Mr. Williams, in reply, said he felt he must not touch upon aU the subjects
raised, or they would not get away that night. As to Mr. Cowan's remarks
April s. 896
THE BRITISH JOUENAX, OF PHOTOtiRAPHY.
287
on the jury, what he (Mr. Williams) had said had been misunderstood. His
(Mr. Williams's) proposal was that the jury might be selected by those gentle-
men who wore in opposition to liim, and for them to nominate it He was
prepare<l to rejieat his experiments before that jury. Ho had not the slightest
doubt that there was a considerable number of olunders made iu the estimation
of the speed of plates. The only course open to him was to judge by the
jilates that came into bis hands. As regordi the orthochromatic part of his
paper, that was at his (Mr. Williams's) option. Mr. Cadett's remarks were
extremely weak. He (Mr. Williams) had spoken of crass ignorance or wilful
perversion, and he had not backed out of it, and did not mean to alter his
phraseology. Messrs. Hurler k Driffield's deGnition of a negative waa wrong
and incorrect, and it had been pointeil out to them. They had said that we had
no control over the ratios of densities, but they were climbing down. With
reference to their ten years' experiments, had we not known other people who
had given more time to subjects which have proved myths, such as perpetual
motion ? Mr. t'adett iu his remarks said that density and density alone is how
we must judj^e of the rapidity of plates. Ho (Mr. Williams) said they could
not judge of the rapidity of plates by their densities. As to the standard
candle, Mr. C!adett admitted its inaccuracy, and said he is investigating a light
himself. If the Hurter & DrilReld system was perfect, what was the necessity
for a further standard light ? If the system was correct, any uniform light
should do. Then as to the photometer ; probably not half a dozen gentlemen
present had used it, and could not know the difficulties there were in using it.
it waa extremely difficult to read densities by it, and you might arrive at any
conclusion you liked. Oae was likely to arrive at different conclusions every
time plates were measured, and bo too ready to adopt suggestions of any one
standing by. The instrument was about live inches in dimension in each
direction, and two paraffin lamps were used. It was extremely difficult to read
the densities with anything like an approach to accuracy, and after reading
them you had to plot them out on a chart [shown] and had to make a straight
line come somehow. Personally, he would rather rely on his own estimation.
His first articles in The Bkitjsh Journal of PHOTOORArnY had been pub-
lished because he was opposed to the principles of Hurter k Driffield's system,
and desired to investigate their investigations. He would answer Mr. Cadett's
question. He was not in the pay of any platemaker, nor had he been, and he
had no animus in the matter. His motives had been misunderstood. He had
a decided belief that the Hurter & Driffield theory was wrong, and tlie only way
open to him at the moment was, when he saw plates speeded by their method,
to test them. If they had been correct, he would have adopted the system.
He had found discrepancies of about sixty-five per cent. , and nothing was said
about that ; a great deal had been said about the ten per cent, on the two
plates he had shown, which proved that manufacturers themselves did not
agree on spoe<l. Probably nobody but Dr. Emerson was flabbergasted by the
Hurter & Driffield theory until plates speeded according to it were issued.
. After touching upon other points raised, Mr. Williams said that, if Mr. Ashley
Cowan would give the speed numbers correctly, he (Mr. Williams) would
adopt the system. He had heard a gentleman say that the Hurter & Driffield
method was good for the platemakers, because the users did not know whether
the speeds were right or wrong. In conclusion he said : — " I don't believe that
light is the sole controlling factor in producing a negative, or that density is
to be taken as an indication of rapidity ; or that the ratios are unaltered by
development, or that a candle is a suitable light when wishing to ascertain
daylight densitie.'s. When we buy plates, it is for exposing in the camera ; but
we must not judge of them ourselves, but submit them to this machine and
take Hurter & Driffield's speed ! "
Mr. Fhank i3isH0i' said it appeared to him that Mr. Williams's experiments
had been singularly unfortunate, as they had been made with plates that had
been admitted to have been wrong in speed, and therefore Mr. Williams's
arguments were wrong. His firm would give Mr. Williams six of their plates
ditfering in speed considerably, and the same batches should be given to
that Association for testing, and this would prove that the speed numbers were
right.
After other remarks, a vote of thanks was passed to Mr. Williams, and the
discussion terminated.
North London Photographic Society.— April 18, Mr. W. W.ilker in the
liair.— The Hon. Seckktary said that with the fixing bath of ordinary strength
lie did not find amidol-developed prints lose density, and he showed a print which
had been treated as follows : — After exposure the print had been cut into halves,
cine of which was developed with amidol and the other with eikonogen as
. qually as pcssible. The print being then cut into ciuarters, two of them, one
I'V each developer, were left in the fixing bath for half an hour, and the others
r one hour. After washing, the print was then mounted, and no sign of
"Iu -tion was apparent in any part. Mr. F. Hart then gave a demonstration
■ ■u The Chemical Treatment oj Prints after Fixinij. He said the treatment
referreil to had for its purpose the elimination of hyposulphite of soda from the
prints by chemical means instead of by the prolonged mechanical washing,
■vliich latter method was uncertain in bringing about the desired result, and
■■■nerally brought about an undesired result by deteriorating the brilliancy of
he prints. He had demonstrated his process to his fellow-members of the
society some years ago, but, in compliance with a request, he had jileasure in
■ringing it again before them ; the more so, as only recently had he ascertained
Its usefulness in the manipulation of the gelatino-chloride and bromide papers,
whi(!h had come into use in recent times. He had brought jirints on albu-
lueni.sed, developed bromide, and printing-out gelatino-chloride papers. After
fixing they had been washed in three changes of water, for two or three
minutes in each water. He had a bottle of the third washing water with him,
.^ liicli he would presently show was well charged with hypo. The tray into
.liicli he was now about to put the prints contained a solution composed of
t!iirty minims of his hypo eliminator (a special preparation of hypochlorite) to
ten ounces of water. An iodide test paper, prepared with iodide of potassium
and starch, (lipped into this bath, was coloured a deep blue, caused by the nro-
duction of iodide of starch. This paper, being then put into some of the third
washing water just mentioned, was deprived of the colour, showing the presence
of hyposuljihite of soda in tha water. The prints were then placed in the bath
for five minutes. A test pa)>er was not then ao deeply coloured by it as at
first, showing that the hypo in the prints had attacked the iodide in the solu-
tion, and rendered it less jiowerful to produce io<lide of starch. The bath was
then poured off and another of the same strength poured over the jirints, in
which they were left for another five minutes. A test paper then dipped into
this bath turned the same deep-blue tint as the one dipped into the fresh solu-
tion, showing that there was then no hypo left in the second bath. The prints
were then removed to a bath composefl of twenty minims of strong ammonia
to five ounces of water. The ammonia bath combines with the remaining
eliminator, and there are left small quantities of chloride of sodium, ammonium,
anil sulphate of soda only in the solution, which are all removed by the final
rinsings, and traces of which are of no more harm than the natural salts of
or<iinary tap water. After remaining in the ammonia bath for five minutes,
the albumen prints were rinsed in two or three changes of water, and were then
ready for mounting. The gelatine prints can be put into an oluni bith for a
short time before the final rinsings. The whole process takes about thirty
minutes. Mr. Bishop : The action of the hypo dissolves the unaltered chloride
of silver and produces a double hyposulphite of silver, which is redissolved by
the hypo, and is then perfectly soluble and can be washed out. 1 f instead of
washing out you eliminate the hypo which holds the silver in solution, it would
seem that the silver must be dropped iu the process, and this left in the print
would be deleterious. Mr. Hart : Not exactly so. The first action of the
hypo is to produce hyposuljihite of silver ; this, in presence of an excess of
sodium hyposulphite, forms the double hyposulphite of sodium and silver — a
siilt soluble in water. Now, in adding the eliminator, the hyjiosulphite is first
converted into sulphate, and the trace of silver into chloride in presence of
sodium chloride, and then the ammonia bath takes up the traces of silver
chloride which is cleared away in solution. Mr. Pabkitt : Under the ordinary
process of washing, is there no way of ascertaining if there is any hypo left in
the print ? Mr. Hart : You cannot very well arrive at it without destroying
the print ; you can test the washing water by letting the prints drip into
water, and then generate hydrogen from that by pure zinc and hydrochloric
acid, allowing the resulting hydrogen to impinge on lead paper. If the paper
is discoloured, you know you have sulphur coming off, and by inference the
solution contained sodium hyposulphite. Mr. Bishop usually tested the wash-
ing water with the permanganate of potash test. Mr. Hart : That is not a
delicate test, as any oxidisable organic matter found in water will act on the
permanganate. In answer to questions, Mr. Hart said that his process was a
safeguard against blisters, and that it could be used for negatives as well as for
prints. He had used it now for just upon thirty years with uniform success.
As a word of warning, in conclusion, he would say. When you know that your
print is free from hypo, see that the card you are going to mount it on, and
also the mouutant, are above suspicion.
North Middlesex Photographic Society.— April 24.— Mr. J. Matthews
read a paper on ySc^iiic/tirt^, dealing with the subject not so much from the
technical side as from the art point of view. He exhibited on the screen a num-
ber of slides from untouched negatives, and went fully into their defects,
showing how a high light should be strengthened here, a shadow toned down
there, and an unpleasant expression modified in another place, and then
showing another slide from the same negative, after retouching, from which
the practical value of the hints given could be seen. He stated, incidentally,
that he preferred Faber's pencils to work with, and found he could do all he
required with Nos. 2 and 3. He also went fully into the subject of matt var-
nishing and colouring on the back. The award for the best picture taken at
Strand-on-the-Green was gained by Mr. H. Smith, and that for Waltham
Abbey by Mr. S. E. Wall. The next meeting will be on May 8, when a
demonstration of the carbon process will be given by the Autotype Company.
Visitors are welcome.
Hackney Photographic Society.— April 18, Mr. J. 0. Grant in the chair.
— The Hon. Secretary invited members of the Society to join the new Central
Club. Mr. T. J. Jones was nominated for membership. From the question
box: " How to intensify an under-developed hydroquinone negative?" Mr.
S. Beckett said : "Use acidified mercury chloride, followed by cyanide of silver
and potassium. " The Chairman said he would use mercury chloride, followed
by ammonia ; had not found negatives fade. " How to strip a film without
enlarging?" The Hon. Secretary thought alum would prevent expansion
after stripping. Mr. R. Beckett suggested methylated spirit. Work was
then shown by Messrs. J. S. Beckett, R. Beckett, Sodeau, T. H. Smith, Moore,
Perry, Nunn, Dean, and Cross. Owing to some discussion having ensued at
the previous meeting respecting the jiower of getting density with amidol, Mr.
Sodeau was called upon to d emonstrate that density was easily obtainable.
"The Hon. Secretary had requested some negatives to be brought up, having
received varying exposures unknown to Mr. Sodeau, and the latter, with
amidol, used dry, and twenty per cent, sulphite soda solution speedily and
successfully obtained plenty of density. He said, in over-exposure he would
use more amidol, and advocated, too, the use of citrate of soda (twenty per cent,
solution), half-drachm to the ounce.
Putney Photographic Society. — Mr. H. Faulkner in the chair. — Mr. 8.
Herbert Fry delivered a lecture on the Sandell Plate. Mr. Fry .said it would
not be necessary to take up the time of the meeting by demonstrating the
development, as the process presented no special features as compared with
any ordinary plate. The " Sandell " plates were made of two Kinds, the
'■ General " and the " Especial," the former having two films, the latter three.
Each film was of a different .speed, the slowest being nearest the gLass in each
cose. For most purposes the " General " would meet all requirements; the
" Especial " wiis necessary only for very difficult subjects, such as dark
interiors, with windows opening on a bright light, where the shadows would
require exposures hundreds of times longer than the best lighted parts. In
manufacture the glass plates are first coated with an extremely thin film of the
slower emulsion, which is allowed to become quite dry before the rapid films
are added, each in turn being allowed to dry before the next is applied. The
films were thus not in chemical or even mechanical contact with each other.
Mr. Fry explained that the action of the films would be as follows :— The rapid
268
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 28, 1893
film would receive the first impression of the image throi;gh the lens ; in case
of prolonged exposure this lilm might be correctly exposed for the deepest
shadows, and more or less over-exposed for the other parts ; the developed
film would therefore show full detail and coiTect density for the shadows, the
other parts would show the usual symptoms of over-exposure, bemg practically
clear glass in the highest lights. Now, as regai-ds the second him. l-ach
being very thin, the light will penetrate the first and act on the second, and
the latter, being slower, will probably be about correctly exposed for the halt
tones : on development the shadows would be found to be nearly clear, .and
the sky probably somewhat lacking in density. To the third film somewhiit
less light will have penetrated, and, being slower than the others, aU parts ot
the surface except the high lights will be under-e.tposed, and therefore develop
up more or less as clear ghass, whereas the hi^'h lights will liave full density.
When the three films are now considered as a whole, it will be lound that the
resulting negative will have full detiiU in the shadows due to the fir.st film,
being backed in these places by the clear glass of the second and third. The
second film will give detail and density iu the half tones, the first helping it as
regards detail, and the third as to density in case of it having been perhaps a
little over-exposed. The tliird film will give the required density to the high
lights, the first and second having lost most of it owing to over-exposure, but
will, on the other hand, retain detail. Obviously, the two extremes to be
guai-ded against are exposures so short that the first film is not sufliciently
acted upon, or so excessively long that even the last film is over-exposed. The
first contingency is the most likely to happen, although it is claimed for the
plates that they are as rapid as any in the market. Over-exposure is almost
impossible, as the latitude with the triple iiud even witli double film is simply
enormous. As an example, it was mentioned in the course of the discussion
which followed the lecture, that three plates had been exposed by a member
of the Society on the same subject, one receiving one-twentieth, the other one,
and the third twenty seconds' exposure, the range being 400. The three plates
were developed in the same developer, and gave very presentable negatives.
Mr. Fry stated that, in modifying the developer, even this remarkable range
might be exceeded without materially afi'etting the resulting negatives. It
might at first siglit appear that there would be little or no advantage in using
these plates for very short exposures, as probably only the rapid outer film
might be brought into action. This was, however, not the case, as the entire
absence of halation gave a roundness and vigour to the image which could not
be obtained by any other plate to the same degree, even when backed in the
most efi'ective manner. In order to take full advantage of the qualities of the
plate, it was in contemplation to use so rapid an outer film as could not
possibly be worked on any ordinary plate, as such a film could not by itself be
made to give the necessary density by any known developer, the difficulty of
obtaining density being at present the obstacle which limits the speed of jilates
coated with only one emulsion. Mr. Fry gave the formula; sent out with the
plates, and remarked that they also appeared to work very well with others in
general use. The particular formula had certain advantages, among others
that it did not soil the hands ; it was well worth a trial, and he urged its
adoption. The development did not present any special features. It might
with advantage be carried on tentatively, starting with a somewhat weak
developer and increasing the strength as reciuired. By this method the top
film was kept free from fog, and progress could be more readily .judged. If
the develoiwr happened to be too active, the image on the fii'st film might Hash
up .and fog over as usual with over-exposure ; but this by no means meant th.at
the negative would be a thin or poor one. Development should be proceeded
with luitil the necessary density was obtained, and this could be judged by
transmitted light in the usual way, and the worst that would be found to have
ha])pened would be that the outer film might be slightly veiled over ; but this
_ would not artect the printing qualities of the negative in any other way than
" slightly retarding the ojieration. It was necess.ary to use a strong fixing bath
— eight ounces of hypo to the pint of water was recommended. Mr. Fry ex-
hibited specimen prints and some of the negatives from which they were taken,
both "General" and "Especial," and they fully bore out the claims made.
The interiors, many of which were taken under extremely trying conditions,
were entirely free from every trace of hal.ation ; full detail was given in the
deepest .shadows and highest lights, and the half-tones and gradation were
excellent. There was also a roundness and relief which .are too often absent
from prints from ordinary negatives. Snap-shots, showing people and animals
in rapid motion, yachting, wave studies and scenes from the seaside full of life
and animation, clearly .showed the capacity of the phates as regards speed ;
their sharpness proved beyond argument that the shutter had been used at a
high velocity, and their technical excellence was a tribute to the high character
of the other qualities of these plates.
South Lonaon Photographic Society. —April 17, Mr. H. G. Banks (Vice-
President) in the chair. — Mr. Moss reported that, in using Mr. Wamerke's
developer for gclatino-chloride paper, he found that xylonite dishes were
dis.solved by the acid, and at the same time discoloured the pictuies. Mr.
H. G. Banks exhibited a number of slides illustrating the scenery on the
Pennsylvania Railway. Mr. .lohn A. Hodges, President of the West London
Photographic Society, apologised for not being able, owing to an accident to
bis slides, to deliver Ids lecture on Nirrth Wales in its entirety, but
brought others illustrating other photographic fields. He opened his lecture
with views of north Somerset and north Devon. Dunster he considered to be
one of the finest places for jiliotographic work. After several views in the
village and district, he described the villages of Porlock, Lynmouth, and
Lynton, and introduced his hearers to the beauties of East Lyn about Water-
smelt and Rockford. llfracombe and Clovelly were also ■ illustrated. Mr.
Hodges reminded his hearers that it was not necessary to go far to get pictures.
He illustrated this by showing views of Hamptou Court, Kew Gardens,
8trand-on-the-Green, Kew, Burnhara Beeches, and Stoke Pogis, .and some
figure studies. Haddon Hall was next shown. The photographer was allowed
for a small fee of Is. to hire the keys of .all the doors there, and photograph to
his heart's content. Tlie Vale of Llangollen and Dolgelly contained some
very fine views, in which foliage predominated. He believed the secret of
taking such views successfully was to give a long exposure, and showed a view
that had had two minutes' exposure at/-2"2, the sun shining at the time. Bar-
mouth he recommended to them with not much time to spare, and was a
capital centre. Bettwj-y-coed .and neighbourhood received some attention.
In conclusion, Mr. Hodges suggested that Societies should join with each
other in their excursions.
Tooting Camera Club.— April 14, Mr. Anderson (President) in the chair. —
The report of the Sub-Committee, re headquarters, was re.ad to the General
Committee, and after some discussion it was decided to submit the matter to-
the ordinary meeting, which was done, and, after being thoroughly debated,
unanimously adopted ; so that, within a week or two, as soon as the necessary
alterations can be completed, tlie Club will be in exclusive possession of a large
meeting room cajiable of holding one hundred persons, a good-sized darkroom,
and a corridor fitted with shelving and containing plenty of room for lockers.
An adjoining fiat roof will also be found useful for printing and camera work,
as likewise the meeting room itself, being exceptionally well liglited. The
rooms will be at the service of the members at .all times. The same Sub-
committee, viz. : — Messrs. Beckett, Child, and DoUery, were asked and
undertook to carry out all the necessary arrangements. Messrs. Alexander,
Buchanan, C. Sorrell, and Nock were elected active members, and Messi-s.
Fraser, Mellhuish, Morden, and Newman honorary members, making a total
of eight new members for that night.
Croydon Camera Club. — April 19, debate, What is the best System of Judg-
ing! — This was opened by the President, and after a discussion, it appeared
that the opinions expressed were decidedly in favour of the mark system. The
medals awarded at the late Exhibition were presented to Messrs. White and
H.allum.
Greenwich Photographic Society. — April 5, Mr. W. Ellis, F.R.A.S., in
the chair. — Messrs. C. Churchill and G. S. Criswick were appointed delegates
to the affiliated photographic societies. Messrs. Graham, A. Haddon, T.
Lewis, and C. Churchill were appointed to form an excursion committee. Mr.
G. S. Criswick, F.R.A.S., then delivered a most interesting lecture on *';«r
Charting hii Photography, illustrated with lantern slides prepared by himself.
This apparently abstruse subject was treated so skilfully by Mr. Criswick that
it was of iiuit]ue interest to those present. It may be of interest to amateurs
and professionals alike to know that, for the stell.ar survey which is at present
being carried out, an aggregate of no less than 22,400 negatives will h.ave to be
supplied by the various observatories at work. At the close of Mr. Criswick's
lecture, a very hearty vote of thanks was accorded him. Mr. S. Herbert Fry
gave an exhibition of pictures taken on Sandell phates, which evoked con-
siderable discussion, Mr. A. Haddon jiroducing results obtained on ordinary
plates, by backing, which he justly claimed were quite equal to anything
turned out on Sandell plates.
Woolwich Photographic Society.- -April 13, Rev. S. Chettoe, M.A. (Presi-
dent), in the (-hair. —Mr. W. .Jolin Belton gave a successful demonstration on
the I'aijet Printing-Out Opals and Lantern Plates. He toned several plates
during the evening which were generally admired.
Ashton-under-Lyne Photographic Society.— April 13, Exliibition of Lan-
tern Slides. — A vote of thanks was given to Mr. Charles Lord for his iireaent
to the Society of a framed 20 x 14 enlargement of one of his Swiss views.
Ai'UiL 22. — The members of the Society, iiumberiug seventy ladies
and gentlemen, had their first ramble of the season, to JIarple. They
were met at the station by Mr. Joel Wainwright, a resident of that
delightful neighbourhood, who conducted the party, through private
grounds, to some of the oldest buildings, and most beautiful scenery,
for which Sharpie is noted. He made the ramble very interesting by Ids de-
scription of the places of historic interest, interspersed with much humour
and poetic language. The party took a great number of views, and finally
finished up the afternoon, by Mr. Wainwright's kind invitation, at his resi-
dence, " Finchwood," where he had provided tea .and other refreshments on
the lawn. After partaking of these good things, the party were photographed
in front of the house. There were thirty-six cameras in the company, and over
150 pl.ates were exposed during the afternoon.
Birmingham Photographic Society.— April 18, Mr. G. F. Lyndon in th
chair. — Five new members were elected. A set of slides lent by the Chelten
ham Society were shown. P>pecially fine were a series of interiors of Glon
cester Cathedral, beautifully chosen, and splendidly executed. A number o
hand-camera .seaside studies were also very good.
Derby Photographic Society.— April 18, Mr. A. B. Hamilton occupyin
the chair. — The Chairman .announced that two delegates were required for the
Photographic Society of Great Britain in connexion with the affiliation scheme.
Messrs. R. Keene and T. A. Scotton (Hon. Secretary) were elected. Mr. E.
Keene was then called upon to give a paper entitled A Six Days' Photographic
Tour through iJerbyshire. This tour took place between twenty and thirty
years ago, when photography was very much dift'erent from what it is at the
present day, the party having to take with them a huge cart, with rope
attachment, and which they had great difficulty in pulling about from i>lace
to place. Commencing .at Row.sley, where the Midl.and Railway then termi-
nated, the route taken was by Baslow, Eyani, H,athersage, Castleton, Miller's
Dale, and back to the starting-place. Mr. Keene had to illustrate his paper
by 170 lantern .slides, most of which had been taken on this excursion. 'I'hese
were very beautiful examples of his work. Mr. C. B. Keene officiated at the
lantern.
Gosport Photographic Society.— April 11, Mr. T. E. Williams, Vice-
President, occupied the chair. Mr. R. E. Froude read a paper on Sxperkuces
of a Kodak with Cii/Uinuoi's Films.
Newark Camera Club (Newark, N.J.).— April 10.— The following Oflicer.s
were elected for the ensuing year: — President: Mr. Thomas A. Hine.— ^;■■>•-
/'re.sirf(■wi.■ Mr. J. M. Fooie.— li.eecutive Committee : Messrs. William Archil M
Harry W. Smith. WdlhamA. Uahsey, Charles Laroy, Frank S. Olds, A. C. Jliii'
H. C. ilcDougall, J. M. Foote, Fred A. Sa\i\u:U.— Treasurer : Mr. C. G. U:.
— Secretary : Mr. D. S. Plumb.
AprU 28, 1898]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
Newcastle-on-Tyne Photographic ABSoclatlon.— A monthly meeting of
tho Ncwcustle-oiiTviio ami Nortlieni Counties rhoto);rai>hio Association was
hfhl on April 11 in'tlie Min'ting-rooni of the Art Gallery, Newcastle. Mr. II.
0. Uiilgeway ( Vioe-Presiilent) was in the chair, anil there was a large attendance
of members. — The outdoor meetings for the present year were ti.Ked as follows : —
Hay, Stawanl-le-Pcel : June, Fountains Abbey ; July, Kichmond ; August,
Alnwick ; September, Soaton Sluice and Seaton Delaval. Mr. William Pabbv
reail a iiajier on jietoitchin;/, and a discussion followed.
Rotherham Photogrraphlc Boolety.— April 11, Dr. Baldwin (President) in
tlie chair.— Thr«e new members were elected. Mr. Leadbeator (Treasurer), in
n pajwr on hand cameras, considered such apparatus as the premier plate
spoiler, .and said he should lilie information as to the proportion of really good
negatives out of total plates exposed. When understood, the hand camera
was a most interesting ami enjoyable companion, and had been one of the best
advertisers of modern jjhotography. Hints on construction and use of hand
cameras, and also on plate and lilm development, were given.
Society of Amatenr Photographers of New York.— April 11.— The
following Ollii'.crs and Directors were elected for the ensuing year. President :
Mr. K. A. B. Dayton. — Vice-PrcsUUnt : Mr. L. B. Schram. — Directors;
Messrs. C. Van Brunt, K. L. Bracklow, R. H. Lawrence, F. C. Elger, K.
Warrin, H. S. Mack, H. A. Smith, A. P. Schoen. — Treasurer: Mr. C. C.
Uinimage.— Rccuci/i.'/ifl' Secretary .Mr. T. J. Burton. —Co rrospo/uiinj Secretary :
Mr. W. F. UxpgooA.— Secretary : Mr. T. J. Burton.
FORTHCOMING EXHIBITIONS.
April 28 29 "Crystal Palace. The Executive, Crystal Palace, S.E.
2S-29 "Photographic Society of Philadelphia. Hon. Secretary,
R. S. Rediield, 1601, Callowhai-street, Philadelphia,
U.S.A.
May 4-6 . ... "Forfarshire Photographic Association. Hon. Secretary,
W. J. Anckorn, West Port, Arbroath, N.B.
* Signifies that there are open classes.
«
iE.TCtjangc Otolumn-
*»* No charge is viade Jor inseding Exchanges of Ai}paratns in this column;
but none icill he inserted unless the article wanted is defimtehj stated. Those
tciw specify their requirements as 'Uuiythdng useful" loill therejore understand
tiie reason of their non-appearance. The full navie of the advertiser must
in all cases be given for publication^ otherwise iJie Exchanges will not he
inserted. •
Excluinire Morif au's multiplex baoki^Tonnd fur stadio accessorios, cliiltlren's principally.
— Addru.^s, Paekisson, photograpliur, Warrington.
KM'lian;:!; cabinet roUiuf; macluno. j>liito tjla&a bed, for trood cabinet lens, background,
or studio came i-a.— Address, C. H. Hatch, Alderley Edge.
Wanted, balf-plate camera, McKollen or similar pattern, in exchange for Marion's
emljossinff press complete.— Addi-ess, W. H. Humt, 73, Trafalj^-road, Peck-
ham, B.E.
Wanted, 12 x 10 camera lens, modern make ^lobe enameller, stereoscopic ontfit or hand
camera. Excbaniro tricycle by Singer &, Co., Coventry, almost new. — Address, J.
^BTOV Brioos, ^Vliitby.
Exchange tricyle, Boeston Hnmber, worth 51. or 61., for 10x8, 12x10, or hand
camei-u; machine in good condition, and eaey driver. — Addreas, B. H. Bltth,
pUotograpUor, Ilfracombe.
Wanted, good wholo-plate field camera, reversible back, with three or six slides, case
and stand, in exchange for 10x8 camera (Fallowfiolds) and two slides. DifCerence
cash.— Address, Whitk, High-street, Lejvisham.
Will exchange quarter-plate camera, Ktnuear pattern, latest improvement, three
doable slides, three foldinir tripod, for half-plate camera, Kiunear pattern, and
three double slides, and tripod iu good condition, approval.— Address, J. E. Suitii,
Little London, Rawdon, near Leeds, Yorks,
Corre^poniyence.
Corrtjspondeuts should never write on both sides oj the paptr. ^o notice is tcJun
of communications unless the names and addresses of tliv tenters are given.
MB. TEAPE AND THE SANDELL PLATES.
To the Editob.
Sin, — Keterring to Mr. Teape's letter in your last issue, I am glad to
note that he continues to find the "Sandell" plates less subject to
halation than the other plate against which he tested it. We are at
one upon that head, and when my critic consents to abandon the pseudo-
scientitic or magnesium - wire method of testing, and instead makes
negatives upon the plates, for which purpose they are intended, I think
we shall be in accord again in tho finding that for all practical purposes a
multiple film gets rid of the defect of halation. There is no test so con-
vincing, and 1 may add so useful, as the test of making a negative upon
the plate under trial. There is none so liable to mislead as the semi-
scientific test. But, whatever test be adopted, development should be
effected so as to make the best of each competing plate.
Begarding the " tentative " development, I am quite doubtful whether
Mr. Teape and I mean the same thing. Sixty-five minutes, as mentioned
in his letter, ig slow development, not tentative. By tentative dovclup-
ment I mean tliat I begin with a sufficiently weak and rcstrainod solution,
which I gradually increase in energy by adding a concentrated developer,
and I take care to only make the solution sulllciently energetic to produce
an image of proper density. This will never take more than ouc-thixd
the time quoted by Mr. Teape, and seldom so long.
I do not think I need trespass further upon your space. Kr. Teape
concedes all I ask, viz., that the multiple film gives less halation than a
single film. It is therefore a step in the direction of progress. — I am,
yours, &c., S. Hekuekt Fry.
April 24, 1893.
To the Editob.
Bib, — In reference to Mr. Teape's letter in your last issue, you will
perhaps allow me to make an observation or two. I have not the pleasure
of Mr. Teape's acquaintance, therefore do not know what measure of
accuracy to expect from him ; but I must beg of him, in again quoting or
experimenting with " Sandell " or any other make of plates, to be some-
what more specific in his description. He should have known, I think,
that " Sandell " does not sufficiently describe tbe plate when spoken of in
connexion with halation experiments. Would he think me honest if, in
writing or speaking of Messrs. Wratten's plates at a Society meeting, I
asserted they were not rapid on the strength of exposures made on their
" ordinary " plate ? There is far too much of this culpable carelessness
cuirent, sir. The offenders forget their words appear in print and are
liable to befool a greater circle than their immediate listeners. — I am,
yours, &o., J. T. Sasdeli..
Thornton Heath, April 24, 1893.
[We can so readily testify to Mr. Teape's care and fairness as an
experimentalist that we are sure he would be the last to willingly convey
a conscious inaccuracy. The correspondence here terminates. — Ed.]
ABT IN PHOTOGEAPHY.
To the Editor.
Bm, — Last week's edition of this Joubmal, contains, under the heading
" On Things in General," the following two questions : — " If there is no
fine art in photography, how is it that it is possible to produce by photo-
graphy a scene, a view, or a representation that no artist can tell by
simple inspection whether it is an engraving in one class, or a sepia or
monochrome painting in another ? Secondly, if a painter of repute took
pains to learn photography, would or would not some of his results be
more artistic tlian those of the photographer with no art education ?"
In answer of the first question I say that, in about thirty years, the
time I am connected with photography, I never have seen a pliotograph
which could not be recognised as such, or mistaken by an artist for an
engraving, or a sepia, or monochrome painting.
To the second query I reply that, by arrangement, by posing, Ac, an
artist would be able to improve a representation, but would never be able
to make photo/iraphy more artistic than a photographer without art
education. — I am, yours, &c., F. B.
SUGGESTIONS FOB AN EXPEEIMENT.
To the Editor.
Sib, — If it has not yet been tried and reported upon, I beg to suggest
an experiment which may prove interesting, and perhaps instructive, to
users of dry plates.
Take two plates, coated one with slow, the other with rapid emulsion.
Place them in contact, film to film ; expose, as follows, in the camera,
under conditions similar to what would be used for a Sandell plate : —
{a) Present glass side of rapid plate for exposure.
(6) With a second couple expose glass side of slow plate.
(c) After exposure, sepaiate the plates and develop.
A further variation might be made by using three plates on thin glass
— or, better still, three celluloid films — coated each with a different emul-
sion, slow, medium, and rapid, tho medium being sandwiched between
the other two. Experiments could also be made with orthochromatio
plates.
I have not myself the time at present to make experiments, bat I
throw out the above suggestion for others to use if they see fit, and trust
they will give the photographic fraternity the benefit of any knowledge
acquired. — ^I am, yours, &o., Duncan C. Da
5, Furnival-street, London, E.G., April 15, 1893.
DETERMINATION OF THE SPEED OF PLATES.
To the Editor.
Sib, — The above gives such a lot of jottings that I look in vain for »
critique to the point from " Cosmos." I prepared my own dry plates at
270
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 28, 1893
home for five years (5 lb. a batch), therefore know from experience that
fresh plates are more sensitive than older ones. The difference in the
first two or three weeks is sometimes remarkable ; there is also a dit-
:ference in the plates first coated and those done last, also each corner of
the drying room imparts a different character to the plate. Well, I can't
■see the way out of the dilemma— that a once tested plate is condemned
to bear the once given test numbers. Kindly excuse one who only
axpects possibilities, and is content to remain-^ Yours, (fee,
Apnl 21, 1893. Audacious Opbbatob.
To the Editob.
Sib,— In their article in this week's British Journai, of Photoobapht,
Messrs. Hurler & Driffield write that, after making five experiments, I
have satisfied myself that all their hundreds of experiments go for
-nothing, and that their conclusions are erroneous. That, however, is far
from being a correct description of the opinions I have formed. Messrs.
Hurter & Driffield's investigations covered a wide field, and they have
done a service to photography which I should be the last to underrate.
They have investigated matters which badly need elucidation, and have
made an excellent beginning towards placing on true scientific bases such
matters as the connexion between exposure and density, ifec. I may add
also that I fully appreciate the value of Messrs. Hurter & Driffield's
system of experimenting, and have not hesitated to employ it in my
recent experiments. Their original paper described almost the first
attempt to make ma'tters clear in the branch of photographic science
dealt with, and it has been a most valuable contribution towards that
■end ; but it is very improbable that every conclusion which the two
experimenters arrived at, in a new and difficult line of investigation, will
prove to be beyond criticism, and it would be but a poor compliment to
ihem if photographers simply swallowed the paper as a whole, and
abstained from pointing out what appeared to be doubtful features in the
reasoning, or felt any hesitation in otherwise testing their results. After
carefully studying their paper, my greatest doubts have been, firstly, in
regard to certain theoretical questions on which there was some discus-
sion last year in The British Journal of Photography ; and, secondly,
as to the correctness of some of their conclusions on what they consider
a matter of secondary importance, viz., the influence of development.
Their conclusions on that subject are laid down very broadly in the
original paper, and quite without qualification. They claim to have
shown conclusively that in development the photographer has " no
control whatever over the gradations of the negative," and the following
expressions occur in the paper :^" The ratio of densities is given by light
alone, and is not affected by time of development." " This ratio we find
is altogether unalterable." " These experiments all confirm the state-
ment that the gradations of a negative as expressed by the ratios of the
densities, are independent of time of development, cannot be effected by
alterations in the composition of developers, and are almost identically
the same whatever developer is employed." Now, these are opinions
which I believe my experiments have shown will require serious modifi-
cation. In fact, Messrs. Hurter & Driffield scarcely seem to insist that
the ratios are independent of the time of development, but admit the
existence of a "lagging stage," and only express the opinion that, after
sufficiently prolonged development, their principles will be found in all
cases to apply. That may be, but how can it now be maintained that the
ratios are " independent of the time of development ? "
The principal subject which engaged my attention in my recent ex-
periments (four out of the five being wholly directed to it, except that the
effect of time of development on gradation was in one instance examined)
was a comparison of the action of two pyro developers of widely different
composition, and I found in every case that there were very great dif-
ferences between the gradations produced by one developer as compared
with those produced by the other. In the fifth experiment the actions of
several species of developers, mixed in normal proportions, were com-
pared, and, as I implied in the article, did not show results which
differed very greatly from what might have been expected on Messrs.
Hurter & Driffield's principles; but, as my object was not that of " simply
opposing their views at all hazards," I thought I ought to publish an
account of the experiment, as any results which help us towards forming
correct opinions on these matters are not without value. I certainly
expressed an opinion that, on other plates than the " Ilford Ordinary,"
greater variation in results might possibly be shown, and that opinion is
now greatly strengthened, owing to an advertisement in yesterday's
British Journai, of Photography, in which Messrs. Marion & Co.
announce that, in the case of two of the developers experimented with,
viz., eikonogen and amidol, it is found that their plates require less than
normal exposure, and that the actinograph number may be taken from
one-third to one-half higher when those (among other) developers are
employed. There is a trifling misprint in my article which it may be
well to mention. In summing up the conclusions I had formed, I wrote
— or intended to write — " On the whole, the experiments show," &c.,
but the last two words are printed, " experiment shows," making it
appear that I was referring only to plate E.
My previous remarks will, perhaps, explain why I do not find the first
table given by Messrs. Hurter & Driffield, in their last article, very in-
■structive. I have described experiments made almost solely for the
purpose of comparing the action of two developers, and they give a table
in which is compared the densities of all the strips developed with (me
only of the mixtures, simply showing that strips which have had similar
treatment have similar gradation ; there are also added the densities of
the strips produced in an experiment on which I had laid very little
stress, and Messrs. Hurter & Driffield consider that the ratios of the
gradations of all the strips agree fairly well. Considering, however, that
the figures on the first line vary between thirteen per cent, and thirty per
cent., and also that there is great irregularity in the amount of reversal, I
do not see much evidence of uniformity in the gradation. The sources of
error mentioned by Messrs. Hurter & Driffield might, of course, account
for great differences in gradation between strips cut from different plates,
especially as it was never intended, when making the experiments, that
the strips used in one should be compared with those of another, but
such differences might tell either way.
To return to my article, I think any reader of it who compares the
results given by developer No. 1 with those of No. 2, or examines the
various ratios of plate D, will admit that gradation — at any rate, over a
wide range — may be much infiuenoed by the method of development, and
if so, the statements given in Messrs. Hurter & Driffield's original paper
require modification. In fact, these principles already appear to be
undergoing modification. We now have the idea accepted that a
"lagging stage" exists, and that being admitted, it is clear it can be no
longer maintained that the alterations in density which occur during the
progress of development may, as stated in the paper, be accurately
represented by simply giving successively increased values to the factor y
of Messrs. Hurter & Driffield's two formulte. It really appears to be
scarcely contested that gradation over a wide scale of exposures may be
modified, but it is doubted whether any alteration can be made by means
of development in the small range constituting the " period of correct
representation." To settle that point, as I stated in my article, far more
elaborate experiments than mine would be necessary, and I do not think
the published experiments of Messrs. Hurter & Driffield dispose of the
question ; but it seems improbable that that part of the scale, and that
only, should be invariable in the ratio of its gradations. In any case,
other parts of the scale are also interesting, for those " extraordinary "
photographers who sometimes make errors in exposure are, I believe, far
more numerous than Messrs. Hurter & Driffield appear to suppose, and
it is important to most of us to find how we can obtain the best possible
results on a wrongly exposed plate. I am sure, at any rate, it is to hand-
camera workers. The experiments which Messrs. Hurter & Driffield
intend to make as to correcting under or over-exposure will certainly,
like all others of theirs, be very interesting.
My supposed oversight in describing the No. 1 mixture as excellently
suited for developing under-exposed negatives, and not noticing that
others which I had used were equally good (a questionable point), may
be easily explained. My statement was not that it was excellent for the
purpose, but that it was far superior to No. 2, a point on which there can
hardly be a difference of opinion. The proposed method of saving a
much over-exposed plate by stopping the development at an early stage
and afterwards intensifying, is regarded by Messrs. Hurter & Driffield as
an impossible one, because the intensification would, at most, only
double the densities, and that in the instance given would be an in-
sufficient increase ; but they overlook the fact that, as Mr. Chapman
Jones has recently pointed out, the process may be repeated more than
once. There is also another possible alternative, viz., reproduction of
the negative.
In conclusion, I may say that my state of despair is not quite so deep
as Messrs. Hurter & Driffield suppose, and in writing that development
seemed likely to remain a mere rule-of-thumb matter, I did not mean
that I was without hope of that unsatisfactory state of things being at
last remedied. That hope is much strengthened by learning that Messrs.
Hurter & Driffield will endeavour to come to the rescue, and are not
therefore deterred, as I feared they would be, from further investigations
by the belief that nothing more remained to be discovered. They are
not, I presume then, still of opinion that nothing can be changed by
varying the composition of the developer, or time of development, except
the value of the simple factor y. — I am, yours, etc., H. J. Channon.
li'oodlands, Lewisham, S.E., April 22, 1893.
THE TOOTING CAMERA CLUB.
To the Editor.
Sir, — I think that it is my duty to call the special attention of photo-
graphers who may reside in the neighbourhood of Balham, Streathara,
Wandsworth, &o., to the announcement made in this week's report of the
Tooting Camera Club, viz., tliat we shall hereafter have our own meeting
and dark rooms, situated in High -street. Tooting (near the tram terminus),
being both central and convenient of access.
Few of the London clubs have the same facilities as we shall soon be in
possession of, and photographers who would like to share the same, but
are unacquainted with any of our members, should write to me at the
undermentioned address. — I am, yours, etc., J. F. Chuj), Hon. Scl:
Harzville, Leigham Valley-road, Streathavu
April 28, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
271
"OPEN HOUSE."
To the Editob.
F Sir,— The Society of Amateur Photographers of New York desire to
extend the lioapitality and use of their rooms to all amateur photo-
graphers who intend visiting the World's Fair at Chicago, and who will
pass through New York daring the coming summer.— I am, yours, Ac,
T. J. Bdbton, Secretary.
Society of Amateur Photographert of New York, 113, West
Thirly-eighthstreet, New York, April 15, 1893.
" MUTATO NOMINE," Ac.
To the Editob.
Sir,— The following fragment of a fable which has come into my
possession may, at the present moment, interest a portion of your
readers.
Tire KiKQ AND His Puts.
"There once lived a good-natured king who delighted to entertain all the
.-mirnals which roamed around his palace ; so from time to time he in tiun
invited them to his mighty dwelling-place, and feasted them right royally with
rare viands, garnisiied with silver and with gold. And all were exceeding glad,
except some of a very wonderful sort that mostly went on three legs and had
each but one eye. These, having for a while enjoyed full share of the good
fare, yearned for still better, and, moreover, they became wroth and forward
that they were not, while in his glittering palace, even as was the king himself.
And so, said they, ' although it he garnished with gold and silver, we will not
eat of his food unless he bow the knee to us.' Therefore they stayed without in
the wilderness, and, a blight falling upon the land, the fruits of the earth were
scanty, and it came about that "
Most provokingly the MS. breaks off at the most interesting part.
Your readers may, however, possibly find profitable entertainment in
trying to supply the missing words. — I am, yours, &c.,
HeCIOB MACLKAlf.
34 Newmount-road, Croydon, April 18, 1893.
gelatino-chloride versus albumen.
To the Editor.
Sib, — My experiences with the gelatino-chloride papers are as follows
— I find no difficulty in the manipulation up to the finishing of the prints ;
I then find the surface has such an affinity for specks and dirt adhering
to it, that it takes much longer time to touch and finish up than albu-
menised paper ; but any speck is easier removed with spirits of wine than
water, which destroy the surface. With a bar burnisher it is impossible
to avoid spoiling some cards, as they get scraped like enclosed copy — not
the ordinary " scratch." This alone makes me throw the paper aside
meantime.
With the gelatino-chloride papers I obtain a more brilliant print from
a negative if wanting in contrast or density than with alhumenised paper.
That is the only advantage I find unless there is any on the score of
permanence, which time will tell.
I have also used the ready-sensitised paper to some extent. The great
drawback to it is the rapidity with which the prints spoil that is made on
it. The same mottled marking soon appears on the print that shows on
the paper when it is kept any time and printed. The mottling more
readily develops when prints are put in a show-case, or where they have
a chance of damp and are soon spoiled.
I think there is nothing yet to beat the " home-prepared " alhumenised
paper for good results.
I have carefully read all that has been written on printing papers in
the Journal, and would be glad to see more on the subject from workers.
I only write in the interests of the profession. — I am, yours, il'c,
April 20, 1893. B. B.
[Experienced workers do not find any difficulties with gelatino-
chloride papers such as those met with by our correspondent ; but,
for the benefit of professional photographers, we should be glad to
• .pen our columns to an exchange of views on the subject. — Ed.J
BEABD'S BEOULATOB.
To the Editob,
Sib, — I regret that I cannot answer Mr. Walker's questions regarding
Beard's regulator, as I have no recollection of its structure, unless it WM
the one that got a medal at Falmouth a number of years ago. It had a
spindle through a flexible diaphragm. There was a weight on the top of
spindle, and a valve at its lower end. It was almost a facsimile of one
that a Mr. Broughton, of Fountainbridge, near Edinburgh, had patented
many years previously. They were used for some time on the street
lamps in Glasgow. Beforo|taking out a patent for my regulator, I satisfied
myself that tie keyed cock was superior to a valve, as the former will
last a lifetime.
Regarding the anti-friction cock, although I have them on the apparatus
I use myself, it is not patented yet, although I have got permission that
they may be used wherever the Glasgow is used. I will send Mr. Walker
a drawing when I get it patented. — I am, yours, ic,
Airdrie, April 24, 1893. WnjJtAM Bibbbll.
AMIDOL.
To the Editor.
Sir, — Will you kindly allow me space in your next issue to reply very
briefly to a remark by "Cosmos" in last week's "Jottings" respecting
amidol.
He refers to a statement by Mr. Peal, of Ealing, that exposure can be
reduced two-thirds the usual duration if amidol is used to develop, and
asks for experimental evidence in support of that statement.
Mr. Peal will, doubtless, answer for himself, and I must offer him my
apologies for attempting to reply to a question addressed directly to him ;
but, as I have publicly for several months been making an identical claim
on behalf of amidol, I may, perhaps, be excused for interfering in the
matter.
Having had a fairly extensive experience of the properties of amidol, I
can fully confirm Mr. Peal's opinion, and have also had confirmation of
the statement from several professional photographers in various parts of
the country who have taken up amidol in preference to pyro. To put
the matter simply, the claim for amidol is that, if under ordinary con-
ditions the necessary exposure (using pyro) is, say, three seconds, an.
exposure of one second will give an equally good result if amidol is used
to develop.
You can do it, " Cosmos," but don't take my word for it ; give it a fair
trial, and report the result. — I am, yours, *c., L. E. Morgan.
IT, I'hilpot-lane, London, E.G., April 25, 1893.
sanstoew to OTorresponTienig.
,* All matters intended for the text portion of this Jocbnal, including
queries and Exchanges, must he addressed to " The Editor, The British
Journal of Photography," 2, York-street, Covent Garden, London, In-
attention to this ensures delay.
»* Correspondents are informed that we cannot undertake to answer com-
munications through the post,
»* Communications relating to Advertisements and general business affairs
should be addressed to Messrs. Henry Greenwood k Co., 2 York-street,
Covent Garden, London.
Photooraph Ekqistered :
Abraham Flatters, 6 Pen^haw.-
-Thiriy photographs of cotton fibre.
THE CAMERA. CLUB PAPEBS.
To the Editor.
Sin, — As from comments in your valuable Journal there appears to he
some misunderstanding in regard to the publication of papers read at the
Camera Club, will you kindly allow me to state that, although all rights
are reserved as regards copying, the public are not debarred from access
to the papers, inasmuch as the full Conference Journal will be published
by Jlessrs. Harrison & Sons as usual, and all important papers from the
ordinary monthly issues of the Club Journal will be issued separately in
pamphlet form (by the same publishers) available far subscribers. — I am,
yours, etc., G. Davison, /Zon. Sec.
Camera Club, Charing Croes-road, W.C, April 24, 1893.
RuDD & Co.— The Convention group at Edinburgh was taken by an Optimus
rapid rectilinear.
" Dry Plates " for April contains an article by Mr. Cadett on " The Fixing
Bath " of much practical value.
R. Childs. — The formula for the caramel backing solution is given at page 221
of the Journal for April 7.
Rocks.— It appears tons that the bottom of the picture is so poorly lighted
that it is under-exposed. Could you not manage to throw a little more
direct or reflected light upon it ?
W. E. W. — Either the prints were developed with iron which was not
removed, or they were acid when placed in the fixing bath. Anyhow, they
show want of care in the manipulations.
J. Gbaha-m. — 1. We are of opinion that the combined bath will yield quite aa
permanent prints as the other. 2. Tlie lens you mention will answer well
for architectural work in addition to the other properties.
Staffs. — Unless you have made the views copyright in the usual way, you
have no redress against the lithographic piracies "made in Germany. ' If
you had a copyright, you could proceed against any one selling the piracies.
T. R. (Bombay). — A difficulty is frequently experienced in obtaining density
in some brands of extra-rapid plates. But by increasing the proportion of
pyro considerably, and slightly the bromide, the trouble can generally bo
surinouuted.
272
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[April 28, 1893
X. Y. Z.— We think that by substitutiug for the small lens C a triple achro-
matic, such as is empleyed as an eye-piece in the better class of opera and
field glasses, there would not be any fringes of colour apparent. It would
be worth while trying this.
B. K. C— We are uncertain as to the nature of the effects desired to be produced,
therefore cannot aid you. Bearing in mind, however, that the angles of inci-
dence and of reflection are equal, you will be enabled to construct a multiple
reflector, if it be this at whicli you aim.
D. E. GODDARD.— This week's report of the London and Provincial Photo-
graphic j\ssociatiou's meeting, and Mr. Cowan's paper in reply to Mr.
Williams, published in another part of the Jockxai., continue the subject of
the detennination of plate speeds.
J. P.— The markings on the negative look like hypo, which has recrystallised
out through imperfect washing. You might try the effect of removing the
varnish with alcohol, and of reflxing in strong hypo, but we are not very
hopeful that the negative could be saved in that or any way.
E. E. C. (Innsbruck).— So far as one can judge from tlie print, the negatives are
much over-exposed. If all hare received approximately the same exposure,
treat them as being over-exposed when developing. Evidently the Alpine
light has misled you. Still, with care, the negatives need not be lost.
Oktho. — Instead of seeking for one of the aniline colours for giving to the
prints the apjiearauce of old engravings on Indian paper, try the effect of a
decoction of coifee, strength according to the tint desired. None of the coal-
tar colours occur to our mind at the moment that would answer so well as
the coffee.
Tissue. — When the bichromate bath becomes discoloured and frothy, as you
describe it, it should be discarded and a new one made. It is not necessary
to strengthen it as in the case of a silver bath, neither is it desirable to
use the bath until it becomes in the state referred to. Bichromate of potash
is cheap enough.
H. Wade. — 1. The simplest way to add to the density of carbon transparencies
is to treat them with a solution of permanganate of potash — say, ten grains
to the ounce of water. 2. See .answer to R. Fortune. 3. The ordinary
sp.lphate of copper of commerce is the kind emijloyed in making the bath for
electro deposition.
B. Browx, M.D. — In your preliminary experiments, confine yourself to low
powers, say an inch or an inch and a half. The arrangement of the apparatus,
a.s shown in the sketch, cannot be improved upon. Do not attempt objects
with much colour till some little insight on the work has been gained.
" Ordinary " plates to begin with.
W. E. Patehson. — There may be two reasons why the enamel collodion dries
with a crapy texture : First, the employment of a pjTOxyline of an unsuit-
able kind; second, using solvents containing too large a proportion of
water — i.e., not strong enough. With a suitable sample of pyroxyline, and
methylated ether of s.g. -715 or 720, and methylated alcohol of66o.p., a good
collodion for enamelling paper prints will be obtained. For this purpose the
presence of the mineral naphtha will do no harm.
M. L. — 1. AH the processes mentioned are capable of giving good results. As
you have failed with them, you might employ the plan of placing a mirror at
an angle of 45°with the lens when taking the negative. 2. The Kallitype
process has answered well for portraits in this country. 3. Schirm'.s Hash-
lamp may, we believe, be obtained from Mr. Remain Talbot, Berlin, 4. Mr.
Slingsby, of Lincoln, and many other portrait pliotographers, employ the
flashlight very successfully in the .studio. Messrs. Marion & Co. will supply
you with information on the subject.
J. HiBiis. — Steel facing of copper plate is an electrotyping process, and its
object is to enable a larger number of fine impressions to be obtained from
the plate than could be obtained from the bare copper. In fact, by this
H process, the copper plate becomes almost everlasting. A coating of iron of
extreme thinness and great hardness is deposited on the engraved plate,
which prevents wear of the copi:ier in printing. When the iron shows signs
of wearing through, the coating can be taken off, leaving the copper in its
original condition, and a new one deposited as at first.
T. 0. J. says : " Can you tell me of anything that I can add to a solution of
gum Arabic, which my hands use for spotting prints, that will keep it from
becoming sour. I know that carbolic acid will answer the purpose, and I am
using it, but the girls complain that they cannot use the lips for drawing
the brush to a point with that in it." — A small ])roportion of alcohol will
answer quite as well, and it will make the mucilage more palatable. Methy-
lated spirit will answer, but perhaps young ladies will protest against its
use. Anyhow, a very small proportion of the pure spirit will .suflice.
C. Macek asks if the electric light, arc light, can be used for printing on the
Ilford Printing-out paper ; and, if so, what would the exposure be ? — The
light could be used, but it would necessarily make the printing very ex-
pensive in comparison with daylight, which costs nothing. Tlie exposure
will, of course, be dependent upon the power of the light used and the
density of the negatives. From a commercial point of view — and it is upon
this, we imagine, our correspondent's query is based— the thing may be con-
sidered as impracticable, except, perhaps, in an extreme case occasionally.
E. S. .J. writes : "I have often seen it stated that professional photographers
generally sensitise their own paper, because, on it, they get better results
than amateurs do on what they buy ready-sensitised. For some time past I
have been sensitising my own paper, using a fifty grain bath, and I much
prefer it to that bought ready-sensitised ; but I am much bothered at times
with dark marbled-like markings on the paper when it is taken 6ff the bath.
. One or two sheets will be so, and then all the others will be clear. What
can be the cause ? " — If the bath is allowed to stand in the dish, a scum
foims on the surl'ace, and, unless this is removed with a strip of blotting-
paper, it will be taken off by the albumen paper. Skim the bath before
floatiDg the paper.
P. Seville writes : "Can you tell me how to prevent the black spots which
are on the enclosed photograph. It is printed on Ilford P.O.P. They make
their appearance in the first washing water and by no after-process have
I been able to get rid of them. One photographic chemist recommended to
filter the water tlirough a very fine flannel, but it made no difference. I liave
tried constant running water whilst washing them, but still spots appear.
If the prints are allowed to lie still in the water for a moment, I have some-
times noticed a black deposit on them, which I have immediately removed ;
but every print so attacked has been quite spoiled. From this cause I hare
had spoiled as many as forty vignettes in one week. If you can suggest a
remedy, I shall be exceedingly obliged to you." — The spots are due to par-
ticles of foreign matter, which coming in contact with the paper reduces the
silver. These particles must be either in the water or on the surface of the
print when it is immersed in it.
Robert Fortune writes : " Would you please answer the following questions ?
1. After having developed a carbon pnnt upon a sheet of coUodionised glass,
can you tell me how to dissolve away the collodion film without injury to
the carbon print ? 2. Can you tell me where to get a price-list of the
copper plates, press, &c., necessary for photogravure .' 3. Can you give me
the formula for etching upon glass, commonly called a 'dull bite?' It is
"done by suspending the glass in the vapour of certain chemicals. I think it
is a mixture of hydrofluoric acid and ammonia, but cannot say for certain.
4. Can you tell me whefe to get bitumen or asphaltum which is sensitive to
light, and what is the solvent used after exposure to dissolve the parts
which are still soluble ?" — In reply : 1. Before the collodion can be removed,
the print must be taken off the glass. Before applying the collodion, talc
the glass ; then, after the print is developed, squeegee a thin sheet of
gelatine upon it, and allow to dry. Remove the picture, and clean the
collodion off with a mixture of ether and alcohol. 2. Any dealers in printer"
materials, such as Hughes & Kimber's, Winston's, and others. 3. Placs
some fluor spar at the bottom of an ebonite dish, moisten it with sulphuric
acid, and place the glass to be etched over it. 4. Any wholesale chemistc
Turpentine, to which sometimes a little benzole is added.
Catalooues have been received from G. W. Wilsou & Co., Aberdeen, and
W. Banks & Co., Bolton.
PHOTOGRArmc Club. — May 3, Lenses for Copying. 10, Members' Open
Night. Saturday outing. May 6, Eynesford.
Messrs. Arthur Schwarz & Co. point out that we omitted to print their
name as agents for Dr. Andresen's chemicals in their last week's letter about
settlement of, the dispute between the manufacturers of the amidol.
London and Provincial Photographic Association. — May 4, Technical
Lecture of the Series — Developers, Mr. E. J. Wall, 11. Pai)er by Mr. W. H.
Harrison, Is the Present ConstruMion of Photographic Studios Wrong in
Principle f 18, Monthly Lantern Night.
The Central Photographic Club. — The Hon. Secretaries of the Central
Photographic Club (Messrs. W. Feuton Jones, 12, King Edward-Road, Hack-
ney, .and C. H. Oakden, of 51, Melbourne-grove, East Dulwich) are open to
receive applications for shares in the Club Company. The shares are U. each,
21. 10.?. being paid on allotment. All other comnmnications relating to the
Club should be sent to those gentlemen, and not to Mr. Thom.as Bedding, who
is no longer Hon. Secretarj' pro Icm.
Photooraphbrs' Benevolent Association. — Meeting held in the rooms of
the London and Provincial Photographic Association, Thursday, April 20, Mr.
Robert Beckett in the chair. Two applications for assistance were considered
by the Committee. — In one case a lo.in of 5/., together witli a further sum in
instalments, was granted. In the other case, the Committee instructed the
Secretary to refer the applicant, who was a foreigner, to the consul of his own
country, and to state that his cise was one which the Committee did not see
their way to relieve. The Rev. H. O. Morgan and Mr. J. G. Hndson were
accepted as subscribers, and Mr. Walter D. Welford was elected a life governor.
The Secretary rejiorted on the fact that the proceeds of the Sandell Exhibition
had been devoted to the Benevolent, and annoimced that Mr. Sandell had
expressed his willingness to loan the whole of the pictures from that Exhibi-
tion, and to supjily a number of catalogues gratis to any provincial society
that would organize an exhibition in its own town and give the proceeds to
the Benevolent Association. The following subscriptions and donations were
acknowledged: — Rev. H. G. Morgan, 5s.; Atticus, 10s. 6rf. ; Photographic
Review of Revieios Charitable Fund, 2?. 2s. ; Hastings and St. Leonards Photo-
graphic Society, 21. 2s.; Pholo(jraphy Prize Competition, 6s. ; Mr. J. 11.
Hudson, 15s. ; Mr. Thomas Bedding (The British Journal of PH0T0GRAP^^).
10s. 6rf. : and Mr. R. Hayward, 7s. 6rf.
*»* Owing to exceptional pressure on our space this week, we have been
obliged to hold over several Society reports, letters, articles, and other
interesting matter. We trust our numerous friends and correspondents who
have been disappointed at the non-appearance of their communications will
exercise their patience, for the reason given.
OONTXIMTS,
PERSPECTIVE IN PORTRAITURE 267
COMBINING ENLAROEMKNTS FROM
DIFFKRENT NEOATA'ES 257
ALBUMKN BROMIDE PAPER FOR
CONTACT PRINTING. By W. B.
BOLTON 259
AMERICAN NOTES AND NEWS STO
PHOTOGRAPHIC METASTASIS. By
HUGH BREBNER 261
DETERMINATION OF PLATE SPEEDS.
By ALEXANDER. COWAN 262
Paos
THE MULTIPOTENT CAHTERA.
T. E. HEATH
OUR EDITORIAL TABLE IfA
RECENT PATENTS M4
MEETINGS OF SOCIETIES MS
FORTHCOMING EXHIBITIONS 2«5
EXCHANGE COLU.MN 2W
CORRESPONDENCE 20'
ANaW£B8.I0 COBKESF0NDENT8 271
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1722. Vol. XL.— MAY 5, 1893.
FOCAL PECULIARITIES OF WIDE-ANGLE LENSES.
Fa-erv one who is accquainted with the most elementary
principles of optics as affecting photographic lenses knows that
•a deep meniscus lens will not, unless it be stopped down to a
considerable extent, give an image at the focal plane any part
of which is sliarp, and that, the more pronounced the meniscus
form is, the smaller will have to be the stop or diaphragm
requisite to minimise the spherical aberration by which sharp
definition is prevented. This applies, not alone to a single
meniscus, whether achromatised or left uncorrected for colour,
but is also the case when two such forms of lenses are
mounted together so as to form a wide-angle, non-distorting
objective.
When an objective of this class, single or compound, is
focussed with its largest available aperture, say, for example,
/•lo, upon any suitable object, so as to produce the sharpest
image of which it is capalale under the circumstances, and a
very small diaphragm is then inserted, disappointment is apt
to be experienced at the small gain in sharpness that has
resulted.
It is a common habit with those who employ lenses of this
nature to focus with the largest diaphragm supplied, and then
use one much smaller for making the exposure. For this there
Is a certain excuse which is plausible although not valid, viz.,
that a wide-angle lens of short focus admits an insufficiency
of light to permit of any focussing being effected with a small
stop, and that hence the largest one must be made to serve
the purpose both of arranging the subject on the ground glass,
and also of focussing ; and it is reasoned that after this has
been done the sharpness will be increased by the insertion of
the small or working stop.
But it must be borne in mind that, when working thus,
there are two focal planes situated at a certain distance apart,
the one for the largest stop being closer to the lens than when
the smallest one is employed. Hence a readjustment of the
focus is imperatively demanded between the focussing with
the large and the exposure with the small diaphragm. A
clever casuist may say that, if he makes the image sharp with
the larger aperture, the reduction of the aperture cannot make
the image less sharp, seeing that the same rays by which the
■former was produced are utilised in the production of the latter.
To which we reply, that we deny the acme of sharpness in the
first case, on account of the amount of spherical aberration
present, for, be the focussing cfTectod with the utmost care,
there are still transmitted rays which cross the axis at a greater
distance than the mass of those by which the image is formed,
'f And it is ouly when the lens is aplanatic (which no wide-angle
deep meniscus ever is) that all the rays cross the axis at one
point. We repeat what has already been said, that, in order to
obtain the extreme of definition when employing only those
attenuated rays transmitted by the small diaphragm, the
focussing screen must be placed in the plane at which they
cross the axis, and which, as we have said, is at a greater
distance from the lens than is the case when the bundle of rays
is larger.
Practice supports theory in this. We have just made a
series of careful tests relative thereto, and have employed for
the purpose a wide-angle deep meniscus combination of the
most recent construction, and bearing an honoured name. The
solar focus is eight inches, and the largest stop equals /-1 6.
We focussed upon the meshes of a piece of rather fine network,
such as that employed for window curtains, using a Ramsden
eyepiece carefully adjusted and attached to the ground glass of
the camera. The camera was thirteen feet distant from the
network, which was erected so as to be backed by the sky.
Having got the greatest sharpness capable of being obtained
with the stop mentioned, we marked on the camera the stage
to which it had been extended, and then "Turned on" the/-32
stop and focussed again. There was a very marked increase in
the definition of the lace, which was exceedingly crisp and
sharp, the meshes being as if cut with a finely pointed graver.
Another mark was now made on the camera. The /-1 6 stop
was then made to supplant the /-32 one, and the image again
examined, revealing now a serious falling off in sharpness.
This was repeated several times, and established the fact that
for the apertures mentioned there were two focal planes. On
measuring the distance apart of one mark on the camera from
the other, it was found to be three-sixteenths of an inch.
We have entered into this matter somewhat at length in
order to enforce advice we have repeatedly given, and which is
to the effect that, while the largest possible aperture of the
lens is by far the most convenient to make use of when
arranging the subject on the focussing screen, it is of vital
importance where the highest degree of definition is desired
that the focussing be effected when using the same stop as that
by which the photograph is to be made.
When the lens partakes more of the aplanatic character
than the deep meniscus that we have been describing, the
same amount of difference in the focal planes does not exist,
and we have seen lenses of the " rapid " class in which the
focal plane with tlie full aperture and that with the smallest
stop showed no mai'ked difference between them. Lenses of
this type, however, are not capable of including an angle of
view so great as those of the deep meniscus form. Just
observe the axial e.xcellence of definition of the highest type of
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THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 5, 1893
planatic lens that is known — the object-glass of an astro-
nomical telescope; by no amount of stopping down can its
defining power be improved, but, on the contrary, it rather
deteriorates. In it the amount of spherical aberration
left uncorrected is practically non-existent. The external
form of such a lens when made of ordinary optical glass
is that kuown as crossed, which, while right for axial rays,
is hostile to the transmission of oblique ones, for which pur-
pose we must have recourse to lenses of meniscus form. The
deeper the meniscus form the better is an extremely oblique
ray transmitted, and hence the necessity of the deep meniscus
for wide-angle lenses, which, on account of the aberration of
sphericity, renders a small stop imperative.
It is no fiiult in the construction of such objectives as we
have been speaking of that there is the difference spoken of
between their foci when using a large stop contrasted with a
small one. It is an optical necessity of their construction.
We have known of more than one who made a speciality of
copying fine line engravings of large dimensions who adjusted
and focussed with a large stop on account of the superior
illumination, and then inserted a small one, and who, failing to
get the sharpness desired, blamed the lens, and laid it aside,
whereas the fault lay with themselves in not knowing how to
use such a lens aright. We hope that, from a perusal of what
we have written, they will be able to do so in future.
A writer on the subject of focussing, eight years since, said:
" To focus with the working aperture, as some writers recom-
mend, is not only useless, unless the lens is imperfect, but it is
practically impossible with the small apertures required for
the rapid plates now used." We have adduced suflBcient
evidence to show the utility of the course recommended, and
have only to add that if, owing to the feeble light transmitted
through the smallest stop, correct focussing is not possible
with its use, this can be ensured by the expedient of focussing
with a large stop, and racking the camera out the extent
necessary, and which has been previously ascertained by ex-
periment, to ensure absolute definition by the small or working
stop. Photographers should study the peculiarities of each
lens they employ.
GUMS AND GLUES.
The query put by " T. 0. J.," and replied to in our last, sug-
gests the usefulness of a few hints on the use of gums and
gelatines in their more mechanical aspects, so to speak, in
relation to photographic manipulations. xVcacia gum is so
largely employed for the purposes referred to in our corre-
spondent's query, that it is not surprising he has met with the
commonly experienced difficulty. Any one feeling similarly
troubled may with advantage act upon our suggestion of the
use of a little alcohol, the best way of adding which preserva-
tive is in dilute solution in water, a thicker gum mixture being
then made to avoid undue thinning. If alcohol be added
direct, it will cause clots to form which will not readily redis-
solve. In making "gum water," which perhaps is done in every
studio in the country, there are some minor precautions to be
taken which will obviate the acidity or sourness for a time at
least. First may be mentioned the advisability of dissolving
the gum in perfectly cold water. Hot water is generally used,
and the solution, in consequence, invariably decomposes in a
day or two, especially in hot weather.
Those who have not adopted this method will be surprised
at the difference in smell even when first made ; there is an
actual fragrance about the cold solution which is entirely
absent when heat is employed. Then, again, it is quite
unnecessary — a useless addition to the expense, in fact — to use,
as some do, the powdered gum. Nice clear, clean, pale lumps
should be chosen, though the kind sold under the technical
name of " sorts," which includes white and coloured pieces, is
quite as good, though not so pale in solution. An excellent
plan to adopt is to make a quantity at once, and then place it
in small bottles made quite full, and then well corked and kept
in a cool place. So prepared, it will keep fresh quite a long
time. There are many substances that can be added to act as
preservatives, which are quite out of question, when the gum
wajter is to be used for spotting, on account of their taste. Of
the least objectionable, sulphate of quinine stands foremost, so
very small a quantity being required : indeed, we doubt
whether the bitter would be noticed. Gum water made very
thick is a most useful and handy mountant, but its great draw-
back is the liability to cause a greasy appearance in the print
wherever the finger is laid and pressed upon the gummed
surface before mounting. It is stated that this effect may be
got rid of by adding sulphate of alumina in solution, three per
cent, of the weight of the solid gam being added.
An excellent substitute for gum water is made from milk ;
the caseine is precipitated by acetic acid, well washed till freed
from acid, and then dissolved in a saturated solution of borax.
We believe we are correct in saying that a solution of gum
arable or acacia was the first mountant used in dry mounting.
We remember seeing it in use at Disderi's establishment in
Brompton about twenty-five years ago, and some prefer it to |
this day on account of the ease with which it is made to adliere
under what would be unsatisfiictory conditions for other
materials Perhaps, where it is prepared, it might for this
purpose be better to use the formula given to us by a label-
manufacturer in which gelatine plays a part. It is as follows : —
One pound of gum arable, one and a half pounds of gelatine,
one ounce of sugar candy, six pints of water. The gelatine to
be first soaked in a little water, and then melted in the rest of
the water in which the gum and sugar candy have first been dis-
solved. The difliculty of dry mounting is that, if there is not
complete adherence, the print may blister when heated by
burnisher or hot process. Some blistere, however, that appear
when first mounted may go down in the hot press.
Where a small pot of gum is handy for occasional instant
use as a mountant, " gum water," as gum-arabic solution is
usually termed, is a decided favourite ; but we strongly advise
a mucilage of tragacanth gum. This is strongly adhesive, and
is free from the objectionable tendency of "greasing" the print
where pressed by the finger, the effect not being due, of course,
to grease ; yet the appearance is just as though some oleaginous
matter had been spilt there, and it has been a puzzle to many a
one who has only occasionally used the solution. The drawback
to the use of tragacanth is the great tendency it possesses to go
mouldy. Many substances have been recommended to prevent
this, the most successful being the essential oils — oil of clove,
for instance. It has been stated that boric acid, which is so
admirable a preventive of mould in many cases, will answer ;
but our own experience entirely negatives the assertion. We
left a small pot of tragacanth, to which we had added boric
acid, lightly corked in a free draught of air, and it was covered
with mould in a fortnight. Salicylic acid preserved another
sample for a much longer period, and a mixture of thj-mol and
the latter chemical kept the mixture pure and clean till it dried
up to the consistency of horn. The smell of thymol would to
Uray r>, 1893]
THE imiTISH JOURNAL OF PHOTOGRA-PII Y.
276
some, perhaps, bo objectionable, though others consider it very
fragrant. AVe have left ourselves no space to refer to glues or
gelatines in photography, and will therefore consider their pro-
perties in a future article.
A Ziarg-e Ifog-ative.— Messrs. Wenier & Son, of DuMin, have
riHentlj- takon direct fntm life a negative 64x38. It is, we under-
stand, to be exhibited at Chicago. Po?sibly it is the largest direct
negative ever taken.
Silver BKedal Awards at Philadelphia.— This country
has secured a liberal proportion of tlie silver medals awarded at this
great American Exhibition. The names of the fortunate artists are
Oeorge Bankart, Leicester: .lohn H. Gear, London; William Gill;
Colchester; Karl Greger, London: Edgar G. Lee, Xewcastle-on-Tyne,
R. H. J^ord, Cambrida'e ; W. P. Marsh, Bognor ; Charles Keid,
Wishaw: Ralph AV. Robinson, Red Hill; F. Thurston, Luton; G.
West & Son, Southsea : W. Clement AVilliams, Halifax, and W. W.
Winter, Derby.
The Royal Academy Exhibition.— The Royal Academy
opened its doors to the pulilic on Monday. It is surprising how com-
paratively few photographers consider it worth while to visit its
iimiual Exhibitions, considering there is always something to learn
therefrom. As usual, several of the pictures in the present collection
are greatly indebted to pliotography. Especially is this the case with
portraitp. Of course, this is not mentioned in the catalogue. .lust
now, in addition to the Royal Academy, several other picture exhibi-
tions are open. There is the New Gallery, Royal Society of British
Artists, Royal Society of Painters in Water Colours, and others, all
of which might he profitably visited by the majority of photographers.
"At Xiast, Colour Photography." — This appears on
-ome pictures exhibited for sale at a printseller's shop in one of the
leading thoroughfares of the City. The pictures are in colours
produced mechanically, are very indifferent, and the announcement is
certainly misleading to the general public. This is proved by the fact
Q that on two occasions we heard persons discussing the merits of
the pictures as if they really were photographs taken in their
natural colours. One remarked. " They have been trying at it for
years, and now they have got it," adding, in reply to a comment as
to the mediocre character of the work, " Yes ; but, now that they
have found out the way, they will soon make improvements upon it.''
The public have so often been told that the discovery of taking
photographs in natural colours has been made, that " at last " some are
easily misled by the above announcement.
Success of the Eclipse Expeditions.— It is gratifying
to astronomers to know tliat the two English expeditions — the one to
the West Coast of Africa and the other to Brazil — have both been
successful in their photograpliic work. A few days back Dr. Ainslie
Common, secretary to the joint Eclipse Committee of the Royal Astro-
nomical Societies, received a telegram from Mr. Taylor, who had
charge of the Brazil expedition, saying that the negatives taken with
the chronograph and with both spectroscopes have been developed, and
that they are quite successful. It will bo remembered that similar
success, witli like instruments, on the West Coast had previously been
announced. Expeditions from other countries have also been, for the
most part, highly successful. It is not always tlie case in these events
that the weather is as propitious as it was on this occasion. The
results will certainly he of great value to astronomical science.
Stripping- Megratlves. — A question was put at a recent
meeting of one of the metropolitan Societies as to how to strip a
negative from the glass without the film expanding. The replies
given were, however, not very definite. Now, if the negative be
developed with pyrogallic acid, and is afterwards well alumed, the
film, when removed, will hsve very little tendency to expand. If,
however, expansion does occur, the film can at once he brought back
to its original dimensions by immersing it in alcohol. Indeed, in
some cases, when very strong spirit is used, it can be reduced below
its original size. When extreme accuracy as to size is imperative, it
is advisable to protect the film from expansion while it is in a moist
condition, either by coating it with a thick film of collodion or with
gelatined and indiarubber paper. Then, when the stripped film is
dry, the protecting medium can pe removed. Details of each method
of working will be found in our Almanac for 1889. Both methods
are worked commercially when stripped films are required.
Portraits and the School Board.— At the meeting of the
London School Board last week, the question was asked by whose
authority certain " hideous pictures " had been placed in the new
Board-room. The reply was that the architect proposed to insert in
tlie lunettes of the Board-room the effigies of Archimedes and other
ancient personages, and it was suggested that " portraits " of persons
who were, or had been, on the Board would be preferable. Had the
architect's idea been carried out, there is little doubt that the portraits
of " ancient personages " would not have been so closely criticised as
likenesses as are those that have been substituted. However, the
living prototypes can scarcely feel flattered by the portraits that are
to hand them down to School Board posterity being designated as
" hideous pictures." Many board and committee rooms are adorned
by portraits of former members ; but they are usually in the form of
oil paintings or enlarged photographs, and not as " hideous pictures."
American Appreciation of Eng-llsh Art Work.— It
is satisfactory to find that the works of some artistic photographers in
England appear to be highly appreciated in America. The pictures
sent by Mr. George Davison to the Philadelphia Exhibition were too
late in being delivered until after the work of judging had been ac-
complished. This delay was occasioned by Custom-house red-tapeism,
which surrounds with difficulty so many things that enter the United
States. If, however, Mr. Davison has received no expression of
opinion from the Judges, he is being awarded a not stinted amount of
panegyric by the press, in fact the eulogiums on his work are of tne
highest order. The Ihiblic Ledger ranks Mr. Davison as the foiemost
exponent of the art side of photography in England, his work being
now seen for the first time in America. From this paper we learn
that it is Mr. Davison's custom to produce only one good print from a
negative, so that each of his pictures is as unique in its way as a
painting produced by an artist in colour. This is a trait in Mr.
Davison's working of which we were not previously aware. The ex-
hibits form a special loan collection, and are not entered for competi-
tion. Many of the examples are made without a lens through a
pinhole aperture.
♦
REDUCING OVER-PRINTED GELATINE PROOFS.
Fob many years a perfect method of reducing over-printed albumen
prints without spoiling the tone has been a desideratum, and, so far
as I am aware, up to the present time has not yet been achieved.
The mere reduction is a matter of the greatest ease by a variety of
methods, but these, without exception, act more or less injuriously
upon the colour of the gold-toned image, and rob it of the charm
that rendered the " photographic purple " such a popular tone.
With gelatine prints, however, the case is somewhat different,
whether the image is the result of printing-out or of development,
since the tone is almost invariably free from tliat warm tint that
marked the albumen print, and which is so difficult to maintain under
the action of reducing agents. The neutral black or cool grey tones
of the modern gelatine print are, in fact, little, if at all, affected by
such agents, except so far as lowering the strength of the image may
affect its depth. This is especially fortunate, since the difficulty of
stopping development at exactly the right point, as well as of judging
the correct depth in the dim light of the dark room, is far greater
than in examining the gradually progressing image of a direct print
in feeble daylight.
In his anxiety not to overdo the development, the operator is apt
to err on the reverse side, and to discover when too late that the
print is spoilt by under-development ; but, in the presence of an
276
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 5, 1893
efficient means of reduction, he may with safety, and even with
actual advantage, allow the development to proceed beyond the depth
desired, and then, after fLxing, and in a good light, proceed to reduce
it at Ms leisure, and with everv power not only of carefully .judging
the right depth, but also of stopping the action instantly when the
proper point is reached. A further advantage may also be claimed,
namely, that the process of reduction also serves the additional pur-
pose of clearing the whites of the print, and removing developing
stains, usually a separate operation, so that it can scarcely be said
that the introduction of systematic over-printing and reduction adds
anvthing to the labour involved.
it is scarcely necessary to remark that there are a large number of
different methods by which the reduction can be effected, but m
making the selection of a perfect one, I should decidedly give the
preference to one that consists of a single solution, that is to say, one
that removes the excess of density in one operation, instead of re-
quiring the application of a second solution to complete the process.
Of the first class, the mixed solutions of ferridcyanide of potassium
and hypo, or of ferridcyanide and sulphocyanide of ammonium may
be mentioned as types, while the second class is represented ^by such
applications as weak hydrochloric acid followed by hypo. So far as
the actual reduction is concerned, nothing can excel the compound
solutions containing potassium ferridcyanide, but they possess an
unfortunate tendency in the direction of yellow stain — slight, it is
true, but still sufficient to mar the beauty of an otherwise perfect
print. Alum and hydrochloric acid— the ordinary clearing solution
for negatives and prints — exercises a powerful reducing action if long
applied, and is free from the tendency to stain, unless, indeed, it be
applied to a very imperfectly washed print containing unremoved
hyposulphites. But it has the disadvantage of converting a portion of
tlie image into chloride of silver — a portion at least of which must
remain in the print unless removed by a second solution.
However, by adding to the acid solution sufficient chloride of
sodium to saturate it, it is converted into a one-solution reducer, the
solvent action of the chloride of sodium sufficing to hold the small
quantity of chloride of silver formed in solution, and to allow of its
removal by simple washing. The solution as I have employed it is
made as follows : — A hot saturated solution of common salt is made,
and when cold, to each ounce of it two ounces of alum and half an
ounce of hydrochloric acid are added. This solution acts slowly, but
with great regularity, and its action is complete just when the print
appears of the right depth. All that remains then is to wash tho-
roughly to remove the soluble salts and free acid.
Another reducing solution which is to be preferred in some respects
to that of alum and hydrochloric acid is one composed of a soluble
hypochlorite. This will bo preferred by many, because it acts also
as a hypo eliminator, perhaps the safest there is, since it converts any
hyposulphites remainingintheprints into the least injurious compounds.
Its chief fault as an eliminator consists in its reducing action on the
image, but this ceases to be a fault when it is the effect sought.
The hypochlorite may be used in the form of eau de Javelle or
" Labarraque's Solution," formulae for the making of which will be
found in the pages of the Almanac, or it may be purchased in the
form known as " Ozone Bleach ; " these all consist of solutions of
hypochlorite of sodium or potassium, not pure, it is true, but suffi-
ciently so for the purpose in view, or the pure hypochlorite may be
employed, though at a much higher cost.
The action of the hypochlorite upon the image is to convert it into
chloride of silver— not hvpochlorite — oxygen being at the same time
disengaged ; any hyposulphites remaining in the print from the fixing
are, at the same time, converted into sulphates, and, in the case of
the silver salt, eventually into chloride. Here, again, the necessity
exists for some means of removing the chloride of silver thus formed ;
but this is easily effected, in the manner already described, by the
addition of salt. In fact, in making up the reducing solution, it is
only needful to substitute saturated solution of salt for plain water,
adding sufficient of the hypochlorite to confer the desired energy.
The above are undoubtedly the best reducing solutions I have met
with in the course of some years' experience, but it may happen that
such a solution has to be made up in an emergency, when possibly
the materials given above are not available. Nitric acid, however,
finds a place, or ought to do, in every photographic laboratory ; take a
couple of drachms, say, of strong nitric acid, and dissolve in it a salt-
spoonful of salt, or, at least, let the strong acid take up as much as it
will, and then dilute it with water to the requisite strength. This
forms a complex solution, in which, in all probability, nitro-hvdro-
chloric acid exists ; at any rate, it converts the image into chloride in
a far more perfect manner than hydrochloric acid, and is much to be
preferred. It must be followed, however, by a fixing solution; but
for this purpose I should strongly object to hypo, on account of the
washing required after it. Considering the small trace of chloride
of silver to be removed, a strong solution of salt, or, better still, of
sulphite of soda, will be quite strong enough, and the products of
decomposition, as well as the salts themselves, are far more easily
removed than in the case of hypo. W. Lindsay.
THE PICTORIAL MODIFICATION OF PHOTOGRAPHIC
PERSPECTIVE.
[Society of Arts.]
EvEB since I invented my system of reflected electric light, which I had
the privilege of exhibiting in this room many years ago, and put asid«
for a time my palette to join the ranks of the photographic profession,
I have been made to realise as acutely as any one the limitations, im-
possibilities, and shortcomings of pliotography. Not only have I felt
them limiting my ambition while trying unconventional posing, but
because of them it has often been painfully irksome to have to ex-
plain the restriction of my powers to a class of sitters whom I may
fairly describe as the non-photographic tj'pe. These sitters — and
most of them, I must confess, are of the fairer sex — are prone to
lament that their hands (which they always try to hide), to say
nothing of their heads, waists, and so on, come out much too large.
Others, again, fancy themselves much taller and slimmer than they
optically, or perhaps I may say, architecturally, really are, and I
have always been compelled to admit that they are right — that is to
say, visually right, artistically right — and that photography in their
case could not do justice to one's visual impression. The invention
which it is my privilege to submit to your notice this evening is,
therefore, the outcome of necessity, and meets a great want, which all
leading men in the profession, and many amateurs, have long and
keenly felt.
The " Truth " of Puotoghaphy.
On few subjects, I venture to submit, has there been of late so much
discussion, so much debate, and so great a confusion of ideas as on
that of the question of the truth of photography, and the value of its
services to art, which latter have been most generously and freely
admitted by the greatest masters of the brush amongst us. But, now
that we are attemptingtocorrect figure, portrait, and landscape photo-
graphy, I think the time has arrived when we may usefully attempt
to analyse it, and appraise it at its actual value ; the more especiallj'
as I am convinced, from careful observation of the work of some of
the best draughtsmen and painters of to-day, that the close study of
photography is ruining their judgment, and vitiating their apprecia-
tion of the beautiful. Eloquent proofs of the baneful effects of the
new creed, that photography cannot lie, appeal to us on every hand.
Take up, for instance, the current number of the Century Magazine ;
here we find a draughtsman of the first rank permitting himself to
draw horses in action as no other man has ever drawn them, as, I
venture to add, no human eye has ever seen them. Obviously he has
studied instantaneous photography, and honestly believes that he is
taking a fearless and conscientious new departure in pictorial art in
the cause of truth, oblivious of the fact that the camera registers a
section of an action immeasurably more minute than the eye of a
man can chronicle and convey to the brain, and therefore he depicts
what he has never seen — depicts what is, to all practical purposes, an
untruth ; a state of affairs of which no human cognisance has, or can
be naturally taken. Similarly, we see portraits nowadays painted
under a like influence ; time was, about half a century ago, when
artists, obeying the behests of fashion, painted heads, hands, and feet
absurdly small. Photography, no doubt, is responsible for the reign-
ing reaction. The tendency of town dwellers — the professional class,
artisan?, ' tradesmen, &c. — who get little exercise for their whole
bodies, and use their heads and hands only in the struggle to earn a
living, is to beget a large-headed, small-bodied race ; while those who,
from early youth, get plenty of exercise — the privileged classes, the
aristocracy, the agricultural labourers, and even the miners — are
noted for their more symmetrical or classic proportions, and their
well-poised, small heads.
We see at the Royal Academy, the .Salon, and elsewhere, portraits
disfigured by enormous heads, hands, and feet, looking for all the
world as though their outlines had been traced from an enlarged
photograph originally taken with a short-focus lens. We see figure
pieces intended to carry us back to classic times, which would be
delightful and perfect but for something which takes away their
individuality, which makes them too familiar, almost vulgar : what is
this something ? It is, that we instinctively recognise in the figures the
type of the modern town-bred model, or of the sedentary professional
race, perhaps members of the artist's own family .. It is not, however.
M«y r,, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
277
given to every painter of classic subjects to so appreciate and adoro
that perfect harmony of a classic form as to bo able to be true to,
and resist the deterioration of, his ideal through the constant contem-
plation of his modi'ls and the baneful inUuence of optically distorted
photography.
Optical Truth and Visual Tbuth.
Science protests that photography cannot lie. Well, optically, it
cannot. I have been tryinf; to put my argument into a nutshell. I
may not have succeeded, but here it is for -what it is worth — " Optical
truth is not visual truth." This may seem very much like a parndox,
but the dictionaries are so singularly unaidful to me in my dilemma,
that, for the sake of argument, we must let it stand for the present.
The force of the statement is, however, one which the future must
speedily recognise.
Optical truth, then, as far as photography is concerned, is the
result of a mere mechanical impression on a plate, which is some-
times more wonderful and beautiful than anything tlie human hand
could fashion ; but which, on the other hand, is sometimes so brutal
in its fidelity, and microscopically vulgar, as to give one a very dis-
agreeable surprise.
Msual truth is a vorj' subtle quality. Its appreciation depends on
the observer's artistic sense and powers of comparison. I would go
as far as to claim it as an hereditary quality which different people
possess in different degrees.
There is a great distinction between it and optical truth, or the
truth of the camera. The camera focusses every spot at the same
instant, without favour or prejudice, uninfluenced by natural selec-
tion. The impression on the brain, on the contrary, is affected by all
these things. The eye focusses only one portion of an object at a
time, and, whilst the rest of such an object is within the diffused
vision, the impression on the brain depends on the temperament and
the more or less artistic environment of the observer, the brain
instinctively and unconsciously recognises the quality of distance.
In portraiture wo have to please the family, the relatives, and the
friends of the subjects — those, in short, who are most familiar with
their appearance ; and, in their case, the visual truth is the outcome
of loving and friendly contemplation. The first essential for a
successful portrait-painter is that he should be sympathetic, possess
a great deal of the milk of human kindness, and love his fellow-man.
These are the gifts that will enable him to approach his sitter in the
family spirit. When he paints a portrait, say, of a sweet old mother,
he unconsciously tones down and modifies the optical truth, and,
guided by the visual truth, he accentuates the air of distinction and
spiritual dignity which his own refinement enables him to see and
appreciate. But the photograj'her, though he be a born artist, and
ever so appreciativi; of these qu.alities in his sitter, is cribbed, cabined,
and confined within certain limitations and poses. It is almost use-
less for him to study the work of the great portrait-painters, for the
moment he copies an unconventional pose, say, with hand or foot
extended towards the camera, he produces a libel, and I defy any one
to judge of the actual size in proportion to the body of the extremi-
ties of a sitter when thus brought forward in a photograph.
It has been advanced by some that this distortion can be overcome
by a long-focus lens at a long distance ; but, although it does partially
reduce it, the conditions are unnatural, and the portrait loses that
subtle yet powerful effect which makes one see the sitter in one's
very presence, what one might call a " speaking-likeness " effect, to
obtain which it is essential the point of sight, whether optical or
visual, should have been within a conversational distance. A long
distance immediately suggests a theatrical effect, unsuitable for the
portraiture of private people. Whether this view is correct, or would
only occur to one having the knowledge and practice of these distances
or points of sight, is perhaps open to discussion.
I will now give you a number of pictorial illustrations by magic
lantern, showing the difference between optical and visual truth, pro-
duced without changing the lens in front of the camera or the distance
from the sitter. I will also show you the wonderful possibilities of
this new power by a single humorous illustration, using a photograph
of ^Ir. Marshall P. Wilder, that quaint American humorist, for my
subject. 1 will also take a portrait by my light in an unconventional
pose, and correct before you its inevitable distortion, and after-
wards give you, as well as I can, a scientific explanation of my
invention.
The Problems to bb Solved.
Before I had brought my invention to its present state of adapt-
ability, I found I had to solve five problems :—
1. To reduce locally the size of a head or hand, or other portion of
a figure, and to do it symmetrically, so as not to change the character
or symmetry of a head or the expression of a face ; or, in the reduc-
tion of a hand or waist, to reduce, if desirable, the width only, and
thus give a slender instead of diminutive effect.
2. Having solved this first problem, bow to find a way to make a
number of corrections in one negative at the same time, and with
such simplicitv and rapidity as n<it to call for special skill or training,
or materially lengthen the time usually occupied in focussing during
adjustment.
3. To shorten or to lengthen a portion of the whole negative right
across without distorting the rest, such as lengthening the waist or
skirt of a lady's dress, or, in the case of a landscape, to vertically
enlarge the middle distance or horizon while reducing the depth of
foreground and sky.
4. To obtain with each lens a variable degree of the modification of
the dimensions of the parts corrected, so as to avoid the necessity of
employing a great number of lenses to form a working set.
5. To find a readily fashioned refracting medium, so as to enable
one to malie at will eccentric alterations, or even distortions, especially
suitable for the purposes of caricature.
The first problem I solved by the interposition in front of the
sensitive plate of a supplementary lens. .-Although I ckim this inter-
position as part of my invention, the abrupt ending of the curve of
an ordinary lens would not only throw a shadow or dark zone upon
the negative, but the abruptly broken-off lines and shades on the
outside of the zone would not tally with those on the inside. I
therefore (and this is the germ of my invention), continually vary
the curvature of my lens until it reaches the plane — in other words,
where the circumferen e of a plano-conve.x lens would otherwise
stop — it flows or gradu.ites into the reverse or concave curve, or, if
plano-concave, vice verfd, and thus gradually merges by a wavelike
line into the plane, with the result that the dark zone before referred
to, consequent on the use of an ordinary lens, is replaced by a perfectly
natural gradation, leaving no evidence whatever of the correction
having been made.
The second problem I solve by providing a number of small lenses,
each constructed on the above-described principle, and means of
invisibly and adjustably supporting them in the pencil of rays.
In problem 3, to enlarge a portion only, such as the distance of a
landscape, or to lengthen portions, such as the skirt of a figure, I inter-
pose a plate of glass, a portion only of which is of a cylindrical form,
flowing gradually into a plane.
I solve the fourth by so arranging these lenses in the cameras as to
be readily moved backwards and forwards, thus varying the amount
of the reduction of any part by change of focus. About a dozen cor-
rector lenses will thus be all that are" required to form a working set
for ordinary portraiture.
To solve the last problem, I have found a readily fashioned refract-
ing medium ; but, as it requires considerable artistic skill to use it, and
there are many difficulties to be overcome in its practical use, I am
not in a position yet to bring it to your notice. It is embodied, how-
ever, in my patents.
The Uses of the " Corrector " Lenses.
It is easily seen that to use these corrector lenses requires no special
training, only an eye for natural or visual proportions. That it is
readily abused and dangerous in the hands of the stupid and ignorant
only proves its wonderful pliability and adaptability in the hands of
an artist, and instead of there being any drawbacks to its use, such as
an increased time for exposure of the plate, on account of passing
through more glass, the fact that the rays of the image are converged
upon the parts rectified increases the brilhancy of the image, and it is
found that the time of exposure is actually decreased.
This new power has many possibilities, which you can readily
imagine. I prefer at present to hide from you other evidences of its
versatility in the domain of caricature, wishing only to advance the
cause of that which is the more beautiful and true. In this I have
been encouraged by Sir Frederick Leighton, than whom we have no
greater exponent of the beautiful in form, and who on a recent occa-
sion, when visiting my studios to investigate this invention, expressed
not only his surprise, but his delight, at the startling artistic gain, and
the consequent visual veracity of the images I am enabled to produce'
Experts in optics are apt to have no sympathy or ear for the claims
of art, and some will, doubtless, declare' that optical truth is the only
truth, and any con-ection a distortion. I was, therefore, doubly
pleased, when I brought this invention before the Camera Club the
other evening, to receive the congratulations and praise of its Pre-
sident, Captain Abney, the most advanced scientific expert in photo-
graphy of the day. Unfortunately, he is prevented from being here
this evening by an accident.
In conclusion, I would point to the examples I have shown you,
and ask if they do not furnish an irrefutable proof of my assertion
that " optical truth is not visual truth."'
278
THE BBITISH JOURNAL OF PHOTOGRAj-riY.
[May 5, 1893
Hereafter we shall be able to make pictures which will not only
tell us the visual truth— the real truth to our minds and hearts-but
also tell us something of the individuality of the photographer, thus
raising one branch of photography another step towards becoming a
fine art. H. Van dbb Weydb.
Diacussios.
The Chairman said that, in listening to Mr. Van der Weyde and seeing
hia results, and especially in seeing how he put his lenses on the plate of
glass, one was forcibly reminded of Columbus and the egg, and wondered
that no one had thought of it before ; but all strokes of genius came out
in that way, and the greatest simplicity often displayed the greatest
genius. He was very glad that a landscape photograph had been in-
cluded among the lantern slides, because he had no doubt that many
present had seen Vicat Cole's " Royal Windsor," and no photographer
could ever take Royal Windsor like that. He had looked at the place
itself, and tried to imagine where one could get a view of it like that, and
he was quite sure that the painter had etherealised it, and produced
a picture which no camera could give. There had been, in fact, an
alteration of the middle distance, and that the camera was powerless to
do, unless with the aid of some such device as had been described, which
he thought was destined to ally landscape photography more nearly to
art than ever it had been before. _, , ,
Mr. Traill Taylor said that they all knew Mr. Van der Weyde s great
abilities, and must acknowledge the exceedingly successful way in
which he had sophisticated these portraits. It was not a subject for a
scientist, but for an artist, for an artist did not care whether a picture
was truthful or not.
Mr, W. E. Debenham said that it was not necessary to say how much
they were all interested in seeing these results, but those who felt as he
did must protest against it being asserted that the instrument used was
an optical corrector ; it was, as had been said, a sophisticator, and he
protested strongly against the expression that optical truth was not
visual truth, and maintained that images obtained in this way were not
visually true. The two expressions, optical truth and visual truth, were,
in fact, interchangeable. There were three objects in using an arrange-
ment of this kind, one being to change the character of the perspective.
Now, photographic perspective was simply a representation of objects
larger in proportion as they were nearer ; in fact, as they appeared to
the eye. If one stood near a long building, and looked at it sideways,
the near wall might appear half as high again as the wall at the other
end ; but no one would call it a distortion to represent it so, and every
painter would so paint it, just as it was seen, and as a photograph would
give it. If they saw trees in the foreground, and in the middle distance,
a near tree might appear perhaps three times as high as a tree in the
middle distance; the artist recognised that, and it was so accepted.
But, in representing single-figure pictures, artists had not been in the
habit of representing the advanced portion of a figure larger in propor-
tion. Now, pictures appeared to be for the most part judged, not by the
beholder's knowledge, and by comparison with the original subject, but
by comparison with other pictorial representations of similar subjects
to which he was accustomed. A Chinaman was perfectly satisfied to see
objects which he knew to be of one size represented of one size, although
at different distances ; they were accustomed, in buildings and in a
general sense, to see nearer objects represented larger than more distant
ones, but they were not accustomed to see single figures painted in that
manner, and therefore, when a photograph showed a protruding hand
larger, and one in the opposite direction smaller, it was said that photo-
graphy distorted. It was said that a man's boots were not twice as large
as his head, and so on. Of course, it would be an extraordinary position
for a photographer to choose, and no artist would choose such a pose,
but, if it were adopted, the true representation would be exactly as the
photograph gave it. However, as people were not thoroughly accustomed
to perspective in single-figure pictures, there was something to be said in
favour of a sophistication to this extent, which brought the picture
more in accordance with what they were accustomed to. The second
point was that this contrivance enabled the photographer to make pictures
more in accordance with the conventional ideal. It was said that sitters
complained that their waists and heads were too large ; he was not now
speaking of perspective effects, when one portion of the body was nearer
the camera, but of waists and heads generally being too large. Too large
for what ? Simply for the conventional ideal according to which they
had been accustomed to see them painted, which, as Mr. Van der Weyde
had told them, was considerably too small. Photography had, to a great
extent, cured painters of that fault, and there had always been some too
great and too genuine to pander to fancy and fashion in that way ; but, at
all events, it was very common to paint heads and waists too small, and
hands also ; and an arrangement of this kind enabled the photographer to
satisfy those who wanted rather a conventional ideal than a truthful
representation. Again, it was said that mountains appeared too small
and insignificant ; that, being objects of interest, they filled the mind
and gave the idea of being larger than they actually were ; but, if that
were so, why should waists and heads, which were not objects without
interest, be made smaller ? In both cases it was simply a question of
what would be most effective or pretty, not what was most in accordance
with truth. Painters had been in the habit of flattering, it paid them to
do so, and no doubt many sitters would be better pleased. If this plan
enabled photographers to flatter vain women by making their heads and
waists appear smaller than tliey were, no doubt it would be commercially
successful ; but do not let them lose their self-respect by flattering their
sitters, in word as well as action, telling them that these smaller heads
or waists were in accordance with optical, or visual, or any other truth,
when it was simply in accordance with a conventional ideal. Optical and
visual truth were essentially one.
Professor C. Roberts-Austen, C.B., F.R.S., said that he had no know-
ledge of photography, but he did not like to let a paper of such extra-
ordinary interest pass without a word. It seemed to him that the author
had guarded himself against any charge of inaccuracy by saying that
optical truth, so far as photography was concerned, was a merely me-
chanical operation. It had been known for a long time that our impres-
sions were not to be trusted — that seeing was not believing — nor could
they believe altogether what they only felt. If they crossed their fingers
and rubbed their nose, they would feel quite certain they had two noses ;
and a sophisticator, if it was to be called so, was, in such cases, absolutely
necessary. His wife happened to be an artist, and he had heard her say,
with reference to a figure, that it was not high enough, that it ought to
be eight heads high, or whatever the number was. He did not like to
think that what they had heard was mere sophistication. It seemed to
him that the author had shown how, by taking thought, they might add
cubits to their stature.
Mr. T. R. Dallmeyer said that it appeared to him that one of the
remarks in the paper was a mere truism, viz., that photographic perspective
and visual perspective were not the same. Photographic or optical per-
spective was a science, but the way in which they saw things was depen-
dent on psychology, which was not a science, and he did not believe it
ever would be. Although photographic perspective was a science, it did
not correspond with what they saw in the physiological sense. He had
been much interested in these experiments, though it could not be called
anything but a clever device. The only case in which photographic
perspective and psychology agreed was when the images were entirely on
one plane ; then the.y were identical. They knew that the best results in
photography were when the whole image was as far as possible on one
plane. Before this device (which would, doubtless, be largely employed
for portraiture), it appeared to him that a man exercised his skill as a
photographer in arranging the sitter in one plane wherever it was possible,
and cases in which the feet or hands came forward were the exception.
He was not an artist, but, from an artist's point of view, he should think
that this flattering device was an exceedingly useful one, and would
probably become very popular ; but it was not at all true. He must
insist on that, because he thought Mr. Van der Weyde rather misunder-
stood Captain Abney the other day. He welcomed, as they all did, any
scientific application of an optical nature, but he felt quite certain that
he did not mean to convey that the results thus obtained were of an order
which could be classed as scientific. As to landscape, the only example
shown was one copied from another photograph, a portion of which
might be lengthened or exaggerated, according to the psychological view
of the individual, and it certainly looked very much better ; but he did
not see how this method would work in actual practice. If they took the
case of a tree cutting the horizon, and applied this method to it, the
middle of the tree would bulge out. There were only certain subjects on
which the process could be used, and it appeared to him that an immense
number of these correctors would be required to produce the desired effect
in a landscape.
Mr. Van der Weyde said that there were two reasons why this method
was valuable ; one, because it enabled them to give a better suggestion of
true proportion than an ordinary photograph would, if one part of the
object came forward ; and that was a solid, artistic reason. The other
was that it enable them to please their sitters. But these two reasons
should not be mixed up. There was no reason to decry the whole thing
because it might be abused. He remembered very well, in early youth,
when looking at photographs of people he knew well, that it always
struck him how large their heads looked. The impression generally con-
veyed was not that convejed by the photograph, and he contended that,
as a rule, the head should be slightly diminished in order to give the
natural impression. In taking a lady playing a violin, it was very diffi-
cult to avoid distortion, and an unnatural pose had to be adopted.
The Chairman said that they would all agree that they were indebted
to Mr. Van der Weyde for one of the most interesting papers they had
had on the subject of photography. With regard to visual truth, he had
long had very great doubts whether there was such a thing at all. He
was quite certain that, if he and Mr. Van der Weyde both looked at the
clock at the end of the room, they would receive very different impres-
sions ; his short sight would only enable him to see a blur where his
friend would see the face distinctly. Visual truth, therefore, was a thing
that no artist could attempt to arrive at. In the work to which he re-
ferred before, there was no visual truth at all ; it was a purely artistic
work from beginning to end. He concluded by proposing a hearty vote
of thanks to Mr. Van der Weyde.
The vote of thanks having been carried,
Mr. Van der Weyde, in acknowledging it, said that he agreed with much
that Mr. Dallmeyer had said, but he could not agree with much that Mr.
Debenham had advanced, and he thought that gentleman had ignored
portions of the paper which he (the speaker) considered were conclusive
as to the necessity for an instrument of this kind. A picture should
May 5, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
5!7g
always give a supRostiou of the impieseion on the brain, and if it Jiil not
do that It was not ft picture, but merely an optically true photograph.
This instrument helped one to do more, to make an optical representation
of it ; it gave a better suggestion of what they had seen than liad hitherto
been possible, especially in the case of portions of the figtue which came
forward.
THE INFLUENCE OF THE HAND CAMERA.
[London ami Provincial Photopmphic Apsociation.]
The spirit of exaggeration is one of the necessary evils attending the
development of photographic civilisation. For years hand-camera
workers have been pushing to the front, and striving to make the
general photographic public decent and respectably minded citizens.
But the dawn of reason has only just arrived, and, though tardily ad-
mitted, the raiion-d'etre of the hand camera is now recognised. It is
possible for the veriest fanatic to now address an ordinary society upon
what, in his opinion, are the points of hand-camera work, that is,
he can now do it without the sneers and quiet scoffs of the old-
timers. So that, in venturing to address myself to the decent and
respectably minded body of men that compose the London and Pro-
vincial Association, I feel that, whatever the criticism may be, it will
be just and generous. Above all things, I am sure you will fight,
when the time comes, with interest in, and appreciation of, the hand
camera itself. The battle hitherto has been between a small body of
earnest men determined to advance, whilst opposed to them were thou-
sands of skirmishers, who were too busy witli other things to pay much
attention to the invading force. The battle-cry of one was, " We are
here, and we've come to stay," answered impatiently by the skirmishers,
" Tut, tut ! run away, Uttle boys, and play," or " Bother these folks, what
can they do ? what rubbish to trouble us ! " The first sign of the dawn
of reason I detected some time ago, when I heard that a member of the
London and Provincial Association had actually agreed to look at a hand
camera, and it was thought to be a reasonable supposition that, ere long,
he might actually handle the monstrosity. And now — well,
" Do I dre.im, do I doubt,
Or is visions about ! "
Of course I mean visiaris of hand cameras. I hope you will correct me if
I am wrong, but I believe you actually have men now who use a hand
camera. What has happened to the poor London and Provincial Asso-
ciation ? Has it been having too much " spirits " of late ?
I said at the commencement that exaggeration is necessary nowadays.
If a man wants to sell his camera, he asks ol. 10s. for it, so that he can
get il. 10s. by " reduction in the camera." You may perchance imagine
I am on the same tack, that I am claiming (or, rather, shall claim
directly) a good deal too much for the influence of the hand camera,
BO that I can climb down a Uttle to appease your wrath, and yet
get pretty well all I wanted to. Personally, by the conviction of ex-
perience, I believe all I say. You may not ; that is your fault. In a
few years' time they will be accepted as facts.
The influences of the hand camera run in several directions. For
convenience' sake I have classified them into two
Photographic,
Mental or physical.
By an " influence of the hand camera " I mean some power or incentive
towards improvement, in which the hand camera has been the sole — or,
at least, principal — factor. To make a definite start thereto, I claim that
it has been of considerable use in improving photographic materials,
apparatus, &o.
Speed of Plates.
Much interest has of late centered round the great efforts of some
of our platemakers to obtain the maximum rapidity of emulsion.
The makers would hardly do this unless to supply a want ; that
must be admitted. The point is, from what does the demand
spring? I allege from the hand camera. But it may be said, instanta-
neous photography in the ordinary camera must not be overlooked.
Certainly not, nor the fact that the reduction of exposure in a studio of
portraiture, especially baby and child studies, for dimly lighted interiors,
and for portraiture by artificial light, is a convenience the desirability of
attainment of which, no doubt, has helped in the same direction. There
are possibly other causes which I have not enumerated. I admit their
power, but deny their importance as compared with the requirements of
the hand-camera worker. You may mass all these factors in a lump,
and still the hand camera towers above that lump as a mountain to a
molehill. The increased speed of plates is due to the hand camera, and,
whatever weight other considerations may have added, they have only
been as a single black pin is to a full box of white. It is there certainly
but it does not make us buy the box. If there be any gain to photo-
graphers by the increase of plate speed, to the band camera the credit
mast be placed.
Apfabatus.
In several directions the influence may be seen. In order to
diminish the enormous disparity in bulk and weight between the
ordinary and the hand cameras, the former have been cut down in every
possible direction. A band-camera worker grumbles at the unnecessary
weight of his 1 0 x 8 ordinary . Result, improvements and new patents
galore. The necessity of reducing the shutter to small dimensions, in
order to go inside the limited space of a modern hand camera, has brought
upon the market a number of small and ingenious shutters. Possibly
some of these and other improvements in apparatus, such as lighter
tripods, dark slides, and the nse of aluminium, would have arrived in
due course. But we've got them now, and the hand camera did it.
Small Wonic.
Although it cannot yet be said that the day of small work has
arrived, yet I claim that we are now appreciating quarter-plate prints
very much more than we did. This has been a gradual growth truly,
but a resume of exhibitions during, say, the last two years would
certainly prove the existence of the growth. In the old days the reports
were something like this: "Mr. Blank shows a frame of snap-shots,
which, as such, are very good." "As such," indeed; that is where the
blind bigotry crept to the front. It was usual in those days to term
them " snap-shots." Never mind if evidences of composition, careful
treatment, and individuality were visible in the prints — that did not
matter. They were snap-shots — no more, no — well,'I cannot say no less,
as no further degradation of photography could be then imagined.
They were taken in a hand camera, and that damned them for all time.
But now — they are snap-shots no longer, but prints the same as the rest.
The influence has carried us towards the recognition of merit in the
smaller sizes of prints, so much so that ordinary quarter-plate and 5x4
are constantly represented.
I'll admit that we have not yet reached rock bottom on this question,
for, undoubtedly, small work does not receive its full meed of recognition ;
nor can it be said that, hand -camera work is yet free from enemies.
Even now, some pu£fed-up, unmitigated egotist of the high-art school
waxes wroth occasionally, and provides padding for one of the photo-
graphic publications. He is usually one of those to whom photography
must mean "art" or nothing. Well, we hand-camera workers do not
suffer very much ; I presume we have the proverbial duck's back. Any-
way, Mrs. Artist Partington has no broom capable of keeping back the
tide of the hand camera. Personally, I consider any man, who believes
that photography is entirely concerned with art, science, or, indeed, any
one branch, to the exclusion of every other, may safely be written down
an ass. Hobbies may be ridden to the death, but they must not be
allowed to order all others oft the road.
Increase of PiioTOGEipnEKS.
Another very powerful influence is that of increasing the number
of photographers. I don't think it can be denied that the prin-
ciple of " You press the button, we do the rest," has increased th
number of workers considerably. Many hundreds of the outsid
public, to whom the very mention of a camera, tripod, lens, Ac,
would have frightened into fits, have bought a hand camera, to do
"button-pressing" for themselves. Many of these must have been
seduced into our ranks; for the step, from having "the rest" done by
some one else to the doing of it themselves, was one of the easiest trans-
ition. Upon this point let me not be misunderstood. I cannot claim
that ah .;f " button-pressers " have become photographers (this is a
terse way of putting it), but certainly a good many have been so pleased
with their new hobby that they /tare made the plunge.
Better Posruo op Figures.
This is another influence I claim. Of course, I know full well
that all good photographers pay, and have paid, every attention to
this matter ; but my point is that the hand camera has stimu-
lated effort in the same direction amongst the lesser workers. Let
us suppose a case, of Smith, a half or whole-plate man, and his
friend Brown, a snap-shot man. Smith is a careful worker of several
years' experience, whilst Brown is but a beginner. Upon a comparison
of results. Smith finds that in all his pictures there.is'.too much staring at
the camera if he introduces figures in the scene. He finds in Brown's
shots, poor though they may be either artistically or technically, that,
at all events, every one is not rooted to the spot, looking at the camera,
and having the appearance of plaster-of-Paris images plumped down into
the landscape, wishing they hadn't come, and wondering how they ar
280
THE BRITISH JOURXAL OF PHOTOURA.PUy.
[May 5, 1893
going to get out. Ho takes the lesson to heart, and improvement in this
respect follows. I am not saying this without authority, tor I have seen
the change in the work of many of my friends.
Illustrated Journalism has benefited considerably by the hand camera,
as witness the reproductions of shots in the Pall Mall Gazette, the
n'cstminster Gazette, and other up-to-date periodicals. The hand camera
gives the power of depicting life and incident, which to the ordinary
camera are impossibilities. This leads me to my last point in this section,
but it is in no way least. Indeed I would lay considerable stress upon it.
It is the influence of
Life and Chabacteb Studies.
As photographers we ought, I really believe, to feel a consider-
able amount of shame at the neglect of such a fine opportunity.
If so be a hundred years hence it may be asked what has photo
graphy done, is the reply to be that it has produced pictures (at
least the art photographer calls them so, though the painter will in no
wise admit the fact), and pictures only? Certainly not. We can point to
its use in astronomy, microscopic, medical, and many other directions,
including the preservation of historic buildings and spots of interest.
But will it not be asked at once, "Why did you not with the ample
means at your command preserve for us the dress and fashion, the
characters and incidents, the every-day life and bustle of the street ? '
Ai'e we to answer that we sat at the feet of art masters who taught us so
much about the diffusion of focus, the rules and canons of art, the com-
position, light and shade, freedom of treatment, idealism, realism,
impressionism, and a few more " isms," that we either had no time, or
were afraid to descend to such commonplace work as the life and
character of the present century ? I trust not, and sincerely hope a
better account of our duty can be given. Here with the hand camera we
have the opportunity of portraying for posterity life, life with its joys
and sorrows, its sunshine and shadow, its comedy and pathos. The hand
camera can in many cases do this better than the artist, and at all events
we can do very much more in a given time. I have on many occasions
fallen foul of photographic survey work, especially when any limitations
of size or anything else debar hand-camera prints. Because that
means the exclusion of life and character, which I firmly believe
will have much more interest for future generations than these old mills,
river banks, abbeys and castles, churches and public-liouses (interior and
exterior of each, of course), wandering brooks, &c. These may be
stamped with the individuality of the artist ; they may have clouds skil-
fully printed in from another negative ; they may show the stream from
the artist's house looking south, from the west, from the east, with the
artist's house in the distance, and from round the corner ; they may be
sharp all over or sharp nowhere, but there is no life about them. Cer-
tainly, a farm labourer, say, may be introduced into the stream picture,
but he will have his best go-to-meeting clothes on, be gracefully posed,
and wear an expression upon his face a conjunction of care whether the
cow is likely to get into the field, if this operation will keep him later at
work, and whether he'll get a copy of the print. We may also be able to
show studies of natives taken in the studio, with impossible backgrounds
and sitting upon papier-mache rocks, or standing in the street spruced up
for the occasion, carefully posed, erect and manly, wondering what would
happen if the show " bust."
After all, is there no art in the portrayal of life and movement ? Is
there no art in depicting the emotions and feelings by the expression
upon the countenance ? Are we to shut our eyes to the pathetic or
humorous side of living nature ? Must all art consist of dead tree-trunks,
printed in clouds that run over the trees and landscape as if they were
not quite sure just where they ought to be, and streaks of sunlight caught
on the spree ? "
Must we produce representations of nature in an intoxicated state, or,
as Captam Abney expressed it, " makes one perfectly sick to look at ? "
No, good army of hand-camera workers, let not your hearts be troubled
by this high art falutin. Keep steadUy on the way of life and chai-acter,
which is one of the hand camera's strongest directions of work, and the
future will bless you equally with those who portray nature rubber-
stamped with their own originality or eccentricity.
I have wandered slightly from my subject, but' the influence of the
hand camera is, and must be still more, felt in the direction of immor-
talising the men and women of to-day.
Mental and Physical Ixeluekces,
I npw come to a somewhat more difficult subject to tackle, viz
the influences, physical and mental, of the hand camera. I don't
expect you will agree with me upon some of the points at all
for the reason that, until a man has become a really earnest
WJrker of some experience, these influences can hardly be understood
The hand camera, to my mind, exercises a considerable power of
education, both mentally and physically. At all events, I have so found
it. As the two points are so interweaved one with the other, it will be
necessary to treat them together. The directions I refer to are
principally increased speed of artistic perception, improving the vision,
and quickness of action and decision. It is, perhaps, true that the class
of work principally undertaken by each worker will make this point of
lesser or greater importance. One who goes in for street work or rapidly
moving objects will benefit more in these respects than the landscape
worker. I still hold the opinion that successful hand-camera workers
are born rather than made. Nevertheless, I cannot lose sight of the
eJucational power of actual practice, for, speaking personally, the hand
camera has quickened my thoughts and actions to a not unimportant
degree. Speed in work and thought in these go-ahead times is not to be
sneered at, and I do positively assert that I can work at greater speed,
think, and decide more quickly than before using a hand camera. Take
the question of focussing rapidly, and, to illustrate it best, let it be tried
on a full-size focussing screen upon an approaching object. A few trials
will prove how much more quickly it is possible to decide when actually
sharp, and to fire the shutter, than it was at first. Tlie whole question
of thought and action following therefrom is quickened. To illustrate
this, let me mention another capital test, that by electricity at the
Aquarium, a test of vision and action. A pistol is held in the hand and
a disc is watched. At a certain time a definite object passes this
disc, and the task is to quickly fire the pistol, an electric arrangement
of a black band registering the time that elapses between seeing the
object and firing the pistol. Take any ordinai-y photographer (he must
not be a shooting man, however), pit him against an experienced hand-
camera worker, and the difference in the fractions of the second will be
startling. Nay, further, let the hand-camera worker first try after a
month or two's absence from the camera, and then, second, after he has
been with it in the streets that day. He will be struck with the improve-
ment. I therefore claim that the hand camera so improves our vision,
our thoughts, our actions, in the direction of speed as to materially alter
even a man's character. He decides and performs the result of the
decision more quickly. He becomes sharp, prompt, and decisive, and
past hesitations vanish. The hand camera therefore has considerable
influence in altering the mould of the man.
I am ready to admit that the second division of influences may not
appear of very much account, but am, nevertheless, convinced that, even
if that is so, it is because I have not the ability to put these considera-
tions before you properly. They wander afield somewhat from photo-
graphy into other domains of study, with which I cannot claim much
acquaintance as yet.
In conclusion, I claim for the hand camera the following points : — 1,
Increasing speed of plates; 2, Improving apparatus generally ; 3, Causing
greater attention to small work ; 1, Increasing the number of photo-
graphers; 5, Naturalness of posing; 6, Aiding illustrated journalism
and the study of life and character ; and 7, Improving mental and physical
action.
The paper is no weak-minded, cover-all-the-gronnd sort of attempt, but
may almost be termed a fighting one. It is not hedged in with " buts "
and " perhaps " and admissions or concessions, so as to prevent dis-
cussion or criticism. I have said what I believe and what I am prepared
to defend from any honest enemy. And in that spirit I offer it to-night
in the words of Hamlet, —
" Our thoughts are ours ; their ends none of our own."
W. D. WELroBB.
♦
EETOUCHING.
[RichmoutI Camera Club."]
I A3I given to understand that you expect of me something more than a
lecture, and will not be content with less than a demonstration. You
prefer to see things done rather than talked about, and I will try to make
my paper as practical as the nature of the subject admits. It must,
however, be remembered that retouching is emphatically not a demon- »
strative art. Good retouching is essentially modest and retiring, its f
very existence is unsuspected by many who admire the results produced
by it, it is the Cinderella of the photographic arts, and its lot is
generally to work without recognition or acknowledgment. I do not
suppose I can act the fairy prince and raise it by anything I can say to-
night to honour and esteem amongst amateur photographers ; but I
should be glad if I could, at least, cause you to consider whether a very
useful, and in portraiture I might almost say an indispensable, art is not
neglected more than it deserves to be. My own experience gives me
grounds for assuming that it is neglected by amateurs, because, although
I have met with amateur photographers excelling in many branches of
photography, I have never met with an even passably good amateur
May .5, 189a]
THE BlUTISH JOUUNAL OF PHOTOGitA-PHY.
S81
retoucher. The professional photographer, on the other hand, is very
fnlly nlivo to its advantSKea, and is generally supposed to love it " not
wisely but too well." How is this neglect to be accounted for ? Are
amateurs deterred by the apparent difficulty of the work, or do they look
askance at retouching as an illegitimate tampering with the truth of a
photograph 7
Thk Deorke of Skill Ekqciked.
If you examine carefully the work of a really competent retoucher on a
head that lins required clever treatment, it is (juito possible that you may
feel a little discouraged at tlie evidence it shows of a high degree of skill,
which it is perfectly •vidont must be difficult to acquire. It must seem
to the average amateur photographer that the time and patience neces-
sary to attain such great proficiency would not be wortli the while, and
that he would do better to confine himself to landscape and subjects
where want of retouching is not so apparent. But, after all, the proper
study of mankind is man, and I suppose there never was an amateur,
however ambitious, but who cast longing eyes on portraiture. Luckily,
retouchini; is an art that pays good returns for small investments of time
and thought spent upon it. A very little skill, if supplemented by in-
telligence, can be made of great use, and I feel perfectly sure that tlie
most casual amateur would not find that any time given to learn the
rudiments of the art was spent without result. If you are caref'- 1 and
resolute not to put any work on a negative you do not know wii. oe an
improvement, however little work you are able at first to do will be of
advantage to your picture, even if it is confined to removing obtrusive
I defects or blemishes on the skin, or mending up neatly mechanical de-
fects in the negative. Even such humble work as this will often make a
negative satisfactory that could not be acceptable without it. If you
learn how to get a suitable surface on your negative to work upon, and a
properly pointed pencil to work with, you can get thus far without much
I difficulty ; and I hope to-night to be able to teach so much to everybody
I here who cares to learn. As soon after as sufficient delicacy of touch is
acquired to, it necessary, work on the negative so finely that the touches
do not show when printed, further progress can be made towards retouch-
ing a head more completely. I have, besides, heard of conscientious photo-
graphers being deterred from practising retouching by an exaggerated
respect for the truth of a photograph. But the inviolable truthfulness of
a photograph is an unconsidered idea; an average photograph is, in fact,
one mass of inaccuracies, and its irregularities are only too apparent to
any one examining it with the slightest care.
In comparing a photograph with the object presented by it, the most
noticeable variation of the photograph from the object, as seen by the
eye, is generally its failure to render colour. This we are, of course,
prepared for, and, I am sorry to say, even retouching cannot make good
the omission, and for this reason we are not concerned with it to-night.
Modification of Tone by Retouching.
There are, however, other particulars in which photography seriously
falls short of an ideal expression of the object photographed, and in most
of these retouching can render very material assistance. Take, for m-
stance, the modification of tone by colour, and this, in itself, is sufficient
i to prove the utiUty of retouching. Colour exercises a seriously disturb-
ing influence in the rendering of tone by a photographic plate, and no
object, in which there is a great diversity of colours, can be rendered in a
photograph in its proper relation of tones.
Li a photograph, reds and yellows will be represented much too dark,
while the colours at the other end of the spectrum, the blues and violets,
will be ligliter than they should be. The introduction of isochromatic
pistes has lessened this fault, but the correction has only been partial
and incomplete.
An engraver rendering an oil painting, or an etcher working from
mature, is able to put aside colour altogether, and to express his subject
by the proper relation of its tones to one another. If he gets a red or a
n fchie together, it makes no diilerence to him ; he expresses them simply
' as tone values, and according to their depth and intensity as seen by the
eye. la a photograph everything is distorted by the influence of colour :
a red and a blue together send their relative tones flying wide apart, and
io exaggerated and untrue that the merest novice in retouching could see
the inaccuracy, and to some extent correct it. Consider for a moment
the effect of the colouring of the liuman face on a photograph.
Here we have an object with such varied colour and tone that it is
almost impossible to get a passably truthful representation on a photo-
•raphio plate. Take a fair subject with a high colour and a freckled
skin, and. if you want to make a bitter and implacable enemy for life,
show your subject the result untouched. Every freckle and imperfection
in the skin that in Ufe are not noticeable, and in the reduced size of a
cabinet or carte photograph could not bo seen at all, stand out harshly
ind obtrusively, and the unfortunate subject looks as if a charge from a
'- " !iad been distributed over his or her face. The glowing colour in the
. again, which in Ufe would be a charm, is rendered in the photo-
_ . as a sha<low, and gives an unnatural hollowness to the cheeks and
a sunken appearance to the face ; the hair, agitin, being a warm tone, is
•are to be rendered darker than it should be, while the eves, if blue or
cold grey, are lighter.
Tlie eflect in extreme cases is horrifying, and in all cases inaccurate.
\ photograph is often described as " justice without mercy," but this
uould only be when it is retouched, in its untouched state it is generally
" justice without mercy " with the justice left out. Of courao, I have pnt
here an extreme case ; some of us may be fortunate enough to keep
through life the bloom of youth on our complexions, and preserve a skin
unsullied by freckles or blotches, but we should then feel all tlie more
keenly the flagrant injustice of representing the face blotched and uneven
by the variations of colour in the skin unseen by the eye. An interest-
ing illustration of the effect of colour on the skin was reported in the
photographic press some months ago, when the photograph! of a sitter
in the earliest stages of fever revealed indications of the disease on hig
face long before they could be detected by the eye.
But even if there was no colour to deal with, although the tonality of
photographs of most subjects would be much improved, it would be very
far from perfect. It may be possible to make a negative from a subject
in monochrome in which the tones sliall have true value, but it is
extremely difficult, and depends on the exposure being timed with great
accuracy, and the development being carried on with the greatest skill.
If it is under-exposed, the tone will be hopelessly extended and grades lost
at both ends of the scale, some being smothered in the shadows and
others lost in the lights.
Again, take the form of an object in its simplest expression as shown
by its outline. Here we have no colour to confuse the form, and the
shape does not depend on gradations of tone, but even nnder these
simpler conditions we are not sure of getting an accurate representation
by photography.
There is the distortion of the lens to be taken into account, and in an
object having mucli depth the front or pnrt nearest the lens will be of an
exaggerated size compared with the part more remote, especially when
the lens used has not much depth of focus.
Most Negatives Improved by Retouchino.
I have reminded you in this way of some of the shortcomings of a
photograph, because, unless it is clearly seen how imperfect a photograph
must necessarily be, there is no excuse for meddling with it. But, whether
you photograph landscape, figure, or portrait, you will seldom take a
negative that could not be considerably improved by intelligent
retouching.
For portraiture, indeed, it is absolutely indispensable, -and the pro-
fessional portrait photographer owes his very existence to it. Before it was
understood that a negative could be worked upon, freely and successfully
with a lead pencil, portraits were almost invariably taken of small size,
generally of full length with tiny heads too small to show tlie imperfection,
and photographs of this period are generally found to have been clumsily
posed full length, carte-de-visite size.
The advent of retouching brought an immense extension of business
to the photographer. Now large heads are generally made in almost the
other extreme, and there is not a photograph sent out by any photo-
grapher of repute that is not from a negative that has been through the
hands of the retoucher, and generally to its great advantage.
An Example.
Let me draw your attention for a moment to an example I have here.
It is not an extreme case, but it will serve. It is a negative I picked out
from only a few I looked through, and is an every-day subject with the
retoucher.
The lady is not suffering, as at first sight she appears to be, from the
ravages of some fell skin disease. You will notice she has rather a plea-
sant, smiling expression, not appropriate to one in pain. It is, in fact,
nothing half so serious ; she has merely been out in the sun, or has used
the wrong soap — the one that is not matchless for the complexion — and
has got a few freckles. Slight imperfections, barely apparent to the eye,
but which are maliciously rendered by the lenses as great blotches and
splashes having a perfectly horrifying effect. I have retouched the nega-
tive and made another enlargement from it, and I think yon will agree
that it is not only a more pleasing portrait, but also much more con-
vincing as a likeness. The retouching is not flattery, it is an act of
simple justice. I will willingly acknowledge that, like all useful things,
the practice of retouching can easily be carried to excess ; it must be
confessed that it is often used in such an illegitimate manner as to call
down upon the art sharp and well-deserved criticism. A fashionable
photographer will think nothing of carving away a substantial piece of a
lady's waist if it is not in the same proportion as that of a figure on a
fashion plate. He will straighten a nose, as a matter of course, if it
happens to be a little too retrousse or pronouncedly Roman, tint grey
hair, and entirely eradicate wrinkles and marks of age of all kinds.
The Materials Necessary.
The cost of the materials necessary for retouching need deter no one
from commencing. A 1(/. pencil, or, if price is no consideration and you
are inclined to be luxurious, say, a id. Faber or Hardtmuth, some arrange-
ment in the shape of a retouching desk to support the negative, and a
little medium, that can be made up for a few pence, is all that is
absolutely necessary. The pencils I generally use are Hardtmuth HH or
HHH leads in screw holder. These or Faber's best pencils are very even
and free from grit, and take a very fine point without breaking. They
may be obtained in almost any number of H's according to hardness,
and perhaps a beginner would find it easier to get on with a rather
harder pencil at first ; bat a softer pencil sares time when the touch has
282
THE BRITISH JOURNAL OF PHOTOORAPHY.
[May 5, 1893
become light enough to use it. When you have got the right sort of
pencil, the next thing is to get the right sort of point on it. This is one
of the first difficulties of the beginner. An extremely fine point is abso-
lutely necessary for such delicate work, and it is worth taking pains to
obtain. I make a point about an inch or rather longer, tapering down
regularly from the thickness of the lead to the sharpness of the finest
pointed needle. The quickest way to sharpen is to rub down first with
fine sand paper, and finish on a piece of ground glass or opal glass.
The gelatine or varnished surface of a negative is too smooth to work
upon, and offers no bite to the pencil ; it is necessary to prepare it in
some way. To my mind, the most comfortable surface to work upon is
obtained on a good hard varnish, by grinding the surface with pumice
powder. This gives a luxurious surface compared to the usual surface
given by a medium.
The varnish must be fairly tough and well baked after negative is
varnished. The grinding down must be done with some care, or there is
a danger of scratching or cutting a hole in the negative, especially if the
pumice is not fine and free from grit.
A little of the pumice should be taken on the tip of the finger and
rubbed carefully on the parts to be worked upon. With a little practice
any surface can be obtained to suit the subject, from a rough surface
with a tooth like drawing-paper to a fine surface that will only take the
pencil in light, fine strokes. I much prefer this surface to any other I
have tried, but it has, unfortunately, a serious drawback, the density of
the part rubbed down is very slightly increased. In retouching a face,
the very slight increase in density is generally imperceptible, and when
the negative is thin may be a positive improvement. When the face to
be retouched is already on the dense side, it is better to use a medium.
There are a number of suitable mediums sold for the purpose. The
medium I generally .use is made of one drachm of powdered resin to two
ounces of turpentine ; it is very easy to make, and answers as well as any
other.
The disadvantage of mediums compared with a surface prepared with
pumice is that they are generally more or less tacky, and tear off the fine
point of the pencil, and the bite cannot be regulated so conveniently.
However the surface is prepared, it will not take the pencil freely enougli
to bring up quite transparent places in the film to the density of the
lights, and when very transparent places have to be dealt with, such as
holes in the film, dust spots, and other similar defects, it is best as well
covered with the pencil as possible, and strengthened to full density with
water colours mixed to match the tint of the negative stippled on neatly
with a fine brush.
A retouching desk is required to support the negative in a convenient
position while retouching. The desk should be firm, and capable of
being arranged at an angle so that the light may be reflected through the
negative from a reflecting surface arranged beneath. Desks sold for the
purpose generally have a mirror for reflecting the light ; but, unless the
light is very weak, it is reflected too strongly by a mirror, and white
paper makes a much better reflector, and has more mercy for the eyes.
A good desk will be fitted with frames to hold different-sized negatives,
and a hood to screen the eyes of the retoucher from light other than that
passing through negative.
When we have these few requisites, we are ready to commence.
The UsuAi Method of Eetouching.
I propose now to show you, as well as I am able, the usual method of
retouching a portrait head with pencil, and afterwards I propose to call
your attention to retouching methods more suitable to landscape photo-
graphy.
It is a very difficult matter to illustrate portrait retouching to an
audience, and I am trying a novel way. I have here a negative bromide
enlargement of a head to life size. That is, an enlargement made from a
positive transparency instead of from a negative. It is a choice subject,
from a retoucher's point of view, and I am sure that the need of retouch-
ing is perfectly obvious to everybody who can see it. I am afraid I
should exhaust your patience if I tried to retouch it in anything like a
finished manner ; but, if you can bear with me for a few minutes, and
imagine it is the negative of a small head, and that you are looking
through, instead of on to, it, I will show you how I should commence it.
When it is necessary to retouch a landscape negative, the need for work-
ing upon it is generally from the same causes that call for retouching in
a portrait, viz. : —
The modification of tone by colour, the defective rendering of gradations
of tone through under or over-exposure of whole or parts of the negative
or faulty development, distortion by the lens, &c. '
The method of working is, however, different in landscape ; it is
generally necessary to deal with larger surfaces, the delicate niggled work
of the pencil must be exchanged for something broader.
The most useful retouching when broad patches are required to be
lightened or darkened, such as an under-exposed foreground against an
over-exposed distance, is done on the back or the glass side of the plate
with the stump, or with coloured varnishes, or with colour applied with
the brush. There are great advantages in working on the back of the
plate ; there is no risk of spoihng the negative, as any work put on if
not satisfactory, can be wholly removed or can be worked upon' or
corrected by scraping with a knife ; and, besides, the retouching being
separated from the printing surface by the thickness of the plate, prints
softer and permits of rather coarser working. Suppose we have a tree
trunk in the foreground which is rather under-exposed, and which, before
the distance and denser parts of the negative are printed, has darkened
into a black stripe without shape or rotundity, it is an extremely easy
matter to work upon it from the back of the negative and make it print
as light as desired to bring it into proper tone with the rest of the picture.
This can be done by coating the back of the negative with matt varnish,
or covering it with xiapier minCrale (a transparent paper sold for the
purpose) and stumping a tint over it with a lead. If, however, it is neces-
sary to make a very decided alteration, sufficient density cannot be got
with the lead, but with tinted varnish a black object can be modified to
numberless tints— to white if necessary.
The varnish may be made up with collodion and thinned with ether,
and tinted to the required density with a few drops to the ounce of a
strong solution of aurine. Pour it over the back of the plate so as to
cover the part to be modified, and as soon as it is dry scrape it away
where it is not required. The same plan may be adopted to help parts
of a negative too dense to' print.
Take, for instance, the gleam of sun on water. Very frequently the
negative will print with a hard, white, chalky light, omitting altogether
the delicate tones that approach the high light. Although they are
appareu! in the negative, the picture would be over-printed before they
were printed out. If, however, the negative is varnished all over, the
back with a suitably tinted varnish, and the varnish over the light re-
moved by scraping with a knife, the difficulty would be overcome. This
method of treating a negative is extremely simple, and I think can be
used with great advantage and effect by every landscape photographer.
I do not mean in order to make poor negatives presentable, but there is
hardly a negative produced that could not be made more truthful and
more beautiful by judicious and intelligent retouching. It puts in our
hands a power akin, although remotely, to that of the painter, who can
arrange the tones of his picture according to his feeling and judgment.
Eknest C. Morgan.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 8340. — " Improvement in Lenses." H. 'RkTE.—Lktted April 25, 1893.
No. S420. — "Improvements in Photographic Cameras." J. W. Wilson. —
Dated April 26, 1893.
No. 8541.— "An Improved Apparatus for Changing iu Daylight Plioto-
graphic Plates from a Light-tight Box to the Dark Slide of the Camera, and
vice versA." E. Barnard. — Dated April 28, 1893.
No. 8624.— "An Improved Washing Apparatus for Photographic Prints."
W. M. SiMrsoN.— i>a<t>(/ April 29, 1893.
SPECIFICATIONS PUBLISHED.
1892.
No. "567. — "Photographic, &c., Materials." Christy.
No. 9819. — "Photographic Cameras." Beck & Claeke.
PATENTS COMPLETED.
Improvements in Ajtaratus for Taking Instantaneous Photographic
Pictures.
No. 10,353. Georges Philibert Charles Maroniez, 101, Rue Faidherbe,
Boulogne-sur-Mer, France. — March 4, 1893.
My invention has for it.s object improvements iu apparatus for taking instan-
taneous photogi'aphie pictures, the movement of the shutter and the changing
of the sensitive plates or surfaces being effected by a single movement of a knob
or handle.
The apparatus consists of a box or camera forming a dark photographic
chamber, provided with a lens adjustable by a rack and index, so that the
exact position and focus can be determined beforehand.
Behind and against the front of tlie camera is a shutter in the form of a
disc, revolving always in the same direction. It is provided with two opposite
openings, which pa.ss in turn in front of the opening of the lens, aucf it is
mounted upon an axle having a toothed wheel, operated by a coiled spring,
whicli can be wound up with a key when required, so as to afford a considerable
number of exposures.
At right angles to the diameter of the disc on which tlie openings are made,
and at its circumference, two catches are arranged which serve as stops. For
this purpose they act in combination with an escapement or anchor piece
pivoted iu the upper part of the camera.
This escapement is held back in its normal position by a sjiring, one of its
teeth being down and the other up, so that the first engages with and holds
one of the stops upon the disc, and prevents the latter from turning.
When, by the action of a bar or pusher moving longitudinally and provided
with a tappet, the escapement is turned on its centre, the tooth described
is released from the disc, which makes a semi-revolution, uncovaring the lens
as it does so. The other tooth of the escapement, which is now down, then
stops the other stop upon the disc, but when the pressure upon the pushing
bar is released it is returned to its normal position by a spring, and the escap<-
ment takes its original position, the second stop upon the disc being release' 1.
but being immediately caught by the other tooth of the escapement, where it
is held in readiness for another exposure, and so on as often as may be desired.
May 5, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
283
111 order to change between eacli exposure the sensitive surface, which may
be either glass plates or films of any convenient size, they are contained in
frames or discs of tliin metiil slightly concave to give elasticity, and having
their edge turned over to hold the plate or film.
These frames are arranged one Ijeliind the other in the back of the camera,
and arc all pressed forward by a spring. They are supported below by two
guides, allowing a slight amount of pby, and the front frame is pressed against
two pieces of metal, which project very slightly above the ends of the guides,
and have their projiitinj; ends r.nmdeiL
In the miildle of the upper part of the camera is arranged a longitudinal bar
or spindle, turning in bearings, :ind having upon its front end a toothed pinion
gearing with a rack upon the pushing bar already described, so that, imme-
diately after the shutter has operated, the pinion and spindle are made to make
a miarter of a turn.
The spindle carries two curved teeth at right angles to each other in end
view, and one somewhat in adv.iuce of the other, the forward tooth, which, in
its normal position, is inclined ilownward and curved to the left, serving to
release the front sensitive plate and fmnie. For this purpose it is combined
with a stop at the end of a Hag spring, which presses it down, and against
which, in this jiosition, the top edge of the first or front frame presses.
By the revolution of the spindle by means of the rack, the front tooth rises
to the left, and, having made an eighth of a turn, comes against and presses up
the spring and sto[), pushing the latter into a recess in the top of the camera,
so that the top of the front franu- is released, and being pushed forward by the
spring at the oack, and by an angular spring describeil presently, falls forward
{turning upon its lower e'dge), and, g.iided by two curved guides in tlie body
of the camera, falls Hat upon the bottom of the latter, where it is held by two
springs in the sides.
At the same time th.at the forward tooth upon the spindle lias moved up,
the corresponding back tooth has moved down, and prevents the next frame
from falling forward.
When the pressure upon the pusher bar is removed, the spindle is brought
I'lck to its original position by a spring, and the next frame is pressed forward
i;id held in i>osition ready for a fresh exposure.
The back tooth upon the spindle operates a wedge-shaped piece at the end
of a Hat spring, which tends to force it down. This piece has a notch, into
which the said back tooth engages, and raises the wedge into the recess at the
top of the camera. When tlie tooth is lowered, it releases the wedge, which is
forced down by its spring, its edge entering behind the frame which has just
been exposed, and driving the upper edge of the latter forward so that it falls
over as already described, even in case the camera is inclined somewhat
backward.
Inside the camera, at its right and left sides, .are two vertical springs of thin
steel metal split into strips of dilferent lengths, the thickness of, say, three
superposed frames being left between their successive ends, which are bent
somewhat outward, so that the frames as they fall easily press them back, but
are aftenvards prevented from rising from the bottom, or being displaced,
even if the camera is turned in any direction. An opening in the bottom
allows these exposed plates to be removed without disturbing the others.
The pushing bar is provided at its end with a sjiring cam, which, at each
operation, advances a ratchet wlieel one tooth, the wheel having a number of
teeth corres]ionding with that of the plates, and having an exterior index
hand which can be brought back to zero by a button, and indicates auto-
matically the number of plates exposed.
The pusher bar itself, which actuates the entire mechanism, is of brass,
having a rack cut in it to fit the toothed pinion on the spindle, and it is also
provided with a pall which in its forward movement actuates the escapement.
This movemeut is so arranged that the escapement is released after the first
part of the stroke, during the remainder of which the teeth upon the spindle
disengage a frame :is described and cause it to fall to the bottom of the camera,
the two movements beirg in succession and not simultaneous.
The pusher bar is operated by a cam having an exterior thumbpiece which
can be woi ked without shaking the camera. By turning this thumbpiece a
iiarter of a tuni, the cam is turned and forces forward the pusher bar, which
* trts the escapement and the sjundle. A safety catch prevents the thumb-
■ifce from being accidentally moved.
WTieu the pusher bar is brought back by its spring, the whole of the parts
ike their original position ready for a fresh exposure, and all the required
movements are made with great rapidity by a simple pressure upon the thumb-
piece, so that a large number of exposures — say, twenty a minute — may be
made without interruption.
From its simplicity of construction and operation, only a simple pressure
upon the thumbpiece being required, the apparatus may be safely used by
' ;rson3 inexperienced and without knowledge of photography.
Imi'Bov-emests connected with Photogiuphio Cameras.
No. 8067. Samuel White Rouch, 180, Strand, London.— J/areA 18, 1893.
IM8TEAD of the narrow piece made removable, which was detachable from the
baseboard which folded over so as to protect the focussing glass, as described
'•-> my patent (Xo. 1418, April 11, 1878), I now make this removable narrow
i.-ce much broader, so as to extend nearly from side to side of the baseboard,
:id have it attached thereto, so as not to be removable, but to slide in and out
1. ithin defined limits by means of a nek and pinion. The front of the camera,
tiy which the lens is carried, may, as in my former arrangement, be attached
■ '■ this travelling and adjustina piece at either of its ends, so as to provide for
•Jier a short or long extension by the bellows body of the camera to provide
: the including of wide or narrow angles of view ; and, whereas the former
irrow adjusUble travelling board had one rack only, my improved one
- fitted with two— one at each side — thus ensuring steadiness and parallelism
: motion.
Atttiched to the back of the camera is a repeating back adjustment
'ready known in some othei- cameras), by which, instead of one single
■turc the full dimensions of the camera, two of smnllor size may be taken
le by side.
To provide for the increased raising and lowering of the lens in the camera,
the front slides in grooves at each side, and at its liottom ingresii of light to the
camera is prevented by a folding gusset arrangement of leather or similar
material attached respectively to the solid front of the camera and the movable
lens-carrying front, liy which arrangement light w totally excluded, even when
the movable front is considerably raised.
Tliia camera may be used for the pro<luction of either enlarged or reduced
pictures from any negative or cliche by the following means :— It is erected
on an elongate<l table or ba.se, ami, its front being removed, the front
of another, .although not necessarily similar, camera is inserted thereon,
by which both are thus attached together. This latter, to permit of the
facility of extension, has two independent bellows bo<lies, each fixed to
the central frame. An enlarging or reducing lens is fixed in any convenient
place in the latter camera, which has an independent ground glass on which
to focus the enlarged or reduced image, and the means for holding the
negatives or cliche.
After the camera has been focussed, and to prevent its being thereafter re-
moved or disturbed, a quick-threaded screw, acted on from the side, Jambs the
adjustment and renders it temporarily rigid.
Improvements in or belatino to Apparatcs fob the EIxposdbe, Separa-
tion, AND STOBINQ of A PACK OB SERIES OF PHOTOGRAPHIC FiLMS.
No. 2566. Joseph Thacher Clarke, Boston, Massachusetts, United .States
of America, at present residing at 3, College-road, Harrow, Middlesex.—
March 25, 1893.
The chief purpose of my invention is to provide an apparatus, of the tj-pe
custom.arily described as a "changing box," by means of which a pack of
sensitised films or like flexible sheets may be exposed in connexion with an
ordinary photographic camera, and may thereafter be transferred seriatim to a
light-tight receptacle, where they are stored in another pack or series. Certain
features of my invention— notably the ditl'ereutiating indicator wheel, the inter-
locking pressure board, and the means for attaching the selecting devices to
their supports— are, however, directly applicable to photographic film-changing
ajiparatus of other types, such, for instance, as a self-contained hand camera
This adaptability will be readily understood from a descriptionof my improved
changing box for photographic films, and will, moreover, be especially referred
to hereinafter.
My invention is more p.articularly intended for the manipulation of films
notched upon two of their sides and arranged in alternate sequence, as de-
scribed in Letters Patent, No. 23,315, of 1892. A pack or series of such notched
films may be exposed, separated, and stored in my improved changing box
without the intervention of carriers or sheaths, and without previous separation
of the films by the photographic operator. Means by which similarly
notched films may be selected and separated seriatim from a pack or series
have been described by me in Letters Patent, No. 11891, of 1890, where they
are referred to by the numerals D 12, and the separating device which I
employ in my present invention, is, in principle, identical therewith.
My improved changing box consists of two receptacles. The first of these
(which will hereinafter be referred to as the dark slide) contains the pack of
unexposed films, and is provided with a rebate or with catches for attachment
to onlinary photographic cameras, in the same manner as are the double backs
which are in every-day usage for the exposure of glass dry plate,s.
The second receptacle (hereinafter called the receiver) is adjoinable to the
dark slide, face to face, Ijy a light-tight fitting, and serves to store the exposed
films which are transferred thereto.
The faces of both dark slide and receiver are closed by light-tight shutters
which may be withdrawn for the respective purposes of making the photo-
gr.iphic exposure, of transferring the films from one recept.acle to the other,
and of removing the exposed films. The dark slide has an opening at its back
to permit of the insertion of the pack of unexposed films, together with a
spring follower or backboard sen-iug to pre.ss the films forward against the
selecting and separating devices whicli hold the foremost sheet in retrister.
For the purpose of making an exposure upon the foremost film in the dark
slide the procedure is as follows :— This receptacle is attached to a photographic
camera in the same manner as an ordinary double back ; the shutter of the
dark slide is withdrawn ; light is admitted to the camera lens in the customary
way, and the shutter is replaced. The dark slide is then detached from the
camera and adjoined, face to face, to t'lo receiver, being held in an approxi-
mately horizontal position, face downw.ards. The shutters of both d.ark slide
and receiver are withdrawn together, and the film-separating mechanism is
operated by means provided for this purpose upon the outside of the case.
This releases the exposed film and allows it to fall into the receiver. The
shutters are thereupon replaced, and the receptacles separated. These opera-
tions may be repeated as many times as there are unexposed films in the dark
slide. When it is desired to remove the exposed films for the purpose of de-
velopment in the photographic dark room, this may be readily done by with-
drawing the receiver shutter.
Improved PHOTOGRArmc Magazine Changing Box for Plates aotd Films
with Roller Slide Shutter.
No. 6355. CvRL Grundmann, Leipzig, Saxony, German Empire, Nicolai-
strasse 41.— J/«rcA 25, 1893.
This magazine changing box is provided with a plate-changing device
which renders it possible to use the same, as other ordinary
dark slides, dir«ct with the camera, and also allows the same to remain
fixed to the camera during the changing of the plates, that is, while
transporting the exposed front plate to the rear.
The changing of plates is greatly facilitated by emi)Ioying my invention.
A further improvement relates to the arrangement by means of which the
slide or shutter, which serves for exposing .and also for changing the plates,
moves in a semicircle round the box forming the plate magazine, and for that
reason <loes not protrude from the apparatus during the use of the same.
It is, furthermore, very advantageous to employ a light-tight bag liied to the
284
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May .5, 1893
box for temporarily holding the plate during the changing, as the folds close
to the box when not in use. •„ n,o ^^cnU
A CTe.it sa%-iug of space and ii very compendions form is the result.
ThfconSn betJveen the bo., fornung '1- -*g^f "« ^of the ?ot be^
is formed by two slots made in one ot the side walls, one of the slots oemg
towards the front near the shutter, the other to the rear of the hast plate, both
^^the'^r^oittld^'Sg of plates is carried out in the following
™ After fixing the changing box to the camera, the safety spring attached to
thelkUsprefsed dowif ami bolted, and a roller-slide shutuer moved in the
'"Ttoisrnnerttf'To&t pl.ate is laid free to be. exposed, and at the same
me the frames, which ca^y the plates or films in the box moved so far
fo^ard by m"ans of the pressure of a spring that the front frame will be m
th7focus ^of the lens and in the position which the sliutter has previously
""if "the' shutter is moved in the opposite direction to the aforedescribed,
when the exposition is ended, the front frame, with the exposed plate, will be
simultaneously pushed tlirough the forward slot into the b.ag, from whence he
s^e Sn be moved by hand through the rear slot into the changing box behind
*^Bv*meani''of a ruby glass let into an opening of the lid, the succession of the
frames, which are provided with consecutive numbers, can be observed.
IMPRO^'BMENTS IN PHOTOGRAPHIC APPARATUS.
No 9535 JAME.S Douglas Lysaght, 7, Cre.icent, Queenstown, co. Cork,
Ireland.— Jt/arcA 25, 1893.
Mt invention applies more particularly to that class of photographic apparatus
known as hand cameras. .
It provides a means for accurately focussing the image previous to exposure
To accomplish this, I provide a plane mirror, preferably silvered on its
upper surface, to reHect the image projected by the lens on a piece of ground
g\ass inserted in the top of the camera. This mirror is attached to a plate
which slides in grooves on a frame in the same manner as the sliding stage ot a
microscope, being actuated by a rack and pinion. The frame ls so constructed
that it forms an angle of 45° with the ground-glass screen.
To obtain a suitjible chamber or hood to enclose the ground-glass screen, 1
provide two flaps or doors, hinged to the top of the camera— one of these doors
is fitted with side wings. When in use for focussing, these doors or flaps are
raised by rods, to be hereafter described, and form a focussing chamber, the
width of aperture of which is capable of adjustment.
To enable the operation of focussing to be effected in the most satisfactory
manner, I provide means, to be hereafter described, to open the stop or
diaphragm of the lens to its fullest extent at the same time that the doors of
the focussing chamber and mirror are raised.
To accomplish these combined movements, I connect the pinion that actuates
the mirror by means of a train of wheels to a vertical .slide furnished with a
rack. At the upper end of this slide suitable rods are fitted connected with
the flaps of the focussing chamber. .
A lever handle outside the camera connected with a toothed wheel inside in
gearing with tlie train of wheels above mentioned actuates the a]>paratus.
Tlie stop or diaphragm of tlie lens is moved as follows :— I attach a roller to
the shaft carrying the wheel and lever handle ; to this roller one end of a cord
or chain is attached, the other end being secured to the knob or projection
from the stop, this stop or diaphragm being preferably that known as the ins.
A spiral or other spring fixed between the side of the camera and the knob of
the stop serves to bring it back to any required position. An adjustable pin or
screw permits of any degree of adjustment of size of aperture.
For use with my invention I prefer that form of exposing shutter known as
the roller blind, fitted as clo.se as possible to the sensitive plate or film.
The claims are :— That oue movement of the lever handle in one direction
raises the mirror .and the doors of the focussing chamber at the same time,
opening the stop of the lens to its full aperture, thus enabling an accurate
focus to be obtained by means of the usual rack and pinion attached to the lens
or camera, and the reversal of the handle lowers the mirror, closes the doors of
the focussing chamber, and returns the stop of the lens to any prearranged
position.
Improvements in Photographic Camera Shutters.
No. 9820. Conuad Beck, 68 Cornhill, London, B.C., and Joseph Thacheb
Clarke, Boston, Massachusetts, United States of America, at present re-
siding at 3, College-road, Harrow, Middlesex.- jtffwcA 25, 1893.
Our invention relates to photographic shutters of the type described in
Clarke's Specification, No. 20,852, of 1890, in which the movable plate or
shutter, revolving in one direction only, is of a circular shape, with a single
exposure aperture, the size of this aperture being increased or diminished by a
secondary or auxiliary semicircular fan or stop attached to the face of the main
shutter disc in sucli wise as to obscure a greater or less portion of the aperture
thereof With an auxiliary stop of this nature, the exposure aperture in the
shutter disc may be varied from the narrowest radial slit to a concentric zone
extending to a length of 180 degrees.
In shutters of this type, the exposure aperture, whether narrow or wide, lias
hitherto been so arranged as to pass immediately in front of the lens on the
shutter being sot in action : the auxiliary stop, i.e., the semicircular obscuring
plate attached to the main sliutter being moved, in tlie act of increasing the
aperture, in a direction contrary to that in which the shutter disc is revolved.
It lias been found in practice that this arrangement does not give the greatest
possible latitude of exposure, inasmuch as the shutter disc, when released,
revolves with a gradually accelerating motion. Thus the narrowest available
slit, being immediately adjacent to the lens aperture, was passed in front of
the lens at a slower speed than was any portion of the zone situated at greater
distance from the lens. It is obvious that the result of this acceleration has
been to decrease the variability and range of the effective photographic ex-
posure, which was thus not directly proportionate to the aperture displayed
in the shutter disc by pushing aside the auxiliary stop from the zone.
Our present invention not only obviates this disadvantage, but profits by
that very acceleration in the rate of travel which has been observed in the
movement of the circular shutter disc. We ol)tain this advantage by so con-
structing the auxiliary semicircular obscuring plate that it is moved, in the
act of increasing the aperture, in the same direction as that in which the
shutter disc revolves. According to this arrangement the narrowest available
slit is situated not immediately adjoining the lens aperture, but at a distance
of one hundred and eighty degrees therefrom. In other words, all that por-
tion of the aperture zone which is obscured by the auxiliary stop has to be
passed across the lens before any light is admitted. Tlius the largest possible
aperture is passed across the lens at the slowest average speed, whilst the
n.arrowest aperture is passed across the lens at the most rapid speed. By
this method of constructing the obscuring plate that acceleration in the motion
of the shutter disc, which has hitherto been a drawback, is rendered actually
advantageous. . , , . .
The ch.ange in the operation of the obscuring plate involved in our present
invention naturally leads to certain alterations in the details of the shutter.
As no time exposure is possible without the introduction of an entirely inde-
pendent detent, the secondary or retaining click, with its lifting apparatus,
de.scribed in the before-mentioned Specification, No. 20,852, of 1890, is omitted.
It has, furthermore, been found economical and otherwise advant.ageous to re-
place the screw cap attachment, which was at first employed for the purpose
of holding the obscuring plate against the shutter disc by a light spring clip of
thin metal affixed to and revolving with a shutter disc, and capable of exercis-
ing sufficient pressure upon the two plates to prevent their relative position
from being unintentionally altered.
A New Magazine Camera.
No. 6243. Samuel Dickinson Williams, Moorlinch House, Clytha Park,
Newport, Monmouthshire.— .Uo?-c/t 28, 1893.
According to my present invention I form my camera with a double bottom,
that is to say, with a platform stretching about half the length of the camera,
and raised parallel above the Hoor thereof so as to leave a spice between
sufficient to enable a sensitised film or sheet to pass along. The films or sheets
or other sensitised surfaces, hereinafter referred to for brevity as films, are
packed and rest with their edges downwar<ls upon this platform, and are
maintained in this upright compact order .and position by means of spring
pressure applied at the front and on top. On the sides of my camer.i I
arrange a system of wheels or pulleys with endless chain bands or cords passing
over them, and I connect the pulleys and bands on one side with similar
pulleys and bands on the other side by cross pieces or carriers bearing spring
hooks, clips, or grippers. The system of pulleys and bands occupies on each-
side of the camera a rectangul.ar- shaped position or approximating thereunto,
so that wlien set in motion the above cross pieces travel in continuous rotation
right round the body or pack ot films as they rest or stand on the platform,
that is to say, starting at the back, passing under the platform, then round the
front, over the top, .and on the back again. The spring gnppers take hold of
the bottom edge of the film, but I prefer to use films with holes m at the
bottom edge into which the spring hooks or grippers carried by the cross,
pieces engage at the proper moment, by being made to pass over a ledge or
guide piece situated at the required point on the inside in the back at the
bottom of the camera. The continued motion in the same direction of the
travelling band t-nables the cross piece thus to carry the film under the bottom
of the platform and up into a vertical position in the front, when, having
arrived thereat, the spring hook or gripper is .again made to pass over a corre-
sponding ledge or guide situated at the required point on the inside in the
front at the top of the camera, and thus becomes disengaged, leaving the film m
the front in proper position for exposure, the spring pressure at the front
and the springs at the top of tlie films adjusting same in their place and pre-
venting the front film from becoming deranged in position.
I prefer to furnish my system of pulleys and bands with four of the cross
pieces referred to, as by that means I am enabled to have a film which has
been already drawn from the back, always waiting at the bottom of the camera
ready to be drawn up in front. I provide for the separation of the films or
sensitised sheets, in order that the hooks or grippers of the carriers may take to
one anil one only each time by the following device. At the end of the
platform which supports the general body of the films, I arrange on a suitabla
shaft a screw consisting of a cam-shaped thread with knife edges, such thread
bein" of a pitch just fine enough to admit only one thickness of the film or
.sheet which is being used, the travel of the thread beginning from nothing-
increases by reason of its cam shape so as to gradually insert itself automati-
cally between the last film at the back and the general body of the films, and
at the same time by reason of the natural angle of the thread pushes the film
so separated outwards and over the edge of the platform, where it is m a
position to become engaged by the hooks or grippers of the cross carrying
pieces. For the protection of the body of films during exposure of the one la
position, I arrange in front of the geiier.al body of films a dark curtain, or
flexible dark slide, or screen, working on rollers mounte<l upon or in conjunction
with an endless band, which forms a sort of skeleton or hollow frame alternating
with the dark slide in such a way that for a certain travel of the rollers th»
dark slide is behiml the film when in position for exposure, and for a certain
further or reverse travel after exposure, the dark slide is withdrawn therefrom
to a position in front of the film, and the slojleton or hollow frame aided by
the spring pressure referred to permits the exposed plate to join the general
body of the films, and the next movement brings another film up in front, but
at the same time the screen rollers have also made a further travel and brought
the dark slide into position behind it. The screen rollers are geared with the-
system of pulleys and driving bands, so that the motion derived therefrom con-
nects the screen in a manner suitable to produce the effects recpiired. I
arrange my camera with suitable shutter mechtinism, and this also I connect
by contacts or gearmg, or other mechanical connexion, with the shaft of the
screw cam or system of pulleys and screen rollers, so that, when a film 18.
May 5, 1893]
THE BRITISH JOURNAL OP PHOTOGRAPHY.
«8S
ubout buing cliangcd after exposure, the fact of the same being done shall
autoiimtioally set the ahutler, I arrange a suitable spring catch for releasing the
same by hand either for instantaneous or time uxj^sure, or, wliere necessary, I
omit such device for iadoi>cnclcnt working and inalie the continuous travel of
the system of pulleys and cross careiers, or the general action of the mechanism
iu dcMcribeil ; set the shutter and release it as fast as the films are brought into
position. I arrange a driving band on a driving wheel or pulley on the side
of the camera gearing into the system of pulleys ami cross carriers, or I drive
the general movement from the sci-ew shaft by suitable gearing, from which it
will be seen that the continuous rotary motion of the driving handle and the
general arrangement and raechanLsm as described will enable the films to be
exposed in rapid succession until the charge of films or sheets in the camera
be exhausted.
Improvements is Photooraphio Cameras.
No. 10 167. John Fk.vthbrstonkhaugh Parsons, Siddington House,
' Kingsdown-parade, Bristol.— J/«rcA 25, 1893.
This invention, which relates to photographic cameras— more particularly hand
cameras— has for its objects to obviate certain disadvantages appertaining to
cameras as hitherto constructed and fitted.
According to this invention, in its relation to the use of films, the latter,
instead of being, as heretofore, in a continuous roll, are separate, and each
film is carried on the face of a mount of canlboard, paper, or other suitable
substance, to which it is attached. The mounts carrying the films are piled
on end, and at the base they are separately hinged to a common foundation of
tissue paper or other snitaWe pliable material. The pack of mounts and
adhering films thus .arranged in book form is placed on a shelf in the camera,
and a spiral or other suitable spring is brought to bear on the back of the pack,
wliich thereby tends to advance towards the lens, but is restrained by a stop
situated at each side of the camera. Wlien an exposure lias been m.ade, the
said stops are operated so as to release the foremost film of the psvck and to
retain the rest. The camera is then tilted forward, and the released film
descends on its hinge, face downwards, until it is arrested by the spring of an
indicator. The operator then turns a rod by which a vane, arm, or frame, is
brouglit to bear on the back of the mount and forces it past the indicator, by
wliicli latter the descent of tlie iilm is indicated to the operator. Tlie film
descends to the lloor of the camera and is detached at the hinge from the rest
of the pack, which, under the influence of the spring Ijehind it, has advanced
to the extent of the thickness of a mount. After exposure of the now leading
film of the pack, the actions above described are repeated, and so on for each
until the whole pack has been exposed.
When, at ;iny time, it is desired to take out a film or films from the camera,
a slide in the latter is opened, and the film or films removed without waste
of film, such as is entailed with the use of rolled films, and without disturbing
the unexposed films.
Acconliug to this invention, in its relation to the use of sensitised glass
plates, the latter are arranged in a pack of frames or cases placed on end and
hiiig.-d at the base, which is inclined, by webs of paper, parchment, or other
suitable material, to a common foundation. The pack of frames or cases
oanying the plates is placed with the inclined base downwards on a corre-
spondingly inclined part of a carrier in the camera, the longest frame or case
being in front, that is, facing the lens. To the carrier is attached one end of
a spring consUmtly tending to draw the carrier towards tlie lens. A rod,
furnished with suitjible restraining stops, prevents, at the will of the operator,
any forward motion of the carrier. The stops are so .arranged that, when one
plate has been exposed, and is allowed to fall on its hinge, the plate im-
mediately liehind it is prevented from descending with it. As each plate is
used and lowered, a holder, connected to a spring, acts in conjunction with
the stop rod, and holds the plate on the bottom of the camera, where they lie,
lace downwiirds, one exactly over the other, a result due to the inclined base
of the pack and the inclined part of the carrier, which is advanced to the
extent of a plateholding frame or case at each change of plates. The changing
is effected by one mann.al motion only.
This invention consists, further, in an improved shutter for the lens. The
shutter is composed of two sliding plates so shaped as to present, when moved
apart, a di.amond-shaped aperture. The plates, which .ire contained between
guides, are normally kept closed by a spring of indiarubber or metal. To
open the shutter, pressure is applied to the outer ends of two hinged levers,
which, on being pressed inwards at the said outer ends, and consequently
forced apart at the inner ends, cause the plates to recede from one another
and from before the lens. Witli this form of shutter no setting is necessiiry,
and iustantaneous and time exposures are made without altering the shutter or
ihe motion by which exposure is made. Moreover, light is first admitted at
the centre of the lens, which is also the last point of closure.
.Mb. Edward A. Kick has sent us a sample of his " Reliance" retouching
medium, and which, after giving it a trial, we find to quite bear out the name
that has been given to it, for it gives a responsive surface to the touch of the
pencil, whether applied with a hard or a delicate pressure. It dries quickly,
and is ready for use within two minutes after application.
jVn Automatic Rocker, invented by Messrs. Pittar & Thompson, is ingenious.
Two small pans are balanced on a pivot, in such a way that, when one is filled
by the stream of water flowing in, the weight causes it to oscillate, and the
water to flow out, the other pan now taking its place. This reciprocal action
imjarts movement to a balanced false bottom in a tray adjoining, and on
which is laid the neg.ative to be washed. Old photographers, who were ac-
iiuainted with the washing machine of Cornelius Hanbury, will recall the
similarity of the means for effecting the oscillation, but this one differs in
certain respects from the one of former times.
mtttinosi of IboctettejEt.
MEETINGS OF SOCIETIES FOR NEXT WEEK.
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., 12.
>. 12,
„ 12.
„ 12.
„ 12.
,. 13,
Huie ol Societ;.
OamaraOlob
Darliucrtou.
Dundee Amateur
NorfoUc anil Norwich,
PlM« ol MMting.
Charing Oron-road, W.O.
Trevelyau Hotel, Dai-liueioa.
Amo, Htadio, Nuthergftta, DnndM
Bell Hotel. Norwich.
North Middlesex i Jubilee House, HorMey-road, 5.
UichmoDd ,
BirmiiiKham Photo. Societj .
Derby
Great Britain
Hackney
Hanohester Amateur
Paisley
Rochester
Stockton
Leicester and Ijeicestershiro .
LeytoDbtone .•
Hunster
Photographio Olnb
Sonthport
Stockport
Birkenhead Photo. Asso
Camera Club
Cheltenham
Qloesop Dale ,
Hnll
London and Prorinoial
North Kent
Oldham
Bristol and West of England ,
Cardiff
Croydon Microscopical -..
Halifax Camera Club
Holbom
Ireland
Maidstone
West London
Hull
Oreybonnd Hotel.
Club Room, Colonnade HoteL
Smith's Restaurant, Victoria-tt.
SO, Great RaBasll.st. Bloonuboiy.
206, Hare-atreet, Haoknsj.
Lecture Hall, Atbensom.
9, Gauze-street, Pauler.
Mathematical School, Rochester.
Mason's Court, Hi^rh-street.
Mayor's Piirlour, Olrl Town Hall.
The Assem)>ly llooms. High-road.
School of Art, Nelson-pUce, Cork.
Anderton's Hotel,Fleet-iitreet,l£.C.
The Studio, 15, Cambridge-arcade.
Meohanlcs' Institute, Stockport.
Y.M.C.A.,Gr»nKe-rd.. Birkenhead.
Charing Cross-road, W.C.
71, Prospect-street, Hull.
Champion Hotel, 15, Alder>gato-«t
Gravesend.
The Lyceum , Union-st., Oldham.
Rooms, 28, Berkeley-sq., Bristol.
Public Hall,G6orge-8treet, Croydon-
Rooms, 15, Dawson-street, Dnblhi.
"The Palace," Maidstone.
Chiswick School of Art. Chiawick.
71, Prospect-street, Hull.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCI.ATION.
April 28, — Mr. J. J. Briginshaw in the chair.
The Influence ok the Haxd Camera.
Mr. W. D. Wblford read a paper on this subject [see page 279.1
Mr. R. P. Drage thought that, although some hand-camera workers might
secure nine or ten pictures out of twelve exposures, they were only a drop in
the ocean, and that as regards the wasting of plates the hand-camera men had
the pull.
Mr. W. E. Dbbenham, as to Mr. Welford's claim that the hand camera
tended to quicken a man's perception and readines.* for carrying out a train of
movement in a rapid manner, tliought the use of the hand camera might in
that respect be compared to certain games of skill. As to tlie speed of plates
having been quickened by the demand for rapid plates for the hand camera he
(Mr. Debenham) thought that a mistake. He had used as rapid plates (of his
own make) ten or twelve years ago as were obtainable commercially now.
Mr. G. Austin thought that the hand camera as a companion on walking
tours passed the time very pleasantly.
Mr. J. S. Teai'E corroborated Mr. Welford's remarks as to the necessity of
speedy action when photographing in crowds of people. Tlie hand camera had
certainly increased one's power in that direction. He did not agree with Mr.
Welford in his reference to the articles on .art, which appeared in the
jounials, as " padding." They were of great use at times and no check should
be used against their appearance. Photographers had learned a great deal
from them.
Mr. T. BOLAS thought such articles useful from the point of view of
awakening thought, even though the articles might themselves be valueless.
Mr. Simpson, of New York (a visitor), said he had been travelling for three
years and had carried a hand camera all the time and wished to say something
in its defence as it was abused on both sides of the Atlantic. He used a whole
plate camera for landscape work but if one travelled with any baggage it was
too cumbersome. He had taken 1200 negatives with the hand camera in the
course of his travels, and showed lantern slides from them made on Carbutt's
lanteni plates which were three years old.
Mr. J. H. Avery thought that, if photography was to take up a position as a
fine art, it would not be due to the liaud camera.
-Mr. R. Child Bayley asked, if Mr. Welford regarded articles on art as
padding, why such a large proportion of the articles in his paper were ou
artistic subjects !
Mr. P. EVERITT said that if any camera sinned in giving drunken architecture
it was the hand camera. As to the speed of plates being influenced by the
hand camera, he thought the .assertiou was altogether wrong. He (Mr. Eventt)
did not believe it for one moment. It was due to competition on the part ot
platemakers to supply the public with what they wanted, and to claim it as
due to the hand camera was a piece of cheek. Professional photographers
required quick plates and the increase of speed was as much due to the use of
large plates as small. Mr. Welford's sneer at articles on art cut against the
paper he had just read.
Mr. J. Nesbit detailed some recent experiences with a fixed-focus hand
camera which had resulted in failures.
Mr. S. J. Beckett said the hand camera was an advantage when travelling,
and showed results he obtained with one which he could not have got with a
st.and camera, or even at all.
After further observations Mr. Welford replied : Too much had been made
280
THE BRITISH JOURNAL OF PHOTOGRAPH j:.
[May 6, 1893
of the waste of plates in the hand camera ; there were just as many failures
with the ordinary camera. Having instanced the utility of the hand camera
in street work from his own experience, he said most of the arguments used
against hand cameras were the usual arguments of non-workers.
A vote of thanks to Mr. Welford closed the proceedmgs.
Hackney PhotograpMc Society.— April 25, Mr. E. Beckett in the chair.
A print of uneven colour was shown and a question was asked as to the reason.
A reply was given that the toning hath was out of condition. Mr. Roberts
5.sked if after developing in pyro a plate can be put into amidol for further
detail. Mr. Dresser said it was like jumping from the frying-pan into the fire,
and was not altogether advisable. Mr. Puttock asked how to remove pyro
stains from the hands. Jlr. Beckett said one way was to wash in 1 : 4 hydro-
chloric acid. The Hon. Secretary asked Mr. Dresser how he removed amidol
stains from the hands. Mr. Dresser said they cannot be removed, must wear
off, but washing in the dark was a good plan as the light caused an action on
amidol. Mr. Hudson had been experimenting with developers for snap-shot
work and gave an excellent formula, an admixture of eikonogen and quinol
with caustic potash. Mr. Deesser then gave The After-work of the
Hand Camera. Although he treated very largely upon this subject, he was
drawn into other questions upon the hand camera, for which he is so well
known, and gave among other details the following : — The chief point was a good
lens and shutter and he advised a shutter working between the lenses, roller slide
or films, objected to magazine form owing to the tendency to stick. A good
eikonogen formula for sna))-shots is : — Eikonogen, 1 ounce ; sulphite soda, 5
ounces ; carbonate of potash, 1 ounce ; caustic soda, IJ ounces ; water, 30
ounces ; and for use take 1 ounce of solution and 1 of water. For fuller
exposures he would add bromide and redevelop by adding a little hydroquinoue.
He had been experimenting with metol, but did not find it quite so good as
amidol for short exposures. His amidol formula was :— I. Amidol, 1 ounce ;
raetabisulphite potash, 1 ounce ; water, 10 ounces. II. Carbonate of potash,
1 ounce in 5 ounces of water. III. 10 per cent, solution bromide potassium.
For bromide work he would use 1 ounce of I. and II. and 1 ounce water, adding
bromide for full exposures. He used in enlarging the incandescent light, but
care was necessary ; one light was placed behind the other, as better illumination
was given. Mr. A. Barker asked whether it was necessary to have a rising
front and swing back to a hand camera. Mr. Dresser was of opinion a rising
front only was necess.ary. In answer to other questions Mr, Dresser preferred
a four and a quarter or a five inch lens, lie would develop with amidol until
he got detail, and then wash and iinish with hydroquinone.
Birmingham Photographic Society. — April 25, Mr. W. Jones in the chair.
— An extremely fine set of slides by Mr. Hendren, a member of the Society,
were shown ou the screen. They comjirised beautifully selected landscape and
architectural bits, and were instances of most careful and successful composi-
tion. Mr. Heudri:n gave most interesting descriptions of the places and styles
oi architecture ; he also instanced the different results of various methods of
development by sometimes showing two slides from the same negative. This
was of gi'e.at interest to members. A plucky slide of a warm brown tone was, in
most instances, preferred by the lecturer.
Brighton Natural History and Philosophical Society (Photographic
Section). — April ".Jl, Adjourned meeting. — The new rules regulating com-
petitions in the Society were adopted. The subjects also for the competitions
being arranged for the ensuing year. Dr. W. Harrison owing to pressure of
engagements was compelled to resign the office of Hon. Secretary. The
following gentlemen were elected as officers and committee for the year : —
Chairman : Mr. J. P. Slingsby Roberts. — Committee : Messrs. D. E. Caush,
W. Harrison, C. Job, W. W. Mitchell, H. V. Shaw, C. B. Stoner, and A. H.
Webling. — Hon. Secrelanj : Mr. G. Foxall.
Halifax Camera Club. — April 25. — Mr. A. Stewart gave a interesting
paper on the subject of Lenses. In the course of his remarks Mr. Stewart said
that without the use of a lens, but simply by means of a pinhole, an inverted
image is formed on the focussing screen by the rays coming in a direct line
through the pinhole from the object. In this case there is no focus, everything
being in focus at whatever distance. The use of a lens is to utilise other thaii
straight rays, and, according to its focus to regulate the angle of view included
and the size of the image, as well as to give greater sharpness. When a lens
is used, objects at difi'ereut distances from the lens are not brought to a focus at
the same point ; and. in order to overcome this, stops are used, which tend to
equalise the focus. The focus of a lens depends on its curvature ; the greater
the curvature, the shorter the focus. The rapidity of a lens is influenced by
the size of stop used, and also by the number of refiecting surfaces in the lens.
A short- focus lens gives more depth of focus than one of longer focus. Objects
at a greater distance require less exposure owing to the fact that more rays of
light come from distant objects. Mr. Stewart also spoke of the faults of lenses,
and also of the special uses of the difi'ereut sorts of lenses.
Xlverpool Amateur Photographic Association. — April 27, Mr. J. Sirett
Brown in the chair.— Messrs. H. Jennings, Stanley, Rimmer, James Wilson,
and David Robinson were elected members of the Association. Mr. J. T.
Norman-Thomas reporte<l on the excursion to luce Blundell Hall and Park,
which was thrown open to the members, by Mr. Charles Weld Blundell, on
Saturday, April 15. About one hundred ladies and gentlemen were present.
Mr. E. M. Tunstall gave his lecture, entitled, Picturesqice Holland, illustrated
by over one hundred slides, made from negatives taken during August last
year. An excursion to Chester and River Dee to Eaton will take place ou
Saturday, May 13 next.
Photographic Society of Ireland.— April 27, Professor J. A. Scott (Presi-
dent) in the chair.— .Mr. J. A. C. Ruthven, C.E., Hon. Secretary, read a paper
and gave a demonstration, entitled Tips in Woodwork for Amateurs. The
subject formed a very interesting lecture, which was ably handled by the
lecturer, who appears to be an adept in the theoretical as well as the practical
use of all tools required in woodwork. After having successfully explained
the use of the wedge, the axe, chisel, and other tools, and illustrating on the
blackboard the splitting effects of these various instruments, Mr. Ruthven
entered into the practical part of the work, and showed how planes, chisels,
and other implements should be used, and referred to the manner in which
amateurs were always inclined in using the saw to cut through the wood in
drawing the saw up as well as down. The cut should only be made in the
down stroke. Various methods of wood-joining for camera-making were also
shown. After the demonstration, those present had the privilege of examining
a splendidly constructed bench equipped with British and American tools of
the newest and most approved desoriptiorL
FORTHCOMING EXHIBITION.
May 5-6
•Forfarshire Photographic Association. Hon. Secretary,
W. J. Anckom, West Port, Arbroath, N.B.
* Signifies that there are open classes.
' Corresjion'ien.U should newer write on both sides q/ the paper, No notice is taken
of co«imuntcation« nnles& the names and addresses of the writers are given.
THE PAEVIN TELE-PHOTO OBJECTIVE.
To the Editor.
Sir, — Credit Judteus, indeed !
You eay, " We are afforded no clue as to its optical nature." Again,
emphasising this, in reference to the particulars of the lens given, " That
little conveyt tio optical information." Further: " Ti-ue, we are put in
possession of some of what we may call its externals."
Now, Sir, for the "externals" and the paragraph " that conveys no
optical information ! " Here it is : — ■
" For example, in a 7 x 5 objective, the combination positive lenses are
6^ inches focus, the negative single lens is (> inches focus, and these are
mounted in a tube of 23 inches long. The diameter of both lenses is
I/tt inches."
What more information is wanted ? The only thing lacking is the
said "externals," or shapes of the lenses.
The Phrenology of lenses is not the Science of optics. The telephoto-
graphic lens was founded upon the latter, and its theory is fully explained
in my paper read before the Society of Arts on March 1, and still further
at the recent Camera Club Conference. In the latter I treated, as being
simpler, a fixed system, such as Mr. Parvin claims to have " invented,"
showing, for the first time, the rationale of how, with a comparatively
weak negative posterior lens, a fixed system can have a short " back
focus," with the advantage of a considerably longer " equivalent lens."
In Mr. Parvin's selection, and taking the separation at 2| inches, as
quoted, the lens must give an image equal in size to that of a lens of
18-3 inches focus, but would only have a back focus of 10-9 inches ; if
there be no diaphragm, it would work at full aperture at an intensity
ot/-16-7.
Again, if the lens be reversed, the back fooua would be 26'4 inches, but
still the same equivalent focus of 18-3 inches.
Mr. Parvin has adopted the principle I first introduced into photo-
graphic lens construction, but in a much more limited degree, and, more-
over, without the advantage of varying the amount of magnification and
covering power.
The question is, whether the amount of magnification given in his
case is worth a special construction. — I am, yours, &c.,
25, Newman-street, IF., May 1, 1893. Thomas B. Dallmeyer.
" THE PHOTO COERECTOE."
To the Editor.
Sir, — It appears to me that Mr. Van der Weyde's new method of modify-
ing or " correcting " the ugly and inartistic proportions of things as they
often appear in photographs has scarcely been received with that enthu-
siasm which it deserves, considering that it presents us with an additional
means of " bending," so to speak, photography to our will, and thus
removes one of the great disabilities under which we have hitherto
laboured. If by using a lens of sufliciently long focus, or by taking a
station point distant enough from the picture plane, we obtain what is
called " wide-angled " perspective, and this gives us a picture free from
those apparent disproportions which we meet with in pictures taken
under opposite eonditions,iweIl and good. In such a case the " corrector "
need not be employed to correct the perspective, but it has another use,
the value of which seems to me, as I mentally cling to the idealistic in
art ; inestimable. In the discussion which followed Van der Weyde's
demonstration of his invention at the Camera Club Conference he made
the weak and apologetic admission that there was money in it, as, by
altering the proportions of any jiart of the human body, we can flatter
our sitters, and thus secure additional custom and remuneration. This
is true, but is immensely overshadowed by the much more dignified and
noble consideration, that, by thus being enabled to adapt the proportions
May a, 189S]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
287-
of our moders figure to an ideal standard, we become possessed of one of
the powers moat prized and mo3t exercised by all the great artists of
antiquity. — I am, yonrs, Ac. Frank Wilcockson.
20 Orde Ilall-ttreel, Lamb's Comluit-itreet, fV.C, April 29, 1893.
AMIDOL.
To the EniTOB.
Sir,— I have been away from home, and only just read the inquiry of
" Cosmos."
The report of my lecture was very condensed ; the actual words I used
were as nearly as possible as follows : —
" For photo-uiechanieal and lantern plates I was able, when using
amidol, to reduce the exposure to about one-tliird the time required for
the very restrained pjTO developers recommended by the makers of the
plates. No doubt this was principally due to the very small quantity of
bromide necessary to be used with amidol."
I further said I had not tried amidol for general work, so would not
express any opinion of its capabilities for other than copying and lantern
slides.
" Cosmos " asks what proof I can give for my assertion. All my ex-
posures were made by the aid of a Watkins actinometcr.
The actinic value of the light and the aperture of lens become very
simple matters, and I have only to estimate and record in my note-book
the subject-number.
I find this plan a very simple and accurate one, as I can, without any
difficulty, in any light, give to another plate a corresponding greater or
less exposure, as I desire, and only by varying the subject-number.
I have now developed about five dozen plates with pyro and the same
number with amidol, on one series of similar drawings, and I have found
the subject-numbers for amidol are about one-third of the corresponding
ones for pyro. Notwithstanding this, I find the time required to develop
with amidol is also much shorter than with pyro. — I am, yours, &c,
2, Craven-terrace, Ealing, May 2, 1893. H. W. Peal.
AET IN PHOTOGEAPHY.
To the Editor.
SiK,— Referring to your note signed " F. B.," page 269, 1 should have
thought that you would have long ago discarded the idea of mixing oil
with water. Art in photography is about as vexatious as amateurs and
professionals. The first one (artist) will not admit in his exclusiveness
that any art is at all possible without him, and the second one (amateur)
that any improvement is possible without liim also. The only difference
is that the artist is educated to the art, while the amateur is born so ; that
is, at least, the reasons given to the lower class of mortals that do not
understand what they so well try to impress upon the few or many un-
initiated. From all the articles on art in photography as against art in
paiiiting that have been published I have gleaned the following :— An
artist, however poor in art he may be, will never turn out anything but
there will and must be in it some artistical merit. Bad design, bad colours,
bad posing, bad everything, yet artistic. Now, a photographer, however
well chosen the subject, well lighted and well finished the result, is
never artistic— at least, from an educated artist's views. Why not let
this matter rest a while now ? I, for one, would rather (uneducated as I
am) have a fine photograph than a poor painting. I may be wrong, but
I am pretty sure that, however educated an artist may be, he mil not
average in taking photographs more than one real fine view out of a
dozen, and ditto the artistic photographer. Of course, they may not
admit this readily ; but, nevertheless, they will sliow you always very
few of the results of their work, carefully omitting mistakes and failm-es.
It is human nature only, after all. They all do it.
I have tried several makes of films lately, and, as you object generally
to giving names, I do not think that the results obtained would be very
interesting to your readers. With one English firm I have always very
fine results, while with the others I have uneven ones, such as frilling,
no intensity, and disagreeable lifting of the gelatine whUe printing. I
have also tried lately some American films, which have a rough or ground
back to them. Having given what I think a correct exposure, I found
the picture come up pretty quick ; but the film (developed with pyro) was
fearfully stained yellow, and the back of it same way, so that it takes a
whole day in full sun, and with this fair weather, to get one print. I
tt wish you could tell me how to get rid of this yellow stain, if possible.
41, T^?*^ ^?" ^""^ """^ *^° '° regard to the Exhibition at Chicago, and
the failure I met witli in regard to obtaining an answer from the head of
► the photographing department. Do you know of any one that has met
J with better success ? and if so, please let me know how he managed it, so
» 1 may do the same.— I am, yours, <tc.,
Asniires, Seiiu, May 1, 1893.
A. Levy.
"AMATEUB PROFESSIONALISM."
To the Editor.
Sib,— During the last few days the town of Malton has had the honour
Of a visit iKjpi two individuals with a camera and other appliances for
photography, and who profess (as so-called amateurs invariably do) to
call on schools for the purpose of taking groups of children, &c. During
the course of their canvas of the town I had the honour of a call from
them at my studio, and, on asking their business, the principal operator
said they had called on me to ask if I would grant them the loan of-
my dark room, in order to change plates and develop. This, certainly,
was a poser ; but, when I afterwards asked them whether they were pro-
fessionals or amateurs, they answered that they were both ! This was a
conundrum indeed, which I could not solve, and so I politely told theio .
" amateur professionals " that I must decline to accede to their request,
and they immediately meandered from my doorstep.
Since the above took place these two gentlemen have billed the town,,
announcing that they were prepared to tsike all kinds of photographs at a
certain hotel in the town at stated prices, &c. So much for their
amateurism. I mention this simply to show what dodges some people
will resort to in order to hinder the true professional members of the
trade from earning a livelihood. The public ought to put their foot on '
such bastard professionalism, which contributes nothing towards the
rates and taxes of a town. — I am, yours, &c.. Professional.
May 2, 1893.
"ALBUMEN VERSUS GELATINE PAPEE."
To the Editor.
Sir, — So much has been said in condemnation of albumen that I
would like to be allowed to repeat that permanent albumen prints can
now be obtained as of old, if professionals will pay the necessary attention-,
to their production that is required.
To use good paper with strong salting solution, and sensitise with
strong silver.
With such paper, when printed and toned, and fixed in freshly made
hypo, and thoroughly washed, pressed, and squeegeed after each change
of water for two hours, will do more good than to allow the prints to re-
main all night in a tub or tank.
Above all, do not entrust the washing to boys who do not understand
the nature of hyposulphite of soda, who hurry through their task in order
to get away from it.
Time only can prove whether gelatine prints are permanent, but silver
prints made so long ago as 1856 are good now.
Can as much be said of gelatine prints? Apart from the curling and'
stickiness of the latter, hyposulphite of soda cannot so effectually be re-
moved from gelatine as from albumen.
The good old collodion wet-plate process was to be superseded by
gelatine plates, but it is valued more than ever in process work, and by
many professionals ; and, much as albumen has been maligned, it is not
doomed yet ! It is being improved upon daily,, and will not be discarded
for gelatine.— I am, yours, &C., W. H. Hunt.
May 2, 1893.
To the Editob.
Sir, — In your Journal of last week, I see " B. B." complaining of dirt
spots, Ac, on gelatiuo-chloride paper, due, I should think, to dirt and
dust flying in the air. The scraping is caused by having the burnisher
too hot. I have enclosed print printed and toned in the ordinary way,
and burnished by the common bar burnisher. I have only taken to P. 0. P.
for two months, and I think I can say that I have hardly spoilt one print,
which I cannot say of the albumen. — I am, yours, iScc.
S. W. E. Brows.
Chateau Studio, Boulevard, W.-S.-M., May 2, 1893.
iH.i:c|)angf (Column.
*»* ^'o charge is made for inserting Exchanges of Apparatus in this column ;
but none wiU be inserted unless the article wanted is definitely stated. Those
who specify their requirements as "anything useful " will therefore understand
the reason of their non-appearance. The full name of the advertiser must
-in all cases be given for publication, otherwise the Exchanges will not ie
inserted,
Will exchanj^e No. 2 Kodak, complete with case, instruction book, and about thirty
unexposed films, for Beck's Frena hand camera.— Address, J. E. Ridbjll, i. Elm-
park, Brixton Hill, 8.W.
Wanted, three dozen quarter-plate double dark slides for hand cameras ; willgive, in
exchange, Coventry tricycle, tangent wheels, for two riders.— Address, F. Weioht,
Photographer, Northampton.
Wanted, backgrounds or head and body rut, in exchange for English lerer silrer
watch or quartor.plate camera, lens, triijod, &c.— Address, J, £. Oatiy, Photo-
grapher, ^ adobridge, ComwiUl.
Mb. Wilfred Emsry, of 24, South-street, Baker-street, W., has sent ua his
trade price-list, from which we gather that he undertake.* printing in bromide,
carbon, platinum, and silver. His prices for these and for retouching appear
to be moderate.
288
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 5, 1893
a.n0U)er0 to arorresponlicnts!.
• ♦ Alt matters intended for the text portion of this Journal, incliiding
mieries and Exchanges, must he addressed to " The Editor, The British
Journal of Photoorapht," 2, Yorh-street, Covent Garden, London. In-
attention to this ensures delay.
*„* Correspondents are informed that we cannot undertake to answer com-
munications throtcgh tlie post.
*,♦ Communications relating to Advertisements and general business affairs
should be addressed to Messrs. Henry Grbenwood & Co. , 2 York-street,
Covent Garden, London.
15. 0. — So long as the jars are clean, tliey may be used any number of times
for emulsion boiling.
Pyro.— 1. A letter addressed to the firm, Berlin, is sufficient. 2. The Autotype
Company, Oxford-street, and Gerson & Co., Rathbone-place.
R. Blagdex.— If a choice of position is open, by all means have a north light
for the studio. Such an aspect will be far the easiest for a novice to work
with.
S. W. — The firm of Bourquin ceased to exist many years ago. A lens bearing
that name, though it may be a good instrument, has very little commercial
value.
Amidol. — Yott will observe that Mr. Dresser recommended the amidol formula
for bromide work given at page 28 of the Journal for January 13. This
may meet your purpose.
Photos wants information as to the best means to recover gold and silver from
a combined toning bath.^The metals will be thrown down if potassium
sulphide be added, avoiding an excess.
Buckle. — A matt surface on carbon prints can be produced by squeegeeing
them, while still wet, on to a ground-glass plate that has previously been
waxed to prevent them adhering when dry.
T. A. R. — We cannot endorse your idea that the public do not expect photo-
graphs to stand for more than a year or two. If you act iipon it, you may
possibly find that your business will not endure for a much longer period.
E, D, J. — It would be useless for you to write either to the Secretary or the
General Manager of the Crystal Palace Company for permission to photo-
graph in the building or grounds, as they have no power in the matter. The
exclusive right has for many years been leased to Messrs. Negretti & Zambra,
and for which they, we believe, pay a high rental.
H. W. H. — 1. To copyright a photograph, you must fill up a form describing
the picture, and deposit it at Stationers' Hall, with a fee of one shilling.
The form costs a penny. Our publishers undertake registnations at a charge
of one shilling and sixpence each, 2. No duty is payable in America on
cameras or other apparatus when taken there for personal use.
T. Crosby asks if, in the wet-collodion process, the ordinary ferrous oxalate
developer, as used for bromide paper, could not be used instead of the
sulphate of iron and acetic acid as given in the Almanac ? No, Wet-
collodion plates can only be developed with strongly acidified developers,
such as those given in the different formulto for the collodion process.
Spots sends a number of mounted prints which, he says, became covered with
fine spots within a few months, though they were produced with everj- care
. as to w.ashing, &c. He asks if we think the mounts are the cause '< — The
spots are, no doubt, caused by the bronze powder used for the lettering.
Particles of it are sparkling all over the cards. Avoid bronze lettering for
the future.
L. B. — "You have been misinformed, or have confused matters. For a mirror
simply for reflecting light through a negative in the enlarging apparatus,
common glass, silvered at the back, is all that is necessary ; but for a mirror
to be placed at an angle of forty-five degrees in front of the lens, for pro-
ducing reversed negatives, an optically plane surface, which is silvered on
the face, is required.
N. D. R. — Two thicknesses of canary medium, with a small fishtail burnen
will be quite safe with ordinary plates, but it will not do with the ortho-
chrom.atic ones. When these are used, the medium should be supplemented
by ruby glass, and the plates shielded from the light .as much as possible.
Your case is by no means exceptional. A deep red' light is very painful to
many people, and often produces headache if worked in for long.
Othello. — 1. Chadwick, of Manchester, makes a stereoscopic partition on the
spring roller-blind principle, which possesses certain advantages over any
other that we have seen. It is always tightly exixmded, no matter what
focus of lens is used. 2. A partition must extend to the plate, but it is not
necessary it should do so to the lens board. All that is required is that no
light from the one lens shall find access to the plate covered by the other.
W. Redmont says : " I want to try the lime toning bath, and have sent to all
the chemists in this small town to get hypochlorite of lime, and cannot
obtain it. One said there is no such thing, and the other two say they do
not keep it, yet I see it often mentioned in the photographic .journals. Is it
difficult to m;ike, and how, as 1 am anxious to try the lime bath ?" — If our
correspondent will send for " chloride " of lime, or bleaching powder, from
the nearest oil shop, he will obtain what is requisite. It is a little surprising
that the local druggists do not know what hypochlorite of lime is, though
they doubtless have it in stock under the other names.
G. Sayers says : " I have a wide-angle doublet bearing the name of Ross.
It is said to cover the whole-plate size, and is of very short focus. But the
largest aperture is exceedingly small, as compared with the size of the
glasses, which makes it too slow for my purpose. If I had the opening en-
larged to, say,/-6 or/-8, would it then do for a hand camera ?" — No, unless
pictures of the fuzzitype order will suffice. With lenses of this class a small
aperture is necessary to overcome the spherical aberration always present.
R, Clayton writes as follows : " I have several plain, flat oak frames, that
had become very dirty. I glass-papered them up, first with rather coarse,
and then finished them with very fine, paper ; they then looked as good as
new, I then gave them a coat of the *' best oak varnish," and, although it
was carefully laid on, the surface has become quite rough to the feel, and
looks wretched. Can it be the fault of the varnish, or what ? " — This ex-
perience is by no means exceptional in varnishing oak and some other woods.
The varnish appears to draw up the grain of the wood. However, the thing
is easily rectified. With a piece of fine glass paper rub the surface smooth
again, and apply another coat of varnish.
Senior asks : " 1. Is it necessary to put iodide of silver in the bath for
collodion negatives, and what would be the results with and without ? I
find it nather dear and not easily obtained. 2. I have a Winchester bath
that has gone quite yellow with about three weeks' work. I put it down to
the collodion being old, but perhaps you would give me your opinion, with
remedy." — 1. Yes. If the solution is not saturated with iodide of silver, it
will dissolve it from the film, and thus leave it thin. It is not necessary to
purchase iodide of sUver for the bath, as the addition of a few grains of
iodide of potassium to the solution of nitrate of silver will precipitate
it, when the excess can be filtered out. A drachm or so of collodion will
answer the same purpose. Some iodise a bath by coating a plate with
collodion and leaving it in the solution one or more hour.«. 2. The bath
ought not to become yellow unless something has contaminated it, and that
is scarcely likely to be the collodion. Remedy, add a small quantity of
carbonate of soda, and then expose to sunlight for a few days. Filter, and
make slightly acid,
.^
A Photographic Society has been started at West Kirby, of which Mr. J,
Maurice Jones, of Bank House, is Hon, Secretary,
West London Photographic Society, — The forthcoming Annual Dinner
has been arranged for at the Frascati Restaurant on May 9,
Newcastle-on-Tyne and Northern Counties' Photographic Association.
— Outdoor meeting, May 10, Train leaves Newcastle for Brompton Station at
8.15. J. Hedley Robinson, leader.
Photographic Club. — May 10, Members' Open Night. 17, Testing tlie
Speed of Plates. Outing, Saturday next. May 6, Bynesford (Kent). Train
from Holborn Viaduct at forty minutes past two.
The last number of the St. James's Budget is illustrated exclusively by
process blocks, some behig line and others half-tone reproductions of drawings
or photographs. Several illustrations of life in Japan are very interesting.
Process Work, No. 2 (Penrose & Co.), will be found a useful sheet and price-
list for those who make, or desire to make, experiments in photo-mechanical
processes, as its publishers make a speciality of the appliances for this class of
work.
Ashton-under-Lyne Photographic Society. — From Monday, May 15, to
Thursday, May 18, there will be an Exhibition, in the rooms of the Society, of
over one hundred photographs of The Land of the Broads, kindly lent by the
Great Eastern Railway Company.
Photographic Society ok Great Britain.— May 9, Ordinary Meeting, at
8 p.m. A paper, on Some Uses of Moving Sensitive Surfaces, by Captain W.
de W. Abney. C.B., R.E. On the Use of Tinfoil as a Support for Photo-
lithographic Transfers, by Captain A. M. Mautell.
London and Provincial Photographic Association. — May 11, Paper by
Mr. W. H. Harrison, Is the Present Construction of Photographic Studios
Wrong in Principle ! 18, Monthly Lantern Night (last of the season). 25,
Members' Open Night. June 1, Paper by Mr. P. Everitt, The Angle of j
View. I
We gather from the Australian Photographic: Journal that the free-portrait I
dodge is rife in Sydney, N.S.W. The local press has denounced it, and there
is a notice placed prominently ou the show-cases of the leading photographers
throughout the city, drawing the attention of the public to the fact th.at in
England and America the free-portrait system is denounced as a " fraud" and
a "swindle." j
The illustrations in the Idler have lately been so excellent th.at the portrait
of Mr. Robert Buch.anan and his favourite dog in the May number of our
versatile contemporary, strikes a hostile chord on account of the very common-
place and inartistic pose. It is suggestive of the Saturday afternoon efforts oft
tyro who has hitherto devoted his time to the technical rather th.an to the ara
side of photography. It is a " front elevation " of both man and dog. But
amends are made in a sitting figure of the litterateur.
OONTENTS,
FOCAL peculiarities OF WIDE-
ANGLE LENSES 273
GUMS AND GLUES 274 i
reducing over . PRINTED 6EL\- '
TINE PROOFS. By W. LINDSAY.... 275
the PICTORIAL MODIFICATION OF
PHOTOGRAPHIC PERSPECTIVE. By
H. VAN DEU WEVDE 276 j
THE INFLUENCE OF THE HAND ]
CAMEIU. By W. D. WELFOBD,.,,.... 279 '
RETOUCHING.
MORGAN
By
ERNEST
Page
C.
.. 280
RECENT PATENTS 284
MEETINGS OF SOCIETIES 285
FORTHCOMING EXHIBITION 2S6
CORRESPONDENCE 286
EXCHANGE COLUMN 287
ANSWERS TO CORRESPONDENTS 2S8
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1723. Vol. XL.— MAY 12, 1893.
THE RAPID DRYING OF GELATINE NEGATIVES.
CJivKN a good light, and there was no reason why, in the former
days of wet collodion a sitter could not be shown a proof,
vmfixed of course, of the negative whicli had been taken of
him before he left the studio, and that without unduly
detaining him. After being fixed, the washing of a collodion
negative was effected in a brief period of time compared with a
gelatine one, and the drying before a clear fire was still more
c|iuckly done.
Gelatine, on the contrary, does not c[iiickly yield up its fixing
salts even to a stream of running water, although this time
may be considerably reduced when the washing water is applied
in the form of a spray from a rose jet and under a high degree
of pressure. We have been surprised at the rapidity with
which a jet of tepid water — ^not so warm as to affect the
gelatine surface — eliminated the hyposulphite of soda from a
negative and with such a degree of thoroughness as to stand a
delicate test for its presence, such as the iodide of starch. But
it is the drying rather than the washing of the gelatine nega-
tive we have at present to consider.
Tliis operation is much abbreviated by the removal of surface
water by mechanical means. The back may be dried at once
by the application of a soft towel, after which it is laid down
on a padded board and a piece of cambric spread over its
surface, with a pad of blotting-paper supervening. Gentle
pressure is then applied either by a roller or by the hand.
This operation, if properly done, leaves the negative surface-
dry. On no account ought the blotting-paper to be placed
directly in contact with the surface of the negative, as numerous
little Huffy hairs will become adherent, and their perfect
removal is not always readily ett'cctod.
It may be thought that the texture of the cambric will be
indented by the pressure into the soft sm-face of the gelatine.
So it will, but after complete drying it totally disappears. We
liavc intentionally selected cambric with a pronounced pattern
in it, and have applied a needlessly strong degree of pressure,
one by which the pattern was rendered plainly visible on the
gelatine ; but it invariably became invisible upon drying.
Having removed all surface moisture by the method indi-
cated, complete desiccation is attained with a surprising degree
of rapidity by the adoption of either of the following means : —
Tliat by immersion in a dish of alcohol is so well known as
only to require mentioning. The alcohol has such an affinity
for water that the very small quantity remaining absorbed in
the film is quickly abstracted, and in consequence the drying
may bo effected by heat if necessary, or by the rapid evapora-
tion of the alcohol.
What we consider a more economical, if not, on the whole, a
much preferable, method of drying is by a centrifugal machine,
which we have had constructed for experimental purposes.
Four arms, or more if desired, emerge from a pivoted spindle
mounted vertically, and capable of being rotated with great
velocity by means of a long horizontal rod geai-ed witlx the
.spindle at the inner end, and terminating at the outer end by
a winch handle. On these |)rojucting arms are mounted frames
or sheaths, into which the plates to be dried are dropped. The
rotation of the handle causes the arms to revolve rajjidly, and
the impact of the air carries off all moisture. We have found
that it is better to set the plates at a slight obliquity rather
than in directly facing tlie line of the circle of rotati(jn. We
believe that, if some of our enterprising dealers woidd have
this apparatus made and supply the public with it, there are
few professional photographers who would care to be without
it. Instead of the toothed wheel and pinion a simple pulley
and band may be employed with equal efifect for causing the
rotation.
An analogous means for effecting the rapid drying of a
negative from which the surplus water has been removed is to
submit the surface to a jet of air directed by a rubber pipe
connected with a foot bellows. In such trials as we have made
with this system we found that the best means of applying the
air current, as might have been anticipated, is to direct the
jet at an acute angle to the plate when lying flat upon a
table.
Here, and in connexion with our subject, it may not be amiss
to speak of a plate, the result of a discovery of Mr. T. C.
Roche, of New York, introduced over a dozan years ago by
Messrs. Anthony & Co. of that city, under the designation of
" The Tropical Plate." The special characteristic of this plate,
which we think is not now manufactured, was that by special treat-
ment in its preparation the gelatine was rendered quite insoluble
even in very hot water, and that in consequence both the fixing
and the subsequent washing could be conducted with fluids
heated to very many degrees above the ordinary temperature
with a commensurate reduction of the time necessary when
these were cold. Added to this was the possibility of drying
the negative by heat after being flooded over with boiling water.
As to the method of preparation of these plates we cannot
speak definitely, as it was held a secret, although several
methods of imparting insolubility to gelatine are known to
every one who has studied the subject. There is, however, no
doubt as to the abbreviation of the wholejsystem of finishing
a negative up to the stage of placing it in the printing frame
for proofing that is capable of being attained by the adoption
of one or more of the suggestions we have here throwu
out.
290
THE BRITISH JOURNAL OF PHOTOGRAPHY.
'Vfv 12, 1893
STRIPPING AND REPLACING NEGATIVES WITHOUT
THEIR EXPANDING.
Allusion was made last week to a question put at a meeting
of one of the Societies, as to how a gelatine negative could be
removed from the plate and yet retain its original dimensions.
We then briefly referred to two methods of procedure, but
the subject is really one, now that so many reversed negatives
are required for mechanical processes, that may with advantage
to many be dealt with more in detail ; and especially so, as on
several occasions we have received complaints that negatives,
which have been supplied to have mechanical prints made from
them, have been returned to their owners, sometimes in film
form or on glass reversed, and sometimes also with the image
of a larger size than it was originally. In this condition the
negatives were, of course, of no use for the purpose for which
they were originally taken, namely, silver printing.
There is no reason whatever why, if necessary, a negative
should not be taken off the plate, utilised as a reversed one for
any purpose that may be desired, and then be replaced on the
glass and returned to its owner without even his suspicion
being raised that it has in any way been tampered with. If a
" pyro " developed negative be thoroughly alumed, there is but
little tendency of the film to expand when it is taken off the
glass. But this condition cannot always be depended upon, as
some gelatines behave differently from others. Therefore, to
make sure of its retaining its original size, the film before its
removal should be secured to some medium that will prevent
its lateral expansion. Reference was incidentally made last
week, as just mentioned, to two methods of working as given
in the Almanac for 1889, each of which answer well in practice.
The one is by Mr. A. Pumphrey, and the other by Mr. H. J.
Burton, and it will be seen that each of them is based upon the
property of hydrofluoric acid loosening the film from the
glass. Here is a brief description, slightly modified, of each.
The first method is this : — The varnish is removed, supposing
the negative to have been varnished. Next, a thin film of
plain gelatine is moistened in a dilute solution of hydrofluoric
acid — one part acid to sixty of water. This gelatine film is
secured on paper by a coating of indiarubber. The dilute acid
softens the gelatine, and makes it very adhesive ; it is then
attached to the negative, which may be readily done with
the aid of a squeegee. The acid in the film passes through
the negative, and releases it from the glass. It is then lifted
off, and pinned to a flat surface to dry. The paper is then
stripped off, which can easily be done when it is dry by moist-
ening the back with a little benzole. We thxis get the negative
in pellicular form of precisely the size it was when on the glass,
and which can be restored to glass at any time if desired.
Here is the other method, which is really given for repairing
broken negatives: — ^Instead of paper being the resisting medium,
in this case collodion is the one employed. The negative,
denuded of its vamish, is placed on a levelling stand, and
coated with thick collodion, such as that used for enamellin2
prints. This is allowed to thoroughly set — say, for ten minutes
or a quarter of an hour. The negative is then immersed in a
dish of plain water until the collodion solvents are washed
away, known by tlie film losing its greasiness. Then a few-
drops of hydrofluoric acid are added to the water, and the dish
gently rocked. In a short time the film will begin to detach
itself, when the plate should be at once rinsed with clean
water. Another plate — and, for convenience of working, some-
what larger than the negative — which has previously been
coated with plain gelatine and dried, is then placed in the dish.
and the released film, after being turned over, is floated upon
it, removed from the water, and allowed to dry spontaneously.
We have now a reversed negative, ready for printing from,
cemented to a rigid support by gelatine, with an intervening
film of collodion.
We will now suppose that, after the negative has served its
immediate purpose as a reversed one, it is desired to restore it
to its original state — say, for silver printing — this is how it
may be done : — Take a clean glass plate, again a little larger
than that now holding the negative, and coat it with a solu-
tion of gelatine, this time containing a little chrome alum, and
dry. Next place the plate in tepid water until the gelatine is
softened and feels slightly slimy, and remove to cold water; then
place the negative in a dish of water, to which a few drops per
ounce of hydrofluoric acid have been added, imtil the film shows
signs of being released. It is then rinsed with clean water and
floated on to the plate with the softened gelatine, of course
again reversing it ; remove, and allow to dry spontaneously.
The negative is now non-reversed, as at first; but it has
u])on its surface a film of plain gelatine and also one of
collodion. As the gelatine that cements the negative to the
glass is insoluble in warm water by reason of the chromo
alum, the former can be sponged off with warm water, and,
after drying, the collodion can be dissolved off with alcohol and
ether. The negative is then varnished, supposing it to have
been varnished before, and the glass cut to the original size.
We have now the negative just as it was in the first instance,
and none the worse for the treatment it has received.
It miglit be imagined that, if the collodion film were formed
thicker, there would be no necessity to attacli tlic negative to
the glass, and this is the case ; but, on the wliole, it will be
found safest in practice to proceed as directed. Then the
negative, when dry, is always attached to a rigid siippoi-t,
while, when it is in pellicular form, with i mly the collodion to
retain it, tliere is always ;i tendency to coclcling, unless the
latter is abnormally thick.
EXPERIMENTS WITH MULTIPLE-COATED FILISIS.
Since we wrote on this subject a few weeks back the interest
in multiple-coated films has been on the increase, and several
experimentalists liave, like ourselves, been endeavouring to in-
vestigate the functions of the separate films in so far as they
affect halation and latitude of exposure. The importance of
the inquiry seems to increase as we go deeper into the subject
for fresh facts and suggestions are constantly forcing themselves
on the attention and raising new issues in the inquiry.
For instance, it is pointed out that, as each film or layer of
sensitive gelatine is thoroughly dried before the next is applied,
the two " arc not in chemical or even in mechanical contact,"
the latter portion of the statement, however, being, we think, a
little difficult to maintain. Sujsposing, however, that the films
are not in chemical contact — and in tlie instances we are about
to relate they are still less likely to be than in the case of
double or triple gelatine films— we should like to find an ex-
planation of the following result.
In the course of some experiments with combined collodion
and gelatine films a layer of collodion emulsion was spread
upon an ordinary commercial gelatine plate, this method being
adopted as the easiest for obtaining a double film the constitu-
ents of which were of widely different character. In one ex-
periment, by mistake an unwashed collodion emulsion was
employed, the fact being only discovered in consequence of the-
May 12, 1893]
THE B1UT18H JOURNAL OK PHOTOGRAPHY.
291
great fulling off in sensitiveness. But hero is the remarkable
part of the matter; the (U)lIodion emulsion employed, if exposed
fier se without wiishing, wouM be perfectly incapable of forming
an image under development owing to the excess of soluble
bromide it contained : yet, when exposed in contact with a
sensitive layer of gelatine, although the exposure had to be
vastly increased to properly impress the gelatine film, still an
inia^e was produced on the cnUodion film as well, as was shown
by the difference in density when the latter was removed.
The exposure given some three or four times that necessary
for the gelatine film alone — was still all too short to impress
the collodion emulsion oven had it been washed ; but, as we
have said, in the condition in which it was employed it was
>itti'rly incapable of receiving a developable impression with
any exposure.
To place the matter beyond all question, a portion of the
Lielatine film wa.s carefully and com])leteIy removed from a
plate liy scraping, followed by warm water. The whole plate
was then coated with tlie same unwashed emulsion, so that a
portion of it presented a compoimd film of collodion and gela-
tine, while the remainder consisted of collodion alone. Upon
exposure and development the image upon the double film was
of the same character as already described, namelj', it was partly
or mainly on the gelatine, and slightly, though quite distinctly,
upon the collodion. Upon the plain collodion portion of the
film, on the other iiand, there was not the slightest trace of
uny image, although the development was intentionally pushed
to the stage of incipient fog.
The result points certainly to the conclusion that it is an
erroneous supposition that the films arc not in .some sort of
chemical contact, but how the image on the collodion film is
formed is an interesting (question that is open to argument.
At least, we may drop the assumption, as, indeed, we seem to
be forced by other facts to do, that the different films are infert
towards one another, except in so far as they act as light-screens,
absorbing a portion of the light that passes through them. It
seems more reasonable to take the view, as presented by the
experiments of Captain Abney some years ago, that one film
does very materially affect the other iu development to such an
extent, indeed, that in some instances it is found that, if a
second film be coated on top of another after it had been ex-
posed, on development an image will be produced upon the
unexposed film.
This appears to be the only explanation of the experiment
we have quoted. We can readily imagine that, on proceeding
to develop the compound film, the excess of bromide contained
in the collodion will be absorbed by the swelling gelatine under-
lying it, which will in this manner, as well as by the upper film
of collodion, be powerfully restrained or retarded. Mr. W. K.
Burton has shown that the effect of bromide in the developer is
merely to retard develo|imeut, not to destroy the image ; hence,
as we have shown that it was necessary to i;ive three or four
times the exposure required by the bare gelatine film, the latter
must have received a very full impression, and during develop-
ment may be taken to represent a store of pent-up force capable
of reacting on the practically insensitive film above it ; or it
must be borne in mind that the collodion film, containing, as it
does, the unremoved decomposition salts, as well as the excess
of bromide useful to its due keeping, is, if not absolutely insen-
sitive, at any rate sufficiently so to bear full exposure in the
camera without giving the least sign of image on develop-
ment, though, on re-exposure, a perfect picture can l)e
produced. For all practical purposes, therefore, the collo-
dion film in this case must be taken as insensitive or un-
exposed.
Not HO, however, in the case of a washed emulsion. When
such a film is applied above the gelatine film, the exposure of
the latter is not greatly increased, though the time of develop-
ment is thelatter effect, being, we imagine, rather mechanically
produced by the overlying collodion film than by any chemical
slowing action. Under the head of mechanically produced we
may include the slowing produced by the absorption of light in
passing through the film, though, as a matter of fact, this is so
slight as to be not worth considering. ' But the retardation of
development by the collodion film is a different matter, and that
that is purely mechanical may be proved by coating a plate
with plain collodion instead of emulsion, in which case there is
neither light arrested nor any chemical agent introduced to act
upon the sensitive film. Yet the same impervious varnish
suffices to render development a comparatively slow process,
and also to raise some uncertainty as to whether there is
really any loss of sensitiveness, or only retardation of develop-
ment.
The compound film produced when the washed emulsion is
used gives a similar result to that from the unwashed emulsion,
so far as the development of an image upon the upper film is
concerned. But in this case it is with a shorter exposure, and
still too short to impress the collodion emulsion itself, except
perhaps in the extreme hi<;h lights, as the sky of a landscape.
We have, indeed, simultaneously exposed a compound film and
one of collodion emulsion alone to an open landscape with clear
sky, and on development the sky was the only portion visible
on the collodion plate ; in the compound film, however, the
whole of the image was impressed upon the collodion portion,
as was easily proved by the difference in density when a portion
of the latter film was rubbed away.
In this instance it would certainly be supposed that the
effect of the collodion film would be to give an image showing
greater contrast than that given by the gelatine plates alone,
but such was not the case. Two plates were exposed side by
side — or rather a plate divided into two portions — -one of
which was coated with collodion emulsion, the latter receiving
a slightly longer exposure than the other. On development —
not for the same period — as, owing to the slowing action of the
collodion, that was out of the question, but until as nearly as
possible the same general density was obtained, the two images
were practically identical so far as gradation was concerned, or
at least it could be said that there was an entire absence of
any suspicion of stronger high lights in the compound
film.
But — and here is the noteworthy point in the matter — when
a portion of the collodion film was rubbed away, the image on
the gelatine film underneatii showed decidedly less contrast
than it had done previously. We do not refer to merely de-
creased density owing to the removal of the upper image, but
the sky had lost noticeably more density than had the other
portions of the image ; indeed, the extreme high lights in the
stripped portion of the image were thinner than the half-
tones.
The explanation of this, it seems to us, is not far to seek,
and, if this action occurs between two films of collodion and
gelatine, it is even more likely to occur or to come with greater
force when two or more films of gelatine are in question. Bear-
ing in mind what we have said about the slowing action of the
collodion film upon tiic development of the underlying gelatine
film, and also the well-known fact that a collodion image
293
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 12, 1893
develops with great rapidity, it might be expected that the shy
of the picture on a compound film would develop at once on
application of the developer, or within a very short period, and
that there would then be a long wait until the solution reached
the gelatine below. This, however, is not the case, for the
first indications of sky did not make their appearance for fully
five minutes, and the remaining portions of the picture then
followed with perfect regularity. Thus we must believe not
only that the upper film exercises an influence on the develop-
ment of the under one, but also that the converse is the case ;
otherwise, seeing that the sky of the collodion film had had
sufficient exposure to produce a developable impression, tliat
impression would have been produced in less time than five
minutes, unless it had been held back by the gelatine film
underneath it.
When development did commence, it commenced from the
surface — that is to say, in the collodion film. This much is
evident to the eye, but is capable of easy demonstration, and
has since been proved by means whicli need not here be
detailed. That being the case, as tlie silver is reduced in the
collodion film, bromine is given off", and either directly or in
combination with the alkali of the developer, as bromide is
present to act upon and restrain tlie corresponding portions of
the gelatine image lying underneath and in contact with it.
In other words, as the higli lights of the collodion image are
developed, the bromine evolved goes to restrain the higli lights
of the gelatine image and weaken them.
Although the compound films with which our experiments
have been made are totally different from, and, in fact,
diametrically opposite in principle to the Sandell double and
treble-coated films, still we think the same kind of action may
be traced in both. For instance, with an ordinary short
exposure, the bromine given off by the high lights of the rapid
top film hold in check those of tlie second film, and contribute
to the softness which is so remarkable a feature of these plates.
Again, with longer exposures, it is possible to trjice the action
of one film upon the other, and to explain the freedom from
halation so obtained in a far more intelligent manner than by
supposing it to result from mere opacity of film.
Photo^rapliic Salon, 1893.— We Lave received from Mr.
Alfred Maskell a notification of a proposed " Photographic Salon,"
for which the Dudley Gallery has been taken. Its nature will be
ascertained from the following : — " An exhibition of photographic
pictures, to be called the Photographic Salon, will be held at the
Dudley Gallery from October 9 to November 11, 1893. Careful
consideration wiU be given to all pictures entered for exhibition, and
a selection of works of pictorial merit only made by a Committee.
Foreign as well as English photography will be represented. The
aim of the organizers of this, the first Photographic Salon, is to
inaugurate a series of exhibitions (which it is hoped may be annual
ones) bringing before the public the best productions of photography
solely from the pictorial point of view. No awards are offered, and
no charge made to exhibitors. The usual charge of Is. will be made
to the public for admission. Arrangements will be made for the sale
of pictures, if desired, and a commission of fifteen per cent, will
be charged on sales effected."
Photog-raphic Competition at the vrelsh National
Eisteddfod. — -We may remind our readers that at the Eisteddfod,
wliich takes place at Pontypridd in August next, photographic com-
petitions will be held in the following classes: — 1. A set of not less
than six or more than twelve photc^raphs illustrating the coal in-
dustry from cutting to shipment. Prize, ol. 2. A set (not less than
six) illustrating the industries of W^ales. Prize, 5^. 3. Six in-
stantaneous photographs of a football match in its various phases.
Prize, 21. 4. Landscape. Prize, 1/. o. Architectural photograph.
Prize, I^. Photographs should be sent to the General Secretary,
Pontypridd. The adjudicators are practical photographers, and, as
the prizes are to be in money, there is every incentive for a keen and
interesting competition among that large class which regards honour
as not imcompatible with profit.
A Constant Xii^ht for Spectrum Work.— In a paper of
importance on certain absorption spectra by Dr. W^. Lapraik, he
refers to the desirability of having a source of light as constant as
possible, and at the same time of sufficient illuminating power. With
this idea a quick-combustion petroleum lamp having a circular wick
was used. This gave a very powerful light equal to forty-eight
candles (British measurement). He used electric light, and also sun-
light reflected from a heliostat, but did not find any material difference
between the absorption spectra so obtained and those by the
petroleum light.
Kr. It. P. Dragre and the Iiondon and Provincial
Photog'raphic Association.— Uur readers will learn with
regret that Mr. R. P. Drag-e has resigned the Secretaryship of the
London and Provincial Photographic Association, a position which he
has filled for the past three years. The " L. & P.," as it is familiarly
known, takes rank as one of the principal technical photographic
Societies, its reported discussions and proceedings being, as we are
aware, read with deep interest throughout the world. Mr. Drage's
services to the Association have been of such a thorough-going nature,
by persistent hard work and unfailing courtesy to members and visitors
alike he has rendered himself so agreeable, and has contrived, week
after week and month after month, to bring matters and papers of
such interest for discussion before it, that he is certain to be much
missed. The best wish we can e.xtend to the Association is that
Mr. Drage may have a wortliy successor in the office he has so ablv
filled.
Carbonic-acid-free Ammonia. — The uncertainty as to
the composition of any particular sample of ammonia solution re-
quired for development is always a stumbling-block in the way of
those who would make photographic operations as exact as possible.
In estimating the strength, by ascertaining the amount of acid it
will neutralise the difficulty if the presence of carbonate comes in,
for it is well known that, though carbonate of ammonia preceded
liquid ammonia for use in development, the latter in bromide dry
plates is much more powerful than the former. Hence a simple sug-
gestion by Herr J. Hertkorn, in the Chemiker Zeitung, will be of
value in regard to this particular source of uncertainty. He recom-
mends that some lime-water (quite free from turbidity, of course)
should be added to the suspected sample of ammonia, and the mix-
ture then boiled. If turbid, the presence of carbonic acid Is shown ;
but if it reojains clear, or only very slightly turbid, the sample is
free.
Temperature Xiimit of Ziig'ht Sensitiveness.— Dr.
Dewar, in a lecture on the magnetic properties of liquid oxygen, re-
ferring to the extremely feeble energy displayed by the oxygen
molecules at extreme low temperatures, said they seemed to be draw-
ing near what might be called " the death of matter " so far as
chemical action was concerned. Liquid oxygen, for Instance, had no
action upon a piece of phosphorus and potassium or sodium dropped
into it, and once he thought and publicly stated that at such tempera-
tures all chemical action ceased. That statement he remarked in
this later lecture required some qualification, because he had found
that a photographic plate placed in liquid oxygen could be acted on
by radiant energy, and at a temperature of 200° C. was still sensitive
May 12, 18»a]
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
Ii0.'{
to lit^ht. This fact is of considerable iraportanee as rej^ards the aetuAl
result of light notion on a plate, for it is well known that chemical
action goes on less fi«ickly in solids than liquids, and that a solid dry
plate should be influenced by light nt this extraordinary low tempera-
ture would be a fact that the old advocates of a mechanical rather
than a chemical action as the result of light would not be slow to
take advantage of.
Zilg'lxtning' Photographs. ^A note on two such photographs
taken at Sidney was ivad at the lloyal Meteorological Society's last
meeting, and tlie writer gave an explanation of certain e£Fects. The
two photograplis referred to were taken with a half-plate lens mounted
in a whole-plate camera, and as a matter of course showed distortion
at the edges. For example, while the lights of street gas lamps were
white specks in the centre of the plate, they were crescent-shaped at
the edge. The lightning flashes also were distorted, and we have
specially referred to this matter on account of the suggestions
in the paper that the so-called " ribbon flashes " may be accounted
for by this distortion. It is quite obvious that, if accurate
ilepicting of lightning Hashes is to be obtained, every care should be
t«ken that neither coma nor astigmatism should play any part in the
obtained results. On every account, therefore, it would be advisable;
when setting the camera up on the chance of securing flashes, that a
lens with asflat a field as pos.sible be employed, and that it be well
stopped down. It appears to us that the lightning flash is of such
brilliancy, that nomatter liow small the stop employed the appearance
would be recorded brief, as is its duration.
Phosphorescent Zinc Sulphide. — In a recent number of
Comptcs Itendus this substance has been proposed as a photometric
tandard by M. C. Heary. The original investigations by which Mr.
Wamcrke established the usefulness of the instrument which bears
his name are on record, and will not be found out of accord with
the most recent investigations. M. Henry's results show that, within
somewhat wide limits, which correspond with luminous saturation,
the quantity of light emitted by a surface of zinc sulphide, rendered
luminous by exposure to magnesium light, is independent of the
distance of the light or its duration, and of the thickness of the layer
of zinc sulphide. He states that the law governing the loss of
luminosity is always the same, though the material itself may have
such different characteristics as it would probably have after being
prepared by different experimenters by different methods. The
actual law is expressed in the formula i'" (t + c) = K, when M is taken
as ••oOS, and c as 28'.'Jo. It holds good for thicknesses of layers vary-
ing from •45 to '9 mm. Within these limits of thickness the
maximum intensity of the luminosity is not influenced by the length
of wire burnt, nor by the distance it is held within a limit of 15 cm.
of length, and of 28 of distance.
STUDIO-BUILDING.
III.
.\t this stage it might be well to refer to an aspect of the subject that
has caused me the receipt of several letters. How much of the roof
should be glazed, and how low should the side lights extend ? Here,
again, it would be better to reply on broad general principles rather
than fix a hard and fast line. Thus if it be remembered that when
the blinds and screens used are of good design and construction it is —
so far as the actual illumination is concerned — quite immaterial so
long as there is a sufficiency of light area. For instance, if the
whole roof and sides were glazed, the lighting could be made to
assume any character and come from any direction merely by
.irranging the blinds suitably. But, unfortunately, there is something
more to be considered than the illumination only ; we have to think
of the sun's heating rays as they affect the sitters' comfort. So that
here the indications are aU in the opposite direction, that is, to
restrict the amount of roof area to be glazed. When large groups
are to be taken, or on occasions where difficult subjects requiring
quick exposures are in hand,tiio need for most light will bo exjieri-
enced, and the artist will feel he cannot have too much ; but, as a
line must be drawn somewhere, a fair principle to act on will be that
not more than one-half of the roof in a ridge roof, that would be the
whole of one side, should be glazed ; the rest should be quite opaque,
slated by preference, to keep out the sun's heat. This latter point is
of such supreme importance that no essa^' or instructions on studio-
building can be complete without a thorough consideration of ite
bearing. The possibilities of building a studio <)n a low level agdinst
a lofty building at its south or west, influence this point to an impor-
tant extent, as before referred to, and if two sites, of equal merit
otherwise, were under consideration, that which provided an already
formed sun-screen in this manner should unhesitatingly be preferred.
This subject will ba referred to again in a final chapter on ecreens
and blinds.
The glazing of the whole length of one side of a rijof may to some
appear excessive, but it must be borne in mind that it is the light
furthest away from the sitter that has to be relied upon to equalise
the illumination on groups, which may possibly extend across the
whole breadth of the studio, also a studio to seat the sitter at either
end is the present groundwork of our remarks. Of course, a similar
effect could be obtained by glazing a portion only of the opposite side
of the roof, though, unless carefully done, and its position well chosen,
such a method would lead to that cross lighting of the subject which
on a face is so ugly and inartistic.
Some photographers prefer to make the roof opaque for about two
feet from the end, and the plan has many advantages. Its chief die-
advantage is that there is then an insufficient control over the light-
ing: of the backgrounds. When they are lighted from overhead, and
the light aperture screened from the sitter, the effect of the back-
ground is but slightly interfered with. However, the main light may
be controlled by blinds in any special way, while, if the lighting of
the background depends on that of the sitter, very unfortunate results
may be unwittingly obtained. The relative disposition of the lights
and darks may alter the whole chiaroscuro, and cause possibly, for
example, a usually light background to come out quite dark in the
negative.
As to the side lights, little need be said. If they are continued to
about three feet from the floor, that will be quite as low as would
ever be necessary, and when too low it could be blinded. Side lights,
however, are often useless, owing to the light from sky to sitter
being arrested by contiguous buildings. Obscured glas-s of course, as
advised, should then be made use of.
We have now arrived at an advanced stage with our studio erecting.
The walls are built, the roof is on, and the sash-bars are ready for
glazing; and this is a point on which many photographers are in
doubt : whether to use plain glass, rolled plate, hammered plate,
or obscured glass. Instead of answering the questions that have
been put directly, it will be better to discuss the general prin-
ciples or the governing conditions which may be looked to for
guidance in coming to a decision. From a given beam of
light direct from sky to sitter — using the word sky to in-
dicate either clouds or the unclouded azure — least light will
be removed by the interposition of plain glass ; rolled and
hammered plate come next ; and obscured, i.e., smoothed, or
ground glass in the given circumstances robs the beam the most
But there are other conditions. According to the situation and con-
struction, the strength of the sheets is matter of greater or less
importance. Ordinary window glass can be had of a strength of
fifteen, twenty-one, and twenty-six ounces to the foot. The same
holds good with obscured glass. The varieties of plate may be had,
practically, of any thickness. Under all ordinary circumstances,
where no violence beyond the forces of nature is anticipated, glass
of the thickness of that represented by twenty-six ounce is sufficient.
In the course of a long experience I have seen the results of many
hailstorms, and Iiave never found glass of that thickness injured even
by the heaviest fall. The country is occasionally visited over narrow
belts of a few miles by hailstorms when the stones are of extraordinary
weight ; but, though I have seen the windows of private houses facing
the direction of a storm literally riddled with hailstones, I have never
.294
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 12, 1893
yet had a roof pane of that weight broken. It is well to note that
-the best English glass should be used. There is a cheap kind of
foreign sheet on the market, which, though fairly thick, I have been
-credibly informed is far inferior to a thinner make of the kind I
recommend. It is not only said to be more easily broken by hail
stones, but is also liable to crack in situ through slight expansions
of the sash-bars from wet or heat, or from trivial strains of the
supports through painters on the roof, or slight warping of the
timber used.
As my object is to give, and only to give, my personal experience,
I may here say I have had no experience whatever of metallic sash-
bars. I should have a prejudice against them, owing to the need for
experiments in lighting arrangements, necessitating the use of nails
and screws for suspension, and the impossibility of obtaining such
support when metal framework was employed.
To assist in coming t(j a decision as to whether glass plain or
obscured should be selected, it may be said that every studio builder
should ask himself why he should have other than plain glass. In
any situation where the studio is liable to being overlooked it will, of
course, be a necessity. But granted a free, unobscured light, there is
nothing to gain by making the glass translucent rather than trans-
parent. But many studios are built in situations where surrounding
buildings intervene and prevent a free light entry ; then translucent
glass may be a decided benefit. The rule to adopt is for the artist
to place himself in any situation in the studio where a sitter may
probably be placed, and look round at his sky light and side light. If
he sees nothing but clear sky, he will receive most light from the use
of clear glass. If, however, in his line of sight buildings are visible,
then obscured or other similarly acting glass will bring more light to
-the sitter. Supposing a studio to be painted internally dead black,
and all the unglazed roof covered over, except such parts as would
only permit a view of buildings to be seen by the sitter, then — at any
rate, speaking for the face — he would be almost in perfect darkness,
except the building were painted or otherwise light in colour. If,
then, clear glass were put in the sashes, the darkness would remain
•unaltered. But if obscured glass were made to take the place of
plain, a great difference would be observed. Those beams or pencils
of light which in the first would from_ other directions penetrate the
roof, illuminate the walls or floor and not the sitter, would be dis-
persed or scattered, and so many would reach the sitter as to give a
fair illumination to his features.
These are the conditions under which portions of a roof might with
■advantage be glazed. In the studio with very steep roof that I
described, and which was built in the old wet-collodion days, I used
ground glass for the lower panes, owing to my being shadowed over
by an exceedingly lofty building at some distance away. Standing at
the sitter's end, in all positions where I might expect to place him, I
looked through the empty sash-bars, and got the carpenter to mark,
with a pencil, the limit on the bars through which I could see bricks
and mortar. These I had glazed with obscured glass ; where sky
■only was visible, I used clear glass.
G. Watmouqh Wbb3tbb, F.C.S.
CONTINENTAL NOTES AND NEWS.
Ammonium Hyposulphite. — M. Ch. Hermitte writes in the
Itevuc de ritutogiaphie that the ammoniacal odour given off by
ammonium hy posidphite with which several Continental photographers
have been experimenting as a substitute for sodium hyposulphite, may
be obviated by the addition to the solution of a small quantity of
chlorate of potash. This, however, does not apply to all samples of
the new hypo that are prepared, considerable variations in its quality
Ijeing experienced. M. Hermitte recommends the following bath : —
Water 1 litre.
Ammonium hyposulpiiite 150 grammes.
Chlorate of potash 10 „
Negatives fixed in this bath are said to be beautifully clear, and in the
quantity of solution mentioned fifty to sixty half-plates may be fixed.
M. Hermitte finds an hour's washing in running water sufficient, but
recommends for greater safety a longer immersion.
A Platinum Toning' Bath for Silver Prints.— The
following bath is recommended by a foreign contemporary: —
Water 500 c.c.
Sodium chloride 35 grammes.
Tartaric acid 8 „
Sulphate of soda 6 „
Chloroplatinite of potassium (12 per cent.
solution) 8 „
The salts are dissolved in the order named. The bath is said to give
tones much resembling those of platinum prints, and to keep well.
Photography and the Falsification of Documents.
— It is stated that the Russian Government has instituted a photo-
graphic laboratory in connexion with the Courts of Justice, the
principal object of which will be the verification of the authenticity
of legal and other documents. The laboratory, it is further said, has
already done signal service to the cause of justice in this way.
Hypo in the DKetol Developer, — Herr Schmidt, of Wies-
baden, finds that hypo in the metol developer acts as a retarder
instead of, as isfgenerally the case when it is added to the developer,
an accelerator. He uses it in the proportion of from 30 to 40 drops
of a hypo solution 1 : 100 per each 30 c.c. of metol solution.
Society Outings in France. — The plan of photographic
instruction in the field, which seems of late to have been adopted by
several English photographic societies, is being followed in France.
On Sunday, April 9, the Societe d'Etudes Photographiques met in
the gardens of tlie Trocadero, Paris, under the direction of the Presi-
dent, M. Balagny, for the purpose of photographing a certain view
which had been previously decided upon, the development of the
plates being subsequently conducted at the President's house. Under
experienced direction such a method should be a useful source of
knowledge to young photographers.
Salted G-elatine Paper. — " Violette," in L' Amateur Phuto-
graphe, publishes a plea for plain salted gelatine paper (« la albu-
menised paper) which could be sensitised and used according to the
requirements of the individual, and he claims that, by its use, better
tones than is the case at present could be obtained, that toning
would be more rapid, and that yellowness, which is more or less
evident with commercial sensitive gelatine papers, would be minimised,
inasmuch as the elements of deterioration wojild be absent.
Sulphocyanide of Ammonium in Uranium Toning.
— Professor Hodolfo Namias, in the liicista Scieiitijtco-artistica di
Fotografia, recommends the addition of ammonium sulphocyanide to
the uranium toning bath as a solvent of the ferrocyanide of silver
and potassium which, he says, is formed in toning, and to facilitate
the deposition of the uranium ferrocyanide upon the image. The
following is the formula he emplojs : —
A. — Potassium ferridcyanide 2-3 grammes.
Water 1000 c.c.
B.— Uranium nitrate 10 grammes.
Ammonium sulphocyanide •. . . . . 50 „
Acetic acid 10 c.c.
Water 1000 „
Equal parts of the solutions are taken for use.
Purifying Eosine. — Eosine, which is employed in ortho-
chromatic photography, is not always found in commerce of a suffi-
cient degree of purity for photographic purposes. The following
method of purifying it is given : — Dissolve 20 grammes of eosine in
700 c.c^ of boiling water, and, after dissolution, add sulphuric acid 1:10
until no further precipitate of bromofluorescein is formed. The liquid
is separated by decantation, and the salt washed and dried. The
purified eosine is insoluble iii water, but is soluble in alcohol.
May 12, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
20&
Tbe Aero-carbon Xiigrbt for Printlngr-out Pnr-
po«08. — With a ceUoidin papor iind a nejirttivo of normal density
M. KoHurzik liiids tliat. by usin)? tlie aero-carbon light ho can obtain
developable ima^ji's in from 20 to 30 minutes, and under a thin nega-
tive in 20 minutes, wliile a dense negative taltes from 40 to 4o minutes.
With gelatine paper 15 to 20 minutes sufRces, but platinum paper
requires from :i to "> hours. The printing frame is placed within a
few inches of the source of light.
I'HOTO-LITHOGRAPHY.
[Photographic Society of Great Britain.]
Thk purpose to which photo-lithography is applied with special ad-
vantage is the reproduction of a subject where only two tones, as
blacky and white, without intermediate gradations, are required.
True,'tlier6 are photo-lithographic processes in which the half-tones
of the original are broken up into a kind of grain, which gives the
idea of haif-tones, as do the fine lines of an engraving. The present
paper and demonstration will not include these processe.s, nor be con-
cerned with many of the variations that have been made in the
practice of photo-lithography ; but an endeavour will be made to
clearly show throughout a practicable working method, such as the
writer has used with success, and, in the main, such as he has known
to be employed in printing works turning out large quantities of
excellent work.
The'absence of half-tone, and the consequent separation of the
gradations of the original into two tones as dissimilar as can be
obtained, is, in most of the cases for which photo-lithography is
employed, not only no drawback, but a positive advantage. An
engineers tracing, for example, has to be copied. There may be
pencil marking's, traces of erasure, some amount of soiling, and lights
and shades from the cloth lying irregularly, or being creased. In any
of the ordinary photographic methods these defects would be re-
produced, but in a process devoid of half-tone everything must be
either black or white, and so representations of soils and creasing, if
not strong enough to show as black, will be got rid of.
Thr Genebai, Phinch'i.e of Lithography.
The general principle of lithography depends upon the fact
that a porous stone imbued with water, especially water containing
mucilage, does not readily take to grease, and vice versa. If a draw-
ing be made with greasy matter upon a litliographic stone, and the
stone be then well wetted, a roller charged with greasy ink will
deliver its ink on to the drawing, but not on to the surrounding moist
parts of the stone. A paper laid on the stone and subjected to
pressure will pick up sufficient of the ink to represent the drawing,
and the stone may be rewetted and inked up again for as many prints
as may be wanted. Certain additions to the process have been found
necessary, and will be described ; but this is the main principle.
The first thing necessary in photo-lithography is to have a negative,
the shadows of which are really clear. It is also desirable to have
dense lights, but this is not essential. Wet collodion is recognised as
being the best negative process for the purpose, though, for coarse
lines from a clear black and white original, some gelatine plates may
be made to serve. I always use wet collodion, and I believe that to
be almost the universal practice in commercial establishments. It is
of course much easier to get a suitable negative from a pure black-
and-white subject than from one in which blacks and wliites are
deficient in purity, and some establishments insist upon having a
drawing made with Indian ink and on Bristol board. However, it is
often necessary to copy a subject which presents greater difficulties.
I have here a letter more than twenty years old, written to me by a
well-known artist. It is rather soiled and creased, and the ink
(which, of course, was of the ordinary kind) has faded in parts.
Illustrating some of the words is a pen sketch, which I have selected
as the subject for the demonstration. Of this I have made two nega-
tives (wet collodion). One, which is of full intensity and shows the
paper as of fairly solid opacity throughout, looks, to those not aware
of the special quality required, to be the better. It is, however, a
full half-tone negative. The lines where the ink is still black are
transparent, but in other part", where the ink has been thin or has
faded, there is a good deal of deposit. Such a negative is not suited
for the present purpose, for, although by deep printing on the sensi-
tised transfer paper the faint lines might be made to show, there
would then be a spreading and thickening of the more transparent
lines. The second negative, which is of the kind required, shows the
lines throughout as clear as the margin. The white of the paper is
not 80 good, every soil and irregularity shows strongly, but these
an be masked oat ; or, if they print sufficiently to lake tbe ink oo
he transfer, can easily be cleaned ofT the stone.
PilKrAIlATIO.V OP THE rHOTG-l.lTlKJOnAPHI : TjlAXSKKB.
The principle concerned in preparing a photo-lithographic transfer
is this: — Certain organic substances, such as gelatine and albumen,
combined with a bichromate, undergo a change when exposed to tlie
light, in virtue of which they are no longer soluble, and do not even
absorb water. When, therefore, a film of bichromated gelatine is
expo.scd under a negative, a greasy ink may be made to adhere to th&
parts affected by light, whilst the unaffected parts when imbued with
water will not take the ink, or will permit it to be removed.
Paper prepared with gelatine for photo-lithographic transfer is an
article of commerce, but if preferred can be made at home. The
paper should be of firm, good quality, or it may split up in manipuln-
tion. Gelatine such as is u^d for photographic emulsion, tolerably
hard, may be swelled in water, and dissolved by heat. The strength
may be conveniently one to ten, and the solution must be warm,
enough to allow of easy flowing. Floating in a di.sh is best, but;
means must be taken to keep up the heat during the time the requisite
number of sheets are being floated.
The paper is sensitised by immersion in a bath of bichromate.
Bichromate of potash is generally used, and it has been recommended!
to use a solution nearly saturated, about an ounce and a half to the
pint. I have more generally used a rather weaker solution, about an
ounce to thepint,and have even got good results with half that strength.
The objection to a very strong solution is the rapidity with which the
paper goes bad. It is generally advised to add ammonia to the sensi-
tising bath until the deep orange colour becomes changed to a yellow^
I have not found this an improvement. When the paper is softened
in the bichromate solution, it may bo hung up to dry ; but a plan^
which I much prefer is to squeegee it on to a sheet of talced glass,,
and leave it to dry there'.
There are several advantages about this method : —
1. The surface is fine and smooth, and the paper may consequently
be pressed into more intimate contact with the negative.
2. For the same reason the ink may be applied more evenly, with-
out having to be forced into the depressions of the grain of the paper..
o. The sensitised surface of the paper is kept out of contact with
the air whilst drying, and until it is required, when it may be stripped
and taken direct to the press.
4. The paper being dried in an expanded condition, and applied iB>
that state to the negative, there is very little, if any, distortion from
expansion of the paper by moisture when applied to the stone.*
The objection that I have heard raised to drying on talced glass is-
that there is a tendency for the paper to stick, and, in short, to refuse-
to strip. I have never known this occur sinct; finding that ease of
stripping depended entirely upon a vigorous rubbing in of the talo.
Take a little powdered talc (French chalk) and with a cloth rub a
clean glass hard until the surface appears to be matt nearly all over.
It mi.y afterwards be rubbed until polished again, but the effect
remains. The grain of the matt is so fine that it is of no consequenco,
and the plate may be used many times in succession without any
further rubbing or application of talc being required. All loose talc
is, of course, dusted away before use.
The paper, stripped from the talced glass, is printed from the nega-
tive in the usual way. The exposure is not long, and may be judged
to be sufficient when the lines show as a clear brown on a yellow
ground. The ground may even print through to a certain extent, as
a faint image may be made to part with the ink whilst the stronger
parts retain it.
Inking the Tbansfke.
The prim taken from the negative is covered with a thin film of
transfer ink. This may be done in various ways. A very good plan
is to roll up a lithographic stone with a thin film of ink, and then lay
the transfer on it and pass a few times through the press, reversing
the stone to ensure equality of pre.'sure. Another plan is to roll on
to the transfer paper direct. The end of the paper may be turned
over the edge of a piece of glass so as to reach the back. The glass
is then laid on another glass, and so the paper is held during the-
rolling. In either case the first thing is to get a thin, even coating of
ink upon a roller. A special ink is used, containing a large proportioa
of fat. It is sold as lithographic transfer ink, and being very stiff re-
quires a little thinning before use. For this purpose lithographie
* To make up for this distortion, it is customary with some photolitho-
grapliers to take the negative somewhat smaller than is required for the finished
print : h\it then, as paper expands unequally when wetted, it will l)e neceis-oary
to note which way the paper is to be cut, .ind even then the result will only
be of the requiieif size in one dimension, and will exceed or come short of it in
another.
296
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 12, 1893
varnisU is commonly used ; some, ho-\vever, talie a fat oil, such as palm
oil, and others turpentine. The diluent, whichever it is, is worked
up with the ink by a palette knife on a stone, and then by repeated
rolling ; the stone and the roller are evenly coated. It is desirable
that the coat of ink on the transfer be thin, or the fine lines may
liaag together. The image should just show through the ink.
The roller used is an ordinary lithographic leather roller, which,
however, should be of fine texture. For very fine work some use a
velvet roller. Small subjects, and, indeed, larger ones if time is not
an object, miy be coated with ink by a pad of linen or other rag
merely, and the use of a roller may be dispensed witli until the
transfer is on the stone. The pad should be first dabbed with a little
ink on a stone or piece of glass until it will distribute a thin even
.film of ink.
Placing the Tbansfek on the Stone.
When the transfer is inked, if turpentine has been used as the
diluent, it is left for some time, say, twenty minutes. With other
diluents it may be proceeded with at once. It is laid in water, or
merely floated on, face upwards. This is perhaps the best way,
but then no water should be allowed to get on the face in parts, or
these will be less strong in the image than the rest. When the
gelatine has absorbed sufficient moisture (which can be told by the
unexposed portions being raised a little above the lines), tlie transfer
is laid on the slab, held down as before described, and the roller
passed over it a few times. The ink will now, for the most part,
leave the whites, and the blacks will be strengthened. The transfer
is next sponged with water until the spaces between the lines are
perfectly clear. Sometimes the rolling off is omitted, and sponging
alone is relied on. The transfer is tlien partially dried and put on to
the .stone, or, as is often done, it is dried and damped again by placing
it in a moist blotting-book. The transfer is best put on to the stone
the same day as made. If kept several days, it may refuse to take
properly. The stone, having been cleaned and polished with snake-
stone used with plenty of water to prevent scratching and dragging,
is, after drying, and sometimes slight warming, laid on the bed of the
press. Warming is necessary if the stone is colder than the air of the
room, as in that case a film of water may be deposited. The damp
transfer is put in place face downwards. " Some thicknesses of paper
are placed on it, and it is then passed a few times through the press,
the stone being reversed and the back of the transfer redamped half
way through the process. A corner is lifted to make sure that the
impre.ssion has taken well on the stone, and then, after damping the
back of the paper, it is pulled off entirely. If there is a difficulty,
warm water is used. The stone is sponged, and then gum water is'
rubbed all over. This helps to keep the whites clean, and the lines
from .spreading. The gum water should be allowed to dry, and then
the stone is .sponged, and ink from the transfer is reinforced by roll-
ing, or rubbing with a pad, with ordinary lithographic ink slightly
thinned with varnish or turpentine. If a pad is used, enough ink
should be taken up to show as a smear. Before touching with the
pad, thick gum water is poured on to the stone, and rubbed in at the
same time that the ink is strengthening the deposit on the lines.
Phkpabing the Stone.
The stone has to go through a process called etching, which,
however, does not dissolve it to an appreciable extent, but cleans it
up. Before etching, the image is protected by being dusted over
with hncly powdered resin. Tlie excess of resin is lightly dusted off
and the surface of the stone is sponged. If there are any blemishes
m the way of ink on the stone where not wanted, they can be
removed at this stage by a scraper, or a narrow slip of snake-stone
bometimes powdered talc is used instead of resin. The etching fluid
IS a very dUute solution of nitric acid. The strength of the acid is
determined by its effect on the stone. If effervescence takes place
in from five to ten seconds, the acid is about right for strength
After sponging off the acid the stone is again gummed and dried
Ihe stone xs now again sponged, and the ink, which has been
clogged by the resin or talc, is washed off with turpentine The
stone 13 agam sponged clean, and, a little thick gum water beinc^ first
poured on, the image is partly brought back by rubbing with a pad of
linen that has been touched on to the inky slab. The stone is once more
sponged clean, and wiped with what is called the damping cloth
which, as Its uaine implies, is always kept damp enough to leave the
stone moist. The damping cloth is a material of a soft muslin
character, without any dressing in it. What is called butter cloth
such as 18 sold for the purpose of wrapping round rolls of butter, is
swtable ; enough to make a good handful— say, a yard— is sufiicient.
PaiXTING.
The stone is next inked up by rolling with the ordinary litho-
graphic ink, slightly thinned with lithographic varnish. The amount
of ink left on the image may be regulated by the thickness of the
coat on the inking slab, by the dilution or softness of the ink itself,
and by the manner of rolling. Heaviness and slowness of rolling
deposit ink freely, whilst lightness and quickness tend to remove it
from the stone and clean up the lights. A piece of paper is laid on,
the tympan lowered into place, and the print made by pulling
through the press. The first print may be a little weak, and yet,
after about a dozen pulls are taken, it may come up of full strength.
After each print is pulled, the stone is damped again before re-
inking. Wiping with the damping cloth is generally sufficient. If
the stone itself appears to take the ink in places, rubbing with a
sponge will generally clean it ; but, if there is a difficulty, clean it off
with turpentine, and, after sponging with water, bring back the image
by rubbing with a cloth, charged with thinned ink as before directed,
taking care that there is some thick liquid gum on the stone at the
same time.
Of course the assistance of a practised lithographic printer will
save some failures, and be of great use during the first essays in the
printing part of the work. It would be perhaps as well at first to
confine oneself to making the negative, and from that the photo-
litho transfer, and hand the latter over to a lithographer for printing
from. If only one or two prints are required, it may suffice to make
the photo-litho transfer, and consider that as the final result. At all
events, this will afford good practice for those commencing to work
the process. W. E. Dkbenham.
AJSIIBOL FOR DEVELOPED PRINTS.
I HAVE made some thousands of bromide prints, and used some
hundreds of gallons of ferrous oxalate developer during the past ten
years. Recent events, however, have worked a change. Ferrous
oxalate has been an old and valuable servant, but I am afraid it will
now have to be deposed and be considered practically defunct.
" Requiescat in pace."
For printing in bromide — and one is almost compelled to adopt
this method when days are short and leisure scanty — I find amidol
to be a particularly satisfactory developer. Things are getting
simplified nowadays, for we are able to develop out negatives and
prints in the same solution, and fix them side by side in the same
bath, while we can (and it is a good riddance) say good-bj'e to the
acetic-acid clearing bath. The developer made several months
ago, viz., amidol I'O, soda sulphite 100, water I8'0, was used. I
have not met with any trouble so far with reference to the keeping
qualities of this new developing agent. A solution, ten per cent., of
potassium bromide was also prepared. Exposure of the bromide
paper should be full and ample, the addition of a few drops of the
bromide solution keeping the development well under control. The
whole arrangement is quite easy, the requisite exposure ascertained
by a trial print, the remainder are exposed, and may then be
immersed in a bath of clean and very slightly (at this time of year)
warmed water.
One part of stock developer is put into another dish with two or
three parts of water, and bromide solution ad libitum. The prints
may be developed singly or in batches, are then transferred to a dish
of clean water, and thence to the fixing bath ; afterwards, a thorough
washing to complete this stage of the operations. This is of the
first importance to thoroughly elimldato the hypo — hence fixation
should be complete. Then, after thorough washing, a final bath of
hydrogen peroside and water, about one ounce to the pint should
be resorted to ; then a final rinse in water. The tone of the deve-
loped print is quite pleasing, and leaves little to be desired ; but
if we wish, various colours, more or less rich and warm (and rather
less than more, by the way), are easily produced. If the print be, and
this is, perhaps, preferable, on thin paper, I don't know of anything
better than the old mercury bath, followed by a wash in ammonia
water or a solution of sulphite of soda. One advantage I find in the
use of mercurti is that no lessening of density results. Whatever
intensifier {?) is used, the subsequent washing is to be ample. We
may then safely immerse the print in the alkaline solution.
Eder & Toth's bath may be used, e.g. : —
Ferridcyanide potassium (5 parts.
Nitrate of lead 4 „
Water (distilled) 100 „
followed by a thorough washing, then the print toned by various
chemicals. It seems, having in view the exposure, density, and length
of time in the mercury bath, or Eder & Toth's, possible to get an
extraordinary variety of tone ; in fact the process is extremely in-
May V2, 189i]
THE BlUTISH JOURNAL OF PHOTUOBAPHY.
207
terestiiifr experiineiitiiUy. At the same timo it would require very
careful working to pet a dozen prints exactly alike. If toninp he
n'sortwl to 1 have a likiiif; for the U«d and ferridcyanide hath. The print
should he fully expo.sed atid over-developed, this bat h taking " a lot
out " of the print. After bleachinff and wa-shing we (ret, with a ten
per cent, solution of cupric sulphate, a really j^ood reddish brown, and
very often the print will be the better for a .second dip in a bath of
weak ammonia water. Wn'Mni/ in water, not to be lengthj-, follows,
a piece of cotton wool helping at this .stage to get a thoroughly clean
surface, and the print.s are then dUispended to dry. For opals amidol
should be very suitable; in fact, looldng at the ea.se of working,
keeping qualities of the solution, aud the fact that a clearing bath is
not a necessity, to say nothing of colour of positive, one is inclined to
a«k what further use have we for ferrous oxalate ? J. Pikb.
CENTRAL PHOTOGRAPHIC CLUB,
Fleet-lane, LuDciATE-ciKcus.
VIoN. TiiBASUBER : John Howson, " Brockenhnrst," Ilford, E. Executive
Committee : Messrs. Birt Acres, R. Beckett, Thomas Bedding, Austin
Edwards, Thomas Fall, T. E. Freshwater, John A. Hodges, E. J. Wall,
and II. Snowden Ward.
The following circular is in course of circulation : —
The want of a photographic club and institute with a permanent home
in a central position of London, and easily accessible from the principal
railway termini and by the chief omnibus routes, has been for gome time
felt, and, after several meetings of gentlemen interested in the matter,
two public meeting.s have been held, and it has been decided to at once
aupply the deficiency.
Numerous premises liave been seen and reported npon by the Executive
appointed at the first public meeting ; and it is proposed, and negotiations
are on foot to secure premises at the above address, consisting of base-
ment, ground, first, and second floor, at what is considered a very reason-
able rent. In the basement twelve dark rooms could be fitted up, and
leave sufficient space for setting up apparatus for enlarging by artificial
lifiht. The room on the first floor, after structural alterations, will be
eulliciently large to seat 230 persons. It is also proposed at first to provide
a smoking-room and library, and other club conveniences. It is proposed
at first to utilise the refreshment-rooms in the Memorial Hall-buildings,
with which communications will be made. The excellence of the usual
catering and the moderate charges have, after actual experience, been
highly 8)K)ken of. This arrangement will be terminable at any time, and
the Club Committee can take the supply of refreshments entirely into
their own hands. While the social element will be a strong feature in
the proposed Club, technical photographic meetings, demonstrations,
lantern entertainments, exhibitions of pictures, apparatus, <fec., will be
held at stated times.
All gentlemen interested in photography will be eligible for membership.
The subscription for town members, i.e. , those residing within twenty
miles of the Club, will be U. Is. per annum, and for country members
I0»'. Cxi. per annum. The first 500 applicants will be admitted to member-
ship without payment of an entrance fee, which has been fixed at 11. Is.
for town members, and lO.'.. 6</. for country members. About 250 appli-
cations for membership have been received. Life members will be ad-
mitted on payment of 101. 10s.
A number of rules drawn up and published in the photographic
journals for the week ending April 15, 1893, were adopted at the public
meeting held on the following Monday. It is anticipated that the Club
will be opened early in July next, when a working Committee will be
appointed and the necessary bye-laws and regulations drawn up. Every
effort will be made to make the club a home, and rendezvous and resort
for all those interested in photography, whether residing in London or
m the country, and a representative force in each of the many branches ,
of modem photography. We shall be pleased to receive applications for
membership, and will, on application, furnish any further information
that may be desired.
It is proposed to form a Umited liability company, with a capital not
exceeding 100(., divided into 5/. shares, of which 21. 10s. will be payable
on application ; to take the lease of the premises and to furnish and fit
up the same for the use of the club. It is particularly pointed out that
all who are interested in the advancement of photography should take
shares to assist in placing this cosmopolitan and much-needed club on a
sound basis. We shall be pleased to hear from gentlemen as to taking
shares, and will forward a prospectus on hearing from you.
W. Fenton-Jones, Hon. Sec. Hackney Photographic Society, )
12 King Kduard-road, Ilackneij, N.E. I Joint
Chas. H. Oakden, Hon. See. South London Photographic ( Hon. Sec.
Society, 51 ilelbournegrove, Kast Dulwich, S.E. )
May 1, 18U3.
" PHOTOGRAPHY APPLIED TO JOURNALISM."
[Brixtou and Clapham Camera Club.]
On Tuesday, the 18th ult., Mr. T. C.Hepworth, F.C.S., gave a lecture
on Pholog,ai>hij applied to Journalism. The lectme, which was illustrated
by means of fifty-Beven gpecially prepared lantern pictures, may thus b6
briefly Mammarised. ^, j, " - .,.. . •*-'~i
The lecturer, in his opening remarks, pointed out to what a great ex -
tent the journalism of the present day owed a debt to the art of photo-
graphy. Such papers as the Grajilw- and Illiutrated London Sewn are
almost wholly illustrated by pictures produced by photography. The
application of photography has, of course, tended to almost extinguish
the wood-engraver, but such an extinction most always be expected
when manual labour is replaced by machinery. As an instance, he re-
ferred to the substitution of reaping machines, which have thrown
manual labour into the corner. Photography has ousted, to a large
extent, the wood-engraver, just as photogravare is ousting the ateel-
engraver. It is to be deplored, and we sympathise with those who are
thus thrown out of employment ; but, on the other hand, we must con-
gratulate ourselves on the steady advance photography is making year by
year.
The existence of such papers as the Cuts, of which there are many
would be practically impossible were it not for the art of photography.
Mr. Hepworth then showed a copy of one of the earliest papers, pub-
lished in 167!), entitled Duiiieslic Intelligence; or, Notes from City and
Country. The original had two columns on either side, and consisted of
one small sheet eight and a half inches by six inches ; only tliree advertise-
ments appeared in the paper, and he contrasted these with the big
triumphs of printing in the present day — e.g., tlie Telegraph, Standard,
and Daily News, which contain from fifty to sixty columns of closely
printed matter, and are crowded with advertisements.
The want of illustration was felt at a very early date, and rough wood-
cuts very soon appeared ; a specimen — St. Christoplier — was shown on
the screen. The original is supposed to be in the possession of Earl
Spencer. The picture showed that the woodcut contained some really
good work in it, rough as it was. This kind of illustration first appeared
in the seventeenth century. A ludicrous specimen, representing a flood
in Nottingham, caused great amusement. We must remember that there
were few artists in those days, and people had to be content with such
drawings. Still greater difficulty was experienced in getting some one
who could cut the blocks for the press.
A portrait of Charles I. and his Queen, and another of Isaac Pennington
which appeared in the Mercurius Ciricus in the seventeenth century
created some amusement when Mr. Hepworth informed the members that
these portraits represented different people at different dates on account
of the costliness of the blocks. This custom is still in vogue, as will be
seen when our thoughts are directed towards the annual "penny
panorama of the Lord Mayor's Show." He referred to a paper of some
years ago entitled, The Illustrated Times, in which it was the custom to
insert old blocks from which the heads of the people had been excised
and new ones substituted. A picture of the marriage of the Princess
Royal and the Prince Frederick (afterwards the Emperor) was represented
in this way. The same block was in an old block representing the
wedding of another couple years previously. For many reasons the
Observer may be called the first illustrated newspaper. An example
from that paper in 1827 was shown, illustrating the dire effect of using
steam for locomotion, and it caused much laughter.
The copper-plate process was sometimes used. It differs from the
woodcut in this respect : in the former the lines are cut in, and in the
wood block the lines are raised. In the copper plates the lines are sunk,
rolled with ink, the surface cleaned, the ink remaining in the lines of the
picture. It was the practice to first print the newspaper in the ordinary
way and then pass it through the copper-plate press in order to obtain
the engravings. Specimen copper-plate engravings from the (Ibserrer,
representing Nelson's funeral car, were shown on the screen.
Another class of picture known as the broadside then appeared in the
papers. Sheets were issued having a rough picture at the top and perhaps
underneath some lines or history of a murder. Some of these old broad-
sides may now be purchased in our back slums. A specimen was shown,
Britannia bringing Nelson home from his last victory. In March, 1820,
a picture appeared in the Observer representing the house in Cato-street
where the conspiracy was first hatched. A broadside representing the
execution of Mary Perry in 1834 was also placed upon the screen.
Comparing these broadsides with those in the Daily (Iraphic, it will
be seen how we have advanced in the art of pictorial illustration. An
amusing picture, representing " the first banns," was also exhibited.
Having treated of the historical portion of his lecture, Mr. Hepworth
traced the history of the Daily Graphic woodcuts from their first con-
ception to their appearance in the paper. The back of a wood block was
shown, and it was explained that, owing to the difficulty in getting box-
wood more than three inches in diameter, the block had to be composed
of several small pieces bolted together. These pieces were distributed
between several engravers, and, after the drawing had been engraved, the
pieces were rebolted together, an impression taken in wax, a stereotype
produced and bolted to a wooden block, which was then ready for press.
The method of engraving was described, and an illustration of the en-
gravers' studio placed upon the screen. Mr. Hepworth stated that in (be
pre-photographic days the engravers very frequently spoiled the work of
the artist, much to the annoyauce of the latter. Examples of original
drawings and of photographic reproductions were placed upon the screen,
and it was difficult to distinguish one from the other. The lecturer
then explained very fully the method of printing the Daily Graphic. He
fS
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[M:iyli, lOi
stated that this paper was produced at the rate of 50,000 copies an hour,
five machines being used. The paper, he said, passed through each
of the machines at the rates of three and a half miles in fourteen
minutes.
Type-composing, the formation of paper moulds, cylindrical casting,
and the general working of a machine were fully explained from the
illustrations. The method of drawing and photographing the pictures
was very lucidly explained. Balloon sketches, telegraphic instruments,
&c., were each in their turn dealt with, and Mr. Hepworth concluded his
lecture with a photograph of a group of artists, amongst whom were
noticed Professor Herkomer and Mr. Frank Holt. A vote of thanks was
unanimously accorded to Mr. Hepworth for his lecture. Later in the
evening the Club resolved to affiliate with the Photographic Society of
Great Britain.
rORFAESHIRE INTERNATIONAL EXHIBITION.
The Forfarshire Exhibition was held last week in the Beid Hall, Forfar,
the task of organization devolving upon Mr. K. Whyte, Forfar, and Mr.
W. 3. Anckorn, Arbroath, assisted by a local committee. Exhibits were
onjview from New York, Chicago, Italy, Vienna, and Germany ; and, but
for a hitch as to time, pictures from Eussia, India, and Africa would
also have been entered for competition. The Exhibition was well sup-
ported by the principal exhibitors throughout the country. For Judges,
the Committee engaged Mr. Walter D. Welford, London ; Mr. Marshall
Wane, Edinburgh ; and Mr. Adam Diston, Leven.
The following were their awards : — Class I., confined to Forfarshire
amateurs : Silver medal, Peter Feathers, Dundee ; bronze medal, G.
Mackie, Brechin. Class II., open amateur landscape : Silver medal,
T. M. Brownrigg, Guildford ; bronze medal, A. H. Bishop, Helensburgh.
Class III., amateur genre and portraiture : Silver medal, withheld ;
bronze" medal, John E. Dumont, New York. Class IV., professional
portraiture: Silver medal, W. J. Byrne, Kichmond, "Winnie;" bronze
medal, J. H. Hogg, Kendal. Class V., professional genre : Silver medal,
Bobert' Terras, Markinch ; bronze medal, W. J. Anckorn, Arbroath.
Class Vl., open class enlargements: Silver medal, Alexander Bros.,
Glasgow; bronze medal, W. J. Anckorn, Arbroath. Class VII., pro-
fessional landscape : Silver medal, Robert Terras, Markinch ; bronze
medal, J. H. Hogg, Kendal. Class VIII., ladies only : Silver medal, Mrs.
Bennetto, Italy ; bronze medal, Mrs. Amy Wameuke ; hon. mention,
Margaret Watson. Class IX., lantern slides : Silver medal, T. M.
Brownrigg, Guildford ; bronze medal, Edgar G. Lee, Newcastle ; hon.
mention, W. Taverner and W. C. Beetham. Class X., champion class :
Gold medal, W. M. Waineuke, Glasgow ; silver medal, J. A. Dumont,
New York ; bronze medal, Robert Terras, Markinch. Special awards :
Gold medal, withheld ; silver medal, W. J. Byrne, London ; bronze
medal. Miss Hall, Brechin. Apparatus section : Bronze medal, A. H.
Baird, for Todd-Forret flash lamp.
©ur lEiJitotial Eatlt.
The Official Catalogue op the Beitish SbctiOix of tiir
Chicago Exhibitio.v.
A CONSIDEBATION of the fact that this catalogue of the British
Section fills 5.j6 pages, too;ether with 110 pages of advertuiements,
almost appals one at the probable immensity of a complete catalogue
embracing all nationalities. That portion relegated to photography
is prefaced by a brief summary by Captain Ahney, from -which we
learn that, as regards the application of photography to scientific
purposes, it is believed Great Britain is very much on the same level
as other countries. Its use s in medicine, chemistry, astronomy,
physics, mineralogy, gunnery, and other branches of pure and applied
science, has been very fully demonstrated at the various learned
societies, wliere a very large proportion of contributions are illustrated
more or less hy photographs. He gives credit to the Eastman Com-
pany for having given impetus to flexible film photogi-aphy, and the
form of roller slide in which to use it. A\'e are pleased to see that a
large number of pictures are contributed by the photographers of the
United Kingdom.
Metol-Hauff.
London : Fucrst Broa., 17, Philpot-lane, E.G.
Messrs. Fuehst have sent us samples of the metol manufactured by
Herr Hauff, and which, as we learn from their circular, has been
patented in all countries. These samples are put up in small pill-bo.x
like tins, each containing thirty-five grains of metol, which, we may
say, is in the form of a dry, white, sparkling powder.
Adhering to the instructions for use by which they were accom
panied, the contents of one case (thirty-live grjuns) were dissolved in
eight ounces of water — that of the New River Company in this case —
and when dissolved, three-quarters of an ounce of sulphite of soda wore
then added. This, so far as we can perceive, is likely to remain good
for an indefinite period; it therefore forms a useful stock solution,
and may be labelled A. Solution B contains the same quantity of
water — eight ounces — and three-quarters of an ounce of carbonate of
potash. IVow, in accordance with the proportions in which these are
mi.^ed, so does the character of the negative depend. For example,
and in the case of studio portraits, the addition of one part of B to three
of A, will give an ordinary average negative ; while, if a soft negative
he desired, one-half part of B will suffice for the same quantity of A ;
equal parts of A and B, with a third of its bulk of water, gives a hard
negative. It will thus he seen that this developer lends itself to the
production of any class of negative desired. We may add that, for
the development of landscape negatives, a large admixture of water,
even up to an equal hulk, is recommended.
But soda can be used equally as well as potash. The proportions
recommended are : —
A.
Water 1 pint.
Metol 130 grains.
Sulphite of soda 3 ounces.
B.
Water 1 pint.
Soda crystals 2^ ounces
We have only to add that the Metol-Hauff acts very admirably as
a developer, and keeps well in solution.
Since writing the foregoing we have received from Messrs. Arthur
Schwarz & Co. samples of Dr. M. Andresen's metol, between which
and that above noticed we have not been able to discover any notice-
able difference. The formida for development issued with this latter
is as follows : —
Water 1 quart.
Metol • J ounce.
Sulphite of soda 7 ounces.
Carbonate of potash 85 „
Bromide of potassium y'sf ounce.
To photographers who prefer to work with separate solutions the
following is recommended : —
A.
Water 1 quart.
Metol J ounce.
Sulphite of soda 7 ounces
B.
Water '■'• quarts.
Carbonate of soda 7 ounces.
Of these one part of A is mixed with three pi\rts of water for use,
bromide of potassium being added as required for the prevention of
fogging. The preparations of Dr. Andresen reach us both _^in pill-
box and cartridge form.
La Biblioteca de Fotogkafo.
Paris ; 4, Rue Antoiue Dubois. Milan : Lepage ct Cie, 11, Via Santa Radisondji.
This little volume has for object the provision of a sectionised list of
all published works, so far as can be ascertained, that relate to photo-
graphy. It should be useful for reference, as the subjects are given
in French, German, Italian, and English.
Willis's Phoiooiiaphic Mounts.
Messrs. Willis & Co, Limited, Long-acre, have submitted to us
samples of various styles and sizes of mounts enamelled, plate sunk
with paste down tint, plain-toned, dark enamelled in various colours,
ivory surface, plain and gold blocked, embossed, gold bevel, &c. The
mounts are not only all in excellent taste, but are beautifully finished,
and appear to be very cheap. A specially pure, plain mount contains
seventy-five per cent, of paper, which Messrs. Willis say is not usually
found to tliat extent in pliotographic mounts. As showing the
magnitude of Messrs. Willis's business, it may be mentioned that
over 100 hands are employed in the production of the mounts. They
supply samples free.
" To EVKSY PhOTOGBAI'HEB."
This is the title of a brochure issued by the firm of Taylor, Taylor, &
Ilobson, Leicester, relating to the standard lens flanges and adapters
made on the principles recommended by the Photographic Society of
Great Britain, and for accuracy in the construction of which this
firm has acquired a great and well-deserved reputation. Having had
May 12, 180.)
THE BRITISH JOURNAX OF PHOTOGRAPHY.
280
occasion to avail ourselves of their services in the adoption of several
lenses to the one system, in view of the comfort tliat has, in conse-
quence, been experienced, wo can strongly advi.se those who have a
variety of lenses to have them all brought under the standard, feeling
assured this will conduce to their comfort as much as it has done to
ours. The pamphlet contains a list of prices.
Thb Bbomibk Lamp.
JIarioii & Co., Soho-squave, W.
This lamp, which is constructed luvJer Groom's patent, is primarily
intended for contact bromide printing, for which it seems admirably
adapted, but it can mal^e a useful lamp for all-round purposes. The
lamp proper, which is shown in the cut isolated from its framework.
has its wick operati'd ou by a pinion, and its flame is backed by a
well-designed reflector. When inserted in its casing, no light is
i^mitted save through the aperture in front, and this governed by
slides fitted respectively with either colourless glass or ruby and
yellow, the last two of which can be combined if desired. The lamp
is so constructed as to consume kerosine without the necessity for
employing a chimney. Total darkness is obtained by a shut-off
actuated by a lever in front. The burner is regulated from the
outside.
Photogbaphic Accessories.
Mn. F. Brbbsfoed, U, Bridge-street West, Battersea, S.W., has
introduced several acce-^sories calculated to prove of use to the photo-
grapher. The " Eclipse Focussing Cloth " can be instantaneously
adjusted over the camera, excluding all hght, and leavinn: the hands
free. .Several buttons and elastics ensure perfect fitting to the
camera. The " Paragon Changing Bag " is de.-^igned for those who
object to changing plates by touch. It is provided with sleeves for
the admission of both hands, there is a ruby window in front, an
'■lastic strap to pass over the head, and a pair of eye-holes protected
by ruby gla.ss, through which the operation of changing plates in the
field may be watched. .Vccompanying this is the " Eclipse Light-tight
Case " for use with it. This is strongly made of black and ruby fabric,
and holds six plates. Mr. Beresford has timed the introduction of
these useful accessories with prudence.
The ABC Gtidk to the Making of Autotype Phints.
By J. R. Sawtkr. Londou ; The Autotype Company.
The increasing interest now being taken in carbon printing renders
the present a fitting time for issuing a reprint of the admirable
manual written a few years since by the late ,1. K. Sawyer, director
of the Autotype Works," and which in this edition has been brought
up to date. When, six years since, we reviewed this Guide, we
characterised it as a practical quintessence of all that had been
previously written on carbon printing, and expressed ourselves sorry
for the intellect of the man who, with such a Guide in his hands, could
fail to produce excellent work. This, in effect, is all that we can say
'f this reissue, which is replete with all that is good and practical,
ind embodies the experience of this most experienced firm up to the
present time. It should by all means be perused by every one who
aspires to be a pigment printer of any eminence.
It is embellishcl by a full page illustration, Sieep)/ Hollow, by
Colonel J. Gale.
La Fotoqeafia : Secondo i Proceasi Modemi. Compendio Teorico-
Pratico Del Doctor Luigi Giopoi. Second edition, Reriaed and
Enlarged, with 472 woodcuts and 10 plates.
Milan : Ulrico Hoepll.
Db. Gioi'Pi's work extends to nearly T.W pages, and in that space he
compresses a compendium of the theory and practice of modem photo-
graphy, which, if not quite complete— as, for example, in the case of
photo-mechanical printing— is at least full enough in other respects.
The book is a compilation from recognised sources of information,
which are acknowledged, the illustrations of apparatus, &c., being of
an international character. It opens with an examination of natural
and artificial light in their relation to sensitive surfaces, while succes-
sive chapters treat fully of the camera and accessories ; the lens in its
various forms; exposure; shutters, ,S:c. Other divisions of the book
are devoted to the negative ; its development ; after-treatment ; re-
touching ; printing processes ; and many other departments of what
may be termed pure photography. The book, which is dedicated to
the Prince of Naples, Honorary President of the Milan I'hotographic
Society, is a monument of industrious compilation, and should prove
a useful work of reference for Italian photographers.
RECENT PATENTS.
APPLICATIONS KOR PATENTS
No. 8956. — "Improvements in the Manufacture of Sensitive Plates and Films
for Photogi-aphic Purpose.s, and in the Treatment of such Plates and Films
after Exposure in the Camera." C. E. Pettitt. —Dated May 4, 1893.
No. 9072. — " ' The Phrenoscopic Camera,' being an Instrument for the Pro-
duction of Binocular Perspective in a. Single Photograph." S. N. GonnoN and
5. C. Wicks.- Oated May 6, 1893.
No. 9106. — " Improved Dark Slide for Exposing Celluloid Films in Photo-
graphic Camera." E. H. YiTca.—lJaied May 6, 1893.
No. 9107. — "Improvements in and in connexion with Photographic Cameras
known as Hand or Detective Cameras." H. G. M. Contbrare. — Dated May
6, 1893.
No. 9118,—" Improved Means for Operating Photographic Shutters." C. J.
WoLLASTON and J. Stuart.- />rtterf May 6, 1893.
PATENTS COMPLETED.
A New or Improved Photooraphic Acces.sobv for Portrait
Photography.
No. 9721. Edmond Stanley Lalder and Jambs Stack Laudbr, 30,
Westmoreland-street, Dublin, Ireland. — April 1, 1893.
This invention relates to a new or improved accessory for use in connexion
with portrait photography, whereby such work may be carried on more
economically and with greater convenience, and more artistic effect than
hitherto.
The invention consists in the use of a sheet of clear glass, tinted or other-
wise, arranged between the sitter, or object to be photographed, and the camera
Tliis sheet of glass is utiliseil as a medium to carry decorative designs, floral
or otherwi.se.
The advantages of this arrangement are as follows : —
1. The interposition of the sheet of glass tends materially to soften the lights
and shades in the ])ictures produced.
2. The operator is enabled to use designs of such a nature in front of the
sitter as would be quite impossible by any othfr means.
3. It is rendered jiossible to photograph a variety of objects apparently
occupying different planes, while they are iictually in one plane, thereby
ensuring perfect sharpness and definition for all distances.
4. When the designs upon the glass represent flowers, they photograph in
front and arounil the figures in all naturalness of real flowers, but being upon
the one plane they are much sharper and better defined than real flowers could
possibly be under the circumstances.
5. Economy, ina.smuoli as tlie power is available at all times of the year of
adding to portraits all the efl'ects to be obtained from the choicest and rarest
plants.
I.MPROVEMKNTS IN PhOTOGRAI'HIC CAMERAS AND IN FlI.MS KOR USE THEREIN.
No. 13,926. .loHN Feather.stonehauoh Parsons, Siddington House,
Kingsdownparade, Bristol.— ^^n7 1, 1893.
This invention relates to ])hotographic cameras and to films for use therein.
According to this invention the films are .irranged in a pack after the
manner of a pack of cards, and arc placed in a carrier inside the camera box
and acted upon by a spring tending constantly to draw the carrier towards the
lens. Each film is separate from the others, and each is provided with a tongue
or .strap, which is extended forward to the front of the camera, and made to
project beyond a recess formed at the front for the reception of the straps or
tongues. The latter may either be made in one piece with the films, or be
separately made and .ittached to the films.
After exposure of the foremost film, it is drawn np from the pack through
the medium of the strap or tongue aforesaiil, and is pulled over the edge of a
ledge, on which, after having been drawn, the film lies face downwards. The
spring before mentioned as tending to draw the cariers towania the lens
advances the pack of films so that each film i.i brought into focus in turn, and
is drawn up after exposure as above described. Kestraining strips or stops
are provided for the films, so that they cannot be .idvanced beyond the proper
focus.
300
THE BRITISH JOURNAL OF PHOIOGKAPHY.
[May 12, 1893
The films as they are drawn out of the pack are piled one over the other on
the ledge aforesaid, and can t* removed at will. The chamber into which they
are drawn is light-tight. , - ..
Tlie operator is enabled to ascertain, by observing the outer ends of the
straps or tongues, the number of films which have been exposed, and as each
film is drawn up the operator may sever the tongue at the recess through
which it projects.
Improvements ik PHOTocnArHic Ca.vbhas.
No. 9819. Conrad Beck, 68, Oornhill, London, E.C., and Joseph Thacher
Clarke, Boston, Massachusetts, at present residing at 3, College-road,
Harrow, mMlesex.— April 8, 1893.
OCB invention relates to photographic cameras intended for the separation and
manipulation of a pack of sensitised films or cards, such as that described in
Clarke's Specification, No. 11,891, of 1890. In apparatus of this description a
frame or holder, turning upon an a-xis, contains a pack or series of films or
cards, wliich are separated and deposited by simultaneously acting selecting
devices working upon tlie front of the holder. When released from the said
holder and deposited in another pack or series, the films or cards have hitherto
been held in position by a retaining device or presser foot, which was raised
when a sheet or film was to be deposited from the liolder, and was afterwards
returned to bear upon and retain the deposited films or cards.
Our present improvement has for its purpose to replace the beforementioned
retaining device or presser foot by a fiexible and movable dividing band or
septum, which, when the holder is in position for an exposure, intervenes
between this and tlie pack of deposited films, and which is capable of being
turned out of the way by the rotation of the holder when this is moved for the
purpose of rele.asing and depositing the exposed films or cards. Such a septum
may be formed of a strip of cloth or leather, a band of exceedingly liexiblc
metal (as, for instance, sheet steel or phosphor bronze, about three or five-
thonsandths of an inch thick), or of any similar suitable material.
When it is introduced into a photographic camera having a chamber for the
reception of the deposited films or cards situated at the bottom of the ease, at
right angles to the holder, it has been found advantageous to hinge or otherwise
attach the lower edge of the septum to a low transverse partition strip, so con-
structed upon the bottom of the camera body as not to exclude the light of the
lens from the holder. Tlie upper end of the septum may be similarly attached
to the cross-bar or Hap, which forms the back of the holder and provides the
abutment for the spring tending to press the i)ack of unexposed films forward
against the separating devices upon the front of the holder. The width of the
septum may be made nearly equal to the clear interior width of the camera
itself, while the length may be somewhat greater than the distance between the
partition to which its lower end is attached and the bar or flap upon the back
of tlie holder to which its upper end is attached.
If the chamber for the rece)rtion of the exposed and deposited films be
situated behind and parallel to the holder, the flexible septum may be attached
by its lower end to the bottom of the case at some point between the receiving
chamber and the holder, and by its upper end to the top of the holder itself.
In both cases it is requisite to reverse the direction in which the holder has
hitherto been rotated, in such wise that the top of the holder is moved away
from, instead of towards, the lens. By this motion, after a revolution of 270°
or tliereabouts, the septum is lifted out of the way of the falling films or cards.
When the holder is in its normal position ready for an exposure, the septum
intervenes (as before said) between the padi of unexpo.sed and the pack of
exposed and deposited films, thus preventing the latter from falling into the
body of the camera when this is placed \ipon its side. At the same time it
shields the pack of exposed and deposited films from the light admitted through
the lens during the act of expc^ure.
The notable advantages of our invention — as compared with the presser foot
which it is designed to supplant— are economy in manufacture, and the assur-
ance that by no irregularity or other failure of reciprocal action on the part of
the pre.sser foot can a sheet or film be dropped into the body of the camera
between the lens and the holder.
Improvements in the Majiufactukb ok Transi'ahent Materials, and the
Application of the same to Photographic and other Purposes.
No. 7.^67. Thomas Christy, 25, Lime-street, London, E.C.— April 8, 1893.
This invention relates to certain improvements or modifications in the manu-
facture of transparent tissue described in my Specifications, No. 12,230, 1890,
and No. 13,917, 1888, and it has more particularly for its object the rendering
of such or similar material suitable in photograpliy for dark-room illumination,
or its application to the manufacture of photographic apparatus and appli-
ances, such as transparent changing bags, chambers, covers, window blinds,
films, and the like, and for other purposes.
In carrying this invention into practice, I make a solution of gelatine or an
equivalent substance, and 1 incorjiorate therewith a ruby colouring matter of a
nature which does not allow the actinic rays of light to pass through, such as
red and yellow aniline, or other dyes in the.se colours. 1 also most generally
add certain chemical agents which will render the glutinous substance insoluble,
such as a salt of chromium ; or I subsequently subject the gelatinised sub-
stance to a fixing bath, such as chrome alum or other agent having the same
eflfect. I also most generally combine glycerine with the glutinous matter for
the pur{)Ose of imparting flexible properties to the same. I more generally pre-
pare the glutinous solution substantially as described in my SpeciHcation,12,230,
1890, and I employ the same as a film upon glass or otherwise, or I treat suit-
able paper silk tissues or other fabrics with the glutinous solution, sub-
stantially as described in the hereinbeforementioned Specification, 12,230,
1890, and 1 apply the products as covers for camera screens, to the manufacture
of developing bags in the form of muffs, or otherwise for photographic and for
other purposes.
But, instead of simply proceeding as above described, I more generally prefer
for the purpose of this invention to produce a transparent tissue substantially
as described in my Specification, 12,230, 1890, and as above referred to, and then
to cover the surfaces of such material with a coat of siccative oil or a suitable
varnish, and after drying the material is ready for the purposes herein
intended.
The desired colour is embodied with the material as herein described, or as
described in my Specification, 12,230, 1890, and sometimes, for the purpose of
intensifying the colour, I also mix a suitable colouring matter with the oil or
varnish with which the material is to be coated.
Instead of producing a gelatinised base material as above referred to, I may
also prepare a suitable paper, or silk tissue, or other material, with a solution
of glycerine. I more generally employ an unsized or partially sized long-fibred
paper for the purposes herein intended, and I saturate the same with a solutioft
of glycerine in water, more generally a proportion of three to four parts of
water to one jiart of glycerine witli which I incorporate any desirable dye, or 1
dye the paper first to the required colour. The material is then dried, and 1
then saturate it with a suitable siccative oil, or varnisli, and I more generally
employ a quick-dryiu" fiexible varnish. I then dry the material again, after
which it is ready for the puqioses herein intended. With the object of pro-
ducing very intense colours, and also to cover any minute holes in the material,
I may also combine some of the colouring matter with the oil or varnish with
wliich the matterial is to be treated.
I wish it to be understood that 1 may also apply the improved material for
some of the purposes named in my Specification 12,230, 1890, such as for
surgical purposes, and in this case colouring matters are more generally
omitted.
The patentee claims : — 1. The manufacture and application of material,
sub.stantially as herein described, for purposes in photography requiring the-
exclusion of the active rays of light. 2. The application of the improveit
material for surgical and other jmrposes. 3. The improved material manu-
factured substantially as and for the i>urposes herein described.
flUeettngs; of Sboct^tteiS,
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of Meeting.
Nune of Society.
May 15 Camera Club «™
„ 15 Dundee Amateur
„ 15 FiUebrook Atheuwum
„ 15 Hastings and St. Leouarda ...
„ 15 Leeds Photo. Society
tt 15 Richmond
„ 15 South London
t, 16 Birmingham Photo. Society
I, 16 Brixton and Clapham
>t 16 Hackney
,» 16 North London
,> 16 Paisley ,
M 17 Brechin
y, 17 Bury
*• 17 Leytonslone
„ 17 Manchester Camera Olnb
It 17 Photographic Club ,
n 17 Southport ,
,t 17 Southsea ,
** 18 Birming:ham Photo. Society
M IS I Ciimeni Clnb
M 18 i Glossop Dale ,
„ 18
» 18
„ 18
„ 18
„ 19
» 19
„ 19
„ 19
.» 19
„ 20
Place of Meeting.
Hull
London and Provincial
Oldham
Charing- Cross-road, W.C.
Asso. Studio, Nethergate, Dnudee,
Fillelu-ook Lecture Hall.
Mechanics' Institute, Leeds.
Greyhound Hotel, Richmond.
Hanover Hall, Hanover-park, S.E.
Club Room, Colonnade Hotel.
376, Coldharbour-lsine, Brixton.
206, Mare-street, Hackney.
Canonbury Tower, Islington, N.
9, Gauze-street, Paisley.
14, St. Mary-street, Brechin.
Club Rooms, 13, Ap:ar-street, Bnry,
The Assembly Koom.«, Hifrh-roa*!.
Victoria Hotel, Manchester.
Anderton's Hotel, Fleet-street, B.C.
The Studio, 15, Cam bridge -arcade.
3, Kinp-'s-road, Southsea
Club Room, Colonnade Hotel.
Charing Cross-road, W.C.
71, Prospect -street, Hull.
Champion Hotel, 15, Aldorstrate-st,
The Lyceum, Union-street, Oldham.
Oxford Photo. Society j Society's Room:*, 136, High- street,
Cardiff |
Croydon Microscopical i Public HaU,George-street,Croydon,
Holiaorn |
Leamington Trinity Church Room, Morton-st.
Maidstone "The Palace," Maidstone.
Hnll 71, Prospect-street, Hull.
PHOTOGRAPHIC SOCIETY OP GREAT BRITAIN.
May 9,— Ordinary Meeting, — the President (Captain W. 4e W. Abney, C.B.^
F. U.S.) in tlie cljair.
The Brixtou and Clapham Camera Club were admitted to affiliation of the
Society.
Judges for the Society's Exhibition.
It "wa-s announced that the following prentlemen had been appointed Judge*
for the forthcoming Exhibition of the Society : — Dr. P. H. Emer.sou, Colonel
J. Gale, Messrs. F. Hollyer, F. >L Sutcliffe, and J. B. B, Wellington, with, as
scientific experts, Messrs. Chapman Jones and Andrew Pringle.
Tinfoil as a Sltport for PHom-UTHOGBArHic Transfers.
Captain A. M. Mantell read a paper on this subject, describing a process
of Mr. Husband, who is employed in the Lithographic School at Chatham, for
the substitution of tinfoil for paper in the preparation of transfers, so as to
prevent expansion and consequent distortion. Captain Mantell showed com-
parative examples illustrating the superior qualities of picture produced by the
use of tinfoil. [Wc shall print tite paper i?i r.rfcnso iu a future number.]
Mr. Leon Wauneuke, in the coursfi of a discussion which followed, suggested
the use of silver foil, which he had successfully employed in another photo-
mechanical process. It was easily obtainable commercially.
In answer to an inquiry by Mr. Bolas, Captain Mantell said the foil could
be used for retrausfers from the stone, having the advantage that it gave no dis-
tortion, but he did not lay stress on that, as the foil transfers were awkward to
keep.
The President said that some twelve years ago tinfoil was employed n!
Chatham for the piwpose, and he was enamoured with the results obtained, but
Mrty i*, im]
THE BiRitisfl Journal bP pkofoaRAi'HY.
801
their grent clifHcnlty which Captnin Mantell had surmounted, was that of
olitaining suilabie foil. Ho did not agree with Captain Mantell that proce«s
blocks Wire not rcquireil for military work ; he held that they were of the
greatest use.
A vote of thanVs was jiassed to (.'aptaiu Mantell for his paper.
The I'liKsrDKNT then read a paper on The r.ie a/ Rapidly hi.. ■ • <.■..,■.,>;,.,.
Surf acts, w\i\\ rcfei-cnce to their anplirabillty to ascertaining the • . y
of shutters, the duration of Hiishlights, the comparison of the i :-\ik.
effects produced by direct sunlight with the iiniyl. acetate lamp, &c. lie al.so
said it was pos.sible by such means to measure tlie duration of the electric
.spark by employing a rotating reflector with the instrument.
.Mr. G. L. A uiiKN'BHOnKE explained a similar instrument for measuring the
speed of shutters, which ho had described before tlie Society some years
ago.
In reply, the Pkesidknt pointed out that tlie instrument referred to only
demonstrated the speed and not the efliciency of the shutter, and was
inapplicable to such work as the comparison of sunlight and candlelight.
Me also objected to the fact that its results were given in the form of arts,
which were not so readily measured.
A vote of thanks was passed to the President for his paper.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
ilAY 4, 1893,— Mr. Alexander Cowan in the chair.
.Mr. A.shley Cowan was elected a member of the Association.
CireiUars relating to the new Central Photographic Club were distributed
among the members.
Kesiqsation of Mk. R. P. Drage, Hon. Secrktaiit.
The resignation of Mr. Drage, Hon. Secretary, having been announced, in
conse(iueuce of the action of a jirevious meeting in requesting the chairman of
that meeting to enter on the minutes a resolution moved by Mr. Beckett,
referring to the remarks made in the spiritualistic press as to the attitude of
the As.sociation over spirit photography,
The Chaib.man saiil it was an unfortunate thing that Mr. Drage had taken
a personal view of a matter which was strictly to do with the Society, He was
sure the members would receive the resignation with great regret.
Mr. A. Haddon endorsed the chairman's expression of regret. The Society
had been in a better .state under Mr. Drage than under his predecessors, and it
was to be regretted that he had taken the view of the matter that he had, and
should have considered it such a personal insult as to throw them over. He
(Mr. Haddon) hoped that Mr. Drage would continue with them as an ordinary
member. Mr. Drage had always had a pleasant welcome for both members and
visitors, and his resignation must cause them all great regret.
Mr. R. Beckktc echoed all that had been said by the previous speakers, and
said that, in moving the resolution in question, nothing personal was intended
for Mr. Drage.
Mr. W. E. Debenham said that Mr. Drage's services had been extremely
valuable to the Society ; aild, indeed, no Society could possibly have a better
secretary than he had been, but Mr. Drage had, in his opinion, certainly com-
mitted a mistake in refusing to enter the resolution on the minutes.
A fonnal resolution having been put to the meeting, Mr. Drage briefly
acknowledged it.
Mr. T. E. Freshwater acted as hon. secretary ^-o tcm. during the meeting.
The Association's Technical Lectures.— III. " Developers."
Mr. E. J. Wall delivered the third of the series of the Association's Technical
Lectures, his subject being Derehpers. Mr. Wall said he would not touch on
theory, but he would controvert Messrs. Hurter & Driffield's statement, that a
photographer had no control over his results, by saying that a photographer
could so control them as to get what he wanted, either by the stain of the
developer, fog, or difl"erent colours of the deposit, which so affect the printing
qualities of the negative as to give him enormous power over those results.
Mr. Wall then proceeded to discuss the practical advantages of the principal
develoi)ers, first of all pointing out that a developer consisted of the develojiing
i^ent, the restrainer, and the accelerator, and indicating the action of each.
Hfaving dealt with fenous oxalate (formulas for which, as well as for the other
developers, will be ajipended to the paper when it is published), he jiassed
to pyro, both with ammonia and the alkaline carbonates. In regard to the
•sidphites he said he thought they had some action on the developed image, as
it seemed to him they altered the character of the print by keeping the shadows
I. ir.'ind had a tendency to ]irolong the unprintable numbers given bya Warnerke
I itometer. For a standard jiyro developer for scientific puraposes he recom-
!:)• i..!ed the formula recently published by Mr. Cowan, and by means of diagrams
jioiuted out that prolongation of the time of development altered the ratios be-
tween the high lights (which he sujiposed to have been developed through)
and the half-tones and shadows, es|iecially with thinly-coated plates. Hydro-
quinone gave more unprintable number's than any otlier developer. As a
restrainer with it lie preferred acetic acid to bromide. Eikonogen gave such
softne.'-s that it was difficult to avoid want of contrast with it. It should be
employed at a temperature of not less than 65°. Rodinal was a very con-
venient one-solution developer, and lent itself easily to modifications. In
cases of under-exposure he employed it 1 :60, for over-e.xposure 1 :20, with 10
to 1.. grains of bromide to the ounce, and for ordinary work 1 : 30. Mr. Wall
concluded his paper by touching on amidol, which he recommended to be used
freshly mixed, with a stock solution of sodium sulphite. He did not see the
necessity for using alkalies. Finally, he promised at a future date to treat of
metol and glycin, and said developers in use might be ilividcd into two classes,
the slow and gradually working ilevelopers, which lend themselves to modifi-
cation, and rapid developers, with which the whole of the image appeared
nearly simultaueou.sly.
The ClLviltstAN said Messrs. Hurter & DrifTield defined a perfect negative a.s
the true inversion of the original. Mr. Wall said he obtained what he wanted
by the aid of fog, but whether that was the way to get a perfect negative was
another thing.
Mr. R. OllllJ) Baylbt doubted whether [lyro was the only developer which
staine<l the gelatine of a plate.
Mr. W. E. DRiiF,NnA.M sjiid Mr. Wall had qnoted Mr. flothamley's stamlard
pyro formula, which contained two ami a quarter grainx of bromide to the
ounce ; he (Mr. Delienham) thought that too much, and alwnt one Brain suffi-
cient to give density for poitraiturt'. A standard time of d ■• ' ' did not
seem to him a practical thing, as some jdates required mucli i others.
It had been claimed for amidol that it allowed of a picture n with a
quicker exposure than with other developers, but he could not find that h* got
out more exposure with amidol than witli pyro.
Mr. J. H. Teai'K confirmed, from practical experiment, the f-tatement as to
different plates requiring different lengths of time for development.
Mr. A. Mackie asked .Mr. Wall which gave the denser image, f)Otash or soda,
and also what was the action of potassium fen-ocyanifle in the developer?
Mr. S. Hp.nHERT Fry thought tliat tent.ative development implied more than
the reduction of the pyro and bromide ; he would begin with a weak solution
all round. He aske<l whether bromide was of any effect in retarding over-
exposure. Mr. Wall had .said tpiinol maile a large part of the image noprint-
able, but was not that largely a question of temperature ? He could not get
sudicieiit density with amidol unless he employed it at a strength often grains.
to the ounce.
Mr. E. II. Bay.ston had exposed two plates of the same speed, developing
one with pyro and ammonia, while Messrs. Fuerst developed the other with
amidol. He found that pyro and ammonia brought out more detail thaiv
amidol, although the latter gave a much <juicker printing negative.
Mr. Mackik had tried amidol, .and fouu<l nothing in favowr of it over pyro
and soda He did not think it was a really quick developer, for, although the-
image appeared quickly, if one wanted density the developer had to be kept oa
the plate a long time.
.Ml'. W. Conn was very favourably impressed with amidol, which seemed to-
him the developing a!*ent of the future. The question of temperature wa.'i of
great importance with it. It had a greater power over under-exposure, and'
gave a softer image than pyro.
After other discussion Mr. Wall replied : As to the staining action of pyro-
alone, he had referred to the other developers as they were generally used.
He had not found that amidol enabled one to shorten the exposure, and he had
tested it by means of the .sensitometer and a standard light. As to standard
time for develojiment experience alone could teach that. He did not agree-
*ith a remark of .Mr. Mackie that pyro and bromide were interchangeable.
Mr. Mackie had doubted whether he could develop an image right through to-
the back of the plate, but he had done it. As to the action of bromide, Mr.
Bothamley said it only had the effect of extending the time of development.
Mr. Wall said he found that potassium ferrocyanide in the developer gave
black and brilliant images. He could not say whether potash or soda gave the-
denser image.
A vote of thanks tb Mr. Wall concluded the proceediligs.
North London Photographic Society.— May 2, Mr. E. W. Parfitt in the
chair.— A circular letter from the Phnlographic Society of Great Britain was
read, a.sking the Society to furnish a set of lantern slides for circulation among
the affiliated Societies. It was resolved that a collection of slides should !»•
contributed by the members to form a set for circulation. A demonstration
on Carbon Printing was then given by representatives of the Autotype Com-
pany. Mr. BraHam, one of the represeutativcs, .said that the process when
first brought out was difficult and uncertain, but with the new and improvp<I;
methods it was now one of the easiest to work. He gave a short history of the
I process, referring to the introductions and improvements of Messrs. Swan,
Johnson, Sawyer, and Lambert. As to the advantages, carbon prints were-
undoubtedly permanent, and copies of drawings could be reproduced in fac-
simile, not only as reganls colour, but on the same kind of material that the
artist had u.«ed. The prints can be finished with the highest gloss or the
roughest surface, and, as the tissue was brought into perfect contact with an
uneven surface, the want of sharpness, which was apparent in other processe.'!-
finished on a rough surface, was overcome. The transparencies produced by
the carbon process are splendid. After commenting on the manner of print-
ing from the negative, and the use of the actinometer, Mr. Braham developed
several prints, and showed the single and double-transfer processes, and the
production of transparencies. The demonstration proved the ease with which'
the process could be worked and the simplicity of the operations.
Harringray Photograpmo Society.— May 4, Mr. Towers in the chair.— A
demonstration of development was given by the Vice-President, Mr. Bennett.
In opening, tlie demonstrator said he preferred and recommended the fixed
alkalies, as they were less liable to produce fog, and then proceeded to exi>eri-
ment on an unexposed plate, showing how, with the aid of ammonia, fog can
quickly be obtained.
Hackney Photographic Society.— The Annual Meeting was held on
Tuesday. A very successful season had- to be recorded, the membership
(although several removals had taken place) keeping up to 115. The Treasurer
reported a fair balance in hand, and stated the weekly meetings had done
much to improve attend.anccs. The election of officers resulted : — Presideul •
Mr. F. Houghton.— CoHMcfy.- Messrs. W. F. Barker, G. J. Avent, F. W.
Gosling, G. Hawkins, R. Beckett, W. A. Hensler, Dr. Roland Smith, and E.
Puttock.— //ort. Treasurer : Mr. J. O. Grant— iSTon. Secretary : Mr. W. F.
Fenton-Jones, 12, King E<lward-road. lion. AsaistaiU Secretary: Mr. A.
Dean. Tlie Society meets weekly on Ttiesdays at 206, Mare-street, Hackney.
At the close of the business the prize slides of the Ainnteur PhnlKHirapher
were shown, augmented by slides of Messrs. T. H. Blake and S. J. Beckett.
Putney Photographic Society.— Dr. Sheppard in the chair.— Mr. Charles
GAlini.E read a jjaper oii Liijhling of Objects to be Pholo/fmphed, in which he
clearly jioiuted out the importance of studying the effects nrcKluccd under
varying conditions of light. About 100 slides, prepared by nimself to illus-
trate the lecture, were shown, Mr.. Gamble explained the qnalities or defects-
of each, and the members were thus able to .see what effects tbey shonlii en.
302
THE BBITISH JOURNAL OF PHOTOGRAi'flY.
[May 12, 189a
deavour to secure and what faults they should avoid. A vote of thanks to
Mr. Gamble for his paper and for the thoroughly practical way in which he had
placed the subject before the meeting concluded the proceedings. This was the
last ordinary meeting of the winter session. The Annual General Meeting of
the Society for the election of Council and other busincs.s was held on May 4,
Dr. Sheppard in the chair. All the members of the retiring Council were re-
elected ; the accounts, which showed a balance in hand, were passed, and some
slight alterations were made to the rules. As in previous years, a series of
outings will be held on Saturdays during the summer months, a feature being
that on each occasion one or more members will act as leaders, having pre-
viously gone over the ground and made the necessary arrangements. In addi-
tion to the opportunity of photographing picturesque scenery, it is intended to
give instruction in field work to the novices and to arrange a series of experi-
ments with, and comparative tests of, apparatus and materials. The first
outing will take place on Saturday, May 13, when the Joint Hon. Secretaries,
Mr. Gorin and Mr. Zachariasen, will'take the members along parts of the
Basingstoke Canal and the Wey Navigation, starting from Byfleet.
Brixton and Clapham Camera Club. — May 2. — One new member was
elected, and three other gentlemen proposed for membership. Tlie next
meeting of the Club will be held on May 16, on which occasion Mr. W.
Tliomas will re;«l a paper on ,) Photographic Pictnre and its Prodtiction. As
the subject is one which every photographer should thoroughly understand,
the attendance of every member and also of any gentlemen interested in photo-
graphy is specially recjuested. Mr. Thomas's paper will be fully illustrated.
South London Photographic Society. — May 1, the President (Mr. F. W.
Edwards) in the chair. — Mr. S. Herbert Fry delivered an address on Multiple-
coated Plates, during the course of which he gave a minute description of the
j>eculiarities of the Sandell plate, and the treatment of it. For development
lie recommended Messrs. Thomas & Co.'s "cyclol" developer, composed as
follows : — Hydroquinone, 30 grains ; eikonogen, 100 grains ; rodinal, 9 drachms ;
-sulphite of soda, 2^ ounces ; carbonate of potash, 2h ounces ; water, 20 ounces.
Use 1 part to 7 parts of water in the summer, and in the winter time 1 part to 3
parts of water. The fixing bath should be as strong as 8 ounces of hypo to a pint
of water. A longer time should be allowed for the fixing and washing of the
plates, owing to the thickness of the coating. Mr. Fry, in conclusion, claimed
the following advantages for the Sandell plate : — (1) "Special merit for hand-
camera work ; (2) peculiar fitness for interior work • (3) a practical cure for
halation ; (4) a better atmosi)heric effect and a longer 'range of gradation ;
(5) exposure is practically unimportant. Examples of work were passed round
and examined. A question was asked: '"What is the best background for
photographing Mowers for lantern slides ?" It was answered, "A black velvet,
brown paper, or a dark-coloured plain background. Two new members were
elected, and five nominations were read. Attendance, fifty-two.
Croydon Microscopical and Natural History Club (Photographic Sec-
tion).— May T). — Jlr. ,1. I!, (iotz exhibited several photographic novelties, and
explained their working. Tlie chief one was a pair of lenses with a shutter
attached — part of a new camera he was about to introduce — whicli could be
used at will as a stereoscopic camera, or as a hand camera witli full-sized
finder, or as a double quarter-plate. The shutter liad a considerable range of
speed, and althougli worl;ing simultaneously on each lens could, when neces-
sary, expose them independently. A changing box for large films was .also
shown, the films being carried in thin steel sheaths, and exposed in a single
dark slide. Mr. Gotz then demonstrated the new Obernetter positive films,
the various methods of toning Obernetter gelatine, and celloido-chloride papers,
and their development when jiartially printed.; the great variety of tones
obtainable were shown in a number of jirints that were handed round.
Birmingham Photographic Society.— May 2, Mr. W. Jones in the chair.—
About forty-five members iiresent. Mr. Fry gave a lecture on The Uses and
Advantagesnftltr Sandell Plate. Mr. Fry described the advantages claimed
for multiple films. They are, briefiy : (1) Freedom from halation even with
the most trying ^iibjects. (2) Possibility of giving enormously more than a
Jiormal exposure, which, with careful tentative development, would give .all
detail and density possibly required, and would dispose of the correct exposure
<luestion. (3) Increased detail and transparency in the shadows of instan-
taneously exposed plates. This was well exemplified by an extremely fine
series of pictures produced by Mr. Sandell, the iuventor of the plate. As to
manipulation, briefiy, one may say, give a long exposure and develoji tenta-
tively, hydroquinone and eikonogen used together being one of the most suitable
developer.-*. The Ch.viuman said he h.ad used and liked the plates very much ;
the one thing he did not like was the price. Mr. Simkins said he thought ali
that had been done by these plates could be done %vith any ordinary good plate
properly backed. Mr. Simkins' method of working is to largely over-expose,
development being tentative and stopped by citrate of ammonium when detail
IS out, and then redeveloped to full density as recently described. Mr MiD-
OLETOX said he thought the Sandell plates did not always prevent halation and
challenged M. Fry to expose a j.Iate on the interior of St. Martin's Chiirch
Bu'nimghau., a very difiicult subject. Mr. jAfiUES said he considered the
resulU shown very beautiful ; so soft, and such transparency in the shadows.
Leeds Photographic Society.— May 4, Mr. J. H. 'Walker (Piesident) in the
chair.- Dr. Jacob gave a lecture, with practical demonstrations, on Tone and
Colour in Lantern .Slides. He showed that, with various exposures and suit-
able developers, a great variety of tones could be produced at the will of the
operator. He also showed good results ou the Alpha plate, toned iu the com-
bined bath.
Lewes Photographic Society.- May 2.— A demonstration of Tlie Cold-hath
I lalmutype w.as given by Mr. (;. I. 'Wightman, who developed a number of
prints, and showed liow glycerine could be used iu controlling development
and in saving over-exposed prints. The results were very satisfactory, and
the demonstration was much appreciated. A number of sample packets of
plates, kindly sent for trial by the Imperial Dry Plate Company, were distri-
buted among the members.
aieffleld Photographic Society.-May 2, Mr. Bradley Nowill in the chair.
—Mr. 1. G. Hibbert .showed four photographs takeii in America by the
Uaguerreotype process, which are stiU in a good state of preservation.
i5:tc|)ange Column,
*,* No charge is made for inserting Exchanges of Apparatus in this column ; I
but none ymU he inserted unless the article wanted is definitely stated. Those ''■
xaho specify their requirements as "anything useful" will therefore understand
the reason of their non-appearance. The full name of tlie advertiser must ■'
in all cases be given for publication, otherwise the Exchanges will not be
inserted.
Optimns rapid rectilinear eighteen-tncli iris diaphrajrm. want concentric seven-inch
or over; difference, if any, adjusted. — Address, We'ioht, Studio, Hanwoll.
Will exchange Lancaster's half-plate camera, two double slides, lands'-ape lens, and
tripod for magic lantern or first-class rectilinear lens of four and a half inches focus
by good maker.— Address, G. Moobe, Buckfastleigh.
■Will exchange The British Journal ov Photogeapht 1883, 1889, 1890,1891, 1892 (about
six missiug) , al.io 140 numbers Photogyajihic News between 1880 and 1887, for a good
hand camera or field elasa (Lemaire) .- Address, MnERAT Ldndie, 11, Bridge-street,
RotheBaj,
Correspondents should never write on hoth sides o/ the paper. No notice is taken
of commttnicationa unless the names and addresses of the writers are given.
THE CONCENTBIC LENS.
To the Editor.
Sir, — I have looked in vain for some authority in the photographic
world to challenge Mr. Stillmau's letter on this lens, as set out in the
Journal of April 21.
This is tlie second letter I have read from this gentleman, in wliich he
contends that the Concentric lens defines as sharply with f-16 as it does
with f-Gi, and I note he sends you prints with a view, no doubt, to an
editorial foot-note confirming his conclusion. Messrs. Ross may well
pray to be. delivered from their friends ; anything more misleading to the
public or unfair to the lens cannot be imagined. Mr. Stillman makes
10 X 8 negatives with an eight-inch lens, attached to a camera with a
cracked front, cuts out the centre of his prints, and rushes to the Journal
with a positive assertion, which he defies anyone to contradict, "that
an eight-inch Concentric defines as perfectly on whole-plate with /-16 as it
does with/-64."
This statement is so opposed to my experience with the lens, that I can
only conclude that Mr. Stillman obtained his two prints, which are so
equal in definition, on the " pinhole " principle, through the crack in Iiis
camera front, and that he omitted to remove the lens cap in both cases
when making the exposures.
When the Concentric was offered to the public, I obtained one of twelve-
inches focus, with wliich I have made some hundreds of negatives. My
lens is fitted with rotating stops which run from/-l(5 to/-32 only. I am
therefore unable to say what it would do at /-64, but the difference in
definition between /-Ki and ./'-22 is so remarkable, that I venture to give
my brother amateurs a direct repudiation of Mr. Stillman's contentious ;
and, further than this, to warn them to be careful how they use the lens
at/'-lG. 1 spoiled plate after plate with this stop until I tried focussing
with/-22, even when intending to make the exposure with/-lC, but even
then /"-16 is not a stop for general use with this lens, and I now rarely or
ever use it.
The strong points of the Concentric are its equality of illumination and
the freedom with which you can raise or lower your camera front in
difficult places ; you can obtain sharp definition with the very edge of the
lens, where an ordinary rectilinear would give you nothing but astigma-
tism, only let /-IG severely alone, and stick to the/-22 to/-32.
I am an utterly unknown amateur, who can remember the wet-plate
days, but make no claim to the title of an expert. I do not wish to be
discourteous to Mr. Stillman, but there are pitfalls enough for the unwary,
and many are unable to discriminate between the sound and the unsound.
I recommend your article on " Focal Peculiarities of Wide-angle Lenses,"
in this week's number, to Mr. Stillman's careful consideration.— I am,
yours &o., F. H. Buetox.
Roundhay, near Leeds, May 6, 18'J3.
SULPHUaiC ETHEB.
To the Editor.
Sir, — I find by a clerical error I put down -770 as the specific gravity
of best sulphuric ether instead of '717, in my " Lantern Mems." of to-day's
" Lantern Becord," and, as my correction did not reach you before going
to press, I shall be obliged by your inserting this iu the next Journal.
It should also have read : " -720 to -750 specific gravity will do." .\s,
however, the latter is stronger smelling, -720 specific gravity is about the
densest that should be used for the oxy-ether light I am, yours, &c..
May 5, 1893. G. E. Bakke.
May 12, 1883]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
30S
LONDON AND PROVINOUL rHOTOGRAPHIC ASSOCIATION.
To the Editor,
Snt, — My daties as Hon. Secretary and Treasurer having terminated,
will you kindly allow nio to inform your readers that all commanicationa
intended for the London and Provincial Photographic Association must
be forwarded to Mr. T. E. Freshwater, 3, Fleet-street, E.G., who is acting
as Hon. Secretary j>ro tern. — I am, yours, <So., K. Poultkb Dbaoe.
i>5, Blenheim-cre.icent, W,
GELAHNOCHLOBIDE VKRSUS ALBUMEN.
To the Editor.
Sir, — I think " B. B.'s " difliculty with gelatino-chloride is due to want
of scrupulous cleanliness, without which it is impossible to work the
paper satisfactorily.
I judge from "B. B.'s" letter that he finds his prints dirty after
burnishing — dust is burnished into them. The remedy is obvious : as
the prints are mounted, they should be placed on frames covered with
muslin, and with short feet attached, so that when piled one on top of
another an air space intervenes ; the burnisher must be in good con-
dition and well dusted ; the prints carefully dusted and lubricated with
Castile soap in methylated spirit before passing through (except a roller
burnisher is used, which, I need hardly say, is by far the better instru-
ment). To avoid abrading the surface, the prints must be thorouffhhj
dry : had " B. B.'s " been so, they would not have been " scraped." "They
must not be baked to make them dry, for, if all moisture is taken out of
the mount, no gloss can be obtained. With care, which ought to be
exercised in every branch of photography, no prints need be spoiled in
the burnisliing. at least not more than if they were albumen, for even
these. I gather, are sometimes spoiled in " B. B.'s " hands by "ordinary
Bcratches." Pyro and amidol should not be weighed out in the printing
room ; this is sometimes done, and printers are puzzled to account for
black spots on the prints.
1 have never found prints on ready-sensitised paper to spoil sooner than
those on the home-prepared article, and I think I am right in saying that,
if prints on any paper "mottle," the fault will, in all probability, be found
elsewhere than in the paper.
As to gelatino-chloride versug albumen, looking at the matter from a
purely professional point of view, I consider the odds are greatly in favour
of the former, for the following reasons : — It is uniform, the sheets cut
more economically into photographic sizes, it is perfectly good to the
edges, no watermarks, it is beautifully clean back and front, and is almost
invariably free from the .slightest blemish, and for these reasons it is
cheaper.
It is more permanent, as may be tested practically by putting gelatino-
chloride and albumen prints, prepared with equal care, side by side in a
well-exposed show-case ; it gives more brilliant prints, washes quicker,
prints faster (and " time is money "), both innately, and because thinner
negatives can be used.
Albumen, on the other hand, is rarely uniform ; in many photographic
establishments, where carelessness reigns paramount, the bath is per-
mitted to vary (I have known it to be used for months, and never once
filtered), the albumenising formula is an unknown factor, or is permitted
to be so, and the paper sensitised without regard to it. The ready-
sensitised paper often comes, even from makers of repute, dirty, stained,
and wasteful.
In many instances, where years have been spent in acquiring profi-
ciency with albumen, gelatino-chloride is expected to be known in a
moment. If those to whom gelatino-chloride is new find it at first a bit
intractable, they should remember the blisters and measles of its rival.
Albumen (except for breakfast) is out of date; it wants careful labelling
and placing on the shelf with the wet plate.— I am, yours, &c.,
ilatj 6, 18'J3. T. FiTzoiBBON Fobde.
To the Editob.
Sin,— I notice your correspondent, " B. B.," has got into some dilEculties
in working gelatino-chloride paper, and I want, in. all brotherly love, to
help him out.
I have abandoned albumen paper entirely for more than six months
now. I use P.O.P. and work as under. For enamelling it is the best
thing I have ever struck, but collodionise your plates first if you dont
want opalines. For ordinary work, when the prints are mounted, rub
them over with a damp, clean sponge to take off any dirt, and to re-
move the fluff which will adhere to them from the blotting-paper that
18 used to press them in contact with the mount. Then, mark this
"B. B.," stand them up on end face to the wall till dry, this will prevent
dust settling on the tacky surface.
Now the burnishing. When I began to burnish P.O.P. on a bar
burnisher, I spoilt dozens. I used to heat the bar hotter than
Gehenna, as in old albumen days, and, of course, it frizzled aU the
gelatine off the paper. Now I find it only necessary to make the bar
about ax hot as the hand will just bear for a second, say, about 300*
Fahr. Previous to burnishing, I give the print a dose of my old lilvei
print lubricator, but when dry mb it all ofT, or the prints may be streaky.
The prints should now go through the machine like oil, and have a nice
gloss. Kn passant, 1 may say I have never met with the marks referred
to by " B. B." Probably these originate in the filing bath ; but the one
thing that delights me in gelatino-chloride papers is the entire absence
of measles, a malady to which our old friend albumen was very subject.
— I am, yours, <&o., '• Otheixo."
May 3, 1893.
IIEGULATORS.
To ihe Editor.
Sin, — I must certainly say, when Mr. Birrell asked for information
respecting a regulator for oxygen and hydrogen gases, I was under the
impression that it was a regulator for condensed gas at high pressure of
not less than COO pounds per s(iuare inch.
But by his latter remarks, and also judging from a print sent me by him
of bis apparatus, he evidently means a low-pressure regulator such as
would be used upon the ordinary house gas mains of, say, from seven-
tenths to four inches water pressure. Mr. Highley speaks of these for
use with oxyhydrogen jets made by Mr. Parkinson as far back a« 1870,
but I don't profess to know the date of their origin. 1 only know there
are more than I should like to enumerate.
Again, Mr. Birrell speaks of his anti-friction cock. Does he suggest a
lubricant of any fatty matter ? If so, he will find his anti-friction coek
meet with little success. Gas compressors strongly discourage the use of
grease of any kind whatever. Before Mr. Birrell proceeds further with
his regulator he should get a cylinder of gas from the Scotch and Irish
Oxygen Company to test it with. — I am, yours, &c., R. R. Beabd.
()2, Ahcot-road, Bermondsey, S.E., May 2, 1893.
"ART VERSES PHOTOGRAPHY."
To the Editor.
Sib, — At the present juncture of the endleas argument on Art versir
Photography (let them both have capitals) it was interesting to read in
the Saturday lieview of last week the following in their criticism of
Mr. W. B. Davis's picture : —
" . . , . Notwithstanding his wonderful sincerity and the almost per-
fect photography of his eye . . . ." "i. tr-*
Should wc take this as a compliment to Mr. Davis or as a compliment
to photography ? — I am, yours, &c., Frederick H. Evass.
158, Osbaldeston-road, N., May !), 1893.
EnslDew to CorrcsponHents.
„* All matters intended for the text portion of this Joubnai., including
queries and Exchanges, must be addressed to " The Editor, The Britlsh
JouENAL OF I'HOTOOBAPHT," 2, York-street, Covent Garden, London. In-
attention to this ensures delay.
\* Correspondents are informed that wc cannot undertake to answer com-
munications through the post.
,* Communications relating to Advertisements and general business affairs
should be addressed to Messrs. Henby GREENWOOD & Co., 2 York-streeti
Covent Garden, London.
Photographs Registebkd : —
Walter Azemboy Smith, Southampton. — Portrait of Dr. Pcrrin, Bwhoj' 0/ Cotumhia.
John Stephen Brown, Bridgwater.— PJiO(oyraph of crayoM draictn^ o/Samiui Taylw
Coleridge.
Everitt Edward Hiblin^, UaitUtone. — Portrait of John C»ckov!.
George Henry Lawrence, Cardiff. — 0ti4 photo^jraph of a Welali Sun day *' Fisid *■
Chih.
D. Ross. — We know nothing whatever of the Company.
Gil Bi.as.— The ad<lress of Messrs. Penrose & Co. is 5, Amwell-str eet , E.C.
Wii.MAM Bikrbix. — See the Joornal for December 16, 1892, where you will
find the specification.
Ali'Ha has not, in compliance with our rules, given bis name and address-
Hence his query remains unanswered.
C. H. E. —When the combined tonuig and fixing bath is used the d ouble action.
is scarcely simultaneous. Fixing takes place first
304
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 12, 1893
■Laxtro.— To utilise a carte-de-visUe as a lantern slide, copy it in the camera,
and, from the negative thus obtained, print a lantern slide in the usual way.
•Cle,vhek.— For all practical purposes you will find a solution of alum acWified
with hydrochloric acid an efficient agent in removing the hypo from the film
after washing.
P. Johnson. — For obtaining cloud effects, we do not think there is any ad-
vantage to be gained in the use of a yellow screen with ordinary plates. It
simply lengthens the exposure.
Dick.— The Crystoleum process hsm never been much pushed by professional
photographers. It may be considered as reasonably permanent, if the
printing has been properly carried out.
-T. Baxter.— It is a very common occurrence. As we have no particulars as
to the preparation of the paper, or know anything of the after-manipulations,
we can off'er no opinion as to the cause.
fi, C. Todd.— So far as we are aware there are no patents in force at the
present time with regard to ceramic photography. Several patents have
been taken in connexion with the subject, but they have, we believe, long
•since elajjsed.
<J0NKY Island.— If we knew the use to which you were to put the lens, we
could better advise you ; but we think that there would be uo difficulty in
having a lens of, sav, sixty to seventy inches focus made. The price will be
greatly influenced by the diameter.
Brixham.— It is of no use making an enlarging lantern with eight-inch con-
densers to enlarge from half-plate negatives if it only be fitted with a quarter-
plate lens. The objective must be sucli as would be capable of taking a
ne^tive of the size of the one to be enlarged.
"Torquay.- Itisafvaud to supply bromide prints for platinotype-s, as itisafahso
tra<le description. The fraud is easily detected. If a bromide print is
immersed in a solution of bichloride of mercury, the image will, in a short
time disappear, whereas a platinotype will be unaffected.
E. R. W. — There is no necessity to go to the trouble of making transfer ink
for photography now. It may be purchased from any of the large firms
supplying printer's material, and of a far more satisfactory kind than can
be made on a small scale. Your difficulty, you see, is now overcome.
T. R. IIewdy. — When anything is directed to be boiled in a Florence flask, a
glass flask, such as may be obtained from any dealer in chemical wares, is
understood. It would not do to dissolve silver in nitric acid to make
nitrate of silver, iu an enamelled iron saucepan. The enamel is not perfect
enough.
fi. A. — If the exhibitor takes portraits for which lie makes a regular charge'
although he may carry on a totally different business, he is not an amateur'
and is sailing under false colours. If this had been brought to the notice o
the Society at the time, he ought to have been, and, no doubt, would have
been, disqualified.
yf. R. — It does not follow that because a gelatine is transparent and colourless
that it is purer, or better suited for some photographic purposes, tlian others
tliat have colour, aud are more or less opaque. The majority of the colour-
less foreign gelatines are acid, some of them strongly so, .and often contain
other impurities. As gelatine, thougli not perhaps so slightly in appearance,
probably the purest kinds are probably those of the best brands of English
manufacture.
v. J. C'LVRK. — If you desire to make enlargements in carbonit will be necessary
to make enlarged negatives. It is not es.sential that they be collodion ones
so long as they are of the right character to yield good carbon prints. Extra
sensitive carbon tissue is not equal to producing enlargements direct after the
manner of bromide paper, unless the solar camera be employed, and then
the exposure is very long. That instrument can only be employed in sun-
light.
A. 0. Z.— If the indentures are not ikawn up in tlie proper form and duly
stamped, they .are not binding either on the master or the apprentice ; there-
fore you cannot compel your master to teach you any more than he chooses.
On the other hand, you can leave him at any time by giving a week's notice
like any other weekly servant, and that is what you legally are, and take
another engagement at higher wages. Considering the four years' experi-
ence you have had, jinil the merely nominal wage you are receiving, it may
be advisable to take this course.
A. J. finds that wliile he gets good black and white enlargements on slow
bromide paper, he fails to get equally brilliant blacks on rapid paper. He
has varied the exposure without gaining any advantage, and a,sks if there is
any modification of the developer possible, or any other means by which he
can obtain good blacks on rapid paper.— We would like if some experienced
reader would impart the required information ; meantime, let him after
washing and before fixing, try the effect of immersing in a combined toning
and fixing bath.
I.OUIS Taindon says : " I had, in the course of busiuess, to copy a ferrotype
picture, and, owing to part of picture being covered by a brass mask, had to
remove it from the frame, and, as there were several particles of dust on the
plate, I sought to remove same by brushing it lightly with my hand, when
to my horror, I discovered that wherever my hand had touched' it the
picture had vanished, leaving only a faint image, which can only be dis-
covered by holding it sideways (Daguererotype fasliion). Can you teU uje the
cause of this, and also if there is any remedy ?" — The cause is simply this :
the picture not being varnished, and most ferrotypes are not, a portion of
the image has been rubbed off. There is no remedy.
T. Waerkker says : " It is gener.ally understood th.at when water is added to
methylated spirit, it will still be quite clear ; but, if it becomes milky, it
contains gums — iu fact, is wliat is known as 'finish,' which can be sold
without a licence. I recently bought half a gallon of methylated spirit,
and found, on adding water to it, that it became turbid. On taking it back
to the oilman, he asserted it was not finish, but genuine methylated spirit,
and refused to change it. Is this possible ?"— Yes. Under the new excise
regulation, a small proportion of mineral naptha has to be added to the
spirit, the eiieot of which is that, on the addition of water, it becomes
turbid. Now, without a special permit, the old kind of methylated spirit
is not to be obtained.
W. P. N. ask.'; : " 1. Is it necessary after an addition of nitrate of silver to a
silver bath to add iodide of potiissium >. I have been given to understand
that there will be enough in an old bath by what it has extracted from the
coUodionised plates that have been excited therein. 2. In the case of the
iodide getting iu excess, what is the result and remedy ? 3. Also of insuffi-
ciency ? " — 1. There will be quite enough iodide in solution to warrant the
addition of more nitrate solution without any further addition. 'J. Add dis-
tilled water, by which much of the iodide will be precipitated, then filter, and
lastly, add crystals of nitrate of silver to bring up to the strength required.
3. Coat a plate with collodion, and allow it to remain immersed in the silver
bath for one hour.
J. T. Kennisu writes: "I forward you a mounted print, which is much
spotted, as you will see, and will thank you if you will give me your opinion
as to the cause. The paper used was ' double allnmienised ; ' fixed twenty
minutes (in hypo, four ounces ; water, one pint) ; hypo neutral to litmus
paiwr ; hypo used fresh ; mounted with Glenfleld starch, m,ade fresh, and
used as soon as cold ; sponged while damp with clean water. Cartes-de-visite,
whole-]ilates, and 12 x 10, produced at the same time, under exactly same
conditions, are perfectly free from spots ; washed all niglit in syphon trough.
Cabinets only show these spots.." — Seeing that the spots only make their
aj^pearance on the cabinet prints, and assuming that in their after-treat-
ment there is no difference made, the only suggestion we can make is,
that our correspondent test the mounts. It is possible the trouble has
its origin in them.
During the summer the steamship Cily of Richviond will make several
pleasure trips to the fjords and mountains of Norway. The first trii> is from
Liverpool on May 20. Messrs. Staveley & Co., of 102, Shaftesbury-avenue, W.,
are the London agents, and will supj^ly all particulars.
Messrs. Adnitt & Naunton, of Shrewsbury, have sent us a short rhumi of
objects of interest to photographers visiting Shrewsbury. It is embellishetl
with several picturesque views. Should the Conventiou carry out a half-
formed intention of holding their meeting in Shrewsbury on an early occasion,
such a list as this will prove very useful.
Mr. E. II. Fitch, of 34, Angell-road, Brixton, will shortly introduce a
celluloid film for photo-mechanical purposes ; also a very light double slide-
film carrier, and other novelties.
West London Photographic Society's Dinner. — The annual dinner of
this Society took place on Tuesday last, May 9, at the Frascati Restaurant,
Oxford-street, the President (Mr. J. A. Hodges) in the chair. The ch.allenge
cup won by the Society at the recent Crystal Palace E-xhibition was on view.
The President, in proposing the toast of " The Society," took occasion to
comment on the fact that, although the Society had been adjudged winners of
the Champion Cup at the Crystal Palace, no awards had been made to
individual members, and thought some explanation of the circumstance was
due. Mr. W. England responded for "Kindred Societies," Mr. Thomas
Bedding (The British Journal ok PnoTOGRArHY) and Mr. E. J. Wall
(Ainateur Pholographer) for " The Press," and Mr. T. R. Dallmeyer for " The
Visitors."
OONTBNTB.
PAai
THE rapid drying OF QKLATINE
NEGATIVES 289
stripping and REPLACING NEGA-
TIVES WITHOUT THEIR EXPAND-
ING 2!I0
EXPERIMENTS WITH MULTIPLE-
COATED FILMS 290
STUPIO-ISUILDINO.— III. By O. WAT-
MOUGH WEBSTER, F.C.8 298
CONTINENTAL NOTES AND NEWS .... 294
PHOTO - LITHOGRAPHY. By W. E.
DEBENHAM 295
AMIDOL FOR DEVELOPED PRINTS.
By J. PIKE 9C
Paox
central photographic club 237
photography applied 10 jour-
nalism 2ot
forfarshire international ex-
hibition 2w
our editorial table 2f<
recent patents 2™
meetings of societies ■"»
exchange column ■»'
correspondence ««
ANSWERS TO CORRESPONDENTS -v-
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1721. Vol. XL.— MAY 19, 1893.
:NOTrCE— PICTORIAL SUPPLEMENTS TO "THE
BRITISH JOURNAL OF PHOTOGRAPHY."
Tt is our intention from time to time to issue with The British
Journal lip rnoTOGRAPiiY pictorial supplements illustrating
subjects of popular interest, and reproduced in the highest
■style of photo-mechanical work.
We have no doubt this feature will prove very popular with
our readers. The first illustration will be given with the
JouRXAii of Friday, June 2, and, as tlie publishers anticipate a
largely increased sale for that issue, orders for advertisements
ind extra copies should be given as early as possible.
INVERSION AND REVERSION OF IMAGES OX THE
BINOCULAR FOCUSSING SCREEN.
"When a stereoscopic image is focussed on the grovmd glass of
a binocular camera, the image presented to the eye is seen to
have undergone a total reversion, not merely in respect of its
heing inverted, for that is the case with every camera image,
but also in regard to the relative displacement of the near and
distant objects on the screen when viewed stereoscopically,
could such be done by the neophite.
The stereoscopic photographer cannot, with his unaided
vision, ascertain the effect of relief by the inspection of the
camera image iw the same way as he can when examining the
finished j^rint in the stereoscope; and this to some extent inter-
poses a difficulty in the selection of the best point of view in
order to secure the degree of relief which an artist of taste
invariably likes to characterise his binocular pictures, neither,
on the one hand, such protrusion of foreground objects as to
cause the scene to look like a model, nor, on the other, such a
lack of it as to impart a feeling of flatness to the united
photographs.
Some who have not bestowed sufficient attention to the
subject have imagined tliat, by employing a stereoscope to
examine the image projected on the camera focussing screen,
the desired end ought to be attained ; but the futility of this
is established by a single trial, for it will be found that the
effect obtained is pseudoscopic, that is, the near objects appear
listant, while the most distant ones are brought near. We
>hall apply the "similia similibus curantur" principle to this
;>re8ently, and bhow in what manner, by looking on the groimd
-rlass through a pseudoscope, the detired relief can be seen.
A pseu<luscope, we here pause to s»y, is nothing but a pair
of small rt'Ct«ngu!ar glii.>-s j.rsrn-", mounted the distance of the
■eyes ajart, with the hypotheuuses to the inside, so that each
eye is directed to a surface inclined to its axis. In ours there
is provision for an adjustment, by which the reflecting surfaces
can be slightly inclined towards each other, so as to direct the
eyes without any straining to any object situated from within
a few inches to infinity. When a scene is viewed through this,
it is neither magnified nor reduced, nor is its brilliance
apparently diminished, but the singular effect is obtained
that the distant objects are brought close at hand, while the
nearest objects — such as a vase of flowers on a table in the
window of the room from which the observation is made — is
projected into the far distance, the near and distant flowers
in the vase obeying the same law, that of visible direction.
In virtue of this the nearness or distance of any object is
ascertained by the greater or less convergence of the optic
axes.
Were the mere inversion of a camera image desired, this
could be secured by the time-lionoured expedient of placing a
mirror at an angle witli the ground glass of the camera, and
by looking down into this mirror, viewing in it the image on
the focussing screen, not upside down as formerly, but erect, a
reversion from right to left being still left uncorrected. This,
however, affords no clue as to the amount of the relief or
stereoscopeity of the scene focussed unless by crossing the axes
of the eyes, the right side being viewed by the left eye and
vice versd. An examination by a pseudoscope would effect the
same end.
The best way to employ this instrument is to view with it
the direct image on the ground glass without caring that the
image is seen inverted. Throw a large focussing cloth over the
camera, and then use the pseudoscope as would be done in the
case of an eyepiece held a short distance from the ground glass,
and adjust the prisms till only one image formed of the
coalescence of the two is seen.
But by far the readiest and most convenient method of
judging stereoscopic efl'ect in the camera is by the unaided
eyes after they have been subjected to a very slight degi-ee of
training. Hold the head fiom twelve to sixteen inches from
the ground glass, and cover the inter- space with an opaque
cloth. Now direct the axes to a point midway betwetn the
eyes and the camera screen. This may at first be done by
interposing a pencil or the finger at the midway point. It will
now be found that the crossing of the axes at this point will
have had the eftectof causing tLe right eye to see the image on
the left, the same being the case with the left eye. This may
prove troublesome ju^t at the first attempt, but after a few
trials it will be found to be singularly easy. The combined
image thus seen is the stereoscopic one, precisely as it will
appear when printed on paper and viewed through a stereo-
scope, witii this exception, that the camera image will be upside
300
THE RRITISfl JOUKNAL OF PHOTOGRA.PHy.
[May 10, 1893
down, a matter of but small consequence to an experienced
photographer, who can in most cases better judge the effect of
the uftimate picture when the image is inverted than when
it is non-inverted, the consequence, doubtless, of practice.
EXPERIMENTS WITH MULTIPLE-COATED FILMS.
Resuming these experiments with a view of removing, if possi-
ble, certain apjiarent anomalies, a .special collodion emulsion
was prepared wliich, while moderately sensitive (for such an
emulsion) was capable of giving per se, and with ordinary de-
velopment, a perfectly clean image of good vigour and free
from fog. The " pellicle " was washed with rather more than
ordinary care, in order to ensure the entire absence of soluble
salts.
In our earlier experiments it was mentioned last week that
development was extremely slow in starting, as long as five
minutes elapsing in some instances before any action was visible,
while in other cases it began almost immediately. This we
traced to mechanical causes connected with the collodion film,
and it was one part of our new trials to remove as far as possi-
ble these uncertainties. In some instance?, in the earlier
experiments, the plates were exposed wet, i.e., without drj-ing
the collodion film, in which case they were well washed with
water before development, in order to remove the ether and
alcohol and allow the developer to attack the films in a uniform
manner. In other cases the collodion film was dried before
exposure, under which circumstances it became necessary to
flood the films with alcohol in order to reopen the pores of the
collodion, and afterwards to wash well with water.
It was this treatment we found that caused the difteience or
uncertainty in behaviour, for the gelatine film became charged
with varying proportions of water, which, assisted by the same
protective action of the collodion film, prevented the free access
of the developer. By working constantly under like conditions,
it is true that comparative results would be obtained ; but we
were strongly of opinion that this preliminary absorption of
water by the gelatine film exercised an important action in
modifying the general character of the results — a view which
we had subsequently reason to believe is the correct one.
One way out of the difficulty was to charge the collodion
emulsion with a substance of the nature of a " preservative "
— using the term in the sense in which it was employed by old
dry-plate workers — which, being soluble in water, would render
the compound film permeable to the aqueous developer ; but,
though this was tried, the introduction of the preservative did
not seem a desirable complication, so it was relinquished in
favour of the simpler plan eventually adopted. This consisted
in coating the gelatine plate with collodion emulsion imme-
diately before exposure, and postponing the development until
nearly the whole of the solvents had volatilised without leavino-
the film absolutely dry. In this manner, and developing in a
dish in the manner usual with gelatine plates, the "greasiness"
caused by the small remaining traces of ether and alcohol was
easily overcome, and the developer passed directly into the
films both of collodion and gelatine.
Under these altered circumstances, the behaviour of the
compound films becomes quite different, and more in accord-
ance with what might have been anticipated. For instance
the high lights or sky of a landscape appeared,'almost instantly
on the application of the developer, owing to the rapidity with
which an impressed collodion film produces its image. Under
the conditions in which these plates were exposed, the sky or
strongest high lights were the only portion of the plate in
which the exposure was long enough to impress the collodion
alone ; hence these portions only showed reduction as soon as
the developer was applied, the remainder of tlie picture being
formed by the slower action of the gelatine film.
In our article last week we specially mentioned the extra-
ordinary behaviour of an unwashed collodion emulsion in pro-
ducing an image practically without exposure, or under such
circumstances that, if exposed alone, without the gelatine film,
it would have been quite insensitive. We have repeateil that
experiment several times, with precisely the same result ; but,
although there is unmistakably an image formed upon the
collodion film, we have arrived at the conclusion that much of
the increase of density shown is the result of a general veil
that seems inseparable from this method of developing the
collodion emulsion. In fact, although, as we have said, the
emulsion employed is capable of working by itself without any
fog or veil, it will not bear the protracted application of the
energetic developer necessary for the gelatine film.
It must be remembered that the development proper of any
direct image upon the collodion film would be complete in a
very short time — certainly under a minute, and probablj- before
that on the gelatine had commenced — and consequently, while
the gelatine image is progressing, that on the collodion is being
subjected to all the influences of fog, which, under the circum-
stances, it is unable to altogether resist ; and yet the gelatine
film itself reacts upon the collodion in restraining the fog, as
may be proved by scraping off a portion of the gelatine film
before coating with collodion, when on development the
portions of collodion unbacked by gelatine will be found as
completely reduced as the sky. In all the experiments made
we have therefore been careful to note as far as possible the
effect produced by veil or fog as distinguished from a definite
image.
Before describing the individual experiments we may briefly
describe the general character of the results. The collodion
emulsion employed is one, as we have said, of moderate rapidity,
and requiring, under the circumstances of light, lens, and
aperture, from twenty to thirty seconds' exposure, to give a
perfect picture when used alone, when the exposures given to
the compound films averaged about one second, the subject
being an open view from the window in a good light. Under
these conditions, it is obvious that the actual exposure received
by the collodion portion of the compound films is quite iusutti-
cieut to impress it except in the skj- ; but that is done easily,
with the result that the sky always becomes visible within
three or four seconds of the ajiplication of the developer. Yet
iu all mstances, or nearly all, where the development of the
compound film has been completed, a developed image has been
visible upon the collodion film.
In order to prove this beyond doubt, we hiive gone to the
trouble of stripping the collodion film from the gelatine when
the precise nature of the deposit — image and veil — is palpable ;
but this trouble is not necessary, as, owing to the peculiarly
metallic nature of the deposit on collodion, the image is per-
fectly visible as a positive, and that, taken in conjunction with
the alteration in density produced where a portion of the
collodion film is rubbed off, will show i)recisely how much work
has been done by each film.
There is one point that may be noted iu connexion with the
rapid formation of the image upon the collodion film that has
May 10, 1893]
THE BRITISH JOUKNAL OF PHOTOGRArH Y.
:J07
some importance as bringing these experiments more into line
with the Samlell j)late than would otherwise seem to be the
case. In the latter plate the first or outer film is the more
sensitive, and therefore naturally develops first, the effect of
that development passing on to the next film to modify it more
or leas. In the collodion-coattd films, although the first or
apparent film is by far the slower, it is the first acted upon by
the developer, and in the same maimer the action of this first
development is transmitted to the underlying film, and pro-
duces most powerfully modifying effects, as we shall show.
llather out of curiosity than .as having a direct bearing on
the rest of the experiments, a gelatine plate was exposed, and
suhsenuently coated with collodion emidsiou before development.
According to the experiments of Captain Abney of sixteen or
seventeen years ago, the collodion film should have shown an
image ; but, bej-ond a slight veil from over-development, no
etfect was produced upon the collodion whatever. A second
plate, coated liffore exposure, and exposed for precisely the
same time, gave an entirely different result ; for, whereas in
the first the sky was thinner in the coated portion than on a
part of the plate that was left uncoated, owing to the resisting
action of the collodion film, in the second plate the coated
portion of the sky was very much the denser, though, on
removing a strip of the collodion film, it became much thinner
than the uncoated portion, proving that the greater part of
the image was on the collodion.
With the normal exposure the general result was greater
vigour, especially in the high lights ; but, as the exposure was
increased, the contrast became less increased, but general
vigour, more especially in the half-tones, became the rule,
that is, supposing the development to be carried out to its full
extent ; but, when the latter is stopped at an early stage, the
results are very curious, for, if the collodion film be removed,
the image of the high lights will be found to be completely in
the collodion, the gelatine showing either completely clear
glass or absolute reversal. That this is not due to over-
exposure, or to any other cause but the bromine given off from
the collodion emulsion film, can be proved by leaving a portion
of the plate uncoated, when an entirely normal image will be
formed. Moreover, if the development be stopped at the early
stage on a portion of the plate, and completed on the rest,
the first portion will thow the reversal, the second a normal
image.
Another jjlate was coated over a portion of each of its
surfaces, back and front, with collodion emulsion, and exposed
through the glass in order to show how much action the
absorption of light by the collodion film had. The bare gelatine
film exposed through the collodion, beyond its want of sharp-
ness from diffusion, showed comparatively little difference from
that where the collodion had not intervened. But the
collodionised surface exhibited not the least action, for the
denser gelatine film through which the light had to pass before
it reached the collodion had altogether protected it from the
light, and, except the usual slight veil from over-action of the
developer, no image of any kind was seen.
The result of these experiments shows conclusively that each
separate film exercises a very distinct action upon the others in
develojjment, and it seems probable that, the greater the
difference in the sensitiveness, the greater will be the action
set up. It seems also proliable, but that remains for future
proof, that, by so arranging the relative rapidities of the
difterent films, a film absolutely proof against errors of exposure
may be made, as claimed by Mr. Sandell.
GUMS AND (iLUPX
It will be desirable in our purview of this subject not to ciiit
some consideration of the so-called "British gum " or dextrine,
a substance of most extensive eniployment for adhesive
purposes. It can be purchased of many degrees of purity, but
at its best is not available for photograpliic use on account of
the imcertainty of its composition, and also the possibility of
its containing deleterious substances introduced at the time of
manufacture. Dextrine has been called terrified starch, and
is, indeed, starch acted upon by heat, acydg, or diastase, the
amount of real dextrine, if any, actually contained in a sample
of British gum being an \indetermined quantity. Hence,
looked at from all points of view, its use for any photographic
work, at least where it would be brought into contact with
silver compounds, should be deprecated ; of course, for carbon
or platinotype pictures, its introduction, either as glaze or
mountant, would be productive of no ill effect, and for
ordinary adhesive purposes it possesses ixdvantages over both
eum arabic and tragacanth. A little salicylic acid is recom-
mended to be added to preserve it from mould. It may be
interesting to give the formula for the use of dextrine as em-
ployed by the United States Govornmsnt for coating postage
stamps. It is made by mixing two parts (by weight) of dex-
trine, one of acetic acid (free of water), and one of alcohol.
When we come to discuss glues, the subject, so expands that
very many pages of this Journal might easily be devoted to it ;
hence a few leading points most likely to be of use will be
named. If we put the question, " What is glue ? " a true
answer would be very cumbrous, for it is not by any means a
definite chemical compound, and its mechanical or physical
aspects are as varied as possible. Briefly speaking, it is the
dried jelly obtained by boiling certain animal substances in
water for some time, and its colour varies from black when
thick pieces are examined down to the patent straw. In the
early days of the gelatine process, the use of glue or gelatine
was hailed with acclamation as being a substance of so much
more certain composition than pyroxyline ; but, when it is con-
sidered that the jelly of which it is made is obtained from such
widely different sources as we will specify in part, it would not
be reasonable to expect constancy of chemical composition.
Thus it is made from scraps of hides, tendons and intestines,
tissues of bones, cartilages, horn, fishes swimming bladders,
rabbit skins, parchment, old gloves, &c. When this jelly is
required in the purest foi-m, it is extracted from specially pure
materials specially prepared ; it is then dried, redissolved, and
again chemically treated, and finally dried and put in form for
the public. When it is required for dietetic or medical purposes
the utmost care is taken, and the product is, when well selected,
not at all likely to be injurious for any photographic purpose.
At the time when there was more amateur gelatine plate-making
than is now the case, most readers of the journals of the time
had almost a surfeit of the properties of tlie various gelatines,
British and foreign, and many brands grew to be well known.
But at present the dry-plate makers may be presumed to know
all about the matter, though there is no doubt of the advantage
they gained from the discussions in the technical journals of
the day. It was brought into prominence, for example, that
the presence of a very minute quantity of grease had a very
disturbing effect on the physical aspects of the film. It is not
generally known that benzine and bisulphide of carbon are often
employed in the preliminary treatment of bones before extract-
ing tlie gelatine, so that all greasy matter is removed.
Most samples of gelatine of good quality are free from this
308
THE BRITISH JOURNAL OF PH01OGRA.PHY.
[May 10, 1893
fault, and, as such articles as this arenothiug if not practical, we
may point out a few leading characteristics of a useful photo-
graphic glue. First, let us say that chemicals— bleaching agents
and mineral acids— at one stage or another are so largely used
in the manufacture of glues, that, though glues of most excellent
purity are obtainable, a sample of so-called gelatine is far more
likely to be pure and trustworthy for photographic use. One
of the most important characteristics is the melting point.
For sensitive tissue and many photo-mechanical purposes a
gelatine with a high-melting point is to be preferred. As ex-
planatory, we may remark that an ounce of glue, for example,
may require a certain amount of water, at, say, a hundred degrees
Fahrenheit, before it will be a firm jelly, while another sample,
with the same weight of gelatine and water, will keep liquid
until it is reduced to perhaps sixty or seventy degrees. How
to ascertain the suitability of a glue for this purpose would
involve considerable loss of time, though a glue expert could
perhaps give a valuable opinion from personal knowledge.
The photographer paying a good price for a pure gelatine, is
able to obtain what he requires in this direction simply by
asking for it, at the same time ensuring freedom from injurious
chemicals and from incipient decomposition so likely to be
ruinous to a silver photograph of whatever sort. In conclusion,
let us say that, whatever price is given, or whatever brand is
bought, a sample first brought into use should be, at any rate,
tested with litmus paper to ensure its neutrality, too many of
the examples of modem fading being undoubtedly due to the
use of acid gums and glues.
Silver In Dry Plates.— Complaint is frequently made of the
small amount of silver now put iu dry plates. But it is consoling to
know, according to a wiiter in the JRenie <le Vhotivjraphie, that English
manufacturers are quite as liberal with their silver as Continental
makers. Out of about a score of brands tested, an English plate, the
Sandell, stands first, and a Belgian and French the lowest. The
former contained about three times the silver the latter did, other
English brands being intermediate. We are, therefore, not so badly
treated, after all, particularly when it is considered that, as a rule,
foreign plates are dearer than English ones.
Discontent at the Chicag'o Eztlibltlon. — Considerable
dissatisfaction has been expressed as to the system upon which the
awards are to be made, and it is stated, in a recent telegram, that the
British, Belgian, French, German, Italian, and Russian commissioners
nave protested against it. Americans, it is said, would also prefer
that the awards should be made by jurors, in-Jtead of, as proposed,
upon the decision of a single e-tpert, to be ratified upon report to a
superior Board. In consequence of the adoption of the latter system,
many exhibits will be withdrawn from competition. It is to be hoped
that the judging of the photographs will not be relegated to a single
individual. If it is, we may be certain of much discontent.
Chromo-ptaotography. — AprrqtDi of this subject. It is
much to be wondered at tliat English photo-mechanical workers are
giving 80 little, if any, attention to chromo-photography — that is,
printing in colours from different matrices after the manner of chromo-
lithography and the like. On the Continent excellent work in this
direction is produced on u large scale, and it is proving highly
remunerative; and, what is more, it meets with a ready sale here.
Several systems are in vog'i», including intagho plates, the collotype
process, and process blocks. For lack of enterprise much photo-
mechanical work that might as well be done here goes abroad for
execution. Just now there is an agitation about the Trade Marks
Act, but we strongly suspect that "printed in Germany "will not
deter English people from having the pictures if they are not to bfr
had of equal merit of home production.
A Good Opinion of Himself. — A South African contem-
porary lias the following interesting extract from the letter of a
disappointed exhibitor: — "For cool, consummate assurance commend
us to the letter in which , of Natal, declines the silver medal
awarded him by the Executive of the Kimberley Exhibition. Here
is the precious document : ' My reasons for so doing are, I do not
acknowledge any superior in my profession in South Africa, and, after
a careful and personal inspection at your Exhibition, I claim that my
e.xhibits generally gave me every right to Jirst position and honour,
whether it was a gold or silver medal or diploma, my photographs-
being superior in every way to any others exhibited. The softness,
delicacy of tone in detail, and high-class finish were altogether far
above the work of any other exhibitor.' And the photographs are
said not to have been such brilliant specimens, after all ! " — which is-
what might naturally be expected.
Cheap Railway Tickets for Photographers. — At-
tempts have before now been made on the part of individual photo-
graphic societies to induce the railway companies to grant to parties
of photographers or members of photographic societies a reduction on
railway fares, just in the same way as a like kind of concession !»
given to anglers. Those attempts have, however, fiiiled, possibly
because the request for the rebates have not emanated from sufficiently
representative sources. It has occurred to us thiit the Photographic
Society of Great Britain, in conjunction with the fifty or so photo-
graphic societies now affiliated to it, might well approach the various-
railway companies on the matter, and we throw out the hint to the
AffiUation Committee, of which there is at least one member who
might put his railway experiences in the pursuit of the gentle art of
angling at the service of photographers, in respect of obtaining theia
cheap fares on their outings.
Royal Society Soiree. — At the soirie last week, photograpliy
was well to the fore, it being utilised in somewhat novel directions. In
the display there was a series of photographs of swede turnip plants
grown in rotation, with mineral materials alme, and with mixed
mineral and nitrogenous manures, to illustrate that it is a fallacy to
suppose that root crops derive any great amount of their nitrogen
from the atmosphere through their extended leaf surface. There was
also a valuable contribution to the knowledge of the minute forma-
tion of rock structures by micro-organisms, in the form of a collection
of photo-micrographs, by Jlr. "Wethered, of transparent sUces of
various rocks. Astronomical photography, was, of course, welJ
represented in a collection of photographs of n&bulae and star cluster.-*,
taken bv Mr. Roberts with a twenty-inch reflector'; also by some photo-
graphs "of stellar spectra, by Mr. Lockyer. Not only is photography
largely used in science, but also in art, as witness some of the
paintings to he seen in the multitudinous exhibitions now open.
More Photography in Colours-. — This time it is, ac^
cording to an evening contemporary, the Paris Photographic Club-
that " has apparently solved the mystery of coloured photography."
According to this authority, " the members have just exhibited photo-
graphs giving all the colours of the original objects." Amongst
these are enumerated a bouquet, with red, violet, green, blue, and
other colours, in their various tints : " another, "a corner of a park,,
with a blue sky, gravelled avenues, and trampled soil." " Then thern
was a series of coloured placards iu all their glaring hues, and next a
photograph of a Japanese screen." In concluding the announcement
of the great achievement, our contemporary adds : " As, however,
with the early Daguerreotypes, each photograph is unique. How to
obtain proofs on paper has yet to be discovered. Nearly half an
hour's pose is also at present required, which would over-tax the>
May 10, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
300
pntionce of any sitter." Tlie continual prominence of colour photo-
(rrapliy given by the lay press naturally leads the non-technical public
to infer that photography in natural colours is mi fait accompli; hence
so many applications to profe-ssional photographers for portraits by
the new process in natural colours, ami the scepticism of the would-be
sitter when they are told the thing is quite ioipossible.
Tbe Bolipse Photogrraphs. — Highly successful as have been
the two English expeditions, there now appears to have been a slight
hitch in the photogi'aphic department of the one to the West Coast.
Mr. A. Fowler says in a report that the English signal of the com-
mencement of totality — the discharge of a pistol — wjis not given
until ten seconds after the French one, which caused him " to lose
three exposures during totality, and reduced the number of Sergeant
Kearneys photographs from twelve to ten." In reply to this, Mr. T.
E. Thorpe, in a letter to a daily contemporary a few days ago, says,
although he did not hear the French sigiml himself, that another
observer estimates it at two seconds only, and adds, " It is possible,
therefore, that Mr. Fow-ler's estimate of ten seconds may not only
have been erroneous, in consequence of the known difficulty of
accurately estimating a time interval during the exciting conditions of
an eclipse, but may also have arisen from the fact that the actual
eclipse was shorter than the calculated one." It can readily be under-
stood, with the months of preparation and anticipation, and the
thousands of miles travelled to execute 243 seconds' — French calcula-
tion two seconds less — work, that there would be some little excite-
ment, subdued though it miglit be, during that brief period. The
thing can be better imagined than described.
EXHIBITION OF THE PHOTOGRAPHIC SOCIETY OF
GREAT BRITAIN.
The Exhibition of the Society for 1893 will be held in the Gallery of the
Royal Society of Painters in Water Colours, 5a, Pall Mall East, London,
S.W.
The Exhibition will be inaugurated by a conrerxazione, open to mem-
bers and their friends and exhibitors, at eight p.m., on Saturday evening,
September 23.
The Exhibition will remain open daily (Sundays excepted) from
Monday, September 25, until Wednesday, November 15. Admission
(from ten a.m. till five p.m.), one shilling. It will also be open on
Monday, Wednesday, and Saturday evenings, when lantern slides will be
shown ; admission (from seven to ten p.m.), sixpence.
Members have free admission at any time. They may receive twenty
day and ten evening tickets for their friends, and can purchase additional
tickets at half-price. Members of affiliated Societies can purchase tickets
at half-price of their respective Secretaries.
Medals will be placed at the disposal of the .Judges for the artistic,
scientific, and technical excellence of photographs, lantern slides, and
transparencies, and for apparatus.
The undermentioned gentlemen have been elected by the members of
the Society to act as Judges, and have consented to serve : — Mr. P. H.
Emerson, B.A., M.B. (Cantab), Colonel J. Gale, Messrs. F. HoUyer, F. M.
Sntcliffe, and .T. B. B. Wellington. Scientific experts : Messrs. Chapman
.Tones, F.I.C., F.C.S., and Andrew Pringle, F.R.M.S. The Judges will
select the exhibits before the Hanging Committee begin their duties.
Blank entry forms and any further information respecting the Exhi-
bition, apparatus, and lantern slides, also nomination forms for member-
ship, can be obtained from the Assistant Secretary, P. S. G. B. , 50, Great
Russell-street, London, W.C.
that, as iilbumen had stood the test of many years' experience, it was
not well that an old friend should be discarded in favour of an inter-
loper. Well, gelatine ha.s now pasted its novitiate, and has proved to
bo all that we anticipated for it. We possess the Brst, or among the
tirst, photographs that have been produced on this substance, and can
attest their excellence as regards their unfading properties.
As corroborative of this, we have just been shown the contents of
a show-case which has teen exposed outside .a photographer's studio
in Loughborough since May, 1802, and on which the light has been
acting throughout the year, with such effect that the plush, originally
of a maroon colour, which formed the background base on which the
sj)ecimens were mounted, has entirely succumbed to the exposure
except where covered by the prints — those known as " P. O. P.'
These prints show not the slightest indication of having been affected
by sun or weather, notwithstanding their fairly long exposure to this
crucial test.
INTENSIFICATION OF GELATINE PRINTS.
Thk Photographisches Archiv suggests the intensification of gelatine
prints by means of physical development. It is unimportant whether
the prints have been toned or not, but it is necessary that all traces of
the fixing agent should have been removed. Briefly, the prints may
be intensified in the same way as gelatine negatives.
A print on aristotype paper, fixed and dried, is placed in a solution
containing hydroquinone, tartaric acid, and silver nitrate. The pro-
portions of these substances can be varied without inconvenience,
except that there should be a quantity of the acid sufficient to prevent
any reaction between the hydroquinone and the silver. A few drops
of ammonia are added to the solution to neutralise it. This will
effect a slight deposition of silver on the image, which may be
increased by the addition of more ammonia to the solution.
Instead of hydroquinone other developing agents may be employed.
It is essential that the print before the solution is applied should have
its gelatine surface flooded with water, otherwise the silver has a
tendency to be deposited in the gelatine on a powdery form instead of
acting as an intensifier of the image.
ARE GELATINO-CHLORIDE PRINTS PEKMA.NENT?
Whkn gelatine was first proposed as a substitute for albumen in the
preparation of printing-out paper, we said that on theoretical grounds
there was no reason why gelatine should not be made to supersede the
other entirely. On what grounds it was at one time stated that it
woukl be likely to set up a decomposition of the silver image we never
could learn, beyond that it was a mere surmise.
We could better understand the good old conservative argument
NOTES ON VARIOUS SUBJECTS.
Black To>fES ox Rapid BnoMioK Papkb.
The difiiculty mentioned by "A. J." in the last number, of getting as
good blacks on rapid bromide paper as on slow, is one that I have
experienced and surmounted, and therefore, perhaps, a few lines on
the subject may not be out of place. Unlike Mr. Pike, who writes in
your last issue, I have not made thou.sands of bromide prints and used
hundreds of gallons of iron developer, but I have had a eood deal of
practical experience of bromide printing, and it confirms me in the
opinion that for development on the slow paper ferrous oxalate still
has a future before it.
"A. J." does not say the developer he employs with the rapid
paper; but, assuming it to be ferrous oxalate, 1 find that by acidifying
the potash and iron stock solutions with oxalic acid and .sulphuric acid
respectively, instead of, as many recommend, acetic acid, the mildly
restraining powers of which I have observed have a marked effect on
greying the sJiadows, a slight improvement in the tone results.
Again, I do not use an unnecessary quantity of solution, but, say,
for a 12 X 10, about three ounces, as in my experience of both positive
and negative work an excessive quantity of solution leads to loss of
contrast.
A hint as to exposure. If "A.J." uses the same light for the
rapid paper as for the slow, let him diminish the volume of light by a
stop rather than simply shorten the exposure, or, for contact work,
let him double the distance between tlame and illuminant. For
correct exposures I find the proportion of 3 : 1 answer perfectly.
Some year or two back I experimented with ammonia-sulphate of
iron as a substitute for the ferrous sulphate, and found that it
assisted to produce tones of a deep velvety black without any tendency
to greyness or rustiness. Of course, I am referring to a slow papr.
If " A. J." is using amidol, hydroquinone, oreikonogen,or«uii.xture
of the two latter (which I have used with great success), I would
310
THE BKITISH JOURNAL OF PHOTOGRAPHS.
[May 19> 1893
recommend him to be as sparing as possible in the use of sulphite, the
effect of a large quantity of which seems to me to produce images
having a combination of three undesirable qualities— flatness, grey-
ness, and hardness. Of the fixed alkalies, carbonate of soda in my
hands promotes softness and a good colour, and a sparing use of
bromide will prevent the greening of the black, as the Irishman would
say, which can so often be traced to its use.
Another plan of a remedial character for giving good blacks to
bromide prints is that mentioned by you, namely, the immersion of
the washed unfixed print in a combined toning and fixing bath. From
practical isxperience I can endorse your recommendation to " A. J.
to try this useful dodge. It is applicable to either slow or rapid
bromide paper, and for those who like rich platinum-like pigment
deposits (1 am one of those myself) I would recommend that for this
purpose the fixing bath be permanently enriched by the addition of a
little alkaline gold solution (y. s.).
The Concentkic Lbns.
I was interested at reading Mr. F. H. Burton's comments on the
letter of Mr. W. J. Stillman, in which the latter gentleman states
that, with the Concentric lens in his possession, he obtains as good
definition with /-16 as with /-64. I, too, have one of the Concentric
lenses, fitted with rotating stops from /-16 to /-S2, so that I am
unable to speak as to the quality of definition with the small aperture
with which Mr. Stillman's lens has been fitted, but in other respects
my experience tallies very closely with that of Mr. Burton. Tho
single object with which I should use /-16 would be for obtaining
landscapes in which the acme of definition was not required. At
that aperture I find the lens give a degree of sharpness which, to
slightly traverse Mr. Burton's statement, would only spoil such
negatives as those of maps, or of subjects with very fine lines.
Mr. Burton appears to hint at having focussed with /-22 and
exposed with /-IG. This, in my experience, would give no better
definition than by focussing with, and using,/-16 alone, if as good.
Indeed, I tested the point by practical trial, and was surprised at the
extent at which the focus was altered. Like Mr. Burton, I am an
unknown amateur, but I appreciate a lens giving a flat field,
even illumination, and fine definition. To obtain such with the
Concentric I follow one simple rule, which I recommend to others
who have the lens, and that is, to neglect /-16 for critically sharp
work, and focus tcith the stop you are yoing to expose by. The
principal point Mr. Burton touched upon, namely, that the flatness of
field of the Concentric enables the camera front to be lifted or lowered
without impairing definition at the edges, is an important one, which
should be noted by architectural photographers.
A Suggested Backing Medium.
The application of such a backing medium as a caramel mixture to
2lass plates, and, indeed, backing generally, involves more trouble than
the ordinary amateur cares to expend. There is a species of ever
moist rubber solution, I think it is, which, when spread upon a
cardboard support, I have used for attaching large films to when
exposing such in the camera, and it has occurred to me that possibly
the use of such cards, coated with the rubber medium in question,
might answer for the purpose, especially if it proved to be readily
detachable from the glass. I presume j^erfect optical contact could be
obtained. The coated cards, of course, could be used again and again.
J. H. HoPwooD, Ph.D.
IS THE PRESENT CONSTRUCTION OF PH0T0GR.4.PHIC
STUDIOS WRONG IN PRINCIPLE ?
[London and Provincial Photo^apbic AsBOciatlun.3
In the construction of photographic studios, whenever possible, the
chief light is obtained from the north, and the studio is principally
trlazed on the northern side : by this method direct sunlight is cut off
from the sitter and steady illumination is obtained. Hence the light
most used by photographers is that reflected by the particles floating
in the air, for, if no particles were there to throw back the light of the
sun, we should have the black sky sometimes witnessed in the Alps
when the air is extremely dry, and then might almost as well use the
light reflected by an unglazed blackboard. It is the same with the
ea. Within a few miles of the shore we get different shades of green
which grow clearer as the land is left behind ; but farther out the sea
appears of a dark indigo colour, because of the scarcity of floating
particles to reflect light to the eye. If, then. Professor Tyndall's plan
be tried of puttmg a particle of large size into the sea, by flinging a
white dinner plate overboard, that particle reflects green light to the
eye as it sinks, and would do the same were it broken into myriads of
smaller pieces.
Before coming to the practical part of the subject, it is necessary
to consider the nature of our reflecting screen in the northen* sky.
The floating particles in the air of towns consist of minute drops of
water, innumerable spores of small seeds, greasy coal smoke, frag-
ments of dried horse dung, influenza and other germs, and dirt of
endless varieties, including dust from meteoric stones rendered incan-
descent by friction when entering our atmosphere at planetaiy
velocities. These solid particles favour the precipitation^ of water, so
also in a still greater degi-ee does the sulphurous acid given off from
our coal fires. These aggregated varieties of floating dirt are to some
extent rendered visible when a beam of sunshine is reflected by them,
so as to mark its track when the beam enters a dark cellar through a
hole in a shutter; we also see them floating in the light coming from
the projection lenses of the magic lantern, and we swallow them
wholesale with every breath of air which we take into our lungs.
These dirty particles, then, form our reflecting screen in the sky to the
north of the studio.
Sometimes we get a better reflecting screen, consequently more
light in the studio, when cumulus or other clouds in the north are
illuminated by the sun. This improvement is but partial, because the
clouds present also portions of their shadow sides, and do not cover
the whole of the northern area in view.
The question I now wish to raise among those present who know
so much more about glass studios than myself, who am not the happy
possessor of one of them, is whether it would not be better to abolish
the floating dirt reflector and diffuser — to abolish even the floating
cloud, and to provide a cloud of our own which shall be always there,
which shall present to the eye no shadow worth mentioning, and
shall be of a pure white. I mean a whitewashed wall, for experience
with the lantern has already demonstrated that, as a dead-white
reflector and diffuser of light, nothing excels common whitewash.
Supposing these ideas to be correct, the result is that we shall have
to build studios with a southern aspect, glazed high up on their
southern sides. The accompanying
diagram will shov,' what is in-
tended, for verbal descriptions of
mechanically constructed objects are
hable to confuse both listeners and
readers, unless illustrated by draw-
ings to show exactly whac is meant.
The suggested stuios will be high
in proportion to their breadth ; for
instance, let A B be the end of a
little studio twelve feet wide, then
the whitewashed wall, W B, say, of
an adjoining building should per-
haps be twenty -four feet high.
The southern side of the studio is
boarded up, except for special pur-
poses, to a height, A K, of, say, ten
to twelve feet all along the side, and
the glazed portions are at K N \V.
Thus, the rays of the sun entering
■" * '' the studio in the direction indicated
by the arrows fall upon our artificial
cloud or whitewashed wall, W B, which wall under the circumstances
then gives the chief light for the illumination of the sitter at H.
Into minor details it is not necessary to enter. Of course, the
studio, as at present, will have to be boarded at the opposite ends,
also along the roof, N W, and the side, N K, for a short distance from
the ends. Bhnds for regulating the major light should be of neutral
or dark tint, ancl movable along the face of the wall, W B : blinds
also af the glazed portion of the studio will be necessary. Incidentally,
it may be pointed out that, if A be a garden wall with a street on the
southern side at R, that wall can be raised to K, and a good studio
built at A B without enabling boys in the street to make remarks for
the calming of the minds of the sitters, for street boys not being ten
or twelve feet high in these latitudes will be unable to see into the
studio. It would be diflicultto build upon the ground a good present-
day studio if there were a brick wall and street to the south and a
high house to the north. If the glazed roof had the pitch K W, the
suggested studio of the future might do nearly as well, and would
shoot off snow capitally. This kind of lighting might also he obtained
' ,.•■'
N
/
,.C
K
n
o
May 19. ISJI)
THE BRITISH JOURNAL OF PHOTOGRAPHY.
311
by buiUin); a studio of the usual Noah's ark shape, and takinj? the
chief working light from the whitewashed side of a dwelling-house to
the north ; but. in the preferable lean-to studio pictured, a lower roof
and a whit.'washed house-wall outside and above it would not give as
good lighting, because the light from the outside wall woulil fall
upon the glass roof at such a grazing angle as to be largely reflected
off outside without enterin? the studio at all. The boarded side, K A,
mi:;lit be made of largo sliding partitions, to be pushed back into the
two ends of the studio, and then expose a glazed surface so as to take
direct light in from the south upon those winter days during which
the photographer is glad of any light he can get.
Peradventure those portrait photographers, who hare taken special
notice of the extent to which exposures are shortened when the
northern sky is tilled with clouds illuminated by the sun, may be
able to make some kind of guess as to the extent to which studios of
the kind now suggested may expedite exposures, and lengthen the
average photographic working day, remembering also that the white-
washed wall presents a more uniform white surface than do masses
of cloud. In the remarkable weather we have had for the last six
■weeks of almost unbroken sunshine, I have noticed that there have
been scarcely anv bright clouds, at least within a circle of a mile
or two of the Crystal Palace, for, being engaged in some new
investigations in relation to gelatine emulsions, I have specially
noticed the absence of clouds when I was frequently out of doors
trying plates. Had portrait photographers had a white wall to the
north", instead of the grey haze of an average cloudless London
sky, they would have received even better light in the studio than
during April last. Some comparative experiments on the light from
a northern sky and the light from a northern whitewashed wall, made
with the sensitometer of Mr. J. B. Spurge, of London, which is one of
the most accurate standard instruments we possess in photoeraphy,
would be exceedingly useful. They should extend over a considerable
length of time, and be made under different conditions of weather and
elevation of the sun.
Having raised the major question before you — who know so much
more practically about glass studios than myself — whether photo-
graphic glass-houses should not be glazed on the south instead of the
north, and have an artificial reflector and diffuser, it is not desirable
to-night to go into minor details about studios. Many of those in
existence are too short : there are reasons in portraiture as in land-
scape work why more pleasing results can be obtained by using lenses
of longer focus than those usually employed ; in fact, if a photographer
had light enough, and a studio long enough, there is much to be said
in favour of his using single combination lenses of long focus for
portraiture. Supposing the studio to be built of glass and wood, there
is much to be said in favour of malcing its walls and roof double with
an air space between : it would be much warmer in winter and would
economise fuel. Some studios are built in this way in St. Petersburg.
There are considerable advantages in the use of iron instead of wooden
frames for glaiing. The developing room should not be a small death-
trap, but. when possible, a good-sized room in the adjoining dwelling-
house, and fitted up as a laboratory. When, however, it is built as
part of the studio, it should be a large room at the opposite end to
that occupied by the sitter, and the door should so open that the
camera can be used from inside the developing room, when it is de-
sirable to place it at an exceptionally long distance from the person
to be photographed. All these, however,are matters which have been
previously publicly considered : but the major problem mooted in this
paper is new so far as I know, and I have recently made some search
into the Uterature relating to glass studios. In photography it is
■dangerous to say that anything is new, Whether the problem before
us is or is not new matters little so long as in the discussion it brings
forth from your stores of knowledge some information which will be
useful to the photographer. W. II. Hahrison.
PHOTOGUAPHY WITHOUT .\.N OBJECTIVE.
The great advance which has taken place in the manufacture of
sensitised films, and the enormous increase in their sensibility to light
energy ha.s now brought photography without an objective within
the sphere of practical work, and at this time it may prove interesting
to note the real position of this method for obtaining photographic
images.
It will be found that the present literature on the subject is very
meagre, and that the accounts of the experiments are so conflicting as
to be unreliable.
Experimenters have found that, with large a^iertures, some positions
•of the sensitised recipient surface in the camera are better than
others, and formula; nave been published, mi theories kave been
(propounded, on account of this fact.
The best known formula) are as follows : — Lord Rayleigh gives
/=(■>,•-/■) where /is the least distance of good deflnition, r the radius
of the aperture, -i the wave length of O = 0-(XXHJ17 inch.
A Frenchman, Captain Colson, also derives a constant from a wave-
length ; the constant is O'OOOSl on the metric scale, and his formula,
d- = 0(M)8l F, where d is the diameter of the aperture and F the
least distance of good definition. This formula means that nine-
tenths of a millimetre aperture has the least distance of good deflnition
at one metre distance..
J.-
Mr, Dallmeyer gives the formula 6"= , where 6 is the least distance
in inches for good definition, and ^ the wave-length 0=0-000017
inch, and r the radius of the aperture.
Captain Abney gives 2 .Jl b, or, in other terms, the square root of
the distance from the hole, multiplied by the constant 'OOS, gives the
diameter in inches of the aperture which will give the best definition.
The theory propounded by both Captain Colson and Captain Abney
is the same ; viz., that the wave-phase from the edge first meets the
wave from the centre of the aperture in equal phase at the focus ; the
misfortune Ls, that the formulae based on that theory by these two
gentlemen are not in accord, as the latter gives the focus about one-
half that of the former.
Another view held by some experimenters is, that if with larger
apertures a shorter focus be taken than the one given by their formula,
then each point of the object makes an image on the recipient
surface, which has the same shape as the aperture. What I have
found is as follows: —
1. All large apertures give soft pictures ; small apertures, sharp
pictures, regardless of the focus employed. An aperture of one-
thirtieth of an inch will give just as good a ])icture at thirty-two inches,
at sixteen inches, at eight inches, at four inches, at two inches focus,
and where discs appear in the negative they have much more to do
with the illumination of the object than they have to do with the short
focus, as they appear like cone shadows. An aperture of one-
three-hundredth of an inch will give a sharp image at any focus.
•2, The photographic energy passing tlirough an aperture is eight
times gi-eater than passes through a lens having a stop the same size
as the aperture.
3. The exposure required for ordinary plates can be worked out
from the datum, that where the focus is sixty-four times the diameter
of the aperture the time is one second.
4. The experimental evidence is rather in favour of there being an
infinite number of foci through an aperture: but,if the large apertures
have distinct foci, it almost follows that the small apertures must
have the same.
.5. Apertures above thiee-sLxteenths of an inch in diameter do not
produce photographic images in a camera ; an aperture of one-eighth
of an incn appears to be in the border-land between holes which will
produce images and those which will not do so.
(i. The distance of the object from the aperture does not appear to
have any influence on the definition or the focus.
The only theory which will embrace these experiments is the sup-
position that when the light energy from the object grazes the edge
of a suitable aperture, then the whole vibrations undergo a change of
direction, because the edge of the hole becomes a new source of
vibration. In otlier words, the infinite number of molecules on the
edae of the aperture take up the vibrations, and they form new
centres, from which the vibrations of the light are transmitted on to
the recipient surface in the camera.
It is not difficult to imagine the result which will follow this idea.
The edge of the hole for all practical purpo.«es becomes the object, as
it is imagined to be the source from wliich all ethereal vibrations
emanate to the .sensitive plate. If the longe.st focus could be a.-cer-
tained by direct experiment, it would follow as a consequence that
another focus will be found at I, ^, j, i, and so on of that distanc-.
As the number of axes of vibration are considered to be infinite, nii
that account the number of foci may also be considered infinite. .\^
long distances the foci are remote one from the other, but as th^
distance between the plate and the aperture is approached, the foci
become nearer and nearer to each other, until the point is reac'ie,!
where the foci follow each other so closely as to escape observuii"' .
If there is any truth in this theory, it is evident the value of :hi<
method of photography must depend on the accuracy with whicli 1 1>.-
edge of the hole is drilled and upon its perfect circular form. Here-
tofore little care has been bestowed on apertures, and the designs "f
most are faulty. For example, it would be almost impossible to get
a perfect image through a cylindrical or conical hole, the liability if
disturbances from otner surfaces or edges is too great. As our
appliances for drilling holes is improved, the time may be reached
when a perfectly circular aperture of one-thousandth of an inch
312
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 10, 189a
may be made, and a hole that size would become the best optical
contrivance for enlargements.
The skilful use of apertures will enable artists to select any descrip-
tion of texture for their subjects, and the skilful use of foci any
system of illuminating the field of their pictures.
To give a practical illustration of the views expressed in this paper,
the writer has put in the market a quarter-plate camera fitted
with two accurately drilled holes, the one aperture to give a soft
picture on ordinary plates in one second, the other a sharp picture in
sixteen seconds ; and yet the focus is only two inches for both
apertures. The result of this contrivance is that now, instead
of using a magazine eameia or dark slides, all that has to be done is
to pack six, twelve, eighteen, or twenty-four cameras into a satchel,
and to use a separate camera for each picture. The cameras are so
light that nine cameras only weigh two pounds, and twelve cameras
pack into the ordinary satchel for a camera. There is no machinery
to go wrong, and the plates are in no way disturbed until they are fit
to be developed in the dark room.
The only requirement these cameras cannot yet fulfil is instantaneous
pictures ; the time, however, may arise when plates are so sensitive
that even instantaneous images will be within the reach of cameras
without an objective. Arch"- C. Ponton.
PRACTICAL REMARKS ON PHOTOGRAPHING
DIFFICULT INTERIORS.
Perhaps there is no class of subject that offers so many and widely
different conditions in respect of photography as interiors, for be-
tween the well-lighted drawing-room or public hall, and dark vault
where little, and indeed it frequently happens, not a ray of daylight
penetrates, there is a very wide difference indeed.
The remarks which I am about to offer are the outcome of much
close study and practical experience derived from an intimate associa-
tion with the various classes of subjects I shall refer to, and embrace
cases where it was only possible to use artificial light on account of
the entire absence of light.
One of the most commonly met with kind of interiors, especially
on the part of amateur workers, is that of an ordinary drawing-room
or other similar apartment in a private house. With many workers
the photography of such is looked upon as an undertaking entailing
little or no difficulty ; it is so easy to run the blinds to the top of the
window, place the camera in the position that will enable the utmost
amount of view to be embodied in the picture, expose long enough,
and there you have it. In nearly nine cases out of ten these subjects
are photographed without due regard being given to the best method
of lighting the room.
An idea prevails to a very large extent that it is necessary to flood
the room with the utmost amount of light possible. Therefore the
blinds are run up to their utmost extent, and the time of day selected
when the greatest amount of direct light enters the apartment, there
being no thought given to the employment of what is really theproper
quality of light to employ.
I do not wish it understood that I am in any way advocating the
•employment of a poor or deficient quantify of fight ; quite the reverse.
The more light any one can command, the better, but it must be of
the proper quality, a.ni this, to a verv large extent, is a bright diffused
light.
A very interesting operation for any one desirous of experimenting
in this class of photography is the following : — Arrange any well-
lighted room, and expose a plate upon it with the blinds run up to the
top, so that the utmost amount of light floods the apartment, develop,
and print the result. Afterwards expose another plate, with this
difference, that thin muslin blinds are hung over the entire window or
windows, so that every ray of light entering the room passes through
the muslin ; expose, develop, print, and mark the difference in the
results obtained. It certainly will be instructive to any one who has
not previously studied or become aware of the difference in results
obtained by diffused light.
_ In some cases it may be desirous to allow a short duration of direct
light to enter the room during the exposure, so as to gain a certain
amount of force in the high lights, but this is easily accomplished by
capping and uncapping the lens, and removing the muslin from the
window a short time previous to the conclusion of the exposure.
The first efsential, however, is the employment of the proper quality
wnd quantity of light.
Another error frequently seen in this kind of work is the over-
crowding of too many articles of furniture into the room. 1 of.en
think were as much pains taken to see hoxo muvh could he done without
as is generally taken to cram into the room, better results would be
obtained. In this there is a very wide field for the exercise of good
if indeed not artistic, taste, and it is a part of the undertaking that
always enlists the attention of the ladies of a household, for they
invariably like to be consulted in such matters. As a rule, however,
I think it will be found they nearly all fall into this same error of
crowding too many ornaments and other articles of furniture into the
room ; this may not be so very noticeable to the eye at the time when
photographing, but after the negative is printed it becomes more
apparent in the picture, and then will be seen how much better it
would have been had such and such an article not been here and
there, and so forth, the result being, try again.
Next to taking a picture of one's drawing-room, the amateur worker
will be found to have a weakness for securing a picture of the interior
of his church, and to a very great extent the remarks I have made
regarding the employment of the proper quality of light will apply
to this class of subject also, only with this difference, tliat it is almost
impossible to resort to any means of acquiring an artificial diffusion
of light, and hence exposures are made very probably with the sun's
rays streaming through some of the windows, the results being by
no means as good as they might be. Let any one carefully note the
great difference in appearance which the interior of such a building
as a church presents under the following aspects, viz., when no sun-
light enters, but the sky is full of white fleecy clouds, and then note
the change that suddenly arises when the sun shines strongly in
through the windows.
In the former case, with a bright, diffused sky lighting up the
interior, every minute detail will be observed even in what is con-
sidered the dark corners of the edifice; the moment, however, the
sunlight comes streaming in, all this suddenly changes, the dark
corners appear ten times darker, and muci that was noticeable to the
eye before has now disappeared, and nothing but violent contrasts
prevail.
This is a state of matters that any one can easily see without much
trouble, and it stands to reason therefore that sunlight should be
avoided, and such times chosen for doing the work when the skv is
full of bright, fleecy clouds ; and, should the sun come out during the
exposure, the lens should be shut off by placing in the cap until it is
obscured again with clouds. If we cannot in such eases assist matters
by artificial diffusion, we can at least by the exercise of untiring
patience bring to our aid Nature's own method of ditlusing light.
In landscape and many other outdoor branches of photography
sunlight is a siyie-qud non, but for interior work the photographers'
sheet-anchor is undoubtedly a bright diffuse! light.
Passing from such subjects as well-lighted rooms, churches, and
public edifices, we are often brought face to face with interiors of a
totally different kind, such as badly or indifferently lighted workshops,
engine-shops, ships' cabins, and suchlike, where the amount of light
at command is very small and gives no end of trouble.
Quite recently I have taken a series of views of the interior of the
magnificent new Atlantic arreyhound, the Campania, and can speak
from experience of the difficulty attending the getting of good results
in confined and cramped positions, and in many instances where the
subjects are lighted by means of port lights only. Nevertheless, by the
exercise of thought and patience, much that at first sight appears an
almost insurmountable difficulty will to a great extent be overcome.
In engine shops there is generally a need for some preliminary
arrangements being made so as to secure the best results. These,
most likely, will embrace the covering up of some unwelcome window,
and in other cases the colouring of some parts of the machinery with
a suitable tint, also the toning down of any very bright portions of
the engine or machine that is being photographed. Although, in one
sense, machinery does not come under the category of interior work,
still in numerous cases operators are called upon to photograph
engines, machine-", and other heavy portions of work in the positions
thev occupy before being taken to pieces or removed.
In cases where such are placed in close proximity to a large window
or sliding door, a very great difference will be exneriencd in the
time of expo-ure neces.sarv as against the time taken of an entire
interior. I have known oa^es where the whole interior required a
day's exposure, and a machin-* placed somewhat close to a large side
window of the shop was well exposed in ten minutes. There is a
very wide rantre for thought in this kind of work, and a practi al
experience of this class of photography is of great value, differing as
it does in a great measure from ordinary studio work.
From badly lighted interiors to interiors where no daylight enters
at all is the next step down the ladder, and in this class of work may
be mentioned bonded stores, warehouses situnted under railway
arches, underground workings, &c. T. N. Ahmsteo.no.
.May 19, 1893]
THE BRITISH JODRNAL OF PHOTOGRAPHY.
313
SELECTIONS.
[Holborn Camera Clnb.]
The title I have chosen for my paper seems to me to permit a little
wandering abont from subject to subject, without inferring an obligation
to limit myself to any particular thing, or to bore you by harping on
some process or other that would of necessity bo more or less stale.
My first selection is to touch on the errors of omission and com-
mission often indulged in by photographers, not from the lofty -stand-
point of assumed perfection, but rather from that of one who has
muddled and messed about in the sloughs of photographic despair,
sometimes getting out, but sometimes sticking fast until the friendly
help of a brother photographer has landed him on solid ground. There
s no disputing that most of us arc, or fancy we are, artistically inclined,
or we should not select photography for a hobby, an amusement in
which genuine success chieily depends on artistic ability. Whether we
become successful photographers or not is determined by the amount
of scrupulous attention we give to trifling details, iiiiided by artistic
iii-^tinct, or whether we look at the thins^ as only an interesting mechanico-
•chemical process, whose ultimate result i-i a so-called pretty-looking
negative. There is a gulf between the two ultimates too wide to be
bridged over.
Just recently an energetic controversialist has denied our right to the
■name of artist, and repudiates in big letters the very idea of photography
■being an art, fine or otherwise. For the sake of argument, we will
lassume that photography is an art, and that any of us who succeed in
making good pictures, however artfully, are artists. This brings me to
talk about the things we do, and those we leave undone in this con-
nexion. Since I had the pleasure of last addressing you, I have had the
opportunity of seeing much photography by those who take it up for
amusement rather than profit, and must confess I am surprised at the
small percentage of those who make the best of their negatives.
JuDicioi's Doctoring of Negatives.
Many very clever manipulators are content to print their negatives
jutt as tliey come, and it is not till one puts the finger on such-and-such
■effects, and asks, " ^Vhy this ? " that they perceive there might be some
improvement in the direction indicated. The two most striking delin-
■quencies are under-exposure and blank spaces, where there ought to be
clouds. The universal desire for rapidity in securing representations of
moving objects induces under-exposure and all the evils that follow in its
train. An under-exposed neiiative will never make a perfect print, although
very often much better results might be secured by judicious doctoring
than by printing the negative in its untouched condition. Of the various
methods of doing so, some are as follows :— In the first place, make a
rough print (which, by the bye, is a much better guide than the negative
itself, which is apt to give wrong ideas of its printing capacity), and
notice especially those parts in which increased or reduced density would
be an improvement, or where masses of shade are broken up by small
points of light that would be much better absent.
The method to be chosen for treatment depends entirely on the sub-
ject. The proof may show that the high lights throiighottt are a little
too dense ; this indicates treatment with a weak reducing agent in the
bath form, or too weak, requiring additional density, or it may show only
portions that would be better for reduction, made by local action
chemically or mechanically by rubbing down with spirit. The objection-
able points of light may be removed by a sharp-pointed knife. We now
cover the back of the negative with tracing paper — " papier mineral " is
the best— cutting away the paper over the too dense portions, and work-
ing on the darker parts with lead pencil, and strengthening .the. lights on
them where it would be an advantage— sometimes merely rubbing a little
black lead over front or back with the finger's end— will be found useful
to generally reduce a shadow. I have now alluded to some of the different
means in general use for improving a negative. An apparently good
negative might not probably require all this doing to it, but one or other
of the plans might effect an improvement on nearly all the negatives that
are made. Sometimes a mere touch or two of pencil on the highest lights
on the film side will make a considerable addition to the brilliancy and
scalj of tone in the picture, and sometimes covering up one part, whilst
another continues printing, will woik wonders.
A Word on Two about Papeijs.
Now a word or two about papers. I find negatives that are nnexcep-
tionally good for albamen-paper printmg much too strong for the best
results on the gelatino-chloride papers, that seem to be fast oupeiseding
our old acquaintance, albumen. Of what kind a negative should he as
regards density ii undoubtedly regulated by the surface upon which it is
intended to print it. With th-) pelatino-chloride papers onr old-fashioned
ideas of a good negative seem to bo somewhat np«et, a very much flatt«r,
thinner cUcIik being required. One that with ordinary silver printing on
albumen paper wonld only produce a poor, insipid result seems to be most
suitable. With gelatine dry plates there is, undoubtedly, a large percentage
of flat, muddy-looking negatives made, quite useless for producing good
results by the old processes, but with the new they make excellent pictures.
The print I now pass round was from a flat, over-expo^ed-looking nega-
tive, and one I should certainly have discarded for albnmen-paper print-
ing, but which comes out very fair on the gelatine paper, so much so
that the question is. Ought we to make our negatives to suit the new
paper as a regular thing, and at once and for all give up the standard of
"wet-plate negative" as the ne plus ultra of perfection? At any rate
gelatine paper puts pretty negatives at a discount. If no particular faults
develop in this kind of paper by keeping (and I see no reason why there
should), we may congratulate ourselves on a very valuable addition to our
material, as by its means we certainly secure a better exposition of the
delicate detail of a negative than was possible with the best albumenised
paper, unless it was enamelled with collodion and gelatine afterwards,
and even there I think the new paper has an advantage. I have experi-
enced some little difficulty in mounting the prints when a fairly large
batch has to be dealt with. I, possibly, have not found the best way of
sotting about it, not having had much practice with this class of paper.
With all the collodion-surfaced papers I have tried there is considerable
trouble to manipulate; their curling propensities, when wetted, are simply
abominable. They may, however, vary somewhat, according to their manu-
facture. Perhaps they do, but the samples I happen to have tried as soon
as they are wetted turn from prints into cylinders, and keep so unless
forcibly held open, so that toning or working with any degree of satisfac-
tion is out of the question. A good collodio-chloride print should, I
imagine, be most permanent, if we may hazard an opinion from the
behaviour of other collodion surfaces, although from time to time doubts
have been expressed to the contrary. Gelatine papers do not curl, but
suffer all the treatment of toning, fixing, and washing with the greatest
pliability. Whether an abnormally hot summer will introduce diffi-
culties remains to be proved.
Spectacle Lenses.
The last time I had the pleasure of addressing you, the topic was, I
believe, on spectacle lenses as used for photography. Since then I have
constructed several other combinations of varying foci, and really, for all
ordinary work not necessitating rapidity, nothing could be better. Depth
of definition, rectilinearity of lines, and covering power seem, as far as I
can judge, equal to any orthodox lens. In spectacle combinations intended
for wide-angle work I fancy there is less apparent distortion than in the
orthodox form. Why I cannot say. Take, for example, cylindrical
objects ; there seems to be less disposition to the oval form if situated at
the margin of the plate ; not that it is quite absent, but that there is less
of it ; also, objects in the near foreground and near to the lens are not
rendered so large in proportion to the rest of the picture. These prints I
pass round will illustrate my meaning. In the interiors the nearest
objects shown were not more than five measured feet away from the lens,
and in the church view the tomb in the foreground was about nine or ten
feet away. Now, with an ordinary wide-angle lens in the same position,
I fancy the perspective would appear much more violent, also the lines
forming the upper angle of the tower would be more acute, for the camera
was tilted, the lens pushed up high as it would go, and swing back used.
Still, with all this, the picture has to me more the effect of being
taken with a narrow-angle lens removed to a greater distance. This, I
must confess, is not at all a scientific or convincing method of argument;
but, as I had no other lens at hand to test the accuracy of my impres-
sions, I give you them for wliat they are worth. The combination was
five and a half inches focus on a whole plate, with a stop one-sixteenth
of an inch in diameter, so you can draw your-own conclusions.
The exposure was about ten or twelve seconds ; but, in the matter of
exposures, I am somewhat of an impressionist, that is, I trust to judg-
ment rather than giving a definite number of seconds, for, with regard to
outdoor work, with all its varying lights, I often do not quite decide
abont an exposure until it is actually taking place, and then may elect to
slightly lengthen or curtail my previous judgment, according to circum-
stances. 1 have found a one-sixteenth of an inch stop the best
working step for all combinations of spectacle lenses, although, with the
long-focus ones, a tenth of an inch is useful. Twelve inches focus and
one-sixteenth stop mikes the working aperture /-Mt2. This seems as if
it would necessitate very long exposure, but in reality ten teoonds on an
llford ordinary plate is ample time in a fair light. The t«o Thames-
tiJe vidws I pass round weie taken under pueh conditions; in fact, less
time would have done, as I foand they diJ not rs'iuire the full amount of
314
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 19, 1893
alkali to bring them up to printing strength, and they developed
rapidly, indicating that with a normal developer they would have been
over-exposed. The advantage of the small stop is getting beautiful defi-
mition all over the plate, and, when an exposure is required of more than
one or two seconds, it matters, I think, very little if it is ten or twenty.
In the old collodion days half a minute was considered an average
exposure on an ordinary landscape, such as these are, and it was often
very much longer, and even then not considered very protracted. I
=am aware that many think the use of an exceptionally small stop preju-
dicial to atmospheric effect, an opinion I cannot altogether endorse, as.
ynth a proportionate exposure, I have in this respect found no falling off,
and I quite believe atmosphere and definition may go hand in hand.
Where it does not, I think the fault may be fairly attributed to under-
•exposure. ^dwabd Dunmobe.
{To he concluded.)
PHYSICAL DEVELOPMENT.
The substitution of bromide of silver -ivithout free nitrate of silver,
and the consequent development of the image from the haloid itself
for iodide, or bromo-iodide of silver with free silver nitrate as the
sensitive material, along -with its accompaniment of development of
the latent imajre, not from the haloid, but from the extraneous silver
nitrate, was undoubtedly the especial point of change when about
twenty-tive years ago the wet-collodion process was gradually dis-
■placed" by the drv-plate process.
In the wet-coliodion process, as well as in Daguerreotype, the silver
deposit which constituted the developed image was not the product
■of a chemical reaction, as is the case in modern photography by the
use of alkaline developers, but originated by a peculiar physical
property of the latent image, called photographic attraction. The
developing agent— in the wet-collodion process the free silver, and in
Daguerreotype the mercury vapour— formed a compound with the
reduction product and not with the unaltered haloid, without altering
the chemical constitution of the former.
But, even in one of the modern photographic processes, the develop-
ment of faintly printed gelatino-chloride printing-out paper, this old
method of physical or molecular development plays a part. In this
process, as well as in the collodio-iodide process, the sensitive film
itself contains the soluble silver salt, which in contact with the exposed
«ilver haloid is reduced by the developer. It may, however, be equally
well added to the developer, especially if the silver salt of the sensitive
film has been exhausted, as, for instance, in the process of intensifying
collodio-iodide plates with silver. If any other suitable sensitiser is
added to the sensitive film, as in the case of the iodide of silver dry
process, the silver nitrate needs to be employed only in the developer.
It is intended by the following lines to draw the attention of the
readers to a number of interesting applications of physical develop-
ment, which, after veiy careful and extensive experiments, have been
described of late by Herr R. Ed. Liesegang, in the Pkotoyraphiache
Jirchiv : —
1. The Emplotjment of Oallate of Silver in the Process of Developing
Gelatino-chloride Printiuff-out Paper. — In developing gelatino-chloride
printing-out paper the excessive silver nitrate can be removed from
the film by washing, when a mixture of the developer, which may
eventually be acidified, with the former can be employed. Upon this
observation the following method, described by Herr Liesegang, is
based : If faintly exposed aristotype paper is freed from the excessive
silver nitrate, and from other soluble compounds by washing in
several changes of water, the image printed on it will develop in a
■concentrated aqueous solution of gallic acid to which a slight quantity
of silver nitrate has been added, equally well as on paper of the same
ikind which is developed without wasliing in plain gallic acid. Whilst,
however, in the ca.se of the latter method the prints are reddish-brown
'before fixing, the washed prints will become intensely black by
■development in the gallate of silver solution. Over the older
method, with plain gallic acid, thi^t new one bus the advantage, that
the deposit formed in the developing solution is considerably flighter.
lyiixtures of sliglitly acidified hydro([uinone, pyrogaliic acid, and of
•other organic developers with silver nitrate will act in a ^like
manner.
2. Acid lJeielo]]er8 fur (Selatino-hromide. — Though, in the gelatino-
tromide dry process, the chemical developing method has been ex-
clusively used hitherto, the exposed gelatino-bromide film may also
be treated with a physical developer, if either a mixture of silver
'nitrate with a developer, which may eventually be acidified, is used,
•or if the plate is treated at first with silver nitrate, and then, without
washing previously, with the developer. If a normally exposed
gelatino-bromide plate is placed in a mixture of —
Hydroquinone (2 per cent, alcoholic solution) . . •") C.c.
Formic acid "^ »
Water • 50 „
Silver nitrate (5 per cent, solution) 5 „
a faint yellowish-brown image will be obtained after eighty minutes.
The developing solution remains perfectly clear. To obtain negatives
of sufficient density it will be necessary to expose the plates from
three to four times longer than those to be treated with a chemical
developer. If in the above formula the acid is omitted, a reduction
of the silver salt of the liquid soon takes place.
As mentioned above, a similar result may be obtained if the plate
is at first placed in the five per cent, silver nitrate solution, and then,
without washing, in the developer. In the case of taking a one-half
per cent, hydroquinone solution as the latter, a brownish-red image
will appear after about half a minute, but afterwards a metallic
powder is precipitated, which, however, does not in the least adhere
to the film of the plate. If acetate of soda is added to the hydro-
quinone solution, red fog will be produced. Silver nitrate mixed with
metol very soon gives an olive-brown image, whilst, if mixed with
para-amidophenol, a yellowish-brown image is produced, development
being, however, slower. Gallic acid with silver nitrate does not at
all develop, and with amidol at once red staining of the film is pro-
duced, together with a considerable precipitate in the liquid.
:3. Developing the Plates after Fixing.— It a gelatino-bromide film
which has been exposed to light is fixed, the sub-bromide of sdver is
very likely decomposed to bromide and metallic silver: but, in a
normally exposed gelatine film, the contents of metallic silver are so
slight that, after fixing, not the least darkening at the exposed parts
will be visible. With nascent silver the molecules may, however, be
rendered considerably larger, and the image becomes then visible. _
If a gelatino-bromide plate which has been normally exposed w
the camera is placed in a solution of hyposulphite of soda and, after
fixing and well washing, treated at first with a ten per cent, solution
of silver nitrate, then, without washing, with a developer consisting
of hydroquinone and sodium acetate, a blue to bluish-violet image of
slight intensity will be developed in the latter solution. The process
after fixing mav be carried on at daylight. I'ara-amidophenol, metol,
or pyrogaliic acid, may be substituted for the hydroquinone developer,
or silver nitrate and hydroquinone may be mixed to a single bath if
the latter be slightly acidified.
4. Intensfi/inij Negatives hy Acid Development .—Ji a sensitive him
which has been exposed in the camera is treated with nascent silver,
the latter is precipitated not only on the exposed silver haloid but
also on finely divided metallic silver in absence of halogen silver.
For this reason it will be possible to intensify a gelatine negative
with a physical developer by separate treatment witli silver nitrate
and gallic acid, or hydroquinone, &o. The separate employment of
silver nitrate and developer has the advantage over a mixture of the
two, that in the case of the former substances may be added by
which the keeping qualities of the developer are improved, for
instance, sodium 'sulphite, and also substances by which the process
is accelerated, for instance, sodium acetate. The following method
has been used by Herr Liesegang:— , , j , , j
The gelatine negative is very thoroughly washed and then placed
in a five to ten per cent, silver nitrate sollition. After a few_ minutes
it is tran-sferred, without washing previously, in a diluted mixture of
hydroquinone with sodium acetate, known as " aristogen :"—
Hydroquinone (" per cent, alcoholic solution). . 4 c.c.
Sodium acetate (15 per cent, solution) -8 „
Water 60 „
and allowed to remain until it has acquired the desired density. It it
well to place it finally in a solution of hypo. Other organic deve-
lopers, in plain solutions or mixed with sodium acetate, maybe sub-
stituted for the above hydroquinone developer. The intensihcation
which may be obtained by tliis method is said not to be as consider-
able as with bromide of copper and silver nitrate.
6. Intensifying Fi.ied Pnn''.<.— According to the same principle as
described sub i, also fixed prints on various printing-out papers may
be intensified after fixing by physical development. It makes no
difference wlietlier they have" been toned or not : but it is, of course,
necessary to wa.sh the'm previously verv thoroughly, ■•^ince the least
trace of hypo in the film causes yellow" fog. The following experi-
ment has been made by Herr Liesegang :—
A finished print on aristotype paper was placed in an aqueous solu-
tion of hydroquinone, citric" acid, and silver nitrate. The t^opor-
tonsof these substances are of no importance; however, a suthcient
May 10, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
.'{15
Quantitv of acid sliould bo presont, to prevent the reaction betwoon
she hyciroquinone and tho silver salt. At first no intensification of
the print took place, on account of the fact that no precipitate of
silver was produced in the liquid ; but, as soon as a few drops of
ammonia were added, so as to render tho bath just neutral, a slight
precipitate of silver was formed, and, at the same time, intensifica-
tion of tho image took place. If the latter was not sufficient, a few
drops more of ammonia were added. In this way the prints may be
strengthened to any degree. For hydroquinone all the other silver
intensifiers may bo "substituted. It is necessary that previouslv to
the above treatment the prints, especially those on gelatine-emulsion
papers, should be well soaked in water, in order to prevent the silver
deposit adhering to the film. In adding tho liquid ammonia, care
should be taken that it does not drop directly on tho print, because it
would otherwise produce yellow spots.
0. The Application of I'ltyiical Development, to Various Other
Surfttce.f. — I*"rom the experiment described sub 5, it will be seen
that not only tlie silver molecules have the property to attract the
nascent silver of the developing liquid, for in the case of a toned
and fixed print, which therefore contains no more silver haloid, the
gold has the same function as the silver. In like manner, in a freshly
prepared mixture of silver nitrate with a suitable developer a purely
physical intensification will take place : —
(a.) Of finished chloride of silver positives in which gold, platinum,
osmium, iridium, and other precious metals have been substituted for
silver.
(6.) Of nnished platinotype prints, carbon prints, Woodbnrytypes,
of prints obtained by the powder process, and of similar prints, pro-
vided that no greasy substance has been employed in combination
with the pigment, as in collotypes, letterpress prints, &c.
(c.) On glass, celluloid, ebonite, and on several other substances
the silver is deposited, if they have previously been freed from the gas'
or water atmosphere condensed on them.
7. Intensifying Finished Platinufi/pes. — As mentioned above,
mh fi b, tinished platinum prints may be sutcessfully intensified by
the application of physical development. The print, after being
wetted with water, is placed in a mixture of—
Aristogen (see above, sjib 4) 10 parts.
Citric acid (2 per cent, solution^ 5 „
Water 130 „
to which, just before use, ten parts of a five per cent, nitrate solu-
tion have been added. After a few minutes finely divided metallic
silver will be precipitated in the liquid, which, however, does not
alter the qualities of the bath. The platinotype will very soon gain
in density, and at the same time it turns intensely brownish-red,
the whites remaining perfectly clear. The precipitate of the bath
will adhere to tlie paper only in cases where the print has not pre-
viously been moistened with water. Afterwards the print is treated
either with hypo or with any combined toning and fixing bath. In
fixing, the brownish-red tone of the print is preserved, though it wQl
be reduced to some degree. With the toning and fixing bath the
colour of platinum is nearly obtained. Instead of aristogen, para-
amidophenol, pyrogallic acid, metol, and other developers may be em-
ploved, if they are previously rather strongly acidified. With pyro-
gallic acid the black silver modification will be obtained in place of
the brownish-red one.
8. Siheriny Glass. — By aid of a quite freshly prepared, still per-
fectly clear mixture of slightly acidified pyrogallic acid, or of para-
amidophenol, aristogen, &c.,with silver nitrate the silvering of glass is
a matter of great simpUcity, provided that the surface has been pre-
viously freed from the adhering gas or water atmosphere by rubbing
it vigorously with alcohol or ether. Tlie glass surface will then be
covered in a few minutes with a thin layer of tightly adhering silver.
Should the thickness of layer be not sufficient, pyrogallic acid or para-
amidophenol, aristogen, &c., respectively, and then silver nitrate
solution should be added alternatively. The experiment will be still
more successful if the glass surface is at first poured over with the con-
centrated alcoholic aristogen solution, as it is sold by the manufacturers,
and then, after the excessive liquid has been allowed to drain, placed
in a diluted aqueous solution of silver nitrate. For the aristogen
strong alcoholic solutions of other developers may be employed. The
silver deposit is produced within a few minutes.
The glass may be equally well silvered if it is at first moistened
with an alcoholic solution of silver nitrate, and then placed in a
diluted developer; for instance, in aristogen 1 part, water 12 parts.
The operation, as a rule, must be repeated in order to obtain a
sufficiently intensive deposit.
In conclusion, it may be mentioned that Herr R. Ed. Liesegang
gives the following explanation with regard to the action of the
physical developers :— Soon after the pyrogallic acid, or the para-amido-
phenol, metol, &c., has been mixed with the silver nitrate, the silver
IS suspended in the liquid in the finest state of division. The result
is not a solution as it is generally understood, but a kind of emulsion.
The portion of the liquid which encloses the single particles wUl,
however, not be able to perfectly separate the silver molecules, the
power of the latter for uniting themselves being greater than the
adherence with the liquid atmosphere. Consequently, the silver
particles unite to form larger particles. Hkbua.vn Schnausb.
A KEW TELE-PHOTO LENS.
OcB attention has been specially drawn to a new lens of the " tele-photo "
(lennx just received by Messrs. George Houghton & Sons, 99, HigH
Holborn, W.C, and we have before us quite a number of views that have
been taken by its agency. Having been afforded an opportunity of
examining the lens in question, we are enabled to give the following
description, aided by the drawing underneath.
wosswtmw^
TELE-OBJECTIF PANORTHOSCOPIQUE
— PARIS —
U'
In the first place, there is what seems to us a well-made "rapid
rectilinear," eight inches in focus, fitted with iris diaphragm, and which,
when unscrewed and used alone, fits the flange, A, of the tele-photo
system screwed on the camera front. This lens covers a half-plate to the
corners, judging from a specimen of its work sent us. When screwed
into the outer flange, C, of the tube (which is four inches long), carrying
at its nearer end that which is next the camera, the tele-photo system is
now complete. The image on thelfocussing screen is seen magnified
up to eight times ; but, by operating a rack and pinion, the concave lens
B, can be brought nearer to or farther from the rectilinear lens in front,
and can thereby be made to increase or diminish the telescopic effect to
the desired extent.
In the views submitted to show its various powers, there is, first, a
print from a negative by the rapid rectilinear alone, and this, we may
say, leaves nothing to be desired as] regards definition. We have next
four other photographs, taken from exactly the same standpoint, showing
degrees of enlargement, respectively three, four, five, and six times that
of the primary picture. These, as they ascend in magnifying power,
show a corresponding increase of detail, ornamental ironwork which is
merely suggested by the original lens now showing its pattern, with very
desirable distinctness ; while distant trees, still more feebly suggested in
the primary picture, are shown individualised in the tele-photo ones.
An engraved scale on the sliding tube which is actuated by the rack
and pinion permits one to see at a glance to what extent tlie camera has
to be extended in order to produce the degree of magnification that is to
be adopted in any special case, and thi3,tin our opinion, is a great con-
venience.
The lenses, of Parisian make, are by the house of Clement A Gilmer
(late Laverne), whose reputation is good. The concave lens, which acts
such an important part in tele-photo combinations, is of the same
diameter as those forming the rapid rectilinear. It is a crossed doable
concave, the deepest curve being to the front, the surface to the back
being concave in only a slight degree. They are all said to be formed of
.Jena glass, and the price (5/. ai. ), which includes the rapid rectilinear,
will be considered strictly moderate.
To magnify three times, the camera requires racking out six and a half
inches ; six times necessitates sixteen inches, and so on, according to the
indications on the scale.
Messrs. Houghton & Sons supply the trade and the public in this,
country.
316
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 19, 1893
BIRMINGHAM PHOTOGRAPHIC SOCIETY'S EXHIBITION.
This Society held its annual Exhibition last week, nearly 400 exhibits
being shown. ,, „,.„. t, i t
In instantaneous work the silver medal fell to Mr. William Rooke for a
Christiania street scene, and Mr. J. P. Heaton, Mr. H. W. Southall, and
Mr T Taylor (Staffordshire) received honourable mention. Mr. J.
Simkins was the medallist, and Mr. J. H. B. Manly is honourably men-
tioned for cloud photographs. For landscapes Mr. H. W. Southall carried
off the chief award with a clever little bit of work— C/ia<«)ur)/ MM. Mr.
W. Jones was the medalUst for enlargements. For portraiture the silver
cup went to Mr. Leeson. Mr. J. Simkins was the medalhst for interior
work, his exhibit being the tomb of SirFulke Greville, in Aloester Church,
honourable mention falling to two productions of Mr. G. F. Lyndon and
to one of Mr. W. T. Greatbach. Mr. Simkins was again the medalhst
for exterior architectural work with a view of the Chapter House, Much
Venlock. He was also honourably mentioned, as was Mr. C. J. Fowler,
who also obtained the chief award in oenre work, Mr. Southall being also
mentioned. In hand-camera work there were only three exhibitors, con-
sequently there was no award. In the seascape exhibits Mr. A. J. Leeson
©ur lElJitorial STatle.
The Mabtial Annals of the City of Yobk.
Bj the Rev. Cassar Caine, F E.G.S. London ; Cbas. J. Clark, 4, Linoolu's-inn-flelds.
As a former A. C. to ILM. troops, York Garrison, the author has had
exceptional opportunities for qualifying himself for the task he has
undertaken, and -which has culminated in this work. The Eboracum
of the Romans, York can boast of having been the residence of a
Roman Emperor, Severus, in a.d. t'08, having dwelt here while hi.v
troops were constructing the great wall of defence across the island.
Foi a long period York was the capital of this country, and it, or its
vicinity, was the scene of several battles. It is gratifying to find that
a historian of Mr. Caine's abilities and powers of research has under-
taken to give in a single volume the succinct and methodically
arranged account of this ancient city, its martial annals, and inci-
dentally its antiquities. It is to be regrett^id that the temples.
was the medallist. Mr. M. H. Chubb was the successful exhibitor both
in the champion class and in that for three prints, any subjects, any size.
Mr. T. Taylor took the bronze medal for the third award in the champion
class, the second not being allotted, while Mr. H. C. Manton took the
corresponding prize in the class for any three prints, Messrs. W. S. Aston
and C. H. Barnsley being honourably mentioned. Mr. William Booke
took the silver medal in the section for photographs not included in the
above classes, with a hoar-frost picture ; Messrs. J. Simkins, P. T. Deakin,
and W. Topham were mentioned. Mr. H. AY. Southall was the medallist
for bromide prints, with a view of the Avon at Cropthome. Mr. E. C.
Middleton was successful in the class in the survey section for three
doorways in Warwickshire, and Mr. E. Underwood, who alone seems to
have understood the object of the class, the medalUst for a nonagenarian
in Warwickshire Peasantry. The last-named gentleman was also success-
ful in another open class in the survey section, while Mr. Middleton
obtained a second medal for a view of Stretton-on-Fosse, in Characteristic
Villai/e .Si-enes. The medal for church windows was not awarded. Mr.
.7. H. Piokard received the medal and two (the only) honourable mentions
in the class for architectural details. Mr. E. C. Middleton added one
more to his successes by securing the medal for lantern slides.
The summer season of the Polytechnic School of Photography will include a
series of lectures by Mr. Horsley Hinton, Mr. Charles W. Gamble, Mr. E.
Howard Farmer, and Mr. Gamble, particulars of which will be found in our
advertisement columns. We are pleased to find the Polytechnic is so popular
as an agency for diffusing a knowledge of photography.
palaces, theatres, and similar publio buildings with which the Romans
adorned their cities, have long ago disappeared, but one cannot take
even a brief walk through this city without realising that he is still in
the presence of antiquity. As a clever and discriminating photo-
grapher, Mr. Caine has most copiously illustrated his book with
the archseological remains, for the possession of which the ancient
city enjoys a proud pre-eminence over every other town andciiyin this
country; and in one or other of the sixty illustrations which embellish
the booif we have tbe most of them. Many of the bars or gates
through which the city was entered are imposing structures, and make
good pictures. This is especially true of Micklegate Bar and Monk
Bar, which present the appearance of high towers on the city walls,
for York is one of the few walled cities now remaining in this
country. In addition to the various bars, Mr. Caine has laid under
contribution all the other subjects of interest, such as the Multangular
Tower, St. Mary's Abbey, Stamford Bridge, Clifford's Tower, and the
Old Baile, the Red Tower, St. Mary's Tower, Marston Moor, Fisher-
gate Postern, &c. Of these Bootham Bar is perhaps not the least in-
teresting, on account of the fine view of the Minster seen in the back-
ground. Of these various illustrations we here present an example,
' the Manor House of King Henry the Eighth, in which Charles
the First resided for a brief period in 1639, a few years before the
battle of Marston Moor, so disastrous to this king. The work is
^ classified into periods, opening witli the Roman Period, from a.d. oO
to A.D. 426, terminating with the Hanoverian Period, from a.d. 1711.
May li', IfsSa]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
817
AMATKI'b's DkVKLOI'ING and To.Vl.Vfi OfTKITS.
Mbssks. Ai^thuu ScHWAnz & Co., of Dashwood Houso, E.G., are
ecndinf; out sets of Dr. Andrt'sen's developing:, fixiiifi:, and toning
cartridires, -which should bo handy for travellers and amateurs. The
boxes include metol cartridges, the contents of which being dissolved
in water form the developer : fixing cartridges: and toning and fixing
cartridges for use with either albumen or chloride papers. Wo
have before spoken of the excellence of these preparations, which in
this form will, no doubt, be welcome to many.
Thk Dai.u^stypk Shakespbabe.
Dnncan C. Dallas, 5, Fumival-stieet.
Of the Dallostype Shakespeare, which is a photographic reproduction
of the famous first folio (IG'-i'J) edition, the complete play of T/ic
Temjiefl has just been published. \Ve have before commended the
excellence of the reproduction, which, when complete, should be much
appreciated by lovers of the national bard. We understand that Mr.
Walter Cmne' is preparing a number of illustrations for the series,
which should make it additionally valuable.
Thb STurio.
16, Henrietta-street, Covcnt Garden, W.O. Monthly, price Qd.
This, the first number of a monthly magazine to be devoted to fine
and applied art, is beautifully got up, printed and illustrated, the
latter being charmingly unconventional, and, in some cases, highly
original in style. Among the illustrated articles are : " Sir Fredericlv
Leighton as a Modeller," " The Growth of Recent Art," " Spitallields'
Brocades," by Mr. Liberty, and "A new Illustrator— Aubrey
Beardsley," whose pecuUarly original style affords Mr. Joseph
Pennell material for a laudatory article. Mr. I'ennell says : " The
criticism of art to-day is merely the individual expression of persons
who mostly know nothing about their subject." His own article is
purely critical.
The Lombehg Dry Plates.
E. Stiepel & Co., 80, Bishopsgate-street Within.
.Samples of the " Lomberg " dry plates having been submitted to us
for trial, we find them of medium rapidity, yielding, with normal
pyro-soda development, images of good quality, cleanness, and density.
Their rapiditv, according to Watkins' system of speed measurement,
is 80°.
RECENT PATENTS.
APPLICATION FOR PATENT
Xo. 9499.—" Improved Hand Camera, by the U.'se of Hexagonal Drum or Box
iu Interior." A. T. Dws.'i.—Dated Maij 12, 1893.
PATENT COMPLETED.
IMPBOX'EMENTS IK APl'ARATirs FOH RkOULATINC PhOTOOBAPHIC SHUTTERS.
Xo. 12,0-211. Hesry Hill, 20, Tradescant-roail, South Lambetli-road, London,
and AKTlluii Lewis Adams, SI, Aldersgate-street, London.— .lMn7 1,
1893.
This invention relates to apparatus for pneumatically regulating the speed or
travel of .shutters for photogniphic purposes, and con.si»ts of a pneumatic
regulating device which can l)e readily adjusted or altered so as to give longer
or shorter exposure as desired.
The pneumatic regulating apparatus according to this invention consists of
an air chamber capable of having its internal area increased or diminished as
desired, by means of an adjusting device secured or affixed to that end or part
fif the appanitus -which is away from, or detached from, any working part of the
shutter, while another part of this air chamber is permanentfy attached to -some
working part of the shutter so tli,Tt the leveroje l)etween it (the air chamljer)
and the spring actuating the shutter is never varied, the regulation Ijeing
obtained according to this invention by varying the size of this air chamber —
and this may lie done in either of the following manners : —
1. A tube (either cylindrical or of other suitable form) closed at one end and
open at the other is permanently connected at its closed en<l to some working
part of the shutter, while its other and open end slides over (or, if desired,
slides into) another tube of corresponding fnrni and length (or the length may
vary), wliich it closely tits, the one working within the other after the manner
ol a plunger.
The outer end of tins seconil tulie is closed likewise, and has connected to it
a crank arm (like a l)ell crank) turning on a pivot— the free end of this arm
acting a.s a hanille by which to move same, and a dial or index plate may be
mounted in combination with the same so as to show exactly the speed at which
the shutter is set.
Thus, by niovine this regulating handle to its extreme limit on one side, or
m one direction, the second tube is drawn out of the firat, and thereby the
internal area of the coinbined tubes is greatly increaied — tbas allowiDg the
shutter to work with more freedom, and conse'iueutly greater ipeed.
By moving the imlex handle to the opjHwite extreme, the one part of the air
chamber is moved closer into the other i>art, and consequently the at«a of said
air chamber is re<luce(I, ami when the one part or tube is drawn off the other
by the movement of the shutter the air is more attennated, and consequently
the speed of the shutter is greatly retapled. while at Intermediate positions of
this index handle or regulating arm between the two said extreme points mter-
mediate speeds are obtained.
In ])lacc of this crank arm for altering the positions of these tubes one
upon the other [i.e., altering the internal area of this air chamber), as herein-
before described, other equivalent mechanical means may be uscrl for doing
this ; for instance, a slide moving in a line parallel or thereabout with the
axial line {i.e., the length) of the air chamber, and iiaving a dial or index, as
before, to show the speeds or otiier e(piivolent mechanical devices, may be
readily applied in order to draw the one tube otf the other, or out of the other,
so as to vary the internal capacity of said air chamber, as and for the pnqioses
hereinbefore described.
2. .A. tube of cylindrical or other suitable shape, and open at each end, may
be pivoted or mounted so as to be capalde of swinging at about the centre of
its length, and the moving part of the shutter has a tube or cap (corresponding
in shajjc) attached thereto to slide over, or slide into, this pivoted tube at
one end thereof, while at the other end thereof another tube or cap of corre-
sponding shaiie may be mounted or arranged to slide over, or slide into, this
said pivoted tube, this third tube lieing drawn in or out by means of a slide',
bell, crank lever, or other suitable device, so as to vary the internal area of
the air chamber thus formed as before described, each of these two slide
tubes or caps being closed at their outer end as before, the only difference
from the first arrangement being tliivt the air chamber is formed in three parts
instead of two.
3. In place of having tubes or the like devices .sliding upon one another (as
previously described), a regulating action can be obtained by a bellows or the
like arrangement, one side or part of the bellows being connected to some
working part of the shutter and another side or part of the bellows connected
to a device as before, for varying the position of same, so that the internal area
of the air chamber in .said bellows is increased or diminished.
Thus the air chamber is comjiressed or extended or both (when the shutter
is actu;ited) in any of the three above described manners, or in any mechani-
cally equivalent manner, and the speed of the shutter can be thus regulate<l
in a ver)' simple manner and without in any way varying the leverage between
the air chanil)er and the operating spring.
The inde.x handle or regulating arm, slide, or lever by which the internal
area of the air chamber is varied can be held in position by set screw, or
clamp, or in any other suitable manner, as desired.
iHeettnsS of ^octetteiel.
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of MeeUng.
Mnv9:^
•i-i
2:j
"
2:i
**
23
"
2t
**
24
iS4
25
"
25
Jl
25
j^
25
"
25
25
,^
2,=i
25
jj
26 1
26 '
»t
26
26
26
**
26
"
27
Name of Society.
Place of Meeting.
Birmitifrham Photo. Society ...I
Great Britaiu (Technical) [
Hackney i
Paisley « [
Rochester „»....-. .'
LeytoDbtone ^
Photographic Olub I
Sontbport t
Camera Club .....i
Glofisop Dale '
Halifax Photo. Club i
Hull
Ireland
Liverpool Amateur
London and ProTinciid
Oldham
Cardiff
Croydon Microaooplcal ....
Holborn
Maidstone )
Swansea i
Wfirpt London !
HuU r
Club Boom, Colonnade Hotel.
50, Qreat Kassell-st., BloomBbury.
206. Hare-Rtreet, Hackney.
9, Gauze-.'^treet. Paisley.
Mathematical School. Rocbeater.
The As.sembly Rooms, Hig-b-road.
Anderton's Hotel, FleeUxtreet.KC.
The Studio, 15, Camliridg-e-arcade,
Charing Cross-road, W.C.
Mechanics' Hall, Halifax.
71, Prospect-street, Hull.
Koomti, 15. Dawson -street. Dnblin.
Percy-buildinfjs, Kberle- street.
Champion Hotel, 15, Aldersgate-st^
The Lyceum, tTnion-tit., Oldham.
Public Hall,George<Btreet, Croydon
"The Palace," Maidstone.
Tenby Hotel, Swansea.
Ohiowiok 8obool of Art. Chiawick.
71, Prospect-street, Hall.
LONDON' AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
May n. — Mr. W. E. Debenham iu the chair.
Mr. E. H. Bayston was electe<l a member.
Samples of the Lomberg dry plates were distributed among the members.
Potassium Bromtde in Mercuriai, Intensification.
The following fjupstion from the box was read : "Why is potaastam bromide-
used with mercury bichloride for intensiri cation f '
Mr. II. P. Dragk thnueht it gave greater deanifss to the image.
Mr. A. Cowan .said it was reeommeuded with Mouckhoveu's silver cyanide
intensitier.
The Chaiuman said that Mr. Spiller had stated that the bichloride, imles^i.
made acid, formed a combination with the gelatine, and therefore clogged the
shadows. A reason for its inclusion in Monckhovcn's fornmla miglit be that
silver bromide was more amenable to treatment with cyanide tlian chloride.
Mr. U. Beckkit used a drachm of hydrocldoric aciti in twenty ouiices o£
mercury solution. It worked well when followed by cyaoide of silver.
318
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 19, 1893
" Is THE Present Constructicn of Studios Wrong in Principle ! "
Mr. W. H. Harrison read a paper on this subject (see page 310), in which he
suggested a south light reflected from a whitewashed wall on to the sitter, the
light being controlled by blinds, in preference to a nortli light.
In the course of the discussion which followed Mr. Cowan said he thought
the sun falling across the room would interfere with the sitter. He did not
fancy the arrangement would work at all.
Mr. Beckett objected to the plan as likely to cast too strong a light on the
backgrounds. „, u i »t,
Mr. P. Everitt thought it would give too much top light Would not the
outlay for renewing the whitewash and the cost of construction generally be
considerable ?
Mr. W. Cobb said he would not like to depend on reflected light alone.
Mr. W. D. Welford said the point was whether reflected light was equal to
direct light.
Mr. Cowan said the question whether the reflected south light was more
powerful than the direct north light could be tested by printing from a nega-
tive in it against one printed in the north light.
Mr. A. Haddon said that photographing a white screen towards the north,
with a portion of the sky included, would also answer the purpose.
The Chairman thought Mr. Harrison made a mistake in supposing a north
light to have little photographic value when there were clouds about. The
light from the northern sky was much more considerable than he had any idea
of. If the light, as was said, was chiefly reflected from the floating particles of
dust that were .always present in towns, more so than in the country, then we
should always have more rapid exposures in towns. He (the Chairman) did
not think this to be the case. He thought the light greater from a northern
sky than from a whitewashed wall, and certainly so when the sun did not
shine. Mr. Harrison's suggestion would, it seemed to him, lengthen the ex-
posure. The amount of glass required would be enormous, and the alteration
of angle would be exceedingly great. The light from the sky would be less
dazzling to the sitter. He did not think the present construction could be
remedied.
Mr. E. W. Parfitt asked if, in using a reflector screen for enlarging in the
open, the exposure required would be more than would be required if the light
from the sky alone were used *
Mr. Welford had tried to print a cracked negative with reflected light from
a very white screen, and it did not answer the purpose of diffusing the light.
He had also found by experiment that diffused light did not print as quickly
as the northern light.
Mr. Harrison, in replying to the various jioints raised, said that the plan
would necessitate the employment of suitable blinds. Two reflections instead
of one would be utilised. The north light was light reflected from a dirty
screen. The point was, whether the reflected south light was better.
After other discussion a vote of thanks was passed to Mr. Harrison for the
paper.
MANCHESTER PHOTOGRAPHIC SOCIETY.
May 11, the President (Mr. Abel Heywood) in the chair. — The syllabus for
the summer outdoor meetings was laid before the members ; these have been
arranged to take place on the Saturdays immediately following the ordinary
monthly meetings, thus afl'ording members an opportunity of making arrange-
ments to take part therein. It having been thought by several of the Council
that members should have the use of a large camera, a proposal was laid before
the meeting for obtaining a 12 x 10 outfit complete, the scheme propounded
being somewhat on the co-operative principle, subscribing members to have
the first use, the Society as a whole to have the option of purchasing all the
shares. It was considered by such a scheme a first-class apparatus could be
obtained without the cost thereof falling on those who did not desire or
require its use. After some discussion it was decided to lay the matter more
fiUly before the members by circular, to be sent out before the next meeting.
The subject of discussion was the Development of Hand-camera Exposures.
Mr. Wrigley and Mr. Lawes contributed notes. The foruier, in addition,
gave his experience of working the Frena camera, the only drawback that
he experienced being the defective films at present supplied for this ingenious
camera.
North Middlesex Photographic Society.— The fourth of the series of
Elementary Technical Classes given by the above Society was held on Wednes-
day, May 10, the subject being Intensification and Reduction of Xegatives, by
Mr. J. Mcintosh. Several of the negatives brought by those interested were
operated on with excellent results, formulse given, and the processes explained
in a manner suitable for a beginner. These classes have been greatly appre-
ciated, and interest shown by both instructors and those gentlemen attending
is evidenced by the great improvement in some of the work Lately exhibited at
the Society's outings competitions.
Hackney Photographic Society.— May 9, Mr. T. H. Smith in the chair.
Mr. Maxwell was elected a member. Mr. Hensler said he had broken his
focussing glass when in New Zealand, but, as he had previously marked his
camera in distances, the difficulty was overcome. Mr. Beckett advised using
a xvlonite film (which would not easily break), but said, in having distances
scaled, as mentioned, the trouble was getting the iiriucipal focus, /.c, fore-
ground or distance. Mr. Grant used, on emergency, a plate put in hypo till
nearly clear, then washed out. Mr. HrDSON protected his focussing screen by
using a piece of thin wood. From the question-box : " What can l>e done
with hydroquinone formula (Ilford) in which crystals had not dissolved I" Mr.
RnoFE had had markings on his plates under such circumstances. Some dis-
casssion ensued, but filtering was eventually recommended. Another question
was asked : " Was it necessary to rock during development ?" The rejily was ;
"Yes, as particles might cause stains, and mottled apjiearance would sometimes
result." Mr. Hensler asked for .amidol formula for lantern plates, and was
recommended, by Mr. S. J. Beckett, to use any, but with plenty of bromide.
Mr. Grant asked for probable exposure for ordinary room. Several replies
were given, but/-22. Sandell plate, ten minutes, was mostly favoured. Mr. A.
Barker asked: " Were uranium-toned prints permanent ? " Mr. S. Beckett
said it was doubtful. He thought that, if develo]ied in the first instance with
ferrous oxalate, they would deteriorate. Mr. Sodeau startled the Society with
showing a shilling hand camera. He proceeded to explain it worked at /-22,
amidst nuich mirth, and numerous questions were asked of an hilarious kind.
Mr. T. H. Smith asked what plates were best to use for cloud negatives. Mr.
Hensler had used iso. Mr. R. Beckett said they were good when there is a
yellow sunset, but for a bright, blue sky the yellow screen should be used.
He made an exposure last week on a Barnet rapid /-18 one-fortieth of a second,
and had a good result. Clouds, he said, were often printed in too deeply ;
what was wanted was delicate, not hard, clouds. Mf. Cross showed a print
from a cloud negative, the negative of which he had taken by cap exposure,
using slow jjlate and developer weak in alkali.
Leytonstone Camera Club. — May 10, Mr.|H. E. Farmer in the chair. —
The advantages of the multiple film known as the Sandell plate was de-
monstrated by Mr. Herbert Fry. The lecturer opened by ]iassing round
some very fine prints jiroduced by Mr. Sandell. The exposure given evidently
showed that the inventor had put the plates to some very severe tests. Their
advantages over other plates for hand-camera work was clearly sliown and ex-
plained, some very fine snap-shot negatives being passed round, the clouds
having been retained in the second film. Mr. Fry classified the advantages of
the multiple film in the following order, although he considered that No. 4 was
the most important : — 1st, "Hand-camera Work," in which the top film being
rapid allowed for slight under-exposure, the second film absorbing the high
lights and preserving the picture in over-exposure; 2ud, "Interior Work," in
which the top film takes up the shadows, and the second the high lights ;
3rd, "Halation." They almost entirely do away with this bugbear, as the under
films catch the rays of light, and, being a very slow emulsion, with a medium
exposure, they are retained : but, even if very considerably over-exposed and
they have penetrated right through the film, they still have to be reflected back
through this very slow emulsion ; -1th, "Gradation." The double film gives
a much longer scale of the various tones and half-tones comjiared with the
resulting flatness of the single film; 5th, "Exposure." The enormous
amount of latitude allowable ; in fact, the best results were to be obtained
with extended exposure and weak development. The development recom-
mended was that known as Cyclol, consisting of hydroquinone, 30 grains ;
eikonogen, 100 grains ; rodinal, 9 drachms ; sulphate of soda, 2A ounces ;
carbonate of potass, 2A ounces ; water, 20 ounces. In winter to be used one
to three, and in summer one to seven. The Hon. Secketarv asked the (jues-
tion as to what extent development should be carried, as he had found that
when developing with pyro-ammoniathetop film veiled over, and the back had
to be watched as to the progress. The Chaikman said he had had the same
difficulty. Mr. Fry in reply said that the developer had been used too
strong, and that by tentative development they should come up as an
ordinary film, but required a strong fixing liath, eight ounces of hypo to the
pint.
Rotherham Photographic Society.— May 10. Mr. T. Scottox, of Derby,
read a jiaper on The I'kUinutype Fmcess, and afterwards developed a number
of whole-plate prints by the cold-bath method. The demonstration was most
successful, and the resulting pictures were much admired for their artistic as
well as their technical excellence. Dr. Baldwin (President) occupied the chaii.
On Tuesday, May 2, the members had under their notice Dr. P. Jeserich's
Defection of Crime paper.
Photographic Society of Ireland. — May 12, Mr. M. Hedley (Vice-Pre-
sident) in the chair. Subject : T. C D. Tercentenary aiul Dublin Views. — A
collection of lantern slides, the joint work of Dr. E. MacDowel Cosgrave and
Mr. L. R. Strangways, M.A., was exhibited on the screen. Part I. illustrated
the tercentenary festivities which took place in connexion with Trinity College
last July. Some very good interiors and exteriors of the University buildings
were shown ; amongst others the Examination Hall, the Library, the new
buildings, &c. ; portions of the procession which took place between the College
and St. Patrick's Cathedral were also exhibited, in them many well-known
figures can be recogniscl. Part II. comprised familiar and important buikl-
ings, monuments, and views in the city, as well as some very amusing scenes
in the back streets ; these latter, mostly done by Mr. Strangways, caused a
good deal of merriment. Dr. Cosgrave acted as lecturer all through the
evening, and kept his audience alive with interest, explaining important and
historical facts connected with the University and Dublin City, many of which
were quite unknown to the majority of those present.
CotiTdponlrence.
Correspondents sfiotdd never irriie on both sides of the paper. No notiee is taken
of cominunicationa unless the names and addresses of the writers are given.
FRILLING OF PLATES.
To the Editor.
Sir, — During the recent few weeks of hot weather which we have had
there has been some trouble caused in my developing room by the frilling
of plates, and, after careful observation, I have noticed tliat in nesirly
every case there was one or more edge of the film entirely free from any
tendency to frill. This is not an exceptional experience, but one which
all those wlio are constantly using dry plates will be able to corroborate.
It occurred to me that there must be some reason for the plates not
frilling on all sides alike, and, after a few experiments, I found that the
May 19, 1893]
THE BRITISH JOURNAL. OK PHOTOGRAPHY.
319
<idge9 which had been cut with a diamond after coating tlie film, were
much more inclined to frill than on those which had been coated right
up to the edge, and not cut afterwards. Let me add to this the fact that
I am seldom or never troubled with frilling at all in large-sized plates
(say 15 X 12 and upwards), and never on more than one or two sides.
It is, I believe, the practice of manufacturers to coat large sheets of
glass and cut them up afterwards to the sizes required, and I should like
to know if tliere is any distinct advantage in this method over that of
cutting up the glass first.
Alum and other astringents are altogether unsatisfactory in use, and
often result in even greater annoyances than frilling by being carelessly
applied, and, since some makers are able to supply a plate entirehi free
from the tendency to frill, there seems no reason why others should not
also do so.
I am (juite convinced that plates cut up after coating are more inclined
to frill than those coated the size they are intended to be used. — I am,
yours lie, Ebsist Lambebt.
Manager of Lambtrt di Lambert, of Si MiUon-street, Bath.
[Usually, -we believe that all sizes under -whole plate are cut from
lariirer-sized sheets of glass, the latter beinjr more convenient to coat.
—Ed.]
GELATIXOCHLORIDE VERSUS ALBUMEN PAPER.
To the Editok.
Sib, — As you have invited correspondence re the working of printing-
out paper, I should like to know how the mounting is done. Seeing a
statement some months ago respecting the working, a correspondent said
that everything was done just the same as for albumenised, and, liking
the paper, a batch of prints was made on it. Now, the way I mount
albumenised paper is to make a heap of twenty, and, pasting the top one,
to lay on mount and press down with a sheet of paper and roller sqeegee ;
bi'.t, on serving the printing-out paper in the same fashion, the gelatine
surface sticks to the paper and leaves the mount. I have had the same
thing told me by other photographers, and feel surprised no one has
mentioned this.
On reading your article on Rapid Drying of Prints by Centrifugal
Rotation, 1 turned my tricycle on its side, and fastened a wet negative
with two clips to spokes. It dried in three and a quarter minutes. This
may be useful to some one in a hurry. — I am, yours, etc., W. E. F.
May 15, 1893.
THE PHOTO-COERECTOR.
To the Editob.
_ Sib, — Hay I venture to express an opinion upon the " photo-corrector ?'
Now Mr. Van der Weyde's appliance is before us, the discussion it gives
rise to is of great interest to photographers. It is sufficiently evident that
it will require " artistic" judgment in application, but its possibilities are
preat. Argument about the identity of optical and visual truth can be
readily disposed of ; the style the portrait lens treats such details as nose,
hand, and feet, shakes all belief in that dogma. When a figure approaches
the normal eye no violent distortion is observed ; the visual angle is,
perhaps, twice that of the portrait combination. The eye projects its
small image of external Objects upon the concave spherical surface of the
retina, free from the defects of projection upon the flat sensitive plate.
Psychological influences no doubt are at work ; but our ideas of form and
distance are in great part due to experience and comparison. Pinhole
perspective we accept, and get as near it as we can, but here the portrait
lens IS out of it— it wants help, and we have in this appliance of Mr. Van
der Weyde a means of approaching more closely " visual truth " than the
portrait lens permits ; further, great latitude of posing aud arrangement
of subject appears possible with it, and the exaggeration of portrait photo-
Rrapby can be brouglit under control. Such, I think, may be taken as
the value of the " photo-corrector." — I am, yours, A-c. Obseuveb.
33, n'estcroft-S'juare, W, May 8, 1893.
lEON CAEBONYL IN GAS.
To the Editob.
Sib. — May I correct two errata in my article on above ? It was one
" gram " produced from 100 grams, or grammes, not " grains." And at
the end, I referred to the use of a " lucky " cylinder, not "necky," but
referring to the great difi'erence observed in some cylinders in this respect,
in which difference (and its cause) lies, perhaps, our best chance of a
remedy.
I have since been told that coal gas is sometimes " purified " by means
of ferric hydrate, and that such gas, even before compression, has been
found occasionally to contain iron carbonyl and deposit iron oxide, on
ordinary steatite burners. If this is true, we have another possible cause
of variation, and another complicition. But, however all this may be
Lewis Wbiobt.
the question is urgent, and needs to be faced, or we sluill be ultimately
driven to pure hydrogen, with all its decided disadvantagM^ — I am,
yours, itc.
May 10, 1893.
IB.Tctangc OTolumn.
*»* No charge is made for inserting Exchanges of Apparatus in this column ;
but none vnll be inserted unless the article wanted is definitely stated. Those
xoho specify their requirements as ^* anything usefv.V tcill therejore understand
the reason of their non-appearance. The full' natne of the advertiser must
171 all cases be given for iniblication^ otherwise the Exchanges will not be
inserted,
Kxchang^a Lanca-^tcr half-plate Inrtanto. oxygen gerterator aud gasometer, parrot
cftjfe, bamboo tripod, for Burr's C.-D.'V. lens, or two caaea for canvasterSf 12x10
boK for washing iie^Atives, Archimedeiu Btadio stand. — Addreas* L. Dfxox, Photo-
arapher, Market-street, Colne.
Will esohange several " Seavey " badcgronods lighted from tb« left for othttn liarhted
from the right ; alio 15x1-2 camera, one doable and one single slide, and 12x10
cameni, tw.i double slides, for foui*-baeli posing chair and 12 x 10 rameru with three
double backs. — Address, Londox Photoohaphic Compasy, 21, Station -street,
Sittingbonrne.
Will exchange Thomton-Pickard time shatter, foor-lnohes diameter, for ^tagazine of
Art, 1889-90-91, and The British Journal Photographic Almanac from lS94to
1S90, oil in good condition.^Address, J. Dunn, 1, Laygak-- place, Soa:h Sbtsl'ls.
Enslucrsf to Corccsponticnts.
,* All matters intended for the text portion of this JoCRSAt, including
Queries and Exchanges, must be addressed to " The Editor, Thb British
Journal ok PHOTOORAPHr," 2, Vork-street, Covent Garden, London. In-
attention to this ensures delay.
,* Cm-respondents are informed that we cannot undertafce to answer com'
munications through the post.
,* Communications relating to Adrcrtisements and general business affairs
should be addressed to Messrs. Hexrt Greenwood k Co., 2 York-street,
Covent Garden, London.
Photograph Registered :
Rev. Henrv Hewaon, BelmtiUet, CO. Mayo, Ireland.— Photograph of the late Most
Rev. Hu'jh Conv:ay.
John S. Hei.sby. —Yes, to all of your queries.
A. G. Hayward. — Marion & Co. keep such lamps as you describe.
We should be pleased to
Horace \V. Nicholls (Johannesburgl — Thauks.
have the promised article for the Almanac.
Chari.es H. Hkwitt. — Willesden paper may be obtained of the WiUesden
W'alerproiif Paper Company, 72, Watling-street, E.C.
T. HowEi.l.. — We cannot advise ou the matter. We may say, however, that
it will he a little ditticult to secure a legally good patent for a hand camera
just now.
Cv.MBO Bach — For neutralising the acid in the paper, bicarbonate of soda is to
be prefened to the ordinary carbonate. For the fixing bath carbonate of
ammonia i.s preferable.
T. Davies. — 1. The experience is not exceptional. A solution of etlatine, by
repeatedly heiug beattd, gradually loses it.s setting pro|)erties. 2 We have
not heard the rumour. We doubt if it has any foundation in fact.
High Peak. — You will snc^ieed better in cleaning the Daguerreoty ])« if you
employ a stronger solution of cyanide, and allow it to remain ou for only a
shorter time. The tongue ought not to be allowed to touch the picture.
Lights. — We have known white spots occur on prints such as yours, by tiny
air bubbles attaching themselves while in the water. Try" the effect o;'
sponging one or two, while otherwise treating the remainder as usual.
C. J. W.— Probably the best photograjihs in imitation of sepia drawings are
tho.ie proilitced by the carbon process, particularly when they are made by
the single transfer method on rough drawing-paper, either white or tinted.
E. Martin,— A level, such as shown in the sketch, will prove useful to photo-
grapheroi and others, but we attach a good deal of importance to the opinions
expressed by the Sheffield makers. Better submit the matter to some of the
more energetic London supply firms who advertise in our outer columns.
320
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 19, 1893
BrRMlXGHAM. — If the paper has a metallic lustre and shows metallic spots
■when purchased, it should be returned to the vendor. It will be q\iite futile
to attempt to get anythins like good prints on such p-iper. Probably the
paper has been in stock for a long time ; if not, its preparation was faulty.
In any case, the user cannot remedy the evil.
F. M.— 1. No copyright exists in Hogarth's engravings, nor does there in those
of Bartolozzi. 2. There may be a copyright in a modem engravingor photo-
graph of an old picture, though that in the picture itself has ceased to exist.
In that case you may copy the picture, provided you can h.ave access to it,
but it would be illegal to reproduce the copy.
"W. A. T.— 1. Assuming the plate to have been rightly exposed, the pyro solu-
tion should be allowed to act, say, for a minute or so before the addition of
. the alkali. Development in separate solutions is practised by many experi-
enced workers. You should study the caiiOTtnfe of development. 2. Swedish
filter papers, to be obtained of any dealer. 3. See the toning formula! given
in the Almanac.
A. Amebly. — If by your new process, whatever it may be, you can get a perfect
relief in guttapercha, sulphur, or similar materials, there is no difficulty in
obtaining a counterpart of it in metal by the electrotype method. Simply
blacklead the relief and deposit the copper in the ordinary way. If our
correspondent is not conversant with electrotyping himself, any professional
electrotyper will do the work for him,
T. Browning. — To obtain permission to photograph any of the paintings in the
National Gallery, application must be made to the Trustees. This can be
made in writing. With regard to the Eoyal Academy, the exhibitors them-
selves must be consulted, or the Iiolders of the copyright in the works if that
has been disposed of ; but, then, we surmise, the work, supposing permission
is obtained, cannot be done till the close of the exhibition.
A. T. C. (Liverpool) says : " In works on the wet-collodion process it is some-
times recommended to acidify the silver bath with acetic acid and sometimes
with nitric acid. Which is right?" — At one time, when pyrogallic acid was
the developer used, acetic acid was generally employed ; but, when iron came
into use, nitric acid was, as .i rule, adopted. For glass positives, by reason
of its yielding a brighter image, it was employed from the beginning.
'S. I. M. 0. — If broken glass could be heard in the parcel before it was opened,
the railway man's attention should have been called to it at the time, and
the package opened in his presence. By signing the delivery-sheet without
comment it is implied that the jiarcel was received in good condition. The
County Court is the only legal remedy, if any, after so great a lapse of
time. We should certainly, under the circumstances, have accepted the
Railway Company's offer.
B. G. B. will be glad to know whether being a lady receptionist in a photo-
grapher's reception-room and wife of a photographer, disqualiKes her for com-
peting in amateur classes in photographic exhibitions. B. G. B. has been
taking photographs, developing, retouching, and printing them entirely
Tierself without any aid whatever. Being very fond of the work, she has
been successful. — In reply, we fear that our lady friend will be disqualified
as an amateur.
Repairing Lease. — If the lease specifies th.at the outside of the studio and
premises are to be painted twice, and the inside painted and repapered
once during the term of tenancy, and this has not been done, the landlord's
claim is quite legal. Through the lack of the painting the woodwork has
possibly suffered more than it otherwise would have done, and that has
caused the estimated cost of the repairs to be higher than they would have
been. Before defying the landlord, as advised, better consult a respectable
solicitor.
An Inquirer asks: — "1. Is it the place of the apprentice to make good
accidental breakages ? 2. If the master deducts money from the wages of
the apprentice to pay for such loss, what action can the apprentice take ? "
— In reply : 1. Unless this is a condition in the indentures, we should say
it was not, in the case of accidents. 2. Supposing the stoppage to be illegal,
the apprentice, if he be under age, must sue the employer through liis
parent or next friend, we surmise. Perhaps some one better versed in the
matter than we are will give their opinion on the subject.
Lewis writes: — "I have made a lot of opalines with gelatino-chloride paper,
which does away with the ordinary gelatine solution, but occasionally a few
will begin to peel at the edges ; is there anything I can prep.are the glasses
ivith'to«aid the two to stick? A man I know puts on a weak solution of
silicate of soda, kwhich^has the desired effect of making the paper adhere.
Does the silicate affect the i>ermanency of the ]irints?" — We have had no
experience in mounting gelatino-chloride prints as opalines. We see no
reason why the silicate should influence the permanency of the picture.
However, a weak solution of gelatine flowed over the glass, and allowed to
set. would secure perfect adhesion, and that would certainly not affect the
stability of the print.
Arthur Johnson- says: " Having been greatlv troubled with bubbles appear-
ing on the prints in first water after fixing, I would be glad if you could tell
me the cause and remedy. To prevent tliem I have tried borax in fixing
bath, also methvlated spirit in lioth fixing liath and first washing water after
fixing, but with no diminution of bubtiles. Streneth of sensitising bath
forty grains ; also keep albumenised paper in a cnol, damp place this hot
weather, ia prevent it becoming bone dry. Shall be verv grateful indeed if
you can help me."— There are several 'auses that conduce to blisters in
albumen prints. Sometimes it is in the paper itself, sometimes in the
albumeuising, and at others in the sensitising. We should recommend the
trial of a stronger silver hath. If tliat does not rrove a remedy, adoot
Mr. Richmond's plan, namely, immerse tbe prints, before wishing out the
silver, in a bath of methylated spirit. Th's remedy has never failed in
our hands.
R. Sharp. — Calico, under the name of "unbleached sheeting," suitable for
backgrounds, can be had up to seven foot six, if not wider, from any of the
large drapers or house furnishers. Brown paper, so far as we know, is not
sold wider than about five feet. Any paperhanger would canvas a frame
and cover it with paper, which could afterwards be coloured for a background
of any size that might be reiiuired. If the background is for outdoor use, to
be fixed against the wall of the building, it might be better to convert the
wall itself into the background, by having it cemented over and afterwards
painted. That is often done.
Photographic Club. — May 24, Halation, Us Cause and Cure. Bank
Holiday Outing, Burnham Beeches and Stoke Pogis.
Photographjc Society ok Great Britain. — Technical Meeting, to be held
on May 2-3, at 50, Great Russell-street, W.C. The Ddguen-cottjpe Process, a
demonstration by Mr. W. England.
Wb are informed that Mr. Thornton, of Messrs. Hunt & Thornton, En-
largers, 347, Lorclsbip-laue, Dulwich, having retired from tlie business, it will
in future be carried on by Mr. Hunt and his son, under tlie style of Hunt
& Son, at that address.
Apropos of some recent articles on studio construction, Mi-. Van Dyk, of
20, Ladbroke-grove-road, Notting-hill Gate Station, whose studio is built
on the principle advocated by Mr. H. P. Robinson, will be happy to allow
visitors to inspect it on production of visiting card.
Lettonstone Camera Club. — May 20, Wanstead Park .and Flats ; leader,
Mr. D. G. Iliddick. The Club will proceed from headquarters at three o'clock.
24, Demonstration, Meproducinr/ Neyalives, by Mr. Alfred J. Newton. Chair
taken .at eight o'clock. 27, Zoological Gardens ; leader. Dr. W. Pickett Turner.
The Club will assemble outside Portland-road Station (Metropolitan Railway)
at three o'clock.
Messrs. G. Houghton & Sons' 1893 Shuttle Hand camera has several im-
provements on the original pattern, including a speed accelerator to the
shutter, a dial which automatically records the number of plates that have
been exposed, and shutters for closing and opening the lens and finder-lenses
simultaneously. The camera is now issued in three series — A, for holding
twelve plates or cut films ; B, for twenty-four cut films ; and C, with twelve
plate sheaths and twenty-four film sheaths.
The summer ramble card of the Oldham Photographic Society is embellished
with an excellent sm.all group of the members of Council. The following
extract from the card may give a useful hint to other societies holding outings :
"Parties of not less than ten third-class passengers are granted return tickets
at a single fare and a fourth, upon giving two days' notice to the railway com-
pany. To take advantage of this concession, members who intend joining .any
ramble should advise the Hon. Secretary three days before the date of the
excursion."
Central Photographic Club.— The capital of the Club Company is 1000^.,
and not 100/., as we stated last week. We are pleased to hear that a large
proportion of the capital has been suljscribed among well-kno\vn photographers
and others, and that tlie list of intending members is increasing. The Hon.
Secretaries — Messrs. W. Feiiton-Jones, 12, King Edward-road, Hackney, and
C. H. Oakden, 53, Melbourne-grove, East Dulwich, S.E. — will be pleased to
receive applications for membership or .answer inquiries.
A Photographic Society eor Wood Green. — A meeting was held at Wood
Green on Saturday, May 6, to consider the advisability of forming an Associa-
tion of those interested in photography and other scientific pursuits. It was
unanimously agreed that a Provisional Committee be appointed, with power to
add to their number, to make all the necessary arrangements for the formation
»f such an Association, .and twenty-one gentlemen at once undertook the duties
in question. It is proposed that the Association may be utilised by those
wishing instruction in photography, and that under its auspices, during the
season ther« will be a course of popular lectures delivered by gentlemen of
eminence in their respective branches of science. It was agreed that ladies
be admitted as members. Forty-cine names were given in to the Hon.
Secretary. Ladies and gentlemen desirous of joining the Association are
refjueste'd to communicate witli Mr. P. D. Coghill, 252, Wiglitman-road.
Hornsey, or with the Hon. Secretary, A. S. Murrow, 32, Park-avenue, Wood
Green.
OONTB
notice -pictorial supplements
to -the BRITISH JOURNAL OF
PHOTOOUAPHY" SCI5
INVERSION AND REVERSION Olf
imaofs on the binocular
FOCrsS'NO screen S()5
EXPERIMENTS WITH MULTIFLE-
COATEli FILMS S""
oi'MS Asn Gi.rFS so;
EXHIBITION OF THE PHOTOOUAPHIC
SOCIETY (IF OREAT 11RIT\1N Ri'.l
ARE GKI.ATIND.CHLOIUIjE I'l'.INTS
PERMANENT" '■'-»
INTENSIFICATION OF GELATINE
PRINTS IH'II
NOTI-'S nN VAHIOI'S SUBJECTS. Bv
.1. R. HOPWOOII. Ph I» .';0i1
IS TH'-' PIlESENr CONSTKUCTION OF
PHOTOIiRAPHIC STUIIIOS WRONG
IN PRINCIPLE ? Bv W. U. HARRISON SIO
NTS,
Pul
PHOTOGRAPHY WITHOUT »N OBJEC-
TIVE. Ev ARCHD. C. PONTON SIX
PRACTICAL REMARKS ON PHOTO-
GRAPHING DIFFICULT INTERIORS.
Bv T. N, ARMSTRONG 31»
SELECTIONS. By EDWARD DUNMOBE 318
PHYSICAL DEVFLOPMENT.— I. By
HERMANN SCHNAUSS 8U
A NEW TELE-PHOTO LENS 815
BIRMIN0H>M PHOTOGRAPHIC SO-
CIETY'S EXHIBITION 811
OUR EDITORIAL TABLE 8111
RECENT PATENTS .117
MEETINGS OF SOCIETIES 817
CORRESPONDENCE 818
EXCHANOE COLUMN 819
ANSWERS TO CORRESPONDENTS SIO
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1725. Vol. XL.— MAY 26, 1893.
NOTICE— PICTORIAL SUPPLEMENTS TO "THE
BRITISH JOURNAL OF PHOTOGRAPHY."
Thk first of the pictorial supplements to be issued with The
British Journal of Photography will be given with the
number for Friday next, June 2, 1893.
The subject is A Yeoman of tlie Guard (Tower of London),
tlie negative being by Mr. William Brooks. The reproduction
is by the process of Messrs. Thevoz & Co., of Geneva, and it is
printed on a specially prepared paper, which greatly enhances
its artistic effect.
As a largely increased sale of the next number of the Journal
is anticipated, the Publishers would be glad to receive orders
for extra copies and advertisements as early as possible.
DAGUERREOTYPING REDIVIVUS.
Thk demonstration of the Daguerreotype process given by Mr.
Wm. England on Tuesday evening, in the rooms of the Photo-
gra])hic Society of Great Britain, convinced those who witnessed
it that, although cai-e and skill were necessary, there was no
difficulty in producing works of the greatest beauty by this
discarded but ever-charming photographic process.
Unlike all other systems of photography, the personal skill
of the operator is the sole factor in the achievement of success.
In other methods much is dependent upon the productions
of the manufacturer, as in the case of the collodion or the
dry plates employed ; but in this the elementary substances
must be applied by the operator himself, and upon his methods
of doing so depend the position he occupies in the technics of
Daguerreotyping ; for we are for the moment putting out of
sight the artistic element, the skill in posing and arranging a
sitter, or in selecting a point of view in a landscape.
In its simplest form, and as it left the hands of Daguerre,
the process briefly consisted in exposing a metallic plate with
a silvered surface to the vapour of iodine till it became yellow
by the formation of iodine of silver, then transf^ring it to the
oamera to become impressed Ijy the action of light, developing
the latent image by exposing to the fumes of mercury, finally
fixing by immersion in hyposulphite of soda solution, and
washing and drying. This was the process as it emanated from
Daguerre, but it was slow and required a long exposure in the
camera ; moreover, the image was delicate, and could not with-
stand the most gentle touch without being destroyed. Both
of these objectionable features were speedily removed. An
enhanced degree of sensitiveness was imparted by the employ-
<mcnt of bromine in addition to iodine in sensitising the plate,
while permanence (speaking from the meohanioal point of view)
was ensured by a species of gilding.
As we know that there exists a hankering among our readers
to try the Daguerreotype process on account of certain qualitiee
sui generis, we will here give some practical directions by which
they can most easily do so without the necessity of importing
special apparatus for their trials, for such now are not readily
obtainable. In doing so we shall take occasion to speak of
some of the bye-paths of the process not to be found in the
recognised manuals of that art.
Daguerreotype plates, not being now articles of manufacture
or commerce, can only be obtained as a bye-product from the
stock of old-established dealers, or from others who may
happen to have a few gross, or even dozens, by them as relics
of former times. The copper backing is merely the support
for the very thin facing of silver in which the picture is formed,
hence the plate may be made of brass or any other metal
capable of being electro-plated with silver. By whatever
means obtained, it is essential that the surface be flat, and
after being polished with rottenstone that it receive a high
finish by a few strokes of a buff charged with dry rouge. Some
prefer the use of lampblack, which, to ensure freedom from
grease, should be heated to redness before being bottled for
subsequent use. A flat-bottomed vessel of glass or porcelain ia
necessary for holding the iodine. In proper iodine boxes this
pan is encased in wood with an opening in one side to hold a
small mirror which, when the plate has been laid face down in
a holder over the top of the box, enables one to watch the pro-
gress of sensitising, for, after a little dry iodine has been placed
on the bottom of the box and the plate exposed to the vapour
which arises therefrom, the pure white silver rapidly acquires a
golden tint, which passes to a deeper colour on to blue. At
the yellow stage the plate is ready to be placed in the camera,
provided the subject is a landscape or a copy in which the time
of exposure is no object; but for portraiture an enhanced sensi-
tiveness must be given, to which end it is only necessary to
transfer the plate from the iodine box to a similar one con-
taining either a little bromine greatly diluted with water
enough of which to cover the bottom of the dish being sufficient,
or, by preference, lime, to which a few drops of bromine have
been added, and shaken up till the whole is of a uoifonuly
pink colour. When the plate is iodised to a deep yellow
bordering on rose, and is then bromised to a blue, it has
attained great sensitiveness, and a curious thing is that it may
be examined at this stage by a light sufficiently strong to
entirely destroy it for photographic purposes, but the effects of
which exposure ai'e totally destroyed by holding it over the
iodine fumes for a few seconds, when the maximum of sensitive-
322
THE BRITISH JOUKNAL OF PHOTOailAl»af.
[May 26, 1893
ness is thus attained. When in the camera and the sitter is
seen to have moved during the exposure the value of this will
be apparent, for all that is necessary to undo the latent image
is to step into the dark room and hold the plate for a
second or two over the iodine, when it may be again exposed,
the sitter not having left his chair during this bye-play. This
is an advantage not to be lightly esteemed. Just here let us
pause for a moment to say that some of the finest Daguerreo-
types we have seen were made without proper iodine and bromine
boxes, ordinary porcelain jelly or jam pots having been used
as substitutes, the progress of the sensitising being watched by
lifting up the plate and examining it directly.
The development is effected by exposing the plate to the
invisible vapour arising from mercury which has been heated
to a little over 100° Fahr. The hotter the mercury the quicker
the developement, and vice-versd. This discovery is said to
have been made by Daguerre's having by the advent of evening
placed a half-exposed iodised plate in a drawer over night, and
finding in the morning that the image was visible, a search in
the drawer revealing the fact that some globules of mercury
previously therein had still found lodgment in the chinks.
Proper developing boxes have a thin iron bottom with a cavity
in the centre for the mercury into which a thermometer bulb
dips, the tube of which is carried outside to a scale graduated
from 100° to 120". A spirit lamp placed underneath heats the
mercury, and a small square of glass in front near the top
enables the progress of development being watched, the plate
being placed in a frame on the top and fixed at a slope. A
yellow pane in one side permits the flame of a lamp or gas to
illuminate the plate while development proceeds. It is here
where the skill and experience of the operator comes in, for, if
the development be carried too far or not far enough, the
picture suffers.
The fixing is done with hyposulphite of soda ; but, in course
of considerable experience with the process, we found a rather
weak solution of common salt answer rather better. All that
is necessary with this latter agent is to immerse the plate in
the solution and touch it either at the back or one edge with
a strip of zinc, when the iodide will disappear like magic. The
hyposulphite acts by dissolving the iodide, this by decomposing
it. Without allowing the plate to dry, it is then rendered
permanent by the application of gold. A soluble salt of gold,
composed of hyposulphite of soda and chloride of gold {sel d'or)
is applied to the surface after washing, enough being poured
on the levelled plate to cover it completely. Heat is then
applied underneath by the spirit lamp, when, curiously, the
image darkens almost to disappearance, which will alarm the
tyro ; but a slight continuance of the heat causes the darkening
to disappear and the image to stand out in a brilliance it did
not formerly possess. The lights have now become much
brighter, and of a peculiarly delicate pcarliness, while the
blacks have become intensified; and, whereas formerly the
whites and all parts of the image could be removed by the
feeblest touch even of a hair pencil, they are now so fixed as to
be irremovable unless by polishing powder. Instead of efiecting
this by heat, it suffices to add a modicum of ammonia to the
hyposulphite of gold solution, when the same result is obtained
by time — say, ten minutes.
The brilliancy of the image may also be much improved by
pouring on the surface a solution of chloride of ammonium and
applying heat, by which the solarised portions, which otherwise
would be of a bluish colour, become a pure white.
We recommend those specially interested in this suggestive
and charming process to visit the rooms of the Photographic
Society of Great Britain, and inspect Daguerreotype apparatus
of the most approved construction, together with numerous
beautiful specimens of Daguerreotypes, coloured and uncoloured,
which are there on exhibition, where they will remain for the
next month.
THE [PERFECT FIXATION OF NEGATIVES.
CoNSiDKRABLE stress has been laid upon the necessity for the
perfect fixation of gelatine negatives, not only so far as regards
the removal of the unaltered silver haloids, but also as regards
their conversion into completely valuable bye-products that are
capablej of elimination by subsequent washing. In order tO'
effect this, it is usually recommended and considered 8ufi6cient
to allow the negative to remain in the hypo solution for a
certain period after the apparent removal of the silver bromide,
in order that the more soluble form of the double hyposulphite
of soda and silver may be produced.
But there isjone peculiar condition of the film, or it may be
of the fixing solution, in which mere continued immersion fails
to bring about the necessary clearance ; and, as we do not
remember to have seen special attention directed to this par-
ticular phenomenon, we take occasion to notice it here, oa
account of the increasing liability to its occurrence that the
use of thick or double film entails. Most users of gelatine
plates, particularly in the earlier days of their preparation
when less attention was paid to the evenness of their coating
than is now the case, will have noticed, and perhaps beeu
puzzled, by the occurrence of a yellow or brown skin over a,
portion of the negative some little time after it lias been
printed from, although when first put out no such discoloura-
tion was apparent. In some instances where a more than,
usually thick corner or edge occurred, the fixation of that
portion of the film would be unduly protracted; and, even after
the disappearance of the insoluble silver salts, an opalescent
appearance would remain in the shadows of the negative quite
different from that of the haloid salts.
The phenomenon that we refer to consists in the presence of
such an opalescent veil over the whole surface of the gelatine
film however thin and even, and which remains even after a
more than usually prolonged soaking in the fixing bath. We
have noticed this peculiarity in years gone by, and studied it
in connexion with certain brands of plates that seemed more
prone to it than others, although even they were not invariably
attacked by it. On the other hand, it has cropped up un-
expectedly with plates that did not usually show it, and with
scarcely any cue to guide us as to its cause. Finally, we have
recently renewed an acquaintance with it in conjunction
with the specially thick films that are now coming into
vogue. ,:>o:tb«n
It is not, we would' have it at once understood, the result
of imperfect fixation in the ordinary sense, that is either from
too short an immersion in the hypo bath or the use of too
weak a solution or one that has become exhausted. On the
contrary, if anything, it is more likely to appear with a strong
and fresh solution than one that has been in use some time.
Nor is it the result of precipitation in the film by the imprudent
use of alum or acid " elimination," although in result the
appearance is very similar. It seems rather to be due to the
deposition in a partially crystalline or precipitated form within
the pores of the gelatine of the products of the fixing opera-
tion, and in such a condition that temporarily they are not
May 20, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPH y.
32S
readily acted upon either by the fixing bath itself or by plain
water.
We first noticed the peculiarity some ten years ago, though
without considerinj; it a fault, in a particular brand of rapid
T*late8. In these, after fixation, or rather after removal from
the fixing biith, the negative presented the opalescent appear-
ance in the shadows to such au extent that it almost seemed to
liave been treated with some semi-opaque varnish, and this
effect was rather intensified tiian diminished by prolonging the
fixin". Hut directly the plate was washed, especially if under
« rose or tap, the veil disappeared, and the shadows became as
clear as the glass itself. ,
Some time after that, we noticed a precisely similar behaviour
•on the part of some plates of our own make, the emulsion
Laving been prepared by a peculiar modification of the ammonia
•i)rocess. Whetlier that circumstance had any bearing on the
result we cannot decide, but it is a significant fact that it is
chiefly with rapid i)lates, and since the introduction of the
amiHonia process of preparation, that the peculiarity has been
noticed.
In our earlier experiences, as we have said, the opalescence
disappeared entirely and without trouble in the ordinary com-se
of washing ; but, just recently, we have met with it in an '
aggravated form, in which simple washing has 'absolutely no
©fiFect whatever. In fact, we have a negative which, after
washing for half an hour or so, was found to be veiled in this
manner, and was returned to the fixing bath, but without
result. No alum or other matter had been used, and, though
nothing out of the usual way had occiured to cause such a
result, we were inclined to set it down to a precipitation of
lime in the gelatine. The plate was, however, well washed for
several hours and dried, by which time a decidedly yellow tint
pervaded it, and this, after a very short time in the printing
frame, developed into a strong brown stain.
Now, at any rate, the matter began to assume a serious
aspect, for we found several other negatives beginning to show
similar symptoms. A fresh strong bath of hypo was made, and
the result was decidedly worse. Believing that the temperature
might be in fault, the bath was artificially raised to nearly
70* Fahr., when the veil was reduced, but did not wholly
disappear. As before, neither prolonged immersion in the
hypo nor washing efiected any improvement, and we began to
suspect the hypo ; but this was from precisely the same stock
that we had been using without trouble for a long time past,
while it was only with the particular lot of plates that it acted
in this manner ! So we were forced to lay the blame, if blame
there was, to the plates, and to seek a remedy.
After beating about the bush for some time, we found that
tbe trouble arose mainly from the use of too strong a fixing
bath ; that is to say, that in increasing the strength of the
bypo, in order to fix the thicker films within reasonable time,
the other trouble was set up ; in reducing the strength of the
bath a perfect remedy for the opalescence was found, but then
we had to face an inordinately protracted fixing. However,
this difficulty was surmounted by fixing in the strong bath
raised to the temperature of from 60° to 65°, and afterwards
removing the plates to a much weaker solution of not more
than three or four ounces of hypo to the pint of water.
Another remedy was subsequently found in the acid fixing
bath, that is a solution of hypo containing free sulphurous
acid. The particular bath we prefer is made by adding two
or three ounces of bisulphite of soda to the strong bath of
eight ounces of hypo to the pint.
Whatever the material may be that composes the veil, it
seems to be mechanically combined with the gelatine in such
a manner that the tlensi- hypo solution caimot penetrate to
remove it. Water has no eft'ect, and it is only by reducing the
strength of the fixing solution, and thus giving it greater
penetrating power, that it is reached. The free acid, we
assume, prevents the formation of the precipitate in the first
place.
PHOTOGRAPHY AS A BUSINESS PAST AND
PRESENT.
It is, we believe, generally admitted that photography, com-
mercially, so far^as regards portraiture, is^at the present time
in a very depressed condition. Any one conversant with pro-
fessional photography during the past thirty years can recall a
gradual sequence of events that have conduced to this more or
less unsatisfactory state of things. It may, however, be inter-
esting, if not useful, to our younger readers to refer to some
of the points that have led to the depreciation of portrait
photography as a business. Let us go back to the early days
of collodion, say, to the time when it had generally superseded
the Daguerreotype.
Up to about 1855 the collodion process was more largely
practised for glass positives than it was for negatives. Then
the price generally charged for a small positive was from half-»-
crown upwards. Several houses who worked the negative pro-
cess then charged from three to four guineas for a whole-plate
portrait. This was almost invariably on salted paper, and
slightly finished in monochrome. About this time a firm com-
menced business in the City, and made a speciality of whole-
plate portraits on albumen paper for half a guinea, and copies
at about three shillings each. Another firm followed soon
afterwards with the whole-plate at the same price, and with the
half-plate at five shillings, and the quarter at half a crown,
with duplicates in each case at half price. These were then jj
classed by some of the older houses as cutting prices. For If
some time after the carte-de-visite became popular, prices were
well maintained — they varied from about twelve shillings to
two guineas per dozen, and very large businesses were done at
these rates, some establishments taking fifty and upward sitters
a day. One house at the West-end we have in our mind did a
large business in vignetted cartes:, the price being a guinea and
a half for six. Then employes all round were paid liberal
salaries.
Perhaps the first real step in reducing prices was the intro-
duction of the club system. This, as at first worked, w^as not
so very objectionable. By contracting to take tickets for a
dozen portraits — each of, say, twenty persons — a reduction of
twenty or thirty per cent, off the regular tariff was made.
Competition in this phase of the business soon increased, and
eventually the recognised club system, with its enlarged
coloured portrait, came into vogue in second and third-rate
houses. Par parenthese, this innovation has now culminated
in the " Coupon " business, in which a dozen portraits each of
four sitters are supplied for ten shillings. This was in the
collodion days, and, as we have just said, employes were, as a
rule, well paid, for they had to possess greater knowledge and
ability than is requisite for analogous work at the present time.
The plates had to be prepared at the time of using, and con-
siderable skill — only gained by long experience — was necessary
in the preparation of the chemicals and in keeping them in the
best working condition. Consequently at that time experienced
hands were seldom long disengaged.
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 26, 1893
Twenty years or so ago a good-class photographic business
could be commenced with a much smaller capital than now, as
then more modest furniture and fittings sufficed. Quality of
work counted for more than the appearance of the appoint-
ments, and this led many operators to commence business on
their own account, generally with prices below those of their
former employers. Still, while collodion was the only process,
trade, on the whole, notwithstanding competition, continued
good and fairly remunerative to most engaged in it.
It is often said that, in the early days, the cost of material
was higher than it is now. That is true, but only to such a
■fa-ifling extent as not to make more than a penny or two differ-
ence in the cost of a dozen pictures ; indeed, it is doubtful, if
-the cost of mounts and finishing is considered, if it was so
■much as now. Good plain white cardboard, with a plain black
imprint of the artist's name and address, sufficed for the most
•expensive portraits. At the period when the highest prices
ruled, retouching— an important item in the cost of portraits —
■was unknown. Hence it will be noted that when prices were
at the highest the cost of production, except, perhaps, for
•labour, was at the lowest.
The introduction of gelatine plates has been of immense ad-
vantage to photography. Of that there is no question, but
whether it has benefited it from a business point of view, as
-regards portraiture, is open to question. With a few months'
— in some cases weeks' — practice with dry plates sufficient
experience is acquired to enable some people to style them-
selves operators, and offer their services as such. Consequently,
^he labour market, as advertisements show, is much overr
■stocked, hence reduced wages. Added to this, a system is
largely prevailing of obtaining labour for notliing, or next to it,
^by taking " articled ptipils," apprentices, and learners for a
term of years, with a premium, at a merely nominal salary.
This system is not confined to operators and printers, but ex-
tends even to girls for such subordinate work as mounting aud
spotting. This, of course, has not only brought down wages,
but keeps experienced hands out of employment. It may,
however, be mentioned that it is not the cutting houses that
resort to this means of obtaining cheap labour, .tliey find it
more to their advantage to employ experienced hands.
The present unfortimate depressed state of business amongst
portraitists is mainly brought about by the continued influx
into the ranks of photography both of employers and employis.
It ha.s induced undue competition in every direction. Prices
have been gradually reduced lower and lower, except, perhaps,
in some few high-class establishments, that, unless a large
business is done, they are no longer remunerative. Added to
this, the demand for portraits is far more restricted now than
it was soMC years ago. The contrast between portraiture as a
business now and a few years back is great. How is it to be
reduced %
Sedudngr Sliver Cbloride to the metallic State.—
In conversation with the chemist of one of the most important assay
offices in the country, he informed us that, for showing this on a
large scale, not for analytical purposes, he greatly preferred the use
of iron to zinc. He found it mast difficult to remove the last traces
of the latter substance, while with iron he experienced no difficulty.
Mew Filter. — The Scientific American, a short while since,
described a new filter which, though intended for water for potahle
use, would be equally serviceable for photographic purposes. It con-
Bista of a large porous tube made of exceedingly fine mineral flour ;
the water is filtered by passing through the minute pores of the^
cylinders into a compartment below it, into whicli the cylinder is-
fitted, the ■water passing from the outside to the inside of the cylinder^
The latter, when beginning to work less freely, can he cleaned by
simply brushing the outer surface. The filter as constructed for sale
embraces an arrangement for holding ice to cool the v,'ater during:
filtration.
Testingr for Bromine, Chlorine, and rodime.- There
is a useful practical note on this subject in the Journal of Applied^
Chemistry, by Mr. F. P. Uunnington, ■which gives the nectssary
routine in a nutshell. His process is as follows : — " From a solution
acidified ■with nitric acid, precipitate the silver salts of these acids
with silver nitrate solution. Having filtered off and washed this
precipitate, test it in a test glass with a few drops of very dilute
sulphuric acid on a bit of zinc. When the dark spongy mass of
metallic silver is formed, pour off the solution of the zinc salts and
examine it for iodine, bromine, and chlorine by the method of Pro-
fessor Ed^ward Hart."
nXr. Whipple's Successor at K.e'w.- The poi^t rendered
vacant by the loss of the Superintendent, Mr. Whipple, -whose
lamented death deprived science in general, and photography in i
particular, of a valuable helper will be filled by Mr. Chas. Chree, \
Fellow of King's College, Cambridire. It is "one for -wliioh," as \
Nature says, " the combination of high mathematical capacity witii I
a practical e.xperienee of the apparatus and methods of physical
research is especially needed. Mr. Chree obtained in J 884 the hitherto
unequalled honour of a First Class in the most advanced parts both
of the Mathematical and of the Natural Science Triposes, and he has
since been much engaged at Cambridge in experimental and mathe-
matical researches." It is, therefore, evident that the latest
additions to the Kew examinations of philosophical apparatus — that
of photographic lenses — is not likely to be of any the less value from
his accession to office.
" Safety Paper " for Bank Kotes, ^c. — The Paper
World does not take sufficient account of photography. We read in
its columns that " the large and contiimally increasing demand for
paper which cannot be duplicated by unauthorised parties for use in
printing certificates of bonds, drafts, or notes, has led to the produc-
tion of peculiar designs." It then goes on to describe a new patented
process for making paper of this description which is said to produce
designs of such infinite variety of configuration and shade that repro-
duction, except from the original plate, is practically impossible.
The process is ingenious enough ; it consists, iu effect, of applying the
inked faces of two lithographic or other surfaces, when varieties of
more or less regular smears will be produced; and they can then be
printed from to form the ground pattern. It ■will occur to any reader
of this Journal that such a pattern is one, above all others, that
could be reproduced with absolute fidelity by means of photography,
and in any colour.
Solution of Gold in Cyanide of Potassium.— The
last issue of the Chemical Society's Journal contains the full text of
Mr. R. C. Maclaurin's paper on this subject. The conclusions he
arrives at are that, first, " the presence of oxygen is necessary to bring
about dissolution; and, secondly, depends upon the strength, a re-
markable fact being that the maximum amount lies between the
weakest and the strongest solutions tried." It has been recommended
that the gold from waste albumen prints might be recovered by the
aid of cyanide, the prints being allowed to soak for some time in the
solution, then pressed to expel most of the Uquid, and the gold re-
covered by the addition of a suitable reducing agent. There is no
doubt that a large amount of gold passes into the " hypo " solution
used for fi.xing prints, and may be satisfactorily recovered, for we have
seen assay notes for silver so reduced by eminent refiners in ■which
the value allowed per ounce for the silver has been, on account of the
gold present, almost ten per cent, '•above" that g?ven for the silver
from chlorides.
May 26, 1898]
IHE BRITISH JODKNAL OF 1»HOTOORAPHY.
}tar>
MM. LUMIEUE'S EXPERIMKNTS IN "COLOUJt
PHOTOGRAPHY."
Fbndino the publication of the precise details of the modification of
M. Lippinnnn's plan, adopted by Messrs. A. & L. Luini6re in their
recent experiments in colour photography, tlie results of which have
caused some slight commotion in Paris and elsewhere, the following
particulars of the fensitive emulsion employed, which were supplied
by MM. Lumiere iu a paper recently contributed to the Soci<5t(i
PVanv'aiso de Photographic, may be of interest. The novelty, or point
of departure, in the preparation of the emulsion consists of mixing
gelatinous solutions of silver nitrate and potassium bromide, as recom-
mended by Herr Valenta, of Vienna.
The emulsion was constituted as follows : —
A.
Distilled water 400 parts.
Gelatine '20 „
B.
Distilled water 25 parts.
Potassium bromide 2°3 „
C.
Distilled water 25 parts.
Silver nitrate 3 „
One half of A is added to C, and the other half to B, the silver
solution then being added to the bromide.
The emulsion is then treated with a solution of a colour sensitiser,
such as cyanine, methyl violet, or erythrosine, the plate being coated
with the emulsion at a temperature of 40° C. When the plates are
set, they are passed through a bath of alcohol, and are washed in
water for a brief period, the films being very thin.
This method, according to Herr Valenta, obviates coarseness of
grain, and gives a film of great transparency. A too great excess of
bromide is to be avoided.
When the plates are dried, they are treated for two minutes with
the following solution : —
Distilled water 200 parts,
Silver nitrate 1 part.
Acetic acid 1 „
which augments the briUiancy of the image and increases the sensi-
tiveness of the plate, which, however, loses keeping properties. The
plate is again dried, and exposed according to the method given by
Professor Lippmann.
The developer employed by MM. Lumiere is as follows : —
1.
Water 200 parts.
Acid pyrogalUc 1 part.
2.
Water 100 parts.
Potassium bromide 10 „
:i.
Ammonia D = 0900 at 18° C.
The developer being thus mixed : —
1 lOJparts.
2 16 „
!5 5 „
Water 70 „
The importance of a standard solution of ammonia is clear, as the
least variation in strength affects the results. After development the
plate is washed and fixed in a solution of cyanide of potassium, 5 to
100. MM. Lumiere say that a developer consisting of an ammoniacal
solution of copper chloride has given them good results, but they have
had to abandon it on account of its instability.
MM. Lumiere added that in photographing coloured objects the
ultra-violet rays were cut off, and the violet and blue diminished by
placing in the path of the luminous rays, in the camera, a vessel with
parallel faces, containing a solution of yellow colouring matter, such
as Victoria yellow, uranine, or primuline. This was how they obtained
the results that have been recently referred to.
AMERICAN NOTES AND NEWS.
FecuUarltles of American Joumalljun.— The American
journalJHts have a neat way of imputing to their rivals any departure
from such a branch of ethics as takes cognisance of the coincidence of
phrase with fact. One of our New York contemporaries, the I'hiito-
(jraphic Times, is in his current issue admonishing his brother who
edits Wilton' » Magazine for his mal-ethics in recording something of
minor and local interest. He does not stoop to that direc^ess of
expression not unknown to or unpractised by some accredited
journalists in the south and west of the American continent, and
which provokes the rejoinder, " You're another," but mildly states
that the ilagellated rival is losing his sight and must be provided
with spectacles. And why ? Because they are not agreed as to the
titles on a row of books in the background of a portrait, said titles
being altogether illegible. It is the scene in the war between the
Big-endians and the Little-endians (vi(k Gulliver's Travels) enacted
over again.
The Philadelphia ZSxhlbltlon.— There can be no doubt
that the recent Photographic Exhibition in Philadelphia must have
been a good one. The names of the competitors in the catalogue, and
the critique in the American Journal of Photography — a model of
terseness— assures us of that. It appears, however, that the exhibits
from this country stood out in commercial contrast with those from
America, inasmuch as a preponderance of the former were labelled
" For Sale," whereas the latter were not ; and it is said that the
pictures of the two nationalities could be distinguished each from the
other by this label alone without necessitating an appeal to the cata-
logue. But has it not long since been said of us that we are a nation
of shopkeepers? It behoves us to speak quietly of the Customs
Taxes levied in America on goods entered for exhibition, but which
are at the same time " for sale." Of the twenty-six medals (silver i
awarded, one went to Germany, while thirteen came to the United
Kingdom, the other twelve being captured by Americans. Tie
Photographic Society of Philadelphia are certainly entitled to the
honour of having issued the finest and most ornate catalogue, yet
known in the history of the art science. It is adorned with six
full-page illustrations Ijy member.^ of the Society.
The Photog^raphers of Axnerlca.— A firm of engravers
and publishers in Chicago are about to prepare a work on the photo-
graphers of America. They anticipate that at least ^"000 photo-
graphic artists will visit their city during the Convention of the
Pliotographers' Association. It is to contain the portrait, name,
address, and biography of every photographer who subscribes five
dollars (1/., payable in advance), who in return will receive a copv
of the book, which is to be got up iu the highest style of the art,
printed on heavy enamelled paper, bound in gold and black, 12 x it
inches in size, containing at least 400 pages and twenty fuU-page
illustrations from prize photographs. Each photographer furnishes
his own portrait and biography, the engraving being done at the
expense of the Company. Three hundred and sixty dollars (over 70/.)
are to be given in prizes for the best pictures entered for competition.
The Kodak Victory. — It is known that for some time past
an important lawsuit has been going on in the United States of
America. The Kev. Hannibal Goodwin, of Newark, N.J., claimed
priority in certain processes in the manufacture of sensitive films as
employed by the Eastman Companj', and he went for the latter in
the law courts, in one of which he gained the day. Bat the decision
has been reversed by the Commissioner of Patents, who, it seems, has
decided not to grant Mr. Goodwin his patent, ftobably by this
decision something like a million dollars will remain undisturbed in
the coffers of the American Eastman Company.
METOL.
WiTnotJT committing oneself to the absolute statement that the last
new developer is better than anything before it, it is, perhaps, poeuble
326
THB BRITISH JOURNAL OF PHOTOGRAPHY.
[May 26, 1893
to claim that it possesses good features that none of its predecessors
do. I have tried most of, if not aU, the modern introductions that
have been intended to supplant pyro, but have not yet found the one
that will, to my idea, do so. In metol I think we have the nearest
approach to a developer possessing the same range and power as pyro,
while it is undoubtedly free from the objectionable features of the
latter, notably its dreadful staining proclivities.
It has, however, I think, one feature which will be considered by
many a decided advantage over pyro, a feature which, although I am
not a believer in " one-solution " developers, I cannot help recog-
nising as having its value. I refer to the power it gives of modifying
the character of the image by simply varying its strength without
altering the proportions of its constituents. This is a quality possessed
to some extent by pyro, and, indeed, more or less by all the newer
candidates for favour ; but in none, so far as my experience goes, is
the range of power so great as in the case of metol. By varying the
proportions of the stock solutions (where separate solutions are em-
ployed) as recommended in the formulae issued] with the metol, a
great alteration can be made in the character of the image ; but this
is, of course, impossible where a one-solution developer^^is employed.
In this case, however, if the stock solution be made of such a strength
that, used alone or with a given proportion of :water, it represents
the highest degree of energy desirable, and with a given exposure
renders the greatest softness, simple' dilution with a further pro-
portion of water will effect all thatjis necessary in the] way of giving
greater contrast.
As regards the necessity for the use of bromide, although I am
always partial to a small addition even in commencing development,
I think metol shows less absolute want of such addition than any
other. For short or normal exposures, indeed, if tlie dish be well
shaded during development, I can see little difference if the bromide
be omitted from the solution until all the details are well out ; at
that stage, or where intensification] begins, bromide is a necessity
with every developer, but more especially with pyro. On one occa-
sion, after mixing up a fresh stock solution of soda with hot water, I
inadvertently applied the mixed developer in a quite lukewarm state,
but the only effect was that the image appeared almost instantly and
developed as rapidly as one on collodion. A strong addition of
bromide, however, instantly checked it, and brought it within easy
management.
Those who are not greatly enamoured of one-solution developers
are more likely to take to the system with metol^than with any other,
for, strange aa it may appear, repeated use to the extent of three or
four times, at any rate, does not seem to greatly alter its action. But
A better plan than relying on the single solution, where economy is to
"be practised, is to employ two separate developers, or one developer
and one intensifier. Thus, say, half a dozen plates are to be de-
veloped, I would set aside one portion of developer sufficient, to cover
the plate, with which to bring out the details of the picture, using it
at its full energy. To another portion, in more dilute form, I should
add a few drops of a ten per cent, solution of bromide, and use that
as the intensifier, as it will continue to operate upon the image after
the details are out without any further development.
This plan can be followed either with single or separate stock
solutions, and, if only half the work of finishing the negative be
thrown upon each of the two working solutions, they will hold out
very well for half a dozen developments, provided always the
exposures have been sufficient. In my own way of working, I prefer
to use a fresh quantity of solution for each plate, and this I apply at
full strength — i.e., the fullest working strength — until details are out,
and then dilute it according to the appearance of the image, adding
promide as the action proceeds. The latter must be carefully used,
as it is very powerful in stopping the action of the solution on the
finer details, and if added in excess will produce hardness.
The published formulae for use with metol are rather puzzling in
their nature, but may bo greatly simplified. I take it that for normal
development from two to three grains of metol, and about twenty
grains of carbonate of soda to each ounce, form suitable proportions.
If a stock solution of metol containing six grains of that substance
and a drachm of sulphite, and one of soda crystals containing two
ounces to the pint, be used, they may be conveniently mixed to form
amy desirable combination. Let the stock solution be :
A.
Metol 120 grains.
Sulphite of soda 1200 grains.
Water 1 pint.
B.
Soda crystals 2 ounces.
Water 1 pint.
For normal development use equal parts, and add a little water if
the subject is one that wants contrast. For under-exposure use more
of A than B, and vice versa, bromide also being added in ten per cent,
solution in the latter case.
A single-solution developer, where such is preferred, is made as
follows : —
Metol 120 grains.
Sulphite'of soda 3 ounces.
Soda (crystals) 2 „
Bromide Jof potassium 10 grains.
Water 20 ounces.
One part of the above diluted with an equal volume of water forms
the normal solution, more' dt less-.water being used in proportion to
the length of exposure. W, B. Bolton.
JOTTINGS.
To call an exhibition of photographs a " Photographic Salon " is a
piece of affectation bordering on snobbishness. To add another to
the already plethoric Jnumber of photographic exhibitions that are
held in the autumn in and about London invites and deserves failure.
To run an opposition show to the Photographic Society's Exhibition
practically at the same date and only about 500 yards away is the
mean revenge of a vindictive clique still smarting under their
whipping of two years ago, and made furious by the circumstance
that the Society they deserted is getting on better without them than
with them. To say that the photographs to be hung will be of
" pictorial merit " only, and will be selected by a Committee, chosen,
of course, by those we can all easily guess at (with power to add
to ,their number), and that therefore "the public" will have an
opportunity of seeing " the best productions of photography from a
pictorial point of view," implies that no such opportunity has before
been given to " the public,"_which is untrue.
Habitual readers of these "JJottings " will remember that I fore-
shadowed the " Photographic Salon " last August — nay, even gave
the^name of the street in which it is to have its home, Piccadilly.
On one^point connected with it I was, however, wrong — namely, as
to the medals. There are to be no awards, it seems. But, to make
up for their absence, I know what will happen. The organizers of
the Salon will pay special attention to the representatives of the
lay press, and trade upon their ignorance to secure effusive and
puffy notices, so that the public may be deluded into the beUef that
the Salon really has a monopoly of the " best productions of
photography," and this of course will send up the commercial value
of the pictures, arrangements for the sale of which will be made
" at a commission of fifteen per cent." I wonder who will do the
Times notice ? Mr. Msskell ?
That the Photographic Salon is a deliberate and carefully planned
attack on the Photographic Society's Exhibition nobody can deny.
This is a free country, thank goodness ! and I am sure the Society and
its friends are not the people to be dismayed by a little opposition,
so long as it is of a fair and legitimate nature. But that of the
Photographic Salon is not. The support which the malcontents and
their satellites are giving to it is a thing which causes no surprise,
but there are many other persons on the Committee whose presence
there I cannot understand, except on the ground that the Society,
according to their ideas, has neglected " pictorial merit," and has not
shown " the public the best productions of h ography from a
May 20, 1893]
THE BRITISH JOTJBNAL OF PHOTOGRAPHY.
327
pictorial point of Tiew," a proposition whicli, of course, is absurd.
Hence the Socioty hivs a grievance at seeing so many of its best men
in league with its enemies, and I therefore b'jg to invite the various
members of the Photographic Society of Great Britain who
are on the Salon Committee, to explain to the photographic public
how it is that, having themselves been successful exhibitors, or
judges, of the Photographic Society for years past, they are now sup
porting a rival show whose only claim to attention is the coolly impu-
dent way in which it is trying to arrogate to itself the right or duty of
taking "pictorial merit" in photography under its wing? The
attitudes of these gentlemen are so equivocal that explanation is
almost imperative in the interests of their own reputations.
" Audacious Operator," in the Journal for April 28, does me
the honour to ask me for a " critique to the point " on the question of
the determination of the speed of plates, and at the same time he
points out with some force that the sensitiveness of a plate probably
varies witli its age, but that the speed number originally given to it
remains. The vastness of the subject deters me from attempting to
tackle it in the course of a single paragraph, and I can therefore only
deliver myself of a brief reference to it. By far the larger quantity
of dry plates made are manipulated by professional photographers
and habitual plate-users, among whom 1 fancy the only kind of plate
speed required is uniformity of rapidity. Let a dry-plate maker send
out plates which do not appreciably vary in speed and quality, and
the photographer will be quite content to work them without the
assistance of speed and eensltomcter numbers. It seems to me that
the adoption of different speed numbers for each batch of emulsion
made puts a premium on irregularity of rapidity without assuring
that the relative rapidities with which the plate boxes are marked
will be confirmed by the camera test. Thus it is conceivable that a
given brand of plates may, within the space of a few days, possess
half a dozen degrees of sensitiveness, and be put on the market by the
maker without a pang, whereas in pre-Hurter & Driffield days he
might have hesitated to use an emulsion which sliowed an appreciable
decrease or increase of sensitiveness for a plate of standard rapidity.
Both sellers and buyers would, I fear, be likely to be confused by the
multiplication of speed numbers which would follow upon the
univei-sal adoption of the Hurter & Driffield system, which, however,
is not likely to happen yet.
I must thank Mr. H. W. Peal for his courteous reply to a former
jotting of mine, asking for evidence upon which he based a state-
ment that amidol allowed one to reduce the exposure to about
one-third that required for pyro. It seems that Mr. Peal was not
comparing the two developers for general work, but for very slow
plates used for copying, the pyro developer against which amidol
was pitted being, he says, very well restrained, the amidol
having only a very small quantity of bromide. This, of course, is
no comparison, and liad Mr. Peal been reported in the sense in
which he writes I should not have commented in the matter.
Amidol will no mure allow a photographer to successfully give a third
of the exposure required with pyro than hydroquinone, as claimed
upon its first introduction a dozen years ago, will allow him to give
one-half. I have proved both statements wrong by simple experi-
ments; and as regards amidol — which possesses many good points,
especially in rapidity of working, suitability for bromide paper, and
possibly some advantage in bad cases of under-exposure — the opinion
I expressed a month ago as to its not allowing one to reduce ex-
posures for pyro two-thirds is curiously confirmed by one or two
speakers in your report of the meeting of the London and Provincial
Photographic Association for May 4, which is given on page 301,
May 12. "
In pointing out that a plate which has been simply exposed in the
camera and, without development, fixed, leaves a deposit which
may be intensified as it were by acid development, Mr. Hermann
Schnauss, in his paper on Physical Development, suggests the equally
interesting fact of the known difficulty of entirely destroying the
developed image in a plate. I have applied all kinds of reducing
solutions to gelatine negatives without obtaining perfectly clear
gelatine free of some kind of deposit which did not admit of slight
accretion under Intensification. An iniage of some sort remains
behind, the precise nature of which Is open to doubt, although it ia
possibly a compound of gelatine and silver. This opens up a field for
speculation as to whether development is responsible for the whole of
the deposited image, or whether the exposure does not at once reduce
a portion of the haloid to metallic silver in some unfamiliar form,
which at once enters into combination with the gelatine, the develop-
ment of the sub-salt acting as an intensifier of the original image, to
which the term latent is therefore a misapplication. At any rate,
the undoubted presence and persistence of the undeveloped and
developed impression in a plate seems to me to be a point worthy of
notice in any theory which seeks to explain the nature of the photo-
graphic image.
The idea of the Manchester Photographic Society in providing
a large camera, with the "usual trimmings," for the use of members,
on the co-operative principle, is one that other Societies might adopt.
Most photographers at some time or another feel the want of a large
camera, and, if it could be obtained from their Photographic Society,
the .small fees charged would help to pay for its cost. Optical pro-
jection and enlarging apparatus are also things which every amateur
cannot afford to possess himself, and for the loan of which he, no
doubt, would be willing to pay a fee to his Society. When such
things are wanted, they are wanted badly. Certainly Photographic
Societies could do worse than add to their attractiveness and useful-
ness in such a direction. As regards a large camera, I should think
it only the correct thing for a Society to possess a camera of its own
for official use, a.«, in case an exposure by artificial light is desired to
be made, it is a handy thing to have. Might it not also bo an induce-
ment to beginners to join a Society in which a camera was kept with
which they could take their first plunge into the small sea of troubles
which photography,has in store for all its votaries ? A further addi-
tion to the usefulness of I'hotographic Societies would be the general
adoption of a'svstematic jilan of laboratory and field instruction for
novices,such as I am glad to see put in|practice by the North Middlesex
and other Societies.
I rub my eyes at reading a complaint of frilling in your last
number. 1 do not think that Mr. Lambert's suggestion that the evil
of which he has had such recent experience, after all of us had gro^vn
to regard it as a thing of the past, can be, except in extreme cases,
due to the cutting of the plates. Otherwise every quarter, five by
four, half, seven and a half by five, and the many intermediate " odd "
sizes issued from the manufacturers would be open to suspicion on
that account — an idea which does not hold water. Cosmos
SELECTIONS."
The Sky Pokhon of a Landscape.
Wf. wUl now consider the treatment of the sky portion of a landscape.
Many photographers capable of doing most excellent work content them-
selves with turning out prints with white, or only slightly tinted, skies,
instead of supplying proper cloud effects. The trouble of adding these
is so very trifling, in comparison with the improvement they effect, that
I am surprised not to see them more universally adopted than they are.
Cloud negatives themselves are very easily made, although there seems
to be a genuine and wide-spread idea that cloud photography requires
some special skill, different from the usual kind. Given clouds, it is
quite as easy to photograph them as anything else, perhaps more SO.
The only imperative condition is absence of haze. A white dress, covered
with white lace, is infinitely more difficult to deal with ; only, start fair,
knowing the ;kind of negative wanted, which will be a thin one, with
good contrasts. Stop the lens down to /-64, use a moderately alow-
backed plate, and give about half a second exposure. Use a well-
restrained developer, and the thing is done. A very rapid plate, with a drop
shutter exposure, will not produce such nuitable negatives for printing-in
skies as the slower process.
Plates containing iodide are to be preferred. One preoantion is never
* Concluded froa pogs 31^
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 26, 189S
to Iiave the sun itself visible on the negative unless covered by clouds of
more or less density, or something equivalent to them. If a sun or moon
is wanted in the picture, put a small, round, opaque spot on the negative
to do duty for it, using artists' licence as to the size, which will be two or
three times as large in proportion as it would be if photographed. More-
over, with the sun full on the lens, there is generally fog or a patch of
blurring in addition, quite spoiling the negative. Clouds, although less
effective as "cloud effects," are more useful for printing in if taken look-
ing away from the sun, and at the same time more appropriate, the
majority of landscapes being more often than not lighted at varying
angles from one side or the other, and not from the front. In a great
many negatives the sky is so cut up by foliage that mere indications of
clouds are sufficient, and if the lighting of them is different to the land-
scape, unless it ia very pronounced indeed, the error would rarely he
noticed, if at all. I am afraid I lay myself open to a wigging"_for making
such an assertion ; at the same time, I believe it to be a tact. If we are
to be so critical in respect of clouds in a. photograph, why not be equally
so of those in a painting ? Artists of the brush and palette^I am afraid
err as much as those of the camera in this respect.
In close connexion pictorially with the sky in the photograph is water,
especially large sheets of it. If it happens to be still with a good reflect-
ing surface, only sky reflected in it, the clouds should be printed on it
lightly in reverse — that is, by turning the negative over and printing from
the wrong side— but in proper position with regard to those clouds of
which they are supposed to be reflections. If only a small patch of water
comes white in the print, that can be rubbed down with spirit or a tint
printed on, for a white spot of that kind is always an eyesore. Rubbing
down or tinting will harmonise it with the rest of the picture.
Exposure and Density.
" Exposure and density " has been a somewhat contentious subject, so
1 will say little about it more than that a full exposure for all general
work gives us better results than we can possibly get witli the least under-
timing. A negative, perfect from a chemical point of view, does not
always produce a print perfect, in an artistic sense, with respect to atmo-
sphere. I have an idea that the best prints are always from slightly
over-exposed negatives, from the pretty negative point of view. It is a
popular fallacy that hy fully, not over, exposing a landscape the distance
is buried. In an under-exposed negative, this ix generally the ease if the
detail in the darker parts is properly brought out. The time of develop-
ment necessary to get out detail in these shadowy parts does assuredly
over-do the distance ; but in a well-judged exposure the detail in the
foreground (unless in exceptional cases) comes up nicely with the dis-
tance, and the harmony throughout is retained. In some cases brush
development is exceedingly useful, and indifferent exposures may be
made to pass by its judicious use. Few rules have no exceptions, and in
this matter, if a slight haze exists at the time of taking the negative, a
shorter exposure is warranted. The least over-exposure under such con-
ditions would be undoubtedly a mistake, tending to over-density in the
distance.
Development.
A word or two about development. A good estimate of the quality of a
developer is that it shall with the least density, or rather opacity, print the
strongest image. The developer that comes nearest to this standard is the
one to choose, for I prefer that the printing qualities shall chiefly depend
on the colour of the image rather than on its opacity. Some negatives
of a very non-actinic colour are quite ghostly in appearance, and yet
produce the most charming prints. There is, in fact, a softness, richness,
and brilliancy in such prints that is quite unapproachable by any other
class of negatives ; moreover, such cliches lend themselves to almost all
processes bettor than other kinds. In development I prefer flooding the
plate in the first instance with the developer minus the alkali, adding this
afterwards a little at a time, according to the effect produced, my favourite
mixtures being pyro-soda for indoor work, and pyro-ammonia for out-
door. For very dark interiors rodinal is, I think, as good as anything I
have tried; it had rather the advantage in a competitive trial with
ammonia on an Ul-lighted room, half an hour being given to each
exposure. It produced more detail in the shadows than the ammonia
did. The chief objection to the amidol and eikonogen class of developers
is, they have to be made apparently denser than they ought to be with
pyro developers for a standard, and lose some printing delicacy in con-
sequence, as well as being somewhat deceptive as to tbek printing force.
Reduction in the Hypo Hath.— Some interest has lately been exhibited
m the effect on bromide prints of prolonged immersion in the hypo-
sulphate bath. Reduction will take place in a negative, irrespective of
the developers, if the plate is left soaking for some" hours in it. I have {
several times found soda and ammonia and pyro images almost entirely '
obliterated by leaving them all night in the bath. At the same time, I
have let similarly developed negatives remain quite as long in it with
scarcely any alteration of density. Why some should fade and others
remain unchanged I am unable to say authoritatively, but in all proba-
bility the bath was stronger at one time than the other, for with the
hypo bath, so that it was snfliciently strong to fix in a moderate time, I
have never considered the strength of much importance.
HiLATION.
The subject of halation or blurring has also been to the fore of late
and is a matter to which I have been obliged to give considerable
attention, especially since the advent of rapid dry plates. I think you
will agree with me that this fault has increased in ratio with the sensi-
tiveness of the films. With highly sensitive films, no precaution that I
know of will altogether prevent or even mitigate it if the subject is highly
reflective or possessing strong and abrupt contrasts. Having at one time
or another had considerable experience with interior work, to which I am
very partial, I do not think I can over-rate the importance of securing
plates and conditions as little liable to this fault as possible. There is
no doubt that careful development will mitigate the trouble, but given a
very rapid bromide plate, and a subject of a trying nature, neither
development, backing, nor anything else, so far as I know, will prevent it.
On this account I prefer a rather slow plate, containing a fair amount of
iodide, as best for such subjects, and calculated to give as great a freedom
from blurring as we can hope to get. It seems to me that a thick film
unless heavily charged with silver salts, is worse than a thin one, because
there is more probability of, and opportunity for, lateral dispersion of the
light in the film itself. Rapid films, from their colour and coarseness,
favour blurring. The wider separation of the opaque particles in a trans-
parent, or semi-transparent, medium, like thick gelatine, permits of an
easier infiltration of the light through its substance than the finer and
more dense conditions of the bromide, and therefore slower films.
If blurring depended entirely on reflection from the back of the glass,
then a good backing would be a certain cure in all cases, which we know
from experience it is not. Many plates of considerable density and yellow-
ness without any backing are almost free from this fault, for the reason
just stated. An additional drawback to very rapid plates is their tendency
to reversal, a more annoying fault, if possible, than blurring ; it does not
appear so unsightly on the negative, for the image remains clear and
distinct, and, unless in some conspicuous place, may be overlooked, but
in the print there is no fear of this oversight. I have had some other-
wise excellent negatives rained by it, for they set doctoring at defiance,
unless of the most elaborate description. When plates are very prone to
this effect, they are useless for good interior work, and so for many
reasons I prefer to work with a plate of only moderate rapidity, and
think bettct general work is obtained on them by far than on those of the
very rapid. Edwakd Dukmobe.
COMPOSITE HELIOCHROMY.
[A Second Paper on Photogmphy in the Colours of Nature, read at the
Society of Arts.)
Tiie heliochromosoope was first publicly exhibited one year ago in
London, before the Royal Society, the Iloyal Institution, and the Society
of ;Arts, in connexion with demonstrations of the process of composite
heliochromy upon which I have been working for several years. As was
explained in my paper of May 25, published in the Journal of the Society
of Arts of May 27, 1892, the heliochromosoope and its triple photograph,
or chromogram, are calculated to reproduce the colours of nature as readily
as the stereoscope and stereogram reproduce binocular perspective.
The photographic process by which the colours of nature are repro-
duced, was perfected in theory nearly five years ago, and its capabilities
were demonstrated at a meeting of the Franklin Institute, in Phila-
delphia, in November 1888. In order, however, to operate the process
advantageously, it was necessary, not only to provide a special optical
lantern for superposing on the screen the three images of the chromogram ,
but also a special camera which would enable the triple negative to be
made by the exposure and development of a single sensitive plate, as in
ordinary photography. I designed such a camera in 1891, and by means
of the heliochromoscope, a modification of the camera, by which the
three images are blended without either lantern or screen, I reduced the
method almost to the simplicity of stereoscopic photography.
Owing, however, to certain inherent defects in the photographic nega-
tive-making process, which have long been known to affect the rendering
of gradations in monochrome photography, and, therefore, must also
affect the colour-rendering, I have since given mu.oh study to realisi
iUj 26, 1393]
THE BRITISH JOUENAL. OiT PHOTOGRAPHY.
the mo«t favoarable conditions (or reducing such defects to a minimum,
and to dotlning the nature and extent of tbo limitations which thejr
impose. Much exi)eriment has also been devoted to overcoming other
diSlcnUics which I shall mention, and, although a truly astonishing
illusion of nature is realised in the heliochromoscope, I estimate that it
ma.v take another year to carry out all the experiments, and make all
tie nioasureinents necessary to enable me to finally demonstrate the
<aipabilities, and accurately state the limitations of the process, and to
pnblish complete and satisfactory instructions for operating it.
Meanwhile, having been called to London on business of another kind,
the Council of the Society of Arts honoured me with an invitation to
■" report progress."
As was fully explained in my paper of last year, my own prooess of
composite heliochromy consists, first, in the production of a triple photo-
graph, to represent the effect of light from the object upon the three
separate fundamental colour sensations, in accordance with the Yoong-
Helmholtz-Maxwell theory of colour vision ; and, second,
in the blending of the three images into one, either
optically, by means of the triple lantern or the
heliochromoscope, or otherwise, by the superposition
of three transparent colour-prints. Although the three
fundamental colour sensations are red, green, and
4>lae-violet, the three images of the triple photograph
are not made through red, green, and blue-violet
glasses, nor by the action of red, green, and blue-violet
rays, but each by the joint action of all rays that have
power to excite the respective fundamental colour sen-
sation. Not only do the red rays, but the orange,
yellow, and yellow-green rays also excite the funda-
mental red sensation ; the orange rays aSect it even
more powerfully than the pure red. The photograph,
to represent the effect upon the red sensation, is,
therefore, made by the action of all these rays, and
in due proportion, in accordance with Maxwell's
.measurement. The photographs of the green and
iilae-violet sensations are also made by the joint action
of rays of various colours, in proportion to their power
to excite the respective fundamental sensations, accord-
ing to the measurements of Maxwell and Abney.
But, when the images of the triple photograph are
blended into one, by means of the triple lantern or the
heliochromoscope, the photograph of the red sensa-
tion is illuminated by red light only, the photograph of
the green sensation by green light only, and the photo.
^aph of the blue-violet sensation by blue-violet only,
lln other words, the tliree images of the chromogram
jrepiesent the action of all incident light upon the
.respective fundamental colour sensations, and the light
iby which each image is illuminated in the lantern
or heliochromoscope represents the sensation itself.
The result of blending into one the three images of
the chromogram— each being illuminated by the kind
of light intended for it — is a faithful reproduction of
the object photographed, in all its subtleties of light,
.and shade, and colouring.
Last year my projections on the screen were made with the lime-lightr,
;tlie performance of which was very unsatisfactory to me in comparison
with sunlight projection which I had employed at my house in Philadel-
iphia. Now I am provided with a lantern adapted for electric light, and
will repeat my demonstration with it before proceeding to describe the
.colonr-camera and heliochromoscope. In this lantern a single arc electric
light is the source of illumination. After being collected by a condenser
system in the usual manner, the light from the arc is sub-divided into
three portions by means of a system of mirrors, some of which are trans-
iparent, so as to both reflect and transmit light, snbstaritially as in the
heliochromoscope camera, which I shall describe later on. In the palh of
.«ach divided beam of Uglit is placed a smaller condenser and a colour-
>^acreen ; in front of these a chromogram ; and then the objectives by
which the images are projected and superposed. This device differs from
.all others that have been proposed for the purpose, in tliat the disc of
ittght on the screen remains white when the electric arc varies its crater.
The systems formally proposed for use with a single light would be quite
useless under such conditions.
I commence by demonstrating the produ<Stion of white light by mixing
the red, green, and blue-violet rays. In the heliochromoscope the inter-
.<nediate rays — the yellow and blue-green — are entirely suppressed, only
-comparatively narrow bands of x^i,£Kea, and blue-violet showing if a
spectroBoope is applied to the eyepiece. The coloors that I am now
using in the lantern are not quite so pure ; the apectrosoope ahowi
broader bands of colour, but they are etill separated from each other by
darker bauds in the yellow and blue- green ports of the spectrum. With
these aoreens the illumination is sufficient for projections of moderately
large size, and the colours are pure enough to demonstrate the fact that
the red and green light mix to produce yellow, and that the additioa of
blue to the yellow makes not green bat white. The iiwertion of one of
the chromograms shows that the infinite variety of the ooloora of nature
can be obtained by the intermixture of the three colours, red, giaen, and
blue-violet, in varioos proportions.
Scientists have known these facts about the mixture of coloured lights
for a long time, but I take advantage of every opportunity to repeat the
demonstration, because many people still doubt the facts.
I must also take this opportunity to again emphasise that it would be
quite impossible to obtain any such result as that now shown with any
system employing the same colour screens both for photography and fer
projection, as was advocated by all other writers upon this subject pre-
vious to my publications in 1888. The science of composite heliochromy
cannot be understood without knowledge of this fact, which I have re-
peatedly pointed out and explained, but which certain well-known writers
have, nevertheless, persistently ignored.
The subjects that will now be projected upon the screen will illustrate
the capabilities of this system of colour-photography, as adapted to
lecture illustration, better than was possible with the lime-light lantern
used here last year.
The illusion of nature will be found even better in the heliochromo-
scope than on the screen, because the colours are purer, and the illomina-
tion is better.
The method of superposing three images upon a screen, by means of
three separate objectives, is sufficiently known, and need not be described
in this paper. The system employed in the heliochromoscope is not only
a very different one, but, I believe, quite different from anything else that
has ever been suggested. I shall try to make it clear by reference to a
diagram, showing the construction of the perfected instrument.
A is the chromogram, B, C a removable baseboard, carrying the oolonr
screens, B, and the mirror system, C. D is an achromatic objeutive lens,
and £ a silver mirror.
330
THE BRITISH JOURNAL OF PHOTOGRAPH Y.
[May 2S, 1893
Light transmitted by the image of the red sensation, B, passes through
the [red colour screen, B', to the silver mirror — 1, downwards to the
transparent mirror, 2, and forwards (except the portion which passes
through the transparent mirror and is lost), through the objective, D, to
the inclined mirror, E, and upwards into the eyepiece, under which a
reduced image is formed by the objective, £>.
Light transmitted by the image of the blue- violet sensation, V, passes
through the blue-violet colour screen, V, to the silver mirror, 3, sideways
to the transparent mirror, 4, forwards through the transparent mirror, 2,
and objective, D, to the inclined mirror, E, and upwards into the eyepiece
under which a blue-violet image is formed, exactly coincident with the
red image. That portion of the light which passes through the trans-
parent mirror, 4, is lost, and also that which is reflected downwards by
the transparent mirror, 2. F. E. Iv£g.
{To be continued.)
MABION'S NEW SUMMEB AND SEASONABLE NOVELTIES.
On
of a visit to Marion & Co.'s, Soho-sqnare warehouses,
a hand camera the invention of Dr. Krngener and
the occasion
we were shown
possessed of excellent features. Numerous are the inventions that have
been introduced to solve the problem of the transference of sensitive films
to the camera and their exposure with the maximum of certainty and
the minimum of risk and trouble. This is claimed by the firm to have
been attained in their Simplex Film Camera, an external view of which
we here give, and in which pro-
vision is made for bringing fifty
films into the field, transferring
them to the focussing plane of
the camera, and, after exposure,
storing them in a reservoir,
where they remain secure from
the action of light. In what way
all this is accomplished we shall
endeavour to explain.
The films are cut to the size
required and are flexible. A long
band of opaque paper is provided,
and is folded to the size of the plate. At certain intervals there
are narrow slips of paper pasted on the band, underneath which
one end of a film is slipped. The band is then folded zigzag
fashion, a, b, c, when the second of the series of paper slips comes
to the proper place for receiving another film, which is retained in
situ by a repetition of the folding of the band ; and this is repeated until
the whole of the fifty films have been put up in a packet, which is then
inserted in a recess at the back of the camera. Meantime, the front fold of
plane is a plate of optioUy worked glass, and by means of a spring behind
the package is pressed against it. On drawing out the projecting end of the
band D, the first of the series of films is brought up, hard pressed against
the glass focussing plane, B. After exposure, D is pulled, when the
exposed film, C, rises, and, caught against the sloping cover, falls forward
and flat down into the reserve, C, above. A continuation of the pulling
at D results in the next film in the series replacing the previous one, and
in due course it, too, is deposited on the anteoedaneous pile, C. This goes
on until the last of the fifty films have been exposed and lodged in the-
chamber above, when the services of a dark room or a changing bag must
be had recourse to in order to affect the depletion of the chamber C and
the refilling of chamber B. The other parts of the camera, its lens,
shutter (time and instantaneous), focussing details, and other matters,
including its two finders, its level, the means for applying tension to the
shutter spring, can be easily conceived of. The stand is a species of
alpenstock, the limbs of which are jointed a few inches from the top, and
which when expanded yields a flat solid table on which to place the
camera, with a mechanical contrivance for enabling it to be pointed up^
wards or downwards when the ground is uneven. This stand, we may
observe, is adapted for other cameras than this.
The Eadial, a camera of Marion <fe Co. has developed into half-plate
size, its dimensions being IpJ x 6J wide and 7f deep. As those who have
seen it know, it holds twelve plates, any one of which may be exposed at>
will, and after exposure may be returned to the place from whence it
came. An addendum to this system consists in having an additional set
of sheaths, which may contain quarter-plates or any size intermediate
up to those for which the camera has originally been adapted. This-
gives an additional power to the holder of this new size, in which the-
greater is thus made to include the less.
We were shown a large quantity of the fixing and developing cartridge*
of which we spoke in a recent issue, and which we are told are bein^
much demanded.
We were also shown an exceedingly low-priced hand camera, " Th&
Alphoto," the prices of which commence at 8s. 6rf. each, with achromatic
lens. In this the focussing is ad libitum from two yards to infinity.
The Collapsible Plate Back
is one of those handy pieces
of apparatus that occupies
but little space when folded
up, but when expanded it
affords space for a dozen
plates being racked up for
drying.
The foregoing cut shows the
rack so well as to render
further ffescription unneoes-
pack away amongst one's travelling
to
the band has been passed over a roller, and brought out through a slot
behind ready to be grasped by finger and thumb. The exposing or focal
sary. It will prove convenient
impedimenta.
A very pretty and simple way of storing and displaying negatives or
transparencies was brought under our notice. It consists of a series of
sheaths hinged together, capable of being folded up in small space, or of
being in a moment opened out, so as to show the negative or trans-
parency at a glance. This form of putting up negatives certainly must
approve itself to those who in the rush of business desire to pick out
a negative or transparency at a moment's notice. It is only necessary
to undo the fastening, when at once the whole contents are displayed for
examination.
In the rooms devoted to frames and mounts, we might well feel
excused from breaking down altogether in our powers of note-taking.
An exceedingly beautiful example of the adaptation of English-dressed
antelope skins, made up as frames with corner piece and entourages in
silver, are without doubt the most elegant forms we have seen in which
photographs can be set. . . /These range in sizes from cartc-de-vislte
midget up to panel. We also saw close imitations of the above in other
skins, mounted both in silver and in imitation, at a much lower price of
course.
We have already, some time since, spoken of a series of artistic prints
specially made by Downey which were sold at a marvellously low price
(eight shillings a dozen). A third series of these, of larger size, 19 x Ift
net size of print, is now in course of preparation, and is expected to be
ready in a month. From the specimens we saw, we would suggest their
great utility in the show-room.
In this depai'tment were also to be seen antique miniatures, which
consisted of carbon opals, painted and unpainted, in those old-fashioned
flat ebony frames of a former period. These ought to be useful to
portrait photographers; ivorine frames and easels suitable for every
class of pictures, and made in sizes from cabinets upwards ; also an-
May 20, 18tf3]
THE BlUTISH JOUKNAL OP PHOTOQilAPHY.
881
Kxoelaior Album with specially thick mounts, but which, alas ! will not
be on the market (or two months yet. We must not, however, omit to
mention a scries o( direct sepia platinum prints, by Edwards, of English
historical buildings, nor of a large variety of designs for IJirthday,
Christmas, and New-year's mounts, folding and plain, in which artistio
and mechanical genius has been laid extensively under contribution. If
these, and quite a large number of chaste and elegant forms of mounts
for every size of portrait, and in every variety of tints, including some
^uite new, do not give a fillip to bnsiifess, we know not what will.
RECENT PATENTS.
PATENTS COMPLETED.
lH)-ROVKM£NTS IN PhOTOOHAPHIC LKNSES OR OlURCTIVES.
No. 4692. Paul Rudolph, Carl-Zeiss-strasse, Jeua, Saxe-Weimar, Germany.
April 22, 1893.
This invention relates to photographic objectives, and its purpose is to remove
the indistinctness of tlie marginal portions of the image by reducing, as much
a.s passible, the "astigmatic aberration. As indicated by their name, these
aberrations are caused by " astigmatism," that is to say, the property possessed
by the rays of an oblique pencil of light transmitted through an objective of
not uniting in one and the same point the rays lying in the primary or
meridional section of siich pencil uniting in one point, and the rays lying in its
secondary or sagittal section uniting in another ])oint ; or, in other words, tlie
focal length of the rays in the primary section differs from the focal length of
the rays in the secondary section. Thus are formed two partial focal points.
The distance of these two partial focal points, or the difference of the two focal
lengths, is called the "astigmatic difference." The latter is termed ix)sitive
when the focal length of the ray in the primary section is greater than that of
the rays in the secondary section, and it is called negative when the focal
length of the rays in the secondary section is greater than that of the rays in
the primary section.
As it is possible to so compose or construct lenses as to cause them to
manifest a predetermined .istigniatic difference, either positive or negative,
this astigmatism supplies in itself a means for obviating its prejudicial effects.
With this object the objective can be constructed with two distinct or separate
lenses, or systems of lenses, for example, one of which is so composed as to
produce a positive astigmatic difference, whilst the other is so arranged as to
give rise to a negative astigmatic difference, the said two differences being
cansed to neutralise each other, Surh a double objective, or " doublet," as it
is called, is descrilwd in the Specification annexed to British Letters Patent,
No. 6028, dated April 21, 1890. In this double objective the correction of
tlie said astigmatic aberrations is obtained by combining an achromatic lens,
the positive member of which, being the collecting lens, is made of glass
having a higher refractive index than the glass of its negative member (that is
to say, the dispersing lens to which it is cemented), with a second achro-
matic lens, the refractive indices of the two cemented members of which are
contrarily graduated. The neutralising effect obtaineil by this reversed or
inverted comimsition of the members of a doublet relatively to the astigmatic
aberration is principally dependent on the fact that, in virtue of the said com-
bination, the inner surface, or "surface of union," in the one member (that is
to say, the surface on which the component lenses of the member are united
together), is caused to act as a collecting lens, whilst in the other member the
surface of union is made to act as a dispersing lens, and so with reganl to the
influence upon the focal length, as well "as upon the spherical aberration of the
respective member.
Now, the present invention consists in a new organization or combination of
juJiromatic lenses, whereby the same neutralisation or correction is brought
about within a single system of lenses cemented together. For this purpose
the system is composed of three individuJ lenses, iu such a manner that the
Inner member is a collecting lens, and has cemented to it on each side a dis-
persing lens, one of the latter having a greater and the other a smaller refrac-
tive index than the collecting or intermediate lens, or that the said inner
member is a dispersing lens and the said two outer niembera cemented thereto
are collecting lenses, one of which has a greater and the other a smaller refnu:-
tive index than the dispersing lens situated between them.
It is evident that by lueiins of either of these two combinations one of the
inner surfaces, or "surfaces of union, ' pro<luces a positive refraction, that is
to say, the effect of a collecting lens and the other union surface a negative
refraction, that is to say, the effect of a disperaing lens.
In the annexed drawing, examples of the two new arrangements of triple
lenses are represented in section in Fig. 1 and in Fig. 2 respj^ctively.
In both figures L, L.^ L^ denote the three lenses cemented together, ij 2, the
inner surfaces, or " surfaces of union," and B the diaphragm.
Fig. 1 illustrates that type in which the inner chamber I« conaist* in a
collecting lens being biconvex, whilst the outer members, I,," and I*,, are
dispersing lenses, the former being biconcave and the latter uoncavo convex.
In Fig. 2 the inner memlier, L.j, consists in a biconcave dispersing lens, and the
outer memljers, L, and !>,, are formed by collecting lenses being re8i>ectively
concavo-convex and biconvex. In either case the lens Li, being the member
nearest to the diaphragm B, is assumed to have the smaller refractive index.
The letters r, r^ rj r^ denote the radii of curvature of the surfaces of the
lenses, and d, d.^ d^ the central thickness of the lenses. 6 indicates the distance
between the lenses and the diaphragm B.
There is now no difficulty iu obtaining glass of anitable quality for making
achromatic lenses of the kinds required for carrying out the present invention.
The practical question as to whether, in a combination of the above description,
it is possible to obtain a sufficient astigmatic correction, and, at the same
time, to comply with the other conditions required in photographic objectives,
lias been answered in the alliriuative by theoretical and practical investigation
of lioth types of the new triple lens.
Guided by the annexed drawing and the following tables, in which are given
the elements of construction of two typical examples, an optician skilled in the
construction of lenses or objectives will be enabled to numerically determine or
calculate according to known metho<ls those elements of construction (radii,
thickness of lenses, and distance between the lenses, and the diaphragm B)
which are necessary to projierly compensate astigmatic aberrations.
The letters employed in the following tables correspond with the lettera
marked on the drawings. The kinds of glass to be employed are detemiixed
by the indices of refraction n D and n G,, relating respectively to Fraunhofer's
D. line and to the llz line of the spectrum of hydrogen. All dimensions are
expressed by proportional numbers, the focal length of the whole objective
beug taken as unity. A simple multiplication of these numbera with the
focal length actually required will suffice for obtaining the dimensions of any
objective wanted,
E.XAMPLKS.
Table I.
Objective, the inner or intermediate member of which is a collecting lens.
Fig. 1 represents this objective calculated for a focal length of 500 milli-
Maximum effective aperture, 0-063. Angle of field, about 90*.
metres.
Radii. '
rji -0-1058
r.i= -I- 0-1210
r,= -0-0496
r4= -1-0-1043
Thickness of Glass.
d]=0-0060
<ij=0-0145
<i,=0-0091
Distance of Diagram B,
*=0-0091
Kind of Glass employed,
n D. n G,.
L, = l-51510 1-52673
L.,=l-57180 1-58643
L3= 1-62350 1-64457
Table 11.
Objective, the inner or intermediate member of which is a dispersing lens.
Figure 2 shows this objective calculated for the focal length of 500 milli-
metres. Maximum efiective aperture, 0-077. Angle of field abont 90°.
Radu.
r,= -0-1423
r,= -0-0547
rj =-4-0-2073
r4= -0-1280
Thickness of Glass.
rfi=0'O167
da=0-0052
(i,=0-0139
Distance of Diaphragm.
b =0-0104
Kinds of Glass employed.
» D. n Gt.
L, = 1-52246 1-53373
L.i= 1-46724 1-58092
L,=l-611-20 1-62483
By correspondingly modifying the elements of construction, lenses having
the same, or approximately the same, effect as the typical lenses hereinbefoiB
described can likewise be obtained with the aiil of otiier kinds of glass, pro-
vided that the latter enable the conditions necessary for achromatisation to be
complied with, and also enable suitable differences of the refractive indices to
be estiblished on both sides of each of the two union surfaces of the triple lens.
The external shape of the latter must, in every case, be either that of a meniscus
or that of a biconvex lens, with very unequal external curvatures, and the
surface having the least curvature must be turned towards the diaphragm B.
The outer memlwr, next to the diaphragm, may be composed of g^iun, uving
the smaller refractive index, as assumed in Figs. 1 and 2, or of glaos having the
greater refractive index.
An achromatic lens of the kind hereinbefore described may be advantageously
employed for the construction of objectives comprising but one compoeite lens,
such as a landscape lens or for making doublets, and iu the latter case it may
832
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[May 26, 1893
cithia- be combined with a triple lens of the same kind, or with an ordinary
achromatic lens.
By combining two equal lenses constituted according to this invention, so as
to form a symmetrical doublet of the ordinary aplanatic type, objectives are
obtained in which the advantages of the double objective described in the
hereinbefore cited Specification, No. 6028 of 1890 are united with the peculiar
advantage of the symmetrical systems of ensuring tne most accurate resem-
blance between the object and the image. According to the rules governing
the construction of symmetrical system, such double objectives are obtained
without any change in the elements of construction set forth in the preceding
tables, by oppositely arranging two equal triple lenses, the place of the
diaphragm indicated in the tables being made the geometrical centre of the
doublet
By the combination of a trijile lens constructed according to to this invention
with a second lens of the same description but of different focal length and
other curvatures or with an ordinary achromatic lens, two valuable modifica-
tions of the u'nsymmetrical (anastigmatic) double objective described in the
aforesaid Specification are obtained. The compensating effects which are
brought about in the said unsymmetrical system by the co-operation of its two
members are obtained in the modified system in each member separately, or in
one member alone for the entire system.
In employing the new triple lens in either of these unsymmetrical double
objectives it is evidently necessary to modify the elements of construction
hereinbefore given in the tables, because in such system the best result is
obtained not by correcting each member separately, but by compensating a
rest of aberration in one member by an opposed rest of aberration in the other
member. The alterations to be made must depend on the requirements of each
special case, and can be ascertained by means of methods of calculation well
known to opticians.
Having now particularly described and ascertained the nature of my said
invention, and in what manner the same is to he performed, I declare that
what I claim is : — An achromatic photographic lens or objective, composed of
three lenses cemented together, the refracting index of one of the outer lenses
being smaller, and the retracting inde.x of tlie other outer lens b^ing greater
than that of the middle or intermediate lens, substantially as hereinbefore
explained.
An Improvement belatino to Photographers' Roll-holdbr.s.
No. 850.3. Davjd Roy, G, Holyrood-place, Plymouth, Devonshire.
April 22, 1893.
This invention, which relates to ]>hotograpliers' roll-holders or slides, has for
its object to provide a check against more than one exposure of the same length
of film, and consequent spoiling of pictures.
The invention consists in providing that the shutter, when replaced after ex-
posure of a length of film, is locked and is not free to be again withdrawn until
a fresh lengtli of film has been unwound from the feed drum or roller.
Locking and unlocking are effected by means of a lever catch pivoted to the
body of the roll-holder. This lever catch, which is acted upon at its inner enil
by a spring, is shaped at the opposite or outer end to form a wedge-shaped
hook, which, when the shutter is locked, engages with a fixed stop provided on
the shutter. When a proper length of film has been unwound from the feed
roller, an arm attached to the winding indicator passes under a lug formed on
the lever aforesaid, and the latter is thereby raised, causing its catch end to
become clear ofthestopon the shutter. The shutter is thus unlocked and
made free to be withdrawn.
In replacing the shutter, after exposure of the film the hooked end of the
lever is acted upon by a tongue pivoted to the shutter, and by this means the
lever is turned on its pivot to a suflScient degree to withdraw the arm aforesaid
out of engagement with the lug. The lever catch then falls and re-engages
with the fixed stop on the, shutter. Tlie latter is now looked, and is not again
free to be withdrawn until a fresh length of film has been unwound from the
feed roller.
Improvkmskts jn Plate-changing Devices for Photographic Apparatus.
(A communication by Dressier & Heinemann, of -15, Theatinerstrasse,
Munich, Germany.)
No. 11,149. Wiluam Phillips Thomp.son, F.C.S., M.I.M.E.,
•6, Lord-street, Liverpool, and 6, Bank-street, Manchester, Lancashire, and
323, High Holbom, Middlesex.— ,4^riZ 22, 1893.
In this new plate-changing device, the photographic plates intended for ex-
posure are inserted backwardly in the camera, and are maintained against a
case by means of a spring attached to the removable back of the camera ; this
case may be inserted in the camera from above, from below, or from the sides.
This case has, at its lower hinder edge, a slot of such a size that a plate or a
firame containing the same may be easily inserted in the case, damp springs,
acting against one another, are arranged in this case. The case, when inserted'
presses down a sheet spring attached to the bottom of the camera, and bent
upwards at right angles, which spring, being released when the ease is drawn
out, springs up, and thus, as will be hereinafter described, forms a rest for the
plates or frames pressed up against it ; the usual opening of the objective is
provided, on which a suitable closing device may be arranged.
The mode of working of the improved plate-changing device is as follows :—
The plates already exposed are contained in the aforementioned case, those
to be exposed in the sjwce behind the same. If the front one of the unexposed
plates is to be expo.sed, the case is simply raised up. A prqjecting part of
the cose, or other suitable device, prevents the case being entirely drawn out.
The following takes place when the case is drawn out : —
Firstly, the spring attached to the bottom of the camera springs up, which
was hitherto lield down by the case, then the plates in the chamber are pressed
forward by means of the spring, so that the front one, which previously rested
against the hinder wall of the ease, now stands with its lower part against the
curved uppart of the ipring, whilst, at the top, It rests against * projection
formed by the bottom of the case. Thereupon, if the objective shutter ha re-
moved, timed or instantaneous exposures may take place, and then the case
is pushed back again into the camera. The foremost plate, which has just
been exposed, thereupon passes into the case through the slot in the same,
where it is held by the two springs, and places itself at the back of the plates
already contained in the case.
The two springs, or their points of contact, press against one another in such
a way that the plates entering tlie case are pushed slantwise with their lower
ends projecting forward, in order to keep the slot free for another plate to
enter. The unexposed plates are pushed slightly backwards by means of the
tapered surface of the back wall of the case, when the latter is inserted, ani^
the plates again rest against the back wall of the case.
If a fresh plate is to be exposed, the above-described process is repeated.
Improvements in or rkl^vting to the Manukacture of Sessitisbd Films
FOR Carbon Printing.
No. 11,254. Joseph Th.icher Clarke, 3, College-road, Harrow, Middlesex.
—ApHl 22, 1893.
In carrying out this invention I may conveniently proceed by using the
apparatus set forth in the Eastman Patent, No. 19,896, of 1889, and carrying
out the process set forth in the Eastman Patent, No. 19,897, of 1889, luid I
produce gelatino-carbon films of the usual kind made of gelatine and colour-
ing matter, with the optional addition of soap, dextrine, or the other iiiateriali-:
commonly used in the trade. When the film is to be sensitised in the manu-
facture, bichromate of potash is added.
In manufacturing such carbon films it has been customary to place the
film upon a backing of paper, and after the exposure, which renders portions
of the film insoluble, to dissolve out the remaining portions. As, however,
this method produced the insoluble surface or image upon the outer side of
the film, it was necessary to transfer the entire film to another backing, after
which, on removing the original paper supports, the prints could be obtained
by treatment with warm water in tlie well-known manner.
In carrying out my invention, instead of employing the paper .supports, 1
form such support of a film of celluloid or transjiareiit in.soluble gelatine, suffi-
ciently thin to allow of tlie image being received by the sensitive material
through said film. The film is ready for use without the necessity of trans-
ferring it to any other support or removing the original support, and the
soluble portions of the gelatino-carbon film may, after printing, be removed by
washing in the usual manner.
A further advantage of the method is that the image it not reversed as
regards right and left, as i.s the case in the transfer process.
Having obtained the carbon image upon the celluloid or insoluble gelatine
support, the picture may be mounted upon cardboard of suitable colour, or
upon glass, if it be intended to be seen as a transparency.
I do not bind myself to use only "carbon" as the pigment or colouring
matter of tlie film, neither do I restrict myself to the subjects of the before-
mentioned Patents, Nos. 19,896, 1S89, and 19,897, 1889, as the invention is
applicable to films prepared by other processes.
Having now particularly described and. ascertained the nature of my said
invention, and in what manner the same is to be performed, I declare that
what I claim is : — 1. The combination with a "carbon " or " pigment " film or
tissue of a transparent backing, wliereby the image can be obtained through
the back. 2. A celluloid transparent backing to a "pigment " film for photo-
graphic purposes substantially as and for the purjiose described.
meetinsjS of IboctetiejS*
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Ipate of Meeting.
May 29
>, 29
„ 29
„ 30
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Muoe o< Socieky.
OameraClub
Dundee Amateur
Richmond
Birmingham Phuto. Booiety
Hackuoy
Halifax Camera Club
Lancaster
Leith
Paisley
Warriugrtou „.„.
Bath „
Buruley
Leytoustoue ,
Photographic Olub ,
Southport ,
Birmingham Photo. Sooiety
Glossop Dale ,
HuU
Leeds Photo. Society ,
Loudon and Provincial ,
Oldham ,
Tunbridge Wellfl
Cardiif ,
Croydon Microscopical
Holbom
Leawimrtoa
Maidstone
Hull
Place of Me«tuig.
Charing Cross-road, W.C.
Asso. Studio, Nethergate, Dundee,
Greyhound Hotel, Richmond.
Club Room, Colonnade Hotel.
206, Miire-street, Hackney.
Springfield Barracks, Lancaster.
165, Constitution-street, Leith.
9, Gauze-street, Paisley.
Museum, Bold-street, Warrington,
Roy. Lit. & Se. Inst.,Terrace-walka.
Bank Chambers, Hargreaves-street*
The Asi^embly llooms. High-road.
Anderton's Hotel. Fleet.8treet,B.C.
The Studio, 15, Cambridge-arcadc;
Club Room, Colonnade Hotel.
71, Prospect -street^ Hull,
Mechanics' Institute, Leeds.
Chamiuon Hotel, 15, Alderssatc^*
The Lyceum, Union -street, Old ham.
Mechanio«' Inst., Tuubridge WeUff.
Public Hall, George-street, Ck-oydon^
Trinity Church Room, Morton-st.
"The Palace," Maidstone.
71, Proepect-street, Halt
1/f^ '20, 1893]
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
PUOTOOUAPUIC SOCIETY OF GREAT BRITAIN.
Ma» a Technical MectiDg, Mr. Horace Wiliuer in the chair.
Tklei'Hoto Lbnsks.
Mr. G. Houghton exliibited tlio new telescopic len.f, which wc described last
week, also examples of enlarged photographs produced by it.
Mr. T. liOLAS .said that one of the examples showed slight curvature of the
Held, and asked Mr. Dallim-yer whither, m his tde-photo lens, ho had dis-
carded the rcctiliniar Un.s as the ^imary lens on that account.
Mr. T. K. D.vLi.MKYBK said that two years ago he had adopted a form of the
tele-photo lens having a single positive and a triple negative. With a single form
it was ini possible to correct it for the excentrical pencils throiighout the field. He
had sucniiU'd in doing so, but it gave phicusliion distortion and aberration
towards the edges. In tlie later form, knowing that the front Icus was corrected,
it was impossible to correct it throughout tlie tield with a single combination.
To obviate the drawback of having to correct the excentrical pencils, he
eventually decided upon a lens convex on both exterior surfaces, in conjunction
with a particular tyi)e of portrait lens. The reason for that was that if the
sejwnition was correct for a certain distance, and the positive element be
moved, the correction for spherical aberration could not be perfect. In that
particular form of portrait lens the correction was perfect for a near object,
and if the magnification was moderate those aberrations existing in a marked
degree on a high iiower did not manifest themselves. The lens sliown by Mr.
Houghton was identical with one described by Steinheil, who employed an
antiplanat. The positive element gave a rather pronounced curvature of the field
towards the lens, the triple negative employed producing the opposite curva-
ture. This tlatteued the field, but the lens still gave prismatic excentrical pencils.
The instrument shown wa.s not of a powerful nature ; with a weaker negative
he should have expected that the constructor would have made it much more
rapid. He had been through this particular construction, and had discarded
it on account of its diliiculties ; although stopped down for landscape work, it
was, no doubt, a valuable instrument.
The Dagdbbbeotype Process.
Mr. W. England prefaced a demonstration of the Daguerreotype process by
a brief description of it and the exliibition of a number of examples, a collec-
tion of wliich was on view in the Society's rooms. Mr. England said that the
)ioIisiied silver plate was first treated with tripoli and the buff, and then
sensitised in a box for that pui'pose with iodine and bromine in the order
named, and finally with iodme, when the plate appeared of a steel-blue
colour. Considerable skill w.as re(|uired to get tlie exact tint. If the plate
was accidentally exposed to light, treatment with iodine would restore it.
The exjiosure required was about double that of wet collodion. Development
■was affected by exposure to mercury vapour at 120° Fahr. for seven to fifteen
minutes. The picture was fixed and gilded over heat in a solution as follows,
the brilliancy and beauty of the image depending on the success with which
this operation was carried out : —
Gold chloride 15 grains.
Distilled water 16 ounces.
2.
Hyposulphite of soda i drachms.
Distilled water 16 ounces.
The solutions being mixed by pouring the hypo into the gold. After the
gilding, tlie picture is washed in distilled water and dried over heat. Mr.
England theu went through the practical pail of sensitising a plate, developing
an exposed plate, fixing, gilding, and drying, passing round two portraits
made in this manner, which were highly admired. He said the pictures were
the first he had taken for twenty yeai-s. They had had a minute's exposure in
a glass room. In reply to a <[uesticm, he said the mercury was fixed under the
gilding. If a D.agueiTeotype got tarnished, it should not be rubbed, but should
be cleaned by flooding it with alcohol, rinsed in water, and placed in a weak
solution of cyanide, five grains to the ounce ; for bad cases of tarnish a strength
of ten grains to the ounce might be used. It should finally be washed in
distilled water and dried over heat. To tell whether a Daguerreotype was
gilded or not, let the comer be rubbed with something soft, and if it were not
gilded the mercury would come away. The Iarge.Ht Daguerreotypes made were
probably l.')xl2, by Mayall.
Mr. W. E. Debknham mentioned that he had employed pure hydrochloric
acid for removing tarnish.
Mr. J. TUAILI. Taylor said he had practised the Daguerreotjrpe jirocess a
goo<l deal, and had found that he had got the best results by fixing in common
salt, a strip of zinc being placed in contact with the back of the plate, when
the iodine was immediately freed. The American photographers brightened
their Dagxierreotypes by applying, with heat, solutions of ammonium cTiloride,
which had a marvellous whitening action ; carbonate of potash, alum, cyanide,
&c. To this was due the superiority of American Daguerreotypes. It was the
only process that depended on the man, and not the chemicals. Sufficient
credit had not been paid to Fizeau for his discovery of the gilding process. In
reply to ,Mr. Bolas, Mr. Taylor said that cyanide would not remove colour
from a coloured Daguerreotype. The late M. Claudet found that even a
Daguerreotype could be produced too sharp, and so used a prism to produce a
sliglitly fuzzy effect. As to the use of bromine for increasing sensitiveness, it
\vas discovered by Goddard of Philadelphia, and Goddard of London, almost
simultaneously, but the Americans had until recently given the credit to the
Englishman.
Mr. T. 8. Davis said that Daguerreotype jxirtraits were superior to portraits
now produced, as it was impossible to ootain a correct portrait from a profes-
sional, the negative being ,so much worked up ; would it not be possible to
add to the posterior portion of the lens a combination that would reverse the
image in a similar manner to that adopted by M. Claudet '!
Mr. Taylor said it might be done by jilacing a reflector in fr»nt of the lens.
Mr. Dedknha.m said an erecting arrangement at the back of the lens (as sug-
gested by Mr. Davis) would lose more light than a prism. The loss of light
with a prism was trivial.
Mr. Tatixib said the loss of light from a jiolished .silver »nrf»ce was only fite
I>er cent. In the course of further remarks, Mr. Taylor said a piece of silvertil
gla,ss for the purpose might be cheaply made by porchaning a small piece of
looking-glass and reiiioviug the lucking with benzole.
A vote of thanks was passed to Mr. England for his paper and demouitra-
tion.
Mr. H. A. Lawranck said that in his paper on the work of the Congresses,
Mr. Warnerke had referred to a suggested mcthotl of determining the sliced ol
jilates by the changes of colour they underwent in light. He exhibited several
strips which had been exposed to sunlight and had discoloured, and asked for
information on the point
Some discussion took place, but no information was elicited.
LONDON AND PROVINCIAL PHOTOORAPHIC'ASSOCIA'TrOK^
MAy 18, Mr. Charles U. Oakden in the chair.
Mr. S. G. B. Dicker was elected a member.
Edwards' Varnish.
Samples of Messrs. B. .J. Edwards & Co.'s cold varnish for plates and flims'
were distributed among the members.
Mr. W. H. Barnes exhibited a film negative that had been vi^raished with
the varnish, and had been in u.se for printing purposes five months.
Mr. Cowan subsequently treated a plate with the varnish, which dried very
quickly.
The Lombebo Plates.
Mr. J. S. Teape passed round two negatives made on the Lomberg plates
distributed at the previous meeting. They were exposed in Epping Forest at
six o'clock in the evening for three and ten seconds respectively with/-24, and
developed with pyro-ammonia. The exposures were about correct, and the
negatives were of good quality.
Silver in Dry Plate.s.
Mr. P. EvEBlTT allnde4 to the recently published results of a French
experimentalist who had given the quantities of silver contained in commercial
dry plates, and asked Mr. Haddon, who had jiromised to undertake a similar
series of experiments, whether he approved of the method adopted.
Mr. A. Uaudon disagreed with the method employed, and promised soon to
start on his experiments.
Astigmatism.
Question from the box : '■ What is Astigmatism i"
Mr. W. E. Debenham said it was a difference in the focal planes of rays of
light which pass from the margins of the field, and are brought to a different
plane of focus by different parts of the lens.
P. 0. P.
.Mr. R. Bkckett exhibited a portrait print on P. 0. P., which had been ex-
posed to light for about two months, one pai-t having been covered up. The
jiriiit seemed to have gained in colour in the covered parts.
A Spray Producer.
Mr. Jameson, in connexion with the demonstration of the Air Brush, given
some months ago by Mr. Harrison, exhibited a spray producer, the liquid being
forced out in the form of a jet by blowing througli a tube. Patterns could be
made on paper by the use of a stencil jdate. For making sensitised paper, he
thought the instrument would answer perfectly well.
Being a Lantern Night, slides by Messrs. Cooke and Freshwater were shown.
North London Photographic Society.— May 16, Mr. W. Bishop in the
chair.— Mr. Herbert Fry lectured on The .■imde.U Plate.— A collection of
prints from negatives on these idates was exhibited, and evidenced that the
claims advanced in respect of them were well founded. The long scale of
gradation and the freedom from halation were most remarked. Mr. Fry, in
reiterating the fivefold advantages belonging to the plate, a statement of which
has, more than once, been communicated through "the usual channels of
public infoimation," said that the multiple-coated plate was not put forward
as the be-all and end-all of photography. The use of it would not make every
novice a medal-taker, and it could be misused. But the introduction of it had
put a better tool in the hands of the careful worker than coidd be obtained
heretofore. If any one thought he could go one better, the sooner he did so
the better for photography. Mr. Fry explained the tentative mode of develop-
ment best adapted to get good results out of the plate, and inveighed strongly
against the practice of using any developing solutiou more than once. The
plates could bo intensified or reduced in the usual way, but these processes
were only necessary when there had been a slip in the development. In con-
cluding, he warned his audience not to follow in the wake of certain experi-
mentalists, who advised wilful over-exposure, followed by stripping off the
top film. A vote of thanks was passed to Mr. Fry for his lecture.
Hackney Photographic Society.— May 16, Mr. R. Becketfin the chair.—
The Hon. Assistant Secretary announced that the attendances at Wanstead
Park the previous Saturday amounted to twenty-one. From the question-box :
"Wanted, a cure for pinholes." The Chairman gave a description of pin-
holes as absence of films and silver, dust, and air-bells, and fragments of glass.
Mr. Hknsler said he used a deep dish, and gave the plate a sharp knock on
the side when developing. Mr. S. J. Bbckbtt said Indian ink was about the
best thing to use if pin-holes were caused. Mr. Hensler could not dissolve the
metabisulphite of soda as recommended by Mr. Dres.ser. Messrs. Nl'nn and
Fexton Jones had found no difticulty in doing .so. Mr. Moobe asked how to
clear a negative from green and red fog. Mr. Sodeau said Captain Abiiey re-
commended to convert the whole of the silver into its haloid condition, and
334
THE BKITISH JOURNAL OF PHOTOGRAPH X.
[May 26, 1893
redevelop. Bromine water would convert, or ferric chloride. The conversion
is to a grey fog, which does not matter much. Mr. T. H. Smith asked cause
and cure for iridescent marginal stains on plates. Methylated spirit on wash-
leather (to rub on plate) will remove it easily. Mr. W. Teuton Jones then
proceeded to open the discussion on Plates versus Fihis. He spoke of great
portability in Hlms, and use for carbon work— advaalages over plates. Good
for-clouds, as they would print either way ; are said to be free Irom halation.
On the other hand, one thing which had done much to retard the progress was
faulty emulsions, and tendency to curl when developing. Incidentally
he said Mr. Dresser had overcome this by the introduction into his
developing tray of a square, heavy framing, which rested on the rebate, and
caused films to lay flat. A question that occurred was, " When developing,
will films stand heat?" Mr. Sodeau explained an Eastman roll-holder, and
said he rather favoured films, had easily worked his ; said the films were well
•coated, and, by wetting his dish first, easily got them to lie flat. Mr. Hensler
Jiad taken out films to New Zealand, and found them a great advantage. Mr.
A. Barker had some good films, but others were bad. Mr. F. Houghton
■used them in the Frena with good result, but some of the bits of film had at
times blistered or floated oS. Mr. GosUNo asked, " Were films advisable for
a beginner ?" Mr. S. J. Beckett said, " No," and generally objected to films ;
had thirty-three and one-third per cent, failures on films to five of plates. Mr.
TouLSONsaid, in larger sizes there was a danger of backing. Mr. W. Fenton
Jones said he had found film emulsion sometimes thin, and gave, as a test for
thinly coated plates, the holding of one before a gas flame, and, if the flame
could be seen through, it obviously showed thin emulsion. The Chairman had
not found films prevent halation, as had been stated.
Putney FbotogTapliic Society. — May 18. — The members travelled to
Woking, and from there proceeded along the Basingstoke Canal in the direc-
■tion of Byfleet and the Wey Navigation. As there was a bright diff'iised light,
a number of good negatives were obtained of the beautiful scenery along the
Tonte, additional interest being given by the grouping of a few children, which
•the leaders had previously engaged to meet the party.
Slclunond Camera Club. — March 15, Mr. Ardaseer in the chair. — The Pre-
sident (Mr. Cembrano) delivered a lecture on Architectural Photography. He
■^vided the subject into three broad divisions — Apparatus, Process, and Sub-
ject. Under the first head, tripods, cameras, lenses, and accessories, such as
focussing glasses, levels, and tlash lamps, were fully dealt with ; under the
second were considered plates, exposure, and development ; while the third
-comprised hints ae to the choice of subject, whether exteriors or interiors,
lighting, and pictorial effect. The lecture was of a most practical nature, and,
by way of illustration, some of Mr. Cembrano's well-known architectural
pictures were throvra upon the screen, the lecturer remarking that there was
no more suitable and effective mode of showing photographs of architecture
than through the lantern.
Brixton and Clapham Camera Club.— -May 16, the President (Dr. J.
Reynolds, F.R.G.S.) in the chair. — Mr. W. Thomas read a paper on A Photo-
graphic Picture, and Some Notes on its Production. The paper dealt fully
•with composition, light, and shade, balance, printing in clouds, printing pro-
-cesses, use of stops, mounting and framing. The lecturer's remarks were
illustrated by numerous specimen pictures and blackboard illustrations. Mr.
Thomas himself used cold-bath platinotype paper for his pictures, and strongly
.recommended its adoption by his hearers as being exceedingly simple to use
and beautiful in its results. He advised members to lay in a large stock of
cloud negatives, and said that great care should be taken, when printing in
.clouds, to see that the clouds were lighted in the same manner as the landscape
itself. Considerable discussion took place at the conclusion of the paper, and,
in answer to a request, Mr. Thomas promised to take the members out for a
■practical lesson in the field, in order that they might put his principles into
practice under his supervision.
Ashton-under-Ljme Pbotographlc Society.— May 12 to 15.— An exhibition
of over 10(J photographs of the land of the Broads, lent by the Great Eastern
Railway Company, who have a great number of these views in their railway
■carriages. The photographs were inspected by a large number of members and
•friends with very great interest, and many expressed their desire to visit the
places depicted. Many also said they should visit Norfolk with the camera
■so the Society may expect to see more views before very long from that most
■ delightful county.
Oosport PbotograpUc Society.— May 16, Mr. W. B. Smith in the chair.—
■Mr. Bblton, of the Paget Prize Plate Company attended, and gave an instruc-
tive demonstration on Printing-out Opals and Plates. The specimens handed
round were much admired, and at the conclusion of the demonstration Mr.
Belton was thanked for the able manner in which he had dealt with his sub-
ject. During the evening the Chairman announced that the Rev. E. Paske-
Smith had been elected to a vacancy on the Council, and that Mr. Reginald E.
■Green had been chosen joint Hon. Secretary. The Chairman also presented
Mr. T. E. Williams with the silver medal, and Mr. A. Fisher with the bronze
medal, won in the late National Lantern-slide Competition, and congratulated
rthem on their well-merited success.
' C&rrespondenln should twrer write on both sides oj the jtaper. No notice is tak«n
of communtcationi unlea the namet ond addreaiet of th« writers ore gioen.
THE CONCENTRIC LENS.
To the Editob.
8», — I note the letter of Mr. F. H. Burton, ai to which I haye a few
'Words to say. His pretended inference that " Mr. Stillman makes 10 x 8
negatives with an eight-inch lens, attached to a camera ■with a cracked
front , and cuts out the centre of his prints," <Sro., with the pinhole theory,
needs no other reply than that I sent no " prints," but the negatives, as he
would have seen if he had read my letter. I send now two prints made
from 18x24 centimetre negatives with the Concentric lens, one;at/-16
and the other at/-64, as a practical demonstration ol the truth of what
I have stated. I do not say, and have never said, that the lens will cover
as large a field with the same sharpness when used with /-16 as with
/-64 but that it will focus as sharply. No lens can be made which will
define a close foreground with a distant view, with a stop as large as
/-16, nor can the Concentric be strainedjto cover a plate whose longest
dimension is greater than the focus of the lens (without falling off at
the corners ; but I use my ten-inch concentric on an 8 x lO^plate, always
focussing with the largest aperture, and when the subject permits it,
working with it, which is the case in a large majority of cases. On any
given object I can focus as sharply with /-16 as with'any smaller stop,
and, if |Mr. Burton cannot, it only proves, not that the lens will not do it,
but that he does not know how ; but his want of knowledge only proves
its own existence, not that the lens in competent hands will not do what
I claim for it. Anyjone can, of course, focusIatJ/-22 and then by stop-
ping down, get a sharper image, but any competent person using a finely
ground screen, can get a focus, absolutely finer than the print will render
at /-16,'and I have often done it at /-12 ; but with so large an aperture
there is too great a concentration of illumination to give more than a
very small available field.
In the^ two negatives from the same point taken at /-16 and f-6i I
focussed on the telegraph-pole at]which'I have put a cross ; but lest this
should not prove my case I send some other prints from negatives taken
within a few days. IF I were asked to make negatives for enlargements,
as I often do, I should use the smallest stop as a rule, but for any other
purpose I only use a smaller stop than /-16 when I find the light too
strong for my shutter as ordinarily and conveniently arranged, to adjust
the exposure accurately. The prints I send are the ones I happen to have
by me, none having been taken with especial care.
Of course I, too, advise duffers to " stick to the/-22 to/-32 " — that is
safe and requires no especial delicacy of hand or eyesight, but at the
same time I must say 'that a man who can't get a sharp picture with /-16
has " no claim to the title of an expert."
Another word of explanation ! The view which I send in double has
in the extreme distance the palace of the Quirinal, with the flag flying, to
denote the presence of the king. This is just a kilometre in a straight
line — the dark window in the nearest building is about forty feet from
the position of the camera. Save that the/-16, though made witha'drop
shutter, is much over-exposed, IJdo not think that Mr. Burton could tell
the difference with his naked eye in the sharpness of either. — I am,
yours, &o., W. J. Stillman.
Rome, May 17.
P.S. — As prints are somewhat unsatisfactory as to absolute definition
though good enough for gelatine, I have made two negatives especially as
trials of /-16 as against /-64, which I enclose, smd which I beg you to
hold open to the inspection of any one interested in the question. In the
prints I have sent I made no especial effort at extreme accuracy of
focussing, taking iljas satisfactory when it seemed so on the screen, and
not using a focussing glass. In these I have been more careful, but have
only employed ordinary spectacles, which at sixty-five will be excused me
— by younger men. W. J. S.
MOUNTING GELATINO CHLORIDE PRINTS.
To the Editor.
Sir, — In answer to "W. E. F." re mounting gelatino-chloride prints, any
method used for mounting bromides is applicable. Our way is to place
a piece of moistened papier mineral next the surface of the print with
some ordinary paper on that, and then squeegee into contact as usual,
All trouble of prints sticking to the paper instead of the card then
disappears. One word of advice, Ary the prints out of the way of all dust,
as the surface very readily receives any that is about and does not freely
give it up again.— I am, yours, itc. A. M. Brown.
Dulwich, May 22, 1893.
To the Editor.
Sir, — Referring to the trouble your correspondent " W. R. F." seems
to have experienced in mounting gelatino-chloride, I would say that I
have found this not an uncommon mistake. But I have found that where
the formula sent out with the paper was strictly adhered to, the trouble
referred to was invariably overcome. I allude to the prints being soaked
in alum, either before or after toning, and not being subjected to t^)o pro-
longed a final washing. At the outside, one hour and a half I have found
ample, with continual changes, to remove all traces of the fixing-salts. —
I am, yours, i&c., A Deuonstraiob.
May 20, 1893.
May 20, 189&]
THE BlUTISH JOURNAL OF PHOTOGRAPHif.
SSff
To the Edjtob.
Sib, — I believe I made the statement some months ago to which
"W. K. 1''." refers, viz., that gelatino-ohloride paper may be mounted in
the same manner as albumenlsed ; so it may, using a little ■■ Opie's
incilium." Does " \V. K. F." use ordinary 4zeil paper? If he does, and
it does not stick to the wet gelatine surface after being squeegeed on to it,
be ought to have more cause for surprise.
If the blotting-paiier referred to in my former letter is used, and the
print rubbed down by hand, nojdilhcuity will occur ; but so much rubbing
down or squeegeeing is unnecessary. Use a fine, damp sponge, which
cleans the surface as well as pressing the print into contact. Never omit
the alum bath, especially if the sulphocyanide bath is used ; ceterU
paribus, the method of working is the same as for albumenised paper. —
I am, yours, Ac, T. Fitzgibbon Forde.
May 19, 1893.
MK. DBAGES RESIGNATION.
To the Editor.
Sni,— As the disagreement between myself and the members of the
London and Provincial Photographic Association has been made so
public, will you kindly favour me with a small space, as I am told many
cannot understand the matter ?
May I state at the outset that I am perfectly neutral as regards the
" Spirit " question ? and Mr. Beckett (one of our members), bringing for-
ward a resolution repudiating statements in the Spiritualistic Press, as
regards the attitude taken up by the Lon,?lon and Provincial, had worded
it so, that, as I pointed out to him before the meeting, it was bound to
cause a great deal of harm.
Out of an attendance of forty, only fifteen members voted, the rest
abstaining ; the Chairman duly declared the resolution carried.
On hearing, a day or two afterwards, that the Association would most
certainly suffer considerably if that resolution was circulated, worded as
it was, I used my utmost endeavours to stop the publication of it in the
photographic journals, and I also refused to enter the resolution on the
minutes, holding that, with a membership of 200, it was not right to
allow such a small number as fifteen members to cause, by their votes,
such an upset to the Association.
I found that I was totally unsupported in my action ; the members
therefore dispensed with my services, by directing the Chairman to enter
the resolution on the minutes.
Acting, as I considered, in the best interests of the Association, after
my experience of three years as Hon. Secretary (and which, I may say,
has been a very pleasant experience for me), I regret exceedingly that the
members did not support me in this instance in my efforts for the well-
being of the Association. — I am, yours, &c., K. Poulier Dbaqe.
95, Blenheim-crescent, W., May 18, 1893.
A CONFERENCE OF EXHIBITION JUDGES.
To the Ediioic
Sib, — At the meeting of the affiliation delegates, held on March 24
last, it was resolved to invite to a conference those gentlemen who have
most frequently acted as judges at recent open photographic exhibitions,
to agree upon lines of action to be followed in judging, and to offer sug-
gestions for the guidance of Societies with regard to exhibitions.
I am directed to inform you that in accordance with the above resolu-
tion, an invitation has been sent to thirty-eight of the best-known judges,
but as some names may have unintentionally been overlooked, the Com-
mittee will be glad if you will make it known that any gentleman who
has acted at least four times at open exhibitions will be welcome to join
in the deliberations of the Conference. The meeting will be held
during the month of June, and due notice will be given of its date and
place. — I am, yours, &e., R. Child Baylei-,
Photographic Society nf Great Britain, Secretary to the Affiliation.
50, Great liussell-street, Bloomnbury, London, W.C.,May 20, 1893.
GLACIER PHOTOGRAPHS.
To the Editor.
Sir, — Many of your readers must be thinking of a start for the Alps,
and many must be near great ranges and extensive glaciers in New
Zealand, the Dominion, and even the Himalaya. The lantern slides
which profusely illustrated Mr. Conway's discourse at the Alpine Club
meeting the week before last, when St. Martin's Town Hall was filled
with an audience of both sexes, show what can be done in this way by
travellers.
Let me appeal to those who take an interest in grand scenery to help
the good cause by photographing glaciers in all parts of the world, with a
view to collecting documentary evidence of their increase, diminution,
advance, or retreat. Also anything bearing npon the questioa of the
share borne by ice in formation of lakes.
Such photographs should be taken far more for these purposes than as
artistic views, and even one to be shuddered at may, in spite of its
atrocity, be valuable as illustrating some point. Only, pray, let the
perpetrator always give compass bearings, date, and approximate distance
of some prominent object in the field of view.
A sub-committee of the Alpine Club has been appointed and chargedi
with the collection of information, more espeoially regarding glaciers
within British territories. The contributions of prints (and negatives
to be spared) will, it is hoped, assist largely.
I see a letter in your last issue from Mr. Ponton, whose father
so much to advance. the science of photography. I have taken some-
negatives with the camera he mentions, which is the size, but not ther
weight, of those " Chnrch Services " ladies so frequently carry. My
photographs were only fair, but I have some very good ones indeed with
these little boxes. It %rauld be interesting to try one's luck with a few in
the big mountains and report progress. The optical theory of pinholo
work will have to be worked out much further than at present, and a
difficult problem it is ! The pinholes are beautifully true and circular in>
those I have seen. Their insignificant weight is a great thing in their
favour. Personally, being of somewliat lazy habits, I have never carried
anything larger than a 5 x 4 hand camera on any fatiguing expedition.
But I leave such details to the sundry writers who have already given us
valuable rorinklce on traveller's work. — I am, yours, &o.,
Easterton, Parkgtone, R.S.O., Dorset, May 20, 1893.
MARSHA1.L TTat.t.,
»
c-REGULATORS.
To the Editor.
Sir, — In reference to R. R. Beard's communication in yours of the
12th, I really do not know what he means, as I never mentioned "_tiOO lbs.
pressure," " lubricant," or, '• fatty matters," and the drawing' of the
apparatus I sent him, instead of only four inches, has a possible pressure
of thirty inches, and I have never seen a lime that would stand thirty
inches of water pressure. What have I to do whether gas compressors,
favour or condemn the use of grease ? Then he begins to prophesy about
the failure of my anti-friction cock.^thc construction of which he is wholly
ignorant of; then he advises me to get a cylinder of compressed gas^
Really, if Mr. R. R, Beard has any friends, they should keep an eye on
him.
According to published evidence, I am the first person who ever used[a ■
regulator for the limeUght. In conclusion, let me say that a man may
be able to make clear to other minds what is clear to himself, but it is
very difficult to make clear to others what is not clear to oneself. — I am, .
yours, &c. William Birbeu,.
Airdrie, May 22, 1893.
THE PHOTOGRAPHIC SALON.
To the Editor.
Sib, — As chairman of the Organizing Committee of the Exhibition or
Salon of photographic pictures, to be held at the Dudley Gallery next
October, may I say a word to correct the impression that there is in-
tention to clash with the usual Exhibition of the Photographic Society?
The same reason which actuates the Photographic Society in selecting
the autumn compels us to take about the same period, and that reason is
the difficulty of obtaining a suitable gallery at any other season. We
certainly intend to have the best possible picture exhibition, but not to
intrench on the usual lines of the Photographic Society, nor in any way
to form opposition. Assurance on those points may be gained by a
reference to the influential list of our Committee ; and, further, it may be
pointed out that, with one exception, all the Judges at the Photographic
Society's Exhibition are prominent members of the Salon organization.
The two Exhibitions will probably be complementary, and even •
mutually helpful, by taking place at the same time. — I am, yours, &c..
May 20, 1893. Gboboe Davmojj.
♦
iSxcftangc OTolumn*
*,* No charge is made Jor inserting Exchanges of Apparatus in this column ;
but none will be inserted unless the article wanted is definitely staled. Those
who specify their requirements as "anything useful" will therefore understand '
the reason of their non-appearance. The full name of the advertiser must
in all cases be given for publication, otherwise the JExchanges will not be
inserted.
Dnllmeyer'B 2b, in perfect order, offered in excfaanf^e for cabinet lens of longer fooas
or for a 3d, Uoss* Universal or oilier rapid leua of abont ten-inch focns. — Address, .
H. Pariow, Hythe, Kent.
Eois' 10x10 Spanish mahogany camera, complete, long fooassing screw, as new,
cost 81. ; exchanf^e for light-pillared balnstrade or ^ledostaL — Address, J. HOBTOS,
Central Photographic Studio, Garoline-Btreet, Cardiff.
Wray'»8Jx6i view lens, / 8, twelve-inch focns, also Thomton-Pickard special double
blind shutter to fit above lens, woiks to onc-two-hnndredth of a second ; exchaug«
for quarter or half-plate set Cash adjnstmeot.— Addr«s«, J. Bkssabdi lUl, Gold- -
liaffk-road, W.
THE BKITISH JOURNAL OE PHOTOGRAPHY.
[May 26, 1893.
an0toet!5 to OTorrcspottUcntsJ.
* * All matters intended for the text portion 0/ ttw Jotonal, including
'tn^ertnd Exchanges, must he addressed to'' The Editor, Thb British
S^NAL OF PHOT(^RipBT," 2, York-street, Covent Garden, London In-
attention to this ensures delay.
* Cm-respondents are informed that we cannot undertake to answer com-
^municcUions through the post.
- • Communications relating to Advertisements and general busiv^ affairs
"should le addressed to Messrs. Hbnby Qbbenwood & Co., 2 York-street,
Covent Garden, London.
E_ N. D.— The gold can be precipitated by a solution of protosulphate of
iron.
H. SnsMANN.— The addrea* is Harrington Bros., Shaudon Chemical Works,
Cork.
Frank Osbornb.— Better mix the colouring matter with varnish, and apply
this to the slides.
Perplexed.— Information as to mounting gelatino-chloride prints is given in
our "Correspondence" columns this week.
L. Clay. Your only course is to proceed against the shopkeeper in the County
Court for the value of the picture.
LiVBRPOOL.— In selecting a caniera-staad, bear in mind that rigidity is the
primary consideration, and portability and lightness a secondary one.
W. G. Honey. — 1 . The idea is a useful one, but not, we think, patentable.
2 Communicate with the Prisons Department, Home Office, Whitehall,
8.W.
Dr. J. H. Smith & Co. (Zurich).— Messrs. S. Guiterraann & Co., 35, Alder-
raanbury, E.C., advertise celluloid in the sheet and roUable form for coating
purjioses.
W. Cope.— The markings are doubtless caused by impurities in the mounts—
we have seen many similar cases. Without analysis it is impossible to
indicate the precise cause.
r. G. Hill. — It depends upon the nature of the backing whether the stains
on the front of the negative caused by it can be removed. If it is soluble
in water, it probably may not be difficult to do so by prolonged washing.
L. Voss. — No work is published on dark rooms and their fittings, and none is
required. Every one fits up his dark room according to his taste or require-
ment, or, we might say, more often than not according to the space or apart-
ment at command.
Jl. C. Goddard.— What matters the appearance of the solution so long as it
develops well ? The slight discolouration was, no doubt, caused, as surmised,
by the stopper being left out of the -bottle for several weeks. Certainly the
pyrogallic acid must not be blamed.
IE. MoOKE. — The positive process is usually worked with collodion. Dry plates
for the purpose are supplied by Mr. Jonathan Fallowiield. Formulaj for
working are supplied with the plates. Any of the dealers in photographic
goods will supply dark tents for any purpose that may be required.
'Ghas. Kebr (Colombo). — 1. We are much interested in the photographs of
races, which are very good. 2. Probably Mr. Spooner, of the Strand, could
obtain photographs of the finishes of races for you. 3. ,We know of no
shutter faster than the one you mention. At present one-five-hundredth of
a second is probably the greatest rapidity of English shutters.
T. Marks. — 1. A half-plate portrait lens will do quite well for enlarging from
quarter-plate negatives ; indeed, it will be better than the quarter-plate
wide-angle rectilinear. 2. In working with daylight a condenser is quite
unnecessary. 3. In making enlarged negatives, ordinary plates will do quite
as well as the more rapid ones : in fact, we should prefer them.
K. W. — There is no mistake in the matter. Glycerine mixes perfectly well
with alcohol in all proportions. It may be added to collodion if necessary.
Castor oil will also mix with collodion, and generally is contained in the
collodion used for enamelling prints. If you are so dubious iu the matter,
why not make an experiment or two to satisfy yourself on the point .*
T. Banks sends us some prints, and complains of their lack of sharpness. He
says he is working with a fixed focus lens, and asks whether the fault rests
with the lens, or the shutter not working quick enough ? — It is quite clear
that the lens is not set to the right focus. There appears to be no fault with
the shutter, as the moving objects are quite as sharp as the brick walls and
houses.
•Constant Rkadbe. — There is nothing to hinder you from taking out the patent
yourself. The next time you are in London you can obtain the requisite
forms, free of exi>ense, on applying at the office adjoining the east front
entrance of the Law Courts. You may also apply at the Post-Oflice of your
village, but it is doubtful whether you can obtain them in such an
unimportant place.
T. C. H. — It is impossible to give any idea of the cost of building a studio on
tJie top of a house, and a staircase up it, simply from the dimensions given.
It often happens that the structural alterations of the main building to re-
ceive it, and the approaches to it, entail a much greater cost tliau the .studio
itself. We can only suggest that you prepare plans of what is required, and
then submit them to one or more of the local builders, who will give an
■estimate for the work.
C. B. writes : " Can you give me information respecting Switzerland ? Are
the Custom-House officers likely to examine your plates ? Is it necessary to
get a pass, if so, from whom ? ' — Perhaps some of our readers will supply the
desired information. No passport is required for Switzerland, but in all
cases when travelling abroad it is well to be provided with one. It may
sometimes be the means of avoiding trouble.
R. A. J. — The lighting of the ))ortrait is very good so far as the dominant light
is concerned, but the shadows are much too heavy. This may in future be
remedied by using a reflector to soften them. A white sheet, or a few news-
papers on the domestic clothes-horse will answer admirably. With judicious
management of the light, quite as good portraits are to be obtained at a large
bay window of an ordinary room as in the orthodox studio.
Trfko writes : " We are having the electric light cable laid down here.
What candle-power arc lamps (or other lamps) shall we require for lighting
studio ? Who could you recommend to fit it up ? Would it coat over 40/ !
— A light of five or six thousand candle-power will do. Messrs. Gwynne A
Co., Brook-street Works, Holborn, make a speciality of electric lighting
plant for photographers. Better write to them for an estimate.
Cypher says : "I had some negatives out printing, and a shower of rain came
on, and wetted the frames. They were wiped, and put away tUl next day
to fmi;iih printing. On opening the frames, I found the paper had stuck to
the negatives, and, on pulling it off, the film pulled away in places, and the
other parts are stained. Can anything be done to remedy the evil ?" — No,
except to make fresh negatives from any prints that may be iu existence.
A. S. King. — If you imagine that you are going to obtain sharp negatives of
interiors of cathedrals with a hand camera, if the camera be held in the hand,
you will be greatly disappointed. If, however, the camera be used on a
stand or other rigid support, then a hand camera will answer i)erfectly well.
Pictures so obtained cannot be styled hand-camera work, and to enter it as
such in any competition would not be fair.
0. M. says : " In trying the experiment of making chloride of gold, as
describsd in last year's Almanac by G. W. Webster, not being able to get
a digester, I used a white porcelain jug, with the result that all the gold —
twenty shillings' worth — is gone into the jug. What do you advise to do
with it ? Is there any way to separate the precious from the vile ? I have
succeeded perfectly since by using an oil flask." — It is difficult to see, if a
vorcelain ing were used, how the gold could get into the ware. Probably,
nowever, the jug was common earthenware. If the gold is still in the ware,
it ought to be recoverable. Probably the most practical way will be to
reduce the jug to a fine powder, and send it to a refiner.
Photographic Club.- May 31, The Daguerreotype Process. June 7, Plates
versus Films.
London and Provincial Photographic Association.— June 1, Angle of
View, paper by Mr. P. Everitt.
The studio of Mr. Vandyck, of which we made mention last week, is situated
at 20, Ladbroke-grove-road, Netting Hill Station, W.
Liverpool Amateur Photographic Association. — Mr. J. L. Mackrell has
consented to give a practical demonstration on Enlarging, &c., on Wednesday,
June 7, from twelve to half past one, and on Thursday, June 8, from one to
half past two. Excursion, Saturday, May 27. Bebington, half day. Leader,
Mr. G. A. Carruthcrs. Train leaves James-street Station (Mersey Tunnel) at
fifty luinutes past one for two.
Amatkdr Photogbai'Hic Society of Madras. — The first Open Exhibition
of Photographs will be held in a suitable hall iu Madras during the month of
December, 1893 ; it will remain open for a period of one week. All exhibits
must be in the hands of the Hon. Secretary by December 1, and all charges for
carriage to and from the Exhibition must be paid by the exhibitors. AH ex-
hibits should be clearly addressed to the Hon. Secretary, Amateur Photo-
graphic Society of Madras, of whom full particulars of classes, kc. , may be ob-
tained. The followingclasses are : — Open to the world, Class A. — Silvermedal.
for the best set of four landscapes ; silver medal, for best set of four flgnre
subjects ; silver medal, for best set of twelve lantern slides ; silver medal, for
the second best enlargement ; bronze medal, for second best of each of the first
three 'subjects. Open to amateurs only, Class B. — Silver medal, for the best
photograph, any subject ; bronze medal, for second best photograph, any
subject ; silver medal, for best set of four figure subjects ; silver medal, for best
set of four other than figure subjects ; bronze medal, for best set of six lantern
slides ; silver medal, for best enlargement ; silver medal, for best set of hand-
camera shots ; silver medal, to be awarded by Judges for any exhibit of special
merit not included in the above classes.
OONTIBNTS,
Facm
notice — pictorial supplements
to -the BRITISH JOURNAL OF
photography" 821
DAGUEBUEOTYPING REDIVIVUS SU
THE PERFECT FIXATION OF NEQA.
TIVE8 322
PHOTOOUAPHY AS A BUSINESS PAST
AND PRESENT 323
MM, LUMIERE'S EXPERIMENTS IN
••COLOUR PHOTOGHAPHY" SK
tia»
AMERICAN NOTES AND NEWS .S25
MEIOL. By W. B. BOLTON. .j sas
JOTTINGS. By COSMOS
SELECTIONS. By EDWARD DUNMORE i
COMPOSITE HELIOCHROMY. By F. H.
rvES ass
MARIONS NEW SItMMEB AND SEA-
SONABLE NOVELTIES I
RECENT PA'I'ENTS Ul
MEETINGS OF SOCIETIES 932
CORRESPONDENCE 394
EXCHANGE COLUMN 385
ASSWBBS TO CORRESPONDENTS 336
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1726. Vol. XL.— JUNE 2, 1893.
WHOLE-PLATE BINOCULAR PICTURES, AND HOW
TO SEE THEM.
It is well recognised that, the farther tlie eyes of an observer
are apart, the greater is the increase in the perception of the
varying distances of objects. By way of experiment we, some
twenty years since, constructed an instrument by which the
•eyes were effectively separated a distance of twelve inches, and
the effect obtained, while exceedingly instructive, bordered on
the ludicrous, especially when the subjects examined were
situated at only a moderate distance. But this increase of
base gave to distant objects a real charm, inasmuch as the
effect of solidity, by which all objects near at hand and seen by
both eves are characterised, was extended to those situated at
a great distance.
Arising out of a number of desultory experiments entered
into at the time was a telemeter, by which tlie distance of any
•object within one or two miles of the point of o)jservation could
be ascertained with approximate accuracy for those most
distant, while, for tliose nearer at hand — say about half a
niile — the accuracy was sufficient to enable the sighting of a
rifle to be effected. We may some day publish this as a
•useful adjunct to the employment of fixed lenses of longer
range than is usual.
By a principle analogous to that by which the previously
expressed ideas were carried into practical effect. Sir Howard
Grubb had it applied to the examination of stereoscopic pic-
tures exceeding in dimensions those of the usual Size, and we
willingly accord to this gentleman the credit of tliis applica-
tion. It is now known to every intelligent reader of stereo-
photographic literature that, in order to the comfortable ex-
amination of binocular pictures by one of the ordinary stereo-
scopes now so readily obtainable in commerce, the pictures
should be mounted at a distance apart not exceeding three
inches. Now, three inches is a size of picture (frem side to
side, for there is no fixed limit to its iieight) that does not give
satisfaction to every one, even when viewed tlirough eyepieces
from six to eight inches in focus.
Bearing in mind the Grubb principle enunciated two decades
ago, and its capabilities, we have constructed, by means pre-
sently to be described, a stereosco[)e ([ualified to show dis-
tinctly, from centre to margin, a stereoscopic print of somewhat
enormous size, seeing it is composed of two whole-plate photo-
graplis placed side by side on one sheet of board. Now, seeing
that the centres of the elementary pictures composing this
monster stereogram measure six and a half inches apart, the
height of each being eight inches, the bringing of these into
.coalescence evidently cannot be efifected by a prismatic or
lenticular stereoscope of the usual form.
Those acquainted with Wheatstone's stereoscope are aware
that in this instrument the pictures were large, but they had
to be mounted on separate boards and had to be inserted facing
each other at the opposite sides of a large box, or, at any rate,
a framework, capable of holding them in this position. They
were viewed by two small mirrors, one opposite to each eye, but
inclined at an angle of forty-five degrees, by which, when the
eyes were directed straight forward, they saw the pictures that
were mounted at the sides of the box quite stereoscopicaUy, but
reversed as regards the right and left of the picture.
Now, let it be remembered that our pair of whole-plate
photographic prints are pasted side by side upon one mount,
that they are non-reversed and that their centres are six and a
half inches apart. In order to bring each eye virtually oppo-
site the centre of each print, two small mirrors must, as in
Wheatstone's stereoscope, be mounted diagonally, one opposite
to each eye, and at three inches apart. A second pair of
mirrors must next be mounted, each parallel, or nearly so, to the
first pair, and at a distance of one inch and three quarters from
the surface of each. These second mirrors must also be rather
larger than those nearest the eyes, else will not the whole of
the print be seen. With a pair of prismatic or even ordinary
simple lenses in front of the eye tlie stereoscope is completed.
What is imperative is, that the mirrors be silvered on the
front surface, by depositing thereon metallic silver by one or
other of the methods described in so many of our Almanacs,
and which need not here be recapitulated. The way to do it is
to select a piece of patent plate, and, having cleaned the best
surface, deposit the silver on it, and then, when dry, cut pieces
the right size from it by a diamond.
Sir Howard Grubb's system of employing diagonal prisms,
instead of mirrors, to cause the rectangular alterations of the
path of the light is to be commended on account of its
elegance ; but it is objectionable on account of its necessarily
high cost, for the glass of which the prisms are formed must
be very pure and free from defects. We have sought to con-
struct analogous ones of water by enclosing the fluid in a
square tube, the ends of which were cut to an angle, and
covered by cementing thereon with pitch squares of selected
small pieces of glass, each of the square tubes employed being
cut open to permit of small squares of glass being let in
at opposite top and bottom ends, so as not to interpose any
opaque matter which would bar the passage of light from the
picture to the diagonal end pieces, and thence to the eye.
Those who have the patience and mechanical skiU to construct
such a substitute for the prism will be well rewarded for their
pains, for not only will it serve the special purpose for whieh
it was made, but it will also answer for inspecting distant
3^8
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June" 1893.
objects — the prismatic eyepiece being removed — and seeing
tliem under the circumstaDces alluded to in the opening
sentence of this article.
It is not necessary that the whole-plate picture of which we
have spoken he taken direct, for an enlargement obtained from
tlie negatives, takeu in a stereoscopic camera of the usual
size, will serve the purpose equally well, for poor indeed must
be tiie negative that will not bear being enlarged to two
diameters, all that is necessary for the purpose now advocated.
OUTDOOR GROUPS.
The present season of the year initiates a period during which
a vast amount of photography covered by this title is under-
taken. Much of it is so capable of improvement that a short
discussion upon the subject may lead to a fuller understanding
of the conditions governing or limiting success. We do not
propose to discuss it from an artistic standpoint, for that has
been very completely done before ; the mechanical aspect
would, perhaps, describe best the mode it has been least
treated.
Naturally the lens comes in for first consideration ; and liere,
at the outset, let us say we have no intention whatever of
singling out a particular maker as supplying the most suitable
article. As need not be here said, any lens will take a group ;
but for general use a landscape lens gives too curved and
limited a field, and an ordinary portrait lens too limited a field,
hence choice will be confined to one or other of the many
symmetrical or rectilinear types of instruments. But, as groups
have so frequently to bo taken under conditions requiring very
short exposures, it is evident that a lens wh(jBe aperture is f-16
would frequently be put out of court, and an objective "pur-
chased specially for group-taking would advisedly be chosen
from the doublet type capable of being worked at f-7 or /-8 at
will.
For important groups, however, /-12 or /-16 will be the
most probable aperture, for not only has flatness of field to be
considered, but depth of definition. Makers vary much in
their statements as to the covering power of their instruments
but, broadly speaking, it would be wise, in selecting a lens, to
choose one with a focus, at the very least, of about one-half
longer than the longest side of the plate it is to be used for.
There are lists before us in which sharp covering power is put
down at all proportions, from a plate as long as the focus down
to less than the proportion we recommend. So much depends
upon what is looked upon as sharpness. A degree of definition
that would be excellent in a landscape would be very imperfect
in a group where, for instance, the figures were not more than an I
inch high. We therefore very strongly recommend any lens-
purchaser to see the lens itself rather than be guided by the
dimensions of covering power as given in the printed lists. We
do not here for a moment impugn the good faith of the makers
—we draw attention to the need of understanding thoroughly
what is meant by covering power.
There is another reason for choosing a lens of long focus in
comparison with the size of the plate, and that is the curvature
of the field. The nearer an object is to the axis of the lens,
the less is this curvature perceptible ; but when, say, a twelve-
inch focus lens was used for a twelve-inch plate on a group, of
people raised, for example, on a long terrace, it would require
a very small stop indeed for those sitters who came near the
edge of the plate. We must not be understood as suggesting
tiiat this benefit from a small stop is produced by its flattening
the field, we need scarcely say it would not do ao ; but the
depth of definition would be so increased by the small pencils
that the departure from exact focus at the edge would not
then be noticed. With, however, a lens of focus double or
even half as much again, curvilinear distortion would be far
less troublesome.
So far as to the lens to be used ; we may next discuss how
to use it. A group is arranged, let us say, and the image is
noted on the screen. If, as would be natural to do, the sitters
are arranged mainly in a straight line, or about a line, it will
be too often observed when using the full aperture that curved
fields are by no means things of the past, and the sharpness
will be wonderfully increased by placing the figures about a
curved line. The section of a saucer is often suggested ; but
with some lenses, and by good makers, it will be found that a
section of a horse-shoe will almost be needed for a ground plan
of the group. One word or two on this point will be reason-
able. Although a great increase of sharpness is discernible
when arranging the group on a curved line, such arrangement
is not universally applicable. The further the figures are
removed from the camera, the less can the curvature of the
field be reduced by this means. Many a photographer who
has been in the habit of taking groups of a dozen, or two or
three, and managed to his satisfaction in this manner, has been
puzzled when he has essayed a hundred or two at once. They
cover so much ground that, even if he could marshal them to
position, they are so near the distance beyond which all objects
are in focus, that to effect curvature by bringing those at the
margin nearer to the lens to lengthen the focus at that part
would make the whole ridiculous. We dwell upon this point,
as it is of such importance when using a lens with fairly lar»e
aperture.
So far we are assuming that the negatives are to be taken
direct of the required size, but it is well worth the photo-
grapher's while, when he has large groups to take, to consider
whether he should not take his first negative on a small scale
and enlarge it afterwards. The enlarging of negatives has now
been brought to such perfection that, not to speak of direct
bromide enlargements, the results so obtained might be of
high-class character. The advantages of such a mode need
scarcely b^ enumerated. The smaller the lens used the more
likely it is to possess crisp defining powers, and the less per-
ceptible will be the curvature of field ; the depth of focus will,
with equal exposures, be (the standpoint being the same) far
greater; and, lastly, a larger number of exposures can be made,
and in more rapid succession than with large plates, while
when great rapidity is needed, and there is only one available
standpoint, the long-focus lens, giving the same depth as a
small one, is placed completely out of court.
I
The Queen's Plate. — Her Majesty has given permission to
our contemporary, the Gentleicoman, to photograph her gold plate at
Windsor Castle. The pictures if well reproduced by a photo-
mechanical method will prove highly interesting, particularly to lady
readers. It may not be generally known that Windsor Castle con-
tains a well-appointed photographic studio and dark room that would
be the envy of many London photographers, and so would its furniture
and fittings. It is here that a large proportion of the Royal portraits
have been taken.
&elica of Ancient Ziondon.— Another of the old City
churches is doomed. This time it is St. Mary's in the MinoriM.
Amongst many of the City churches that have been pulled dowa
during the past couple of decades have been some of Sir Christopher
Supplement. June 2nd 1893.
The British Journal of Photography.
PMolngf§ A TMfoi A Co.. aenwa .
Mtgtilt bf W. Bnolia, Kelgtte.
A TOWE^ WA^DE^.
(Beef Gate?.)
Jim.' -J 18!».tl
TIIR niJlTISH .lOUllNAL OF PHOTfVlilA I'll Y.
23^
Wren'8 finest examples. Were photographs of them, externally and
internally, taken before they were demoliBhed !- If not, why not ?
Swely it is not too much to expect the authorities of the wealthiest
city of the world to, in their official capacity, secure, and retain,
photographic records of all interesting and instructive relics before
they are swept away for ever. That the City does think of some-
thiu); beyond business and bustle is evidenced by the fact that since
the Oilbert pictures have been at Guildhall they have proved a great
attraction, from 700 to 1000 persons a day having visited the exhibi-
tion. The City is proud of its ancient traditions and relics. Why do
they not perpetuate, by means of photography, the latter, before they
are destroyed .''
Photogrraplilc Convention of the TTnlted Klng-dom.
—The Kight Worshipful the Mayor of riymouth, .Mr. W. Law,
will open the proceedings on Monday, July 3, at the Western Law
Courts, the Guildhall, after which a conversazione and a lantern
«>ntertaiument will be given. On the Wednesday the group will be
taken in the Guildhall Square at noon. On the evening of the same
day there will be a second reception at Devonport by the Worshipful
the Mayor of Deveiiport, Mr. W. Waycott. The dinner and
smoking concert will, as usual, take place on the Friday, at the
Western Law Courts, the Guildhall. During the week of the Con-
vention, an Exhibition of photographs and photographic apparatus
will be held in the Art Gallery of the Plymouth Institute. The
public will be admitted by ticket obtained at the door. The head-
quarters will be the Royal Hotel and the Westminster Temperance
Hotel.
Coins as Weig'hts and SKeasures. — It has often been
pointed out how the current coin of the realm may be utilised as
weights. This has recently been done once more by Mr. Newton,
late of the Royal Mint, who says that " a sovereign weighs a very-
safe quarter of an ounce for foreign postage," while the crown
piece is just on the right side of one ounce, and the half-crown, or
its equivalent in smaller coins, will do quite well for the half-ounce.
With reference to bronze coins, three pennies, five halfpence, or ten
farthings respectively, make up an ounce. A halfpenny is also an
accurate measure of one inch. It will often be handy to photo-
graphers to know how English coins can be extemporised as metric
weights or measures. A sovereign equals eight grammes, and a crown
piece twenty -eight grammes as nearly as may be ; while a penny, for
most practical purposes, may be used as a ten-gramme weight, it
being but about three grains less. As measures, the diameter of a
farthing is as exactly two centimetres as a halfpenny is an EngKsh
inch, while a penny is the merest fraction over three centimetres
Thus it will be seen that our coins may be, on an emergency, used
(or both English and foreign weights and measures with approximate
accuracy. _^.^__^_^__^^_
Trouble at the Chicagro Exhibition. — We briefly alluded
a ■fortnight ago to the discontent amongst the foreign exhibitors at the
Chicago show, with reference to the system of awards. Instead of
subsiding, the dissatisfaction has extended and taken a decidedly
practical form. The Commissioners of no less than seventeen foreign
countries have withdrawn their exhibits from competition for awards.
Their reason for this unusual step is the unsatisfactory replies to their
communications on the subject, and that they consider that it is now
too late for an International jury to be formed. Amongst the
countries who have withdrawn beyond the European ones are
mentioned Japan, Siam, and Brazil. The Commissioners' protest is
regarded as of considerable importance by the authorities, one of
whom, Mr. St. Clair, of Western Virginia, when the matter was under
discussion, said that the matter was a serious one, that the Exhibition
was threatened by it, and, if the matter were not settled quickly, it
would result, he thought, in a lasting injury to the Fair, and bring
disgrace to the country. We fancy he is not far wrong. Whoj out
of America, evfer heard of awards being made upon a testimonial
signed by a single expert ? Ima^ne photographs being so adjudicated
upon at an International Exhibition ! However, English exhibitors,
photographic and otherwise, may be content that their interests are
carefully watched by the British Commissioners and their energetic
Secretary, Sir II. Trueman Wood. By the way, the " big ahow " ia
not up to the present proving, financially, the great luceesa our
American cousins anticipated. A recent telegram stated that the
daily admissions did not meet a third of the day's expenses. Since
writing the above the Commissiont-rj of the foreign countries hav«
decided to establish a board of jurors independent of those in the
American aection, and to issue diplomas in disregard of the American
awards.
*
GLASS POSITIVES ON GELATINE PLATES.
At a recent Whitsun fete down in the country, one of the attractions
was a booth or tent at which portraits were taken, the proceeds to
be devoted to a local charitable purpose — the artist being of the
sterner sex, while a bevy of fair damsels did the canvassing, flitting
about amongst the crowd of country folk with specimens, and bringing
the customers " up to the scratch." A brief examination of one of the
samples showed that it was of the old glass positive type, but though
a very fair picture, it was evidently not on collodion, being wanting
in the extreme delicacy and brilliancy of the better class of that
style of portrait.
Feeling somewhat interested, I accepted the invitation of an
acquaintance to accompany him inside "to be taken," not feeling
equal to 'facing the ordeal myself. On entering, I found myself in
a plain square tent, entirely devoid of ornamentation of any kind, and
bare of furniture except for a single chair, and the camera mounted
on a tripod stand. One corner was partitioned off, and from the
square of coloured medium visible, evidently formed the dark room.
The first thing of importance that attracted my attention was a small
heap of paper that had been thrown out of the dark room, and
apparently consisted of the wrapping of ordinary dry plates; and
indeed it soon became evident from the short exposures given that
gelatine films were the means employed.
One portion of the roof of the tent was open to the sky, in approved
country-fair fashion, and there were no unnecessary complications in
the way of blinds, screens, or curtains to motlify the lighting of the
sitter, all that being left to the chance of the " pitch" — which may,
of course, have been intentionally chosen. At any rate, in all the
examples I saw, the lighting was fairly good, and free from excessively
heavy shadows or contrast.
After my friend had been taken, he was requested to call back
again in an hour's time, a slip of paper bearing a written number
being handed to him for presentation when he claimed his picture.
As the business done seemed to be fairly good, I was still more puzzled
to account for how the plates were developed, washed, dried, blacked,
and mounted in an hour's time ; so we returned punctually, and
fortunately found the " studio " empty, a lull having occurred in the
business. The portrait — a by no means bad one — was at once handed
to its owner, and consisted simply of the glass plate, previously
blacked or varnished, and backed up with a piece of dark-coloured
paper, and the edges bound after the manner of a lantern slide, an
entirely novel style of finish so far as I am aware.
Explaining that I dabbled a little in picture-making by photo-
graphy, I got into conversation with the artist, who turned out to be
a local amateur — one of the hateful " shamateurs " again — though a*
there was, I was told, no professional photographer within ten mUes at
least, the poor fellow was perhaps doing nobody any great harm. He
proved very agreeable, and in no way reticent as to his mode of
working, having undertaken the task, as he explained, " for fun," and
to add something to the organ or harmonium fund to which the pro-
ceeds were to be applied. He employed, he said, no special plates, a
fact I had already satisfied myself of by picking up a set of developin^f
instructions from the heap on the floor, those he used for ordina*;
work answering his purpose perfectly well.
In reply to a question as to how he got the necessary positive ap-
pearance so comparatively unusual with gelatine plates, he replied
that the plates he used, when developed clear of fog or stains, always
in his hands gave a fairly good positive after drying when viewed
through the glass, but that he had been struck by the great improve-
ment in this respect when using some of the newer developers,
especially para-amidophenol, which was the one he used. So marked
was this effect that he had been induced to try to still further im-
340
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 2, 1893
prove it for merely experimental purposes long before he ever dreamt
of his present task, and this is simply how it was done.
The exposure given was a "full'' one, rather over than under,
■what was absolutely necessary, under-exposure being fatal ; the de-
velopment was commenced with a solution of normal strength, but
containing a good dose of restraining bromide. With this the image
was brought out until the picture was visible in all its details, but
without allowing a vestige of veil to appear in half-tones or shadows.
When the right point was reached the plate was at once dropped
into a dish containing a thirty -grain solution of bromide, where it
remained for a minute or so. If, on examination by transmitted
light, the image did not appear quite strong enough, another applica-
tion of the developer was made, which acted as an intensifier only,
producing no more detail and no fog unless needlessly prolonged.
The fixing was performed in the acid bath, which my informant con-
sidered gave clearer shadows, the all-important point.
" But how about finishing in so short a time ? " I asked. " You
cannot have a very perfect system of washing here under present
circumstances, and as for drying " " On the contrary," he
remarked, with a smile, "I pride myself upon my system, although
it may not be perfect, and with the assistance of an efficient staff — but
step this way, sir." I accordingly followed into the partitioned-off
portion of the tent, a part only of which was dark room. Here I
found the staff consisted of a couple of youngsters of about twelve
and ten years, to whom I was introduced as the " manager of the
drying department '' and the " chief varnisher." " I am rather short-
handed at present, so we have to do the best we can, and I expect my
Btafi to make themselves generally useful : but in the early part of
the day I had a ' manageress of the mounting department/ but she
got tired of it."
With this brief introduction my new acquaintance then proceeded
to develop, wash, dry, and finish a plate, several of which, of
" sitters" he was acquainted with, were put aside for future develop-
ment. The development has been described, and, when fixed, the
picture was left to soak for two or three minutes (or more if there
happened to be anything else to do) in a dish of water. Repeated
jugs full of water were then poured over it from a bucket, the same
water being used over and over again ; the same operation was then
repeated over a second bucket, the water in which he explained was
" not quite so thick," and then, after pressing between blotting-paper,
the plate was dropped into a dish of alcohol. I hazarded the sugges-
tion that that surely was not sufficient washing, especially after many
previous plates had been treated in the same water. " No," he re-
plied, " it is not finished yet,"' and taking the plate out of the alcohol
and holding it up to the light in the open air, he pointed out that the
imremoved hyposulphites had been precipitated in the form of a fine
opalescent deposit. Upon again placing the plate in water for a few
minutes the alcoholic " greasiness " and the opalescence disappeared,
and, after again blotting off the surplus water, a secondjsoak in alcohol
followed, and it went into the " drying department."
Here a small paraffin stove was provided, and also a simple fan
rigged upon a wooden framework and worked by treadle. Holding
the picture over the stove and vigorously working the fan at the same
time, the elder of the two lads, sons of the chief operator, very soon
lad the film dry, a careful watch being kept that no symptoms of the
film dissolving appeared, in which case less heat and more draught
■were applied. Next it was varnished by the younger boy, and in the
absence of the proper mounter it became any one's duty to finish it.
The whole process, however, occupied little over half an hour from
commencing development.
I have brought this matter forward not merely to show that
positives can be taken on ordinary gelatine plates, but also because in
the modus operandi there are one or two points that may prove useful
at a pinch, notably, the combined operations of rapid washing and
drying. The use of nlcohol in the removal of hypo was proposed in
Paris some years ago, but has never been generally employed, although
it may often prove useful.
In conclusion, I may add that I have since succeeded in turning
out very respectable positives on several different brands of com-
mercial plates, but as a rule I find the slower kinds give the best
results. W. B. Bolton.
CONTINENTAL NOTES AND NEWS.
nXessrs. Ziuml^re's Coloured Photograpbs.— At a
meeting of the Academie des Sciences last month, M. Lippmanni
exhibited several coloured photographs by Messrs. A. & L. Lumiere^
by the interference method, on orthochromatic plates, prepared
according to the formula given last week (p. 325). The subjects
included the solar spectrum, a painted landscape, a bouquet of arti-
ficial flowers, a Newton's disc in coloured glass, and several chromo-
lithographs. It is stated that the whites of the subjects were-
correctly rendered, but were only visible at the regular angle of
reflection, otherwise they were seen as of a brown tone.
Absence of Kalatlon ft-om Fhoto-IMCicrograpIis. —
Apropos of M. Monpillard's paper on Orthochromatism applied t<y
Photo-micrograj)hy, which is referred to in this month's " Lantern
Record," the author was asked at the meeting of theSociete Fran^aise,.
where it was read, if he had observed that halation was absent from
the objects reproduced. M. Monpillard having confirmed the obser-
vation, M. Lippmann was of opinion that the absence of halo was due
to the smallness of the angle of the rays from the objective acting
on each point of the plate. At the particular angle, the dimensions of
the halo were so reduced as to become inappreciable.
Artificial Clouds. — What is termed a new and original method
of producing artificial clouds was recently brought before the Amateur
Photographic Club of Vienna by Herr Anton Einsle. He covers a.
drawing-board with white paper, studding it at regular intervals with
long, headless drawing-pins. Inclining the board slightly backwards, he
covers the drawing-pins with large flakes of wadding. Above th&
board is fixed a small incandescent lamp, which, in a dark place, is
said to give the effect of natural clouds. The composition is photo-
graphed, with the focus not too sharp, and the cloud negatives so
obtained are said to serve for printiug-in clouds in photographs.
Hydroqulnone and Xtodlnal.— The Deutsche Photo-Zeitun^
recommends the following combined hydroquinone and rodinal de-
veloper, as giving harmonious results without the hardness of the one-
or the want of contrast of the other,
A.
Hydroquinone 10 grammes.
Rodinal 1-10 40 „
Sodium Sulphite 60 „
Distilled Water 500 „
B.
Potassium Carbonate 30 grammes.
-Distilled Water 500 „
For normal development start with A, and if it develops slowly add.
little by little of B ; for instantaneous work take equal parts of the-
solutions.
Reducln. — This is the name which the Berlin Society of
Chemists has given to the very newest developer, which is one of the
series of which amidol is the best-known type. It develops without
alkali, according to Dr. Vogel, who is also reported to have said that
it is superior to pyro. The following is the formula : —
Sodium sulphite 50 grammes.
Water 1000 „
Reducin 5 „
Sulphuric acid 12 drops.
The latter neutralises the alkalinity of the sulphite, which, in an-
alkaline state, immediately discolours the solution. Amidol, diamido-
phenol, metol, glycin, reducin, in less than a year \ Next, please !
The First Balloon Fhotogrraph.— In the last number of
the Paris Photograpke there is a reproduction of a view of Paris-
June 2. 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
Ml
taken from a balloon in 1858 by M. Nadar. It is said to be the first
pliotopriiph iif its kind.
Prefers Wet Collodion.— Ilerr Fritz Luckhardt, the well-
known Viennese pbotof^rapher, has expressed a preference for the old
wet-plate process over modern gelatine plates. Since tfte employment
of the latter he thinks that portrait photog;raphy has considerably
retrograded. Dry plates, he said, do not permit the photographer to
judge immediately of what the negative is like, porticularly in regard
to the e.tpression and pose of the sitter, which an e.xpert operator
often sees occasion to modify. For these reasons Herr Luckhardt
extols the old process. We do not, however, gather that he has decided
to revert to it.
A nZonochromatlc Xilgrht.— For those engaged in photo-
micrography the following method of producing a monochromatic
light is given by the Revue de Chimie Industrielle. A mixture of
bromide and bicarbonate of soda is agglutinated with gum tragacanth
and moulded into small discs, 4 mm. by 12-1.5 mm. These are placed
in the flame of a burner which consumes them at the rate of two or
three centimetres per minute.
I
NOTKS OX SOME PECULIAUITIES IN THE ACTION OF
HYDKOQUINONE (QUINOL) AND' PYKOGALLIC ACID
DE^'ELOPERS, AND ALSO OF WATER, ON GELATINE
DRY PLATES.
It is customary with some photographers to immerse a gelatine
negative plate in water f jr a few seconds before development, in spite
of the opinion of some that cuch treatment is apt to lead to the
formation of " nir bells ; " whether this be the case or not, I do not
think it is generally known that such an immersion makes a con-
siderable difference in the time the image takes to develop. The
following account of some experiments which were made during an
investigation not yet finished may be of some practical interest to
photographers who use pyro-ammonia or hydroquinone developers.
The plates used were Ilford ordinary. All the solutions were
freshly made and quite colourless. Fresh developer was used in each
experiment.
1. A plate was cut in halves, one half immersed in distilled water
for thirty seconds, the other half untouched. The two halves were
then placed in a dark slide, exposed on an ordinary open landscape,
chosen so that the picture was of sensibly uniform character as regards
colour, light, and shade, and the two halves were developed together in
the same dish by an ordinary pyro-ammonia developer (Edwards's).
Result : The half which had been immersed in water developed
more rapidly and made a stronger image than the other.
2. A plate was cut in halves, one half (A) immersed in water for
thirty seconds, the other half (B) untouched ; both were exposed
together in the camera, and before development the half A was left as
it was, whilst B was immersed in water for thirty seconds ; both
were then developed together, when no differences were discernible in
the rate of development or in the character of the developed image.
Thus the action of the water in accelerating development, which is
very decided, seems to be purely mechanical, for it acts as much if
the water be applied after exposure as before.
The practical inference from this is that with an under-exposed
plate water immersion before development may be useful, with an
over-exposed plate it must make the development more difficult to
control.
The remaining experiments prove a remarkable difference between
the action of the two developers — hydroquinone and pyrogallic acid.
3. One half of a plate (A) was immersed for thirty seconds in a
hydroquinone developer (Thomas's) — i.e., both developing solutions
mixed, and thus containing hydroquinone, sulphite, bromide, and
sodium hydrate — the otlier half "(B) m water for thirty seconds; ex-
losed together, and both developed together with the same (Thomas's)
lydroquinone developer. The half A developed far more rapidly
than the half B, and, moreover, showed more detail.
Thus hydroquinone developer, applied wet to a plate before expo-
sure, markedly increases its sensitiveness over a water-wetted plate,
and, a fortiori, over a dry one.
4. A similar experiment to 8 was made with one half wetted for
thirty seconds with pyro-ammonia developer — i.e., containing pyro-
gallic acid, bromide, and ammonia — the other half placed in water for
thirty seconds, then exposed together, and developed with pyro-
ammonia. The result showed that this developer acts in precisely
I
the reverse way to hydroqtiinone, the water-wetted half having fogged
over before before the other had developed. The pyro-ammonia naif
developed very slowly, and gave an image showing all the detail
visible in the other, but " strong," with remarkably clear shadowg.
6. To compare a plate wetted with pyro-ammonia with an uo-
toucbed plate, a similar experiment showed that the pyro-ammonia
half developed very much more sloioly than the untouched, and with
much the same differences noticed in 4,
(Developer, pyro-ammonia.)
6. Similar experiment to 5. One half soaked thirty .seconds before
exposure in the solution of jnjro only {i.e., no bromide or ammonia),
the other untouched, showed that pyro alone is a very powerful re-
tarder, the untouched half being fully developed before anything was
visible on the other half ; and yet the action seemed one of retarda-
tion only, for eventually there was little, if any, perceptible, difference
in detail between the two, though the pyro half gave a powerful
negative, whereas the other was weak and OTer-exposed-lookiog,
though both had received the same exposure.
(Developer, pyro-ammonia.)
7. A similar experiment to C, made with a solution of hydroquinone,
sulphite, and bromide only, j'.e., Solution I. of Thomas s developer),
showed that the hydroquinone solution greatly accelerates a dry plate,
and, moreover, seems to enable it to show greater detail.
(Developer, hydroquinone.)
8. Thinking that the acceleration produced by the hydroquinone
developer might be due to the disodio sulphite, itself a reduciug
agent, a plate was cut in half, one half immersed in a solution of
sulphite, the other half in water, each for thirty seconds, the two
halves exposed together as before, and developed with hydroquinone,
the image appeared a trifle earlier on the sulpliite half, but there was
little difference in the character of the two images, hence the sulphite
alone has very little effect. This was repeated with the same
result.
9. An exactlv similar experiment — one half immersed in sulphite
solution, the other in a solution containing hydroquinone only (no
sulphite or bromide) ; result : the hydroquinone half develojied its
image a little before the sulphite half, so that neither sulphite nor
hydroquinone alone produced any marked difference when compared
with a plate simply w^etted with water.
10. In this experiment, a solution of hydroquinone and sulphite
mixed was used on one half, sulphite solution alone on the other.
The result (as was to be expected from a former e-tperiment) was that
the half which had been immersed in the hydroquinone sulphite,
developed far more rapidly than the other, and, moreover, produced a
far more " plucky " negative, the sulphite half, in spite of its coming
out more slowly, showing fog, whereas the shadows in the other
were very clear.
From this it would appear likely that the sulphite and hydro-
quinone together form some compound whose reducing action greatly
exceeds that of either constituent separately. T. C. PoHTEn.
PHOTO-ASTRONOMY AT THE CAPE OBSERVATORY
IN 1893.
XL
As will have been noticed on the photographs already i-eferred to,
there are a sejies, or rather two series, of parallel lines at equal
distances apart. These are produced by exposure of the plate behind
a ritteau. This rSseau is a square of optically worked glass on which a
film of silver has been deposited, and then placed in a ruling machine,
where the lines are drawn with a fine diamond point at a distance
apart of five millimetres. Parellel light is allowed to pass through
these lines so as to impress an invisible image of the lines on the
sensitive film, which is then ready for exposure in the photo-telescope.
"When the plate is developed, should the film either expand or con-
tract, the lines expand or contract with the film ; and as star
measurements are made, not by reference to their distance apart
measured direct on the film, but by their distance from the lines
whose distances are already known, the expansion or contraction of
the film is a negligible quantity. Thus one of the difficulties detri-
mental to exact astronomical measurements by photography is, thanks
to Dr. Lohse, completely done away with. A difficulty met with in
all astronomical measurements by eye is found in tlie vibrations of the
atmosphere due to ascending and descending currents of air. Now,
when a photograph is taken of a star, should these vibrations be very
considerable, the size of the star disc is enlarged ; but the result is a
circular image, the centre of which is capable of exact determi-
nation under the measuring machine. Two of the photographs sent
342
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[June 2, 1893
home give a remarkably good example of photography applied to
exact astronomy. The star a Centauri, which was the first star
whose distance was determined (at the Cape Observatory, I may
mention in parenthesis) is in other respects a remarkable star. It is
a very fine double star, the components of which revolve round a
common centre in seventy-five years. At one period of the revolution
the two stars, as viewed from the earth, appear nearly to coalesce ;
at another period of their revolution they are well separated. At the
present time they are about their maximum distance apart. The
photographs show a series of exposures of four seconds each, one-half
of which exposures have been taken with the telescope with its aperture
stopped down to three inches, and the other half have been taken with
the further addition of a wire gauze screen. The double wavy line
down the centre is produced by stopping the clock, and allowing the
telescope to remain still. The two stars thus produce trails as they
pass across the field of view, trails which print down, as it were,
every vibration of the atmosphere. Measurements of these plates
give a result which eye observations can scarcely equal, certainly not
surpass.
The last photograph, that of w Centauri, is a fine example of the
powers of photography, an accurate delineation utterly beyond the
powers of the observer by eye. This cluster, made up of stars of
; about the twelfth and fourteenth magnitudes, is one of the most
-beautiful telescopic objects in the heavens. It is just visible to the
naked eye as a faint nebulous star. The whole area shown in the
lantern slide is about equal to two-thirds of the moon's diameter. It
has been enlarged from the original negative, and gives a fair repre-
sentation of what would be seen in a powerful telescope such as the
ten-inch guiding telescopes provided with the instruments used in the
international star chart. It was exposed for three hours on an ex-
ceptionally fine night. Now, to measure and plot down all the stars
in this magnificent cluster is a task that the most devoted astronomer
might well shrink from. It would be a long but still a comparatively
easy task to do so in the study from the photograph. AVe shall noti
live to know what changes take place in the galaxy of w Centauri,!
but future generations may be able to deduce from photographic
records important knowledge of the structure of a universe.
And now to leave the sensational and come to the more sober and •
prosaic details of the scheme, which many observatories are now
busily engaged in ; less sensational only in its immediate results, for
it is to form the foundation for reference of all future astronomical
observations, as well as to leave to the future generations a reliable /
record of the stellar sphere in its present state depicted with a refine- '
.ment as well as speedy and economical fulfilment which by any other '
available means would be beyond the present resources of science.
There are two pieces of work to be done. The first is to consist of
■a series of plates with short exposures that shall show all stars up to
about the eleventh magnitude, which series of plates shall be sub-
mitted to measurement, and every star catalogued, in order that the
astronomer may have a full and complete series of points from which
to refer all future observations. The second is the long-exposure
series, that shall record all stars up to about the thirteenth mag-
nitude.
Now as to the catalogue plates. The various zones have been dis-
tributed amongst the co-operating observatories, and each region has
been divided upon a uniform plan. A little over two degrees square
can be taken on each plate, and the centres of the plates are to be
taken, as nearly as can be conveniently arranged, just two degrees
apart, so that there shall be just a small amount of overlap. But, as
the stars at the edges of the plate are not depicted as sharply as
those in the centre, and as it is advisable, moreover, to duplicate
each observation, a second series has been arranged, so that each
plate of the second series shall overlap the adjoining quarters of four
plates of the first series. The arrangement of the slates on a roof is
not unlike the arrangement of star plates thus determined on. But it
is necessary that the position of each plate shall be correct, and, as the
stars are not distributed so evenly over the heavens as to give a star
•exactly in the centre of each plate, the nearest star to the centre as
^iven in our present catalogues is chosen, and its distance from the
• centre calculated. The guiding telescope ha^ an arrangement by
which the eyepiece with its attendant cross- wires i^an be shifted exactly
that distance away from the optical centre. The- star chosen, there-
■.fore, is a means of exactly setting the instrument, as well as a guide
for the observer to tell whether his clockwork is following accurately,
■and, if not, to apply the necessary correction.
The observer, therefore, sets his clockwork going, exposes his plate
behind the riaeau, transfers it to the metal dark sUde of the photo-
telescope, sets off his calculated measurements on the micrometer of
the observing telescope, pciuts the instrument, and having the star
lOeDtered on his spider iiet, ^;:? cross wire, commences the exposure.
On a night of fairly good definition he crives an exposure of six
minutes, which should give good measurable images of stars up to the
eleventh magnitude. He then shifts his micrometer, and also his
instrument, through the small space of half a minute of arc, corre-
sponding to half a millimetre on the plate, and gives an exposure of
three minutes, which shall give him a just visible image of an eleventh
magnitude star. Shifting micrometer and instrument to a similar
amount, he gives another exposure of twenty seconds, which should
give him a just visible image of a ninth magnitude star. This done,
he puts the plate away and takes another centre. Should the night
be poor for observing, he increases the exposure, always taking the
Eroportions of eighteen, nine, and one. After a number of plates
ave been thus exposed, a comparison area is taken. A certain
number of areas near the celestial equator have been selected by
Professor Kapteyn, of Groningen, such area having an easily identi-
fied bright star in the centre, and having a moder.\te number of stars
of the ninth and eleventh magnitudes near it, the magnitudes having
been carefully determined by Professor Pritchard. The area re-
ceives exposures similar to the catalogue plates, and is at once a
standard by which to determine whether the catalogue plates
have received sufficient exposure, and also as a means of com-
paring magnitudes. It is not always a safe guide, as at this Observa-
tory, for instance, the definition to the north may be better or
worse than that to the south ; it is, of course, the observer's business
to note the definition, and so given some guide to the checking of the
plates. A further guide is given by comparison of the overlapping
images of plates taken on different nights. The area taken, work on
the catalogue plates is once more proceeded with. At this observator3',
all plates are developed in the morning, well washed, examined, and
accepted or rejected when dry. Of course, this inspection is not
final ; when the plates come to be put in the measuring machine will
afford the best test, but it is advisable to at once weed out ruthlessly
all those that do not come near the mark. At the Cape Observatory
in 1892, some three hundred or more catalogue plates were taken
without counting those put aside as not satisfactory. There are
nearly fourteen hundred assigned to the Cape in the zones marked out
for us, a larger number than any other observatory is debited with ;
but it is hoped, nay, expected, that the catalogue part of our work
will be finished by the end of the present year, and, in addition, some
little progress on fine nights will be made with the longer-exposure
chart plates.
The chart plates only number one-half the catalogue plates. It is
not so absolutely necessary to obtain the second set overlapping the
first. Of course, it would be better to do so, but time and money
have to be taken into consideration. The chart plates will be ex-
posed on the best nights for about one hour, and only one exposure
will be made on each plate ; for when so Jong an exposure is
given, and so many stars impress themselves, the taking a triple
series of exposures on each plate would only mean confusion. Even
on some of the catalogue plates it is evident that some additional
special plates may have to be exposed, as an occasional close cluster
of bright stars is rendered difficultly measurable, owing to overlapping
images.
The chart plates, with the expected multitude of stars they are
likely to reveal, are not to be measured, and the method of reproduc-
tion and publication has yet to be considered. The measuring of the
catalogue plates will be no light piece of work, and the means of its
accomplishment will have to be considered, though the way is obvious.
As to the way of measurement, I may conclude with a brief account
of what is done when a plate is submitted to measurement.
The measuring machine made by Repsold for the Cape Observatory
has a circular motion for measuring angles, which are read off by
microscopes bearing on the graduated circle. It also has two lateral
motions at right angles to one another, with scales for measuring
rqfht across the plate in both directions. The first important thing
to be done is to determine the values of every distance between the
rcseau lines on the riseau itself; and this should be done before the
reseau is taken into use, lest any accident happen to it in the course
of work. The measuring machine has also a microscope with cross
wires at right angles, capable of moving across the whole field of
view, and with micrometer heads to tell exactly the amount of move-
ment. The finished negative is put into its place, and adjusted with the
reseau lines exactly parallel to the cross wires in the micrometer eye-
piece. In the centre of the field of view a five-millimetre square is
adjusted, and the cross-wires are passed over from riseau line to star,
and to opposite rheau line, then back again. Every star measured
in that particular square, the next one is taken, until the whole 676
squares have been passed in review, and the positions of the whole
of the stars determined. The measurements then pas.'* into the
hands of the computers. C. Ray AYr;. s.
June 2, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
343
BACKING AND BLUKUING.
OsK would have thou^rlit that tho advantages of backing plates with
gome non-actinic coojpound of about the same refractive index as the
plates tliemselves would have been settled years ago, considering the
numbers of exhaustive experiments that were undertaken, and the
invariable improvement in the results in comparison with unbacked
plates when the process was adopted. Not that the effects were
always the same, for it was found very much depended on the
character of the film and method of development. Now, even more
than formerly, our negatives become afllicted with blurring and
halation, which seems to increase with the rapidity of the plates, and
affocts all classes of work from copying to high-class portraiture. It
has been definitely proved that, in a// cases where tlie subjects possess
great contrast of lights and shadows, backing is an advantage; but,
in less trying subjects, little or no difference was perceived with some
plates. With others, again, it was a distinct advantage all through,
whatever the subject happened to be. There is no doubt that very
much depends on the emulsion itself, independent of any other cause
whatever. A dense yellow film rather slow, backed or not backed,
is rarely affected by halation or blurring in any except very extreme
cases ; \)ut with a thin, whitish film of considerable rapidity it is
almost impossible to get an image entirely free from it, and with
difficult subjects and every precaution used blurring will take place.
Of course, this blurring or halation — I use the words indiscrimi-
nately— may be present in such small degree as to escape observation, or
only so much that a few bright spots of light will have softened edges.
It may be that there are very many small portions of a picture white or
nearly so in contact with darker parts, all of which would be affected
in the same way. The general brilliancy of a negative would thus
be depreciated without it being possible to say with certainty it was
suffering from blurring, or it might escape notice altogether, probably
would. The same subject, however, taken on a plate free from this
fault, would be much the better of the two. A very rapid plate
almost invariably blurs under trying conditions, and often when con-
ditions are less exacting, backed or not, no matter how the develop-
ment is managed, which, by the bye, has considerable influence on the
result : but, apart from this, a thin, rapid film is practically unwork-
able for any subject with violent contrasts, and I do not think the
reason far to see. With such films the particles of silver bromide are con-
siderably larger than with a slower preparation, and being more loosely
aggregated offer less resistance to the passage of light in all directions,
not only as reflected from the support, but in the film itself, from
particle to particle. In support of this view, the bromide diffused
through a large quantity of gelatine suffers halation in proportion to
the amount of salt enclosed in it. A thick film, with a comparatively
smaU proportion of bromide in an exalted state of sensitiveness will be
very rapid, but the image produced will lack brilliance, even to foggi-
ness ; thus the extra difficulty of working rapid plates will be under-
stood, as, the more rapid they are, the looser and larger are the
particles of the silver bromide - a fact recognised soon after emulsions
were used. An interior whose illumination is derived from a white-
glass window directly in front, taken on a rapid plate, is abc-olutely
certain to show this defect in a very pronounced manner in defiance
of any precaution that may be taken to prevent it. I remember a
case on which I expended many plates and every precaution I knew
to avoid this trouble, but it was not until I adopted some slow plates
that I could obtain a presentable result, when the affair worked like
a charm, and, except in a very trifling degree, was entirely free from
blurring.
Backing the plates will always improve the quality of the image if
the film is easily penetrable by the light, because, lignt reflected from
the back surface of the plate is thus rendered innocuous ; but, owing
to the dispersion of light in the film itself, is only a partial remedy,
and the difference in plates in this respect has undoubtedly given rise
to diversity of opinion on the advantage of backing. Beyond a certain
point, every increase of sensitiveness is adding to the difficulties of
working, and at the present time there is such an irrepressible desire
for rapidity that every other quality is more or less sacrificed to it.
Very rapid films, besides blurring, are much more prone to reversal,
»n equally annoying defect when an exterior view is wanted in com-
bination with an interior — a view through a window, for instance,
will show as a positive without the slightest trace of blur, but the
effect on the print is equally disastrous, and more difficult to doctor.
I am inclined to think that lateral diffusion of light in the film of
a gelatine plate is the chief reason why wet collodion is preferred for
photo-mechanical processes, and the reproduction of line work in
general. Given a thin gelatine film, so far as substance is concerned,
well charged with not over-sensitive silver salts, the resulting image
will be quite as free from veil, and the dark lines rendered as clearly
as with collodion. The exigencies of much photographic work neces-
sitates a certain degree of rapidity, especially portrait work in the
studio, when other qualities are sacrificed to secure it. However,
some of the fiuest work extant has been produced on only moderately
rapid films. 'I'here is no doubt all additional speed beyond a certain
point induces difficulties that the most skilful development will cot
always overcome. Take for instance a titter, habited in yellow-
coloured velvet and white lace, intermixed with a quantity of white
silk drapery, on a very rapid, and also on a moderately rapid, or slowish
plate, and compare the results, both plates beingbacked. The tlower
plate will be found to give very much more detail in the light parts,
and the pattern of the lace will be well made out, sharp, and dii^
tinct, and the darker velvet will not be partially obscured by blurring;
but, in the rapid, there will be considerable falling off in both respects
— the lace will be less distinct, and the edges of the darker parts will
be blurred, and very small portions of the dark will be almost
obliterated. The effect is identical with the blurring round the
windows of an interior. If this effect was owing to reflection from
the back of the glass, the backing would prove a perfect remedy ; but,
owing to the short exposure, and the amount of light falling on the
sitter, there is not so much damage to the image from this cause a»
from internal reflection, which is, of course, entirely independent of
that from the back surface of the plate. A rapid film, on any other
support than glass, is liable to this kind of blurring. I have seen
films on paper entirely spoilt by blurring where there could be no
possible reflection from the support.
In all probability, multiple films should be more free from this
defect, so far as the lower or less sensitive strata are concerned ; but I
can scarcely think that, from the point of view I take, the more sen-
sitive layers should enjoy immunity from it, than when such sensitive
layers are in direct contact with the glass. However, this is mere
supposition on my part, as I have not worked with the films in ques-
tion; but I cannot realise to myself that a subject that would blur
with an equally sensitive film alone would cease to do so in super-
position on another slower one. But perhaps I have been misinformed
on this subject, upon which I hope before long to have practical
information. A very strong, sharp light impinging on a film in the
camera illuminates the whole surface of the plate and interior of the
camera in the form of diffused light, but is too weak to injure the
image, unless the camera is fiUed with, so to say, a cloud of dust,
vapour, smoke, or the inside of the camera itself being somewhat
shiny, which would be sufficient to reflect the light partially from its
direct course, and to depreciate the quality of the image. In the old
wet-plate days black velvet moistened with water or glycerine and
water was placed in the camera during exposure, not only to delay
the drying of the plate, but to catch any dust that might' be there.
In outdoor photography dust, vapour, and smoke are very common
conditions in which some kinds of work have to be done, and it is
necessary to get the camera as free from them as possible, or the
results would be anything but satisfactory. When the light impinges
on the film to form the image, it becomes diffused in all directions
within the film, penetrating more or less according to amount of '
resistance offered by the haloid in compactness and colour ; very mudi
in some cases, and in some so little as to cause no perceptible difference
to the brilliancy of the image. When the particles of silver bromide
are very closely aggregated together as in most slow plates, we have a
barrier interposed to the reflection of the light, and the film is, so to
say, opaque — the light neither passes though nor disperses itself laterally
during the time necessary for exposure. But, if instead of this opacity
we have a considerable body of gelatine, with the bromide particles
widely separated and large in size, there is not much resistance to the
passage of light in any direction, which consequently induces the
faults of blurring and fogginess.
Backing stops reflection from the glass and is so far useful, but the
lateral dispersion goes on just as energetically as if there was none,
and we fail to get a clear, brilliant image. This effect does not occur
so much on collodion films, hence the preference given them for line
work. It is simply because the actual thickness of the film is so
much less than with gelatine. I believe, if the collodion film was
made thick as gelatine, its superiority in this respect would cease,
and the effect of blurring would be the same as when the haloid is
enclosed in gelatine. If the gelatine coating was made as thin, and
to carry as much salts as the collodion, the two preparations would^
in all probability, be very similar as far as blurring and halation are
concerned. A gelatine film has always been supposed to excel collo-
dion in rapidity, but I think, if the same attention had been paid to
collodion as that given to its rival, an equal rapidity would have been
secured by this time. This is, however, somewhat deviating from
the subject of this paper; but one thing seems so dovetailed into
another in matters photographic that we find very few effects limited
to single reasons, so that in discussing one we insensibly run into
A
344
THE BRITisH JOURNAL OF PHOTOGRAPHY.
[June 2, 1893
nnother. Whatever the real cause of halation may be, nine times
out of ten backing the plates will reduce it ; but, if we wish to get
absolutely rid of it, the quality of the emulsion is principally to be
relied on. Plates of a moderate speed, containing iodide, are best,
and those of treat rapidity worst, of all in this particular.
Edward Dukmobe.
COMPOSITE HELIOCHBOMY.'
Light transmitted by the image of the green seneation, G, passes
through the green colour screen, G', to the silver mirror, 5,thence side-
ways to the silver mirror, 6, forwards through the transparent mirrors, 4
and 2, and the objective, D, to the inclined mirror, E, and upwards into
the eyepiece, under which a green image is formed, exactly coincident
with the red and blue-violet images. A portion of the green light is lost
by reflection from the transparent mirrors, 4 and 2.
The fact that the light rays from B, V, and G travel equal distances
before entering the eye, and have a common axis after emerging from
the mirror system, secures a direct blending of the images, which must
otherwise be projected upon a matt surface in order to be seen as a
single image. Prismatic devices, as proposed by Du Hauron and others,
fail in this respect, and are therefore useless.
An optician wUl readily see in the instrument as described various
apparent defects, none of which, however, are evident in the instrument
as constructed. In the first place, in the absence of colour screens, the
image of the green sensation, formed of light reflected from a central
silver mirror, is much more brilliant than the other images, formed of
the weaker portions of light reflected from the central transparent
mirrors, which are unsilvered, plane-polished glasses. But the band of
pure green light in the spectrum is very much narrower than the bands
of red and blue-violet, and this apparent defect is therefore, in reality,
an advantage, because it permits of the use of a screen that transmits
the light of only a very narrow band of spectrum green, instead of the
broader band that would otherwise be necessary to make up white light.
Another apparent defect is that, if the transparent mun-ors have parallel
plane surfaces, they will, if clear, give a doubled instead of a single
image. This defect can be removed by making the mirror 4 of
canary-yellow glass, which transmits both red and green light freely,
but destroys all the blue-violet light that is not reflected from its first
surface ; and the mirror 2 of a cyan-blue glass, which freely transmits
both green and blue-violet light, but destroys all red hght that ia not
reflected from its first surface. This method of correction is objection-
able, because it reduces the intensity of illumination by nearly one-half.
The method that I have adopted is to use thin glass, having the
two plane surfaces inclined to each other just suSiciently to make the
two reflected rays coincident at D. Another apparent defect is found in
fact that the amount of light reflected from the plane glasses used as
iransparent mirrors varies with the angle of incidence. With the arrange-
ment shown in the diagram, the top of the image of the red sensation
will appear brighter than the bottom, and the outside of the image of the
jlne-violet sensation brighter than the inside. The disc of light seen in
the heliochromoscope — when the ehromogram is absent, and the instru-
ment directed towards a white sky — will be white only in the centre, the
outer portions showing a delicate tint of blue on the one side, yellow on
the other, pink at the top, and green at the bottom. This defect has
been removed by the simple expedient of inclining the colour screens, so
that the stronger ray passes diagonally through the coloured glass, and
the weaker ray straight through.
The mirrors are attached to brass supports, and are adjustable by small
screws pressing them against the springs by which they are held in place.
But the adjustment is such a nice matter that a twentieth of a turn of a
single screw, having fifty-six threads to the inch, would make the instru-
ment useless until it had been readjusted.
One of the cameras I use for making the ehromogram negatives is a
converted heUochromoscope, the eyepiece serving as an objective, pro-
jecting an image that includes nearly 50° angle of view. It may be
readily reconverted into a heliochromoscope by substituting a chromo-
gram-holder and imre colour screens for the plateholder, and selective
colour screens. In this instrument, transparent axial mirrors are used
for the images of the green and blue-violet sensations, and a pair of
ilvered murrors for the image of the red sensation, because the latter
ma must be made many times brighter than the others on the sensitive
employed. Tliis is a more compact and convenient form of camera
.ban any other that I have devised for this purpose, but the aperture of
the eyepiece is so small that it is necessary to give very long exposures —
• Concluded from page 330,
up to ten minutes on well-Ughted landscapes with ordinary isochromatie
plates.
When circumstances do not admit of the longer exposure, I use another
form of camera, in which the mirror system is arranged in front of three
separate objectives. This camera, in comparison with the compact
inverted heliochromoscope, is somewhat clumsy, and includes a smaller
angle of view, but has an effective aperture of about/- 16 for the image of
the red sensation, and requures not more than thhrty seconds' exposure
for objects illuminated with clear sunlight.
I now come to the consideration of the defects of the system as a
means for reproducing the colours of Nature. One of the greatest photo-
graphic authorities has said that no method depending upon the pro-
duction of photographic negatives by known processes can possibly be
made to secure accurate reproductions of colour, because no known
photographic negative-making process will accurately reproduce mono-
chrome hght and shade. This statement is strictly true, and the fact
must not be ignored, even though the defect referred to affects the
success and value of colour photography scarcely more than it does the
success and value of monochrome photography, which can be made to
give reproductions of the majority of monochrome subjects good enough
to be generally accepted as true facsimiles.
In monochrome photography the contrasts in the middle shades of a
correctly exposed negative are always more or less exaggerated, at the
expense of both ends of the scale. The positive print from such a nega-
tive will, upon critical comparison with the original, appear more or less
weakened or bleached in the lighter shades and heavy in the shadows,
with undue contrasts in the middle shades, especially if the original
shows strong contrasts of illumination. In composite heliochromy the
same defect must evidently be present, making colours appear as if
slightly faded in the lighter sliades and dull in the deeper shadows, with
undue strength and contrasts in the middle shades. This defect is
seldom noticeable in reproductions of evenly illuminated objects when
photographed upon the highly sensitive and soft-working photographic
plates available for this work. The defect, however, may be offensively
evident in reproductions of objects showing strong contrasts of illumina-
tion.
Another consequence of the same detect in the photographic negative-
making process is undue intensification of the stronger elements of mixed
colours in the deeper shades of the picture. For example, an orange,
which is a mixture of four parts of red to one of green (physiologically),
if it act with exactly four times the force in producing the negative of
the red sensation that it does in producing the negative of the green,
will be represented by more than four times the density of deposit, in
case only a moderate exposure be given (because the density is alwa,ys
disproportionately great in the middle shades of the negative), and will,
therefore, be reproduced as a slightly redder orange than it really is. _ A
full exposure corrects this defect, and an excessive exposure, by bringing
the green element into the middle shades of its negative and the red
element into the high lights of its negative, either reverses the defect,
making the orange too yellow, or, in case it is originally impure (i.e.,
mixed with a small proportion of white liglit),may even produce a sugges-
tion of brick-red in the reproduction.
This defect is not as serious as might be expected, because it is really
only an exaggeration of effects produced upon the eye in ordinary vision,
by corresponding variations in the illumination of the object, for which
the judgment, from mere force of habit, instinctively makes allowance.
In this connexion I quote from Rood as follows : —
" Coloured surfaces undergo changes of tint when tliey are seen under
a very bright or a very feeble illumination The violet of the
spectrum is easily affected ; when it is feeble— that is, dark, it approaches
purple in its hue ; as it is made stronger the colour changes to blue,
and, finally, to a whitish grey, with a faint tint of violet-blue. The
changes with the ultramarine blue of the spectrum follow the same order,
passing, first, into sky-blue, and, finally, into white. Green, as it is
made brighter, passes into yellowish-green, and then into whitish-yellow,
for actual conversion into white, it is necesssary that the illumination
should be dazzling. Bed resists these changes more than the other
colours ; but, if it be made quite bright, it passes into orange, and then
into bright yellow Colour sensations, which are due to the joint
action of two sets of nerves, speedily diminish when the colour is
darkened, and are replaced by the primary sensations— red, green, or
violet. The sensation of orange is produced by those light waves in the
spectrum, which have a length such as to enable them to stimulate the
red nerves strongly, and the green nerves to a lesser degree ; hence, when
orange-coloured light is made very weak, it fails to act on the green
nerves, while feebly stimulating the red. For similar reasons the seusa-
June 2, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
34J5
tions of yellow and greenish-ycUow pass into green, aa do also those of
greenish-blue and cyan-blue ; in the same way, the sensations of blue,
-nitramarine blue, and violet-bine pass into violet."
In short, we have in this colour photography imperfect rendering of
the relative intensities of colour in the different shades of the picture,
corresponding to the imperfect rendering of gradations in monochrome
photography, and also exaggerations of the visual effect of varying
intensities of illumination upon colours, due to (lie same d^ect in the
negative process.
I will take this opportunity to suggest that the similarity of the photo-
graphic defect to an inherent defect of colour vision may be taken as an
argument in favour of the theory that colour vision is itself essentially
photOKraphic. It appears to me that there may be in the retina three
light-sensitive chemical substances, each of which, when acted upon by
light, reacts upon the nerves of vision to produce a definite sensation,
which is one of the recognised fundamentals. We may assume that one
of these substances resembles, in its optical properties, a coal-tar dye,
-which is sold as " multiple yellow," and wMch shows .in absorption
curve very much like Captain Abney's curve to represent the action of
spectrum rays upon the fundamendal blue-violet sensation ; that another
substance similarly resembles aniline magenta, which shows an absorption
curve similar to Maxwell's curve for the action of spectrum rays upon the
fundamental green sensation ; and that a third similarly resembles an
aniline blue, that shows an absorption curve similar to Maxwell's curve
for the action of spectrum rays upon the fundamental red sensation.
Such substances may be in liquid form, like solutions of the dyes, and
the mixture, like a mixture of the dyes, would absorb all the spectrum
lays that excite vision. The spectrum rays at Fraunhofer line D would
be absorbed about equally by the blue and magenta substances, thereby
■exciting about equally the two fundamental sensations red and green,
-which make up the compound sensation of yellow. All other compound
sensations would be similarly explained. Solarisation in one of these
substances, by bleaching or destroying some of it, would temporarily
weaken the corresponding sensation, but, at the same time, increase the
sensitiveness of that portion of the retina to other colours by giving
some of the spectrum rays freer access to one or both of the other two
•substances. It seems to me that no other theory will explain so much
as this. But my paper is not on the subject of colour vision, and I
must, therefore, reserve further consideration o£ this subject for another
occasion.
Under favourable conditions the photograpliic defects which I have
mentioned are so small as to pass unnoticed by the ordinary observer, to
whom the reproduction seems perfection in every respect. Under un-
favourable conditions the results might be quite as unsatisfactory as are
•sometimes the results in monochrome photography. To look for a
nearer approach to perfection would be unreasonable in the present state
of photographic science.
I hope to go more exhaustively into this branch of the subject at some
-future time, but believe that, in a general way, I may claim to have stated
the case fairly. If the scientific specialist is inclined to think that I may
have made out too good a case for composite heliochromy, the practical
photographer -will, on the other hand, be astonished to find that, in spite of
all theoretical and practical diiliculties, the image of familiar objects, as
•Been in the heliochromoscope, is as satisfying to tlie eye as the transient
image on the ground glass of the camera which he has so often admired
and dreamed of fixing.
In actual practice defects due to quite diffaretit causes have been far
more troublesome and irritating to me than either of those described.
Fortunately, however, they are not inherent in the process, and it was
•only necessary to discover their true cause in order to eliminate them.
■With certain developers, hydroquinone being one — the image of the blue-
•violet sensation commences to develop first, and goes on almost to com-
jjletion long before the detail is all out in the image of the red sensation,
•even though the latter may appear relatively over-exposed after the
•development is fully carried out. Under such circumstances, the relation
'between the two images will vary with the time the plate is left in the
developer, and it is difficult to ensure accuracy. Thi.^ difliculty was
substantially overcome by using the eikoncgen developer, and seems to
have entirely disappeared with rodinal development.
With some sensitive plates the image of the green sensation, formed
principally in eoside of silver, develops more density than either of the
•other images, and introduces troublesome irregularities. Fortunately,
•some of the best makes of sensitive plates are free from this defect, and
may be selected for this purpose.
For a long ^ime, in spite of every precaution I knew how to take, my
negatives developed considerable more density towards the edges of the
plate than towards the middle. The consequence of thU was that the
top of the negative of the red sensation, and the bottom and outer sides
of the negatives of the green and blue-violet sensations, would be so over-
dense as to make the colours in those parts of the reproduction distinctly
incorrect. I imagined this to be due to a defect in the sensitive plates,
an effect of the more rapid drying of the emulsion at the edges in process
of manufacture. In this I was happily mistaken. It proved to be due
to access of air to the outer portions of the plate during the process of
development, by constant rocking in a dish containing a rather small
quantity of developer. The unevenness disappeared as if by magic when
the plates were developed by deep immersion in the developer in a dipping
bath. Probably the reason that this unequal action of the developer has
not been noticed in monochrome photography is that the centre of the
plate usually receives more light than the edges, and the action which is
so injurious in the colour process is seldom more than sufficient to com-
pensate for this unevenness of illumination.
In my earlier experiments, light objects against a dark ground fre-
quently reproduced with a red or reddish halo, because of strong halation
in the image of the red sensation, so that, even for objects that come
very well in monochrome photography, I found that the plates should be
" backed " for composite heliochromy.
The results which I show, taken in connexion with what I have said,
will make it evident that the process has already been reduced to very
successful practical operation in my hands, and that the conditions of
success are such as may easily be realised by others when provided with
the same apparatus properly adjusted.
The method of carrying out the process to the production of colour
prints, although it will doubtless prove of great value for some purposes,
cannot, by reason of its complications, difficulties, and cost, be success-
fully utilised by amateur and general photographers. As long ago as the
year 1881, when I was the only successful producer of half-tone process
blocks for the type press, and had considerably improved upon the old
methods of composite heliochromy, without quite realising the true
principle which I first published in 1888, I made the first photographic
reproduction of a coloured subject by three impressions from process
blocks. This three-colour print, a reproduction of a chromolithograph,
was referred to in a leading article in the I'hotorjiaphic News of September
5, 1884, page 561. I have one of the prints with me now. The lines
expressing the light and shade were run in different directions in the
different blocks, in order to avoid the production of a disagreeable pattern
— a plan ■which has quite recently been claimed and patented as a new
invention in Germany, and adopted by Kurtz, of New York, and others.
My Franklin Institutes lectures upon this subject, in 1890 and 1891, were
also illustrated with examples in cemented gelatine colour prints,
mounted as lantern slides and window transparencies. The latter are
now in the United States National Museum at Washington. I have not
followed up these developments of the process very industriously, because
it has been my ambition to realise a simple and readily available method
of photographic colour reproduction, perfect so far as it goes, before
undertaking to fully develop the process in its more complicated form.
The best fruit of my efforts in this direction is the heliochromoscope and
its appurtenances, which I claim to be the first completely successful
means for reproducing the natural colours by photography.
I believe that scientists who have been aware of the impossibility ot
escaping from the inherent photographic defects which I have described,
have greatly over-estimated their importance, through quite overlooking
the fact that they result in nothing more serious than an apparent
exaggeration of natural defects of colour vision, for which we are already
in the habit of making unconscious allowance.
While the not altogether unreasonable doubts of the true scientist have
made him cautious and reticent in his attitude towards the claims made
for composite heliochromy, some who write with an air of authority upon
subjects quite beyond their comprehension have industriously discredited
my efforts to substitute the application of true theories, definite methods,
and scientific tests for false theories, wrong and indefinite methods, and
unsuccessful guesswork. A well-known representative of the latter class
recently went so far as to characterise my work as a mere •' laying of
stress upon words," " of the nature of throwing dust into the eyes of
simple mortals." This is certainl.y a sufficiently bold and simple way of
combating facts and arguments that are not comprehended. A sufficient
reply to all such wilful or accidental misrepresentations, past or future,
may be found, by those who are capable of understanding the subject,
in the two papers which I have now had the honour to read before the
Society of Arts, and in the references given and results shown.
Objection has been made to the use of the terms " heliochromy,''
" photochromy," and " colour photography,'" as applied to this process of
346
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 2, 1893
colour reproduction. It has been said that, because colours can be pro-
duced directly by the action of light upon certain sensitive surfaces, these
terms should be restricted to processes of that character. It was to meet
this objection that I named the process " composite heliochromy." If a
better descriptive name can be suggested, I will readily adopt it. But I
shall be greatly surprised if the public does not finally insist upon calling
the production of chromograms after my method by the name, of " colour
photography," just as they now call the production of stereograms
" stereoscopic photography." It is of comparatively little consequence
what name is given to the direct processes, so long as they cannot be
made to reproduce the colours of nature, and are therefore of no interest
to the general public. It is the ouccessful process that should have first
choice of suitable names. The only recognised talking machine of to-day
is the phonograph, although the name " talking machine " was applied
to something far different— an arrangement of bellows and reeds, and
pipes, and keys, in imitation of the human vocal apparatus— long before
the phonograph was dreamed of. Perhaps the heliochromoscope would
be more'properly called a photoohromoscope, a name which I like better,
but have not adopted, because inventors of devices of a very different
character have already been quarrelling about the right to use it.
In conclusion, a criticism of the heliochromoscope, from the painter's
point of view, may be of interest. An artist friend, who leans towards
the Impressionist school, on seeing the instrument for the first time, said
the reproductions of nature offended him in the same way that ordinary
photography did, by idealising nothing, and leaving nothing to the
imagination ; in short, the reproduction was " too absolute to be
artistic." F. E. Ives.
Abstract of Dissussion.
Mr. J. Wilson Swan congratulated Mr. Ives on the marked progress he
had made since he last showed his results in that room. He had told
them plainly the limits of bis ambition, that of attaining a practical
method of producing what he thought was attainable in the direction of
colour photography. Popularly, no doubt, photography in natural colours
meant something different from what had been shown that evening ; it
meant a process by which not only light and shade, and the natural
form, but also the colours of the objects, would be produced directly on
the sensitive surface. Some sanguine people conceived that such a thing
was not impossible, but many far-seeing and able men considered it to be
quite unattainable, and these would certainly not be the discoverers. The
path of progress and discovery was illuminated by the light of hope, and
to search for any object hopelessly was not the way to find it. He
believed that the feeling that colour photography was unattainable had
restricted experiment, and, as without experiment very little progress
could be made, it was not wonderful that colour photography, in this
ideal sense, had not yet been realised. Within the last few days par-
ticulars had appeared in the newspapers to the effect that the long-desired
result had been achieved in Paris, and that some few had been privileged
to see it. He at once felt a strong impulse to go off to Paris and satisfy
himself, but checked the impulse with the reflection that if this piece of
news was true — as it was well known how deep an interest the President
of the Photographic Society of Great Britain took in the subject, and as
Paris was only about eight hours distant from London — it was almost
certain that some examples of the alleged discovery would have been
there that night. Since they were not, he feared that one more disap-
pointment was going to crush this hope. In short, this discovery had
been announced about as often as that of the " sea serpent ; " and,
probably, the chances of such reports turning out to be true were nearly
equal. It struck him that the form of colour photography which had
been described that evening had one advantage even over the more ideal
process to which he had referred, viz., that it contained within itself the
elements of mnltiphcation and reproduction by means of negatives, a
feature that characterised the photographic method originated by Fox
Talbot, a most valuable feature, and one which he thought was hardly
appreciated at its true value. He hoped that this would not be the last
time they would see Mr. Ives at the Society of Arts. What had been
shown and described that evening was, without doubt, the high-water
mark of what had, so far, been obtained in colour photography ; and one
hardly knew which to admire the most, the logical clearness of Mr. Ives's
ideas and the expression of them, the ingenuity of his devices, or the
beauty of his results.
In reply to various remarks, Mr. Ives said the images which formed
the chromogram had no colour themselves, they were only a register of
colours, and might be compared to the wax cylinder in a phonograph,
which contained no sounds though it registered them, and, on putting
the instrument in operation, reproduced them. In the triple photograph
there was a record of the colours, and when it was put into the helio-
chromoscope they were brought back to the eye. One image was called
the red, not because it was red, which it was not, but because it repre-
sented the relative amount of acti'on on the lundamental red sensation.
It represented the effect of light coming from the object upon the
fundamental red sensation. The same with the blue and the green.
He had not attempted to go into the science of the subject that even-
ing because he did so very carefully last year, when he explained
what various colours of the spectrum excited each fundamental sensa-
tion. The sensation itself was of a perfectly simple colour. The
screen to produce the effect of the red sensation in the negative must
transmit sufficient not only of the red but of the orange-yellow and
yellow-green rays, all of which had the power to excite that sensa-
tion. The exact colour of the screens in the camera depended on the
colour sensitiveness of the photographic plate. It the latter were twice
as sensitive to red as to orange, while, on the other hand, the funda-
mental red sensation was affected twice as much by the orange rays
as by the red, it would evidently be necessary to use a screen which cut
out some of the red rays, which would otherwise have a disproportionately
strong effect. The plates actually used were many times more sensitive
to orange than to red, and it was necessary in practice, in order that the
red rays should have time to do their share of the work, that the colour
screen should cut off a very large proportion of the orange rays. The
screens were tested by photographing the solar spectrum, and it was
assumed that they were right when the photograph of the spectrum
showed a distribution of density which corresponded to a curve repre-
senting the power of the different rays to excite the respective funda-
mental sensations. The heliochromoscope and lantern screens, on the
other hand, were, like the fundamental sensations themselves, of pure
simple colours. The subject was very difficult to follow for any one who
had not made a special study of it. As he stated in the paper, he had
devised a camera with which the triple photograph could be made at one
exposure of one sensitive plate. He had also explained that the tint of
yellow green on the edge of the water pitcher was due to a defect in the
development, not to anything inherent in the process itself.
The Chai»nan said he believed he was one of the first to see the results
of Mr. Ives's work last year, and he must say that what he had now
brought forward showed a very decided advance, and was not only very
interesting but of scientific value. One could not help seeing that Mr.
Ives had worked on thoroughly scientific principles. It was not every
one who would undertake to find out what the three fundamental colour
sensations were, and where they were situated in the spectrum. A good
many who had worked in this direction had not taken so much trouble,
and some had selected colours which did not really excite the funda-
mental sensations. The three which Mr. Ives had chosen seemed to be
very near the truth, as far as was at present known. The red sensation
was stimulated by the red which lay near the limit of the solar spectrum,
and when you got as far as the c line, where the red was pretty bright,
there was a very small contamination of green with it, but so small that
you might use it, without serious error, for over ninety per cent, of the
colour sensation produced in the eye would be caused by the stimtilation
of the red-perceiving apparatus. The green was situated not in the
yellow-green, but was a distinct green of itself ; probably only one man
in twenty-five iiad ever felt the true fundamental green sensation at all,
because they must be colour-blind in order to do so ; the real funda-
mental sensation was so much mixed up with white that we only felt the
green largely diluted. The blue-violet was the one at the far end of the
spectrum, somewhere about o, and was very fairly represented by the
colour Mr. Ives had chosen. He was rather glad Mr. Swan had not gone
to go to Paris to see the colour photographs which were reported, for
had he done so he would not have been present to have made his re-
marks. From the accounts he (Captain Abney) had received he was very
sceptical whether any real progress had been made in colour photo-
graphy. What the Paris process did was to show interference colours^
That was not true colour photography, and would only be achieved when
actual pigments were produced. A photograph in which the same part
looked red in one light and green in another was not colour photography.
There were several very interesting points in the paper with regard to
the modes of developing ; for instance, the fact that the image exposed
to the red would not develop with hydroquinone as rapidly as blue did.
This he had long been famUiar with, and there was a scientific explana-
tion of it which ought to be known, but which would take too long to
detail now. Again, he had always held that, in some sensitive plates,
the image formed by the green rays was principally f;)rmed in the eoside
of silver ; it had often been combated, but he still held to it, and was
glad to find that Mr. Ives's experience confirmed him. Another interest-
ing fact was the method of applying the developer. Mr. Ives said that
he first thought the fact that the plate developed more in density at one
part than another was due to its not being evenly coated ; but, directly
he prevented the access of air to the outer portion during the process, the
mischief vanished. That might teach a useful lesson to practical photo-
graphers. No one could have seen the heliochromoscope without being
struck by the ingenuity of its construction, and the marvellous skill with
which the reflecting surfaces were arranged. The little contrivances for
getting rid of double images formed by reflection from the back and front
of a plain glass mirror were admirable. Eeflections from plain glass
used for other work had bothered him so much that he had had to
abandon such mirrors and use the surface of a prism, but Mr. Ives had
got rid of the evil in another way, and made the two images coincide by
using a very slightly prismatic glass. The little instrument was a
masterpiece of ingenuity, and he hoped that when Mr. Ives came again.
next year he would have still further developed this very instructive pro-
cess. The time was evidently coming when people would not be content
with ordinary photfographs as lecture iUnstrations of machinery or any
June -2, 1«93]
THE BmilSIl JUUKNAL OK rHOTOOBAPIIY.
thiDR else, but would require all objects to be poctrayort in their proper
■colours. He conoluded by proposing a vote of tliiiukH to Mr. Ives, which
was carried unanimously.
ISOCHROM.\TIC PHOTOGRAPHY.
Betore the South London PhotoKraphio Society, ou May 15, Mr. E.
J. Wall delivered a lecture on Isochromatic Ph<ttoi)rapliy. He said
although the principle of isochromatic photography had been known for
some years, it was not until Edwards introduced plates commercially that
it received any attention in England. The sensitive Halt used in the pro
paration of orthochromatic plates is stained with a dye, usually erythrosine,
one of the eosine series. A great many amateurs think they cannot use
the plates without a screen. It is seldom required ; improperly used, as
bad a result can be obtained in the opposite way. In the spring and
autumn, when the grass and trees are more yellowish than in the summer,
the value of colour- sensitive plates ought to be more appreciate J. In the
summer a great deal of white light is reflected from the foliage. Isochro-
matic plates show a great improvement in the rendering of distance, and
finer detail in the shadows and water are obtained.
In snow scenes a better gradation of the whites is given. By the use
of too deep a screen the sense of distance is destroyed. In sunset scenes
the superiority of the plates is strikingly apparent. No yellow screen ij
required, and comparatively shorter exposures given than when using
ordinary plates. A screen would make the shadows blacker. For clouds
and seascapes isochromatic plates should only be used. For clouds,
usingaslowplate and stop /-IG, an exposureof one-fourth to one-twentieth
of a second will be sufficient. Thunder-clouds require one-fourth of a
second, but for ordinary one-tenth is enough. Cloud negatives should
be kept rather thin. The new developers, amidol or metol, are prefer-
able to pyro for cloud work. Amateurs' snow pictures are mostly
unsatisfactory. By using a colour-sensitive plate of medium rapidity
and a second tint screen, and giving a comparatively long exposure,
carrving out the old principle of exposing for the shadows, and then in
developing get a rather thin negative, better snow pictures will be got
than before.
Colour-sensitive plates are necessary in copying pictures. Sunlight is
the best light to use for this purpose, next magnesium, and then gaslight,
and, lastly, diffused daylight. For ordinary work gaslight is more con-
venient than magnesium. The lecturer used two Defries lamps, with the
globes coloured with yellow varnish, andgave enormously long exposures,
for pictures containing a good deal of red it was necessary to prepare
plates specially for the purpose. Cyanine dye is the best sensitiser for
red. To make plates that will keep, prepare your own cyanine. Oil-colour
paintings require more exposure than water colours, pastels less, and
illuminated addresses still less. For home portraiture the most rapid
plates should be used. The only case in portraiture in which a screen,
and that a very pale one, should be used is to render very pale-blue eyes.
The faults of isochromatic plates are the great tendency to too great
density ; but this can be dealt with in development. Ammonia is more
likely to yield fog, and for this reason pyro-soda ha."* been recommended
as a developer. Pinholes. — These appear in greater numbers when
ammonia is used as the accelerator thim when soda or potash is sub-
stituted.
Screens of various makes were shown, but, if desired, photographers
can prepare their own by dissolving one grain of brilliant aniline yellow
in an ounce of amyl collodion, i.e., pyroxyline dissolved in amyl acetate,
and coating thin glass with it. By using two grains of the dye to the
ounce, a screen increasing exposure three times will be obtained. Micro-
scopic cover-glasses are useful in preparing screens, and two of them
can be fastened together.
WATSON'S CAMERAS FOR THE SEASON.
On visiting Messrs. Watson & Son's handsome and well-stocked establish-
ment in High Holborn, we were shown several new and improved styles
of cameras finished for the work of the season now before us. .\mong
these, we were pleased to see an improvement that has recently been
applied to the well-known " Acme," in virtue of which the lens, even one
of the widest angle, can be raised or lowered to a greater extent than
formerly without the folds of the bellows body being permitted to out off
the corners or any part of the plate.
We were gratified in being informed that a great many cameras,
especially those of the half-plate size, are now being fitted up for stereo-
scopic work — a demand on the part of the public which attests the return
from desuetude in which binocular photography has so long lain.
To prevent the possibiUty of light passing through the folds of the
draw-slide, we were shown examples of those now made, in which the
slide has been rabbeted out at the folding junctions so as to debar the
passage of light ; even if the textile fabric, which acts as the hinge, were
to give way or be torn off in places, still would no light get to the plate.
To the " Studio" camera for 15 x 12 plates is now fitted an attachment
with a repeating back, by which comparatively small oegativei, such u
cabinets and card"* can now be taken with facility, from which it follows
that one in possession of a camera of this size and with this attachment
does not really require a second one so long as his aspirations are confined
within the 15x12 Umit.
A peculiarity of the " Premier " camera, a class of camera which !i
much used abroad, consists in all the parts being made interchangeable.
It is made in various sizes, from 5x4 up to 18 x 16. All sizes np to
10 X 8 have movable central partitions and wide fronts, to use either
for stereoscopic work or two pictures on the plate, with either one or a
pair of lenses. The interchangeable idea is an excellent one for those
who reside abroad and may desire to restore any damaged portion without
being put to the necessity of sending the camera home for repairs.
We were given a description of two double cameras constructed expressly
to order for the late eclipse expedition. The plates used in these were
15 X 18 ; the cameras were six feet in length and each one had a division
to permit of the binocular principle being applied, for each exposure was
duplicated, there being two lenses to each camera.
Although we have some time since spoken of the pretty little "Alpha"
camera the following description of it as it now exists will interest the
reader : —
It is made in box form, of sufficient size to contain when closed the
bellows, front, the R.R. lens, shutter and finder. The front of the box
falls down to form a base, and is held rigid and horizontal by a stmt,
which is fixed by being pressed home into a notch at its upper end ; to
close the camera, slightly lift the strut, and it will then fold in as the box
is closed. The front of the camera is extended along the base, and there
is a scale with distances marked on it, by which the focus can be imme-
diately set, but a ground glass screen is also supplied to use if desired. A
socket is fixed in the side and base to attach to a tripod. The finder is so
arranged that the view may be seen either by looking into or through it,
according to the position in which the camera is held ; there are two
fittings to receive it — for vertical and horizontal pictures. The shutter is
a specially small Thornton.Piokard Time and Instantaneous fitted with
mechanical discharger. The whole apparatus is of highest quaUty, work-
manship and finish, and is among the smallest complete apparatus yet
introduced.
The lenses sold by this firm, at any rate those bearing their name, are
all manufactured by themselves, in brass and aluminium. Although we
cannot speak of their performances from al knowledge, yet from a
348
THE BKITISH JOURNAL OF PHOTOGKAPHV.
[June 2, 1893.
pemsal of some Kew certificates which were shown us, we would consider
them excellent. They are made in four forms, rapid, rectilinear, enry-
scope, portable or mid angle and wide angle.
©ur IBliitorial STatle.
The Simplex Camera Spand.
This stand, the invention of Mr. J. L. Benthall (13, Victoria-street,
S.W.), comes better up to our idea of a quick-setting, portable stand
than most of the class that we haye seen. It is constructed of_ steel
and aluminum, and is light conjoined -with portability and rigidity.
Its construction will be seen from the adjoining cut, in -which ^is
shown the stand packed for carrying and extended for use. On
taking off the caps at either end the stand opens of its own accord by
a species of telescopic movement. A half- turn bayonet joint ensures
perfect rigidity. There are no loose parts. As the lower limbs of
the tripod slide into those above, and as these can be pinched with
thuttibscrews, considerable range is thus allowed for pointing the
camera in an upward or downward direction. Although primarily
constructed and intended for small cameras of the hand class, we
should have no hesitation in using it with one much larger, even to
one of 10 X 8 dimensions, unless such were made abnormally heavy.
Much mechanical ingenuity has been imported in its design and con-
struction. An advantage, which many will appreciate, consists in
the fact that by no possibiUty can any one guess as to the parcel
being carried consisting of a camera stand, for its unconventional
appearance might well relegate it to the domain of a portable ship's
telescope.
Its height is four feet two inches, its diameter one and three-
quarter inches, and its weight under fifty-six ounces.
Photographic Mosaics for 1893.
Edward L. Wilsox, New York.
The chief feature by which this year's issue of a long-established
annual is characterised is the very great number of pictorial illus-
trations— over eighty — it contains. A larger proportion of the text
too than usual is contributed by the editor, whose first article, " The
^york of the Past Year," extends over ninety -six pages, and forms a
digest of what has been published during that time. Next foUow
practical articles contributed by about twenty or more of the editor's
friends, in many cases men whose names are well known. The rest
of the book is occupied by a series of six essays on topics rekting to
art, by the editor. Mosaics, with its 282 pages of text, including such
a number of illustrations mainly in the art department forms an
excellent book for study in the evening, or an agreeable pocket com-
panion when one is on a journey. Dr. Wilson lias acted wisely in
changing its time of publication from Christmas to Midsummer.
ft
mMMSS?'W^3
The Primus Air-tight Box.
W. BcTCHEE & Sons, Blackheath, S.E.
It is conceivable that a packet of platesr
however seemingly well packed up, may
vet be acted upon by the penetration of
an impure atmosphere. To obviate this
the Primus box is introduced. It is a
japanned tin case capable of holding a
packet of plates. After inserting this,
the lid of the case, which is lined with
indiarubber, is put on, and is kept pressed
down firmly by a cover which slides on by
wedge-shaped flanges on the sides of the-
box as shown by the cut. It will certainly;
serve the purpose intended.
Half Holidays with the Camera.
By Ekknakd Aifieki. Lomlon : W. B. Whittingham & Co., Limited, 91, Graee-
cburch-street, E.G.
This book chiefly consists of reprinted articles embodying the author's
endeavour to give some indication of the character of the various
localities touched on, mainly on the north side of the Thames, from a-
photographic standpoint; at the same time, and commendably so, he
refrains from pointing out exact spots from which pictures may be
obtained. From Burnham Beeches on the west to Southend on th"
east, the author constitutes himself a guide not only to the principal
but to the less known points of interest. The book has several illus-
trations of familiar scenery, as well as a number of small maps, which
should assist pljotographers desirous of arranging camera outings, to
a very large class of whom it is calculated to be of great service.
Gi-YciN-HArrF.
We have received from Messrs. Fuerst Brothers, of 17, Philpot-lane ,
E.C., a sample of .the newest developing agent, Glycin-hauff. This
differs in appearance from its congeners in being of a pale yellowish
colour. We hope to try and report upon its properties in our next.
A Damp Shb»;t Detector.
From Mr. A. H. Baird, of 15, Lothian-street, Edinburgh, we have-
received samples of chemically treated paper for this purpose that
should be welcome to tourists, travellers, «&c. The directions for use
say, lift a piece of the paper by a corner out of the box, and place it
between the sheets, press the bedding gently down while you count
five seconds, then examine the paper. If the sheets are slightly
damp, the paper will be stained a dark red colour. If the sheets are^
well aired and dry, the paper will be hardly discoloured, if at all.
RECENT PATENTS.
APPLICATIONS FOR PATENTS
No. 9666. — " An luiproveil Means of Automatically Locking Shutters of
Photoeraphic Dark Slides." W. F. Fletcher and E. J. B. Danks.— Date?
Mai/ 15, 1893.
No. 9766. — "Improvements in Photographic Cameras." C. Bono.— Dated
May 16, 1893.
No. 9848. — " Hokting Photographic Plates During the Process of Develop-
ment, -whereby any Contact of the Operator's Hand with the Bath is Pre-
vfSnted." S. H. Britthin.— jOatoi May 17, 1893.
No. 9896. — " Improvement in Caps for Photographic Lenses." S. FoxOK.^
Itated May 17, 1893.
No. 9923. — "An InaproveJ Method of Mounting the Jets of Optical Lan-
terns." J. H. Barton.— i>«Je<< May 18, 1893.
June 2, 1893]
THE BUITISH JOURNAL OF PHOTOGRAPHY.
349
W.
No. 10,001.— "A New Multiple Revolving Photographic Dark Slide.'
Wilson. -M<<«i 3/iiy 19, 18!'3.
No. 10,0<i4.—"IiiiprovemBnts in and relating to Photographic Apparatus.'
RliHABD.— />«to< .Vay 19, 1893.
No. 10,131.— "An Improvement In Photographic Apparatu.i." W. J. Dm
BlS.—JMteil May 20, 1893.
ifleettnssS of SocictirjS.
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of Useting.
'i^ue 5
Name ol Society.
Dundee Amateur
Peterborough (Annual)
Putney
Richmond
South London
Stereoscopic Club ,
Birmingham Photo. Society
Brixton and Chipham
6 1 Exeter
6 Hackney
6 , Herefordshire
6 [ Lewes
H North London
ti Oxford Plioto. Society
6 1 Paisley
6 Rochester ,
6 Rothcrham
6 Sheffield Photo. Society
6 , York
Edinburgh Photo. Society ..
Leytont^tone
Photographic Club
Sonthport
7 Southsea
7 Wallasey
8 Birkenhead Photo. Asso
8 1 Gloesop Dale
8 t HuU
S London and ProTinoial
8 .„ Manchester Photo. Society ,.
8 North Kent
8 Oldham
9 Cardiff
9 Croydon Microscopical
9 Halifax Camera Club
9 Holborn
9 Ireland
9 Maidstone
9 WestLoudon
10 j Hull
Place ol Meeting.
Auo. Studio, Nethcrgrate, Dundee.
Museum, Minster Precincts.
High-street, Putney.
Greyhound Hotel.
Hanover Hall, Banorer-park, 8.K.
Brooklands Uot«l, Brooklands.
Club Room, Colonnade Hotel.
37*», Coldharbour-lane, Brixton.
City Chamber.-^, Gaudy-st., Exeter.
206, Mare-street, Hackney.
Mansion House, Hereford.
Fitzroy Library, High-st., Lewes.
Canoubury Tower, Islintrton. N.
Society's Rooms, V.id, Higb-street.
9, Gauze-street, Paisley.
Mathematical School, Rochester.
6, Frederick-street, Hotherham.
Masonic Hall, Surrey-street.
Victoria Hall, Goodrauitrate, York.
38, Castle-street, Kdinburgh.
The Assembly Rooms, High-roa^l.
Anderton's Hotel, Fleet-street, KO.
The Studio, 15, Cambridge-arcade,
3, King's-road, Southsea.
Egremont Institute, E{n"emont.
Y.M.C.A., Grange-rd., Birkenhead.
71, Prospect-street, Hull.
Champion Hotel, 15, Aldersgate-st.
36, George-street, Manchester.
Gravesend.
The Lyceum, Union-st., Oldham.
Public HalljGeorge-street, Croydon
Booms, 15, Dawson-street. Dublin.
*' The Palace," Maidstone.
Ohiswick School of Art. Chiswick.
71, Prospect-street, Htill.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
-May 25, — Mr. P. Everitt in the chair.
lareply to a question from the Chairman, Mr. J. Cadett said he was ex-
perimenting with the amyl-acetate lamp for standard light purposes.
" The Speed of Plates."
Mr. R. Child B.ayley exhibited plates that had been exposed to light and
xhibited different degrees of colouration, as bearing upon a remarli of Mr. H.
A. Lawrance on the same subject before another Society. Differences in colour
between the ]ilain bromide and bromo-iodide pKates were noticed, which Mr.
Cow AX said wouhl depend on the composition of the films. No suggestion
was made as to how this method could be availed of for telling the sen-sitive-
nesa of plates.
"Rbversal."
Mr. J. E. Smith showed a negative made on a Paget plate two ye.ars old
liicli had three seconds exposure with/-8, and was developed with pyro and
iiimonia, development being rather forced. The plate showed complete
versal.
The Chair.max asked whether the rapidity of the plate might have increased
y keeping, and, aprupoa coloured fog, also inquired whether ammonia-])re-
: ired plates were more subject to it than boiled plates ?
.Mr. W. E. De;benha.v observed that red fog might be removed by treating
the plate with bichloride of mercury.
" Flatness or Field— Spherical Aberration in Tele-photo Lenses."
In reply to a question as to whether it was possible to produce a lens having
a round field which could be flattened at will without decreasing the aperture,
Mr. Debenham said a rectilinear lens might be made to have a round fiehl by
bringing the lenses together, and flattened by separating them.
Some discussion ontele-photo lenses toolc place, Mr. Debbnham remarking
at it was an advantage to have an arrangement for adjusting the s]>herical
■erration so as to perfectly correct the combination for degrees of enlarge-
•i-iit.
Mr. T. Bolas approved of Mr. W. K. Barton's arrangement, which was
tuated by a nulled head outside the mount.
HALviTioN and Backing.
Mr. J. S. Teape showed a plate that had been backed with caramel,
vposures behind diamond-shaped openings of from twenty-live inches to sixty
inches of magnesium at twelve inches distance being given. No halation was
apparent. A quarter of an inch of magnesium would have sufliced for a normal
exposure. He also showeil a Sandell plate that ha<l been backed, and had hod
the same exposure without showing reversal.
Tiie Chairman remarked that .it forty-five inches the ]ilat« showed halation.
Mr. TeaI'K saul tliat perhaps little pinholes had appeared on that part of th»
plate, or the coating was thinner there.
The C'HAiBMAW doul)ted whether it was posaible to find a printing paper
whicli would render tlie scale of gradation which it was claimed the Sandell.
plate gave.
After other discuasiou the proceedings terminated.
Hackney Photographic Society.— May 23, Mr. .1. 0. Grant in the chair. —
Mr. R. Heckktt said he had inquiretl about polychromy, but doubts were ex-
pressed about it. Members' work was shown by Messrs. Dean, Gosling, Roofe,
Sodeau, and Wire. Mr. Grant showed an electric lamp which would work for
eight hours, and can be used as an ordinary reading or dark room light. Mr.
R. Beckett showed a Swift's hand-camera lens (45.?.), ana.stigmatic, covering a.
quarter-i)late sharply to corners, five and a half inclies focus, full aperture ji?8,
with iris diaphragm. Mr. Gosling showed his half-plate hand camera, which,,
by adding a central division to, could he used for stereoscopic work. Mr.
Hudson showed the " Meteor. " Mr. Sodeau showed one he had had constmctedi
capable of being used as an ordinary camera, and had all the movements. It
was somewhat large. Mr. S. J. Beckett showed the camera he use<l when im
Italy. He used a Thornton-Pickard shutter, had a focussing scale, and donble-
darli slides. The shutter draws right out, and by reversing when reinserting:
he could tell when plate had been exposed, as one side was plain and the other
polished. Mr. Grant gave his experience of a Kodak, and thought as a rule-
they (or his, at any rate) were not quite light-tight. Mr. Hi.'DSON objected tO'
the use of indiarubber Imnds about shutters, and preferred pianoforte wire.
Jlr. Gosling thought -Mr. Sodeau's camera too complicated. Mr. Hudson
said he thouglit the weight could be reduced by substituting part of the box
by use of bellows over a framework. Mr. Hawkins objected to the Thornton-
Pickard shutter, as it gave equ.al exposure to sky and foreground. The mem-
bers then proceeded to summarise a hand camera, and were of opinion that
they should have the power of extending time of exposure t» any length, beings
able to use different stops, and focussing on glass. The Chairm.vn said a.
begmner ought not to §tart with a hand camera.
Tooting Photographic Club.— May 2.5.— The new home of the Club,
situated over Mr. Mellhuish's establisliment in the High-street, was opened
on this date. Mr. Anderson, the President, offered a welcome to the visitors.
He congratulated the Club on its new home, and thanked the younger mem-
bers for the trouble they had taken to get it in order. Messr.s. DoUery and
Irwin then took a flashlight photograph, and the plate was developed for the
benefit of visitors. A large collection of .slides were exhibited by means of the
lantern.
Liverpool Amateur Fhotograpiilc Association. — May 24. — Mr. S. Heb/
BERT Fry gave a lecture on the Sandell Plate. He explained the mode o
making the triple and double layers of sensitive emulsion, also the great ad"
vantage in the latitude of exposure, which, for ordinary purposes, was equa'
to ten times that of the ordinary single tilm, also the great freedom from
halation, and a special feature being their great superiority for interior work
wliere great contrasts are experienced. On Thursday evening, the 25th inst.,
the fifth ordinary monthly meeting of the thirtieth session was held in the Club
rooms, Eberle-street, the President (Mr. A. J. Cleaver) in the chair. The
following excursions were announced to take place : — Bebington, May 27 ;
Bolton Woods, June 10 ; Windermere, June 17 ; Ingleton, June 24. Mr.
L. E. Morgan (Fuerst Bros., of London) gave a practical demonstration of the
new developer, AmUlol, developing a negative, bromide paper, and a lantern
slide with excellent results, and he gave a very explicit account of the capa-
bilities of tliis powerful agent. He also gave a short description and the uses
of Metol, and small samples were distributed among the members.
Rotherham Photographic Society.— May 24. — First excursion of the
season, the destination being Ingleton, popularly known as the land of
waterfalls. Special railway arrangements had been made, and the day proved
favourable. 'The party, including several friends, numbered thirty-seven.
West Klrby Photographic Society. — May 27, Excursion by wagonette to
Burton. — This out-ot-the-way little Cheshire village is at all times picturesque ;
but, with the roses in full bloom on every side, most of the houses newly white-
washed, the sun shining, and the trees in full leaf, it could not have been seen
to greater advantage. The cliurch, the cottages, and the woods afforded plenty
of scope for artistic work. Two slabs of stone, the date 1663, with certain
initials, situated in one of the woodUand p.itlis, and known as the "Quaker's
Grave," makes a nice picture, and was not forgotten. Another viewthat looks
well in a photograph is to be had, viz., the approach to the church by the stone
pillars on the right hand as you come from the village. Years ago we saw thi»
view in the collection of one of Liverpool's best amateurs, and were amused to-
think, out of twenty or thirty who photographed thjvt day, he alone had
secured it. So it is always, we miss the pretty, unobtrusive tit-bits, and re-
turn home laden with commonplace compositions. Perhaps repeated visits to
really picturesque localities is the best cure for that indifference to originality
so apparent in many amateurs. Next excursion is to Hilbre Ishand on June 17.
As the bulk of the members will jirobably walk, or, rather, wade over to the
island, or go on donkeys, it is quite possible a "snap-shot" man with a sense
of the humorous might secure some good pictures.
Mb. J. Lizars has removed to more commodious and central premises, Nos.
101 and 107, Buchanan-street, Glasgow. Ulie optical <lepartment is on the-
ground floor. On the first floor will be conducted the photographic and
optical lantern departments, both of which have been aaanged for their special
requirements.
TIIK niUTT^TI JDUfJNAT, OF PHOTOGRAIMIY.
[J line 2. 189.3
mr Correspo?i'l»>its sliould never write on bofA sides 0/ tHe piiper. No notice is taJMn
of conimunicationi uiUess tfie names ond addresses 0/ tfic «Tif«-s are gtoen.
THE CONCENTKIC LENS.
To ihe Editok.
Sib,— I have carefully read Mr. StiUman's letter of May 17, much of
which better supporta my contention than his; but the sentence, "On
any given object I can focus as sharply with /-16 as with any smaller
stop," ia just what I contend is incorrect and misleading. Mr. StiUman
apparently proves to his own satisfaction my incompetence because I
cannot do this, forgetting that it is open to me to retort, that it is some
evidence of incompetence when a professed expert cannot obtain better
definition with a high-class lens at /-64 than he can with the full aper-
ture. There is no need to confuse the issue by dragging into the Con-
troversy the power of printing processes to render the definition.
I have a letter from Messrs. Boss before me, in which occsrs this
sentence, " For really sharp definition we do not recommend the Con-
centric being used with a larger aperture than /-22."
Mr. StiUman gives himself away entirely when he admits^ that in
making negatives for enlargements he uses the smallest stop. Kow, such
negatives are generally of small size, not necessitating the stopping down
of a ten-inch Concentric to obtain covering power, so what does he stop
down for ? Definition, of course, wliich is not sharp enough for enlarge-
ment at /'-Ifi. Ye gods ! Delicacy of touch and eyesight, following the
sentence, " I alwavs ' mark,' aXviays focus at /-16," or full aperture, and
this. Mr. Editor, after calling Mr. StiUman's attention to your very able
article on the -'Focal Peculiarities of Wide-Angle Lenses," for the Con-
centric is a wide-angle lens.
Did any practical exponent of any art ever before refer to his less-
experienced fellow workers as " duffers ? " If Mr. StiUman has any faith
in his contention, it should be as safe to use the Concentric at/-16 as at
/-22, even for the duffers, for they at least have eyesight. My protest
was not made on behalf of experts — they can take care of themselves-—
but for the guidance of earnest, if less experienced, workers who were in
danger of being misled by Mr. StiUman.
Will Mr. StUlman send his lens to the authorities at Kew for report on
the single point, " Does this lens define as sharply on any given object at
/-16 as it does at /CI ? " If he will do so I pay all expenses if the reply
IB adverse to my contention. — I am, yours, Ac, F. H. BuHios.
Houndhay, near Leeds, May 27, 1893.
FOCUSSING THE CONCBNTEIC.
To the Editor.
"■ Sir, — I am not surprised that some users of the Concentric lens have
found a difiiculty in getting absolute definition with it at /-16, and
as most men consider their inability to do a thing as proof presumptive
of its being undoable, it is not surprising that the unsuccessful experi-
menters denounce the pretentions of those who assert that they have
succeeded as mere swagger, or worse, for that is what the denial amounts
to. And as I have asserted in the most unqualified terms that the lens
is capable of doing perfectly defined work at/-16, 1 am ready to maintain
it by the best of proofs, the work itself, done with the lens at that
opening. But, at the same time, I will explain to the men who fail the
probable reason of their failures. Any perfectly constructed lens wiU
have a region inside which the definition is perfect, as lenses go, and with
the opening for which they are calculated. I do not say that the defi-
nition is as perfect as it would be in a microscopic lens ; it may or may
not be. It is as perfect as the needs of photography require, or can
profit by, or the eye distinguish on the ground glass. In the old form of
lens, in which the field was a concave one, the centre of the field was the
point at which the focus was most easUy determinable, but the moving
forward of the screen brought other portions of it into focus, so that,
witliin a certain range, some portion of the screen always showed definite
detail, i.e., the maximum sharpness of which the lena was capable. A
slight displacement of the screen did not therefore throw the picture out
of the focus, and, as it was the custom to stop down for a flattening of
the field, no harm was done by a little inexactitude. While, therefore,
the operator found no injury from a slight margin in his focussing, or a
trivial inaccuracy in the placing of the screen in the camera (and in one
case I found that the screen of my camera was the one thirty-second of
an inch out of place), so long as he had the old form of lens to deal with,
in the new lens he had na range whatevM, the whole field lying flat as
the screen itself, and, like Wordsworth's cloud, "moving altogether if it
move at all," so that, it the ground glass is coarsely ground and does not
furnish a surface sufliciently fine to render the delioaoy of detail of the
image, or the position of the screen is a fraction of an inch ever so small
out of the exact position of the focus of the lens, absolute accuracy in
ocussing is a matter of luck, a ' ■■ "- trange in which it ia possible to find
a satisfactory sharpness being diminished in proportion to the largeness
of opening given to the lens, the larger that opening the more precise
must be the adjustment of the screen. It will be seen that the accuracy
required, both in the racking out of the screen and in the construction of
the camera, so that all chance of error should be avoided, is absolutely
mathematical, the one-hundredth part of an inch being enough to
diminish perceptibly the definition on any given plane.
Now, it rarely happens that the screen possesses a surface of the fine-
ness of texture that is required for perfect focussing, and in my own case
I have had to wax the centre of the ground glass ; and it very often
happens that there is in the construction of the camera a trivial inexacti-
tude in the adjustment of the screen which would pass unnoticed in the
use of the lens with a hollow field, but ruins the definition with the Con-
centric. In short, who uses the Concentric, works with a tool which must
be employed with a mathematical exactitude, and those who do not find
it mathematically exact must find the fault in their own operations. I
have not always in my own work, found that I had hit the finest defini-
tion, but when I have taken the requisite pains, I have always found that
the result proved that the definition at/-16 was as perfect as I can get
with a smaller aperture, so far as my eyesight wUl serve me. Of course,
when the least error is made in either of the ways I have indicated, the
use of the smaller aperture will increase the sharpness of definition, i.e.,
it diminishes the effect of the error. Eoss it Co. advise that the focus
should be obtained with the aperture /'-22 and then, if it is desired to use
the larger, that the lens should be opened out ; but begging pardon for
the liberty I take in differing from the constructors of the lens, this seems
to me illogical, for if the focus is obtained with f-'22 and the image at/-16
is sharp, it proves only that in the other case of focussing with /-KJ
directly, the difficulty ia in the adjustment, not in the power of defining,
for the lens cannot define the better for the manner of focussing — if the
lens will define at/- 16 it will do it whatever opening has been used in the
focussing, and if it does not, the fault is in the operator or in the camera.
That the planigraphic lenses, as we may call those made with the new
glass, giving a flat field, have a shorter focus than the old form of spheri-
graphic lens, is certain, and the proof is in the using, as I have satisfied
myself by careful comparison on the camera, and the new lens, while it
gives its adjusted plane with equal sharpness, also gives the nearer or
more remote planes with a closer approximation to perfect definition than
the old one, but this is only an approximation, for mathematically, the
lens can only give one plane perfectly, which it does with the aperture of
/-16 and all assertions to the contrary are based on misapprehension or
misapplication, but this faculty of giving greater depth of focus, increases
the difficulty of accurately focussing, as it makes the error resulting
from a alight displacement, so much the greater as the focus is shorter.
The head of the great photographic establishment of the Italian
Government, Signor Gargiolli, who employs the Concentric for nearly
all his work, and the Zeiss form for the rest, confirms my statement that
the former gives perfect definition at/-16, with the additional charm over
that given with the small stops of the latter, that it gives a representation
more like the actual appearance to the eye. Being obliged by the nattire
of his work to exact the most precise definition, he is a better witness to
the power of the Concentric than I am, for to most of my work, which is
merely picturesque, it is of no importance whether it be of the most
perfect definition or not.
It is impossible that the difference between the results reported by
other experimenters and mine should depend on the accident of a better
construction of the lens ; for we know, in the first place, that there is no
appreciable variation in the Eoss lenses, and because between the four
Concentrics which I have personally used, and am using, and those of
Signor Gargiolli there is no difference whatever. It is a matter of
prudence for the makers of the lens to advise the use of a small stop for
focussing, simply because it is easier to find the focus when so used ; but
the recommendation to open out to the larger opening after focussing,
implies that they are confident in the definition at the larger stop, which
is the question at issue. I do not agree with the advice, nevertheless, for
it seems to me that the adjustment of the focus must necessarily be more
exact when done with the larger opening, as it is more difficult to hit the
exactitude. I see no reason for deferring to vision, which is imperfect, to
manipulation, which is careless, or to apparatus which is not exaetl.v
fitted for the purpose. And the fact, which I admit, that I do not myself
always hit the absolute definition of which the lens is capable, only proves
that I am not always careful, while the occasional occurrence of a
definition which is ideally perfect proves that it is not the fault of the
lens that I do not always get it. — I am, yours, &c., W. J. Stillman.
Rome, 27th May, 1893.
MOUNTING GELATINO CHLOBIDE PEINTS.
To the Editor.
Sib, — I notice difficulties are met with in this operation. Let your
correspondent get an old linen handerchief, free from fluff. Get some
lady acquaintance to sew it roughly over a few pieces of thick blotting-
paper, and you have a pad that will leave no fluff on prints and never
stick. I have found it invaluable. — I am, yours, &c., Othello.
May 29, 1893.
June -2. ISOn]
THE BRITISH JOURNAL Ot PHOTOGRAPHY.
251
MKTOL.
To the Editor.
Sir, — Since I wrote last week I discovered too late to add to my
article that (or the very highest quality of result with metol you must
use ammonia. This gives the most beautiful imaga I have ever seen
from any devel^iper, though it docs not answer so well if the solution
is to be used over and over again, owing to the volatile nature of the
ammonia.
I make a solution of one ounce strong ammonia and two drachms
bromide in ten ounces of water, using the fluid drachm of this in each
two ounces of developer. Say, one ounce stock solution of metol, as
given last week, one drachm ammonia solution, and seven drachma
water, varying the proportions pro re iiati'i. — I am, yours, *c..
May 2'J, 18'.!3. W. B. Bolton.
PHOTOGK.VPHIC CONVENTION' OF THE UNITED KINGDOM.
Pi.YsiouTH Meetis^, July 3 to 8, 1893.
To the Editor.
Sir, — In connexion with this year's Convention to be held at Plymouth
from July 3 to July 8, an exhibition of photographs, photographic
apparatus and appliances, will take place at the Art Gallery, attached to
the Athenirum BuiWings.
The charges for wall space will be 3(J. per square foot, with a minimum
of 3.^•. ; and those for table or floor space, &d. per square foot, with a
minimimi of o».
Intending exhibitors will kindly apply for space, not later than June 24,
to the Hon. Secretary, Mr. F. P. Cembrano, jun., 10, Cambridge-gardens,
Richmond, Surrey ; or to the Hon. Local Secretary, Mr. R. Hansford
Worth, C.E, 42, George-street, Plymouth, stating the nature of their
exhibit and space required.
All applications must be accompanied by a remittance^for the amount
of wall or table space desired.
Exhibits should be delivered, carriage paid, and addressed, " To the
Hon. Secretary, the Photographic Convention, the Athenaum, Plymouth,"
not later than ten o'clock on the morning of Saturday, July 1.
The Executive, while exercising all reasonable care and supervision,
will in no way accept any responsibility for any loss or damage to exhibits
either in transit or during exhibition.
Exhibitors may have an attendant present to look after and explain
their exhibits. — I am, yours, &c., F. P. CEMEK.tN0, jun.,
May 2lj, 1893. Hon. Secretary.
SWITZERLAND.
To the Editor.
Sir, — If your correspondent " C. B." requires topographical informa-
tion concerning Switzerland, he will find almost all that is needful in
Buedeker'e Guide.
With regard to plates passing through the Douane, I have dnly once
had any trouble, viz., last July. Travelling by the P. L. and M., on
reaching Tallorbes I was interrogated as to the contents of certain boxes,
and, learning that they were sensitive plates, they charged me, a small
fee. I remonstrated, telling them that I had never had to pay before,
but to no purpose. On returning, the Douaniers took no notice of the
same boxes re-entering France at Pontarlier.
You are con-ect in saying that a passport is not needed in Switzerland,
but I have frequently found more civility at the post.oflices, both in that
country and in Italy, by showing my name on my passport than other-
wise. A passport can be obtained by application at the Foreign Office in
London, where a paper, to be signed by applicant and countersigned by
a magistrate, will be supplied, and, for a small fee, the passport will be
granted. It lasts a life-time, and is always useful in case of any trouble.
—I am, yours, Ac, J. Carter Browne, D.D.
Thurning Rectory, Oundle, May 29, 1893.
PHOTOGRAPHY AS A BUSINESS PAST AND PRESENT.
To the Editor.
Sii'.,— ^n reply to your article on the above important question, 1
should hke to repeat what I have before suggested in a contemporary,
that it is desirable that leading members of the profession should discuss
this subject together and endeavour to formulate some course of action,
with the object of endeavouring to dissuade the profession generally from
pv.L-tites at once unprofitable and undignified — I allude more particularly
to that of indiscriminate gratuitous sittings which has so increased in
recent years, and has induced, I think, in the pnbUc mind a very erroneous
idea of the value of the professional photographer's services, which is
greatly aggravated by the mighty army of amateurs practising the art
ior amusement with more or less succeas ; and is carried, I hold, beyond
^B legitimate bounds when extended to other than bond-fide public
people and professional sittings (or the purpose of studies and pnblictk-
lion.
Then again the honour which is so continually thmtt npon us, with or
without permission or payment, of having our work reproduced by a
multitude of illustrated papers in various forms of process work, often
the veriest smudges and barely recognizable, is a matter worthy of dis-
cussion.
These may not in themselves answer your question, but I think they
are entitled to consideration, if only members can be brought together to
discuss them, when others of greater importance would no doubt arise. —
I am, yours, Ac, William Grove.
63a, Baker-street, Portman-square, ^V.
i5K|)angf GTolumn.
%• yo charge is made jor inserting Exchanges of Apparattts in this column;
but none will be inserted unless the article wanted is definitely stated. Those
whospecify their requirements as "anything useful" will there/ore understand
the reason of their non-appearance. The full name of the advertiser must
in all cases be given for publication, otherwise the Exchanges will not be
inserted,
Will exchange 158 nambers of Pdofography, from No. 15 op, for interior bac'fgionnil
or cheap hand camera. — Address, Moore, Backfastleigh.
Will exchange Merritt tvpe-writer for half-plate camera.— Address, F. HotwitL, Quay
Houae, Bideford.
Wanted, an eiohange of backgrounds (interior), 8x7, will send phot graph with
pleasure.— Address, A. E. btaslev, Lansdowu stndK), Strond.
Will exchange Duchess half -plate camera and three double slides in good condition for
good quarter-plato hand camera.— Address, William HEMiNki, Kast Clitl Scadio,
Whitbi-, Yorks.
Exchange 11x11 square cauiera, three doable dark slides by Dallmeyer for ten ar
fom-teeu.inch *' Fernande " or " Globe " enanieller, differences adjnscsd. — Address,
M. E. Mallett, 258, Brixton-hill, S.W.
I will exchan'je a quarter-plate camera, with rectilinear lens, and s'.x double slides
and tripod stand tor halt-plate camera and lens by a good maker. Difference ad-
justed in cash. — Address, Y. SiMCO, Ohemist, Wellmgborough.
ansttoetis to CorresponDcnts.
•,* All vmtters intended for the text portion of this JotlRNAL. including
queries and Exchanges, must be addressed to " The Editor, The British
JOURNAL OF FhotograI'HY," 2, york-street, Covent Garden, London. In-
attention to this ensures delay.
,* Correspondents are informed that we cantwt uruiertake to answer com-
munications through tlie post.
%* Communications relating to Advertisements and general business affair*
should be addressed to Messrs, Henby Gbeknwoob i Co., 2 York-ttreet,
Covent Garden, London.
%* It would be convenient if friends desiring advice respecting apparatus,
faiiures in practice, or other information, would call at the Editorial Office
either on Wednesdays from 4 to 6, or Thursdays from 9 to 12 noon, when
some one of the EdiUjrial staff will be present.
Clifford E. F. Nash. — Ground rice is meant.
Bristol Boy. — Nothing ever eventually came of phosphorescent emulsion
proposed twelve years since.
W. Cope. — Consult an analytical chemist in your town, who will undertake a
proper examination of the mounts for a fee.
J. Peach. — In the absence of details of the method referred to, we cannot, of
course, say anything as to its practical value.
S. Thoene. — On the whole, No. 1 is to be preferred on account of the non-
repetition of pose in the fishermen. Both are good pictures however.
A. Clarke. — Possibly the mottled appearances will not be apparent if tte
developing solution he slightly warmed. See articles on the subject in last
volume.
Ed. Clarke. — Try ordinary negative vami.sh mixed up with lampblack.
Othello. — If French chalk fails to prevent sticking, try beeswax dissolved in
benzole.
MOSTAGUE Babstow. — You are probably thinking of the Optiraus drawing
attachment to a lantern. See p. 753 of The British Journal Photographic
Almanac for 1892,
A. SMitu. — The only way to recover silver from gelatine paper prints is from
the fixing bath. For opalines, try the effect of giving a coating of dilute
albumen to the glass. This will prevent the peeling ofl.
F. Wills. — Granted that, according to your figures, the silver, the bromide^
and the gelatine cost so very much less than the price at which the plates
are .sold, you have quite overlooked the glass. Does this cost nothing f
Printer. — The spottiness of the prints may possibly be due to the hvpos»lphite-
of soda. Be that as it may, hyposulphite tliat is damp and discoloured, and
has an offensive smell, is quite unfit for photographic purposes, and shoold
not be used.
THE BRITISH JOORNAL OF PHOTOGRAPHY. .
[June 2, 1893
Mason.— The appearance of the negative is caused by its being imperfectly
washed before it was varnished. It i.s quite a mistake to suppose that any
varnish is a perfect protection if the film contains hyposulphite of soda, and
damp silver jiaper is placed upon it in the the printing frame.
W. Sellman. — The print h.as stood well so far, but it has been exposed only
six months. If you call upon us, we can show you silver prints that have
been exposed, without showing signs of fading, for eighteen years. We also
possess the first platinum prints that were made, and can attest the un-
diminished brilliance of the same.
Collodion. — A sixty-grain bath, that has been used for sensitising paper, is
not suitable for the collodion process. In the first place it is far too strong
for the purpose. In the next it is charged with organic matter which would
be fatal. It might be possible to remove this, but it would not be worth the
trouble when a new bath is so easily made.
Delta. — If bulk in the apparatus is of no consequence it would be well to
have a finder and a focusser in one. But if you can focus independently of
the finder, it is only requisite that the image received by the working lens
is correlative witli that of the finder, so that when you look on the finder
ground glass you know just what to expect in the negative.
R E. E. says that, on sensitising some rough drawing paper, according to a
formula given in the JounSAL a few years l)ack, it became covered with a
number of fine spots, which began to show before the paper became dry.
He asks how they are to be avoided ! — The fault is, no doubt, in the paper,
and, if so, can only be avoided by using anotlier brand.
A. Walleh. — So far as can be .judged from the appearance of the print, we are
led to infer that the lens was not sufiiciently shielded from light during the
exposure of the plate. From the direction of the cast shadows the sun must
have been shining very much in the direction of the lens at the time. There
is_ no remedy but to retake the negative. Probably more brilliant prints
might be obtained from it on bromide paper than is possible on albumen.
N
Hos. Sec. — If certain prizes are offered for "the best" photographs in any
_ particular class, and those competing in that class are considered by the
judges to be below their preconceived idea of excellence, they cannot, how-
ever, withhold bestowing a medal for the best of such inferior photographs
■unless there has been attached to the published conditions a statement that
they are empowered to withhold medals at their discretion. They could, we
believe, be brought to their senses by a court of law.
T. A, E. — 1. The front lens of an ordinary portrait combination, worked with
an aperture of/-8, will do quite well for taking a group of several persons,
but with such an aperture crisp definition must not be expected. 2. With
that aperture it will be as quick acting as a rapid combination with similar
■opening. Indeed, theoretically, it will be quicker. 3. The convex side of
the single lens should be next the ground glass. 4. The chemical and
wisual foci will be coincident, so that no after-adjustment will be requii'ed.
Manchester Photographic Society.— June S, Liverpool (hand camera).
Mb. Norris B. Steadman, formerly of 30a, Bold-street, has now removed
•to 129, Dale-street, Liverpool.
Leyton-stoxe Camera Clur— June 3, the Tower of London. Leader, Mr.
•G. H. Cricks. The Qub will assemble at the gates at three o'clock.
Oldham Photographic Society.— June 3, Saturday, Chew Valley. Depart,
"Clegg station, ten minutes past two p.m., for Greenfield. Ketura fare, Sd.
Leader, Mr. J. Greaves, jun. '
Received.— The price list of Mr. C. H. Bradbrook, photographic printer
and enlarger, of Chapel-street, Colchester ; T. Aston & Sou (Toning Powder) ;
i5. hidey (BriUiantine). These and others in our next.
-.v*^^; ^'','?"'2^'' ^^"" ^^^ compUed A Few Notes for intending visitors to
the World s Fair at Chicago, in which a great deal of information likely to be
useful to photographers and others is condensed.
Drij Plates for May contains an article by Mr. J. Cadett on " Speed Deter-
■mmation, wliich gives in a clear and popular form an explanation of Messrs
mrter & Driffield s system of measuring the speed of plates. We gatlier that
Ih-y Plates is to reproduce Messrs. Hurter & Driflield's papers on the subject.
"Optimus" 100- Guinea Competition, 1893. -Messrs. Perken, Son, dt
Kayraent, of 99, Hatton-garden, announce a series of competitions the pictures
•to be taken with Optimus lenses. There are nine classes, open to both pro-
i^fir ni y. *%*,"*"'"cJlo''°*X'''5''"r''-'- The competitions will not be closed
unti December 31, 1893 The prizes are to take the form of apparatus of
Xreat value iuU jiarticulars and conditions of the competition can Ve obtained
of Messrs. Perken, Son, & Rayment, 99, Hatton-garden.
Exhibition at Hamburg. -An International Photographic Exhibition will
be held m the Gallery of Arts at Hamburg from October 1 to 31, 1893 The
following foreign representatives have placed their services at the disposal of
«e Exhibition Committee for the j.urpose of inducing particii>ation in the
torthcoming Exhibition by their respective countrymen and bv amateur photo!
eraphic societies existing m the countries represented by them :-Belgium :
V, /il'luard Ludwig Behrens, Consul-General. Brazil : Herr Wilhelm P^imp
vT X ■ ^'"^' =,"??■ ^^- '°^- «''li*»rtz. Consul. Corea : Herr H. C
*i„J^. T'';*^??*"'; D^nniark: HerrHenrik Pontoppidan, Consul-General.
france: M. le Comte Leopold Balny d'Avricourt, Consul-General. Great
Britain t The Hon. Charles S. Dundas, Consul-General, and Mr. G. Ambrose
Pogaon, Vice-Consul. Greece : Herr Aug. William Gorrissen, Consul-General.
Japan : Herr Martin Valentin Burchard, Consul. Mexico : Herr 0. M. Velez.
Consul. Netherlands : Herr Richard von Schmidt-Pauli, Consul-General.
Norway and Sweden : Herr Benit Anker Biidtker, Consul-General. Persia :
Herr Carl von Haase, Consul-General. Portugal : Le Commandeur Francisco
van Zeller, Consul-General. Sandwich Islands : Herr Ed. F. Weber, Consul.
Spain : Herr Tomas Ortuilo, Consul-General. Switzerland : Herr Paul
Edward Niilting, Consul. Turkey : Herr Rudolf Hardy, Consul-General.
United States : Hon. W. R. Estes, Consul, and Mr. Charles H. Burke, Vice-
Consul. Zanzibar : Herr Albrecht Percy 0'Sw,ald, Consul-General. Applica-
tions for programmes, forms of entry, and inquiries should be addressed to the
above-named Consuls, or to Das Ausstellungs-Comitte des Amateur-Photo-
graphen-Verein, Hamburg, Schwanenwik 33.
Prokessor W. K. Burton on " Density Ratios." — Photographic Scraps
for June contains a letter from Professor W. K. Burton, in which he refers to
some experiments that have resulted in proving conclusively that the per-
missible Latitude in exposure is even greater than lie had supposed. He says :
** It is possible to vary the exposure as one to forty, and yet to get negatives
giving prints that are identical, or that are, at any rate, so nearly similar, that
an experienced jihotographer cannot tell which is from the negative that has had
the longest exposure. By this I mean that, if one second is the shortest ex-
posure that will give a really good negative with a certain kind of plate, I can
give a second plate of the same kind an exposure of forty seconds, and get a
negative that has no appearance of being over-exposed, and that will give an
excellent print. The negatives can generally be distinguished by the dilterence
in colour of the image. In some cases I have succeeded with exposures
varying as one to eighty. This is, moreover, using the same developer, namely,
pyro, with carbonate of soda — my favourite developer now for some years —
merely varying the proportions of the ingredients, and without recourse to
intensification. By using entirely different developers, it would be possible
to compensate for greater differences. Moreover, the subjects selected were
ordinary landscapes. By selecting a special subject, mostly very deep shadow,
with only a small proi)Ortion of high light, it would be possible again to
compensate for greater differences in exposure. I send you herewith prints
from two negatives, one of which received an exposure of three seconds (with
an extremely small stop), whilst the other, exjiosed immediately afterwards,
on a plate from the same box, using the same stop, received an exposure of
one hundred and twenty seconds. The plates used were, I may mention, such
as are sold as ' ordinary,' but are of very fair rapidity, even as plates of the
present day go. There is no great secret in the method used. The first plate was
developed with the least quantity of pyro that would give sufficient density,
one grain to the ounce of developer, and a mere trace of bromide, one-fifth
of a grain to the ounce, used to restrain a slight tendency to incipient fog. In
the case of the second plate, the pyro was increased to eight grains to the
ounce, and ten grains of bromide of pot.assium were added to each ounce of
the developer. The development was complete in the case of the first plate in
about five minutes. In the case of the second it took twenty minutes. How,
it will be asked, is this statement compatible with the dogma that the density
ratios cannot be altered by development ? Even after allowing for the
difference between 'density' -and 'opacity' as used by Messrs. Hurter &
Driffield, it is not compatible at all, and it is, as a viatier of fact^ possible to
vary the density ratios enormoush/ in negatireshydecelopiiunt. To demonstrate
this, it is only necessary to expose two plates on a landscape, giving normal
exposure. One is developed so as to give what would be understood as a
' good ' negative. That is to say that, amongst other things, it shows all, or
nearly all, the shadow detail that is visible to the eye, and that the high
lights are represented by a certain density. Now, it is quite easy to develop
the second plate so that very little more than the iii"h lights are visible at all,
yet these high lights are much more dense than in the case of the first nega-
tive. It is evident here that neither the ' densities ' nor the ' opacities ' can
bear the same ratio to each other in these two negatives. In fact, if two
' density curves ', were drawn, they Would cross each other." Illustrating
the letter are reproductions from two prints of negatives that had received
three and one hundred and twenty seconds exposure respectively. The
difference in the nature of the results is difficult to detect.
With this week's Journal vie present, as a supplement, a pholotypic
remriduction by the well-known firm of T/ievoz cfc Co., of Geneva, of a study by
Mr. William Brooks, of Reigate, the subject being a " Tower Wanhr," or, as
he is more popularly termed, a Beefeater. The excellent qualities of Mr.
Brooks's negative receive full justice frmn the process of Messrs. Thevoz, the
effects of which are heightened by the grained surface of the paper upon which
the impressions have been taken. We understand that photographs of the
picturesquely garbed and historically interesting body to whom i/ie custody of
the Tower of London is committed are not very common, and our picture should
therefore have additional value.
OONTBNTS,
Paoi
WHOLE - PLATE BINOCULAR PIC-
TURES, AND HOW TO BEE THEM.. 337
OUTKOOR groups 33S
GLASS POSITIVES ON GELATINE
PL.VTES. By W. B. BOLTON KM
CONTINENTAL NOTES AND NEWS .... 340
NOTi:S OX SOME PECULIARITIES IN
THE ACTION OV" HYllROyUINONE
lyriNOL] AND PYROGALLIO ACID
DEVELOPERS, AND .tLSO OF WATER.
ON GEI.ATINE DRY PLATES. Bv
T, C. POTTER ', .111
PHOTO-ASTRONOMY AT THE CAPE
OBSEBVAlVlBY IN 1892.-11. By C.
RAY WOODS 341 ]
P.lSJ
BACKING AND BLURRING. By EI'
WARD DUNMORE I"
COMPOSITE HELIOCHROMY. By F. K.
IVES
ISOCHROMATIC PHOTOGIIAPHY i
W.ITSON'S CAMER.1S FOR THE SEASON :
OUR EDITORIAL TABLE .
RECENT PATENTS •
meetings of societies
correspondence
EXCHANGE column
_WEBS 10 COERESPONDENIB
I
f
THE BEITISH
JOURNAL OF PHOTOGRAPHY.
No. 1727. Vol. XL.— JUNE 9, 1893.
VIEWING LANTERN SLIDES BY DAYLIGHT.
At a time when, as regards the prolongation of daylight, we
are in the month which occupies the position of being the
middle one of summer, the exhibition of slides by the lantern
is somewhat impracticable unless such be extended far into the
night, or, as an alternative, the exhibition take place in a
place capable of being especially darkened. What, then, is to
be done by way of gratifying oneself or one's friends desirous
of inspecting the outcome of camera trips to choice scenery,
ancient cities, picturesque villages, or fashionable watering-
places 1 The obvious answer is, Arrange to show them by
daylight We are, of course, writing in the interest of the
innumerable army of hand-camera snap-shottists, or of those
wiser ones who, with whatever kind of camera they may have
•elected, take special care not to omit taking with them a
stand as well as the camera, or those whose " be-all and end-
all " is the production of transparencies for the delectation of
family and friends.
No photographer is fully equipped who, in addition to his
camera, is not also the possessor of a lantern for evenings and
a table-stand for the parlour or drawing-room table for use
•during the daytime, " ere the evening lamps are lighted ;"
and, having just risen from taking part in a daylight enter-
tainment, in which the last-mentioned of these has played a
prominent part, we can the more strongly advocate its universal
adoption.
The optical requirements for constructing a table-stand for
the purpose in question are simple. It is only necessary to
interpose a large magnifying-glass, of short focus compared
with its diameter, between the eyes and the picture. We are,
•of course, assuming botli eyes to be used.
But large louses are both costly and clumsy, and the same
end may bo equally well attained by employing two portions
from the margins of such a lens mounted one opposite each
eye, taking care that the thickest portions are nearest each
other. This serves the twofold purpose of magnifying the
picture and sending the ray transmitted through it, so as to
enter each eye under circumstances nearly approaching to
parallelism, without which even the healthiest eye would be
pained by the strain necessary to see, with both of them, any-
thing brought so close to the eye.
The prisms with which even the very commonest stereo-
scopes are now fitted answer in an excellent manner for
viewing with both eyes a lantern transparency ; but they must
be mounted in the reverse position to what they are in the
stereoscope, that is, instead of having their thin ends next to
each other, these ends must be to the outside.
Prisms of this nature, however, are open to the objection of
being unable to give a great degree of magnification on account
of the chromatic aberration necessarily present, eight inches
being the focus beyond which it is unwise to go.
Here is a curious thing which we noticed in examining a
coloured slide. Having painted it so as to give a moonlight
effect, a house in the near background and a number of sub-
tropical trees by which it was surrounded were painted of a
tint between a pale blue and French grey, to keep up the idea
of the front not being illuminated by a bright moon almost
overhead, although sUghtly behind. The windows were scraped
out and painted a warm yellow colour. On examining this
through Adams' binocular pautascope, which is without doubt
the best of this class of instrument on the market — at any rate,
the best we have seen — these yellow windows were seen as if
projecting some feet in front of the wall of the house. This is
just what any one acquainted with the laws of chromatics
would have expected. Had the windows been blue and the
walls red, then would the contrary effect have been produced ;
the latter would now project, while the windows would retire.
It is the application of the same law of chromatics that enables
one — as we have long since pointed out and explained the
reason — to see the large red flower, with its entourage of green
leaves standing out in such stereoscopic-like relief when viewed
by the large lens of the graphoscope. This is not the case
when the large lens, usually biconvex and invariably uncor
rected, is supplanted by an achromatic one, although, as a set-
off against this, the latter is preferable for plain, uncoloured
photographs.
When a pair of round achromatic lenses are employed in an
instrument such as the binocular pautascope of Mr. Adams, it
is advisable that they be of short focus — say, from five to six
inches — while it is necessary that they be mounted so close
together as to permit the eyes to be opposite a portion of the
lens situated between the centre and the margin. As it is
well that the diameter of these eyepieces should be large, it
may be, as we have found it the case, impossible to set them
sufficiently close together to enable the eyes to be at a distance
outside the centre of the lens to see the picture with the
requisite displacement for distinct binocular vision, and without
that straining of which we have spoken. In this case, nothing
remains but to grind away a small portion of the edge of one
or both, in order that their centres may be brought neai'er
together, for, as just stated, it is the space outside of the
centres — that is, between the centre and the outer margin —
that forms the real eyepiece through which the picture must
be viewed.
I In order to conduce to comfort, it would be well that the
I instrument were, when in use, inclined downward at a slope
354
THE BRITISH JOOBNAL OF PHOTOGRAPHY.
[June 9, 1893
like the microscope instead of having to be directed against the
sky. This position can be readily secured by hanging a mirror
to the outside lower part of the ground-glass frame backing
the slide under examination, and then inclining it so as to
reflect the light from the sky. A white sheet of cardboard,
laid flat upon the table, answers the like purpose.
SOME CAUSES OF DEPRESSION IN PROFESSIONAL
PHOTOGRAPHY.
No one, we surmise, will question the opinion expressed last
■week by Mr. W. Grove — whose long experience in professional
portraiture fully qualifies him to deal with the subject — that
the prevailing system of giving indiscriminate free sittings has
tended to cause in the public mind an erroneous idea of the
value of the professional portraitist's services. From the way
these sittings are now given, by some, on almost any pretence
whatever, they must certainly greatly diminish what may be
classed, if we may apply the term, the legitimate business of
the portrait photographer.
When this system was first introduced — and that was in
the early days of collodion — it was confined for a time, if we
remember rightly, to scientific men and men of letters. After-
wards it extended to the clergy, the stage, and other persons of
eminence, and, subsequently, to the ballet, <fec. Still the por-
traits were taken expressly for publication, and that was looked
to for the only source of profit. Now, however, gratuitous
sittings are given by some photographers to such as members
of County Councils, Local Boards, and the like, not with any
idea that the portraits will ever be sold, but on the probable
chance that the sitter may order duplicates for himself, or
possibly an enlargement. This must very materially affect
the acknowledged business of the portraitist. Here is another
thing that has not conduced to the elevation of photography as
a profession, namely, the practice of making " speculative en-
largements," without permission, from customere' negatives,
with the idea that they will eventually be purchased at one
price or another. Further, competition is now so keen, that
even first-class houses are frequently induced to depart from
their usual tariff to secure a customer. This means a reduc-
tion in the profits, and at the same time a lowering of the
status of the profession.
There is yet another point in connexion with this part of the
subject that must be alluded to, as it materially injures local,
photographers in the provinces. We refer to the practice,
■with some large houses in London and elsewhere, when it is
known that a garden or shooting party, or other aristocratic
gathering, is to take place at a country mansion, to obtain
permission to send down an operator to take groups in the
grounds, and sometimes some of the rooms in the house, free of
charge, merely on the probability of selling copies to the
visitors. Generally, especially if royalty is included in the
group, a good sale is effected. This is hard upon the local
photographers who would otherwise, as formerly, have been
engaged to execute the work at his regular tariff, particularly
as hitherto he has looked upon a few of these gatherings a year
as a steady source of income. In such cases not only does the
local artist lose directly in pocket, but sometimes he does so
in prestige, because, as he has always had the work to do, the
idea may prevail in the neiglibourhood that it has not been
done satisfactorily, or that it could be done better by people
from town. This kind of thing also conduces to the impression
amongst the public, as photographers are so anxious to take
pictures gratuitously, and go to a considerable expense to do-
so, that their time and ability are of little value.
In his letter, Mr. Grove alluded to the influence of " the
mighty army of amateurs." It may, we think, be concluded
that, since the introduction of dry plates, amateurs have,
directly or indirectly, materially affected the profession. The
hond fide amateur, it is true, may have done but little direct
injury to the business ; but we are afraid he has unwittingly
done so indirectly. In most families now one or more of it»
members are amateur photographers, and, as a rule, amateurs
know the cheapest markets for everything they purchase ;
hence the lay public generally have become cognisant of the
actual lowest cost of everything connected with photography.
This, coupled with the free-sittings system and the low price at
which some photographs are taken, has induced the idea, and
we have often heard it expressed, that fair-price portraits,
although they may be of the highest class, are nearly all profit.
When the bare cost of the materials is known, artistic ability
and skill in the production of the finished result is too fre-
quently entirely ignored by many.
Supposing the lay public did not learn the cost of the. ma-
terials employed in pliotography direct from the amateur, is it
not given them in all the so-called " stores " price lists of
groceries and otlier household commodities ? In one now before
us over fifty pages are devoted to photograpliic goods. Lenses
by leading makers are quoted at prices below those in their
own catalogues. Standard brands of dry plates are also quoted
lower than in the manufacturers' list prices, and so with almost
everything else. Prices are also given for developing, retouching,
mounting, copying, enlarging, ifec, at what most would consider
ridiculously low prices. For example, the price for copying
12x10 is five shillings only, while the price for a 23x17
enlargement on bromide paper is a similar sum. With these
prices before them, it»is scarcely to be wondered at that the
outside public sometimes think those charged for the high-
class work issued by most good houses are exorbitant. But
for amateurs, this state of things ■would not have existed.
The question is, how is it to be remedied?
THE TREATMENT OF GELATINO-CHLORIDE PAPER.
The growing popularity of the various kinds of gelatine
printing-out paper would seem to indicate that albumen, after
many years of good service, has at last a good chance of being
superseded ; but, although it has had its undeniable faults and
drawbacks, it is very certain that the change will be made by
most of the older hands with much regret ; for the gelatine
papers, despite the beauty of the results attainable, and,
perhaps also the additional chances of permanency, are un-
doubtedly surrounded by many little difficulties and objecti-on-
able features that were entirely absent with albumen.
These arise solely from the physical character of the gelatine
film itself, not from the sensitive material ; and long familiarity
with the behaviour of chloride of silver in albumen perhaps
renders it somewhat difficult to realise that the mere change
of one organic vehicle for another can produce modifications that
seem sometimes almost to arise from chemical causes. If, how-
ever, the beginner with gelatine paper will recogaise at the out-
set how important is the difference in physical properties of the
I
June 9, 18»a]
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
356
new films, he will free himself at once from the chief portion
of his troubles.
'riio diffcrenoes between gelatine and albumen commence
with the papers themselves before the printing operations are
entered upon, inasmucli as trelatine, from its more marked
hygroscopic nature, necessitates a greater degree of care than
is re(iuired in the ca.se of ready -sensitised albumen paper.
This is not so much, perhaps, due to want of keeping properties,
in a chemical sense, for the newer paper keeps far better under
ordinary conditions than does the best ready-sensitised under
the most favourable circumstances ; but, in order to avoid
actual physical damage to the paper, and also to ensure even-
ness of action in printing and toning, it is absolutely requisite to
giiai'd against the effects of damp.
In addition to the hygroscopic nature of the gelatine, it
should also be borne in mind that the emulsion papers contain
deliquescent salts, tlie result of the decompositions that occur
in sensitising; and although these, together with free silver
nitrate, are also present in albumen paper, their action is held
in check by a considerable proportion of free acid. In the
modern commercial gelatine papers the proportion of free silver
is very considerably less than in the case of albumen, which
reduces the necessity for the acid, and in some, at least, of the
samples now on the market it is entirely absent. In fact, it is
quite possible to make a keeping emulsion paper for printing-
out piirposes witliout either free silver or free acid, but rather
•with an alkaline reaction.
The first uncertainty that arises after precautions against
damp have been duly seen to lies in the washing, before toning.
With some of the papers, under certain circumstances, the
preliminary washing may be dispensed with, or it may be re-
sorted to as choice may decide. This appears to have given
rise to an idea that the question of washing is of no importance,
and that, if resorted to at all, the most perfunctory performance
of the task will suffice. Nothing is further from the truth,
for, though the operation may be dispensed with altogether, if
it is performed it must be done thoroughly, or else nothing
but irregularity will result. It should be borne in mind that,
in the unwashed film, the soluble matters are evenly dift'used
throughout the whole of both emulsion and paper, and the dry
print enters the bath in a condition to be uniformly acted upon
over its whole surface. But if it be first of all soaked for a few
seconds, or a minute or two, in water, especially if, as is likely
to be the case, a number of prints are crowded together into
the same dish, the only result can be that the soluble salts are
partially and unevenlj- removed from the print, which is, ac-
cordingly, acted upon by the toning solution in an irregular
and patchy manner.
But, even when the theoretical necessity for perfect washing,
or none at all, is reccgnised, the tendency, with old albumen
workers especially, is to shirk the task, or, at any rate, to
under-do it, trusting to the same amount of washing as would
suffice for albumen paper answering equally well with gelatine.
But the gelatine film parts with its soluble constituents far
more slowly, and consequently requires a proportionately longer
washing. It is, indeed, remarkable how protracted a washing
may be given without thoroughly eliminating the soluble salts,
for the tendency is, unfortunately, almost invariably to crowd
too many prints into the same dish. When the printed instruc-
tions to wash " in two or three changes of water " are followed,
the (juantity of water should be liberal, and the time of soaking
in each fairly lengthy. Moreover — and this is perhaps the most
important condition of all — the prints should be turned over
singly at least once in each water, and the surface gently
rubbed, to remove any film of chloride or carbonate that may
be formed by the action of the hard water upon the soluble silver
salts. Uniformity of tone in gelatine, as in albumen, paper is
best promoted by a complete removal of all the free silver.
Many operators prefer — and it is specially recommended in
some cases — to treat the prints with alum before tofiing. This,
of course, adds one more complication ; but, where it is
resorted to, every precaution should bo taken to prevent -its
leading to inferiority of result. The necessity for thorough
washing is ecjually as great before using the alum as before
toning ; but it is even more important after removal from
the alum. The latter is an acid salt, and nothing so quickly
modifies or destroys the action of the toning bath as a trace
of acidity. What, then, is more likely to conduce to irregu-
larity of tone, or to destroy the toning power of the solu-
tion, than to remove the prints into the gold solution
while they are partially and unevenly impregnated with
alum ?
Besides this, it is also to be kept in view that alum and hypo
mutually decompose one another, and that therefore the intro-
duction of a print impregnated with alum into the mixed toning
and fixing bath is in the highest sense dangerous. It is true
that in some of the formulae for the mixed bath both alum and
hypo play a part ; but in that case their mutual reactions
are complete, and have ceased before the process of toning
commences, whereas with an imperfectly washed print the
decomposition is set up the moment the print goes into the
bath, and most probably precedes or takes the place of toning
proper.
The importance of thorough washing cannot, in fact, be too
strongly impressed upon those commencing to use emulsion
papers, and therefore, in order to lessen as much as possible the
trouble, we should not counsel the use of alum before toning
unless it is absolutely necessary. If proper care be observed in
regard to the temperature of the washing waters and of the
toning bath, we have never found it difficult with any of the
papers we have tried — and these include all or most of the
commercial makes as well as numerous samples of private
manufacture — to dispense with the preliminary alum bath ;
but, when the weather is warm, or the gelatine surface from
any reason is inclined to be soft or " slimy," the alum solution
is undoubtedly a very great boon, but, if adopted, it must be
with the full knowledge of the necessity for thorough and com-
plete washing and with the intention of carrying it out
The utility of the alum bath is not only confined to such
severe cases of softening as those that verge on the solution of
the film ; then it becomes an absolute necessity, practically.
But, if a large batch of prints be examined carefully, they will
seldom be found free from minute specks, which represent so
many little flaws in the gelatine film. Even with the utmost
care such will make their appearance, and with the least
roughness or carelessness will develop into serious defects.
Even in their mildest form they detract from the beauty of an
otherwise perfect print, and are therefore to be avoided if
possible. Here, again, the value of the alum bath is ex-
emplified, for, when this is used, these little flaws, arising from
the friction of minute dust specks in the various solutions,
are less troublesome, if not altogether absent, owing to the less
tender nature of the film.
It will be seen, then, that in the matter of the use of the
preliminary alum bath it is a question of compromise, trouble
on the one side being weighed against quality of result.
S56
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 9, 1893
Action of Xilfflit upon Iodine Compounds.-Professor
Meyer has deBnitely decided the question of the action of light upon
pure hvdriodic acid gas. Bulbs exposed during the summer months
in the" laboratory were fiUed in a few days with brilliant crystals of
iodine. After ten days more than half the gas was decomposed, and
at the end of summer practically the whole of the gas was dis-
sociated. ■ ^^^^^^^^^^^__
Kelatlve Strengrtbs or Acidities of some Weak
Acids.— Before the Chemical Society Dr. John Shields read a paper
on this subject which throws some instructive light on such problems
as often occur in photographic practice as to the amount of relative
decomposition that takes place when certain substances are mixed in
solution. He found hydrochloric acid to be the strongest; tahmg it
as 100, acetic acid was only -So ; biboric acid, -0057 ; carbonic acid,
•00091.
Photography of tlie Human Bye.— il. Albert Londe
has recently published a very complete and highly interesting paper
upon the photography of the eye of living subjects. It is well known
that tor many years past experiments in this direction have been
made, but it remained for Herr Gerloff in 1891 to make a practical
success. He has lately still further improved his methods. Before
describing them, we may briefly allude to the investigations of earlier
experimenters. For instance, in 1862, M. Noyes of New York, and
Sinclair of Toronto, were the earliest to work in this path, but they
found the insensitiveness of the plates of the period to be a bar to
success. Then, in 1864, a method, which has since been rediscovered,
was invented by Mr. Rosenburgh. He placed a thin piece of glass at
the intersection of two tubes, one pointed at the eye and the other view
by the operator. The solar light was directed down the first into the
eye, a portion being wasted by the piece of glass and the rest entering
the pupil. The image was then reflected by the glass plate, similarly
diminished in brightness by the partial reflection, and then photo-
graphed at tlie end of the cross tube. Other inventors used a concave
mirror like those employed by artists at the present day, the image
being viewed from the central aperture of the mirror. In 1884 Mr.
llosenburgh's plan was modified by M. Dor, of Lyons, who experi-
mented with the eyes of a chloroformed cat and a rabbit, and using
the electric light with Trouve's photophore. Cohn, in 1888, devised
a plan for reducing the time wasted in focussing. Two identical
rhomboidal prisms were placed in the path of the luminous rays, and
so obtfuned two images, one for focussing, and the other being directed
on the sensitive plate, screened by a special shutter. Later, Hope, in
St. Petersburg, and Qalezowski, in France, tried to solve the problem,
but found the greatest difficulty in suppressing the reflections from
the cornea. M. Bagn(5ri3 used an equilateral prism covering a portion
only of the pupil, then with a short-focus lens, placed about two-and-
thirty inches from the eye, directed a ray of light upon the prism.
The rays refracted by the first face and reflected by the second left
the thbd at a right angle and converged towards the corner, thus
lighting the eye. The objective was then placed in front, and took an
image through the uncovered part of the pupil. Using Perrin's
artificial eye, he obtained images two inches in diameter. We now
come to M. Gerloff's plan. To avoid reflections, he placed before the
eye, previously treated with cocaine and atropine to destroy sensitive-
ness of the conjunction and to enlarge the pupil, a reservoir whose
anterior face was formed of a plate of glass with parallel sides, the
whole being filled with a physiological solution of chloride of sodium.
The corneal reflections were thus eliminated. He used a zirconium
or magnesium lamp, or the magiiesium light. The reflector was a
laryngoscopic mirror like that worn by the surgeon over his face, and
the camera was placed behind the opening. His results were the best
yet obtained, but it was a very delicate piece of work to employ it,
and the images were faint. In his final efforts he resolved to elimi-
nate certain objections. He would take the largest possible field of
view, would not require the patient to keep his eye rigorously in one
direction (which was found to be almost impossible), nor employ
tToublesome apparatus for eye or hand, would take the photograph
very rapidly, and use no light likely to be injurious. He places the
subject before a table or other support carrying the lamp. The light
is thrown into the eye through a tube with a crass piece with mirror
placed at the intersections. The mirror throws the image out of the
right line into the cross tubes, in which the focussing is done on a
piece of ground glass. To expose, the mirror is twisted, which then
allows the light to pass into the main tube and on to the sensitive
plate. He uses burning magnesium, and it is found to be not at all
injurious to the eye, on account, it may be surmised, of the brilliance
being spread over a large area, and so less intense on any particular
spot than when the eye focusses it in the ordinary manner. It is not
possible to enter into further details without a diagram, but we may
be sure the new plan will excite a great amount of popular interest.
It has been suggested to us that a modification of the microscopic
immersion lens might be made for the purpose of avoiding reflections
of the cornea, a piece of glass of about an average corneal curve on
one side and plain or concave on the other might be placed in contact
with the eye, rendered insensitive by cocaine, optical contact being
ensured by some gelatinous non-irritating lubricant between eye and
glass.
PHOTOGRAPHIC PROPERTIES OF THE SALTS OF
CERIUM.
Wk referred some time since to the fact that Messrs. A. & L.
Lumiere had been experimenting with the salts of cerium
,for producing photographic images. In a note presented to the
Acad(5mie des Sciences, and since published, they observe : It is well
known that cerium yields two principal series of salts, the cerous and
the eerie. The first are very stable, whilst the eerie compounds are
reduced by feeble reducing agents ; some intermediate compounds,
and more especially organic salts, are even spontaneously reduced so
soon as they are formed, so that so far it has been found impossible
to isolate them. The easy reducibility of the eerie salts has led us to
a study of the action of light upon them, and we have remarked that
this action, followed by readiness of reduction, appears to us to form a
basis for perfecting an interesting photographic process.
Among the mineral salts whicli have given us the best results we
may mention eerie nitrate and sulphate, formed by dissolving eerie
hydrate in nitric and sulphuric acids. Aqueous solutions of these salts
w-ere used to impregnate paper sized in the ordinary way or treated
with gelatine, the eerie salt colouring it a deep yellow. After being
dried in the dark, the paper was exposed to sunlight under a positive.
In the transparent parts of the dicM the luminous rays reduced the
eerie salt to the cerous state, and the paper is decolourised on those
parts. This decolourisation enables one to watch the action of light,
and to stop printing when necessary. The print should be treated
with a suitable reagent that will differentiate the cerous salt from the
unaltered eerie salt, and wQl thus fix the image. The process, it will
be observed, is one for making positives from positives.
In an analogous process with manganic salts that we have already
published, say Messrs. Lumiere, we have utilised the oxidisable pro-
perties of the manganic salts to form with a great many bodies of the
aromatic series insoluble colouring matters. In the same manner, if
we treat cerium prints with these reagents, there is formed by oxida-
tion, and fixed, coloured substances in those parts where the eerie salt
has not been reduced by light. All that is then necessary is to
eliminate by washing the excess of the reagent as well as the cerous
salt to obtain definitely fixed prints.
It is important that the colouring matter should be insoluble, in
order that it should not be removed in the washing.
We have discovered, in the course of our investigation of their
photographic uses, and in making a comparative study of the action
of the ferric, cobaltic, manganic, and eerie salts on a great number of
bodies of the aromatic series, that the last-named are capable of
setting up colour reactions much more numerous than the others.
Among the more characteristic of these reactions, the following may
be mentioned : — •
In acid solution, the prints are coloured grey with phenol, green
with salts of aniline, blue with naphthylamine, brown with amido-
benzoic acid, red with parasulphanalic acid, &c. Treated with
ammonia, the colouration changes, becoming, for example, violet with
aniline, red with naphthylamine, &c.
June 0, 1893]
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
807
Paper sensitised with the eerie salts Is more sensitive to light than
either ferric or maiijranic paper.
Messrs. Ijumioro conclude by saying that they are still pursuing the
study of the photographic applications of cerium salts.
ON THINGS IN GENERAL.
Mr. Lkwis WniOHT has done good service tolantemists in his article
in the " Lantern Supplement " regarding the use of compressed coal
gas for lantern u.se, and the possible presence of iron carbonyl. He
has hit upon a very probable solution of some of the difficulties
attendant upon the use of household gas iu a compressed form. That
this carbonyl Is present is highly probable, but to assume that any
liquid found in a compp'ssed gas cylinder is necessarily to be put
down to its existence would be a mistake. It would be very difficult
to say what it could not be, in fact, for coal gas is a substance of
almost infinite complexity. It contains, in addition to what are more
generally understood as gaseous compounds, of greater or less illumin-
ating value, a number of vapours of chemicals, liquid or solid, at
ordinary temperature, as, for example, water, benzine, naphthaline,
&c. When the whole body of gas is subjected to pressure, and cooled)
a considerable amount of these bodies must be deposited. Further'
when the gas passes out of the cylinder at all rapidly, deposition will
occur through the cold produced. Hence, though Mr. Wright's
suggestion is a very happy one, it cannot cover all probable causes, at
any rate, of deposited liquid in the cylinder. But, regarding for a
moment only the injury liable to be caused by the production of
the carbonyl, it is evident that his proposal to coat the cylinder in-
ternally with something of the nature of a varnish, to prevent the
action of the gas upon the steel, would, if effectually carried out,
answer admirably; but better than varnish would be a metallic
coating. The cylinder could be internally electro-plated with silver
copper, or any suitable metal, or, if zinc or tin was thought better,
they could be easily applied. Finally, however, I would say, seeing
the absolute certainty of precipitation in the cylinders, and the pos-
sibiUty of further injury from some of the gases when coal gas is used,
why use it all ? Let hj-drogen, clean, pure, and dry, be used ; it can
be made at a very low rate, and would can-y none of the above-
mentioned disadvantages.
We have, in the same journal, some of the usually interesting and
practical mems from Mr. Baker, but he seems to have mixed things
through not seeing a proof of his paper. In The British Journal
or Photography he makes a correction which, being a purely
clerical one, the Editor has already put right. But he is confusing
to outsiders in his remarks about sulphuric ether. The density of
ether has nothing whatever to do with any smell it may or may not
possess, and, when he says '720 s.g. is about the densest that should
be used, I can only say that '720 is the density at 1-5° C. of absolutely
pure ether according to the best authorities, and so is the least dense
obtainable.
The question of plate speeds has been occupying a good deal of atten-
tion of late, and much talk foreign to the matter in question has been
indulged in. I can only say that those acquainted with Mr. Williams's
work and abilities are awars that whatever thesis, derived from ex-
periments, he advances may be looked upon as the carefully thought-
out results of the work of an eminently skilful worker. Then, again,
we all know Mr. Cowan's ability ; but, when he says that, if Messrs.
Hurler & Driffield's " original paper is carefully read, it will be found
that they have been very careful to express what they really did mean."
I must say that such, also, was my own belief ; but it was very quickly
settled by a letter in this Journal from the experimenters in ques-
tion, in which they stated that they had not made certain assertions
which ordinary minds thought they saw in the original paper. But
we all have heard of the celebrated cynic's saying that " language was
given to conceal thought." Professor W. K. Burton will have to
take the same lesson to heart; he has recently shown that it is
possible to vary the density ratios by development. Messrs. Hurter
& Driffield's letter is in print, saying they never said the contrary.
Like others who had read their original paper, I thought they had
denied this possibility, but " language was given," &c.
It was very pleasing a week or two ago to meet an old friend
again. True, it was about the period for a recurrence of his viiit.
I allude to our very old friend. Photography in Colours. He has been
dretsed up again, and the papers have gone into the usual, though IJ
milder, hysterics over the grand discovery. It is a little singular ^
that, just at the time when his form is decidedly less shadowy, the
excitement is less severe than when he might be said to be vox et
2>rceterea nihil.
With regard to the reduction of over-printed proofs on gelatine
paper, Mr. Lindsay has, in a recent number, some interesting remarks.
So far as albumen prints are concerned, there is no doubt the Ijest and
only suitable reducer is a five per cent, solution of cyanide of potas-
tasium. As to gelatine. I am less able to speak positively ; I must try
Mr. Lindsay "s plan. But I shall not find it neces.siry to go to the
trouble of dissolving common salt in hot water, and waiting for it to
cool, for the simple reason that hot water will not dissolve chloride of
sodium any more quickly, or in any larger quantity, than cold water.
-Vccording to some authorities there is a slight difference, but it is
fractional only.
Poor " Cypher!" who writes to know what he must do, for the
rain has got to his negatives and stuck them to the paper — the
Editor very properly tells him there is no remedy but to retake the
views. I would add to that advice, say, when you get your views
again, do not print from them till they are varnished. You will then
be free from stains on your negatives from your pai)er at any time,
and, if the rain does agsrin attack them, you may, by dissolving off the
varnish in spirit, have them as good as ever they were, unless the rain
beats for a considerable time in this unwelcame proximity.
Fees Lance.
ANGLE OF VIEW.
[London and Provincial Photographic Association.] . .,
If we examine the picture formed by a photographic lens upon a
screen of sufficient size, we shall find it is circular. This circle is the
base of a cone of rays transmitted by the lens. Divide this cone in
the direction of its axis. The section is triangular, and the angle at
the apex is called the angle of view. Let us suppose the focussing screen
is sjuare, and that the circle of illumination touches each side. A
plate under such conditions would be unexposed at the corners. Y'et,
to calculate the angle enclosed by such a plate, we have been directed
by the rules hitherto accepted to take the diameter of this circle as a
factor. It is an astonishing fact that these rules have the sanction of
a number of writers, amongst whom may be mentioned Shadbolt,
Grubb, J. H. Dallmeyer, Traill Taylor. Woodman, Emerson, and still
more recently A. Haddon, the respected curator of this Society.
To cover a plate such as has been described, it is evident the circliJ
of illumination must enclose the plate, and not the plate the circle of
illumination. We must therefore measure the diameter of the circle
by the diagonal instead of the side of the plate. The perpetuation of
the mistake is probably due to the habit, common amongst writers, to
take data at second-hand rather than think them out for themselves.
There are, however, two noteworthy exceptions. Dr. Eder, in his
AicsfiihrlicAes Handbuch der Pkotoyraphie, gives rules and tables for
calculating the angle of view included by a lens, and for that included
on a plate. For the latter he takes the diagonal as the basis. Pro-
fessor W. K. Burton also estimates the angle of view by the diagonal
of the plate, according to an article on the Concentric lens in
Photographic Work, February 24, 1893.
Recently I criticised, before this Society, the rules laid down by
Mr. Haddon for calculating the angle of view included on a plate.
They were published in The British JoLfRXAL Photographic
Almanac for the current year, and may be taken as correctly repre-
senting the rules of the writers first mentioned. These rules take the
longer side of the picture as the base of the triangle enclosing the
angle of view. You may follow the rules and work the problem
correctly, but the answer will always be at variance with the
facts. Either the angle will be too wide or the focus of the lens
too short, when you take the photograph. We mav also have a
series of plates such as 15 x 0, 15 x 10, 15 x 11, 15 x 12, yet, by these
rules, all will include the same angle, with the same lens, under similar
conditions ; or, if we wish to include a given angle from the same
station-point, we must use a lens in each case of identically the sami'
focus. Further, no matter what position the lens may occupy on the
front of the camera, the angle will remain the same. Rules giving
such results are evidently wrong, and, as a more rational system, 1
wo lid suggest the adoption of the method used in perspective.
The circle of illumination of a lens corresponas with the base cf
368
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 9, 1893
the cone of visual rays. The lens is the eye and the picture plane is
the photographic plate. These are corresponding terms in photo-
graphy and perspective. The picture plane is vertical, and must not
extend beyond the base of the cone of rays.
The angle of view in perspective is limited to sixty degrees to avoid
that exaggerated appearance with which we are familiar in pictures
taken with wide-angle lenses. But, for the purpose before us, this
may be disregarded, since what is true of an angle of sixty degrees is
also true of any other angle. In perspective, if the picture _ plane
touches the edge of the base of the cone of rays at any point, it is said
to include an angle of sixty degrees, and, similarly, we may speak of
pictures including any other given angle.
On the picture plane there are two important lines, the base line
and the horizontal line; the base line is that upon which the picture
rests, and the horizontal line extends from right to left at the height
of the eye. Upon this line is the centre of vision, or centre of the
circle forming the base of the cone of rays. The axis of this cone is
called the principal visual ray, and corresponds with the focus of the
lens.
The artist may select any portion of the base of the cone of rays
for his picture, and the photographer does a similar thing when he
moves the cross fronts of the camera in arranging the subject on the
focussing screen. What, then, are the conditions which determine
the angle of view for any given picture ? First, the distance of the
spectator from the picture plane, which, in photography, we may call
tie focus of the lens. Second, the position of the centre of vision,
which, as I have shown, will vary according to the position of the
lens on the front of the camera. To ascertain the position of the
centre of vision, we must draw a line perpendicular to the plate from
the apex of the cone of rays. Where the line touches the plate is the
centre of vision, and we must measure the distance thence to the
farthest corner of the plate. We can now measure the angle of view
by means of the table of natural tangents given by Mr. Haddon, the
rule for which should be stated thus : —
To find the angle, divide the distance from the centre of vision to
the farthest corner of plate by the focus of the lens. Find the
reareSf number to this in the table of tangents, and twice the arc
opposite it is the angle required ; or, if we know the angle of view,
and wish to find the focus, find the tangent opposite the arc, which is
half the an^le of view. Divide the distance from the centre of vision
to the farthest corner of plate by the tangent. The answer is the
focus of the lens required.
Mr. Haddon was unfortunate in the selection of the title of his
article, " Angle of View included on a given Plate by a given Lens."
If the lens is not opposite the centre of the plate, the whole angle of
view is not included. But the expression is permissible if we under-
stand by it the angle under which the picture is taken. I mention
this merely to draw attention to the fact which some may overlook,
that the angle is different if the lens is moved by using either of the
cross fronts. It must also be remembered that a lens can be used to
cover a larger angle if the axial ray is not perpendicular to the plate,
as pointed out by Mr. W. E. Debenham when this subject was last
under discussion. But, as I have used the term angle of view in
relation to the picture, and not to the lens, the rules I have given
apply to the picture only. If it is required to calculate the angle
covered by a lens under the abnormal conditions mentioned, the
necessary modification must be made in the formula. P. Evekitt,
NOTES ON STUDIO-BUILDING.*
This being the time of year when studio building is usually under-
taken, and the matter having recently been discussed in the columns
of this Journal, it occurred to me that, having worked in several
different studios, and built two which answered their purpose fairly
well, but which were capable of improvement, a few notes on their
good and bad points might be useful as showing what to avoid, if not
what to adopt. The chief matters to be taken account of are : Size,
as regards length and width ; height and pitch of roof ; aspect, north,
north-west, north-east ; amount of space glazed : kind of glass; near-
ness or otherwise of neighbouring buildings, or possibility of their
subsequent erection; supports for glass; roof on shadow side; blinds
and method of firing ; tie rods ; ventilation.
The first studio I worked in had clear glass in roof, and I fancy
north-east aspect. We used to get the sun in, and I remember once
placing a thermometer on top of camera and finding it registered
120° I'ahr. The next had either Hartley's rolled or else plam glass
in roof, with plain glass at side. Aspect, north by northwest. In
the middle of summer the sun used to shine in during afternoon,
• Mr. Cole's article has been in type for a considerable time, but had to be
held over through pressure of other matter.
restricting us to the use of one end of the room for the time being.
The framework of roof was of T iron, and inside walls painted paie
blue. Light was quick, and lighting good. Dimensions about 27 x 12
or thirteen feet, with room to back out at one end when taking large
groups. The side light came down rather low, about two feet or two
feet six inches from floor, with short curtains along the bottom
portion. Ridge roof, light only from one side.
Another studio, dimensions about 30 x 1.5, also with ridge roof, had
a narrow top light, with long sloping side ; glass all " white
cathedral," or similar sort. This is a good kind to use where the
studio is overlooked, as it prevents sitters seeing outside objects
clearly, and gives a feehng of seclusion and privacy — more apparent
than real,however, as from a little distance off any one outside can dis-
tinguish objects inside, though not sufiiciently to recognise individuals.
To entirely prevent outsiders seeing what is taking place inside,
ground glass is necessary.
This studio ran out end ways from the house on ground floor, and
at opposite end were some fairly highly trees, so that, whichever end
the sitter was placed at, the front top light was seriously cut oS.
Walls and roof on shadow side painted chocolate, lighting being slow,
except when very bright clouds were about, and always hard. There
were no cross ties, and I was able to use a head screen for bust
portraits. The next studio was in London, glazed at top on both
sides of ridge with Hartley's rolled glass. One side of roof generally
kept covered by opaque blinds. No side light, but a window at one
end, which could be uncovered if desired. With the exception of
this window, there was no glass lower than about eight feet, and wall
of next house ran up higher than studio. Lighting too much from
top, and consequently hard ; and, unless both sides of roof were un-
covered (which gave flatness), light was very slow.
The nextstudio was atthe seaside. Aspect something like north-west,
sloping fight, starting at about three feet nine inches from floor, and
running right away above wall on shadow side, a small portion near the
wall being ceiled. On the south side were other rooms, with their roof
running up above to meet the studio roof. There was thus a con-
siderable air space up under the ridge. The studio was cool, except in
middle of summer, when the sun used to peep in. Glass was plain,
and to keep out sun tissue paper was pasted over it, which, owing to
the sitters having to be placed close to the window on account of
narrowness of room, gave considerable glare, and caused very large
high lights in the eyes. I found four large opaque blinds in use,
running on wires horizontally, each one covering one quarter of the
glass. As the room was only about 20 x 10 ft. on the floor, and
narrower still five or six feet above, the sort of lighting it was possible
to get with sun shining in may be readUy imagined. Several smaller
black muslin blinds were substituted for the four large thick blue
ones (also running horizontally), which subdued the glare and enabled
me to modify the lighting according to requirements. In winter time
the tissue paper cut off too much light, so it was dispensed with, and
when summer came round again mineral paper was used instead, with
good results. The supports for the sloping light were of wood, and
occasionally the wet found its way through. Ventilation was
effected by lifting up hinged portions of the framework, with the dis-
advantage that in wet weather the rain drove in.
With reference to dimensions, 30 x 1.5 feet is a useful size, and, if
there is a room opening out of studio in which accessories not in
e very-day use can. be kept, the width will be enough for most purposes ;
eighteen feet would, however, be better. The tendency nowadays is
towards large work, necessitating large cameras and stands, which
require to be kept handy and yet out of the way when not in actual
use. I should have made my present studio eighteen feet, but was
limited by width of ground. Thirty feet is long enough for most
work ; but, if background carriers with projecting feet are employed,
and some at each end of room, thirty-five feet would be more con-
venient.
Height.
Up to eaves mine is eight feet, but nine feet would have been
better, and, if studio is to be eighteen feet wide, height to eaves should
certainly not be less than nine feet, assuming a ridge roof to be chosen.
Height of ridge from floor is about fourteen feet, but rather more
would have been an improvement, with the eaves at eight feet, and,
with the eaves at nine feet and the width at eighteen feet, the height
to ridge should be as much as eighteen feet. The steeper the roof
the more easily will the snow slip off, and the cooler will the place be
in summer.
SuppoBT FOB Glass.
I can speak strongly in favour of T iron. I have had it in use for
seven years, and have never had any wet come in. Glass was painted
over at edges before puttying in, and I believe the rabbet of iron
also. The first two summers were very hot ones, and after the second
June 9, 1893]
THE BUITISH JOURNAL OF PHOTOGRAPH y.
3«0
it was fo\ind that a little of the paint and putty was the worse for
wear. It was repftinted and puttied where necessary, and went for
five summers without anytliing beinjf done to it, then had another
puttying and painting, Ixiing apparently as good as when first put up.
The framework for side light is of wood, witli a wooden plate. If
building again, I sliould liave this also of iron, with an iron plate,
which would obstruct less light at the eaves, and be less inclined to
twist or warp. For another studio I built, which there was a possi-
bility of wanting to remove, wooden rafters were used with patent
zinc tubing to avoid fixing glass in with putty. The zincs were
supposed not to require any other rafters, and were supplied extra
strong for the purpose, but they were of no use as supports. liy
fixing them on wooden rafters they answered all right, except for tlie
bottom panes next to gutter, which were always slipping and break-
ing till I had some iron .stops made and screwed on to plate. T iron
has this disadvantage over wood, that, when it is required to attach
anything in the way of supports for blinds and curtains, there is
nothing to fix them on to ; therefore, at intervals along the frame-
work, before the glass is put in, the iron should be drilled, and a few
small pieces of iron screwed on inside, to which wooden rails can be
fixed. On these rails any fittings can be easily attached. If an iron
plate instead of a wooden one at the eaves is adopted, this should also
be drilled, and a strip of wood bolted to it for faxing side blinds or
cords to. It must be remembered that in frosty weather the roof
gets very cold during tlie night, and condenses any moisture there
may be in the studio. This moisture runs down towards eaves, and
any projections, such as tie-rod connections, are liable to arrest the
water and cause it to drip off on to the floor or furniture. All such
projections should, therefore, be bevelled off on under side, so as to
lead the wet on to the roof instead of away from it.
I saw in London not long ago a studio in which the roof and sides
were in one continuous curve, bent glass and curved T-iron frame,
work being employed. This gave a free, unobstructed hght, and the
moisture was led right away to bottom of the side light. The
proprietor spoke highly of it.
Aspect.
Nortli-west is undesirable imless high buildings happen to trap the
afternoon sunshine. North by north-east is more suitable than due
nortli, as tendency now is for people to come later in the day than
formerly. As there is always the possibility of early sitters, it is ad-
visable to have the means of screening the morning sun as well as that
of the afternoon. I have zinc screens, about two feet wide, attached by
brackets to the roof, running up each end and along the ridge. These
are screwed up in the spring and taken down in the autumn. Zinc
is better than wood. I was once nearly killed by a wooden screen
being blown down piecemeal through the glass roof. About ten
large panes were smashed. One board came through just where the
operator had been varnishing some negatives.
Amount of Space to be Glazed.
Best to have enough, it can always be screened off when not
wanted, and there are occasions when all possible light is required.
The distance from floor at which side lights should start is a
matter for consideration. My own begins at about three feet six
inches from floor, and in a wide room this might do, but in a narrow
one the glass might come down lower. Talking to a photographer
the other day whose side light begins at about the same heiurht as
mine, we both agreed that, if building again, we would make it
lower. Short curtains running on wire can be used to screen the
bottom portion. When young children are taken standing on the
floor, it is difficult to get sufficient light en the legs unless the side
light is low.
, Kind of Glass to Use.
In the roof I have used Hartley's rolled, and like it very well. It
certainly cuts off more light than clear glass, but it diffuses what
passes through, which compensates for any cut off. There is a good
deal of colour in some samples, which are therefore to be avoided. If
building again, however, I should be inclined to try ground glass.
Hartley's is pretty strong, and although the street urchins are fond of
making a target of the roof, and several panes have been cracked in
the course of a few years, it has not been found necessary to replace
any.
in the side I have " white cathedral," which gives a pleasant
illumination, but does not diffuse the light so well as "ground."
Working in a studio on ground floor, having clear glass in side, the
window looking out on to a grass plot, with a one-storied building
about twenty feet away, the lighting was found to be hard, and was
much improved by fixing up ground glass inside the clear for about
two-thirds of the distance up the sides towards eaves. If the side
light is quite unobstructed and likely to remain permanently so, and
studio not overlooked, then, provided the outlook is pleasing or
interesting, a certain amount of glass in the side might be left clear —
it affords occupation to sitters or their friends to look at while waiting,
and where several negatives have to be taken this is an advantage.
For lighting, however, I prefer ground or Jigured ylans up to level of
head of standing figure, and above that clear or " white cathedral."
As figured glass is expensive and not strong enough for outside use, I
should be inclined to glaze the whole of side with "white cathedral"
or similar kind, and then have an inside casing of figured about two-
thirds the way up to eaves, this to be so fixed that it could be removed
or slid along for occasional cleaning. Clear glass could be left at
intervals for outlook if preferred.
Blinds.
Whether these should run vertically on spring rollers or horizon-
tally on strained wires depends on individual fancy, and on the way
the tie rods are fixed. I have some of each kind. The chief, in fact
only, objection to those running on wires is that they have to be
moved with a long stick, which invariably causes sitters to look up at
the skylight, and they then begin to realise that the light is strong,
and perhaps find their eyes dazzled. Those running vertically, moved
by a string, do not seem to have this drawback. With those running
horizontally more graduated lighting can be obtained.
Tie Rods.
These are generally necessary evils. They are apt to be in the way
of blinds, &c., and, unless eaves are high and the ties arched upwards,
they prevent anything in the way of head screens being conveniently
used. Screens such as recommended by Mr. Whaley in a recent
" Annual " cannot be used if the tie rods are low. The places for
these should be well thought out beforehand, so that, instead of being
in the way, they may be made use of for hanging a swing or
hammock from at a suitable distance from background.
When I built one of my studios, not having had much to do with
actual building operations, I wanted, as far as possible, to dispense
with ties. Builder thought he could manage with two up in the roof
only, not braced to the sides, with the result that, as soon as men
began putting the slates on, the walls began to spread out, and we
had a narrow shave of having to build twice instead of once. They
were got back nearly into the original position, but not quite, and the
wooden framework of side light remained somewhat twisted. For-
tunately there was no glass in, or it would have been smashed. We
then had to put ties in where we could, with tlie result that tho.s©
attached to the sides did not correspond for position with those in
the roof, and rather interfered with the working of blinds.
In the matter of choosing a builder, it will be found cheapest in
the end to go to the best, preferably a local one, who can be fetched
back to make good anything that may not have been done just as it
should have been. Coming as a stranger into the town, I thought it
would be better to employ a man I had some acquaintance with (a
non-resident) rather than take my chance of getting hold of a good
one amongst strangers. I made a bad spec. My friend (?) used poor
mortar, did not put any damp courses to the new work, put up &
gutter to small too carry off the water properly, and fixed it up badly.
This side being close to neighbouring property, the gutter had to be
kept back flusli with wall, so he jiist bedded it on top of wall with
ordinary mortar, consequently it overflowed inside as well as out.
I had to call in another builder, who raised the wall to form a
parapet, and put down a proper lead gutter. The parapet is a great
convenience, as, when we want to get on roof to fix stove-pipe, put
on a new slate, fix up .the zinc sun screens, or mop the glass, we can
walk along without having to ask permission to take a ladder on to
adjoining property.
Materials foe Walls.
If on own property, or such as there is a long lease on, it is best to
have brick — -at any rate, if building is at all exposed to the sun's rays —
and, if one cares to afford the luxury of a tiled roof, the room will be
all the cooler for it in summer. If sheltered from the sun, wood and
iron will do, provided there is good convenience for keeping it warm
and dry in winter ; if exposed to sun, an iron building is decidedly
hot in summer.
Ventilation.
I had arranged with the builder just mentioned to have good-sized
ventilators in the gable ends, but he forgot, and persuaded me to rest
content with a couple of air bricks. Result : operator and sitters
baked.
Next spring air bricks were replaced by a good swinging ventilator
at each end, and the studio has since been no hotter than the generality
of such buildings.
360
ITLE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 9, 1893
Wabming.
Hot water from a Loughborough boiler heats all the jrooms on
ground floor, studio itself being warmed by a tortoise stove Hot
water savos a vast amount of mess and dirt, besides being more
econondcal, and, provided the stoker is intelligent, leaves little to be
Sr If, however, the stoker has a fancy for getting the pipes
nke and hot on a mild day, and letting the fire out when the weather
rschmy, the surplus heat" cannot so quickly be got rid of by opening
windows and doors, nor the room quickly warmed, if cold, as when
Tstovrin the studio is the source of heat If a stove is used, the
fewe bends in the pipe the better. I used formerly to have the pipe
tro straight up through the roof, and the stove always drew weU,
^^v^rr&ng sweeping all the winter through, a dight tapping on
the pipe being sufficient to shake the soot down. Having moved it
to a fresh place, necessitating a bend or two m the pipe, the moisture,
which gets into it during the night in damp, foggy weather, cakes
the soot, and necessitates frequent sweeping. , ^i, »
Thanks to the ventilators at each end near the top, any smoke that
may be puffed out when fire is first lit can be readily got nd of.
However full of smoke the room may be, by opening the various doors
and ventUators it can be aU blown out in abaut five minutes, and a
clear negative taken. It is a great convenience to have a good supply
of gas near the stove from which aBunsen can be supplied to light up
fire quickly when required. For small rooms, or branch places not
open perhaps everyday in the week, the new hot-water apparatus
heated by paraffin should answer well if means are adopted to lead
away the products of combustion into the outside air.
Under any circumstances it is advisable to have stoves shut oH
from the printmg department. Unfortunately, in my case, the only
access to the Loughborough boiler is through the printing room, and
the number of black spots due to coke dust that we get on our
vignettes during the winter months is somewhat alarming. Doubtless,
■where it is necessary to heat rooms on different floors, a high-pressure
boiler will do it most satisfactorily, but of this I have no experienca
Some insnrance companies, I believe, decline to insure studios heated
■with water at high pressure. W. C01.K8.
PRACTICAL REMARKS ON PHOTOGRAPHING DIFFICULT
INTERIORS.
II.
I.N a previous article I referred to a few of the different kinds of
interiors an operator is sometimes called upon to deal with, and
instanced a few of the chief points necessary in dealing with weU-
lighted subjects, where it was possible to bring into one's aid diffused
light.
There are very many other cases, however, where the light is so
poor as to require extremely long exposures — ranging from hours to
days, even when using plates of the most exalted sensitiveness,instances
of "which will be found in warehouses under dark arches, such as are
only lighted by large windows or doors at one end, and where the
interior runs a long way back from the light. This class of subject is
generally to be met with in large cities, where the arches under the
railway lines are utilised for warehouse purposes, such as bonded
stores, and many other similar businesses. I have known cases where,
an exposure of twenty-four hours proving insufficient, a further ex-
posure of from two p.m. on Saturday until ten a.m. Monday yielded
a satisfactory negative, using a stop equal to /-22. One item of
paramount importance, when giving such long exposures, is the utmost
certainty of the camera and all its fittings being absolutely light-tight;
and a further cause of failure, which I have never seen pointed out or
referred to by writers, is the necessity for the plates being the full
size of the cells. I have known cases where plates, being cut too
small in their breadth, although right as to their length, gave no end
of bother even to find the cause of failure ; when such happens, the
Lglit plays round the back of the plate, and proves disastrous, the
appearance of the plate being as if badly fogged. Another frequent
cause of failure is using a lens too wide of angle for the camera, or
dimensions of plate being used, whereby the sides of the camera re-
flect light on to the front of the sensitive plate. Wide-angle lenses,
however, are a necessity for this kind of work, but they should be
carefully selected, to suit the size of plate being used.
I sometimes feel platemakers have a deal to answer for in the
careless manner they cut their plates to sizes, and when any one
experiences, as I hare done, the annoyance of a plate being just so
small as to allow of one side of it being pushed forward of the rebate
in the slide by the pressure springs, ne will know to his cost how
necessary it is to examine carefully every cell before leaving the dark '
room. This is especially the case when using large-sized plates, such
as 12 X 10 and upwards. When a plate is cut too small, it is just
about a hundred to one the withdrawal of the shutter of the slide
will cause a scratch line straight across the face of the plate, and,
worst of all, when the shutter of the slide is fully drawn, the pressure
springs of the slide will push forward the plate, and prevent the door
of the cell being reclosed. A more exasperating trouble cannot fall
to the lot of any one. But these troubles are not only confined to
interior work, they happen at Till times ; still, after having exposed a
pkte upon a difficult subject for, say, forty-eight hours, it is doubly
annoying to have to go all over the routine again.
It is highly important that the plates tit the cells thoroughly.
With camera and sUdes all being in perfect order, an operator has
the utmost confidence that, even with the most prolonged exposure,
his plate will develop up free from veil or fog. A very necessary
precaution, however, is the backing of every plate with a coating
of asphalt dissolved in benzole, as described by me in a former
article on photographing stained-glass windows. This should never
be omitted where very long exposures are being made, and any extra
trouble expended in preparing the plates is more than compensated
for by the results attained.
Later on I hope to refer to the development of such long exposures.
In very dark interiors, such as I have just referred to, it is almost
impossible to over-expose a plate when properly backed with a
preventive against halation.
1 am a firm believer in utilising daylight for all exposures when at
aU practicable. There are many instances, however, where artificial
lighting may be employed in combination with daylight. This I
hope to refer to kter on. Daylight, with plenty of time, however,
will be sure to make its presence felt on the sensitive plate, and, as a
rule, yield the most truthful representations.
In some cases isochromatic plates are a distinct advantage, but
they should be used with considerable forethought, according to the
nature of the subject.
In dealing with large en^e shops, where the entire structure has
to be included, prolonged exposures will generally be found necessary,
and a time selected when the works are quite free of smoke and dust.
I have known cases where some parts of the machinery required, under
similar conditions of plates, stops, &c., an exposure of only twelve
minutes, whilst the entire workshop was not overdone when exposed
from early morn till dark, the cause being that the portion of
machinery was situated somewhat near to a large window. When
operating on machinery a considerable amount of preparation is
necessary. This includes the colouring of the various parts, and
toning down unduly bright portions. As a rule, however, in every
well-appointed engine shop the makers and workmen are quite alive
to the necessity of such, and generally arrange for this being done
before sending for the photographer. Badly situated windows must
also be dealt with, and one of the best means of doing so is by hanging
outside the windows large tarpaulins ; this should never be neglected,
and, although to any one unaccustomed to this kind of photography
it may appear a lot of heavy work to arrange for such, still, in
engine shops and other similar cases, the workmen are quite accus-
tomed to face far heavier preparations than the mere handling of a
few waggon covers, or the placing of such in suitable positions. I
never yet met a case where the utmost willingness was not shown to
assist in and carry out every necessary preparation. Engine work, as
I have said, differs very much from all other branches of photography,
and, before a young ojierator undertakes the responsibihty of such, he
would do well to put in some experience with one accustomed to this
special class of work. On doing this he will at the outset feel that
he is, as the Yankee says, dealing with the " big in everything ; " he
wUl soon, however, come to learn that what previously appeared an
almost insurmountable obstacle was easily removed by a few wUling
hands, which are always to be found ever ready th help, and this will
soon engender confidence. It is seldom, however, especially in the
case of photographing machinery, that negatives can be obtained
sufficientfy clean or free from adverse surroundings as will permit of
their being printed from without a considerable amount of prepara-
tion. This to a very great extent means the necessity of blocking out
such parts as could not be dealt with in the preliminary arrangement
before taking the negative.
In striking contrast to large engine worlis will be found such subjects
as interiors on board ship. Of course there are large and small ships ;
but, even in the case of the newCuiiarder Campama, there are very many
interesting parts so cribbed and cramped up for space as makes it a
matter of extreme difficulty to overtake. Of course, the magnificent
dining saloon, capable of seating about 450 passengers, is one of the big
things, and so are many of the other points of interest on board, in-
cluding the funnels, which are over twenty-one feet in diameter, and
large enough to permit an express train to pass through as it were a
June 9; 1893,
IIIE BRITISH JOURNAL OF PHOTOGRAPHY.
861
tunnel, are things that require a pretty bip: plnte and wide-nngle lens to
•do tliem juetice, hut the cramped and cribbed subjects on board are the
alley wavs, state rooms, pantries, &c. To photograph such was a matter
of no little diiliculty. So, also, was the library ; although one of the
features of the ship, and a magnificent room it truly is, still it gave me
no end of bother togt't a good result. This delicious retreat is built some-
what in the shapeof a horseshoe, and the semicircular bookcase, entirely
filled with a most careful selection of booksjCorresponds in shapeexactly
to the curve of the structure, every portion of which, at short distances
apart, has little windows entirely round its sides. These windows
throw a beautifully soft light into the room, but for photoCTaphic
purposes — oh, what a horror! — every light is reflected back from
the glass window in the bookcase. Screen oflf the windows, away
goes the light. After much thought, however, I hit upon a plan
which worked admirably, and, although I did not succeed in getting
all the bookcase into the view, still, by cutting off the light all rouni
■one half the circle of the structure, and by blocking out the windows, I
was able to 'get rid, to a very great extent, of the objectionable flaws
in the bo<Acase. An exposure of exactly one and a half hours yielded
« good negative. The magnificent dining-room gave little or no
trouble, and makes a verj- fine interior, and doubtless, before long, the
market will bo flooded with all sizes of pictures of this enormous
saloon. I obtained a fine negative in one hour and a quarter's ex-
posure.
As I have said, it is the confined places, such as the pantries, bath-
rooms, and " a warm corner for two " that taxes to the utmost the
energies of an operator. The plan I found best was to invariably
use a fast plate, well backed with tar, and to expose, say, on sucn
email, confined situations a plate of large size, with a small
lens in the camera of good covering power, well stopped down, of
course giving very long exposures. By this means I got a good range of
view of the pantries, and many others of the confined places on board.
At no time did I resort to the use of the magnificent installation of
electric lighting, of which there are nearly fourteen hundred lamps
on board. I found dayhght quite sufticient. Of course there are
very many interesting places on board that are not possible of being
photographed ; hut, for the coming season, the rage will be Campania,
and 1 dread to think how often that kind-hearted genial gentleman,
the steward, and that hard-headed level Scotchman, Mr. Paton, the
head engineer, will have to suffer the infliction of having their
pictures drawn. Were the Company to tax hand cameras, and hand
the proceeds to the Photographers' Benevolent Association, I think,
before the close of the Chicago Exhibition, they would have a real
good thing. T. N. Abmstbono.
"PREVENTIVES OF HALATION."
A FBW remarks on the above subject will not, I hope, be considered
untimely, bearing in mind a statement that Professor Burton and
another gentleman in Japan had found in picrate of ammonium a
sure preventive of halation. I have not been able to find much detail,
but presumably picric acid was dissolved in water (its solubility is
barely one in ninety), the solution carefully neutralised with ammonia,
a plate immersed therein, dried, and exposed, with, as stated, the best
results. I confess to failure so far; working as above, there is a
total absence of halation, simply because the plate, no matter how
much alkali be used, is quite insensitive, and this even when using a
solution £0 weak as 1 in 2400 ; however, a trial was made of other
dyes for the same purpose (also of the picrate salt used differently)
with bettor results. The idea was, of course, to interpose between
subject and plate a tinted film, whicli would prevent excessive action
in the high-lighted portions of the plate, while allowing full ex-
posures for the shadows. The most convenient method of following
out this idea was to make the solution in spirits of wine, and then
mix with enamel collodion, coating a plate with this, and drying
(which it does quickly) prior to exposure ; e.g., dissolve a grain of
picric acid in fifteen minims or so of rectified spirits of wine, neutralise
with ammonia — though I don't think this is essential — add two or
three parts, say, thirty to forty-five minims, of ether, and then make
up to lialf an ounce with enamel collodion.
In the case of any other dye, as green, rose aniline, or rosine, the
solution would be simply made in spirits of wine, and then diluted or
mixed with collodion as stated above. Four plates were coated with
collodion thus prepared, and received comparatively brief exposures
upon a subject suitable for the purpose. It was found possible to
develop the eosine-coated plate with an ordinary pyro and sulphite
developer ; also, with rather more alkali, the green-tmtnA plate. The
rose and yellow-tinted plates remained quite insensible to the blandish-
ments of the pyri), &c., and an immersion of nearly half an hour
failed to produce appreciable effect ; they were therefore removed,
rinsed in water, placed in a bath of methylated spirit, and, after
wiping off the superfluous spirit, were once more submitted to the
action of the developer, with the result that the pictures developed
up quickly, these two being the most satisfactory as regards colour
and density, while, with reference to halation, the yWfoir-tinted plate
was first, closely followed by that tinted with rose aniline. I am
inclined to think that, combined with a good " backing," the use of a
canary-tinted collodion applied to the sensitive surface of a plate will
be found an advantage, not very great perhaps, but every little helps.
The trouble of coating is very slight ; the plates are dry very quickly,
and a preliminary bath of methylated spirit is not a serious business.
I imagine the selection of picrate of ammonia to be merely an inci-
dent, probably a convenient solution to use — I handle it every day
for the treatment of malarial fevers, &c. — and that picric acid, well
diluted, answers the purpose just as well. With eosine, a drop or
two of ammonia solution is an improvement. Finally, the degrees
and attenuation of the solutions used may be mentioned : —
Picric acid 1 part in 4,000
Green dye 1 „ 1,000
Eosine I „ 200
Rose aniline 1 „ . 10,000
the collodion being prepared by dissolving one part of pyroxyline in
a mixture of eight parts of spirits of wine and twenty-four parts of
ether. J. Pikb.
♦
PHOTOGBAPHY AT GREENWICH OBSEEVATORY.
The annual visitation of the Board ot Visitors of the Royal Observatory
at Greenwich was made on Saturday last, June 3. The Board consists
of the President of the Royal Society (Lord Kelvin), the President of the
Royal Astronomical Society (Captain Abney), six Fellows of each Society,
the Savilian and Plumian Professors of Astronomy at Oxlord and Cam-
bridge, and the Hydrographer of the Navy. In addition to the Board a
large number of other visitors were present. On this day — and it is the
only day in the year when such is the ease — work at Greenwich is
entirely suspended, so that visitors have then an opportimity of examining
the various instruments, which it would be impossible at other periods of
the year to obtain. The annual report of the Astronomer Royal to the
Board of Visitors is also presented this day, and from it we here give one
or two short extracts : —
Catalogue and Chakt.
" With the Astrographio equatorial 722 plates, with a total of 1812
exposures, have been taken on 161 nights in the year ending May 10, and
of these 116 have been rejected, viz., 57 from photographic defects, 6
from mechanical injury, 12 from mistakes in setting, 6 from the plate
being wrongly placed in the carrier, 7 from failure in clock driving, and
28 from interference by cloud. The following statement shows the pro-
gress made with the photograpliic mapping of the heavens in the year
1892, May 11, to 1893, May 10 :—
No. of Photos, token. Snccessfnl Plates.
Astrographic Chart (exposure 40"') 200 183
Plates for Catalogue (exposures 6">, 3"i,
and 20') 307 288
Number of fields photographed for the
chart A 172
Number of fields photographed for the
catalogue 271
Total number of fields photographed since
the commencement of the work for
the chart 176
Total number of fields photographed since
the commencement of the work for
the catalogue „ 299
It has been made a practice to take a trail on each night on a catalogue
plate as a check on oneutation, and during the past year 127 plates with
trails have been thus secured."
Among the negatives shown were several illustrative of the effect of
prolonged exposures, the latter as compared with (comparatively short
exposures enormously multiplying the number of stars photographed.
Miscellaneous Photoobaphs.
The following miscellaneous photographs (included in the total number
of 722 given above) have also been taken : —
Nova Auriga), 49 ; for zero of scales and orientation, 36 ; North Pole
(for adjustments of eiiuatorial), 11 ; Pleiades, with various exposures, 19 ;
Victoria comparison stars (for determination of scale value), 12 ; lunar
362
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 9, 1893
eclipse, 1892, May 11, 4 ; comet Holmes, 2 ; moon, 3 ; Saturn, 5 ; con-
iunction of Saturn and y Vlrginis, 16 ; trails of equatorial stars, 3.
Four of the plates of the Pleiades have been taken with the group in
four different positions on the plate for determination of the optical dis-
tortion of the telescope.
Some experimental plates of Jupiter, Saturn, double stars and lunar
craters have also been taken with the image enlarged about fourteen
times by a secondary magnifier, consisting of a triple commented concave
lens of one and three-eighths of an inch in diameter and three inches
focus, supplied by Mr. T. E. Dallmeyer. The results are very promising.
The PHOTo-nELiooKiPH.
The telescope and camera of the Dallmeyer photo-heliograph were
again removed on September 9, 1892, from the wooden dome, where the
new buildings obscured the horizon, to the first floor of the new museum,
where they were remounted on stand No. 3, which was simply placed on
the floor and found sufficiently steady. From this position it was
possible to photograph the sun during about two hours each day. The
instrument and stand No. 3 (the proper stand No. 4 having been lent for
use in the eclipse expeditions) were taken back to the wooden dome on
April 7, 1893, the sun being then visible over the roof of the intervening
building.
In the year ending May 10, 1893, photographs of the sun have been
taken with this instrument on 180 days, and of these 410 have been
selected for preservation, besides twenty-two photographs with double
images of the sun for determination of zero of position.
The photographic telescope presented by Sir Henry Thompson, which
has been mounted on the Lassell equatorial, has been in regular use as a
photo-heliograph since January, 1893, and photographs of the sun
have been obtained with it on eighty-nine days, of which 158 have been
selected for preservation. In all, with one photo-heliograph or the other,
a record of the state of the solar surface has been secured on 220 days
during the year. A new enlarging lens by Messrs. Boss & Co., which
appears to be very free from distortion, was fitted to the Thompson
photo-heliograph on December 13, and has been used regularly since for
the eight-inch photographs of the sun.
For the year 1892 Greenmch photographs have been selected for
measurement on 197 days, and photographs from India and Mauritius
(filling up the gaps in the series) on 1G5 days, making a total of 362 days
out of 366 on which photographs are available."
For photographs of sun spots an exposure of u^j of a second is
given.
Magnetic Obsebvations.
The following remarks as the value of photography in magnetic obser-
vations will be read with interest.
"The photographic registration of the variations of magnetic declination,
horizontal force and vertical force, and of earth currents, with the accom-
panying eye observations of absolute declination, horizontal force and
dip, are maintained as in former years. The period has been one of great
magnetic activity, and at such times we can appreciate the advantage of
the newer photographic processes, as compared with those of earlier days,
in the clearness and delicacy of the registration of the many rapid mag-
netic movements that occur during magnetic storms. There is also
greater general certainty in the photographic work, the loss of register
due to photographic failure being now a very rare circumstance."
Eecent Sunshine.
Photographers may like to know what the Greenwich authorities have
to say over the recent remarkable summer weather :
" The sunshine registered in the months of March and April has been
phenomenal. For March it was 155-1 hours, and for April 231-0 hours ;
the greatest numbers for these months in the sixteen years 1877-1892
being 141>i0 (1880, March) and 196i»-3 (1892, April). The greatest values
for any month in the sixteen years preceding are 277'''1 (1887, July),
267'' 1 (1877, June), and 237''-8 (1882, May) ; and, if we consider the
ratios of sunshine to the total time the sun was above horizon, or to the
total time, less one and a half hours each day, during which the sun is
too low to give a record on the paper, we find that April, 1893, was the
sunniest month yet recorded."
Eatio to
Total No. Total, less
of Hours- IJ boors daUy.
1877, June 0-640 0-594
1882, May 0-493 0-546
1887, July 0-558 0615
1893, April 0-557 0-624
A NEW SOCIETY --THE NORTHERN PHOTOGRAPHIC AND
SCIENTIFIC ASSOCIATION.
When- a number of amateur photographers and scientists residing in-
the more northern suburbs of London decided upon the formation of a
society which should prove of greater scope than photography alone could
provide, the pleasant and now largely populated village of Wood Green
was universally selected as the site of its headquarters. Wood Green in-
itself has many amateur photographers and others devoted to scientific
pursuits, and these have during the past few weeks being doing advance
work in the formation of a society which should embrace not alone
photography but other sciences more or less cognate to it. Wood
Green, from having a short time ago been an outlying and very small
suburb of London, has now become a species of centre, having suburbs
of its own, the preponderance of its male inhabitants being engaged
in London in business during the day. It is in continuity with Noel
Park, Hornsey West Green, New Southgate, and similar populous
districts.
The inaugural meeting, which assumed the form of a conversazione,
took place in the Public Hall, Canning-crescent, Wood Green, on
Wednesday evening last week. The Hall was crowded, many ladies-
being present. On the tables around the HaU numerous microscopes,
showing objects with plain and polarised light, were arranged, together
with curios from China, Japan, India, Africa, and the South Sea Islands,
lent by medical men and others of the neighbourhood. The walls were
decorated with photographs, both of a pictorial and a scientific character.
A twelve-foot screen at one end, and a lantern in the middle of the Hall,
left no room for doubt as to what one part of the entertainment was to
consist of, and which eventually was found to be a display of a selection
from Mr. F. P. Cembrano's choicest slides.
Mr. J. G. Robins, the President of the Association, occupied the chair,
and in course of his remarks spoke of the future of the Society that had
just come into existence. Two preliminary meetings had been already
held, and that night it was to be launched out to take its chance among
the many others of different kinds that already existed. This Society
was a scientific as well as a photographic one, and the person who took a
practical interest in it found himself perforce dabbling in chemistry, and
several other sciences. The promoters of this Society were a few gentle-
men who were scientists, and who thought that a very good society could
be formed in the district. The audience could judge for themselves as to
the success of the inaugural meeting. The aim of the Society was to
unite photography and other sciences together, which was plainly de-
monstrated that evening by a glance round the hall. The speaker then
went on to enumerate the various collections they had lent them that
evening, speaking in very kind terms of the gentlemen who had so be-
friended them, and expressing the gratitude the Society felt towards them
for their kindness. He also spoke in eulogistic terms of the Secretary,
Mr. A. S. Murrow, of the hard work that had devolved upon him in that
capacity, and of the efficient manner that he had performed his various
duties. The Society was indebted to Mr. Murrow for the handsome
screen they saw before them, which w as in every respect one of the best
that it was possible to get. Mr. Murrow had made them a present of it,
and his kindness had been greatly esteemed. With regard to the lantern
and photographic slides that would be exhibited by Mr. P. D. Coghill a
little later on, the Society owed its thanks to Mr. Cembrano, of Richmond,
who had sent, for this occasion, the finest photographic slides it was
possible to obtain. Those present would soon have an opportunity of
judging for themselves as to the accuracy of his remarks when the slides
were projected on the screen. The speaker then went on to announce
that the next meeting of the Society would take place that night three
weeks, on which occasion a lecture would be given by Mr. C. Coulter on
ChemUtnj on Dry Plates. After supplementing several additional
fixtures, the speaker concluded his remarks by urging all his heaj-ers who
took an interest in any scientific pursuit of any description, to give in
their names to the Secretary, who would cordially welcome them on behalf
of the Society.
The Treasurer, Mr. F. K. Beagley, said that the Association was not
being run as a paying concern, and all that was required of it was that it
should pay its own way. In view of this the subscription was not a
heavy one, namely, ten shillings a year ; and this was very reasonable
considering the programme that was in store for them.
The exhibition of Mr. Cembrano's slides, each of which was greeted,
with encomiums, was followed by a similar exhibition of microscopic
projections on the screen. Music, including madrigals, formed an
attractive feature in the proceedings, and as some of the members and
their lady friends are professional musicians, this element was ably-
conducted.
».une 9, 1893]
THE BRITISH JOURNAL Oi PHOTOGRAPHY.
868
The committee of management deserve unqualified thanks for the able
manner in which everything was carried through.
Tlie membership is very numerous, and the Association has our best
wishes for its success.
PHOTOGBAPHIC SALON, 1893.
The following are the particulars of the Exhibition of Pictorial Photo-
Braphy, to be hold at the Dudley Gallery, Piccadily, from October 9 to
November 11, 18',>3.
1. An Exhibition of photographic pictures, to be called the Photo-
graphic Salon, will be held at tbc Dudley Gallery, Piccadilly, London, W.,
from October 9 to November 11, 1893.
2. Careful consideration will be given to all pictures entered for exhi-
bition, and a selection of works of pictorial merit only made by a
Committee.
3. Foreign as well as English photography will be represented.
4. The aim of the organizers of this, the first Photographic Salon, is to
inaugurate a series of Exhibitions (which it is hoped may be annual
ones) bringing before the public the best productions of photography
solely from the pictorial point of view.
,5. No awards are offered, and no charges made to exhibitors.
G. The usual charge of 1«. will be made to the public for admission.
Exhibitors will be entitled to a season ticket
7. Arrangements will be made for the sale of pictures, if desired, and
a commission of fifteen per cent, will be charged on sales effected.
Particulars as to price and sale will be printed in the catalogue.
8. Each picture must be separately framed, and each frame must bear
oa the back name of exhibitor, numler and title of picture, and price if
offered for sale, corresponding to the particulars on the entry form. This
information must also, for catalogue purposes, be repeated on a label
attached by a string, and made to hang over the front of the frame.
y. The form announcing intention to send picture should be forwarded
as soon as possible, and not later than Friday, September 1. The entry
form must be sent with, or previous to, exhibits, and received not later
than Wednesday, September 27th, addressed to the Secretary, Photo-
graphic Salon, 215, Shaftesbury-avenue, W.C.
10. Pictures sent in packing cases, &c., must be delivered, carriage
paid, at 215, Shaftesbury Avenue, W.C, not later than Wednesday,
September 27. Frames delivered by hand must be left at the Dudley
Gallery, Piccadilly, on Saturday, September 30, and removed, after the
Exhibition, from the same place on Monday, November 13.
11. The Committee will unpack, repack, and deliver to carriers all
exhibits sent in cases, but will not be responsible for damage. Every
care will be taken of exhibits. To avoid damaKe, frames should have no
projecting nails.
12. Intending exhibitors are desired to fill up the forms of advice and
entry, and to forward the same to the " Secretary of the Organizing
Committee, Photographic Salon, 1893," 215, Shaftesbury Avenue, London,
W.C. , in accordance with the instructions noted thereon.
NATIONAL ASSOCIATION OF PROFESSIONAL
PHOTOGRAPHERS.
May 26,— Council Meeting— the President, Mr. Thomas Fall (London),
in the chair.
Present : Messrs. Birtles (Warrington), Warwick Brooks, Hon. Secretary
(Manchester), Crosby, Hon. Treasurer (Rotherham), Eddison (Barnsley),
Higginson (Bowdon), Whitlock (Birmingham), Yates (Sheffield) ; also as
a member of N.A.P.P., T. N. Longton (Sheffield), and D. J. O'Neill,
Secretary.
Telegrams and letters of apology were received from Messrs, Bromwich
(Bridgnorth), Gill (Colchester), Mclver (Leeds), Slingsby (Lincoln),
Whaley (Doncaster).
Secretary's report was read, and the business transacted may be
summarised as follows : — Annual report and statement of accounts, also
list of the new Council elected at the annual meeting had been forwarded
to the (14G) members.
Next annual meeting will be held February, 1894, Birmingham. A
dinner to be arranged for the members and friends on that occasion,
details of which will be duly announced.
Members of Council and members of the Association had paid over to
Guarantee Fund for working the Association, 35?.
. New members elected by vote of Council, Mr. Lyd. Sawyer (Newcastle
on-Tyne), Mr. A. HoUis (Barrow-in-Furness).
Several members not having yet paid their 1893 subscriptions {IQ.i. M.),
Council requested that same may be forwarded to Secretary, D. J. O'Neill,
[ 47, Charlotte-road, Birmingham, as speedily as possible.
Secretary continues to receive communications of various kinds from
all parts of the world, evidencing the fact that the N.A.P.P. was now fully
recognised as the official representative of the profession.
The Photographic Convention of the United Kingdom will be held at
Plymouth, July 3, 1893.
Mr. Coles (Watford) had kindly sent a list of proposed members to
Secretary.
The various uses to which the Association might be applied (or the
benefit of the profession had been frequently referred to in the photo-
graphic press.
The establishment of a Photographic Club and Institnte was hesrtily
approved by the Council, and it was noted that the President, Mr. T.
Fall, had been requested to act as a member of the Provisional Committee
of the Club.
Respecting the very important case of the most unjust proaecation of
Mr. Cowley, the Secretary gave full particulars of the correspondence on
the subject between infiuential members of the N.A.P.I'. It was felt
that, while every member of the Association heartily sympathised with
Mr. Cowley, the Association was not in a financial position to take up
his case and to isstitute legal proceedings on his account, especially as
he tcag not a member of the Assoriatio^i, Council recognised gratefully
the active part taken by the President, Mr. T. Fall, in this matter, and
he detailed the action which he (Mr. Fall) was taking for the benefit of
Mr. Cowley on his own responsibility, and without in any way com-
promising the Association or its friends.
A desire was expressed that the members should send in to Secretary
suggestions and designs for the proposed " Certificate of Membership,"
which it was agreed at the annual meeting should be issued to members.
Referring to suggestion from Mr. W. P. Marsh (Bognor, Sussex) as to
traders and manufacturers supplying members on special advantageous
terms. Council was of opinion that the present members (146) of the
Association now warranted their demanding such advantageous terms for
the Association. The President kindly undertook to procure data as to
the terms on which makers and traders would be wilUng to comply with
this very reasonable request of the Council.
Mr. R. Slingsby (Lincoln) having brought forward the subject of cer-
tificates of skill and capacity to be issued to assistants, the President
dwelt at length on the very unpractical character of the certificates now
issued by the London Polytechnic Institution, which were merely good
for a limited chemical knowledge.
Council expressed strong wishes that some system should be adopted
to bring really capable and duly qualified assistants within reach of the
professional photographer.
Secretary was instructed to communicate with Secretary of Polytechnic
Institution, with a view to some arrangement that before such certifi-
cates were issued, students should be examined by some representa-
tive, capable, and experienced photographer.
In reference to the comments of Mr. Battcrsby (Manchester) on
the sale of methylated spirit, Council considered that there was now no
practical difficulty in the way of photographers procuring same. The
President stated he should be happy to assist all members in this matter,
and to give them the advantage of his knowledge and experience on the
subject.
The President reported his intention to visit the Chicago Exhibition
Photographic Conference as requested by the Council.
Mr. Eddison (Barnsley) brought forward the subject of the present
unjust mode of dealing with photographers by the fire insurance com-
panies, as regards compensation for loss of negatives. He spoke from
painful and personal experience in the matter, and stated that instead of
the person insured recovering the amount which he was insured for, the
insurance company only paid on a " proved average of the actual sales
from negatives in stock over a given period," making the amount refunded
about one-fourth of that on which the insurer had been paying all along.
The Secretary was instructed to communicate with Mr. Eddison and his
assessors, Messrs. East & Haslam, Leeds, with a view to procure some
alteration in this most unjust mode of procedure.
The next Council meeting will beheld at Anderton's Hotel, Fleet-street,
at the time of the opening of the Pall Mall Photographic Exhibition,
London. All professional photographers will be gladly welcomed by the
Council.
©ur IBtritorial JTaijIe.
Qltcin-Hauff.
Fuerst Bros., 17, Philpot-lane,
Last week we acknowledged receipt of a sample of the newest
developing agent, and since then we have had an opportunity of
putting it to a trial. Its salient qualities are thus indicated in the
makers' instructions. " Glycin-Hauff, with potash, forms a developer
giving, without the addition of bromide, absolutely clear and trans-
parent negatives of an agreeably grey colour. It is not a rapid de-
veloper, hut works slowly, with great harmony and softness. An
advantage not to be under-estimated of this developer also consists in
its great keeping quality, which will not alter if the solution is
sufficiently concentrated and in well-closed bottles. The concentrated
developer is made up as follows: — 350 grains of sodium sulphite
crystal are dissolved in one ounce of water, 150 grains of glycin are
then added and heated to boiling point, and one and a half ounces of
potash carbonate are added (begin adding the potash in small quanti-
864
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 9, 1893
ties, on account of the carbonic acid gas). When cold, this con-
centrated developer — forming a thin, pasty solution — may be kept as
stock. For use, shake the solution first, and dilute the required
quantity twelve times for ordinary purposes. For use when de-
velopment is to be left to itself, the stock solution is diluted fifty
times,"
In our own experiments, we made up for use the following
solution : —
Sodium sulphite 40 grains.
Glycin 20 „
Potassium carbonate 80 „
Water 4 ounces.
Using this solution as the working developer, we found that, although
its action was comparatively slow, with rightly exposed plates it
yielded a charmin<r quality of image, having perfect softness and
harmony, with a richness of colour of the deposit which should make
glycin eminently useful for transparency work. It works very
cleanly, and has great power over detail, so that, with tliose who
incline to slow development, it should be a favourite.
The ABC Toning Powdeh.
AsTOK & Sons, 95, Spencer-stroet, Birmingham.
To the drachm of hypo dissolved in two and a half ounces of water,
twelve grains of the toning powder are added to make a combined
toning and fixing bath. The combination yields excellent tones on
gelatine paper. It will, doubtless, be a convenience to many to have
the toning powder in this handy form.
A Nkw Hand Camera — the "Queen."
The " Queen " is well worthy of notice, for two reasons : first, it is
the invention of a lady photographer who has shown that she possesses
an inventive facultj- hitherto believed, in this direction, to have been
confined to the sterner sex ; and, secondly, and more particularly,
that her " Queen," although selling retail at only I5s. Gd., is a really
effective magazine camera, containing one dozen of plates in its in-
terior, each in a sheath. It has an achromatic lens, which covers a
quarter-plate sharply. It is light (small doubt of that when a lady is
the inventor), weiyrhing only three pounds when charged. The general
principle is this : The plates are stacked behind, and pressed forward
by a spiral spring to the checks at the focal plane, like those in the
well-kiown Swinden & Earp camera. Upon pressing a button con-
cealed under the carrying handle, a part of the stage containing one
sheath only is depressed, which causes the sheath and plate to fall
forward on to a spring-board, from which it slides into a receptacle
at the back, into which the plates store themselves very neatly one on
the other. The instantaneous shutter, which is always set, is simple in
the extreme, but it answers the purpose, and, like the other acting
parts of the camera, cannot get out of order. It is made by N.
Crouch & Co., 122, Isewington-butts, S.E.
Bkilliantine. ^
S. SiDET, Richmond-road, Dalston, N.E.
Brilliantine is a solution which, when diluted with water, is in-
tended for removing pyro and other stains from negatives, and clear-
ing up their shadows. This, from a single trial, we have found it to
accomplish.
Wynnes' Exposubb Metbh.
An exposure meter, differing from those already known, is brought
under our notice by Mr. G. F. Wynne, of Wrexham, who has
organized a " company " in order to its being brought
efBcientlv before the world, and who, claiming the
infallibility of its indications, has adopted this quahfying
term as the name of the meter.
The Infallible Exposure Meter is a miniature slide
rule which, being only a little over three inches in
length, can easily be stowed away in the vest pocket.
In the right-hand column are the stops, ranging from
f-i to /-256. The third column, which, like the first,
is on the solid rule, represents the speed of plates,
graduated from a very low degree of slowness to an
almost inconceivable rapidity. The centre column is
engraved on the brass slide, and ranges from 64
seconds downwards to the 128th of a second. The
meter is accompanied by full directions for use. We believe that this
little instrument will prove very useful, especially when used with an
actinometer, the use of which is described, but which has not yet
come to hand. Mr. Wynne truly says that the greatest difficulty a
beginner in photography experiences is in rightly estimating the
correct exposure to be given under the varying conditions of subject,
stop, speed of plate, and light value, and he believes that this exposure
meter will prove an " infallible " guide to such. It sells at a very
low price. We may return to this subject after receiving the actino-
meter referred to.
KECENT PATENTS.
APPLICATIOXS FOR PATENTS.
No. 10,146.— "Imiirovenieuts in Dark Slides for Photographic Purposes."
W. H. PRESTViiCH.— Dated May 23, 1893.
No. 10,166. — "Improvements in Photographic Cameras, and a Fastener to-
be used therein." C. Shaw.— i)aferf May 23, 1893.
No. 10,184.— "Improvements in Magazine Photographic Cameras." M.
Cost.— Dated May 23, 1893.
No. 10,194. — "Improved Means for the Development of Photographic
Plates." J. R. C. Gk'LK— Dated May 23, 1893.
No. 10,196. — "Improvements in Phototype Machines. " Communicated by
A. P. Stanford. Complete specification. A. J. BOULT. — Dated May 23,[1893.
No. 10,238. — "Improvements in Optical Lanterns." L. Matthews.— DntoJ
May 23, 1893.
No. 10,319. — "Improvement in Photographic Printing Frames." G. R.
Heaviside and J. H. Scampton.— flaicrf May 25, 1893.
No. 10,397. — "Improvements in Photographic Cameras." T. F. S. Tisne.
—Dated May 26, 1893.
No. 10,524.— "The Employment of CobaKic Salts to Obtain Photographic.
Images." Comnumioated by A. Lumier and L. Lumier. B.J. B. Mills. —
Dated May 29, 1893.
No. 10,617. — "Improvements in Apparatus for Calculating Photographic
E.vposures." G. F. VfY^^E.— Dated May ZO, 1893.
No. 10.685.—" Improvements in or connected with the Production of Photo-
graphs on Slate." W. Jones and H. JoNKS.— Z»«terf May 31, 1893.
No. 10,694.—" A new Cross Motion for the Fronts of Field Cameras." W.
Dawki.ns & Sons.— Z)ated May 31, 1893.
SPECIFICATIONS PUBLISHED.
1892.
No. 10,796. — " Photographic Apparatus. " Mackenstein'.
No. 11,175. — " Photogi-aphy. " Van dek Weyde.
1893.
No. 4377. — "Photogrfiphic Objectives." Pab\in.
No. 7343.— "Colouring Photographic Prints, &c. Klary.
Mttiixi^^ of Iboct^tte^.
MEETINGS OF SOCIETIES PORiNEXT WEEK.
Date of Meeting.
Jnne
Name of Society.
Darlington „
Dundee Amateur
North Middlesex
Richmond
Birmingham Photo. Society ..
Derby
Great Britain
Hackney
Itfanchester Amateur
Paisley
Stockton
Leicester and Leicestershire ..
Leytonstono
Munster
Photographic Olub
Southport
Stockport
Birmingham Photo. Society ..
GlosBOp Dale
HuU
London and Provincial
Oldham
Oxford Photo. Society
Cardiff
Croydon Microscopical
Holborn
Leaminffton
Maidstone
HuU
Place of Meeting.
Trevelyan Hotel, Darlington.
Asso. Studio, Nethergate, Dundee.
Jubilee House, Hornsey-road, N,
Greyhound Hotel, Richmond.
Club Room, Colonnade Hotel.
Smith's Restaurant, Victoria-sl.
50, Great Russell-st. Bloomsbury,
206, Mare-street, Hackney.
Lecture Hall, Athemeum.
9, Gauze-street, Pjvisley.
Mason's Coui-t, High-atreet.
Mayor's Parlour, Old Town Hall.
The Assembly Rooms, High-road.
School of Art, Nelfon-place, Cork.
Anderton's Hotel. Fleet-8treet,Bi.C.
The Studio, 15, Cambridge-arcade,
Mechanics' Institute, Stockport,
Club Room, Colonnade Hotel.
71, Prospect-atreet, Hull.
Champion Hotel, 15, Aldorsgate-st.
'The Lyceum, Union -street, Oldham,
Society's Rooms, 136, High-street.
Public Hall,George-street,Croydon,.
Trinity Church Room, Mortoa-st
"The Palace," Maidstone,
71^ Prospect-street, HulL
June 0,1893}
THE BRITISH JOURNAL OF PHOTOGRAPHY.
366
LONDON AND PROVtNCIAL PHOTOGRAPHIC ASSOCIATION.
Ji-NE ],— Mr. W. D. Welford in the chair.
The t'llAiiiMAN exhil)it«i an album of (?elatiiio-chlori(le prints, toned witli
his bicarl»natc of soda toninj? bath, mentioned at a previous meeting of the
Association. Ho also Raid that, diirinj a recent trip to Belgium, he had ex-
posed sixty jilates in a liatid camera, and had only lost four of them.
Some discussion arose over a statement in one of the photographic journals
that ninety per cent, of the light was stopped by the gla.ss roof of a studio.
Mr. W. E. Debenham thought twenty per cent, a better proportion,
Mr. P. EvERiTT observed that as much as tifty per cent, might be oh
when the glass was not apparently in a dirty condition,
Mr. R. Bkckktt exhibited a negative plate, having a positive partly formed
upon it, which he thought might be caused by repeatedly looking at the ini.ige
during development. He promised to confirm the observation by developing
an unexposed plate, and allowing the light to show on it, and continuing
development.
It was suggested that he should rover up one half of an exposed plate during
it ''5'^"*' * ^"g8<'stion which Mr. Beckett said he would adopt.
Mr. P. EvERiTT read a paper on A ngle of Vieio [see page 3571. A discus-
sion followed.
might be obstructed
Hackney Pbotograpblc Society.— May 30, Mr. K J. Wall presiding.—
Referring to amidol, Mr. Vinino said, although the negatives were pretty-
looking, they were not good printers ; they suited landscape work better than
portraiture. Mr. R. Beckett suggested that he should reduce the exposure
and extend the development. He used it every day : that day lie had de-
veloped twenty-five negatives in thirty minutes ; could get any amount of
density and excellent gradation. Mr. Wire showed prints from an amidol-
developed negative taken by flashlight ; they had sufficient contnust. The
Chair.man said it was always best to add amidol tlnj, otherwise the density-
given power is soon lost. Two grains of amidol and a quarter of a grain of
bromide to the ounce works well. It is specially good for old plates, but he did
not believe in the latitude in exposure generally claimed for it. The negatives
are not so non-actinic as pyro. Metol is nearer pyro. More control can be
had over metol than any other developer excepting pyro. It must be dissolved
in the order given in the printed formula. There are two kinds of metol— one
an oxalate, the other a sulphate ; the latter gives most density. A discussion
then took place on cloud negatives. Mr. G. Hankins uses a hand camera,
small stO)i, and rapid exposure. A black glass mirror with an isochromatic
plate /-3'2, one-twentictli to one-quarter of a second, cuts off much of the too
energetic blue rays by polarisation. If the sky is a brilliant blue, the light
yellow screen is an advantage. Mr. E. J. Wall "generally takes a silver print
.and cuts out at the sky line as a mask. Mr. S. J. Beckett said clouds re-
tlected in still water gave better results than the originals. Mr. W. L. Barker
smoked the plain side of the negative with a wax taper. Mr. W. A. Hensler
fully expo.ses and uuder-develops. Mr. E. J. Wall spoke highly of Place's
shutter, a roller .shutter giving less exposure to the sky. In a batch of views
recently taken only three per cent, were without clouds. To develop, he uses
one-eighth of a grain of pyro to normal of ammonia and bromide. Mr. W. F.
Gosling suns down his skies, when dead white, darker at top than at horizon.
Dr. Roland Smith always reduces the sky with ferrid-cyanide of potassium and
hypo ; however dense it may be, the clouils can always be got out. Mr. S. J.
Beckett retards development by bromide applied locally with a brush. At
the close of the meeting the presentation of a silver breakfast service was made
Lto the Hon. Treasurer, Mr. J. O. Grant, in recognition of his valuable services
T the Society.
East London Natural History and MicroBcopical Society.— The mem
fbers of the above Society, according to their established custom, had their
_ annual outing and " social " on Derby Day, May 31, to Epping Forest.
■ Commencing from Theydon Bois the route selected was through the less
-quented northern portion of the Forest near Epping, towards Copped Hall,
1 then southwards to High Beach. Early in the afternoon the party was
ttcreased by a contingent from the Hackney Photographic Society. The
leather was all that could be desired, and some very interesting "finds"
^delighted the naturalists, and by the photographic section a good many ex-
posures were made. The rende-.xoits for the "social " was the " George Hotel,"
George-lane, Woodford, where at seven p.m. the President of the former
Society, Mr. W. Smart, and other members of the Executive and friends, met
tho.se who had borne the burden and heat of the d.ay. After ample justice
had been done to an excellent and much-appreciated tea, to which about thirty
sat down, a most pleasant evening was spent. Mr. A. Dean, the Secretary of
the Natural History and Microscopical Society, and who is also Curator and
Assistant Secretary of the Photographic Society, performed several morceaux
on the violin. Mr. Drew presiding at the piano. Messrs. Harding, Sparrow,
Carrick, Dr. Gerard Smith, Love, amlT. Wishart Philips enlivened the evening
with many good songs, Mr. Slight giving an excellent recitation. Mr. Smart
took an early opportunity of proposing the health of Mr. Dean, who.se incep-
tion it is to hold these agreeable gatherings, and whose happy idea it was to
combine the Photographic Society in the outiug, which tended so much to the
pleasure of the day and the success of the evening. In his remarks he re-
ferred to the charm of revelling in Nature's beauties, the variety of its teeming
life, the necessary, but still mysterious, dying of all, filling the mind with awe,
reverence, and humility. The smallest weed, the most insignificant in.sect,
hold a secret no man has yet revealed. Mr. Dean, in reply, hoped that next
year there might be a larger attendance, and that the same good feeling and
good comradeship would prevail.
Putney Photographic Society.— May 27, Second Summer Outing.— Al-
though the weather looked very gloomy at starting, a good muster of members
.assembled, and, under the leadership of Mr. Faulkner, member of Council
proceeded to Hayes, on the South-Eastern Railway, for Hayes and Keston
Commons. The weather having brightened, full advantage was taken of the
will act as leader.
FORTHCO.MING EXHIBITIONa
1893.
July 8-8 Photographic Convention of the United Kingdom,
Plymouth. Hon. Secretary, F. P. Cembrano, jun.
10, Cambridge-gardens, Richmond, Surrey, 8.W.
Augnat Welsh National Eisteddfod. The General Secretary
Pontypridd.
Sept 25-Nov. 15 ... Photographic Society of Great Britain, 5a, Pall Mall'
East, S.W. Assistant Secretary, R. Child-Bay ley,
50, Great Russell-street, W.C.
October 1-31 Hamburg. Das Ausatellungs Committe dea Amateur
Photogriiphen Verein, Schwanenwik, 33, Hamburg.
„ 9-Nov. ... Photographic Salon, Dudley Gallery, Piccaililly, W. '
Hon. Secretary of Organizing Committee, A. .Maskell,
215, Shaftesbury-avenue, W.C.
December Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
©otr^jsfjjoniyencp*
Cmrespo)%dmti ihmld newr turite vn both tides of the paper. No notice is'takm-
of commimicalions unless the names and addresses of the vriters are given.
THE CONCENTRIC LENS. .
To the Editor.
Sib, — I have given a direct challenge to Mr. StiUman's main contention-
in his letter.s on this lena, and specified an authority who can decide the
point at issue fairly between us.
Surely it is plain to Mr. Stillman that hia own results are no more
conclusive to me than mine would be to him. Of what avail for me to
send you a softly defined negative taken with/-16 and a sharply defined
one with /-32? Would it convince any one of anything except my own
self-conceit?
I trust Mr. Stillman will agree to send one of his lenses to Kew ; but
if he declines to do so, I will send mine. I am determined to have a
reliable opinion on the point, as it will be instructive as well as con-
clusive.
I am greatly tempted to make some vigorous comments on Mr. StiU-
man's last letter, but will defer doing so for the present. What we want
now is proof. Mr. Stillman says the Concentric defines as sharply at/-16
as it does at /-64. I say it does not, and will prove the truth of my con-
tention, or retire with many expressions of regret for having driven Mr.
Stillman into poetry to prove that all optical science is sheer nonsense. —
I am, yours, &c., F. H. Burton.
Suundluiy, mar Leeds, June 0, 1893.
LARGE CAMERAS FOR PHOTOGBAPfflC SOCIETIES.
To the Editob.
Sir, — The following letter, referring to a remark of mine in last
" Jottings" as to the purchase of large cameras by photographic societies
for the use of members, has been forwarded to me. In order that many
more societies may profit by the admirable example of the South London,
I would suggest that Mr. Oakden's interesting letter be published.— I am,
yours, A-o., Cosmos.
June 6, 1893.
" Sm,— Referring to your paragraph in The BRmsH Journal op Photo-
graphy relating to the purchiise of a 12 x 10 camera by the Manchester Society
and which leads to the inference that the idea is a new one, I desire to point
out that three years ago such a camera was purchased by the South London
Photographic Society in a somewhat similar manner. Since that time a wide-
angle lens has been added to the outfit. Small fees for the loan of the
apparatus have been charged to members, and these have now nearly repaid
the original outlay.
" On the purchase being announced in print, our example was followed at
once by two or three other Societies.
" A lantern for loan by our members has also been bought in a similar way.
" Some gentlemen have joined us simply to obtain the use of the camera,' &c.
—Yours faithfully, Cha.s. H. Oakdkx, Hon. Secretanj.
"South London Photographic Society, 61, Melbourne-grove,
East Dulwich, S.£., June 1, 1893."
RAPID PLATES AND HALATION.
To the Editor.
Sib, — In the coarse of his paper, Selectiotu, which he read before the
Holboru Camera Club, Mr. E. Dunmore made some remarks on the
subject of " Halation " that are so strongly at variance with my experience
of the subject, and may possibly conflict with that of others, tiiat 1 should
366
THE BRITISH JOURNAL OF PHOTOORAPHi.
[June 9, 1893
be obliged if you would allow me to say a Jew words in reference to it.
He says, " With highly sensitive films, no precaution that I know o£ will
altogether prevent, or even mitigate it [halation], if the subject is highly
reflective, or possessing strong and abrupt contrasts." It is, as a rule,
only in such subjects as these that halation is to be apprehended and
provided against. I should have thought — and theory seems to me to
indicate that such is the case — that the coarse particles of a very rapid
film would, in themselves, interpose a natural barrier to the lateral
spreading action, although they might not have the same effect with
regard to the back reflections.
But, waiving this point, my experience of very rapid plates, backed
with a mixture of caramel, gam, and burnt sienna — possibly as good a
hacking mixture you can have — is, that even in difficult interiors, re-
quiring long exposure, the halation of the image is virtually inappreciable.
Many of the most rapid plates contain iodide, of which fact Mr. Dunmore
seems unaware, and which may account for my experience differing from
his. Some years ago I ascertained, by experiment, that the iodide con-
tained in some plates of inferior and extreme rapidity did not greatly
differ in quantity.
Much, of course, depends on the amount of silver contained in the film
of rapid bromide ; but, apart from this, I do not think it a safe doctrine to
put forth that very rapid plates, with a suitable backing, are unmanage-
able for strongly contrasted interiors, although slow bromo-iodide plates
may be preferable, as being more calculated in themselves to subdue
halation.— I am, yours, &c., J. Stbinoeb.
London, June 2, 1893.
♦
COINS AS WEIGHTS AND MEASUEES.
To the Editor.
■Sir,— I am sure photographers ought to be very thankful to you for
telling them, as you did in your last number, how admirably some of the
current coins of the realm can be substituted for the usual weights and
measures. It is not every one of us who knew that a sovereign could be
used for a quarter of an ounce, half-a-crown for the half-ounce, and bo on,
and now that we have the information I fear that, in the present state
of trade, there are very few of us who are able to put it to practical
account, I, for one, at any rate, find it impossible to keep sovereigns
and half-crowns long enough to use them as weights — even when I get
them, which is rare now that, as Mr. W. Grove points out, my brother
professionals are giving sittings for nothing. Could you not supplement
your interesting paragraph by telling us how the sovereigns, &c., are come
by — help us all, in fact, to make a living out of the profession you so
worthily support ? If you can assist us in doing that, I am sure there
isn't a man among us who wouldn't be content with light coins, that
wouldn't do for weights at all.— I am, yours, &c.. Hard-dp Pro.
June 3, 18'J3.
CHEAP RAILWAY PAEES FOR PHOTOGEAPHEES.
[The following communication from Mr. James Railton, of Messrs.
Swan & Leach, referring to cheap railway fares for photo-
graphers, has been forwarded to us as the result of a conversation
with that gentleman on the subject. The fact that parties of
photographers can obtain reductions on their fares deserves, as
Mr. Railton hints, to be more widely known. — Ed.I
To the Editor.
Sir, — Eef erring to my call at your office this morning, re railway fares,
&c., for photographers, with regard to their being placed upon the same
footing as members of angling societies, I made it my business to bring
the matter before the Superintendent of the Great Northern Bailway this
morning, and he informed me, in course of conversation, that such a thing
could not be ; it would open too large a field altogether, and people would
avail themselves of such a reduction by at once becoming members of
photographic societies (which would greatly interfere with ordinary
traflSc) who would not become members of angling societies. The next
time I have the pleasure of seeing you, 1 would explain the matter more
fully, when I am pure you would agree with me that the idea is not one
which can be carried through.
The reduction made for members of photographic societies we feel sure
IS not generally known, that is, of course, when they are travelling
together on their field days, and personally I shall be very glad to make
any arrangements for proposed parties.
As promised, I enclose a copy of the letter I wrote to all the secretaries
of the photographic societies upon the enclosed list [24, Ed.]. We have
not even received so much as an acknowledgment.— Yours faithfully.
Swan d- Leach, Ltd., James Eailton.
3, Charm g-CTosa, London, S.W., June 2, 1893.
Dear Sir,— We beg to offer you our services in connexion with the
arrangements for any excursions or field days which your Society may
have during the ensuing season.
On any of the systems of the Bailway Companies (or their connexions)
mentioned above, we are able to offer you tickets in advance of the
xedoced tariffs granted to photographic societies, according to numbers
We are also able to make arrangements for catering, and consequently
could quote you a price per head, including cost of return ticket and
meals, so that each individual member of your society could know at
once the total expense to which he would be put, and at the same time
the trouble of making the arrangements would be taken off your hands,
and submitted to you when complete for your acceptance or otherwise.
For your guidance we make no charge whatever to you for our services,
as we act in the matter solely as the authorised representatives of the
Eailway Companies concerned. — Yours faithfully.
Swan & Leach, Ltd.,
James Eailton, Managing Director.
3, Charing-cross, London, S.W., January 25, 1893."
IBxcfiange (Column*
\* JVo charge is made for inserting Exchanges of Apparatus in this column ;
but none mil be inserted unless the article wanted is definitely staled. Those
who specify their requirements as ' ' anything useful " will therefore understand
the reason of their non-appearance. The full name of the advertiser must
in all cases be given for publication, otherwise tlie Exchanges will not be
inserted.
Will exchange 3Jx3J camera, fonr double dark slides complete, for half.plate camera.
— Address, H. Mobel, Newcastle-chambers, Market-place, Nottingham.
Wanted, detective lens, hand camera, or offers, for Robinson's patent secret camera
and plates complete. Address, F. Couch, 11, Waterloo-crescent, Dover.
Will eichange Grubb's 3i portrait lens in fine condition (list price 6!.) for 12x10 rapid
rectilinear by good maker.— Address, F. Williams, 25, Winton-street, Millow,
Cumberland.
Will give a Marion's whole-plate, short-focns view lens for Kershaw or similar
shutter, time and instautaneous, for three-inch hood. ^Address, A. J. Eobinson
4, Windsor-place, Mumbles, Swansea. *
Will exchange six volumes, unbound, of Ca«sell's Illustmteil History of Enalamd, and
about fifty odd numbers of The British Journal of Photoorapht for a half-plate
camera and lens.— Address, H. Tobb, Byfleld-villa, Rothes-road, Dorking.
Will exchange Arnatem Photographer, July, 1891, to date complete, and Boys' Own
Paper, vols. xiii. and xiv., for Griffith's guinea hand camera or Optimus rapid
rectilinear quarter-plate. — Address, W. Downing, 22, Pepys-road, New Gross, S.E.
Will exchange 9x7 solid mahogany-box camera, single slide, rising and cross front,
also five-inch gas bar burnisher, for hand camera, 10x8 slides, or quarter-pUte
camera set. — Address, Charles E. Heath, 4, Cambridgo-terraca, Brockley-road.
Forest Hill, S.E.
Wanted, half-plate modem camera, and three double slides, in good condition, in ex-
change for three or four dipping baths (various sizes up to 18 X 141, and about 300
copies of Thi British Journal op Photooeaphy.— Address, A. W. Dceeell, 44
Birkbeck-place, West Dulwich.
Wanted to exchange Uarion " Excelsior " whole-plate studio camera, will take also
cabinets and cartes, in perfect condition, for modern ont-door whole-plate camera,
with three double slides ; difference adjusted in casli. — Address, J, T. SlHOvs!
46, Elizabeth-Street, off Trailord.road, Salford.
ansstoersJ to arorreaponUents.
*»• All matters intended for the text portion of this Journal, including
queries and Exchanges, must be addressed to " The Editor, The British
Journal op Photoorapht," 2, york-street, Covent Garden, London. In-
attention to this ensures delay.
,* Correspondents are informed that we cannot undertake to answer com>
municalions through the post.
%* Communications relating to Advertisements and general business affairs
should be addressed to Messrs. Henry Greenwood k Co. , 2 York-street,
Covent Oarden, London.
*,* It would be convenient if friends desiring advice respecting apparattis,
failures in practice, or other information, would call at the Editorial Office
either on Wednesdays from i to 6, or Thursdays from 9 to 12 noon, when
some one of the Editorial staff will be present.
Photographs Registered : —
W. Crow Gordon, Nairn.— Pho(osrapHo/JS<w. Curri« Martin, of Nairn.
James Bnrgoyne, Birmingham.— Plwtoarapi of the Australian Crii:ketere.
William James Wilson Munro, Annan.— Photograph of otter hunters after kill.
Guy & Co., Limited, Cork.— Dirce Photographs of Blarney Mills, Caunty Cork.
John Charles Burrow, Camborne.— Sirtecn pholographsof miners, and miners at Kork,
Sydney W. Anstee, hnton. — Three photographs of bridg} over the Bluer Lea at
Luton.
Sydney Victor White, B.eAiiag.~Photograph Kf AUtrmvi William WMe, of
Btrmmgham.
June 9, 1893]
THE BRTTISH JOURNAL OK PHOTOGRAPHY.
867
I
FhUip Nowman, Dcvizea.— P)iofotfra)>li« o/ U.R.H. the Prince of WnUf revifirina
lii» otrn Yfoinanry Re<^immt ujion Rowtdtcay Ifill, Dtviutf and upon tht occatioii
of the H'Utthirt ¥«omnnnj Ctfnttmary. »
W. OlBUNO. — Thanks for yours and enclosure.
Binocular. — Screw the lenses on the front, so as each to be in the centre of
its half of the plate.
PniNTEii.— By hoilin? the water, and using when cold, the deposit on the
prints will probably not recur.
K. — Any good lens of the enryscope class will serve your purpose. The one
you sjiecially mention belongs, we believe, to that class.
ALmED BoEHM (Burton-crescent). — The agent for Gunther Wagner's trans-
parent colours is Mr. C. A. Rudowsky, 3, Guildhall -chambers, E.C.
G. B. — Tlie lenses of Lerelmura et Secretan are generally considered good. We
do not know the present commercial value of one suitable for whole-plates.
P. Newman. — Registration enables you to proceed for infringement of copy-
right. The latter lasts for the owner's lifetime, and seven years after nis
death.
C. J. Emenv. — In the advertisement pages of the Joubxal and Almanac, you
will find every type of camera dealt with, some of which you will no doubt
find suited to your purposes.
C. Y. 0. — Unless you have a copyright in the picture, you cannot prevent its
being sold at any price the pirate chooses. It is certainly annoying,
after having paid a high price for the negative.
(iRamme. — Weights and measures on the metric system can be obtained from
any of the dealers in chemical appliances ; or any of the photographic
dealers would supply them to order if they do not stock them.
W. Heming.— If the prints, after being removed from the toning bath, are
first subjected to a good dxsh of water, and are then transferred to fresh
water, the toning action will not be continued. This, at any rate, is our
experience.
E. Myers. — Bichromate of soda is not so good as the bichromate of potash for
sensitising carbon tissue. It has been recommended for the purpose, but it
is founil not to answer so well, as it has a tendency to render the tissue
quickly insoluble.
Novice. — There is no necessity to boil the starch for raoauting purposes. In
fact, it is not so good if boiled. The want of adhesion in your case is, that
the starcli was not rightly mixed. Get a little instruction in the matter
from the domestic department.
Madame Talbot Wilson writes : "May I ask if you could give me a list of
the places in Rome, Florence, Venice, and other towns in Italy and Germany,
where an amateur could develop negatives ? " — Perhaps some of our readers
can supply the information desired.
OxON. — Something must be radically wrong. Five grains of chloride of gold
for each sheet of paper is out of all reason. As you are sure that none of the
gold is reduced spontaneously, we can only suspect that the salt being em-
ployed does not contain the proper proportion of metal.
I Craven.— In copying oil paintings or water-colour drawings with plates
orthochromatised with erythrosine, a yellow screen should be employed to
obtain the best efl'ects. Its depth ought to be chosen according to the
character of the work. It is well to be provided with two or three screens
of different depths. They are not expensive in small sizes.
A. C— It was very unwise to send the money for second-hand goods with-
out knowing something about the advertiser. As more than a week has
elapsed and the apparatus has not arrived, and you can get no reply to your
letters, the matter certainly looks very suspicious. Therefore lose no time
in communicating with the superintendent of police for the district, giving
full particulars of the affair.
Tyler.— The only way to obtain more detail in the darker parts of the
interior of the church is by giving a longer exposure. Although twenty-five
minutes may seem a long time to you, an hour and a half would not have
been a bit too long, under the same conditions as to stop and plate, to get
full detail in tlie deepest shadows. The light circle in the centre of the
picture is a Hare-spot as surmised.
,', Benjamin.- Unless yon can prove that the negatives were badly packed,
we thmk you have no remedy against the enlargers. As a nUe, they state
on their prospectuses that they do not hold tliemselves responsible for
breakages m transit. Tlie remedy, if any, would be against the carrying
I agents. But the claim should have been made at the time. After so long a
period they will, no doubt, repudiate it altogether.
.. G. HiLLHODSE.—l. While the rates of wages for operators in the United
I States may be higher than those here, it is the case that competition for the
best positions is as keen, if not keener. 2. There is no such journal there,
i <5. If you decided to start business there, we should suggest your going to a
J small town, and growing with it ; but whether you would do better there than
I here hinges so largely upon personal qualifications that we cannot hazard
I any opmion on the question.
A. Campbell says: "I have made up some collodion for enamelling, using
equal parts of methylated ether and alcohol ; but it does not answer. The
film it pro<lnces seems all right, but the fault is, it will not strip freely front
the glass — it sticks in places and spoils the prints, as those enclosed. " —
There appears to be nothing the matter with the collodion. ITie causa of
the i>rints sticking i." that the jilate was not Rufficiently treated with the
French chalk — it was not rubbed sufficiently on the glass.
H. A. — We should say that the pawnbroker will have to give up the lens, even
if the thief is not caught and convicted. As only twenty-one shillings was-
asked for on an instrument costing over twenty pounds, and Ijearing a well-
known maker's name, the pawnbroker might well have assumed that it was
come by honestly. That, we imagine, would l>e the view taken by the
magistrate before whom he might be summoned. As the lens is a valuable
one, it may be well, in the first instance, to consult a solicitor.
PvRO (Leeds). — It is impossible for any one to give the exposure " for an en-
largement on bromide paper from a quarter-plate negative with a lens work-
ing at /-8 with daylight" It will depeml upon the sensitiveness of the
paper, the density of the negative, the light at tlie time, and the degree of
amplification. The liest way to ascertain what is required is, when aU is in
position, to make trial exposures on two or three small pieces of paper, and
then develop them. With a few experiments of this kind, proper exposures
can soon be arrived at.
C. Frith. — Your announcement was only received after the preceding portion of
the Journal had been sent to press, but we insert here a synopsis. The
Harriugay Society will, owing to an increase of member.*, hereafter meet at
8, Station-road, Finsbury Park. They will 0|>en with a concersa:.wne at the
Public Hall, Finsbury Park (entrance, 14, Stroud Green-road), on Thursilay,
the 15th iiist. Tickets of ailmission, 6(i. , to be had of local chemists.
Secretaries of Societies would greatly oblige by sending their reports so as
to reach us Ijefore Wednesdays.
P. A . G. asks : " Whose place is it to keep a studio in repair, the tenant oi the
landlord ? The tenant built the studio, removable at any time, some years
ago in the garden, and the premises are held on a yearly tenancy. The
landlord has always done the repairs to the house, and makes no demur to-
doing so still, but refuses to repair the studio. Can he be compelled to ?" —
We should think, certainly not. It is the tenant's property, and put upon
the premises by him for his own use, and to be taken away whenever ho
removes. We consider it is as unreasonable to expect the landlord to keep
the studio, under these circumstances, in rejiair as it would be to expect him
to repair the furniture in the house when it requiresit.
H. T. writes : " A short time ago I bought a benzoline cask to store waste
silver washings, The cask being full, I tried to precipitate the silver with
common salt. Finding that it would not separate, tried sheet copper. Tliat
not having the desired effect, I have come to the conclusion that the
benzoline retained in the wood of casks stops the precipitation. Could you
say if it is so, and suggest a remedy > In both trials the wa.shings have been
given a longer time than usual to .settle, but it has had no apparent effect,
except to slightly coat the copper. Have used jiarafiin casks before, and
have had no trouble with them." — The cask is not the cause of the silver not
subsiding. The silver in the wa.shings from some papers, particularly ready-
sensitised, is more troublesome to predjiitate than from others. In these
cases hydrochloric acid is a better precipitant than salt. Try the effect of
adding an ounce or two of nitric acid, and then give a vigorous stirring for a
few minutes. After this treatment the chloride of silver usually subsides-
quickly.
PHOToaRAPHic Club.— June 14, Members' Open Night,
Manchester Photographic Society. —June 10, Alton (ramble).
The Birmingham Photographic Company, Limited, have removed to-
Criterion Works, Great Charles-street, Birmingham.
We thank Mr, James Paton, 'Greenock, for an interesting photograph of a
flash of lightning, obtained on the evening of the 20th ult. It was takea
across the Clyde.
Change of Address.— The address of Mr. Fred H. Davies, Secretary of the
Talbot Photographic Album Club, Birmingham, will in future be 26£>, Coventry^
road, Birmingham.
Leytonstone Camera CLua— June 10, "Up the River" to Battersea Park;
leader, Mr. A. E, Bailey. The Club will proceed by the first boat after forty-
five minutes past two p.m., from Old Swan Pier, London Bridge.
Newcastle-on-Tyne abd Northern Counties' Photographic Associa-
tion.— Out-door meeting to Ripon and Fountain's Abbey on Thursday,
June 15. Train leaves Newcastle at thirty-tive minutes past seven a.in.
Mr, H. 6. Ridgway, leader.
We are sorry to see from the daily papers that Messrs. Iliffe & Sturmey, the
proprietors of our contemporary Photuffraphij, have had two ca.ses of libel
decided against them last week in respect of another of their publications, the
IMcycling News. It is evident that some cyclists, to borrow our friend's
language, have a less tough epidermis than others, hence these actions, which
it is to be hoped will not be imjiorted into photographic journalism, some of
which body occasionally sail abnormally close to the wind.
868
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[June 9, 1893
Lks Paoc^Dfe MoDEUSEs d'Illustratiox. — Messrs. Thuvoz & Co., of
Geneva, are issuing a small monthly publication, illustrated, dealing with
modem photo-mechanical methods of illustration. The first number contains
a brief article on "ancient methods," wood-engraving, lithography, and copper
plate.
Crotdou Camera Club. — Wednesday, June 14, Excursion, conducted by
Mr. H. Maurice Page ; leaves West Croydon at thirty-two minutes past nine
a.m. (vid C'lapham) for Weybridge. Saturday, June 24, Excursion, conducted
by Mr. Maclean ; leaves East Croydon at three minutes past two p.m. for
Edenbridge.
London and Provincial PHOToanAPHio Association. — June 10, Saturday
Outing, London Colney ; first train from St. Pancras after half past two.
22, Demoustration by W. D. Welford, Welford's Toning Bath for Chlm-ide
Paper. 24, Saturday Outing, Chingford, for the Forest. 29, Annual Meeting ;
■election of officers.
Oldham Photographic Socibtv. — June 10, Saturday, Rossett. Depart,
■Central, fifty-two minutes past eight a.m., for Rossett viA Chester. Return
fare, about 4s. ; leader, Mr. W. Thompson. June 13, Tuesday, Belle Vue.
Depart, Clegg-street, twenty-seven minutes past one p.m. Return fare. Is. 2d. ;
leader, Mr. Tom Heywood.
Photographic Society of Great Britain.— June 13, Ordinary Meeting, to
be held at 50, Great RusseU-street, at 8 p.m. A paper will be read by Mr.
William Taylor (of Leicester) on The Constriu:tion of Interchangeabh Lens-
screw Fittings ; and Dr. C. P. Goerz (of Berlin) will read a paper upon, and
exhibit, A Neii) Anastigmatic Lens.
Lens Flanges. — It is already known that Mr. William Taylor, of Leicester,
is to read a paper on this subject before the Photographic Society on Tuesday
next. In this he will describe the method in use in the Slate-street Works
for the accurate making of lens screw fittings. This he will do in the hope of
■improving the general condition of screw making, and all those interested in
such mechanical work certainly ought to be present on that evening.
Writing upon the recent conviction of a Chelmsford woman for cruelty to a
child, the East Anglian Daily Times has the following remarks on the value
of photography in this and similar cases : — ' ' The second point is the link in
■the chain of evidence which bound all the others togetlier, and made escape
impossible. It was open to the defence to suggest perjury or exaggeration
.against any number of people ; but, as Mr. Commissioner Kerr pertinently
observed, the sun does not tell lies, and the happy thought of Mr. Kidd, in
photographing the poor creature just as she had left her tormentor, removed all
doubt from the minds of the jiu'y, who gave their verdict without leaving the
box. This is a hint which may be commended both to the police and the
Society's officers. Nothing would make the lame excuses for cruelty — which
some people accept so easily — utterly futile more than an invariable practice of
photographing the victims at the earliest possible moment."
In course of some correspondence of a somewhat chaffing nature that was
indulged in between Messrs. Alfred MaskeU and Cimabue Brown, jun., in
this Journal in the early part of last year, a statement was made by the latter
gentleman in which was voiced a belief that the author of a certain article
refiecting on the Camera Club was a well-known optician, who, although un-
mentioned by name, considered that his identity was unmistakable. As we
have since then learned and believe that he had nothing to do with the matter,
we can only express our regret that any statement which was calculated to give
pain or annoyance to that gentleman should have appeared in our columns.
While we allow the utmost freedom of expression to our correspondents, and
not uufrerjuently have to tone down the force of their language, still may state-
ments be allowed to pass which on intermediate inquiry would have cansed
to be eliminated. This is one such case for which we apologise to the person
aggrieved.
Richmond Camera Club.— Summer programme, 1893 :— Informal Meetings,
third Monday in month : June 19, July 17, August 21, September 18. On
these evenings members are requested to bring prints from negatives taken
during the Club excursions. Excursion : Saturday, June 10, Uxbridge, twenty
minutes past two train from Paddington ; leader, Mr. Andressen. Saturday,
July 1, Eyuesford, forty minutes past two train from Holborn Viaduct, or
forty-five minutes past two from Victoria ; leader, Mr. Williams. Monday,
Augu.st 7 (Bank Holiday), Oxted (for Limpsfield), forty-five minutes past ten
a.m. train from Clapham Junction ; leader, Mr. Williams. Saturday, Sep-
tember 2, Godstone (book to Caterham), trains from Charing Cross, five
minutes past two ; Cannon-street, seventeen minutes past two ; London Bridge,
ten minutes past two. N.B.— Those wishing to attend this excursion should
inform Mr. C. H. Davis, 97 Church-road, Richmond, not later than August
28, so that a conveyance from Caterham Station may be arranged for.
WATEB IN DEVELOPMENT. ■
In the process of development, the employment of ready-mixed solutions
is customary. In pyrogallic acid, or whatever developing agent is used,
we have an energetic reducing agent, i.e., one which is susceptible of
oxidation. Air dissolved in the water here comes into play as an oxi-
dising agent ; any iron present will tend to strongly colour the solution.
The water, therefore, in this case, should be boiled and filtered before
use. In the alkaUne solution almost invariably used in connexion with
the reducing agent, the impurities are not so important, as the changes
undergone on standing would be but slight. Alkaline reducing agents
absorb oxygen much more readily than when in the neutral or acid state,
hence the two liquids are mixed only at the time of using them, and a
few drops of acid are added to the pyro stock solution to correct any
alkalinity on the part of the water. Waste from paper mills or chemical
factories discharging into the stream from which the water supply is
taken may prove very serious at this point. Hyposulphite of soda is
used as an antiohlor in bleaching, and even a trace of this substance in
the developer leads to disa<itrouB results. Of the numerous chemicals
which may be discharged into the streams, the supply is, of course,
infinite, many of them exerting a very deleterious action on the develop-
ment. Then there is the ever-present little microbe, a large number of
them harmless, some harmful. Most of the plates used are coated with
gelatine, and the introduction of numberless germs tends to set up
decomposition, which eventually destroys the picture entirely.
This may seem an exaggeration ; but, as a matter of fact, the existence
and recognition of these bacteria is to-day determined by mixing a small
portion of the water with nutrient gelatine, pouring it upon a glass plate
and allowing the germs to develop, after which they are counted and
examined. Their solvent action upon the gelatine is very marked, and
many cases of frilling are undoubtedly started in this way.
In the Crotou water supplied to this city, the number of these minute
organisms frequently runs up into the thousands and tens of thousands
for every cubic centimetre of water examined. Decomposition by these
means is, of course, enormously accelerated by moisture, but then many
of our negatives are stored away in places by no means absolutely dry.
Upon the continent of Europe the subject of water is still more im-
portant. There, almost all of the drinking water of the larger towns and
cities is unfit for use, and it is stated of the Seine water that it is capable
of bringing out a feeble image upon an exposed plate without the addi-
tion of any chemical whatever. Organic matter in suspension and solu-
tion is a powerful reducing agent, and, if present, adds another compli-
cation to the deUcate interaction and reduction characteristic of the
development process. This may come either from decaying vegetable
matter or through direct sewerage contamination.
In the fixing of the plate many amateurs use a solution of hypo which
has been made up some time previously. Now, hypo solution is intensely
delicate to all acids, which cause its decomposition with the separation of
a white cloud of sulphtu:. Any quantity of free acid would, of course,
seriously affect the strength of this solution, but that is something hardly
likely to occur.
— Anthony's Bulletin.
THE FOETHCOMING CONVENTION AT PLYMOUTH.
We have received a Ust of the papers that are expected to be read at the
Plymouth Convention. These are as follows : — ■
Recent Developers, by E. .J. Wall.
Multiple Films, by S. H. Fry.
Artistic Expression with the Hand Camera, by J. Guardia.
Lantern Slide Making, by C. L. Mitchell, M.D.
Some Slides from the Marine Biological Laboratory, by J, T.
Cunningham, M.A.
The Special Properties of the Zeiss Anastigmatic Lenses, by Dr. Paul
Eudolph.
Photography in Relation to Medical Record Demonstration, by A. Pringle.
Some Points in Connexion tcith Development, by C. H. Bothamley.
On the Power of Compensating in Development for Variation in Exposurei
by Professor W. K. Burton.
There will be several excursions as under : —
July 4. — Steamer excursion to the Yealm and the Eiver Tamar. Invita-
tion excursion of the local committee, the Devon and Cornwall Camera
Club, the Devonport Camera Club, and friends, to the members of the
Photographic Convention. Excursion to Tavistock.
July G. — Excursions to Launceston, Totnes, down the Dart, Looe,
and the Cheeswing.
July 7.— Excursions to Lydford, Biekleigh Vale, Dockyard and Keyham,
Cattewater.
July 8. — Excursions to Princetown, Ivybridge, Virtuous Lady Mine.
OONTEMTS,
Vaum
viewing lantern slides by day-
light 35S
SOME causes of DEPRESSION IN
PROFESSIONAL PHOTOGRAPHY ....35)
the TREATMENT OP QELATINO-
CHLORIDE PAPER 854
PHOTOGRAPHIC PROPERTIES OF
THE SALTS OF CERIUM S50
ON THINGS IN GENERAL. By FREE
LANCE 8S7
ANGLE OF VIEW. By P. EVERITT .... HSl
NOTES ON STUDIO -BUILDING. By
W. COLES SoS
PRACTICAL REMARKS ON PHOTO-
GRAPHING DIFFICULT INTERIORS.
— IL I)v T. N. ARMSTRONG 360
"PREVENTIVES OF HALATION." By
J. PIKE 301
PaqKl
PHOTOGRAPHY AT GREENWICH I
OBSERVATORY 3011
A NEW SOCIETY — THE NORTHERN I
PHOTOGRAPHIC AND SCIENTIFIC i
ASSOCIATION 3021
PHOTOGRAPHIC SALON, imf aCS)
NATIONAL ASSOCIATION OP PROFES.
SIGNAL PHOTOGRAPHERS S6J(f
OUR EUITOIIIAL TABLE 36!
RECENT PATENTS ,
MEETINGS OF SOCIETIES .30)0
FORTHCOMING EXHIBITIONS SM
CORRESPONDENCE
EXCHANGE COLUMN sat
ANSWERS TO COUUESP0NDENT8 SCjlB
WATER IN DEVELOPMENT SOtS
THE FOUTHCOMISG CONVENTION AT
PLYMOUTH SOtl
THE BEITISH
JOURNAL OF PHOTOGRAPHY.
No. 1728. Vol. XL.— JUNE HL 1893.
TELE-PHOTO LENSES PAST AND PRESENT.
Another Nbw One.
Some seed we threw in the ground nineteen years ago, after
lying seemingly dormant for so long a period, is at last
springing up in various directions. It will be remembered
that at that time we pointed out how by the combination of a
positive lens and a negative one, the latter of shorter focus
than the other and separated some distance from it, a tele-
scopic view of a distant object could be thrown upon the
focussing screen of the camera, and we expressed a hope that
practical opticians would take up the matter. We foresaw
the great usefulness of such a lens, for we had by its agency
obtained enormously magnified photographs of subjects in
Highgate, the camera being in Wood-green, the distance
between the two places being approximately three miles, and
■we had, as published at the time, obtained a sharp, direct
photograph of the sun three inches in diameter, this latter
being in our estimation no way inferior in definition to some
we had about the same time seen produced in Kew Observatory
by a large telescope. We spoke of it to one optician, who
gravely told us he believed it could not be done, or, if it could,
people would not be inclined to find any use in it.
The late Mr. Thos. Grubb, F.E.S., to whom we had explained
it when we met him at the residence of Mr. George Shadbolt,
entertained a different opinion of the idea. Fortified by the
encouragement of this eminent optician, we ventured to pub-
lish an account of what had been done, but it was one of those
things Tishered into the world before its time. As every one
knows, the tele-photo lens is now one of our recognised insti-
tutions, and forms the subject of several patents in various
•countries. One of these, the latest of which we are aware, is
that of Mr. A. B. Parvin, of Philadelphia, whose specification
is now before us, and will be foimd given in extenso in another
page of this issue. The date of this patent is February 28,
189.3, and it is presumable that Mr. Parvin has made himself
well acquainted with all that has been published in this
direction up to that date, and yet in his patent he appears
to ignore totally the previously existing tele-photo lenses, so
well known on this side of the ocean.
Every one now is aware that a tele-photo lens consists of a
positive lens, or combination of lenses, placed at one end of a
tube, at the other end of which is mounted a negative or dis-
persing lens, and that a greater or less degree of magnifying
power is obtained by a very slight diminution or increase of
Hhe distances between these two lenses. Mr. Parvin does not
appear to recognise this as an advantage, for in nine out of
•liis eleven claims he prominently specifies a solid or non-
extensible tube as the mount of his lens, a feature to which J
every optician is likely to make him gladly welcome, seeing "
that by its adoption he depriveshimself of an important feature
of the tele-photo lens system. It is much as if one were to
patent a camera, a special feature in which was that, being
solid from front to back, it was incapable of any extension save
that given by its maker. j
Looking a little closer into Mr. Parvin's specification, we find ■
that, while the front lens of his combination is similar to those
which characterised all lenses of this class that had been
brought under public notice prior to the advent of 1892 — that
is, of the kind employed as the front lens of portrait objectives,
viz., crossed, plano-convex, meniscus, achromatised, of course —
his back or divergent lens differs in its external form from
anything he believes to have been formerly employed. Many
years before we had heard of this gentleman interesting him-
self in this department of optics we had published the fact of
an opera-glass of the better class having been successfully em-
ployed in tele-photo work.
As he makes a special claim that the two surfaces of hia
negative lens (the eyepiece in a binocular or Galilean telescope —
an opera or field-glass, in fact) must be of different radii of curva^
ture, he may perhaps scarcely thank us for informing him that
in numerous negative lenses of this instrument the radii are
not similar. In the first one we ever adapted for this purpose,
now over twenty years since, the curvature of the surface next
to the front was of a much shorter radius than its opposite
side. This, being formed of only a single piece of glass, and
therefore non-achromatic per se, was supplanted by a plano-
concave triple, as published in these pages nineteen years since ;
nay, anterior to that time binocular glasses were made, at
any rate sold, in London in which the negative lenses or eye-
pieces were not double concave, or plano-concave, but the very
form insisted on by Mr. Parvin in his patent, viz., convexo-
concave or concave-meniscus, the convex side to the outside, as
illustrated in the new patent.
We think it unwise in Mr. Parvin to make a special claim
for several items in his specification, an infringement of which,
if brought into court, would ensure the destruction of his patent.
For example, his first claim is for " a photographic objective,
comprising a tube provided with a convergent front lens and
a divergent rear lens," as if this were not the characteristic of
every tele-photo lens hitherto made ; or, as in his fifth claim
which is for "a photographic objective, provided with adivergent
rear lens, having faces or surfaces of different radii ; " or, further,
in his sixth claim, which is the application of Waterhonse dia-
phragms to the tele-photo lens, as if this had in any sense been
I a novelty at the beginning of the present year.
870
THE BRITISH JOURNAL OF PHOTOGRAPnY.
[June 16, 1803
The leading characteristic of the Parvin leas is the substitu-
tion of a simple lens of the concave or short-sight spectacle
glass class, and of the meniscus form, for the achromatic lenses
or combination of lenses hitherto employed for the purpose ;
and, further, in the emploj-ment of a mount, composed of a
tube solid from end to end. Now, we say, unhesitatingly, that
both of tliese features are bad, the latter because of the impos-
sibility of effecting any variation in the size of the image, and
the former because of the equal impossibility of getting a plate
covered with an approximation to marginal sharpness, unless
with a stop ridiculously small. Spectacle glasses, we all know,
can, in skilful hands, produce photographs, but photographs of
quite a different nature from those obtained by properly achro-
matised lenses; and insuch a delicate matteras the production of a
direct or tele-photo large view it is absolutely necessary that more
than ordinary care should be importeil into the achromatising
of all the lenses of the objective. Mr. Parvin's lens may, pro-
bably does, answer when the magnificition does not exceed that
obtainable by the use of a moderately long-focus landscape lens,
but when tried in contrast, as we have done, with Dallmeyer's
tele-photo lens, in which the divergent back is a carefully cor-
rected achromatic combination, then are its deficiencies rendered
apparent.
In regard to such points as we have mentioned, Mr. Parvin's
patent runs not the very slightest risk of being infringed by
any optician in this country, for reasons we have already given.
But, if he wishes it to have any force here, we would, in his
interests, recommend him to materially cut down his claims.
However, we sympathise with his desires to place in the hands
of the public a cheap, if not quite an efficient, substitute for the
necessarily more expensive lenses of this class now in use.
We close by expressing a hope that our opticians will devise
means for supplying negative lenses which may be adapted to
the reotilinears already in possession of so many of our workers,
but_who may feel disinclined to purchase an entire tele-photo
outfit.
OUT-DOOR (! ROUPS.
TuE writer of the letter, " Young Amateur" (page 384), shows
that we have still left unsaid what might be of interest to
amateurs, for it is evident that the skilled professional does not
need any hints in this particular department. We may reply to
his query at once. The fault of his group is that the figures
liave been in full sunlight when the negative was taken, and no
possible dressing in printing or otherwise will enable him to
produce a really satisfactory print. Sticklers for artistic pro-
priety are very hard upon studio illumination, and there is no
doubt that much lighting of an eminently inartistic character
is produced in so-called " artistic effects ;" but, at the same
time, it must be pointed out that the same thing may be seen
in any collection of oil-painting portraits — the seeker need go
no further than the present Academy to find examples of the
kind. In photography, however, harsh justice is meted out by
the painter-artists, and we must do the best we can ; that best
must exclude direct sunlight illumination. It need not be
pointed out that for snap-shot pictures such lighting is a sint-
(jm-non, at least for the quickest exposures ; hence it is evident
that snap-shots should not be attempted unless the group or
individual is in the shade, or is taken on a day when the sun is
not shining. As the latter, however, cannot be commanded at
will, all workers should, naturally, ^lay themselves out for
arranging their groups in the shade— cither some tall build iuo-
or under the umbrageous spreading of some large tree. There
are objections to the latter, in that, pretty as a nicely posed
group appears to the eye when so placed, trees, with the ex-
posure proper for figures, will leave the tree background very
black indeed. Taking, then, our figures with some mansion
or old wall as a ground (and it often happens that there are
steps and porticoes under such circumstances that greatly
facilitate pretty grouping), there will be found two difficulties
to encounter. Firstly, it frequently happens that, if the group
be large, one end is shaded by neighbouring trees, and so conies
out much darker than the other. Secondly, the very con-
dition that sends the group behind a building too often neces-
sitates the camera to be placed with the sun shining into it.
This difficulty is very common. If the building be unusually
lofty, tlie instrument may be erected in its shadow ; if not so
high, then no good results may be expected until the lens be
screened until the direct rays are excluded. Such an arrange-
ment, of course, precludes the whole of the building being
included with the group ; but, to parody a well-known quota
tion, " the group is the thing," and the building must take its
chance. When it must be included, all that can be done by
way of precaution is to exclude as much sky as possible by the
sunshade, and print in skies to the prints. We cannot lay too
much stress upon these recommendations, we have seen so
many good pictures ruined from this cause alone ; indeed, when
portrait lenses have been employed, the skylight alone, without
any direct sun felling on the interior of the blackened tube, is
quite enough to produce fog unless the lens be shaded.
Regarding the group being darker at one end than the
other, we have seen the evil remedied bj' a kind of preferential
intensification. The negative has been wholly intensified with
mercury, and then reduced by rubbing the strongest side with
a pledget of cotton-wool saturated with weak hypo. This is a
method of reducing density that has not received the attentioi»
it deserves, for, as we have pointed out before, there are many
mercury -intensified negatives in existence as good and
apparently as permanent as those made the required density at
the first operation ; but, as this is matter of argument, we do
not lay stress upon it.
With regard to groups, we would refer to the experience of
a well-known Oriental explorer, which we related a few
weeks ago. He used the ordinary cap for uncovering the
lens, and down dropped his savage sitter in a collapse from
fright. Now, though we do not liken the probable subjects
sitting to those who read these lines to savages, they will
yet be subject to the same mental shock when they see the
lens uncapped ; whether the result be to produce laughter or
movement on the part of some members of the group, the
result is equally imsatisfactory. Hence we would say, a group
should, if possible, never be attempted except with a pneumatic
shutter, working in or outside the lens. Besides the advan-
tages alluded to, there is also the vast convenienc* in using
such a shutter of looking straight at the group (not at an
individual member), and so seizing the most propitious moment
for working the exposure unseen and unknown. We have
seen, for instance, a wedding gi-oup taken which was quite a
failure, because one of the gentlemen, not observing the cap
being removed, was in too affectionate proximity to a fair
neighbour. With a shutter which enabled the operator to see
the group while exposing, of course this would not have
happened. We would conclude our observations by quoting
the advice of a professional friend ; we cannot, however, say
we have followed it. He says every photographer who goes in
June 10, 1893]
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
871
for groups should have single, not double, slides. There is so
much hubbub and confusion, especially in weilding groups, that
there is too much danger of double exposures with double
slides.
THE TREATMENT OF GELATINO-CHLORIDE PAPER.*
Is very many instances no trouble at all will be experienced in
comiexiou with the softening of the gelatine film, though,
■where the water is naturally soft or free from lime and other
salts, the necessity for the alum bath or some substitute will be
especially felt Alum is, as we have shown, objectionable on
the score of its acidity ; but, as many of the other sulphates
possess the property of slightly hardening the film, it is pos-
sible to apply a perhaps milder remedy. In the very early days
of gelatine plates, for instance, Epsom salts (or sulphate of
magnesia) were added to the washing water to prevent
" frillinir " where any tendency in that direction existed. The
same salt answers equally well in connexion with gelatine paper
and is free from the objection of acidity, as also are the corre-
epondini; salts of potash and soda.
Where soft water is available it is for various reasons preferable
to hard for washing the prints previous to toning in spite of
its softening action on the gelatine, which can be overcome by
the use of sulphate of magnesia. When the water contains
considerable quantities of soluble chlorides and carbonates,
these act upon the free silver contained in the gelatine film,
and except in the case of the combined toning and fixing bath
are liable to form a coating of silver chloride upon the surface
of the print, which, besides giving a false idea of the progress
of the toning, leads also to irregularity in the action of the
solution.
Where the water supply is very hard, it is for this reason
very desirable, when rain water cannot be obtained, to perform
the first washing of the prints with distilled water. It is not
necessary that a large quantity be used if the prints are left to
soak for some time until the greater portion of the silver has
been dissolved out ; they may then be finally rinsed in two or
three changes of ordinary water without danger of the formation
of the film of chloride of 8.ilver.
Many operators attach importance to the thorough elimina-
tion of all free silver from the prints before toning, and, to
ensure this result, use a bath of chloride of sodium. There is
every reason to believe that the complete removal of the soluble
silver salts conduces to regularity of tone and freedom from the
..lefect known as " mealiness ; " but, where the salt bath is used,
it should only be after the bulk of the silver has been removed
by washing in water as free as possible from either chlorides or
carbonates. If a print direct from the printing frame be im-
mersed directly in a bath of s. ".t water, its surface will be
covered with a layer of chloride of silver so dense as to com-
pletely obscure the tone, and render it quite impossible to judge
the progress of the action, at the same time acting as a pro-
tective coating and preventing the free working of the toning
bath.
In order to bring the prints into as perfect a condition as
possible for toning, and to keep them as free as possible from
8>irface deposit, it is well to apply gentle friction to each
individual print. In the case of small pictures this is readily
done with the fingers in turning them over, or they may be
rubbed gently together in pairs, face to face ; but with large
prints it is better and safer to lay them singly upon a sheet of
* Concluded from page 355.
glass and pass a soft sponge, a tuft of cotton-wool, well wotted,
or a broad camel's-hair brush, carefully over the surface.
The exercise of a little care in the minor details — even in so
comparatively unimportant a matter as washing — will tend very
greatly to improve the quality of the result, as well, perhaps,
as the ultimate permanence of the prints, but particuliirly will
it aid in securing uniformity of tone, not only in the same, but
in successive batches of prints. Nothing is so likely to bring
about an ojjposite result as imperfect or careless washing, for
prints containing variable quantities of soluble matter are not
only in themselves in an unfit condition for evenness of action,
but they introduce into the toning bath substances which
modify or perhaps entirely destroy its action.
The washing after toning should be performed with equal
care, although it need not be carried to the same length as the
previous washing. On removal from the gold solution, each
print should be freely exposed to the action of a considerable
volume of water, either from a tap or in a vessel of large di-
mensions, so as to at once arrest the toning action. If a large
number of prints are removed in quick succession from the
toning bath into a dish of water in which they have little room
for the free circulation of the liquid, the toning action is certain
to continue irregularly, with the inevitable result of patchiness.
Where a tendency to softness of surface is exhibited, it is
not well to use the alum bath too soon — that is to say, before
fixing ; or very soon after, before the hyposulphites have been
removed. As is well known, alum decomposes the hypo-
sulphites, and should not therefore be allowed to touch the
prints until the soluble salts have been, as far as possible, re-
moved. In such cases it is far preferable to add a little
sulphate of magnesia to the washing water, which should, of
course, be kept at as low a temperature as can conveniently be
managed. After a thorough washing in this manner, the alum
may be used with perfect safety.
In no case, except where prints are to be mounted in contact
with glass, should the alum bath be omitted. One of the
strongest objections raised against gelatino-chloride prints is
the difficulty of liandling them in mounting, on account of the
sticky character of the surface. But this is wholly due to
neglect of the alum bath, which, if freely used, renders the
gelatine surface as easy to manage as the ordinary albumen
print. Indeed, a properly alumed gelatine print may be
treated in precisely the same way as albumenised paper, even
to drying it by heat.
Those who have been accustomed to albumenised paper are
very apt to be misled with gelatine paper into over-printing,
owing to the comparatively slight reduction that takes place
in toning and fixing. Where this occurs a convenient reducing
agent is handy, and nothing seems more eflScient for the pur-
pose than ferricyanide of potassium and hypo used very weak.
When a print is seen after fixing to be only slightly over-done,
it may be removed directly from the hypo into a dish of very
weak ferricyanide solution containing only sufficient of the
salt to very slightly colour it, allowing it to remain until the
necessary reduction has been effected. Where greater reduc-
tion is needful, the print should be preferably slightly washed
after removal from the fixing bath, and then immersed in a
dish of similar solution of ferricyanide to whicli a few drops of
hypo solution have been added. The energy of tlie solution
depends upon the former salt, which should not be used too
strong or excessive action will take place. The reduction
should be gradual, as it is then not only under more perfect
control, but is more likely to be uniform.
372
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 16, 1893
The same means may be adopted in cases where from any
cause the tone of the print is irregular. It very ofteu occurs
that from misjudgment a print after fixing turns out to be
under-toned, the half-tones having reached the cool grey stage
while the shadows are still more or less red. In such cases the
use of the ferricyanide will very often satisfactorily modify the
tone, removing the warmer colour of the unaltered silver, but
leaving the gold-toned image intact. Of course, for successful
treatment in this manner, the print must be of sufficient depth
to bear a slight amount of reduction, though the effect then
produced is far less than might be expected, so far at least as
toned image is concerned. In most cases the action more
closely resembles a continuance of the toning than reduction or
removal of a portion of the image as it really is.
The Royal Weddingr.— It will be remembered that, last
year, when the wedding of the late Duke of Clarence was
announced, there was a great run on the portraits of the lloyal couple.
An equal demand is now being made for the portraits of the Duke of
York and the Prince-ss May. The sale of those of the Princess
appears, it is said, to be in no way diminishing by the enormous
number that were disposed of last year.
A Kew Xiens. — The new double anastigmat lens, described and
shown at the Photographic Society of Great Britain on Tuesday
evening by its inventor, Dr. Goerz, of Berlin, appears, if we may
judge from specimens then exhibited, to be a »tep decidedly in
advance. From its large aperture it is entitled to rank as an aplanat ;
it is free from astigmatism, and even with a large aperture it has a
field that is quite flat. These valuable properties will ensure for it a
cordial welcome when it comes to be introduced commercially in this
country. It is only by a comparison of its work with that of other
lenses formed of the Jena glass that its great advantages can be fully
appreciated. Some details as to its nature will be found in the
report of the meeting on another page.
The Eclipse Photograplis. — The members of the Royal
Astronomical Society have now had the opportunity of seeing some
of the most interesting of the photographs of the late eclipse. At the
meeting last week, with the President, Captain Abney, C.E., in the
chair. Dr. A. A. Common, F.R.S., read the preliminary report of the
Eclipse Committee, and some of the photographs obtained were
described by Professor Thorpe and other members of the expeditions
to West Africa and Brazil. At the same meeting some wonderful
photographs of the Milky Way, and also of the comets Smith and
Holmes, were exhibited on the screen by Mr. Barnard of the now
famous Lick Observatory. What would astronomical science do
nowadays without photography and the lantern ?
The Katlonal AsBOCiation of Professional Photo-
graphers.— It appears not a little surprising that this Society
receives such scant support from the profession in whose interest it
was formed. From the report given in our last issue it seems,
although it has now been established some two or three years, it
numbers less than a hundred and fifty members. It is obvious that,
with this limited roll, with a half-guinea subscription, it cannot
achieve much of what it was established to do. There is no question
that a society of this description, if properly supported, might be of
great service in protecting and furthering the interests of the pro-
fession generallj'. Why, then, is it so little supported ? Is it because
there is less unanimity among professional photographers than' there
is with almost every other profession and trade, or is it that the
majority of photographers are too lethargic ? It is noteworthy that
the Association appears to receive more support from photographers
n the prnvin^Bs thin it does from th isc in the metropolis.
Xilg^ht In the Studio. — A question was raised recently at one
of the Societies as to the proportion of light obstructed by the glass
of the studio. An equally interesting question is the amount of
actinism that is filtered out of the light by some glass, and the dirt
that is frequently upon it. It is true that this is not such an im-
portant matter now with dry plates as it was in the days of collodion,
but still it is worth consideration. Some kinds of glass are very
prone to turn yellow with prolonged exposure to light, particularly
some of the whiter sorts that are often selected for glazing a studio.
We have seen several examples that, after a few years' exposure, had
become quite of a yellow tint, and cut off a considerable amount of
actinism, as proved by their retarding action when laid on sensitive
paper. The dirt that accumulates on the glass in the roof of the
studio — particularly in large towns — is of a highly non-actinic nature ,
especially is this the case with that on the inside, when coal fires are
used. From these causes the exposures, in some studios, have to be
materially prolonged beyond what would otherwise be the case.
The Award Troubles at Chicagro. — The trouble with
regard to the awards at the " World's Fair " is at an end. This has
been brought about by a compromise that has been accepted, with
one or two exceptions, by all the foreign commissions. The com-
promise is practically a surrender. The awards are now to be made
by a jury, instead of upon the report of a single expert — the point of
contention — as would have been the case but for the vigorous protests
of the foreign commissioners, by the threatened, indeed the actual,
withdrawal of the exhibits of something like a score of countries from
competition. So far, we may hope the awards will be satisfactory, or,
at least, as satisfactory as at most competitions. This gratifying result
has been obtained mainly through the instrumentality of the Secre-
tary of the British Commissioners, Sir H. Trueman Wood, whose
opinion of Mr. Thacher's system, it is said, is still unaltered ; but the
notice given on the subject was ample, and the acceptance of the
American system was practically completed when the exhibits were
sent. We have before mentioned that British interests were in good
keeping in Sir II. Trueman Wood's hands. But, there, no ona
ever doubted that.
STUDIO-BUILDING.*
IV.
Before proceeding to the act of glazing, it would be well to refer tO'
ventilators, a point upon which no branch of the subject gives rise to
so great a variety of opinion. The popular idea of ventilation is
that, as heated air ascends, if a hole be made near the ceiling of a
room, the hot air will go out ; and a further elaboration of that idea
is that, for this egress to take place, it is first necessary to make
another hole near the floor for the cold air to come in. It too often
happen.s under such circumstances that the air will come in at the top
and go out at the bottom, the ventilation of a building depending
upon such a variety of conditions, both internal and external, as to defy
the production of any uniform scheme for self-acting ventilation.
When mechanical contrivances are adopted to enforce the egress of
air, it simply becomes a matter of paying the required cost and using
judgment in selecting an apparatus that is likely to perform in a
satisfactory manner. It would make this already long series of
articles too long by far to enter into any details on ventilating ques-
tions, and, as few photographers would be likely to go to the cost of
providing mechanical contrivances, I would briefly say that my own
experience has been that, practicallj', the greatest comfort is brought
about by having as many windows as possible at the sides of the
studio capable of being opened at will, and as many openings in
the roof also, not forgetting that a close watch is required to be kept
upon the latter against probable showers of rain. During hot weather
as many windows and dooi-s will be kept open as conveniently can be.
When the studio is overlooked, lattice-work can be placed outside the
windows. One set of windows in my present studio is provided with
obscured glass and lattice- work, the former opening outside, and the-
* ConcluJed from jugc 291.
June 16, 1893]
THE BRITISH JOUKNAL. OF PHOTOGHAFHY.
673
latter fixed internnlly, the laths being inserted at a suitable slant
towards tlie sitter.
AU that now remains to be dealt with is the painters', f^lazier's, and
decorators' work, and the designing and arranging suitable blinds.
The glazier is usually a man of dogmatic turn, who "knows his own
business," and resents interference. Painful experience has taught
me that he is very far from being infallible, and, as touching the
question whether he knows his busine>*s, it would be interesting to
learn in how many studios in the kingdom he has displayed, or made
use of, that knowledge so as to glaze a wood-sashed roof watertight.
There are three main points in which his work may be overlooked
First, the window bars should have by preference three coats of paint
before being glazed (it goes without saying that the wood should be
dry; no skill in glazing can counteract the evil effects of green
timber). I have seen many, perhaps through the impatience of the
owner, glazed when the wood has only had one coat of " priming : "
this kind of work is almost certain to leak eventually. Second (this
hint was given to me by a glazier who did know his business) it is
greatly conducive to the production of a watertight joint to give a
coat of paint along the margin for about half an inch on each face of
the glass where the putty is applied. The facility of adherence, or
" growlng-to," as they quaintly express it, between putty and glass is
iticieased to a very remarkable extent, and, when this is done, the bars
painted as described on a dry day, and good putty is used, tlie studio"
builder need not have much fear as to future tightness of his roof'
provided it be not disturbed or shaken while the putty is settinf.
Tiiird, let there be contracted for, and care taken that the agreement
is carried out, that putty of best quality, and free from water as an
adulterant, is employed. This is very important, as water-weio-hted
putty very soon becomes leaky.
This part of the subject may now be dismissed by saying that the
roof should he periodically inspected, decayed putty removed and
replaced by new, and the wliole repainted every year or two. Un-
fortunately, the best period of the year to do this is the busiest time —
-irly autumn, when the wood is dry and before heavy dews have begun
i'lrm, as in the latter case work has to be deferred till the sun dries
tiie roof, and the painters' presence occurs at a time when they are
more than the usual nuisance.
With regard to the decoration of the interior of a studio, the pro-
verb, " De gustibus non est disputandum," so strongly applies, that I
should not think of laying down any rigid laws. It is often held
that the unglazed walls of the studio aid, or should aid, in the
general illumination of the sitter, by means of the light reflected from
them on to the more shadowed portions of the figure. My present
views are that, if the shadows are lightened, when needed, by specially
applied reflectors of whatever material or fabric is preferred, there is
greater control over the illumination of the sitter, and then the
decoration can be done on its own merits. For a long while blue was
conadered the proper colour for painting the interior of a studio ; but,
fortunately, the plan has been mainly banished to the more elementary
kmds of studios and workers. Still, remembering that the question of
taste comes in, I would say, if the paper chosen for the waUs be dark,
and not striking or garish in pattern — bright yellowish or reddish
hues being avoided — the sitters' eyes will experience a degree of com-
fort quite impossible when lighter and gayer patterns are chosen.
The blinds com'e last under consideration, but they are by no means
least in importance. Indeed, it is by judicious arrangement of them
in designing the studio, and by artistic arrangement of them in use,
that tlie whole character of the work is influenced. It is here where
;ae artist can show himself, and upon his control and power of con-
. .1 over them will depend, to a considerable extent, the reputation
of the professional photographer. Blinds are mainly worked on two
broad principles— curtainwise and roUer-blindwise. 3Iuch depends
on the construction of the studio and the various aspects under which
the sitter may be arranged. Each has its advocates, and it is usually
the case that a photographer, discussing the subject, is ardent in praise
of the plan he himself adopts. For myself, I am not prejudiced, as I
work both plans ; but I have a very emphatic preference for the
curtain over the blind style. I have tried roUer-blinds and spring-
blinds— the latter working up, and down, and sideways— and they
have many advantage? : but .some' time or other the cords will go
wrong, and, as a matter of course, we all know such disaster always
happens at a most critical moment. I will first describe the curtain-
blinds I use. Many artists use strong metal rods for suspending
them ; others use wires. I have tried both, and I most strongly advise
the use of the latter. They are cheaper, easier to erect, and they can
be always rendered taut by the turn of a screw. My mode of fixing is
to attach firmly into opposite walls, or other supports, a specially strong
screw-hook for each end of the wire. The latter is, at one end, firmly
twisted into a loop, and slipped on one screw-hook ; the other end is
attached to a swivel screw, constructed on a similar principle to those
in use for tightening each length of wire in wire fences. The swivel end
rests on the second hook, and a few turns will make thirty or forty feet
of wire as tight as a piano string. These wires are laid in pairs along
the lower part of the under side of the glass roof, and at a certain
height they are made to run horizontally, as there is no object in
screening the whole of a lofty roof. Curtains are suspended along
these pairs of wires by means of curtain hooks, firmly stitched at
intervals along each of the long sides of the material, and then hooked
to rings, placed beforehand, on the wires. At first I used to attach
the rings direct to the curtains, and thread them on to the wire, but,
when they had to be taken down for repair or during decoration, the
labour of re-erecting was greater than any one could imagine who
had no experience with them. It should be understood that each
length of curtain is divided into three separate independent pieces, ao
that tlie light can be brought almost anywhere, as a broad or narrow
pencil, this being also facilitated by allowing plenty of length in each
curtain, so that their combined length, if stretched to their fullest,
would be much more than the lengths of the wires they are suspended
from.
Liyhter serpens will also be needed for softening and subduin-j- the
light, or for killing the direct rays of the sun when early or late they
cross the iield of view. I have tried almost everything, but have de-
rived the greatest comfort from the material called "tracing cloth."
It is close-grained, robs the liglit very little, and can be kept quite
clean by a simple duster. The kind glazed on both sides should be
asked for, and I can promise those unfamiliar with the fabric whd
care to try it that they will be very pleased with its performance.
It is infinitely preferable to the more common plan of whitening
the glass during summer-time when the light is strong, for it robs
the light of less of its actinic effect, and can be instantly brought
into play or folded out of sight according to the exigencies of light.
These blinds with me are attached to rollers, and work from the ridge
downwards almost close to the glass. To avoid swagging thev are
each supported by three wires stretched in the direction of thei
length from ridge to eaves.
1 now take leave of my readers, trusting that what I have writtd^
may be of benefit to some. I shall be pleased if any one who wishes
for further -information would ask me, through the columns of the
.louHNAL anything that may tend to further elucidation of what may
be insufficiently described in my remarks.
G. Watmough Webstbb, F.C.S.
AMERICAN NOTES AND NEWS.
A Dark Room for Chicagro The Cramer Dry Plate
Compan}- are enterprising. They have secured the sole right to erect
a dark room on the World's Fair grounds in which photographers
may change their plates, and they probably have had to pay a large
sura for the concession. This, however, is not all ; the dark room is
to be under the charge of a competent attendant, and this spirited
Company are to make no charge to the visitors who choose to avail
themselves of its shelter for changing their plates. This is a good
stroke of policy, as it is certain to be appreciated, and will eventually
richly repay Mr. Cramer and his colleagues. This generosity deserves
to be noted. An American visitor to this couutry not many months
ago complained to us that he had been charged seven shillings and
sixpence by a dealer in one of the main streets of London for the use
of a dark room in which to change his plates, these pl.iles havihgbeen
supplied from the same establishment. We could only reply that the
principal of the business was doubtless ignorant of this act, as it was
S74
THE BKlTISn JOURNAL OF rHOTOGRAPUV,
[June 16, 1893
evidently so contrary to his interests to amerce a customer in such a
charge. The money demanded was paid, but aU dealings there
terminated.
Tlie "Beacon's" Non-appreclatlon.— TheP/Wo-iS^'aro.i
is somewhat strongly down on Dr. P. H. Emerson on account of the
paper he lately contributed to the Photographic Society of Great
Britain. Under the heading " Recantation Recanted," it tries to hold
the author up to ridicule, characterising the paper as too silly to be
laughed at and as the most absurd matter that ever appeared in a
photographic jou'-nal. We, on the contrary, think that there is much
that is really good in the paper alluded to.
An " Infantometer."— Such ii the title given by the fore-
going journal to an extract from an article by C W. CanfieM, in the'
Photographic Times. This gentleman claims that composite pho-
tography was foreshadowed in 18.3?> by Mr. Mascher, of Philadelphia
(where so many things in photography have been discovered), whose
circular regarding etereoscopii; Daguerreotypes contains the follow-
ing:— " I have taken a gentleman's picture on one plate, and a kdy's
on the other, and by placing them in the stereoscope they were
blended together, producing the most astonishing effect. The result-
ing picture is not a true picture of the one or the other, yet possesses
the most prominent features of each, making a picture wonderfully
like one of their children. From this it is suggested that those true
lovers who wish to see what sort of appearance their children, should
they be so blessed, will have, have merely to have either a stereo-
graph of this nature, or by preference a true composite photograph
taken, and by the union of the lady and gentleman will be obtained
a likeness of the desired baby — in fact an ' infantometer.' " We ask
with Charles Dudley Warner, Who, after this, dare say that Americans
are mentally commDaplac3 and unimaginative ?
'What the Button-preasers tose. — The New York
Tribune says that the enjoyment derived from pressing the button
and hiring soms one else to " do the rest " is of brief duration, and
attended with much expense. The feeling of triumphant success
which attends the production of a finished and mounted print by one's
own hand is wholly lacking, and with this lacking the chief charm of
amateur photography is lost, and there is nothing which can take its
place. The artistic treatment of an artistic subject affords a field for
work into which few may venture and hope for success unless tbev
are fully determined to master all the details of the work. This is
absolutely true, but it does not apply to any reader of the British
Jou't ml of Phot.ograj)hy, as our readers " do the rest " themselves.
Indeed, we have a rather firm persuasion that mere button pressors
are ignorant of the exiitence of photographic literature.
A NEW DEVELOPER FOR GELVTINE DRY PLATES.
Abstbact.
1. A DEVELOPER containing a soluble salt of silver incorporated with
gelatine and suitable reducm" agents, whereby in the progress of the
development the image is built up electrolytically from the silver con-
tained in the developer itself.
2. Preventing the veiling of the image, or fog during development,
by the addition to the developing solution of an easily reducible
compound of silver; permitting the development of under-timed
plates to be prolonged at will, until all detail impressed by the action
of light upon the film is brought out and the desire! density
obtained.
3. A method of intensification before fixing, enabling a negative
worked up to the practicable limit of developrnt-nt by any of the
formulae in use to be further developed until sufficiently dense.
Introduction.
Daring the winter of 18)2, an investigation of the chemical action
of the different developing agents employed with gelatine dry plates
was conducted jointly by Mr. W. Dinwiddle, of the U.S. Geological
Survey, and the writer. In the progress of the experimental work it
was noted that, while all soluble sglw of a;ver were rapidly reduced
and precipitated by the addition of a solution of ferrous sulphate,
hydroquinone, or any other developing agent, yet, if the silver salts
were tirst emulsified or combined with gelatine, no precipitation
occurred even by the prolonged action of concentrated solutions.*
Further, that suitable developing agents incorporated with the emul-
sified silver salt constituted a developer of unusual power for gelatine
dry plates, specially applicable for instantaneous and under-exposures.
An application for U.S. patent was made for this discovery, and is
now pending.
Dkscbiption.
The accepted theory of the action of the developer upon gelatine
dry plates is, that the latent image formed by the action of light
upon the film becomes visible through the reduction of the photo-
■broaiide of silver to dark-coloured reduction compound.-) and finely
divided metallic silver by the chemical action of the developing
agent, and that ilie image is further strengthened by a weak electro-
lytic action induced, whereby the image is built up from the
bromide of silver, unaltered by light, remaining in the film.
With a developer containing silver, this electrolytic action may be
increased and greatly prolonged, the image gaining additional intensity
from the silver derived from the developer.
The veiling of the image, or fog, produced by excessive strength of
the developing agent, or by its prolonged action, is thought to result
from a reduction of the unaltered silver bromide disseminated in the
film. This fogging may be prevented by the addition to the de-
veloper of a small amount — less than a half per cent. — of an easily
reducible talt of silver. The silver salt in the developer is more
easily reduced by the developing agent than the unaltered silver
bromide in the film, and protects the latter from reduction and pre-
vents fogging as perfectly as the coating of zinc given to iron in the
galvanising process protects the metal from oxidation. This pro-
tective action of the silver in the developer is increased by bromide
of potassium, which restrains the reduction of the silver bromide by
the formation of adiihcultly reducible compound, without interfering
with the action of the argentic developer. Resultant from this is
the power of prolonging development indefinitely without danger of
fogging.
Tliis developer may be prepared in two forms, as an emulsion,
composed of the double sulphite of silver and soda, combined with
gelatine, suitable for incorporation with any of the developers in use,
or as a single solution ready for use, containing in proper proportions
the argentic emulsion, developing agents, and alkali.
In either form it is an opaque olive-coloured emulsion, miscible in
all proportions with water.
The silver salts employed are the different double sulphites of
silver and soda. These enter into combination with gelatine, with
the formation of stable compounds, capable of existing in a chemically
passive condition in the presence of the strongest reducing or developing
agents.
It should not be understood that this developer brings out much
more detail than can be obtained by the exercise of skill with pyro.
What is actually accomplished is a relatively uniform increase in
density all over the plate, and a strengtliening of the delicate detail in
the low lights and shadows.
The ultimat« object of development is not the negative, but a print
obtained from it; and, by the employment of argentic emulsions,
detail visible only as delicate tracery in the film may be built up in
silver until it becomes printable.
Measured by practical results, the time of exposure of all well-
lighted subjects may be reduced to from one-fifth to one-tenth
normal (f-5 to c-10).
This is equivalent to an advance of two or three numbers in the
seneitometer number of the plates used. With Carbutt's ortho-
chromatic plates. Sen. No. 23, well-developed instantaneous views
were obtained in bright sunlight with the exposure given by a Prosch
shutter and full opening of lens; also in many successful experi-
ments where the normal exposure was carefully determined by
Watkins' meter; the exposures actually given were in well-lighted
views one-tenth normal, increased to e-4 where detail was desired in
the shadow,-.
Smill diaphragms can be used in instantaneous views in strong
light where there are not deep shadows. With quick plates, a lens of
ordinary rapidity (f-d=8), and a shutter speed of one-fiftieth or one-
hundredth of a second ; a diaphragm of /-IC will afford, by prolonging
* This restraining action of jjelatine and other organic substances, such as
sugar, starch, glr.eose, and giini arabic, has been remarked by Abney and Carey
Lea. The older text-books on photography describe a method of redevelojinient
or intensification of collodion wet flatea before ti.\ing, by the addition of silver
nitrate to the acetic acid and pyro developer.
June 10, 1893]
THE BRITISH JOUKNAL OF PHOTUORAPHy.
376
the derclnpment, negatives that almost equal time exposures in detail
and duBnition.
The opaque doveloper protects the plate from all action by light in
tlip dark room. Precaution should be taken that the plates are not in
the least lijrht fosged whil-i in the plate holder.", as on development
the fog is intensified. Further, by its use, development is reduced
to a mechanical process, requiring little attention and easily carried
out by any one.
The employment of argentic salts in photographic developers is as
yet in the experimental stage ; its pos-tible future evolution cannot be
predicted. From want of time, the experiments were confined to the
development of dry plates ; the action of argentic emulsions upon
bromide paper is unknown.
Most of the experiments have been made with strongly alkaline
eikonogen and bydroquinone developers, a few tests only with pyro,
and none with ferrous oxalate or other ferrous developers.
The new developing agents requiring but little alkali, such as
amidol and metol, offer the greatest encouragement for investigation.
Further, this use of silver salts suggests the pos.sible employment of
other metallic salts, such as platinum and gold, in photographic
developers.
In astronomical work argentic developers will probably prove of
v.ilue, and in certain photographic processes requiring negatives of
extreme density, they mav find » place.
The prevailing rule in landscape photography is to somewhat over-
expose, depending upon development to correct the consequent
tendency to flatness and lack of contrast in the negatives. It is even
-itated that there is a greater latitude on the side of over-timing. The
experiments made by the writer indicate that below normal exposure
the latitude is at least proportionately as great, and that superior
negatives result from exposures, which while sufficient to impress upon
the film the most delicate detail in the shadows, are yet far under the
time thought to be requisite to obtain the best results.
Thk Argentic Emulsion.
The Preparatiim of Silver Tartrate. — As silver tartrate is rapidly
darkened and decomposed by exposure to white light, this emulsion
is best prepared in the dark or under a red light.
A solution of
Nitrate of silver 200 grains,
Distilled water (cold) 12 ounce.',
is precipitated by the equivalent weight of tartrate of potash ; the
amount varies slightly with different samples, but is, approximately,
DistUled water (cold) 2 ounces,
Tartrate of potash 105 to 120 grains.
The bulky white precipitate of silver tartrate is soluble in pure
water. It is not washed, but placed upon a filter and allowed to
drain. The filtrate contains some silver, which can be precipitated as
chloride and recovered.
The moist precipitate of silver tartrate is removed from the filter,
paper and dissolved with rapid stirring in a warm solution of
Sulphite of soda crystals (pure) 8(X) grains.
Distilled water (hot) 4 ounces.
Glycerine (pure) 1 ounce.
If the soda sulphite solution is not distinctly alkaline, it should be
made so by the addition of carbonate of potash or soda, twenty to
thirty grains, before adding the silver tartrate, to prevent the forma-
tion of a precipitate of the difficultly soluble, crystalline double tar-
trate of silver and potash, which separates in neutral and acid
solutions.
The solution of the double sulphite of soda and silver, is nearly
colourless and transparent. It is filtered, to remove a slight precipi-
tate of silver sulphide derived from the impurities of the chemicals
used.
A solution is made on a water bath, with care to avoid over-heating
and decomposing the gelatine, of —
Nelson's sheet gelatine No. 2 100 grains.
Distilled water (hot) 2 ounces.
Then add—
Pure glycerine 2 ounces.
It is advisable to soak the gelatine for one hour in one half of the
above quantity of cold water; the swelled gelatine quickly dissolves
on the addition of the moiety at the boiling temperature.
The silver solution is gradually added to the solution of gelatine,
with constant stirring to avoid the precipitation of the gelatine ; both
solutions should be warm when incorporated (100' to 120" Fahr.).
The resulting solution is made up to a volume of twelve ounces by
the addition of water. At first it is clear and transparent, but soon
chanires to an oli«e-grey opaque emulsion, that on cooling gets to a
thick jelly.
When required for use, the emulsion is liquefied by immersing tl e
bottle containing it in a dish of warm water. It is best kept in the
dark, or in a bottle wrapped in opaque paper, (.'ndersuch conditions
this emulsion does not appear to undergo decomposition, the glycerini'
and sulpiiites of silver and soda acting as preservatives. On heating
to a tem|)erature approaching the boiling point of water, decomposi-
tion ensues, with precipitation of metallic silver in the golden-yellow
allotropic form described by Carey Lea.* Not infrequently the
emuLiun is of a beautiful purple shade when viewed by transmitted
li<.'ht, indicating the presence of photo-salts of silver.
This formula afTords an emulsion in which the silver salt is strongly
restrained ; one part of gelatine is combined with two parts of silver
salts and eight parts of sulphite of soda. In order to increase the
sensitiveness of the silver compound and accelerate the electrolytic
action in development, the proportion of the gelatine should be de-
creased to possibly two-thirds or even one-half of that above given.
A few experiments indicate that the addition of Rochelle salt or a
solution of inverted sugar makes the electrolytic action more energetic.
It is possible to make the emulsion so sensitive that it will not Keep,
readily decomposing, with precipitation of metallic silver, forming
during development a mirror of brilliant silver over the whole surface
of the negative and the bottom of the developing tray.
In place of the tartrate of silver, tlie metabisulphite may be em-
ployed ; the solution of nitrate of silver is precipitated by the addition
of a weak solution of metabisulphite of soda or potash as long as a
precipitate continues to form. The white or pinkish-white, curdy
precipitate of silver nietabisulphitef is washed by decantation with
cold water and dissolved in a neutral solution of sulphite of soda,
forming the double salt, which finally is incorporated with gelatine
and glycerine in the above proportions.
The grade of photographic gelatine known to the trade as No. 2
appears to be the most suitable. The harder grades of gelatine afford
thick and sticky emulsions, while soft gelatines, such as No. 1, have
but feeble restraining power.
Glycerine, when forming fifteen to twenty-five per cent, of the volume
of the emulsion, is an efficient preservative. The addition of glycerine
renders the gelatine more tractable in incorporating the concentrated
solutions forming the developer. It has but little restraining action
when used alone. W. P. Jenney, Ph. D.
{To be concluded.)
DENSITY RATIOS ASD EXPOSURE.
Thb question whether latitude in exposure exists in a sensitive film,
and, if so, to what extent, is of such wide importance that Mr. W.
K. Burton's letter to Photographic Scraps on this subject is sure to
attract much notice. Anything that Mr. Burton writes is sure to bo
useful and practical, and with the information given in his article
any one can repeat the experiments for himself, and compare the
results.
There are one or two points, however, to which I should like to
draw attention, as either simplifying the work or tending to confuse
the issue. In the first place, I should recommend all experiments to
be made either with a screen of some sort or by a series of exposures,
as indicated in the last paragraph of Mr. Burton's communication.
It is quite easy to compare results obtained in this way, i.e., a series
of tints increasing in depth in a fixed ratio. It is, however, practically
impossible to do more than give an opinion — 'm which the personal
equation is liable to be unduly prominent — upon the similarity of
two ordinary negatives, neither of which may correctly represent
the natural original, and in which there is no certain guide as to
true representation ; that is to say, as to how much deposit should
represent a certain portion of the view.
For like reasons a series of deposits of silver caused by the un-
impeded action of light is much to be preferred to the results with a
coloured screen, such as Warnerke's. It is more easy to compare
the tints, and, in case accurate measurement should afterwards be re-
quired, more'useful. An instrument forthe purpose can be made from
a half-plate printing frame with the aid of some pieces of cardboard in a
* American Journal of .'Science, 1887-89, 3d aer., vols. ixxuL, xxxviii.
t Whether this silver salt is a true metabisulphite is some«(hat,uncertaip.
It is different ia behaviour in the emulsion from the silver sulphite pitidace'd
by precipitating silver nitrate by sodium sulphite.
376
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 16, 1893
few minute', anil is alwsis handy for comparing one lot of pliites
■with auutlicr. Further than this, in the direction of laboratory test-
ing, I do not think it advisable or necessary for the ordinary photo-
grapher to go.
Photography has been named an art-science, but, as far as
negative-making goes, tlie two branches are far apart. The
artist cares little as a rule as to the appearance of his negative, or, at
all events, if he does care, he is willing to sacrifice the look of the
negative to the appearance of the resulting print, if to secure a good
(looking) negative means any loss in the picture itself. The aim of
photography, tlien, to ninety-nine percent, of its votaiies and admirers
IS idctorial, and is an appeal to the senses through the eye. Whilst,
therefore, I am altogether an advocate for the laboratory exposure
test as against the negative-making test for ascertaining the qualities
and rapidity of an emulsion, 1 think that the practical photograph for
final judgment of its qualities ought to be formed, not from this test
negative plate but from photographic prints produced in exactly the
nsual way from those test negatives rather than by measurement of
the deposit. And I think this, on the ground which I expect to have
my readers' sympathy upon, that every photographer can form his
opinion as to the comparative excellence of two or more prints which
ostensibly represent a series of gradations from dark to light, each
tint increasing in depth in a known and appreciable degree.
Moreover, any limitations of the printing process are self-evident and
allowed for in the result. It is a pretty generally accepted fact that
no printing process can reproduce all the gradation in a fine negative.
The scientific measurement is to that extent misleading, and I prefer
to compare prints. AVere photography purely a science, I should
prefer the use of measurements for general purposes; but, as I esteem
it an art, I prefer to abide by the tribunal to which it ultimately
appeals, viz., the visual faculties and critical sense. Scientific
measurements are of more use to manufacturers than to the picture-
maker ; graphic measurements, if I may so christen my method, are
principally useful to the worker.
With these ideas in my mind, I have gone over the experiments on
Mr. Burton's lines as indicated in his letter, and, in order to get a
wider trial, I have not limited myself to one make of plate, although
there is probabh' little reason why much difference, if any, should be
expected on this ground, except it be on the score of difference in the
thickness of coating. My trials amply illustrate this point, viz,,
that the thicker the coating of emulsion, the more easily is over-
exposure tolerated by the plate. Still, different makes of plates do
stand, and even demand, very different methods of treatment.
Briefly stated, I do not find that I can, with sensitometer tests (in
which one knows what relative density to expect), get negatives, to
use Mr. Burton's own phrase, givinr/ prints that are' identical. Not
only can the negatives be distinguished by the difference in colour of
the image, but the prints also are marked by certain characteristic
differences which, in my experience, have occurred in a consistent and
regular manner. These differences mainly are that the tones of the
pictures upon the long-exposed plates are less differentiated than in
• the normal exposures, and that the pictures seemed to be pitched in
slower key. I have always noticed that photographers who back
their plates, give long exposures, and then trust to restrained develop-
ment, get pictures of this character. Now, these are very pleasing
of their kind, but they are quite different from, and can be easily
distinguished from pictures whose original negatives have been made
with wiiat is usually called correct exposures. I mention the point,
however, as it confirms me in the belief that it is going too far to say,
as Mr. Burton writes, that " an experienced plwtographer cannot tell
■which is from the negative that has had the longest exposure, and which
from the normal exposure."
A good negative can be made from the plate receiving the longer
exposure, and by the method he indicates, but it is different in grada-
tion m the middle-tones, and with a sensitometer test, such as I
mentioned in the eailier part of this article, can be fairly easily
recognised.
There is one point which I should like to add to these remarks as
to Mr. Burton's method of development, viz , that the developer, strong
in pyro and bromide, seems to have but little effect upon a plate if
tried in error. For example, suppose one is not sure which plate is
the over-exposed one. If it be tried in the strong developer and no
image appears, the plate can be washed and development recom-
Hienced with a normal solution without, I thmk, any perceptible
alteration of tone rendering.
I have not referred here to the we of the citrates for remedying the
effects of over-exposure— although I am inclined to preferthem to Mr.
Burton's method — nor which sort of picture, viz., that obtained
wkh normal or prolonged exposure, will appeal most strongly to
the majority of photographers, but simply to state the opinion that.
as critically examined under conditions which admit of it, the grada-
tions in the two cases under discussion are dissimilar. A thicker
coating of emulsion, and effective backing, both materially assist in
reducing this dissimilarity, but do not overcome it.
S. Hbbbkht Fby.
"IN DARKEST PHOTOGRAPHY— THE WAY OUT."
In reference to the great depression now existing in the businesses of
professional photographers, and how to remedy such a state of affairs,
it would, perhaps, be as well to seek the causes of the disease (which
are, doubtless, many) before suggesting a remedy, and which remedy
should be as complete as possible, considering the gravity of the
complaint.
That a large number of workers have joined the ranks of profession-
alism since the introduction of gelatine plates is, alas, only too true ;
but, are they possessed of the same amount of skill and ability as the
old wet plate workers? There can be only one answer to this
question. No ! L'nfortunately, No !
Now, there are numbers of men in most of the large provincial
towns in the kingdom who trade as so-styled artists and photo-
graphers, when they are, in fact, nothing of the kind. They have no
studios, are quite incompetent to take a negative, and much less finish
a print. Who are these individuals '? Why, simply canvassers, men
who have been previously emplo3'ed by some big firm as travellers
for club or subscription portraits, and by some little smattering
obtained in the course of their business as to certain items in the
same, and by forming a tolerably good connexion, and by saving a
little money, have been enabled to dissociate themselves from their
employers and make a start for themselves as " full-blown " photo-
graphers. They enlist the services of some local man (who possib'y
might be better employed), and arrange with him " to take '' for them
at a certain price per negative, which is to become their sole property.
Possessed of this, they send it firstly to some firm of enlargers for an
enlargement to be made therefrom, and secondly send that elsewhere
to bo finished either in colours or monochrome, according to their in-
structions. These gentry can purchase mounts and frames as cheap
and as readily as any professional, and thus they daily, weekly, and
yearly compete, with no knowledge, or very, very little, of photo-
graphic details, against the man who has served a lifetime to the
profession, and who, figuratively speaking, "knows more in his little
finger than they do in the whole of their bodies.'' Are they photo-
graphers ? Have they the slightest pretensions to be styled as such ?
Is it not a perfect anomaly ? Is it not • preposterous that they should
be allowed to designate themselves as such ? Is it not time that the
closure should be adopted towards stopping such a state of affairs?
But these are not the only delinquents who cause professional bad
trade. There is another and a very big one, and possibly a more
difficult problem to deal with, and that is the amateur. We are con-
tinually informed that they do no harm to the professional, that the
big guns of the profession suffer in no way bv them. But, for all
these reiterated statements, it may yet be said they do no good.
Many instances might be quoted where they have supplanted the
professional and the services of amateurs have been engaged as against
the man whose living it is, much to his detriment and financial loss,
and it is quite obvious that a man who earns his bread by the pro-
fession that he fo\\o\\s should not be ousted by one who only attempts
such work as a pastime and amusement, and draws the means of his
support from some other source altogether. It .seems somewhat sur-
prising (to those especially who can remember a different state of
aft'airs to exist) that the photographic press generally should take so
much cognisance, and repcjrt the proceedings of amateurs and their
societies. If less prominence were given to their sayings and doings,
they would most probably return to that obscurity from whence they
came.
And now as to the cause of the existence of so many amateurs
among us at present. The profession has certain members of their
own profession to thank for that. What would you think of a photo-
grapher (?) proudly boasting of the following — that he had supplied
some 200 cheap camera sets, quite promiscuously to any one that
chose to buy, and on the further understanding that if they also
purchased their plates, chemicals, &c., from him, ^e would give them
free instruction, and supposing that the locality was already over-
stocked with legitimate workers, here were another 200 let loose to
stiU further undermine the interests of the profession and inevitably
cause a reduction of prices of work.
There is too great a tendency at present among professional photo-
graphers, to add the sale of apparatus, chemicals, &c., to the ordinary
June 10, 189a]
THE BRITISH JOURNAL OJf rilOTOORAI'HY.
877
branches of their businesses. It is <i system much to be deprecated,
and tends to lower the btatus of the profession, causing those who
follow such a practice to descend to tlie level of a sliopkeeper, &c.
Having now touched upon some of the most llliely causes of photo-
g-rapbic depression, let us try and suggest some means whereby to
avert it. Some years ago it was strongly advocated in these columns
by Mr. John Traill Taylor, and also in the Vlioioyraphic News, by the
late Mr. George Wharton Simpson and others, on the desirability of
founding "A National School of Photography," whereby all who
carried on the business of photographers, should be subjected to an
examination to qualify as members of the profession, and there is but
little doubt that the present state of affairs would not be in existence
if that project had been properly entertained; the apprentice system,
which nearly every one decries, would have been aoolished, and the
amateur would also have been nowhere. •
But as the establishing of a "National School of Photography"
would take some little time to bring about, and as " trade depression "
requires an almost immediate remedy, the quickest, easiest, and
safest mode to adopt now is the systematic " registration of photo-
jrraphers," no one being allowed to dub himself as such unless holding
an Inland Revenue licence, the fee for wliich can be hereafter de-
termined, and such licence to be given to only those wh i can pass a
certain test examination, and at the same time afford the proper
authorities such information as may be retjuired, that the applicants
intended carrying on the businesses of bond fi'le, and duly qualified
photographers.
Any one who has really the interests of the profession at heart will
not object to the test proposed, as with our leading and skilled men
it would only be to them a mere matter of form after their many
years' experience, and the registration and licensing of photographers
would probably tend to a system of trade protection and organization,
the want of which at times has been sorely felt.
The " Sale of Poisons Act," as now carried out in connexion with
photography, needs some better supervision, as any amateur possessed
of the scantiest of photographic knowledge can obtain any chemical,
however dangerous, as easily- as any professional photographer. This
should not be ; but, under the proposed scheme before referred to, a
■ chemist should be empowered to refuse the sale of any poison required
in photography, unless tlie purchaser could produce a photographer's
licence.
It is hoped tliat, at the forthcoming Convention of the profession,
to be held on the 3rd proximo at Plymouth, the proposition con-
■'lined in this pa{)er will be brought forward with the endeavour that,
efore the end of this year, it may be fairly on. its way to realisation,
nd that it may prove to be a satisfactory solution to the present
ongested state of the profession, and a sure " wav out of darkest
photography." " "Pionekh."
AMIDOL-HAUFF AND METOL-HAUFF.
lA^axG had some experience with these two developers newly
put on the market, I send a short account of my experiments, hoping
St may be of interest to those who are beginners, and also trusting it
pay lead tho.se who have tried these developers to give their
pxperience, as I feel sure a short discussion ou this matter would be
of intere.5t to the readers of the photographic papers.
I am led to believe by what I hear that it is the general opinion of
■the photographic public that metol-Hauff is brought out to replace
■imidol-llaufT. I do not think so, as both are go«i developers, each
having its own good points, but which is be.st must depend on the
erson who uses it. Personally, I prefer amidol-IIauff for most work,
ut for lantern slides and time exposures I tind metol-Hauff works the
Ijest. Certainly, if one requires a developer that will keep in liquid
olution, motol-Ilauff is far ahead, iis amidoI-Hauff will not keep well
1 this form whatever it is mixed with. When mixed with sulphite,
I per formula sent out by the makers, it will not last over eight or
en days, and when mixed with metabisulphite, as per formula I gave,
St will keep much longer : but it is not certain in its results if kept over
!two months, and therefore in this point metol-Hauff has a distinct
ladvantage, as it will keep well ; indeed, I should nay for any length of
lime, as I have some stock solution which I mixed when it first came
ut, and which is as good now as on the first day it was mixed.
But I have found that both amidol-IIauff and metol-Hauff work
est when kept in a dry state and mixed as required.
Which is the best developer for one to try who has not tried either
I the point upon which I should like to start a discussion. As far
9 my opinion goes, I say amidol-IIauff for those toho are old hands at
ievelopment, and for beginners, metol-Hauff, as 1 have found that in
es of bad under-exposure one can, with adding potash solution, get
fog with amidol-Hauff, but in no case could I get developing fog with
metol-Hauff by forcing with potash. For ordinary exposures of, »ay,
one-fiftieth .«econd up, I think metol-Hauff is as good a developer as
it is po.'sible to have, but for very fast exposures of, aay, one-three-
hundre<lth to one-six- hundredth, 1 cannot get as good results with
metol-Hauff as with amidol-IIauff. This may, however, be my own
fault, as one of our greatest authorities (Mr. A. Pringle) ."ays that
metol-Hauff is as good a developer as any known, and he certainly
knows better than I do; but I can only say as regards mv.self that
with fair exposures I can get about equally good results uung either
amidol-IIauff or metol-Hauff, but for extra fast work I prefer amidol-
Hauff.
Now, as to which is the best for bromide paper, I say amidol-Hauff
certainly when mixed with sulphite, as if you only use enough amidol
you can get a good, clear black, and use your developer for four or five
prints without loss of tone; but, when using metol-Hauff, one must
not use it more than two or three times, or one will get a bad colour
gn the bromide print : also, on no account must one dilute the metol-
Hauff developer if a good black is required. Metol-Hauff has one point
which amidol-Hauff has not, viz., one can develop a bromide print to
a brown tone by giving a long exposure and then diluting the
developer, adding a lot of bromide, and using carbonate of soda in
place of carbonate of potash. Of course, it is impossible to give a
fixed rule for mixing a developer for brown tones, as so much depends
on the negative used and the colour you want to get; but I can say
that a good brown can be got by this developer (metol-Hauff) if used
as above. I only mention it for a hint to others to help me with
their experiments, as I have only been trying it a few days myself.
P^or lantern slides, as I said before, I prefer metol-Hauff.
Another point with metol-Hauff (not that I think it an extra good
one) is that it works specially well with ammonia in place of carbonate
soda or carbonate potash, and one gets very fine black on bromide paper
by using ammonia. The amount of ammonia to use must be found
out by experiment, as one brand of paper requires more than another.
The formula I use are as follows : —
Amidol (stock solution).
No. 1.
Amidol-Hauff 1 ounce.
Metabisulphite 1 ,,
Water 10 ounces.
No. 2.
Water 10 ounces.
Carbonate potash 2 „
For use for bromide paper take —
Amidol-Hauff solution No. 1 , , 1 drachm.
Potash solution No. 2 1 ,.
Water 1 ounce.
and four to five drops of a ten per cent, solution of bromide. For
ordinary snap-shot work use the same without any bromide, and for
time exposures dilute by adding one ounce more water and bromide as
required.
But I think the best plan is to use the amidol-IIauff dry, as it
will dissolve in a few minutes. The way I use it in this case is : I
keep a saturated solution of sulphite of soda on hand, a good quantity
— say, ninety ounces or so — as it keeps well in a stoppered bottle. For
use I take, say, saturated solution of sulphite, six ounces (six grains per
ounce) ; amidol-Hauff, thirty-six grains ; and four to five (Irops per
ounce of a ten per cent, solution of bromide for my bromide papers
and ordinary snap-.shot work. For time exposures one should use the
sulphite solution diluted with equal part of water and more of the
bromide ; but, if one wants density, the amidol-Hauff should not be
reduced.
For metol-Hauff I use the formula sent out by the makers for a
stock solution, or else I use it drj', as follows : —
Mix thirty-six grains of metol-Hauff in three ounces of water, and,
when dissolved, add three ounces of saturated solution of sulphite, six
drachms of twenty per cent, carbonate of potash, and a few drops of
bromide ; this works well with bromide papers and for ordinary
hand-camera negatives. If the negative is under-exposed, add
carbonate of potash solution, thirty drops at a time, till you get all
you can out of the negative. For time exposures, use more bromide,
up to one drachm or one and a half drachms of a ten per cent, solu-
tion of bromide per ounce. For density I find it best to trust to my
bromide instead of diluting the developer with water.
Now, I have given my experience with these two developers, and
had my say, and started the ball, and I hope others will follow, for I
think that, although we have often heard of our old friend, pvro,
THE BRITISH JOORNAL OF PHOTOGRAPHY.
[June 16, 1893
being replaced-but did not think it would be so yet-in my opinion
either of these developers (I fancy metol-Hauff) will do it, and being
so confident, I wish to hear others on the same subject, so as to see
who agrees with me. A- ^^- JJbksseb.
SUMMER NOVELTIES IN APPARATUS, do.
Messrs. J. La>,-castek A- Soss, Biemisgbam.
In the opening pages of their Catalogue for 1893, which has just been
issued, Messrs. J. Lancaster & Sons, of Colmore-row, Birmingham,
point with pardonable pride to the circumstance that, np to date, they
have sold 105,000 cameras and 160,000 lenses. This in itself may be
accepted not only as an evidence of the prosperity of Messrs. Lancaster s
business, but also as some faint indication of the extent of photography
itself, which, though it may be a trite enough thing to say, is nevertheless
true, that it has grasped the interest and attention of all classes of
people to a degree that characterises no other pseudo-scientific recreation.
The Catalogue in question includes, in addition to illustrated par-
ticulars of the firms' many familiar specialities, several new and novel
designs in photogn^hie apparatus for the current season, many of which
were shown us on the occasion of a recent visit to Messrs. Lancaster's
establishment. First of these may be mentioned the aluminium-
mounted Instantograph, a camera which, by reason of the substitution
of aluminium mountings for brass, is ideally light.
The camera, which is made out of selected mahogany, of the smallest
possible size, with a due regard to strength, has aluminium binding,
aluminium front stage, plates, screws, Ac, as well as double swing back,
long extension, reversing back, and all recent improvements.
The lens is mounted in aluminium, and has the firm's patent
aluminium see-saw shutter. The stand has an aluminium top.
This stand top is an especially well-finished piece of work. Regarding
the working of aluminium, Mr. Lancaster informs us that, in experi-
menting with it as a substitute for brass, considerable time and money
have been expended.
The 1893 special brass-bound Instantograph is a handsome camera of
the best finish, designed to meet a general wish for a high-class brass-
bound camera having all necessary movements. The 1893 Portable
Instantograph is a new hand and
stand camera, with which a light
stand is supplied for the latter
purpose. It will be observed
that, folded up, it presents an
appearance as unlike a camera
as it well could be, thus im-
parting to it a character which
may easily elude theobservation.
Messrs. Lancaster are taking
advantage of this happy idea to
impart a"detective-camera"-like
appearance to their "Ladies'
Camera," a camera with but few movements, and therefore eminently
suitable to the fair sex. This camera, when folded up and carried in
the hand of a lady, looks not unlike a reticule or some similar receptacle
which ladies are in the habit of carrying.
Among the other varieties of Messrs. Lancaster's cameras which may
be mentioned are the 1893 Pocket Instantograph, which is extremely
light and portable, has alnminium binding, runners, front stage, dc.
and which, with the lens, shutter, and double slides, are packed and
carried in a very small leather case. The principal feature of the Extra
Special camera is that it has a triple extension, thus enabUng one to
obtain a very great length of focus. In reference to the use of alu-
minium, Mr. Lancaster showed us
samples of the metal, which, for
experimental purposes, had been
gilded, to give it the appearance
somewhat of brass. The Recto-
graph series of lenses are now alu-
minium-mounted if desired, and
are also supplied in cases similar
to those in which jewels are placed,
thus giving them a highly chast
and taking appearance. Among
the firm's sets, that for boys at a
guinea, which includes every thin
necessary to enable a lad to make
his first experiments in photo-
graphy, is a marvel of cheapness and completeness.
Hand cameras also receive the firm's attention,
Omnigraph being their latest pattern.
the Wy.i Perfect
Among its other features, it has horizontal and vertical finders in the same
plane as 1*ie lens, registered adjustment for any focus, which is obtained
June 10, isna]
THE BRITISH JOURNAL OF PIlOTOORAPIl V.
379
by mOTing the lens. It is fitted, at the pleasure of the purchaser, with
cither molal elides or a special chacging bos. The slides, which are
shown in the cuts, arc made of light metal, and the top of the frame is
hinged, so that the plates can be removed without the least danger of
asratching or rubbing. The woodcut on the left show^ the slide closed,
and that on the right side
shows the frame open to
receive plates. The plates
are placed back to bock in
the grooves, with a sheet
of opaque material between
them.
The changing boxes are
fitted with raotal carriers,
each carrier being con-
tructcd to hold two plates,
with a division between
them ; the frame is then
closed and fastened by
means of a sliding pin. The
three carriers are then put
into the changing box.
Tluroughout the extensive
range of the firm's specialities, a vast deal of ingenuity is involved, all
classes of photographers being' catered for, so that it is not surprising
that Messrs. Lancaster's weekly output runs to an average of 400 cameras.
ATEiNBOii'a Nzw Backorouxds.
Mr. J. J. Atkinson, of Manchester-street, Liverpool, showed us some
new series of backgrounds which should be welcome to professional photo-
graphers on the look-out for novelty and variety in this direction. One
of these, the " Children's" series, which are produced by Seavey, of New
York, represents a number of artistically painted scenes, interior and ex-
terior, which are calculated to suit youthful sitters. The backgrounds are
made in the usual sizes, and the subjects are so much out of the common,
both in selection and style of treatment, that they are certain to be
popular with our professional friends.
Seavey's skill is also well exemplified in the Columbian series for adults,
curtained windows, divans, artistic furniture, *g., being made to do duty
with uniform success. A third series is that of Bryant (for whom Messrs.
E. & H. T. Anthony, of New York, aie the agents, but which are also in
the hands of Mr. Atkinson, for this country). These represent a number
of charming landscapes, unconventional and delicate in treatment. A
wider adoption of natural and truthful backgrounds, such as those of Mr.
Atkinson, should prove a great service to many photographers in im-
proving the quality of their work and increasing their business.
The "All-in-One" rLAlEw.isHiNo Backs,
Mr. W. Tylar, of High-street, Aston, Birmingham, is introducing a
new form of adjustable
platewasher under the
above title. Its principal
feature is that it takes
any size up to whole-plate,
either eighteen 3J x 3|,
4| X 3^, 5x4, stereo-
scopic, half-plate, 7J x 5,
or nine whole-plates,
being inserted at one
time in the grooves, or
/ B^^^^5^*^ir~~~— ^ fliP^Sifflit "^'"^ whole-plates ; or,
for mixed sizes, nine
each of cither 3J x 3^ or
quarter plate, 5x4 or
7Ax5, &c.
It is made of zinc, and packs up into a small compass. In use, the
arms carrying the grooves are fixed at different distances on the sides of
the rack, which is rendered rigid by ccrews at each end. The " AU-in-
One " should prove very convenient where a number ol different platea
are desired to be washed at one and the same time.
Messrs. Jas. Woolley, Sons, * Co., of Manchester, who occupy Urge
and handsome premises in that town which are devoted to the distribution
among chemists, doctors, d-c, of drugs, chemical and scientific apparatus,
&c., also include among their numerous department! one set aside for
photography, which is filled with an extensive and assorted stock of all
photographic requisites. Among the recent novelties embraced in their
catalogue is the "Sandell" fixing tank, which has been introduced to
meet the requirements of the Sandell plate. It has a light and dust-
proof cover, and a strong rack, which can be suspended from the top.
The plates are placed vertically in the tank, and for draining purposes
are held in the rack at the top of it.
Calling in upon Mr. J. T. Chapman, of Albert-sqnare, Manchester,
when in that town, we were pleased to hear from him that he was ex-
tremely busy in photographic apparatus and materials, Ac, a fact of
which we had ocular evidence. Indeed, photography generally, or rather
that branch of it which concerns itself with the supply of materials,
especially to amateur workers, seems m the north of England to be in a
very healthy condition — a state of things, no doubt, in some measore due
to the recent fine weather.
I
»
®ur lEtiitorial ^atU.
Amatbue Photogkai'hehs' Annual fob 1893.
Londou : Hazell, Watson, & Viney.
This Annual is illustrated by no fewer than fourteen pictures, and
several articles, mainly of a practical nature. These are headed by the
editor, who leads off with a good article on the carbon process, in the
course of which be tells us as succinctly as possible all that is known
concerning it. He is followed by Mr. A. Horsley Hinton, who treats
on subjects connected with pictorial composition, and the trimming of
priuts. The other articles are "Practical Work," by John A. Hodges
{the leading one in the volume), and "Protecting Inventions," bv
Naunton. Then follow, arranged in dictionary fashion, a holiday
guide, in which, like the ABC Jiailway Guide, the population of
numerous places, their distance from London, and other useful in-
formation are given. The Annual is well got up and will prove
useful for reference.
J. Lancaster & Sons' Xew Catalogue.
As far as catalogues go, this one for 1893 is a work of art. It con-
tains four pictures, taken, as may be well understood, with Messrs.
Lancaster's apparatus, besides numerous cuts illustrative of cameras,
lenses, stands, lamps, and every other thing required in photography.
Lancaster's Catalogue, unlike others, is condned to objects of their
own manufacture, and they are very numerous and varied. They fill
eighty pages. The Catalogue, which sells at Ad., is a model of
excellence.
Mills' Mountant.
Ma. G. W. Mills, Highgate, sends us a sample of a mountant he
prepares for enamelled and similar prints in which the gloss is desired
to be maintained. Its basis seems to be dextrine, to judge from the
smell. The directions for use are to apply it to the back of the print
wi'ti a stiff brush and then rub well in contact with the mount. It
w V answer its intended purpose well.
Flashlight PoninAiTS.
By W. E. Debexham, 46, Haverrtock-hiU, N.W.
Ma. Df.benham has submitted to us for inspection a series of
portraits taken on the occasion of a fancy-dress ball by means of a
Hashligbt. Excepting, perhaps, the presence of the cast shadows, it
would be difficult to discover that these portraits were not studio
work naturally lighted, the absence of harshness of lighting usually
seen in such results being very noticeable. There is a roundness of
feature combined with softness of texture which speak well for the
management of the light and the accuracy of exposure. As ex-
amples of this kind of portraiture, Mr. Debenham's results are very
successful.
380
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 16, 1893
New Shuiteb for Stkkboscopic Photography.
>Ib. J. R. GoTZ, 19, Buckingham-street, W.C, has brought out a
new form of shutter— the Ariel— -which is simplicity itself, or, as Mr.
Gotz expresses it, the redtictio ad absurdum of shutter action. The
cut shows its external form. Pressure upon a pneumatic ball drives
up a box piston which loosely fits the cylinder, and this, in risino-,
enfrages with a double lever by which the shutter blades are opened
and closed, either instantaneously or are amenable to time exposure.
The blades are cut square, so as to give a square aperture. This
shutter is so convenient, and of such pocketable dimensions, as to
ensure a large demand for it. *
The Ilforu Exposure Meter and How to Usb it.
Those who possess an Almanac for the present year are doubtless
familiar with Mr. John Howson's article on "The Ilford Exposure
Meter," which had not at the time of issuing this Annual been
quite ready. A specimen is now before us, and is illustrated by the
adjoining cut. The Meter, which has been invented by Professor J.
A. Scott, of Dublin , in order to f urn ish
a convenient method for performing
the various calculations necessary in
estimating photographic exposures in
a purely mechanical manner, consists
of three movable circles or discs,
which revolve freely on a central
axis, to which are fixed two circular
plates, one forming the centre of the
front, and the other the back of the
instrument. These discs respectively
are : " Plate Circle," " Date Circle,"
"Diaphragm Circle," and "Subject
Circle." On the outside is the
" Exposure Circle." These are all
movable, except the first and the last. The Meter is elegantly made
in ebonite, and can be carried in the pocket without the slightest in-
convenience, being only three inches in diameter and weighing one
ounce. From the well-known reliability of everything that emanates
from the Ilford Company, it is almost superfluous to say that this
useful exposure meter can be quite depended upon. Wo endorse the
statement on the front of the pamphlet of instructions, that it is a
common-sense and certain means of gauging exposures.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 10,971.— "An Improved Construction of Frame for Photographs and
other Pictures and Designs." L. Wakk.— /)aferf June a, 1893.
No. 11,179.— "Improvements in Magazine Cameras." S. D. Williams-
Jtated June 7, 1893.
No. 11,210. — "Improvements in Photographic Cameras." S H Brtttain
and G. D. Hughes. —i>a(e(i June 8, 1193.
No. 11,212.— "Improvements iu Photographic Camera.'." .J F P\nsovs
Dated June S,l%9Z. . r. i-.Mi.-,oN.s.
No. 11, .303. — "Improvements in the Construction of Pliotogr.iphic and
other FoMing Tripod Stands." Complete specification. H. J Spkmt A S
SfKATl, and G. A. Si'RATT.—Z)rt<e(i./»«e 9,1893. ' ' '
No. 11,353.—" Improvements in or relating to Photograuhic Cameras " C
Pkczexik.— /Jntoiy«n<: S, 1893.
No. n,36.'>.— " Improvements in Photograph .and other like Frames " Com-
imnicati'd by S. PoseD. A. Qmis.—Dated June 9, 1893.
PATENTS COMPLETED.
I.MrnovKMENTS IN Photographic Objectives.
No. 4377. Albert Barbioi Paevin, 3213 Powelton-aveuue, Philadelphia. ,
May 13, 1893.
My invention has relation to photographic objectives which are adapted to-
magnify the image of .in object or objects at great distance, range, length, or
position from the camera, .and -with cliaracteristic sharpness in detail.
It is generally understood by those skilled in pliotogi-aphy that tlie size of
the image of an object upon the ground glass of a camera depends upon one
of three conditions: first, the focal length of the objective; second, the
distance of the same from the object to be photographed ; and, third, upon,
the size of the ovigin.il. Two of these conditions, under certain circumstances,
are subject to variation, that is, tlie distance from the object and the focus-
of the lens. Of course, if the object to be photographed can be approached,
or lenses of different focal powex are at hand, then an image of the required
size can be obtained, but such favourable conditions do not e.\ist in everyday
practice of the photographer. Tlie required approach to the desired object
is often impossible or impracticable, because the required distance is too
great to afford re oguisable detail in the resultant negtvtive, requiring lenses of
extreme long focus, which necessarily .are rather circumscribed. Suppose, for
instance, a photograph is required of an inscription upon a rock alioiit 300
feet high, to obtain a fair view withoiit distortion the operative woulil liave to
locate about 700 feet from the rock, and this would liriugtlie inscription about
800 feet in a direct line from the lens. To .secure distinctness or sliarpness
as to detail, the letters of the inscription would liave to appear at least four
inches higli on the object in the resultant picture. To attain such a result,
say, with a lens of 5x6 deters focus, would require a camera witli about
an eighteen feet extensiou. Then, again, small images witli subsequent
enlargciiient suffer from the disadvantage of the grain of the plate, for even
by slight enlargement such is apt to become so objectionably prominent as tO'
destroy all detail. The efl'orts to overcome sucli difliculty in exposure' has
suggested the use of a tele; cope as a substitute for a photograpliic objective ;
but such in practice was found to be awkward and unstable, and, moreover,
witli tlie use of tlie firmest tripod, tlie slightest breath of air or the least tremor
was calculated to spoil the image of the object.
The principal objects of my invention are, first, to overcome the above-
mentioned disadviintages and objectionable features, and to provide a photo-
graphic objective of comparatively simple construction and effective action for
enlarging the imago of an object or objects at equal or unequal disiances from
each other with respect to the jiosition of the camera ; second, to provide a
photogra)ihic objective having a non-extensible tube provided with a single
negative lens ground a.cording to a inatbematical formula to certain radii, to a
compound positive lens ground according to a mathematical formula to
difl'erent radii, and the construction and arrangement being such that the
image of an object or objects at distant points or positions from each other
are appreciably enlarged or magnified with marked sharpness of detail in the
resultant ueg.itive or sensitive film or plate ; third, to provide a photographic
objective with a non-extensible lens tube, having a slit formed in the wall tliereof
for the reception of a perforated slide or diaphragm for correcting marginal rays-
and with compound convergent positive lens and a divergent neg.itive lens ;
fourth, to provide a photographic objective with a non-extensible tube, having
a convergent compound lens and a divergent single lens, respectively ground to-
different radii, and the length of the lens tulje being proportioned to the-
diameters of the lenses, whereby increased magnification and sharpness of
detail of the image of the distant object with respect to its real location auA
position are obtained ; fifth, to^provide a photographic objective with a tube
having ,". double front lens of c^ertain radii, and a single back lens of different
radii ; sixth, to provide -i photographic objective with a single divergent lens-
having each face or surface thereof of difi'erent radii ; seventh, to provide a photo-
graphic objective with a convergent positive lens, and with a negative divergent
lens having different radii in respect to the sides or surfaces thereof; eighth, to-
provide a lens tube having two lenses, the radii of each of which have a fixed
relation with respect to the length of the tube ; ninth, to provide a photo-
graphic objective having a nou-e;(teusible tube, with a concavo-convex lens of
certain radii of inside curves, and of certain radii of outside curves, to afford
certain focal length, and a convexo-concave lens of certain radii adajited to
enlarge and to define with decided sharpness of detail the image of a distant
object transferred to a film or plate ; and, tenth, to provide a photographic
objective adapted to an ordinary camera, and comprising a non-extensible tube,
provided with a convergent compound or double lens and a divergent single
lens, and the radii of said lenses with resjiect to each other being different ou
the respective faces or surfaces thereof, in order to give, by the combination,
greatly increase<l magnification or enlargement and great depth of locus.
My invention consis-ts of a photographic objective comprising a tube having
a compound convergent lens and a single divergent lens suitably mounted
therein.
My invention further consi.sts of a photogriiphic objective comprising a
non-extensible tube, with convergent and divergent different radii lenses-
mounted therein.
My invention further -.ousists of a photographic objective comprising a non-
extensible tube provided with a double or compound convergent lens, and with
a single dive.'gent lens, .and respectively of different radii.
My invention further consists of a photographic objective having convergent
and divergent lenses of resjiectively different radii as to inside and outside
curves, faces, or surfaces thereof, and adaptcvl to greatly magnify or enlarge-
the image of distant objects with sharpness of detail.
My invention further consists of a photographic objective comprismg a non-
extensible tube having a fixed relation to a compound lens of certain radii, and
to a single len.s of two different radii, tlie i-onstructionand arrangement thereof
being such that the image of a dii^tan* object is greatly magnified and sharply
defined, so that the different positions of the objects are brought on to a film,
or plate with characteristic sh.arpuess and clearness of detail.
My invention further consists of a photographic objective comprising a smal
tube provided with a compound lens of certain or fixed radii of inside .and out
June 10. 1^93
THE BRITISH JOURNAL OF PHOTOGRAPHY.
881
si<lo faces, Lurvcs, or surfaces, ami with a single Ions of dillerent railii of inside
anil outside faces, curves, or surfaces, and the lenses respectively having con-
vergent and divergent properties, in order to give great depth of focus and
permit the iiiiage of distant objects to be transferred in niagnilie<l form to a
)ihotocraphii' lllni or plate, with characteristic shar|>ness as to detail, and with
reuiarkable clearness or distinctiveness of field.
.My invention furtlur consists of a photoji^aphic objective provided with a
non-extensible tube liaving eonvergentanddivergent lenses of certain or defined
railii with respect to each other and the length of the tube, and susceptible of
being increased or decreased in len^h proportionately as the diameters of the
espective lenses are increased or diminished ; and
My invention further consists of the iniprovenients in photographic objectives
hereinafter described and clain;ed.
The nature and general characteristii' features of my invention will be more
fully understood from the following description taken in connexion with the
ecompanyiug drawings forming part thereof, ami in which
llie figure is a longitudinal central section throngli the photographic objec-
tive, showing a non-extensible tube provided with a <letachable perforated
diaphragm or slide adapted to correct marginal rays, and with a concavo-convex
positive lens, and with a convexo-concave negative lens, the latter embodying
features of my invention.
lieferring to the drawings, A is a brass or other tube provided with ajbarrel,
a, and with detachable threaded coupling rings and sleeves, 6, 6', It', c, c^, and
C-, for supporting in proper position in the barrel, a, the respective lenses, B
and C. Aoout midway of the V^arrel of the tube A, and between the lenses B
and C, is provided a slit, d, adapted for the insertion of a detachable perforated
diaphragm or slide, «, for correcting marginal rays. The tulje A is provided
in tlie front extremity thereof witli a compound lens, B, ground according
to a mathematical formula with respect to the inside and outside curves,
faces, or surfaces therof, to certain radii, and at the rear extremity of the
barrel of tlie tube A is mounted a single lens, C, ground according to a mathe-
matical formula as to inside and outside curves, surfaces, or faces, to dif-
ferent radii. The tube A, witli tlie lenses B and C, constitutes what is
generally known as a "photographic objective." The tube A, for a 5x7
or 5 X 8 plate or sensitised film may be about two and one -quarter
inches in length to lenses each about one and one-quarter inches dia-
meter. It should be borne in mind, however, that as the tube is increased
or diminished in length, so ))roportionately the diameters of tlie lenses will be
increased or diminished. With respect to the lenses, It may be remarked that
the main feature of this invention is to provide a single lens, ground acconling
to a mathematical formula on the inside and outside curves, faces, or surfaces
to certain radii, and of a compound lens of certain other radii as to the inside
and outside curves, faces, or surfaces thereof. Moreover, these lenses,
mounted in the tube A, have respectively convergent and divergent proclivi-
ties, and are adapted to give greatly enlarged image of the distant object, that
is to say. to the extent of teu, twenty, and even a hundred-fold without im-
pairing in the least any of the characteristic sharpness of detail embraced
within the field of the objective. Moreover, the imag* of the distant objects
transferred to the sensitised film or plate, and in the resultant picture, ac-
cording to my invention, is much more pronounced than heretofore was
possible by the use of any of the commercial camera objectives. The negative
single lens C, mounted in the tube A, is ground on the faces or surfaces thereof
to dift'erent radii, and is used in connexion with the compound or double
positive lens, grounii to different radii, in lieu of the generally employed
compound lenses for such purposes. Furthermore, the positive lens is a con-
vergent one, while tlie negative is a divergent lens. By [iroviding the non-
extensible tube A with respectively convergent and divergent lenses, it has
been found that great depth of focus is obtained, as well as magnification or
enlargement of the imago of ilistant objects, without in the least losing any of
the characteristic detail required.
Id order that my invention may be fully understood by those skilled in
optics and in the art of photography, the relation which the back lens, C,
bears to the front lens, B, will now be given.
The front compouml lens comprises preferably a double convex lens, ground
respectively to the radii of 2J and IJ inches, more or less, to outside curve,
tKe, or surface thereof, and with a double concave lens, ground respectively
to the radii of 1| and 31 inches, more or less, to inside curve, face, or surface,
and as so combined such compound lens has a fociJ length of 6j inches, more
or less.
The back or single lens may be a convexo-concave or periscopic lens, ground
to tlie radii of iiij inches, more or less, to the outside face or surface thereof
and ground to the radii of l^' inches, more or less, to the inside tace or surface,
and this lens h.is a foc.il length of 5J inches, more or less.
The above combination of lenses, mounted in the tube having a length of
about 2i inches, may be applied to any ordinivry commercial camera, and will
give a depth of focus of about 20 inches, more or less.
In the practice of my invention with a photographic objective constructetl as
described, images of objects have been taken at 6600 feet to two miles distant
from the camera with greater sharpness of detail in the prints than ordinarily
can be obtained in prints taken at 100 feet distant from the camera. The fore-
going advantageous features of my invention are due to the character of lenses
employed in the non- extensible tube, and to the depth of focns obtained from'
the use thereof.
In the practice of my invention, neither spherical aberration nor astigmatism
is present, so that the objective is achromatic.
Having now particularly describeil and ascerUined the nature and objects of
my invention, and in wliat manner the same is to be performed, 1 declare that
what I claim is :— 1. A photographic olijective comprising a tube provided
with a convergent front lens and a divergent rear len.s, the constniction being
such that ^eat depth of focus is obtained, and enlargement of the image of a
distant object ensured in its transfer on to a sensitised film or plate, suMtan-
ti.ally as described. 2. A photographic objective comprising a non-extensible
tulie provided with a compound front lens and a single rear lens, of different
radii with respect to each other, substantially as and for the purposes described.
3. A photographic objective comprising a non-5xtensible tuoe provide*! with a
detacnable diaphragm or slide, a compound front lens of certain radii, and a single
rear lens of different radii, substantially as and for the purposes described.
4. A photographic ol>jective, comprising a non-extensible tube, provided with
a detachable perforated slide or diaphragm, a compound convergent front lens,
and a single divergent rear lens, of different radii in respect to the faces or
surface-s, and of ilill'erent focal length, whereby great magnification or enlarge-
ment of the im.ige of a distant object ig ensured with characteristic sharpness
of detail, substantially as described. .5. A photographic objective provided
with a divergent rear lens having faces or surfaces of difierent radii, substan-
tially as and for the purposes described. 6. A photographic objective, com-
prising a non-extensible tube, provided with a detachable perforated slide or
diaphragm, a single convexo-concave rear lens of certain radii as to inside and
outside faces or surfaces, and a compound front lens of certain radii as to
inside and outside faces or surfaces, substantially as and for the purposes
described. 7. A photographic objective, comprising a non-extensible tube,
provided with a compound front convergent lens and a single divergent lens
respectively, of different focal length, substantially as and for the purposes
described. 8. A photographic objective, comprising a non-extensible tube,
with a detachable perforated diaphragm, a compound front lens, and a periscopic
rear lens, substantially as and for the purposes described. 9. A photographic
objective, comprising a non-extensible tube, provided with a compound front lens
of certain radii, and a single rear lens of certain radii, substantially as and for
the purposes described. 10. A photographic objective, comprising a non-
extensible tube, provided with a compound concavo-convex convergent front
lens and a single convexo-concave divergent rear lens, substantially as and
for the purposes described. 11. A photographic objective, comprising a non-
extensible tube, having a compound front convexo-concave lens and a single
periscopic rear leas, tne airan-ement being such that great depth of focus is
obtained, and the transfer of the image of distant objects embraced within the
field to a sensitised film or plate is ensured with great maguiftcation and witiv
characteristic sharp'iess of detail, sii'^staiitially as described.
JfleetmgjS of SoctetieiS*
»
MEETINGS OP POCTP!TISS FOR NEXT WEEK.
Date of Meelinp.
PlAce o Heeting.
June
AsBo. studio, Nethergate, Dundee.
Fillebrook Lecture Hall.
Mechanics' Institute, Leeds.
Dundee Amateur
Fillebrook Atbeufeum
Hastings and St. Leonards ,
Leeds Photo. Society , ^
Kichmond Greyhouml Hoteir
i? South Loncion : Hanover Hall. Hanover.park. S.E.
S" Birmmjrham Photo. Societj ...^ Club Room, Colonnade HoteL
SX , Bnxtou and Clapham : 376, Coldharbour-lane, Brixton.
* Hackney.. | 206, Mare-street, Hackney.
SX rjorth London Canonburv Tower, Islington, N.
,X I S'"^i°y. I 9, Gauze-street, Paisley.
;J , Koohester Mathfiuatical School, Rochester.
,} I ""'■y Club Booms, 13, A<rar-3treet, Bury.
„f Leytonstone The Asscmhlv Rooms, High-road.
Photographic Olnb I Anderton'«lfotel,Fleet-8treet,E.C.
Sonthport : The Studio, 15, Cambriilge-arcade.
Southsea^. , 3, King's-road, Southsea.
Glossop Dale
Hull... I 71, Prospect-street, Hull.
IrelMid .. Rooms, 15, Dawson-street, Dublin.
London and ProTincial .
Oldham
Cardiff
Croydon Mierosoopic&l
Holbom
Maidstone
West London
HnU
Champion Hotel, 15, Alder8gate-8t»
The Lyceum, Union-st., Oldham.
Public Hall, George-street, Croydoo
" The Palace," Maidstone.
Ohiswick School of Art. Ghiawick.
71 Frospect^treet, Hull.
PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN.
June 13,— Ordinary Meeting,— the President (Captain W. de W. Abnev,
C.B., F.R.S.) in the chair. •"
It was announced that the Sheffield Photographic Society had been admitted
to affiliation.
The CoNSTRicTio.N of Intebch.\ngbable Lens Screw Frrnscs.
Mr. William T.vvi,ob read a paper on this subject, prefacing it bv pointing
out the disadvantages of the present system, and saying that by the use of
382
THK BRITISn JOURNAL OF PHOTOQKAPHY.
[June 16, 1893
interchangeable screws the lens would always arrive home in one p ace, and
that there would be no trouble about the engagement of the screw, inasmuch
as it would be known that three turns would complete. Lens makers were at
last realising the importance of adopting standards, and it was to the credit of
Messrs. Ross & Co. that they had adopted the Photograplnc Society s stan-
dards. He proposed to speak on the technical methods of making and
measuring, and in that connexion was of opinion that the mechanical practice
•of opticians must reach a higher level than at present. He complained that
accuracy in screw making was neglected by opticians who paid every
.-ittention to the glass work. There was an important differance between
interchangeability for lenses and that for bolts, gas fittings, nuts, &c., which
mifht be forced together, whereas lenses must fit the flanges freely. That was
a condition of " free interchangeability." Before him were five lenses and
live rianges, the lenses having the Society's two-inch male screw, which, if it
were one-one-thousandth of an inch larger than the normal would prevent
it entering the lianges. Therefore every male screw must be at least as
jsmall as the normal, and every female screw must be at least as large as
the normal. These wcre conditions of free interchangeability. A screw
hail three principal elements — diameter, pitch, and the form of its threads.
The distance between the two threads was the pitch. The outer diameter of
the male screw was usually taken by means of the plain measuring faces of a
micrometer gauge or measuring machine. The Whitworth form of thread
which had been chosen by the Society was beautifully adapted to the purpose.
Having described it, he said the depth of the screw was measured by a small
triangular test piece of hardened steel, nicely ground, so that it touched only at
the root of the thread. It might be right within one-flve-thousandth of an
inch would be sufficiently accurate for practical purposes. A cylindrical gauge
was used for the sides of the threads. Knowing the diameter of the gauge
and the angle of the threads, its proper relation to the crest and root of
the thread could be calculated. He (Mr. Taylor) constructed a small gauge
for each pitch, and used a series of gauges to measure the angle between the
sloping sides. In the conimon methods of making screws he said there were
certain defects. Opticians generally employed a ring gauge and a plug gauge.
These must be made of steel left soft, and they were especially liable to become
worn. If the ring gauge fitted easily it had to be eased, and if they were only
one one-thousandth of an inch wrong, they did not fulfil the conditions of free
interchangeability in keeping and assuring such accuracy as were wanted. The
workmen said they were all right when they fitted loosely. How loosely !
Even if the gauges were correct, any method which depended on the work-
men could not be considered satisfactory. Having described the ordinary
plan of cutting screws, and pointed out that it admitted of variations
and errors, he said he designed a chaser several years ago which was
itself a portion of a screw. It had little screws, with only two
threads, and was producsd in a screiw-cutting lathe. The form of thread was
easily measured by test pieces. The tool retained its original cutting angle
and it was impossible to set it wrongly. There was no temptation for the
workman to neglect the sharpening of the tool. Having described the chaser
on action, Mr. Taylor said it had been used at Leicester for some time with a
remarkable degree of accuracy. A hardened steel gauge was applied as a
•caliper to gauge the full outer diameter of male screws, one side of the gauge
being one-one-thousandth of an inch less than the other. Disc gauges were
used for female screws, one gauge being of the correct diameter, the other one-
one-thousandth of an inch larger. Having noticed the American screw and
pointed out that its flat crest allowed of the sides being easily pressed out of
shajje, he said the Whitworth screw was better adapted for English lenses. In
conclusion, he referred to the plan he had devised of making the lenses arrive
Iiome in one position by making the threads of every male screw arrive at the
thread of the female screw in one uniform position in relation to the diaphragm
indicators, and compared it with the ordinary method of screwing home lenses,
which he pointed cut was uncertain.
Mr. Lkon Warnerke congratulated Mr. Taylor on his championship of the
standard-screw system.
In reply to Mr. Bolas, Mr. Taylor said the chaser he had devised was not
adapted for hand work.
Mr. T. R. Dallmeyer pointed out that in manufacturing screws, opticians
had for years worked with two gauges ; the master gauge and the gauge for
the workman. If the igauges were too large or too small the master gauge
would correct them. He tliought Mr. Taylor in his modesty had made too
little of his work in making all lenses arrive at one point. In his experience
people did not want the Society's standards, although if he (Mr Dallmeyer)
were starting to morrow he would make his screws to those standards.
After other discussion, a vote of thanks was passed to Mr. Taylor.
A New Lbhs : " The Double AsASTiajtAT."
Dr. C. P. GoEKz, of Berlin, read a paper on this subject, in which, having
t)riefly traced the ertbrts of opticians to produce lenses free from astigmatism,
he alluded to the eflbrts of Mr. Emil Von Hoegh, his scientific adviser, to pro-
duce a symmetrical anastigmat perfectly conected for spherical aberration and
astigmatism. The lens is called the Double Anastigmat, both combinations
being anastigmatic, and is composed of two compound lenses, each of which is
a cemented triple. In both combinations a nint is enclosed between two
trowns. One of the crowns has a higher refractive index than the middle flint
(a necessary condition for anastigmatisin ind the other a lower index of re-
fraction (a condition for freedom from spherical aberration). The astigmatism
is corrected over the whole field up to the angle of 72°, and the image is per-
fectlj' flat. The two optical systems are placed very near each other, ensuring
uniform illumination. The lens is made in two series — III., with largest stop
/'•77; and IV., with /-ll. Series IIL takes an angle of 70° with nill aper-
ture, and with a smaller stoj> 90°. Series IV. is intended for reproduction
work. The paper concluded with a reference to some comparative trials of the
lens against other lenses. A large number of prints in illustration of its
capabilities were piissed round.
Mr. W. a Dkbexham complimented Dr. Goerz on the fairness of his
reference to the work of otht-r opticians, and said that, by the specimens
bhown, the lens appeared to him to lie a great additional jiower in the hands of
photographers, especially as it enabled them to work over a flat field without
introducing small apertures.
Mr. Dallmeyer said that, by following up what had already been done in
the double form of producing a system free from astigmatism, and by using
triple combinations, Dr. Goerz had arrived at a larger aperture with flatness of
field and greater rapidity than hitherto. He (Mr. Dallmeyer) had not been
able to obtain an intensity ratio of more than 1 : 10 with three samples of
Chance's glass, similar to that employed by Dr. Goerz.
Mr. Warnerke saw Dr. Goerz's lens last February, and then suggested to
him to bring it before the Society. The anastigmatic properties of the lens
seemed to him better evidenced in the diagrams shown than on the ground
glass, and he therefore suggested that the Kew, or optical, method of testing
lenses required supplementing by the camera test.
Mr. Goerz expressed his willingness to allow the lens to be tested against
English lenses. The English makers' lenses would not be too much behind,
but they would be a little.
The President, in proposing a vote of thanks to Dr. Goerz, which was
cordially given, spoke of the excellent nature of the pictures given by the lens.
He combated the remark of Mr. Warnerke that the Kew method of testing
lenses should be supplemented with photographic tests, saying that just as
good results could be obtained by optical means.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
June 8, — Mr. Alexander Mackie in the chair.
Mr. S. U. Fry called attention to a letter in a photographic journal referring
to some remarks of Mr. Everitt at a previous meeting on the Saudell plates as
to range of gradation.
Mr. P. Everitt said the complete rendering of such gradation was not
possible. Tae scale on a plate, say, one to fifty, would be one to twenty
on paper ; tnerefore the paper renders the range imperfectly.
Mr. Debenham thought the terms gradation and density were not clearly
expressed. Ordinary and Sandell plates differed in respect of density.
Mr. A. Cowan did not see why if one plate gave density another plate
should not.
Mr. J. S. Teape quoted his experience as to the printability of dense parts of
plates on paper, but could get a much better gradation on positive plates.
Mr. Fry, in reference to the Sandell plates, claimed that they in themselves
were an advance, and that their gradation was an inducement to find a printing
process better than that which now exists.
Mr. R. Child Bayley considered that, in development, it was possible to
have in view the after-process of printing, but this was thought to be a
reversal of the order of things.
A discussion arose on Mr. W. K. Burton's paper in Photographic Scraps.
Mr. Cowan promised to make some experiments with reference to what he
said on the latitude of exposure, and bring results up at the next meeting.
MANCHESTER PHOTOGRAPHIC SOCIETY.
JUNE 8,— Mr. Abel Heywood, jun. (President), in the chair.
After the election as a member of Mr. F. W. Masters,
Mr. J. Wood opened a discussion on Development, which, in a manner, is a
subject that has been pretty well thrashed out time after time ; but for all that
there is always something to be learnt from the comparison of methods and
results. In spite of the many new agents, ammonia and pyro, from the tone
of the discussion, are not yet displaced amongst the Manchester members.
The President gave the results of some experiments in the intensification of
]ilatinum prints. He said that; seeing an article in the Journal on the sub-
ject tempted him to give the method a trial, and he considered the result he
obtained on some under-developed prints showed that a flat picture could be
improved to some extent The principle was much after the manner of the
silver intensification of a wet plate.
Mr. Wrigley gave a report of the first outdoor meeting at Smithell's Hall,
which had been well attended and successful as regards photography. He
exhibited results of his own work, which were in everj- way excefient. Other
me nbers also showed iirofitable results from the outing.
THE AFFILIATION OF PHOTOGRAPHIC SOCIETIES.
June 6, — Meeting of Delegates, at 50, Great Russell-street, Bloomsbury, Mr.
Andrew Pringle (Photographic Society of Great Britain and West Kent Amateur
Photographic Society), Chairman, presiding.
The minutes having been read and confirmed, a balance-sheet up to April
30, showing a balance in hand of 27/. Is. \0d. , was read by the Secretary, and
adopted.
It was proposed by Mr. Beckerton (Richmond Camera Club), seconded by
Mr. Criswick (Greenwich Photographic Association), and oarried, that a balance-
sheet should be prepared by the Treasurer up to December 31 in each year,
and, having been audited by two auditors appointed at the first meeting of
delegates in the same year, shall be presented at the first meeting in the en-
suing year.
Messrs. Hodsoll (North Kent Amateur Photographic Society) and Beckett
(Hackney Photographic Association) were appointed auditors for the current
year.
It was proposed by Mr. Marchant (North Middlesex Photographic Society),
seconded by Mr. Bickerton, and carried, that Mr. Scaniell be asked to continue
to act as I'reaaurer.
A discussion took place upon the question of approaching the railway com-
panies with a view t» the reduction of fares to photographers. A letter from
the Birmingham Photographic Society having been read upon the subject.
Mr. HoRTON (Birmingham Photographic Society) detailed the steps already
taken by his Society in the matter.
The Secretary announced that the ajgri'gite number of members repre-
' sented by the Alliliation was, roughly, oOOO.
June 10,1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
363
A Committee, to consiRt of Messrs. Mackie (Photographic Society of (treat
Britain) ami Oakilen (South Lomlon rhotogrH]>hic Society), ami the Secretary,
was appointed to investigate the whole question of reduced railway fares to
photographers, to rejwrt at the next meeting.
A letter from the Hon. Secretary of tlie Phototographic Society of Great
Britain was read, annoumnng that that Society was arranging for a Congress,
and asking for the consent of the Committee for the words " of Alliliated
Societies" to be added to the title, "The Congress of the Photographic Society
of (ireat Britain," which was agreed to. The letter also asked the delegates to
mvite suitable members of their Sot^eties to furnish papers for the Congress.
The Chair.man announced that the jiapers already i>romised were from men
of the very highest stan<iaril in the photographic world. He also made some
remarks as to the powers of the Committee of delegates, and, after some dis-
cussion, it was resolved that a s\ib-Conimittee be appointecl to consider the
(luestion of additions or alterations to the existing rules, on the understanding
that their recommendations should be on the Agenda paper of the next meeting,
the sub-Committee to consist of Messrs. Mackie and Marchaut.
It was agreed that the hour of meeting should bo 7.30 p.m.
A discussion took place upon the subject of a uniform ticket, and it was
understood that the Secretary should urge the affiliated societies to have their
members' tickets stamped with the Aitiliation stamp.
Nortb London PhotograpMo Society. — June 6, Technical Meeting, Mr.
Tanner in the chair.— Mr. Ghovek intimated that the Sandell plate was
doubtless a good plate when you knew it, but you had got to know it first.
He showed prints from a negative taken on one. Subject, the interior of a
church. Exposure, one hour, in the afternoon. Development took twentv-
tive minutes. Around the east window there was as much halation as he
knew what to do with. After taking a print, he rubbed down the density
about the window, and the after-prints showed a great improvement. Mr.
Bishop had again tried the Lomberg plate, this time for portrait work, and
was much pleased with the working of them. Mr. Walker, referring to the
latitude of exposure with single films, showed prints from negatives taken on
Edwards's plates, backed with "anti-halation paper." No. 1 plate was ex-
posed for twenty-three seconds (the normal exposure, according to Watkin),
and, immediately after. No. 2 was exposed for two minutes fifty seconds'
deveIope<l with pyro and ammonia. He could be hajipy witli either, but
perhaps preferred No. 1. There was very little difference in the prints.
Mr. Bishop showed dark slides he had made of strawboard and book-
binder's cloth. A piece of the board, covered with black velvet, fitted
against the back of the plate. The slides were extremely light awl
effective, and very ingeniously made. Mr. Taxnkr recommended leather-
ette, a material used for covering furniture instead of the bookbinders' cloth.
Mr. Tanner showed a good collection of prints from negatives taken lasl;
Saturday at the Trooping of the Colours. Asked as to the necessity for
obtaining permission to take photographs on the occasion. Mr. Tanner said he
did not know if it was required. He used the suavltet- in vvidn process with
the addition of a little free silver, and usually found that sufficient.
Hackney Photograpliic Society.— June 6, Mr. E.Puttock in the chair.— Jlr
Magnus was elected a member. The Hon. Secretary distributed samples of
the Barnet plates. Mr. A. Dean then gave in report of excursion to Lougliton
on Derby Day, which concluded with a social. Work was then shown by
Jlessrs. Hensler, Dean, Richardson, and Wire. The rest of the evenin" was
devoted to a private exchange ami sale, the idea being that many members had
accumulated a lot of photographic accessories which were useless to them Init
would be valuable to others.
tif Correspon^^nU shoufi never \crite on hoth sitles oj the paper. No notice ia taken
of communications unless the names and addresses of the writers are gioen,
CENTKAL PHOTOGRAPHIC CLUB.
To the Editob.
Sin, —The delay in issuing the prospectus of the proposed Company
has arisen owing to the time occupied in the further negotiations which
have taken place between the executive and the landlords of the premises
proposed to be taken, and their soUcitors, with reference to the form in
which the landlords are willing to lease the property.
Most of the points at issue having been now disposed of, a provisional
prospectus is now being issued (a copy of which I send yon). We wish
to take this opportunity of apologising to the numerous applicants for
copies for the apparent neglect on our part to furnish same before. — We
are, yours, &c., W. Fenton- Jones, ) .,
Chas. H. Oakden, J^^"""^*"-
Central Photographic Club, Fleet-tune, Liidgate-circm, E.G.,
June 12, 18!)3.
Provisional Prospectus. June 10, 1893.
The Central Photoobaphic Ci.ub Company, Limited. Flekt-l.ine,
Farrisodon-stbeet, E.C.— Capital, 1000/.. divided into 200 shares of 5/.
each ; 21. 10s. payable on application ; 2/. 10s. payable at twenty-one days'
call Umi. Directors: Thomas Fall, Esi|., 9 and 10, Baker-street, N.W.,
President of the National Association of Professional Photographers ; John
Howson, Esq., Brockenhurst, llford, E. ; George Mason, Esq., ISO and 186,
Sauchiehall-street, Glasgow, President of the Photographic Convention, 1893 ;
with power to add to their number.— /iaHfers,- The City Bank, Ludgate-hill,
V,.C.— Auditor : E. A. Whitby, Rsq., Accountant, 26, Philpot-lane, EC—
Hon. Secretaries; W. Fenton-Joncs, 12, King Edward-road, Hackney, N.E. ■
C. H. Oakden, 51, Melbourne-grove, East Dulwich, S.E.
It Is proposed to form the above Company, with such alteratioiu tn itii con-
stitution,- capital, directorate, ami otherwise an circnnutancet may render
neces.sary, for the purpose of providing, tttting up, and furnishing a Club-house,
and other accommodation and convenience for the use of the Central Photo-
graphic Club, which has recently been formed to provide a central meeting
place for all gentlemen interested in photography, whether profeMionalii,
amateurs, or traders.
Negotiations have been opened with the owners of premises at the back of
the Memorial Hall in Farringdonstreet, which are considered most snitable for
the puriioses of the Club, subject to certain structural and other alterations,
which, if negotiations are carried through, the owners will make.
The terms of the negotiation are, that the Company shall take a lease, subject
to the usual covenants, for twenty-one years (deteriinnable at the option of the
i ompany at the end of seven or fourteen years), at a rental of 200^ per annum,
in addition to the amount paid for fire insurance, and that the Company
slould, in some manner to be hereafter agreed upon, secure the payment of the
rent, and performance, and observance of the covenants of the lease ; it ha'*
been suggested that this security shall be a charge on uncalled capital of the
Company to the extent of 250/.
The prendses, if acquired by the Company, will be fitted up with dark-
rooms, eularging-roora, smoking-room, and will contain a large meeting-room
(capable of .accommodating over '200 people), committee-room, library, and liva-
tories, &c. Negotiations are also in progress for suitable refreshment accom-
modation.
Amongst the objects aimed at in the formation of the Club are the providing
of premises (1) Where photographers (amateur and professional) may develop
plates, make enlargements, or leave their cameras during the day or evening.
Lockers will be provided at nominal fees ; (2) Where they may also have
oi>portunities of meeting for the discussion of matters of mutual interest ; (3>
Where manufacturers and dealers can meet their agents, customers, and friends.
Besides these points, the usual attention will Ije paid to the holding of
regular weekly meetings, for the discussion of photographic matters, demon-
strations, lantern nights, and the exhibition of photographic novelties in
apparatus and inventions.
"The promises of support in the way of intending members of the Club are
most satisfactory, and fully justify the promoters of the Club in saying that, if
the capital necessary to suitably equip and furnish the Club premises is forth-
coming, the Club will be a success, both financially and socially.
After the premises have been acquired and fitted up by the Company, they
will be sub-let to the Club at a rental which, it is anticipated, will be sufficient
to pay a dividend of five per cent, on the subscribed capital, and to provide a
sinking fund for the sustentation of the premises, and the renewal of the
furnishings, &c., and the expenses of carrying ou the Company.
Before going to additional expense in the formation of the Company, and the
further promotion of the Club, the promoters feel that it is necessary to ascer-
tain how far they may hope to be supported by the jihotogTaphic public in the
matter of capital, and with this object you are invited to fill up and return, -at
the earliest possible moment, the enclosed form, specifying how many shares
you will be willing to take in the proposed Company.
The liability of the shareholders will be limited to the amount of their
shares, and no promotion money has been or will be paid, and, in the event
of the non-formation of the Company, the provisional committee will bear all
the expenses incurred.
Promises to take shares have already been received from Miss C. W. Barnes,
Mrs. Welt'oicl, Messrs. Birt Acres, R. Beckett, T. Bedding. Frank Bishop, A.
Cowan, Austin Edwards, B. J. Eilwards, Thomas Fall, W. Fenton-Jones, J. T.
French, T. E. Freshwater, J. 0. Grant, John Howson, J. Martin, George
Mason, T. J. Powell, John Reynolds, J. T. Sandell, Woodham Smith, J. S.
Teape, E. J. Wall, H. Snowden Ward, W. D. Welford, W. Wentworth, E. A.
Whitby, Britannia Works Company, and Percy Lund & Co.
Your particular attention is directed to the fact that, unless a sufficient
number of shares in the Company is subscribed for and taken up by those
interested in the matter, the Club, which promises to be of such great value to
the photographic world, and to which so many promises of membership have
been already received, will not be brought to a successful issue. You are
earnestly requested, therefore, to give the matter your careful consideration,
and to return the enclosed form, filled up, on or before the 24th instant.
Date 1893.
In the event of a Limited Liahilily Company beini; rormed on the lines
mentioned in the Provisimial Prospectus of tlie Central Photographic Club,
Limited, of the Xdth day of June, 1893. with such variations as circum*tanccs
may render necessary, I mill subscribe for and take up shares in such
Company, to a nominal value of not exceediny £ as ami when
I shall be required so to do.
Name
Address
To Mb. C.
H. Oakdex, 51
East Dulwich,
Melbourne-grove,
S.E.
HALATION.
To the Editor.
Sir, — I notice a letter from Mr. Stringer in the "Correspondence'
column of your last issue respecting halation, in which he disputes the
tendency of very rapid plates to this fault. I spoke from my own ex-
perience as to the effect of rapid and slower plates for the difficult class
of subjects alluded to, and have invariably found the slower plates give
the best results. The reason is sufficiently simple. All emulsione, and
I have made many, when examined by the transmitted light of a gas
flame, are, at the outset, orange. As the emulsifying progresses, this
orange colour gradually disappears, and gives place to blue or grey ; at
the same time the emulsion becomes more and more rapid to a certain
884
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 16, 1893
point, the particles of bromide having become, from a very fine closely
compacted condition, in which they were when the emulsion transmitted
orange light, more loosely aggregated and larger— that is, the silver salt
becomes coarser when high sensitiveness is obtained, and in a much less
resistent state with regard to the lateral dispersion of actinic light, than
before. If we could get the orange or fine state of division, at the same
time exalted sensitiveness, there is no doubt I should have reason to alter
my opinion, but at present this desirable combination has not, I am
aware of, been found. It iodide exists in any considerable quantity m a
film, it will impart a creamy yellowness when examined by daylight,
different to when it is only in minute quantities or absent, and this
larger quantity of iodide I prefer for the work alluded to. Mr. Stringer
may produce the best results— that is, negatives entirely free from hala-
tion—on the very rapid plates ; I cannot, and I do not think myself
singular in this experience.— I am, yours, dc, Ehward Duxmore.
THE LIGHTING OF GBOUPS.
To the Editor.
SiR,_You would add to the interest of your " Groups " article if you
would tell me how to avoid the heavy shadows and strong lights I get in
outdoor work, as per the enclosed example. — Yours, Ac,
YouNO Amateur.
[See Leader.— Ed.]
a,n0toer0 to (Horrcspontienta.
J. Milne (Aberdeen). — Eeceived. Thanks.
Lens.— A lens of the Euryscope type i.s commonly employed for studio
groups.
B. Mitchell. — The best and safest hypo eliminator from prints is water,
frequently changed. Nothing is better.
"VV. BlEUELi.. — We fear we cannot assist you in the matter. Write to the
gentlemen named who may be able to advise.
K. S. Beowx. — You .are wrong in your surmise as to the plates having been
tampered with in the manner suggested. Some other hypothesis will have
to be adopted.
■ r. F. W. — We cannot say the actual pressure in pounds or hundredweights
that a print is subjected to in burnishing. Of course, that would all
depend upon the adjustment of the regulating screw.
T. 0. Fox. — In all probability the lantern you saw in the demonstrations at
the Society of Arts last year was illuminated by the electric light. The arc
light is, we believe, solely employed in the Society's lantern.
SlXED.' — We can give no definite clue to the yellow spots. They may have
arisen from particles of hypo in the air that have settled on them in course
of preparation, but this is merely a surmise. We do not think the mounts
are in fault.
K. T. A. — Unless you hsive some chemical knowledge, and we gather from your
letter that you have uot, we fear the results arrived at will not be very con-
clusive. Y'ou cannot do better than get the works named : Fresenius'
Analysis: Qualitative and Quantitative^ 2 vols.
A. T. — English plates may be obtained at most of the principal towns on the
Continent, but there is, of course, the possibility that they may have been
a long time in stock. The only way of avoiding the chance of getting stale
plates is to procure them direct from the makers and taking them with
you.
■Couktrymax. — You will not be allowed to photograph any of the objects of
the British Museum unless permission is first obtained, even with a hand
camera surreptitiously, for, unless we are mistaken, parcels are not allowed
to be earned about the buililing. There will be no difficulty in obtaining
the necessary permission if you write to the Trustees stating your object.
T. W. — Although the engraving is your own property, and you liave paid a
high price for a proof jirint, it will be illegal to co]iy it, even as a lantern
slide, without the sanction of the owners of the copyright, and that, we
know, they will give. It is true the print is yours, as you have purchased
it ; but possessing the print does not entitle you to infringe the cojiyright
in it
Alf. Benyox says he recently bought a portrait lens, bearing the name of a
well-known maker, through an advertisement, but cannot obtain a sharp
image with it. On taking it to pieces, he iinds that the back lena is a single
piece of glass, a concavo-convex, and asks if the back should not be made
up of two lenses ?— Yes certainly. One of the glasses is missing. The front
combination may, however, be used as a single lens for such purposes as it
may serve ; but as a portrait lens the instrument, as it is, is worthless.
Me. W. a. Bezant writes: "Can you give me any information as to the
possibilities of photography— that is to say, of obtaining pictures during a
trip to Norway on one of the yachting steamers so much advertised? Of
course, some work could be done on land ; but what I want to know more
jiarticularly is whether much good could be done from the deck of the vessel
with a stand camera, and if the light is good enough to permit of shutter
exposures with, say, a Koss rapid rectilinear at ,/'-16 or /-2'2, or would you
recoujmend me to trust to a hand camera ? " — Doubtless many of our friends
who have photographed in Norway will be glad to give Mr. Bezant the
information he requires.
S. A. H.— The studio shown in sketch No. 3 will be by far the best for general
all-round work. No. 1 is very good in skilful hands, but is seldom used
now. With regard to No. 2, it has only been put forth as a suggestion, and
is scarcely likely to be adopted— at least by professional photographers.
T. Evans writes : " I wanted a dead-black vaniish for the inside of some lens
mounts, and mixed some lamp-black with thinned white-lard varnish. The
black was dead enough when dry, but the surface was quite rough and
covered with small lumps. I cleaned this off and mixed some lamp-black
with black varnish, and this also behaved the same. Why is this ;"— The
reason is that the black was not intimately incorporivted with the varnish.
Had it been ground up in a mortar with the varnish there would have been
no iiuevenness.
0. Z. says : " The solar camera I am told can be used, and is used abroad, for-
making enlargements from small negatives direct on albumenised paper. If
that is so, surely direct enlargements in carbon can also be made, as the
sensitiveness is about the same, and thus avoid the trouble and cost ot
having to make first a transparency, then an enlarged negative to print from.
Has the thing ever been tried, or is my idea original ? It must certainly be
practicable."— Well, the idea is not original, as enlargements are being pro
duced daily by this means in some countries. As however the solar camera
cannot he worked when the sun is not shining, the system is practically use-
less in this country.
RECEn-ED. — H. L. Morel, John Rowden, M. H.
Mh. J. Bishop, photographer, h.as removed from 41, St. George's-road. X.W.,
to 19, Princess-road, Regent's Park-road, N.W.
Leicester and Leicestershire Photographic Society.— June 24 (half
day), Barkby and district. July 13, W.arwick. August 10, Chesterfield and
Bolsover. September 14, Ashby and Coleorton.
Northern PHOTOORAPmc and Scientific Association. — June 21, Lecture
on T/te Cliemistry of the Dry Plate, by Mr. Charles Coulter. July 1, Ex-
cursion to Natural History Department British Museum at South Kensington.
Levtonstone Camera Club. — June 17, Hayes and Keston, Kent. Leader,
Mr. F. Lohnieyer. The Club will proceed by the train leaving Cannon-street
at quarter to three, arriving at New Beckenham at thirteen minutes past
three.
The Akkiliation of Photooraphic Societies.— The meeting of Judges of
photographic Exhibitions, which has been already mentioned in our columns,
will take place at 50, Great Russell-street, W.C, on Tuesday, June 20, at
7 p.m.
Manchester Amateur Photographic Society.- June 17, Gawsworth and
Marton. Leader, Mr. Fleming. Train, London-road (L. &N.W.), one o'clock
p.m. for M,accleHlield. Fare, Is. 6<Z. By carriages, Macclesfield to Gawsworth.
21, Arley and Great Budworth. Leader, Mr. J. Davenport.
The two following titles of pajiers to be read at the Convention arrived too
late to be included in the list published last week -.—Our Pictorial Failures,
by the Rev. F. C. Lambert, M.A. ; Latitude in Exposure and Speed of Plates,
by Dr. F. Hnrter.
We !vre extremely sorry tn learn that Mr. Walter Clayton, photographer'
whorecently disposed of his studio, Portland House, Lomlon-road, Leicester'
and who has since made his home at St. Luke's- road, Bayswater, was drowned
on Thursday afternoon while liathing. He was accompanied by his son, who
misseil his father soon after the latter had entered the water, and at once went
for as.'-istance. Three boatmen responded to his call, and succeeded in finding
the body after about ten minutes' search. Efforts were made to restore anima-
tion, but without success. Mr. Clayton was staying at Torquay with his wife
and family.
The Stamping of Works of Art. — At the inaugural dinner of the Incor-
porated Publishers' Association, recently held at the Hotel Victoria, consider-
able business was combined with the pleasure. Sir David'S.alomons. Mr. W. L
Wyllie, A.R.A., and Mr. Fiank Walton, R.I. were elected Vice-Presidents of
the Association. "The rules and rcgislations for the stivmping of literary works
were adopted, and the following amendment to Clause 7 of the regulation for
the stamping of works of art was carried. "That when the painter and pub-
lisher of a work of art reside in a foreign country, and the work is engraved or
reproduced in another, such work may, at the option of the Council, be per-
mitted to be stamped before |the signiiture of the artist is afiixed to the first
State impressions." This amendment is introduced to meet the case of
American publishers who are hiiving native pictures reproduced in Engl.ind or
France, and to save them the extra outlav of time and money which a double
journey across the Atlantic would entail, together with Customs and other
duties.
*»* Owing to exceptional pressure on our space, several Society reptorts,
letters, answers to co-rrespondents, <£;c., have had to he held over.
oonthntb.
tele - photo lenses past and
present sea
outdoor groups 370
the treatment op gelatino-
chloride paper 871
STUDIO-nUILDING.— IV. By G. WAT-
MOUGH WEUSTER, F.C.S S72
AMERICAN NOTES AND NEWS 37S
A NEW DEVELOPER FOR OELATINB
DRY PLATES. By W. P. .(EUNEY .... 374
DENSITY' RATIOS AND EKPOSUEE.
By S. HEKBERT FEY S75
Pagk
"IN DARKEST PHOTOGRAPHY -THE
WAY OUT." By '■PIONEER" S7«
AMIDOL-HAITFF AND METOL-HAUFF.
By A. K. DRESSER 377
SUMMER NOVELTIES IN APPARATUS,
lu: S79
OUR EDITORIAL TABLE 879
RECENT PATENTS 380
MEETINGS OP SOCIETLES - 881
CORRESPONDENCE SSS
ANSWERS TO CORSESP0NDENI8 S84
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1729. Vol. XL.— JUNE 23, 1893.
JUDGING AT PHOTOGRAPHIC EXHIBITIONS.
An influential meeting of gentlemen who have been acous-
tomed to act as Judges at Photographic Exhibitions was held
in the rooms of the Photographic Societj' of Great Britain on
Tuesday evening, under the presidency of Captain Abney,
F.R.S. It was called together on the suggestion of the
societies affiliated to that of Great Britain to arrive at some
common basis of action relative to judging at exhibitions.
Among those who were present were Captain Abney, Valen-
tine Blanchard, F. P. Cembrano, A. Pringle, W. England,
Colonel J. Gale, L. Warnerke, Rev. F. C. Lambert, W. L.
Colls, W. E. Debeuham, W. D. Welford, and J. T. Taylor.
Out of thirty-eight Judges, letters expressive of entire sympathy
with the objects of the meeting were received from twenty-six,
who, living for the most part at a distance, or owing to other
engagements, could not be present. Various rules and recom-
mendations were adopted, and those present were understood
as agreeable to abide liy them on all occasions on which
t4«y in future might be called upon to officiate in a judicial
capacity.
In what follows, we give in condensed form the rules and
recommendations adopted, it being premised that, while nothing
important has been omitted, they are here given in only a
somewhat crude form, for, having to go early to press, we do
not wait till the Secretary has had time to draft them in
regular form. When this has been accomplished, we will again
reproduce them, as it is a matter of imi)ortance to all societies
who purpose holding exhibitions.
In all Exhibitions the Judges' decision is to be final as
regards their awards. The Judges shall have power to with-
hold any award. They also shall have power to give special
awards when they see fit The Judges shall have the right to
exclude from the room every person while making their awards.
The travelling and, where necessary, the hotel exiienses of the
Judges shall be paid. When the Judges have to spend a
tiight from home, it is suggested that they should not be
lodged at the house of any of the competitors. The number
of awards are strongly recommended to be limited, seeing that
a lavish distriliution of medals tends to lower the value of
such awards. No awards are to be made for pictures produced
by, or sent to advertise the wares of any trading firm, and it is
suggested that Committees of Exhibitions discourage any ofiers
of assistance by special trading firms. Pictures previously
iiiedalled must be exhibited in a class by themselves. Each
picture of a net which has received an award shall be con-
-tidoreil an a medalled picture for competitive jturposes. An
award is to be made to one picture only, unless from the nature
of the subject the pictures bear au obvious relationship to each
other. No distinction between professionals and amateurs shall
be made. No proiluction from the same negative, whether
ordinary print, enlargement, lantern slide, or otherwise, can
receive more than one award. It is recommended that the
number of classes in au exhibition be as few as at all possible,
and it is also suggested as being very undesirable that any
award take the form of a money prize. No picture shall receive
more than one award at the same exhibition. With regard to
lantern slides, no award shall be made for a slide without its
having been projected on the screen.
For a long time past dissatisfaction, whether well or ill
founded or not we shall not now stay to inquire, has been
expressed with regard to the action of Judges at photographic
exhibitions. Primarily, this has arisen from there not being on
the one hand a set of generally recognised rules by which
societies and exhibitors were to be bound, and, on the
other hand, regulations to which the Judges themselves could,
on occasion, refer as the source of their authority. By the
heads of the agreement arrived at in the course of the meeting
above referred to, these difficulties will be removed, so that in
future societies. Judges and exhibitors will have the ground
cleared of many obstacles to a general understanding on the
subject.
As a basis for a set of working regulations, the resolutions
come to at the meeting referred to strike us as diflBcult to
improve on. In placing the powers of Judges within wide
limits great wisdom is shown, especially taken in reference to
the fact that the rules for exhibitors are also to be laid down
with equal clearness. The movement in favour of the abolition
of distinction as to classes simplifies the course to be followed
by societies and individual exhibitors, and the praiseworthy
determination to place under a ban those exhibitors who are
fond of puffing up by their pictures individual vendors of
photographic preparations will cleanse photography of an un-
desirable element which tiireatcned to assume unpleasant
dimensions. That there should be no distinction between
amateurs and professionals for competitive purposes is also
a step in the right direction ; and the especial provision in-
stituting a champion class for pictures previously distinguished
by awards is also a salutary one in the interests of less suc-
cessful exhibitors. On the whole, these and the various other
resolutions, to which we hope to revert, ate, we consider, con-
ceived in a spirit likely to lead to the elevation of the status
of P'xhibiiion photography, and we liope than a universally
acceptable set of conditions will result from them.
380
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 23, 1893
ANOTHER SOCIETY WANTED.
Cox.siDERiN'G that there are so many photographic societies
already in existence, it may seem somewhat anomalous to
suggest that even a single one more may still be desirable.
There are, it is true, societies in almost every large town, yet
there is not one in the whole of the United Kingdom which is
confined exclusively to operative photographers. There was,
and possibly is now, one in New York, and a very excellent and
useful Association it was to its members. It will be re-
membered that an attempt was made in London a couple of
years or so ago to start an Assistants' Union, but that was to
have been conducted on Trade Union lines, with the object of
fixing a definite rate of wages, regulating the hours of labour,
and like matters. As we indicated at the time, such a com-
bination was scarcely likely to meet with much success in a
business like jihotography.
The society which at the present time may be desirable is
one of operative photographers that would confer some kind of
status upon its members. We are led to this idea by the com-
ments made at the last meeting of the National Association of
Professional Photographers with regard to the subject of
certificates, where the President is reported to have dwelt at
length on the " very unpractical character of the certificates
now issued by the London Polytechnic Institution, which were
merely good for a limited chemical knowledge." At the meet-
ing the Council expressed a strong desire that a system should
be devised to bring really capable assistants within reach of
professional photographers, and it also suggested that, before
the Polytechnic certificates are issued, " the students should
be examined by some representative, capable, and experienced
photographer." Possibly, however, this practical test might
not prove altogether satisfactory to many of the students.
It may appear strange to some, now that so much of the
material employed in the profession is purchased ready for
use, that there should be a dearth of really capable operators ;
but, if one may judge from report, such seems to be the case.
Some even go so far as to say that many who have gained
high-class certificates in technical schools are the most incom-
petent in actual practice, and, what is more, they sometimes are
the most diflicult to teacli anything beyond what they learnt
in tlie class-room, and for which they were awarded their
certificates. Wc have heard similar opinions expressed by
Continental employers of many of the students turned out of
the technical schools abroad, particularly with reference to
photo-mechanical processes, a special feature in most foreign
schools. One gentleman remarked to us that, in his establish-
ment, in Germany, he preferred to take any intelligent person
knowing nothing of the work, and teach him from the be-
ginning rather than have one who had graduated in some of
the technical schools. This certainly ought not to be the case
either here or abroad. Still, it is a faet that many of our best
and most successful workers now, and in times past, have had
no theoretical or chemical knowledge whatever of the processes
they employ. This was even the case A\ith the wet-collodion
process, in which a chemical knowledge was infinitely m.ore
essential than it is in modern pliotography.
But to go back to our subject. What professional photo-
graphers require, and what it is stated to be difficult to obtain,
are assistants, not only with certificates of theoretical know-
ledge, but also with an assurance that they possess the prac-
tical ability to apply it in every-day practice. Seeing this,
would it not be to the advantage of skilled workers in the
various branches of the art to form a society or association
amongst themselves for a mutual exchange of ideas, and!
furthering their interest generally, on a similar basis to that
founded at New York ? Should such a society be started, and
only those of proved ability in actual practice, or of long experi-
ence in the various departments of photography, were eligible
as members, its membership would carry with it credentials of a
certain degree of ability, as does membership in some other
crafts. The head-quarters of the society might be in London,
meeting, say, monthly, with branches in most of the large
towns. The meetings of these, where the members are few
might, to save expense, be held in any ordinary room. If
formed, the society might be affiliated to the Photographic
Society of Great Britain, which would add still further to its
status. We imagine the Parent Society would gladly welcome-
any association established on the lines indicated, and afford it
every facility. It was incidentally mentioned a little while-
ago, in connexion with photography as a business, that since-
the introduction of dry plates some people, witli comparatively
very little practice, and perhaps a little class instruction,
feel themselves justified in styling and advertising themselves-
as operators. It is of this kind of thing that employers com-
plain. Of course, this type of " operator " would not gain
admission to a society such as that in question.
While writing, it occurs to us that the National Associationi
of Professional Photographers might really take the initiative
in the matter and invite operators to join their Society. Surely
an operator is a jirofessional pliotographer in every sense of tlip-
term, and, if he is of known ability and standing in the profes
sion, why should ho not bo eligible for membership if only
elected by the general body of members ? The Association!
would then have the assurance that all those they liavo elected,
as members of their liody are really capable men. It is more
than possible that this idea, mentioned in the crude, if put
into practice, might prove of mutual advantage to all concerned_
Tliere are i)lenty of societies composed professedly of amateurs
but there is not a single one consisting exclusively of profes-
sional photographers — to deal with trade subjects — whick
includes both employers and employes.
THE PERFECT FIXATION OF NEGATIVES!
Since we Wrote on this subject a few weeks back, we have had!
a number of letters the burden of whose complaint is that there
is no certain means of knowing when a plate is perfectly fixed
or washed. Some of our correspondents go to the extent of
averring that it is impossible to properly free some of the
thickly^coated plates now in use from hypo and hypo com-
pounds so that they will go into the printing frame without
danger of subsequent change.
This argument is based on the fact that after protracted im-
mersion in the hypo solution — long after the apparent removal
of the haloids — and. when two, and in some cases three,
successive baths have been used, followed by a washing of long
duration, still signs of discolouration of the film have made
their appearance in a very short time after the negative has
been exposed to strong light in printing, or a worse evil has.
arisen when intensification has had to be resorted to. AVith-
out admitting the argument of impossibility of fixing, for we
showed in our previous article the way out of that difficulty,
we fully concur in the general desire exjjressed for a test of
when a negative may be considered safe for future use in the:
printing frame or for further treatment with intcnsifiers.
June 23,1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
887
It is now many years since we first decried the use of so-
•called "hypo-eliminators," and most of our correspondents
«ecm to be at one with us in that matter. Although with
Tdinary jilates -that is to say, with films of ordinary thick-
.less, such lis were the rule eigiit or ten years ago —and a fairly
long immersion in the fixing bath, and proper washing after-
wards, no harm would ensue upon the vise of an eliminator
even if the image had to bo subsequently intensified, the case is
•quite diflerent when abnormally thick films are in question.
Tn the first instance, the fixing bath would have time to do its
luty, and an hour or so's after-washing, if properly performed,
would Buftico to bring it into such a state that any decomposi-
tion products formed by the use of an eliminator would be
jiresent in such iufinitesimally small quantity, if present at all,
IS to be quite harmless. Now, it is possible to put into the
printing frame an apparently perfect negative which is so
impregnated with silver compounds as to be itself sensitive to
:ight, or which, if submitted to the action of any of the
ordinary eliminators, or more especially to intensification,
would give immediate evidence of the insufliciency of its
j)revious treatment.
This is not a satisfactory state of affairs, and we have our-
'Selves been latterly considerably troubled by it, but we believe
■we are in a position to point out a perfect safeguard against
"the evil of luicertainty as to the stability of the negative. The
nethod we have to describe is neither in the form of an
vliminator, nor is it a labour-saver in the matter of washing,
but is a sure test of the presence of silver compounds, that
nay be applied without in any way injuring the negative or
introducing dangerous decomposition products that may
ventually lead to its destruction.
The action of the fixing bath is, we believe, pretty well
understood, at least by those who take any but a mechanical
interest in the pro<luction of negatives. The removal of the
unaltered silver haloids is tlie first object aimed at, and, if this
'be effected in a sufficient volume of fresh solution of hypo,
.perhaps, under ordinary circumstances, no further difficulties
would accrue. Thus, if a single negative were immersed
in a considerable volume of hypo solution, until its unreduced
haloids had just disap[)eared, it is probable that but au infini-
tesimally small quantity of soluble silver salts would remain
in (the film, tlie bath extracting nearly the whole, and what
.little remained would be easily removed by washing.
But when an unlimited number of negatives is fixed in the
•same bath, or when a thick film of gelatine, heavily charged
with silver, is submitted to the action of even a fresh solution
of hypo, the pores of the gelatine are so clogged with crystalline
matter that perfect fixation becomes an impos.sibility, and sub-
sequent washing, so far from helping matters, only tends to
precipitate a portion of the silver as an insoluble form. Silver
iforms two combinations with hypo, the one soluble, the other
insoluble, or nearly so ; the former containing the larger pro-
portion of hypo, and being formed only when the conditions
.are such as tend to perfect fixation. The latter results from
the employment of a spent bath, or from insufficient action.
The opalescent appearance we have spoken of as removable by
washing no doubt consists of the former compound precipitated
a the film, owing to its richness in silver, the comparatively
small proportion of water contained in the wet gelatine being
unable to hold in solution tlie quantity of double salt formed.
Subsequent washing dissolves the bulk of it, but decomposes a
.ortion, leaving on the film, it may be, a minute trace of the
'ess soluble compound, which, besides being more or less sen-
sitive to light, is also readily decomposed, leaving sulphide of
silver as a brown stain.
The use of alum as au eliminator, by decomposing the
sodium and silver hyposulphite, leaves the latter metal in
the form partly of sulphate, partly sulphide, so that, if there
be any considerable quantity present, the ultimate stain is only
hastened. Peroxide of hydrogen or hydro.xyl leaves the silver
in the form of sulphate, a soluble salt which is removable by
washing, though it leaves its influence on the gelatine, which
will eventually discolour. The hypochlorites, in whatever form
employed, convert the silver ultimately into chloride, besides
acting upon the image itself in the same way, and without
leaving any immediate signs of danger render the re-employ-
ment of the fixing bath a necessity.
It is a well-known fact that chloride, bromide, and iodide of
silver dissolve in hypo in very different proportions, the first-
named being very soluble, the last comparatively and slightly.
If a solution of a soluble iodide be dropped into a hypo bath
that has been used for fixing chloride or bromide films, even
though it be far from saturated, a precipitate of iodide of silver
will be formed, owing to the stronger affinity of iodide for
silver in the first place, and the comparative insolubility of
iodide of silver in the hypo in the second. Xo other de-
coiiiposition occurs, and no change takes place, except
between the iodine and chlorine. Here, then, is the basis
of the test for perfect fixation.
If a gelatiiio-bnjmide uegitive be taken from the fixing bath
as soon as the bromide has apparently been removed, simply
rinsed in water, and immersed in a dish containing a solution
of iodide of potassium, it will be found, iu a very sliort time, to
have reverted to much the same state as before it went into
the hypo, in consequence of the soluble silver salts it contains
having been converted into iodide. The density of the de-
posited iodide will, of coiirse, depend upon a variety of con-
ditions, but chielly upon the thickness of the film and its
original richness in silver, and upon the energy or strength of
the hypo.
If the negative has been sufficiently fixed — -that is to say, if
the hypo has had sufficiently free access to the film to thoroughly
convert the silver into the more soluble compound already
alluded to — and is then submitted to a thorough washing, the
iodide bath will produce no effect, and it will be known that all
is right. But, if the fixing has been insufficient, and the less
soluble hyposulphite of silver is present, or if the washing has
not been sufficient to remove the soluble salts, then the iodide
will tell its tale by converting any silver that remains into
visible iodide, which can be removed by refixing.
The change — that is, the formation of iodide of silver — is not
always rapid — does not, in fact, always make its appearance in
tlie iodide bath itself, unless it be a case of imperfect fixation.
If it is only insufficient washing, it frequently or generally
occurs that the iodide is only precipitated on the film after the
plate is removed into the washing water after the iodide bath,
possibly on account of the solubility of iodide of silver in excess
of iodide of potassium. It is desirable, therefore, always to
allow the plate to rest in water for some time after treatment
with iodide before finally drying.
This treatment, of course, necessitates a second fixation if
silver prove to be present ; but, as we have already stated,
there is no danger to tlie negative, and the test is an infallible
one. The quantity of silver remaining in the film as iodide is
so comparatively small that there is little danger of a second
fixing and washing leaving any at all. It should be under-
»88
THE BRITISH JOURNAL OF PHOTOOKAPHY.
[June i3, 1893
stood that the test is ouly io be applied after the ordinary
washing is considered to have been sufficient, and preferably
before the negative has seen strong duyliglit.
The addition of a few grains of iodine to the solution of
iodide of potassium will hasten matters ; but, as it may
possibly lead to the formation of tetra-thionates salts, as un-
stable as the hyposulphites, it is better to adhere to the plain
iodide.
♦- ■
Society of Arts SUver Medals. — The Council of the
Society of Arts have awarded the Society's Silver Medal to Thomas
K. Dallmeyer for his paper on Ttle-pkotvgraphy, and to H. Van Der
Weyde, for his paper on The Pictorial Modifcafion of Photoyraphic
Perspective In/ the use of the Photo-corrector or Visual Lentea in Por
traiture and Landscape, read during the Session 1892-03.
Technical Instruction for Begrln'nBrs. — The North
Middlesex Photographic Society, in their syllabus for the next few
months, have arranged one or two personally conducted outings for
beginners, subsequent evenings being devoted to the development of
tlie plates then exposed. Tlie classes are open to non-members of
the Society, and should be productive of a large amount of practical
good for those commencing photogrnphy. The Noith Middlesex
Society is, so far as we are aware, the only Society that vouchi-afes
free instruction, and their action is deserving of every commendation.
Cheap Oxjrgren. — We are sure that the photographic fraternity
will echo Sir H. E. Roscoe's hope — expressed in a review in Nature,
upon the article on " Oxygen " by l)r. Thorne, in the newly completed
grand Dictionarx/ of Applied Chemistry — that oxygen may ere long
be produced at Is. per 1000 feet. According to this article, 3«. is the
present cost, though the compressed gas necessarily costs very much
more. Sir H. E. Roscoe says of the proportional cost of oxygen by
the Du Motry process, improved by Fanta, given as from 'H. to 4/. per
1000, that he cannot help thinking it is incorrect. In any case, there
is every chance for photography in these reduced prices. We can only
hope with the reviewer that they will continue to grow — downwards.
Kig'h and Xiow-class Photography. — A correspondent
whose business is principally with professional photographers,
writing on the subject of photography as a business, remarks
that in the depression of the last two or three years it is the middle-
class man, who supplies a good picture at a moderate price, that has
suffered most. The highest class houses, he says, have suffered less,
while the lowest class with the most " cutting prices" have been least
affected. If this be correct, and we have heard similar opinions ex-
pressed before, it does not look very promising for the artistic side of
photographic portraiture amongst the upper middle-class public.
With too many people a portrait is judged solely by the likeness,
artistic quality in addition being quite ignored.
Eclipse Expedition Photographs.— Professor Thorpe, the
editor of the work above-named, exhibited some very interesting eclipse
photographs at the recent Royal Society's conversazione, including
autotype enlargements from photographs taken by himself, illustrative
of the recent African Eclipse Expedition, the eclipse party, the observ-
ing party at Fundium Senegal, taken immediately after the eclipse,
the duplex chronograph, the prismatic camera, the integrating photo-
meter, the equatorial photometer. These were Professor Thorpe's
exhibits. The Joint lOclipse Committee exhibited another class of
eclipse photographs. They had photographs of the corona taken in
West Africa, also of the spectra of the corona and prominences taken
in West Africa, the corona taken in Brazil, photographs of the
spectra of corona and )>rominences taken with tlie objective prism in
Brazil; and photographs of the stations. These pictures, all taken
together, greatly assisted those inspecting them in forming im idea of I
eclipse work, its ends, and the difficulties connected with the meai s. i
Interference Bands. — Among the exhibits at the conver-
sazione was one which possesses a special interest to photographers.
Since the advent in a pructical form of pinhole photfgrnphy much
has been said about interference bands and their tffect upon th»
image, indeed, the theoretical minimum diameter of a pinhole,
capable of giving the best definition without interference bands de-
stroying it, has been worked out by Lord Raleigh ; but what these
bands are is not very well understood. In the example we refer to
light was allowed to fall on a mirror thinly silvered, so that about
half of the light is reflected and half transmitted. The two ray*
pursue paths which are normally perpendicular, are reflected back by
two ordinary mirrors, and, on meeting, interfere. The interesting
part of this arrangement is that, by its m^ans, the bands can be re-
flected on a screen; and this fact., together with the simplicity of the
arrangements, will make the method a very useful lecture illustration.
Professor Thorpe on Past and Present Astro>-
Photography. — Professor Thorpe, lecturing on the Eclipse Expe-
dition at the Royal Institution, explained how photography had
altered the whole process of ob-erving solar eclipses. Siri.ce the red-
letter day, he said, in 18C0, when Warren de la Rue fir^t applied his
photo-heliograph to the observation of the eclipse, the camera and its
various modifications had come into use so as to practically supplant
ocular observation. The camera was not troubled with nervousness,
and, having no imagination, simply set down actual facts. The
selection of an appropriate site for viewing the eclipse was not with-
out difficulties. As everything depended un getting right under the
moon's shadow, they had to follow that shadow about all over the
earth for each new eclipse. Professor Thorpe entered into considerable
detailed explanation of the arrangements, and said that the observa-
tions weie very successful. The various prominences, rifts, and
configurations in the great gaseous envelope of the sun were most
clearly brought out, while some most important results were expected
from an examination of the spectroscopic slides. One interesting
question had been practically settled by these observations — namely,
that the corona suffered no change of structure during short periods,
for the Brazil photograph, taken one hour and a half later, wa»
identical with the African one.
PIIOTOGR.\PHIC CONVENTION OF THE UNITE!)
KINGDOM.
Plymouth Mekti.ng, July 3 to 8, 1803.
The following is an official synopsis of proceedings : —
Monday, July 3.
No excursion. Openinn; of the Convention, and Reception by th»
Right Worshipful the Mayor of Plymouth (Mr. W. Law) at the
Art Gallery and Lecture Hall of the Athenaeum (6.30 p.m.). Presi-
dential Address (7.30 p.m.). Optical Lantern (9 p.m.).
Tuesday, July 4.
Steamer excursion to the Yealm and the River Tamar ; Tavistock.
Wednesday, July 5.
No excursion. General Meeting, 10 a m. Meeting of General
Committee, 11 a.m. Convention Group at the Guildhall-square,
12 a.m. Papers, to be read from 2 p.m. to •'5.30 p.m. : — Recent
Developers, by Mr. E. J. Wall. Lantern-Slide Making, by Mr. C. L.
Mitchell, il.I). Artiitic Expression with the Hand Camera, by Mr.
J. Guardia. Multiple Films, by ilr. S. Herbert Fry. Reception at
the Guildhall, Devonport, by the Worshipful the Mayor of Devenport
(Mr. W. Waycott), 7 p.m. Optical Lantern, 8 p.m. Papers, to be
read from 8.30 to 10.30 p.m. : — Some Slides from tlie Marine Bia
logical Laboratory, by Mr. J. T. Cunningham, U.K. The Special
Properties of the Zeiss Aaastigmutic Lenses, by Dr. Paul RiiJoIph,
read by Mr. J. Stuart. Photography in llelation to Medical liecori
and Demonstration, by Mr. A. Pringle. The morning and afternoon
meetings will be held at the Western Law (Jourt. The r^'Cept on and.
papers in the evening will take place at the Guildhall, Devonport.
June 23, 1893]
THE BRITISH JOURNA.L OF PHOTOGRAPHY.
Thubspay, J iri-Y 6.
ICxcursion to Launceston, Totneo, nnd down the Dart. Ijender.
Mr. H. Hansford Wortli (leaving Millbay at ".•').') a.m.). K.vcursion
Id Looc. Leader, .Mr. O. Barnston (leaving Millbay at 9.10 a.m.).
Excursion to Cboeawing. Leader, Mr. J. S. llawker(leaving I'ly-
inouth by steamer about 8.4-5 a.m.). Paperu to 1»> read from rt p.m.
to 10.30 p.m. i—'S'oOTi- Points in Connexion imth Development, by Mr.
C H. Bothamley. ()n the Power of Compemat.imj in Development
for Vaiiution in ICrjMmre, by Profes.«or W. K. Burton. Latitude in
Kifxfttie and Speed of PUt'ten, by Dr. F. Hurter and Mr. V. C.
Driffield. Our Pictorial Failures, by the Kev. F. C. Lambert, M.-'V.
The papers will be read the Western Law Court.
Friday, .July 7.
Excursion to Lydford. Leader, Mr. R. Burnard (leaving Millbay,
North-road, or Mutley at 7.6.') a.m. Excursion to Bickleigh Vale,
Leader, Mr. Crook or Mr. Moore (leaving Plymouth at 8.2,") or 11.20
a.m.). Excursion to Dockyard and Keyham, Cattewater. Leader,
Mr. Tweedy (leaving Plymouth at 8.2.5 or 11.2"> a.m.). Dinner and
Smnking Concert at the Western Law Court at 6.30 p.m.
Saturday, .Ivly 8.
Council meeting, 9.30 a.m. Excursion to I'rincetown. Leader,
Mr. Burnard (leaving Millbay, North-road, or Mutley at 8.4.5 a.m.).
Excursion to Ivybridge (leaving Plymouth at 10.40 a.m.). Excursion
to ^"irtuous Lady Mines. Leader, Mr. II. Alger (leaving Millbay
at 11.20 a.m.).
All communications after June 27 should be addressed, the Hon.
Secretary, Photographic Convention, Art Gallery, Athenajum-
buildings, Plymouth.
K. A NEW STUDIO.
^K, Mkssb.s. Hills & Saundeus, the well-known photographers of
^t. Oxford, Eton, Harrow, &c., have recently opened a new photographic
^^ studio in London. It is situated in Sloane-glreet, in the very heart of
H ithe fashionable quarter of the town, among the denizens of wliieh the
^^ quality of Messrs. Hills and Saunders' work entitles them to expect a
good sliaie of patronage.
The suits of rooms occupied by tlie firm is entirely on the ground
floor, two tastefully furnished reception rooms, adorned with a good
collection of specimens, and presenting a most agreeable coup-d'ceil to
the visitor, being immediately reached from the front entrance. To
the right of the second of these is the dressing-room, an unusually
attractive and spacious apartment, the appointments and decorations
of which are in faultless tast3. This admits a sitter to the studio.
The studio is of une.xceptionable size, being seventy feet long and
twenty-three feet wide, and of proportional height. It was formerly,
we were told, the music room of a town mansion. Around the walls
are arranged a large number of groups representing the Eton and
Harrow cricket and football teams for a great many years past. The
studio has evidently been arranged with an eye to handsomeness of
effect, and the accessories, backgrounds, &c., are of an artistic nature.
The electric light is exclusively employed, a Pilsen lamp, with a con-
cave radiator, being swung so as to bo readily adjustable. Power is
derived from the Company's mains a light of eight to fifteen thousand
candle power being obtained, the average exposure being from one
to two seconds, which may, on occasion, be considerably reduced
for children, &c.
The new studio, which we understand was arranged partly in
accordance with the ideas of Mr. A. Cowan, is. illuminated throughout
with the electric light. It is a most elegant and luxurious addition
to metropolitan studios, among which it is in several respects
unique.
♦ •
REVERSED NEGATIVES.
AxL who have had any experience of the different photo-mechanical
processes, or of carbon or pigment printing are aware of the impor-
tant part whicli reversed negatives play in such processes ; and there
is no doubt that many workers have been deterred from taking up
the carbon process, in spite of its beauty and permanence, by the
necessities represented by reversed negatives on one hand, and double
transfer on the other. In ordinary practice, such negativea as I have
referred to are prepared either by making a negative in the camera
from a tran.sparency (a carbon transparency by preference, or else by
stripping the original negative film and reversing it), the process
being often varied by mounting the stripped film on a collodion or
gelatine skin, so that it may be conveniently handled, and, if necessary,
used from either side. It has been hoped that the use of celluloid
films would enable the negatives taken upon them to be used either
direct or reversed; but, although this may be possible with some
" rollable " films, the ordinary cut films show a marked loss of a defini-
tion if printed from the wrong side.
Having occasion to deal with some cases in which reversed nega-
tives were needed, I have been much impressed by the advantage that
would be gained could such be produced from original negatives by
one process instead of by two or three, and some experiences which
had occurred to me in connexion with the reversing action of light
(now so fully recognised) led me to think that assistance might be
found in that direction. I remembered that a good many years ago
I carefully prepared a batch of emulsion for lantern plates, which was
supposed to be very slow, but with which I could only print nega-
tives. I wondered at the time what was wrong, and in my inexpe-
rience I threw the emulsion away, but since then I have learned to
put the trouble down to the then practically unrecognised action of
light reversal. Remembering this, and calling to mind what has been
more recently written on the subject, I took up a series of experiments
which have led me to a successful result.
I find that the process of making a negative from a negative by
direct contact printing is as simple as printing an ordinary trans-
parency or making a bromide prmt, the only difference being that
the print is made on an ordinary bromide negative plate, and that
the exposure is extended so as to secure the reversal of the im^e
without over-doing the operation. Working with Ilford ordinary
plates the exposure required with a good crisp negative I find to be
about five seconds in strong daylight, not direct sunshine, the
exposure being increased if the fight be poor, even up to thirty
seconds at about sun.»et. It is here, of course, that judgment becomes
neceasary, both as to the quality of the negative to be reproduced and
the actinic power of the light employed, but only in the same degree
as in bromide paper printing.
Jly earlier experiments were with the ordinary hydroquinone
developer, and were successful, though development was slow. I
prefer for this purpose to use pyro and ammonia, or best of all the
new metol-Hauff, which, with a little bromide, works like a charm,
the reversed negative coming up with all the crispness and force of
an original. In the case of over-exposure, the image sometimes
appears first as a ghost of a positive which sinks in and dies away as
the negative comes up, but in such cases the result will not be satis-
factory. If the exposure has been about correct, the negative will
develop out in just the ordinary way, except that, the light having
penetrated the film so deeply, care must be taken in judging density
by looking through the film.
I find that I can depend definitely upon obtaining good reversed
negatives every time by being careful, and I very cordially invite all
who may be interested in such matters to take up the process, which
theoretially should be a perfect one, and with the experience to be
gained by more extended trial may, I believe, be made perfect in
practice. Wm. Bishop.
COMPENSATION IN DEVELOPMENT FOR VARIATIONS
IN EXPOSURE.
[ London and Provincial Photo<^rapliic Association.]
AcooBDiNO to promise, I have brought to show you to-night the
result of a few experiments on the question of " Compensation in
Development for Variations in Exposure," on the lines suggested by
Mr. Burton's paper. When the question was brought up at the last
meeting, I ventured to say that, from my own experience, I did not
think it was possible to get negatives giving identical prints, or so
nearly similar, that an experienced photographer could not tell the
difference between two negatives — one having the so-called correct
exposure, and the other forty or eighty times more — unless the range
of tones was practically limited to, say, two tones or little more. In
the examples I have developi <1, one plate may be considered to have
had a normal exposure, viz., u -eries of light intensities varying from
half a second to thirty-two seoonds, each step being double that of
the previous one, and-in the others an over-exposure of thirty-two
times, viz., the first having sixteen seconds, and the last of the seven
1024 seconds.
I here show you the results, the negatives themselves, and
also the curves of the densities as measured by the photometer, and
300
THE BRITISfl JOURNAL OF PHOTOGRAPHY.
[June 23, 1803
I scarcely think any one can imagine that the various negatives can
by any possible means be considered identical. The first one (the
normal exposure) was developed with — Pyro, 1 grain ; anhydrous
sodium carbonate, 4 grains ; and potassium bromide, i grain ; and the
three over-exposed ones respectively by doubling the pyro and
bromide each time, the last one having eight grains of pyro and eight
grains of bromide to the ounce, the alkali in each case being kept
constant. The time of development varied from six minutes in the
case of the normally exposed plate to one hour and forty minutes in
the case of the eight-grain pyro one.
I should explain here that what I tried to do was to make the
lowest tint in the scale of each as nearly of the same density as I
possibly could, leaving the higher ones to go on in their own way.
I notice tliat Mr. Burton in liis article says his statement is not
compatible at all with Messrs. Hurter & Driffield's, where they say
the density ratios cannot be altered by development. Xow, I think
it should be clearly understood what they did say, which, if I under-
stand them, is this: They first define what they consider to be a
perfect negative, as one in which " the opacities of the gradations are
proportional to the light intensities," and, after many pages of mathe-
matical reasoning and records of many experiments, they say : —
" We have thus arrived at an answer to the question. Can nega-
tives be produced such as we defined to be theoretically perfect ? and
the answer is they can be produced, but only by so carefully adjust-
ing the time to the intensity of the light that the exposures may fall
between the period of correct representation."
I must say, from my own trials of Mr. Burton's method, I cannot
upset this contention. I may say here that I sent to four members
of this Society duplicate pieces of each of the plates here shown, and
1 hope we may be favoured with the results of then- experiments in
the same direction. All I can say, in conclusion, that, at the present
time, I am not able by Mr. Burton's method to upset the theory that
correct exposure is the principal determinary factor in the production
of correctly graduated negatives. That abnormal] exposures can be
made by alteration in development to give certain pictorial results, I
am perfectly open to admit ; but, in a subject of this kind, that is
not the question. But what we are talking about is. Can forty or
oighty times the correct exposure be made to give identical results by
modification in development ? A. Cowan.
SUMMEE NOVELTIES IN APPAEATUS, ETC.
E. & T. Underwood, Gbanville-street, Birmingham.
When present at Messrs. Underwood's works, we were shown not merely
specimens of their tourist cameras in the finished form, ready to be sent
out, but the bodies and slides in various stages of completion, so that we
could see the kind of work that is put in them. This we have little
hesitation in sajing is of a very liigh degree of excellence. The cameras,
brass work, lens mounts, &c., are all made on the premises. Messrs.
Underwood profess to keep their makes of cameras from J to 15 x 12 in
stock, but recently a difficulty has been experienced in adhering to this
rule on account of the pressure of orders, which even while we were
present were coming in by post. An especial favourite appears to be the
"Club" camera, which, with all the requisite movements, is marked by
great lightness and portabihty.
Among Messrs. Underwood's recent introductions are several hand
cameras, which are distinguished by great simpHoity of movement.
♦' The Argosy " takes twelve plates in sheaths, the changing being effected
from the outside. The sheaths being filled ready for exposure, lo remove
the exposed plate the camera is held with the shutter end slightly down,
and the small knob at top of right side pulled out. The plate then falls
forward on to the floor of the camera. The knob is pushed in again, and
the second plate is in position. Every time the knob is drawn out a
plate is released, and every time the knob is pushed in a plate comes for-
ward ready for release. The sheath is held in position at each of the
four corners, and, when released from the top corner, it is not allowed to
go loose into the body of the instrument, as is the case in many cameras.
The lower corners are provided with pivots, working in grooves, the
leturn of the plates being prevented by suitable springs, and the plates
cannot in travelling get comerways, orossways, or in each other's way.
The' "Argosy," which is fitted with finder, the ever-set shutter, and a
single achromatic lens, is well made, and is exceedingly cheap.
Two other varieties of hand camera are the " City " and the " Sphynx,"
the latter being of a superior variety, having a rectilinear euryseope
working at /-6-7, fitted with an iris diaphragm. The shutter is a roller
blind working between the lenses. The focussing gauge outside is set
instantly from five feet to forty feet, or infinity, and the camera has
finders for horizontal and vertical subjects, accurately centered and
deeply sunk, and measures 9J x 5J x 4^ inches. To both the " City " and
the " Sphynx " cameras a bellows changing arrangement of great neat-
ness and excellence is fitted, by which the front plate is removed to the
back with ease, smoothness, and certainty in a few seconds, and without
possibility of hitch, dust, or undue wear. The door at the under side of
camera is unfastened and allowed to
hang down, and the larger knob at
the end of camera is pulled out
firmly. This draws away the spring
pressure, which keeps the front plate
up to register, and allows it to drop
into the bellows. The plate is then
grasped through the fiexible end of
the bellows, conveyed along guides to
the back, and pushed into place.
The second plate of the series is then
in focus and ready for exposure.
The plate drops inside the bellows,
clear of, and not touching, the folded
sides, so that there is no wear or fric-
tion, no dust, scrapings, or loose
plates. The mouth of the bellows is
attached to a metal frame, fitting in
a groove, and is kept in place by a
small milled head outside back of
case. This milled head being screwed out a short distance, the bellows
are raised, the sheaths taken out, fitted with plates, replaced and screwed
in.
Great simplicity is displayed in Messrs. Underwood's hand cameras,
a feature which, with excellence and inexpensiveness, distinguishes all
their apparatus. A handsome and serviceable 15 x 12 studio camera
that we were shown exhibited these two latter qualities at their best.
W. I. Chadwick, St. Mary's-street, Manchester.
"What Lancashire thinks to-day England will think to-morrow," was a
saying at one time frequently quoted, and that seems not unlikely to
have some measure of application in the photographic world at the
present time. To form an exact idea of the extent which what has been
termed the stereoscopic revival has proceeded in amateur photographic
circles, would be a dilHcult task that would, perhaps, not pay for the
accomplishment ; but we are probably not far wrong in the conjecture
that, be that extent great or little, the immediate future will witness a
still more marked popularity for stereoscopic work of possibly greater
endurance than tlie present rage for the hand camera. If only some
exalted personage would set the fashion for binocular pictures, society at
large would be sure to follow, with, maybe, more fcsthetic profit than is
obtainable from the gentle art of pressing the button.
Photography is under a debt of gratitude to Mr. Chadwick for his
efforts to revive interest in binocular photography and the stereoscope, and
that considerable success has rewarded those efforts is due to the by no
means common circumstance of the advocate understanding liis case.
For Mr. Chadwick not merely points the stereoscopic aspirant the way he
should go, but lends him a helping liand. How valuable such assistance
is, coming from an admittedly practical stereoscopist, everybody can
appreciate who has encountered the vague apprehensions of abstruseness
and difficulty which are commonly tliought to be involved in stereoscopic
work. To sit under Mr. Chadwick for half an hour, however, is to have
stereoscopic photography presented in an aspect that looks, as the phrase
runs, as easy as shelling peas.
It is not to be wondered, therefore, that Manchester, under the in-
fluence of Mr. Chadwick, has developed quite a stereoscopic colony ;
indeed, while in that town the other week, we were surprised at the
number of amateurs who had adopted tliis fascinating branch of photo-
graphy. That their number is so great is, of course, due to the presence
in their midst of one so competent to instruct and advise as Mr. Chad-
wick.
The Chadwick stereoscopic camera, of which we spoke in terms of
commendation two or three years ago, remains the perfection of what
such an instrument should be. It takes plates of the size OJ x 4f , has
two fronts, one for two lenses and one for a single lens, that are simply
placed in situ by fitting under a brass cross piece on the front. These
lens boards are reversible, so that the lenses may be packed inside the
camera. The camera has a landscape-shape body ; swing back, with tlie
centre of motion in the axis of the lens, and a spring roller for the
June 2S, 1803]
THE BRITISH JOURNAL OF PHOTOGRAPH V.
891
stereoscopic division. It is made rigid by pushing the baseboard for-
ward, anil by an elonxntion of the sloVih which the camera screw is placed
it is attached to the head with a minimum of difficulty. Bamett's single
dark slides are used, and altogether the camera, which has a rising and
falling front, and may at will be utilised for uprighl single pictures, is
the heau iiUal of a well made, practicable instrument, without a single
superfluous or complicated movement.
Thb Chadwick Improved Hai?p Camera.
The Chadwick Hand Camera embodies several features of a nature
sufficiently distinctive to stamp it as possessing the character Mr. Chad-
wick claims for it, namely, practical. As we have previously pointed out,
it is not' a magazine camera, slides being used. It is of variable focus,
from ibree to about six inches, focussing being effected by rack and
pinion, ioperated by a milled head outside the camera, an aperture on the
former showing a disc having an index for various distances. The lens
fitted is either a single landscape at /-ll or a rapid rectilinear at/-7, the
shutter being Kershaw's Instantaneous. For time exposures Mr. Chad-
wick recommends the use of the cap, with, of course, the camera on the
stand. The view meter consists of three pin heads on the top of the
camera in the form of a triangle, with its base on the extreme edge, by
which the picture is sighted. The camera has a focussing screen, and
may b§ ^sed for both vertical and horizontal pictures. The lens front is
removable and reversible, and the board having a boss when the latter
operation is performed and a very short focus lens is used, the cap acts
as a kind of plug. The size of the camera is 7 J x 5 J >c 4J, and the body
is mahogany, polished black.
Several improvements have recently beea applied to the camera. A
rise and fall front, and a swing back for both upright and horizontal
pictures, have been applied, and also a side swing; these adjustments do
not in any way add to the size or weight, the only visible difference being
two little screw heads on the side.
Scott's single dark slides for plates, or the double variety for films, are
used with the camera, and as these slides are extremely light and port-
able, a Qopsidierable number of them may be carried about in the pocket
for use as oeoasion demands.
Like alt Mr. Chadwick's productions, the Practical hand camera is at
once simple and effective, and has the advantage of having been worked
put by one whom experience has given a grip of the requirements of
amateur photographers.
PniLir Harris &■ Co., Birminoiiaji.
The Cytox Hand Camera of Messrs. Philip Harris* Co. lias many points
of novelty. It is of the fixed-focus type, and a small aperture in the front
cuts off light from the lens, which is fitted with the usual diaphragms.
A shutj^r of the oscUlating-plate pattern, giving a minimum exposure of
one-twentieth of a second, is employed. The plates are contained in
■i.,,!i . ,:
sheaths which may be bent to admit plates of any thickness. These
sheaths are covered with a dead black of peculiar excellence, the prepara-
tion of which we are informed is a secret. The lens has iris diaphragms
adjustable from the outside, and the camera may be used vertically or
horizontally. To remove a sheath with an exposed plate a button on the
top of the camera is pressed.
The camera is used as follows : — Having placed the dry plates or films
in the sheaths, place the camera on the table, front downwards, then
pack the sheaths one on the top of the other, inside the camera. The
first one must be carefully placed, so that the front of sheath touches the
wooden (c) stop in camera ; when this fii-st sheath has been put into
position one hand should be placed in the camera, and the back of the
fingers of this hand should slightly press the bottom of the sheath to keep
it in its proper position, while the other sheaths are being put in with the
other hand ; the wires of sheaths must be in the grooves (n) on either
side. When the twelve plates (or any less number) have been placed,
insert the spring inside the camera, seeing that the wires of plate
follow the grooves (ii). To change the plates, press the button a on the
top of camera, which presses the plunger inside and forces the front plate
below the stop c. The plate then falls to the bottoip of the camera, face
downwards, protected from the light by the sheath and screens. Tlte
second plate is now pressed forward automatically by the sjaring tit
back, and is removed just like the first. When the camera is used in the
vertical position the exposed plate must be fixed by screwing up the
button II. The shutter is very simple, bat very good. For instantaneous
exposures pull the string as far as it will go, the shutter is then set','and
may be released by a very slight pressure of the button at aide. For tibae-
exposures pull the string to the first catch, then, after exposure, press the
button to close aperture.
It is the habit of Messrs. Harris before selling a Cytpx to a onston^^ to
exhibit its capabilities by taking a picture with it. . :
Among the firm's other novelties is an electric lamp for the dark room,
in which the battery consists of five cells, with an arrangement for raising
or lowering the carbons and zincs of all five cells simultaneously, and fixing
them, when raised, by means of side screws to allow carbons and zincs to
drain, and stop action and waste of zincs. When required for use,
carbons and zincs are lowered by unscrewing side screw. The lamp is
five-candle power, and when ruby light is required the niby cylinder is
over it. When required for lighting, the cylinder is removed. Bichro-
mate solution is to be used in the inner cells, and dilute sulphuric acid (1 j^n
35) in the outer cells. The framework is mahogany, polished, and the
outer cells glass. Any number of cells may be used up to five, or any cell
may be used separately.
As showing the great utility of photography to business firms, we may men-
tion that at the time of our visit Mr, Belcher, the manager, was busily
engaged in piiotographing chemical apparatus for a new catalogue, be
explaining to us that this would obviate the engraver misdrawing the
specimens, which was probable, as they were required to be arranged
in a particular way. The pl^ojtpp^plup catalogue pontawQ patttoolMS
of cheap and useful sets, &o. ■.!,. ..i. . .;..!i.i; „•■.,..;.•;; 'ft ■: ;v.i".v,
" ' ■ .•.;!.■ J. !) r.j
Abcher & Sons, Lord-stbeet, LrvERPodii;' '■'■■"'''' ■ .
. .■ .■.,--:■; •■;•,- i-.' : ■•: .i*
The " Archer " combinedhand or stand camera, hashad seveM iiilprd*M]
ments applied to it since its introduction a few w;eeksago, among others, tlie
slides are held at the top and sides of the box, in wliich the camera proper
is contained, thus economising space. For closing the hack and fronb
spring catches are applied. Messrs. Archer are also introducing an
exceedingly light tripod stand, the legs of which, when opened up, are
^epuiedl by a simple spring ca^h,' . The stand is made of polished walnut.
©ut iEJritorial STatle.
«;■ -■ : ■■ The Champion Folding Lamp.
In the following cut we show, both folded and erected, a lamp (prt>-
curable of all dealers, price one shilling), which occupies very litd©
pace when folded for travelling, wbile^ when
well ventilated.
set up, it is roomy 8 D^
£92
THE BKITISH JOURNAL OF PHOTOCmAPHV.
[June 23, 1893
itfiCJS-JrT i'ATENTB.
APPUCATlONS FOR PATENTS.
Xo. 11,789.— "Improvements in Ptotqgraphic Cameras." A. W. PococK.—
Dated June 15, 1893. - ; "" '
No. 1 1 , 796. — " An Improvenient in Photography. " F. STBSSSEitG. —Dated
June 15, 1893. .. . . • : .
No. 11,823.— " Improvement in Cameras." Communicated by E. Decker,
P. R. J. WiUAH.—haUd June 15, 18J3.
No. 11,841.— "Improvements in Pliotograpbic Cameras." G. D. HtJSRES.
—Dated June \%, 1893.
' No. Ii;8e9.— " Changing Arrangement for Hand Cameras." G. S. Whit-
viKUi.— Dated June 16, 1S93.
' • No. 11, 87i— "Improvements in Photographic Developers." Communicated
by the Actien Gesellschaft fur Anilin Fabrikation. C. D. kVKl..— Dated June
, 16, 1893. • •
PATENTS COMPLBTED.
TMPBOVKMINTS in AMD RELATING TO TBK COLOUBISO OK PHOTOOBAPHIC
Pkints, Transparencies, and Nkgativks.
No. 7343. Charles Klaby, 22, Rue de Beaune, Paris, France.
Mi^yXi, 1893..
The object of this invention is to provide a method and means for colouring
photographs, which diHers from othi i irnthods in the beauty of the effects
which may be obtained without any previous preparatibn of the photograph to
receive the colours. • ^
The invention is applicable to photographic prints onpaper as well as to
transparencies and lantern slides on glass, and is also suitable for the retouch-
ing of negatives.
The improved method consists in colouring the photograph, if a paper print,
■ by the application of colours, prepared as hereinafter described, to the back of
the photograph, so that they penetrate the paper and appear underneath the
photographic tilm as seen from the face of the picture.
This process, which I have termed " Chromophotophane," does not require
■ any previous preparation of the usual paper print, eithet for rendering it trans-
parent or translucid, or for removing the paper wholly or partly from the back
of the film.
The colours are applicable to trau.sparencies, lantern slides, and negatives,
in fact, to any photographic film either on glass, or paper, or without, being
applied to the back or front as may be most suitable. It does not interfere
with the subsequent burnishing of paper prints.
The colours are prepared as follows : — Aniline colours are taken and dissolved
either in water or in alcohol, such solutions being made as strong as possible
whether by use of heat or in the cold. It has been found that some of the
aniline colours so prepared will not soak properly into or through the paper
aa this process requires, and in such cases, which can be found by experiment,
it is necessary and suHicient to add acetic acid to the alcohol.
The number of colours, natural or by mixture, which can thus' be prepared
is practically without limit, and will afford every necessary colour for this
purpose.
The colours so made should be put up in bottles, which should be kept tightly
corked.
The vehicle or medium for the emjiloyment of these colours is alcohol, or a
mixture of alcohol and acetic acid. By use of this medium the artist may
reduce any of the different colours to any state of tenuity that may be necessary
to give the desired tint.
lo colour a photograph, the latter is placed face downwards on a retouching
desk or the like, so that it may be viewed by transmitted light, and the design
on the face may be sufficiently visible from the back to guide the artist in
colouring the photograph. The colours are laid on in the usual way with a
brush or pencil, care being taken not to pass over the outlines. The colours
immediately soak through the texture of the paper, and act more as dyes than
surface colours. They quickly dry through evaporation of their solvent. The
photograph may be lifted from time to time to ascertain the tint appearing
beneath the film, so that the amount of colour used may be made proportionate
to the tint desired, a second coating, or several if needed, being added until the
desired depth of colour tint is obtained.
Photographs coloured in this manner exhibit a delicacy of tint combined
with photographic clearness unattainable when colour is applied to the face of
the photograph.
Ne^tives may be touched by colouring with the described colours according
to their actinic absorbent capacities, and the use of such colours offers to the
retoucher opportunity of delicacy of treatment unattainable by the ordinary
process. They are applied to the face of such negative.
The claims are : — 1. The method of colouring photographic prints on paper
consisting in applying to the back of such prints colours dissolved in a medium
adapted to soak through the paper, and appear beneath the photographic film
on the face thereof. 2. The method of preparing colours for use in the colour-
ing of photographic paper prints as described, or for the colouring of other
photographic prints such as transparencies, optical slides, or lor retouching
negatives, consisting in dissolving aniline colours in water, or alcohol, or a
a mixture of alcohol and acetic acid. 3. The method of colouring photo-
graphic prints on paper, transparencies, optical slides, or glass, or other
carrying vehicle, consisting in applying to the back of paper supported films,
or to the face of glass supjjorteil films, or to the back or face of unsupported
films, aniline colours dissolved in water, or in alcohol, or in a mixture of
alcohol and acetic acid, and diluted with a medium composed of alcohol, or of
a mixture of alcohol and acetic acid. 4. The method of retouching negatives
consisting in applying to their surface aniline colours in solution of suitable
tenuity, and of more or less actinic 'absorbent nature substantially as described.
iMPBOVKMENTS KKLATING TO PHOTOGRAPHIC APPARATUS.
No. 10,796. Hermann Mackenstiin, 6, Rue du Havre, Paris, France.
Man 13, 1893.
This invention relates to an improved mode of constructing photographic
frames with rollers, in which the sensitive material (pellicle, paper, fabric, and
the like) iorm a continuous strip of any length, previously »"ound upon a
cylinder fioni which it is unwound to a suitable length for winding upon a
second cylinder when it is necessary to bring in Iront of the aperture of the
frame another part of the strip in order to make a new plate.
All the parts of my improved frame have been carefully thought out, and are
combined in such a nianner that, while reducing as much as practicable the size
of the frame, I ensure the regular operation ol the system, prevent the light
from deteriorating in any case the roll of sensitive material, and render the use
of the frame as convenient as {M)8sible.
The said Irame is also provided with an automatic counter, which indicates to
the ojierator the numher of exposures he has already given, and con8e<iuently
enables him to ascertain how many he can still give without having to renew
the roll. It, moreover, at the same time marks this number on the plate by
means of the luminous impression. A numbering device, which I will term a
series-numbering device, is also arranged which provides the plate with a simple
or multiple number or sign to indicate whether he has obtained the impression
from the first roll put in the frame since the commencement of the operations
or with the second, third, and so on ; this series-numbering device is operated
by hand for causing it to advance through one division each time when the roll
is renewed. The details regarding the arrangement of this device as hereinafter
given, will show that it enables the operator, for instance, when on an excursion
to obtain a great many series numbers, which multiplied by the number of
exposures in each scries (that is to say for each roll employed) gives hundreds
of distinctive numbers, which pennits the excursionist to establish the relation
between all the plates which he has been able to make and the indications in
his memorandum took in which he has noted thesubjectof each of them. This
series-numbering device can, however, be dispensed with by putting a sufficient
number of discs in the device for counting the exposures for enabling it to
number in succession all the plates which may be made in one excursion.
In carrying my invention into practice, the pellicle or other sensitive
material, which is wound upon an upper delivery roller, passes from the latter
over an upper guide roller, which also serves, as hereinafter explained, lor
marking the line of sejiaration of the plates, and for actuating the device for
counting the exposures ; the material then passes over a lower guide roller to
the receiving roller, upon which it is wound to the desired extent after each
exposure, so as to replace by a fresh part of the strip or band the part which
has just been used. If desired, the lower guide roller can be replaced by a
fixed circular guide.
Behind the part stretched between the guide rollers is arranged a plate
preferably made of aluminium and fixed upon the front of the roUer-carrj-ing
frame. The said frame is situated entirely in a box or case, wherein it is held
by a full sliding cover ; the box is, moreover, provided with a blind, and with
grooves for enabling it to be fixed to any photographic chamber.
The displacement of the sensitive strip or baud after each exj^sure is ob-
tained by turning the receiving rollers through the medium of a key which, at
hereinafter set forth, is arranged that it can never be detached from the box
or case, while it may be either attached to the axis of the cylinder for enabling
it to be turned, or rendered independent of the same in order to permit the
removal of ihe roller-carrying frame, for the purpose of again providing it with
a strip or band.
The delivery roller is provided with a brake, which prevents it from turning
easily, and which consists of a disc which is bent or twisted a little and pressed
against the side of the fram« by a disc screwed upon the axis ; the action of this
brake is regulated in such a manner as to give the strip or band the proper
degree of tension. Besides having the effect of exposing a very plane surface
to the action of the light, this tension also causes the upper guide roller to be
moved by the strip or liand without any sliding, so that the unwinding of a
given length of the said strip necessary for a plate of a definite size always
corresponds to an invariable numberof revolutions of this roller, which number
will, of course, be different according to larger or smaller diameter of the roller
and the length of strip to be wound off.
Now, I utilise this rotary movement of the said upper guide roller firstly for
causing it to mark upon the strip or band the line where it must be cut for
separating the plate which has just been wound up from that which is about to
be made ; and, secondly, for actuating the device for counting the exix)surcs.
For obtaining the first of these two results, I fix upon the axis of the upper
guide roller a pinion which turns a toothed wuetl keyed upon a transverse shaft,
and I provide this shaft with two cams which, when it has made one revolution,
will push back a bar arranged in this cylinder and provided with points after
the manner of a comb, which then project to the outside and per.orate the strid
or band the extremities of the said bar jiass beyond those of the cylinder for
permitting this action of the cams. Spiral or other springs cause the said bar
to move back with its points into the cylinder as soon as the cams escape from
its extremities.
On the other hand, in order to utilise the upper guide roller for actuating the
device for counting the exposures, I place at the end ol the shaft outside
the frame a small crank, which in every revolution turns through a dis-
tance of one tooth, a front star wheel bearing numbers corresponding to that of
its teeth so that, each time when a fresh length of the strip or baud is wound
off, a fresh number appears at an aperture provided in the box. The star wheel
engages with a similar lateral wheel which is at right angles to it, and upon the
axis of which is fixed a disc bearing the same numbers as at the front star wheel;
this disc is in front of the sensitive strip or band and behind the frame,
which is pierced with an aperture small enough so as not to uncover more than
one number at a time. It will now be understood that the numbere on the disc
being cut out to form an opening upon an opaque bottom, or being opaque upon
a transparent bottom, at the moment when it is exposed to the light, ttie latter
will produce upon the sensitive strip or band the image of the number behind
the aperture which is tlie same as that which is visible through the aperture.
As a roll of sensitive material generally provides for more exposure than the
JoM 3S, 18»3}
THE BRITISH JOUitNAL OF PHOTOGHAl'HY.
soa
numlwrs which th« star wborl and the correaponding iliar beam, I provide a
.tecond disc fixed upon th« axis of a lateial star wIimI which tnras one tooth
in every revolution of the lateral whetl atwve it, and which then also turns
through a iliatance of one tooth, a perpendicular front wheel with which it
gmrs ; this periwiical movement is obtained by placing the lateral wbeela
snfliciently far away from each other, so as not to touch, except at the time
of the passage of one of tbe teeth of the latter which is longer than ull the
other*. A second aperture is pierced in the frame for uncovering one of the
numbers of the second disc, in like manner a second aperture is formed on the
side of the box by the siile of the first for showing a number of the lower front
star wheel. With this arrangement, and by giving to each disc twelve
numlwrs, the upper iliac will print upon the first twelve plates one of the
numbers from 1 to 12 respectively, while the lower disc will print upon all
the numlwr 1, the following twelve plates will be marked 1 to I'i, ami 2 the
thinl dozen will l>e marked 1 to 12, and 3, and so on ; thus all together I
4>bt<tin for 144 plates (12x12) a distinctive mark consisting of a double
number.
In case of necessity, it is clear that I could add one or more disct with
corresponding wheels, in which case I may also add apertures in the frame and
in the box.
The numbers could evidently !« replaced by letters or other signs on all the
discs, or on one or more of them.
In order that the operator may ascertain very easily, and with exactitude,
when he has wound from the delivery roller and wound upon the receiving
roller the length of sensitive material corresponding to an exposure, I have
placed upon the side of the liox of the frame an index, which makes one
revolution while this length is developed, so that it is necessary to discontinue
turning the key when this index has returned to the jioiut whence it left.
The movement of the index is obtained by means of a toothed wheel keyed
upon its axis, and which is actuated by a pinion mounted upon the extremity
of the axis of the upper guide roller.
It is sometimes an advantage to be able to impart to the index a rotary
movement independent of the toothed wheel in order to bring this index
exactly opposite the point marked upon the box, if it should not be in that
position after the roller-carrying frame has been removed and put back into its
place. This may be obtained by various means : the simplest, which I pre-
ferably employ, consists iu mounting the toothed wheel upon a shaft in such a
manner that it can slide along the latter in order to be engaged with the pinion
or to be disengaged therefrom, and to subject it to the action of a spiral or
other spring, taking its point of support upon the interior face of the box, and
which engages it as soon as a pressure tending to draw it to the outside is
relea.sed. A knob is fixed at the end of the socket, to which the toothed wheel
is fixed, this knob enabling the wheel to be easily drawn to the outside for dis-
«ngaging the same.
1 may, if desired, dispense with the index, and also with the mechanism
t>elonging thereto, and m lieu of this employ a ratchet device which at the
proper moment will automatically prevent the continuation of the movement
lor winding up the sensitive material, this ratchet device being actuated by the
winding-up mechanism itself. After the system has thus betn fixed, it wdl be
sufficient for releasing it to move the ratchet device by hand back to its original
position.
The series or mark number which the light produces upon each plate at the
-same time as the number of the exposure is obtained iu a similar manner to the
latter by combining, every time when this may appear useful, two alphabets or
two series of figures or signs, so that each letter of one of the alphabets may
serve for marking a great number of plates, by employing it alone first, and
ithen with each of the letters of the other alphabet successively. Thus, for
example, the frame may be provided at the upper or lower part with a rule
bearing the letters from A to Q. all the plates of the first series— that is to
say, obtained with a first roll of material — may be marked simply with A at the
top. Those of the second series may be marked with A at the top, and with A
telow those of.the third, fourth, fifth, and sixth, and further series may always
bear A at the upper part ; but B, C, D, E, and so on respectively, at the lower
jiart. There are, therefore, eighteen series of plates marked with A at the top. I
replace the A by B at the upper part for the following eighteen series with the
<litferent letters from A to Q successively at the lower part, then I replace the
a by C, and so on, so that altogether, as there are upon each of the rules
seventeen letters, I have a means of marking different signs eighteen times
seventeen series — that is, 306 series— -each comprising as many plates as are
contained in one roll, which evidently exceeds the refiuirements even in the
•case of explorations or in any other particular cases. It is understood that I
may diminish the number of the letters, figures, or signs employed, and I may
-also if desired augment it in like manner.
In order that the plates obtained with one frame shall not be confounde<l
•with those made in another, which would render the above-stated precautions
useless, the number of the frame is likewi.se marked upon the plate at the
•moment of the impression. Thus, the plate indicates a number cut out in
the lower left-hand corner of the frame. The place miglit manifestly vary, and
also the mode of producing the number, or the letter, or other sign which is to
•ilesignate the frame.
In a general manner — that is to say, in such a manner as maybe conveniently
used for the number of the frame as well as for the exposure numbers and the
series numbers — I may mark these numbers upon the plate either in white or
in black. Accordingly, they may be formed by cutting them out from an
opaque piece (thin metal, natural or artificial parchment, or the like), or, with-
•out being cut out, they may be left transparent upon a piece of gla.ss, mica,
enamel or imitation enamel celluloid, or the like, the remainder of whose
surface may be opaque ; or, on the contrary, they may be opaque upon a trans-
parent bottom, or cut out full with a space around.
When the letters or signs intended to indicate the series are carried by rules,
■each rule may be actuated by means of a rod passing out of the side of the box,
and graduated so that the operator may see upon this rod what letters are ex-
posed at the apertures in the frame.
This arrangement maybe replaced by a modified arrangement, which consists
•in fixing upon the edge of the box a small plate, in which is arranged a disc
bei>ring the desireil letters or numbers, and which is turned through a division
in each change of aericii so a« to more to the upper part the ebaracten which
are suitable. Th««« chanettn, beioc then ezpoied at an aperture pieree<l in
the frame, projects its image upon the plate at the moment wlien tbe light
acts. The di^c may be pivoteil to a. screw, which serve* aa an axil for the
same, or may simply be held in its plac^ by being fitted in th« plate, the aakt
diac being milled at its circumference for enabling it to lje easily turawL
In onler to lie able to numlier a greater number of serien of plates, I may um
several discs of this kind in the same manner as I have Just indicated the
employment of several numbering rules.
I may, if desired, dis|>ense with what I have termed the series-numbering
device — that is to say, rules or the discs— and retain only the ezpoanre-
numbering device by augmenting the number of the discs, the numbered wheels
and the apertures, and also the actuating wheels, as mnch as may be
necessary.
On the other hand, instead of using wheels with twelve teeth and putting
twelve numbt^rs upon the discs and upon tlie wheels behind the ajwrtures in
the box, I may provide these discs ana wheels with the figures from 0 to 9, and
employ wheels having only ten teeth, so that the first disc marks the uuitx,
the second the tens, the third the hundreds, the fourth the thousands, and so
on, and in the same manner for the wheels placed behind the apertures. Kach
plate will then be designated only by a single number indicatmg its order in
the plates made since the commencement of the excursion and by the invariable
number of the frame.
I will now proceeil to describe the s)iecial construction of the delivery and
receiving cylinders, upou which is wound the pellicle or other sensitive
material. Each cylinder is made of two parts, connected by a longitudinal
hinge. After opening the cylinder 1 intro<luce into it the extremity of the
strip, then I close it again, pinching the latter between the two parts, one of
which is proviile<l with a row of points for preventing the strip from escaping.
Each cylinder has at one of its extremities a central hole, into which is inserted
a journal forming the prolongation of the delivery roller axis and its nut
which carries the brake disc, or a Journal prolonging the receiving roller axis
which receives the key. B^ch of these axes terminates in a small disc provided
with the central journal and with two pins, and these three projections enter
holes formed in a disc and in the cylinder, which is thus obliged to turn with
the axis. Tlie disc which is applied against the extremity of the cylinder
prevents the light from passing through the spires of the roll of sensitive
material, and from deteriorating it when it is necessary to recharge the frame
outsiile the laboratory.
At the other extremity of each of the rollers is also a protecting Jaw or dLsc,
which is simply pierced with a hole at the centre, into which hole is inserted
a journal fixed to the extremity of a spring strip, the other extremity of which
is secured to the side of the frame. A similar spring-strip may, if desired,
carry the above-mentioned Journal. It would then bt fixed upon the frame by
its centre.
It will be understood that, for enabling the rollers to be removed, it is
Euflicient to pull the strip so as to disengage the journals from the holes of
the.se rollers, and that, on the other hand, when the cylinders have been put
back into their place, it i.s only necessary to let these strips pass back into
their original position for holding them therein.
The axis of the receiving roller carries a ratchet, with which is engaged a
spring pawl carried by one side of tbe frame, and which prevents the rear
movement.
The frame, which composed of two cheeks of metal, connected at the front
part by the plate of aluminium or other material, which serves as a support for
the stretched sensitive material. This frame carries the rollers and the whole
mechanism, except the |iarts carried by one of tbe sides of the box, and
except the series-numbering devices, which are carried by the lateral frame
fixed to the box.
It now only remains to describe the arrangement which I use for enabling the
key to always remain attached to the box of the frame, while enabling it to be
detached at will from the axis for permitting the removal of the roller-
carrying frame, or enabling it to be fixed for |>erndtting the turning of the
receiving rollers in order to give a movement of translation to the atrip or
band of materiaL
This arrangement consists in providing the rod of the key with a shoulder
where it passes through the centre of a small cylinder, against which shoulder
acts a spring, which tends to push it back to the outside, but prevents its
complete removal by means of a screw or other stop. On the other hand, the
extremity of the rod of this key is screw-threaded, and it is sufficient to turn
it by pressing above, so as to overcome the resi.stance of the spring for enabling
it to be screwed upon the axis and unite it therewith without danger that it
will turn the axis the wrong way, because, if turned to the left, it would be
unscrewed.
It will be readily understood that the system herein described may be
applied to frames of any dimensions and any proportions, and that tke rollers
and axes, which are in this case parallel with the narrow sides, luight, on the
contrary, be parallel with the large sides. In either case they may be
mounted upon the box itself, and also the whole mechanism and the frames
might lie dispen.sed with, which would not make any material difference in
the system.
On the other hand, the position of the delivery roller and of the receiving
roller might be reversed ; that is to say, I might place that which is below at
the top, and cic* versd. This would simply necessitate the placing of the key
and ot the exposure-numbering devices on the ielt of the box in lieu of placing
them on the right-hand side.
Instead of the words attributed to him at the meeting of the London and
Provincial Photographic Association, on June 8, .Mr. K. Child Baylcy said
"tbat it was quite possible, by suitable development, to produce a uegaiive
which, showing the full number of gradations the plate could register, was
printable throughout. A negative which possessed a scale of densities greater ",
than could be printed was simply improjierly developed."
S94
THE BRITISH JOURNAIi OF PHOTOGRAPHY.
[June 23, 1893
' '■flf/''
mtHitiQ^ Of §:otittu0*
MEETINGS OF SOOT^.TTKB ^OK NEXT WEEK.
Date of Meeting.
Name of Society.
Place of Meeting.
Asso. Studio, Nethergite, Dundee.
„ 26
North Middlesex ......;
Richmond ;
Birmingham Photo. Society ...
Great Britain (Technical)
Jnbilee Honse, Homsey-road, N.
26
Greyhound Hotel, Kiohmond.
.. 27.'.
Club Room, Colonnade Hotel.
:; 27::::::::::::
50, Great llussoU.st., Bloomsbury.
206, Mare-street, HackBey.
" 27".'.'.'.......
Halifax Camera Clnb ,...
27
Springfield Barracks, Lancaster.
,' 87.!.
165, Constitution-street, Leith.
.. W
" ■ ho**'
Paisley
Warrington i,, ; ;
Bath ..;.:. >
9, Gauze-etreet, Paisley. .
Museum, Bold-street, Warrington.
Roy.Lit. & Sc. Inst., Terrace-walks.
' !! 28 .
Bank Chambers, Hargreaves-street.
" m:::;:::
The Assembly Rooms, High-road.
:: i-::;;:::
Anderton's Hotel. neet-8treet,K.C.
The Studio, 15, Cambridge-arcade;
Glcsop Dale ..
Mechanics' Hall, Halifax.
.. 29 Wnll ;..
71,' Prospect-street, Hull.
:: i9.;.:::.:.::;
Liverpool Amateur.
Percy-buildings, Eberle-street.
„ 29
Champion Hotel, 15, Aldersgate^st.
;; 29
Oldham ; ■.
•The Lyceum, Union-street, Oldham,
„ 30
30
Public Hall.George-stroet, Croydon,
.. 30 :: ;■■
;; So"
** The Palace," Maidstone,
„ 30
Tenby Hotel, Swansea.-
Julyl
Hull
71, Prospect-street, Hull.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
June 15, — Mr. A. Haddon in the chair.
, Receipt of a copy of the Amateur JPhqtographei'a Annual for -1893 was
acknowledged.
Prospectuses of the new Central Photographic Club Company were dis-
tributed.
Mr. J. Howson passed ronnd the original prints from whicli the reproduc-
tions in the June number oi Photographic Scraps illustrating Mr. W. K . Burton's
rem^ks on density ratios were made made.
Compensation in Development for Variations in Exposure.
Apropos of Mr. Burton's recently published experiments, Mr. Alexander
Cowan read a paper on the above subject [see page 389].
Mr. W. E. Dkbenham said that Mr. Cowan had not quoted the part of
Messrs. Hurler & Driffield's theory which Mr. Burton had called in question.
One might have subjects which were not within the range of correct exposure.
The question was this : Seeing tliat we could not ensure a. subject which sliall
only have its intensities within the limit of correct gradation, when the expo-
sures are beyond the limit, can we by development differentiate so as to show
considerable difference between tlie brightness of one high light and another
high light ? If we can differentiate those light.s which are out of wliat is known
as the liiiiit of correct exposure, and make tliem show gradation .something
resembling the original, that is a valuable achievement. Mr. Burton sliowed
an instance of it in direct contradiction of Messrs. Hurter & Driffield.
Mr. P. Everitt disputed the claim that the prints shown were identicai.
Mr. Howson said Mr. Burton's point was, Can we alter tlie ratios of the
densities by a difference of development ? He (Mr. Howson) contended that the
prints shown proved that it could be done. Dr. Hurter, some time time ago,
stated at the Photographic Society of Great Britain that the ratios could not
be altered, but it W.1S the general opinion of photographers that they conld.
The difference of opinion lay in the meaning of the terms, density and opacity.
Mr. Cowan asserted that the ratio of gradation was not altered' by any
known developer. Mr. Burton had said that two identical negatives could be
obtained with varying exposures.
Mr. Everitt thought that possibly the assertion of Mr. Burton had a double
meaning. Did Mr. Burton mean that it was im'possible to say which was the
over-exposed one in the sense that both prints were identically alike, or was it
that you could not distinguish between the two which was which ?
Mr. T.'BoLAS was of opinion that most photographers would conclude that
of the prints shown the short exposure was the longer.
Mr. DebEnham asked Mr. Cowan if there was atiy reason to suppose that,
Carrying development a little le.ss far, he could have got a result that apjieared
less exposed ?
Mr. Cowan replied that in his experiments he had developed two interme-
diate slips, and they bore out the contention that the curve was shortened.
Mr. Everitt challenged Mr. Debenham to take the other side and .say there
was no reason to suppose that by carrying development a little less far a less-
exposed result could be obtained.
Mr. S. Herbert Fry- had made tests whicli bore out the contention that
there was a shortening of the scale. He had made twenty-five experiments,
and had matched the prints, having used Thomas's Extra Rapid and Ilford
Red Label. The universal average, as judged from the prints, was, the longer
the exposure the shorter the distance where the prints went black, and where
there was no detail at all,-thns -confirming the contention that over-exposure
shortened the scale and compressed it.
Mr. J. S. Teape showed results from the strips forwarded to him for testing
by Mr. Cowan. He had erred slightly on the side of full exposure. Nos. 1
and 2 had normal exposure, one being developed for two, and the other for
two and a half minutes. No. 3 had been developed by Burton's formula, sub-
stituting four grains pf anhydrous sodium carbonate "to the ounce, one grain
pyro, four sulphite, ami less than half a grain of bromide. No. 4 had been
put for ten minutes id a twertty-grain solution of bromide, and then in a
developer of 8 grains pyro, 20 bromide, 3 soda, and 96 sulphite. The imag«
appeared in three minutes "and was complete in twelve'. It 'appeared to him'
that it was only in the densest portion there was a little difference from the
normally developed strips. Tlie normal exposures were from A second to 32'
seconds ; the abnormal 16-1024 seconds. No. 5 had to the eye very little
difference. It was put for thirty minutes in a twenty-grain solution of bromide,
and developed the same as No. 4 ; the image appeared in six minutes attd was-
veiled ; it was then jnit in the bromide solution for another five minutes, and
then in the developer for seven minutes. He had also some negatives which
he thought beat Mr. Burton's results. They had had 1 and' 40 secoUiis*
exposure on a similar subject to Mi'. Burton's, and with his developer. Hft
(Mr. Teape) would be inclined to take the one which received the longest expo-
sure as the one which had had the shorter. '•'•
Mr. CowAK remarked that he did not see how the range of gradations ti a
negative could be tested without measurement. Quoting a. recent article-of
Mr. Burton's on tentHtive development, itf which the writer stated having
given forty times the nbrmal exposure, and the moment the image appeared' he
instantly put on a very powerful developer. Which immediately intensified the
image, Mr. Cowaii said he thought this of more-use than Mr. Burton's other
article. ■ - , . . ■
Mr. Debenham said, years ago Mr. W. B. BoKoii had recommended one to-
start with over-exposure and a normal developer, and, as soon as the image
.ippeare'd, to remove the developer and apply bromide, keep that on for a short
time, and then Jilace the plate in pyro and add ammonia, when density woiild-i
be obtained without proportionately bringing up the weaker parts of tie nega-
tive, which should be restrained. He often used the plan with success.
Mr. Teape and Mr. Cowan had also found it priSeticable.
Mr. Everitt said Mr. Cowan had sent him two normally and four over-
exposed strips. Using anhydrous soda, after the lapse of a qdarter of an bour-
no image appeared^ — possibly the soda was not anhydrous, or the bromidt ex-
cessive. Washing off the developer, and using ordinary soda crystals as 4 : 1 of
aiihydrons, and reducing the bromide to Mr. Burton's proportion, the plate
developed in five minutes, the image being thin throughout. No. 5 was
developed in 1 grain pyro, | bromide, 4 sulphite, and 4 soda to the ounce; it
had more pluck throughout, taking five minutes to develop. No. 2 was de-
veloped with 8 grains pyro, 8 bromide, 32 sulphite, 16 soda carbonate,; the
image appeared very rapidly, and -was complete in twenty minutes. No. 3 ha d
8 pyro, 10 bromide, 32 sulphite, 12 soda crystals ; no image appeared for five
minutes. Ten grains of soda were added in successive doses, and in seventeen-
miniites the image appeared, and was complete in twenty-two minutes. No. 6'
was tried with ammonia, and was developed in about five minutes. "What.
struck him as peculiar was that there was no marked difference between the-
normally and over-exposed plates.
Mr. CfoWAN said that Dr. Hurter had stated that a range of 3 : 60 could not
be detected pictorially, but was apparent on measurement. He did not think,
the eye cotild detect these differences.
Mr. Frt said that was an argument in favour of Mr. Burton.
After other discussion the meeting closed.
Holbom Camera Club. — .June 16, Mr. J. F. Stevens in the chair. — Mr,
S. Herbert Fry gave a practical demonstration on the Sandell plate. Mr. f*Y
said he had made it a practice never to develop a plate at a club meeting, but
as most of the advantages of the Sandell jilate had been published, and the-
members of the Holbom Camera Club were nothing if not practical, he had.
decided to break that rule and develop a few plates. He passed round a
number of prints from Sandell plates, and made a few remarks on the advaur
tages and peculiarities of that plate. Two plates were afterwards developed,
Mr. Fry demonstrating in a most practic-il way the method of developing
these plates. On Saturday last, on the invitation of the President of the Hol-
bom Cycling Club, the members of the -Camera Club visited Mill Hill, and sat-
dow-n to tea with the members of the Cycling Club.
North Middlesex Photographic Society.— June 12.— A question was askedi
as to the best way of copying ;t Dagucrreotyjie, it being very difficult to avQid^
reflections. One member recoilimended that it should be done by artificial
light by using two lamps, staiidiiig them at the sides some distance away, so
that the light falls from each siile of the picture. Copying could often be done
this way which w-ould be quite impossible by daylight. Mr. Stewart sug-
gested that the method adopted in photographing .silver plate might be success-
ful, viz., to form an artificial dew on the surface, which would prevent the-
reflections from the bright surface of the plate. The paper of the evening was
one by Mr. C. 0. Gregory on Dodc/es. He covered a very wide field, giving;
hints on ever}- conceivable topic, such as exposure^for which he constructed,
out of a small weight and piece of string a second iiietre — developing, dodging
by means of a brush, intensification dodges by matt varnish, tissue paper,
colours, pencils, &c., reduction by rubbing with spirit, printing, vignetting,
printing in skies, &c. The paper was full of matter, and the simplicity of his-
methods caused a good deal of amusement. Six new members were nominated.
Harringay Photographic Society. — On Tlntrsday evening last the above
Society held its first half-yearly conivrsan'one at the Public Hall, Finsbury
Park, which was in every way a great success. It copsisted of a ]irogramme-
of vocal and instrumental music, also an oxyliydrogen lantern entertainment.
Tlie President (Mr. Dudley Towers), in his opening remarks, said tliat, owing
to the great increase of its members, they had moved to larger premises and a
more central position at 8, Station-road, Finsbury Park, where they had much,
better accommodation for meetings, which in future will be on the second and-
fourth Thursdiiys in each month. Tlie musical portion of the programme was-
much appreciated. During the evening a set of beautifully coloured views of.'
London and Paris were exhibited on the screen by Mr. Towers and Mr. BaU.
Hackney Photogrraphic Society. — June 13, the President in the chair. —
Mr. Hudson showed negatives developed with his modification of pyro-soda.
Mr. Beckett showed three negatives, each having had a diffarent exposure
varying from three to nine seconds,- the density in each being equal. Mr. S. J.
Beckett showed and explained the Ilford F.xposure Meter. The Hon . Secre-
June :23, 1893]
THE BRITISH JODKNAL OF PHOTOGRAPHY.
306
TARV saiil wlien he wiw away from home he liad iise<l the paper around tlie liox
of plates as a sort of store case, by rutting a lid at the end of paper, and
sliding the box in and out. Mr. Harnes asked what was the best developer for
Eastman's films. Mr. Sodeau preferred amidol. Mr. Salmon .showed a home-
made camera which could be used in the hand. The Hon. Secretary showed
the " Uno " hand camera, a cheap article capable of holding twelve juates ; he
hoped to try the same and report on at next meeting. Mr. Houghton then
read a paper on Advur to Jieginnt'rs, and advised half-plate camera, with
plenty of extension, swing back and front, with rigid trijiod witli large head.
For lens one of eight-inch focus and wide-angle lens. Ho recommended that
really good lenses should be bought, and advised the use of slow plates rather
than lilms. Composition was an important matter, and should be well studied
before exjiosing Sir. Selfe asked when a plate is tixetl, and he was advised to
leave it for alxiut ten minutes after opalescence has disappeared. Mr. Green
asked if frilling ocnuned if developer was too strong. Mr. Dean recom-
mended the use of alum bath. Mr. lloder thought pyro-developcd negatives,
reqtiircd cle.iring bath. Mr. Avent thought beginners should have exposure
tables simplified as much as possible. The Hon. Secretary recommended a
square cimera with the focussing done from the back, as otherwise, when using
a short focus lens, the Ijaseboar^l would cut off part of view. Mr. Gosling
thought beginners should not commence with a hand camei-a. Mr. U. Beckett
recommended trimming prints before toning. The Hon. Secretary used thin
mackintosh which took up les.s room and was more ojiaque than the usual
material, and could, in cases of rain, be put on the end of the tripod and used
as an umbrella.
East London Pbotograpbic Society.— June 13, Mr. Pasco in the chair.—
-Mr. Charles Tylee gave a demonstration upon the Carfxyii Process^ which ap-
peared to be thoroughly appreciated by the members present. Mr. C. M. Minns
promised to read a paper at the next meeting upon ,Sitlijecls : Where and Hoio
to find litem.
. Putney Photographic Society.— June 10, an Outing to Bumham Beeches
was well attended. — A meal was served on the lawn at Macro's Cottage. The
omnibus from Slough stops here, and it is wise to order food before commencing
the day's work. 'The next outing wUl take place on Saturday, June 24, to
Leatherhead, Dorking, and Shere, returning from Guildford on Sunday evening
Leader, Mr. A, E. Smith.
Brixton and Clapham Camera Club.- Ordinary meeting, held on Tues<lay,
-June ti, Mr. W. H. Harrison in the chair. — Mr. S. H. Fry gave a demonstra-
tion on the SaiulcU Plate. In describing the properties of the plates he
stated that they were made in two brands, the " General," with two hlms, and
the "Especial," with three. Each film was of a difl'erent rapidity, and
possessed different physical and chemical characteristics which were not due
to the thickness of the film or the extra amount of silver. The multiple film
combined the opposite characteristics of the lantern plate and the snap-shot
plate, which have different qualities. There are, said Mr. Fry, two exposures
lor these plates ; one the normal exposure, and the other the abnormal ex-
posure. J3y normal exposure is meant the correct exposure for the upper or
instantaneous film. Anything beyond this is an abnormal exposure. For a
normal exposure the plate should be developed iu the ordinary way, i.e., like
an onlinary single-film plate. With an abnormal exposure, development
should be conducted in a tentative manner, with a weak (i.e., diluted) developer,
which should be well restrained. The developer should be that with which
the worker is best acqu.iiuted, no special developer being necessary. Pyro
and ammonia, pyro and soda, hydroquinone, eikonogf*, kc, give equally
good results. The image on the lower film should be first developed, .ind,
when suHicient density has been obtained, strengthen the developer for detail
in the toj) film.
South London Photographic Society.— June 5. — Some work from samples
of Lomberg plates were shown. The negatives given by these plates are of a
very soft character, and are therefore particularly well suited for portrait
■work. In consequence of Mr. A. R. Dresser being taken suddenly ill, his
paper on Enlarging Hand-camera Neijative.i was postponed. Some informa-
tion on the use of metol as a developer was given. It was found to have
excellent keeping ({ualities. A developing solution, left in a graduate for a
week, was capable of producing an image with ease. It did not stain, and
would develop several plates iu succession. Less exposure was required than
with pyro, over-exposure was readily dealt with, density was more readily
obtained with it than amidol, and it does not stain the fingers. Very fine
transparencies were obtained by its use. Specimens of the " Uno " and
"Queen " hand cameras were shown and placed in the hands of members by
the maniifacturers for trial and report to the next meeting.
Tooting Camera Club.— ^June 8, Mr. DoUery in the chair.— Mr. L. E.
Morgan and Mr. V. Robinson were elected members. A whole-day excursion
to Bytieet vid, Woking and Basingstoke Canal was agreed ui)on, but the date
was left open. Mr. DoUery gave a practical demonstration of the use of
cresco-t'ylma, a ]ire]iaration for stripping and expanding the gelatine film of
a negative, transparency, or lantern slide. Two quarter-plate negatives were
successfully operated on. . Mr. Dollery works according to the instructions
given on the bottle, with the exception that he advises tlie use of tei)id in
preference to cold water-in the second bath, as the film expands quicker. A
transparency on an Alpha plate was then immersed in the solution, but it
immediately fade<l away. At the desire of those present, the process was
carried out to ascertain the greatest amount of enlargement that could be
obtained. Mr. Child, on examining the film, which was of a dirty yellow
colour, drew attention to the fact that tlie image was still intact and perfect,
presenting an apiiearance similar to that obtained by the bichloride of mercury
bath. He rccommeuded that a hydroquinone develoiier should be tried, with
a view of reducing the compound that evidently had been formed. Mr.
Bekger agreed with this view, and said that no details were wanting in the
picture. The suggestion was acted upon, and with complete success, the
imago re-developiug up slowly, but yielding a vigorous picture. The only
difference was that before treatment the tone was of a greenish black, but
afterwards a warm sepia. This change was no doubt due to a constituent of '
the cr(Kco-fylm8, na the film was unwashed. A vote of thuika wa« given to
Mr. Dollery for his lecture.
Croydon Camera Club.— A thoroughly enjoyable whole-day Tumble to Wey-
bridge, conducteil by the well-known landsiape artist, Mr. H. Maurice Page,
was held upon We<lnesday, June 14. A tjenre study representing " Kagjjot
Binding" having Iwen attempted, several "wood and water" compokitions
kept mundiers fully occupied until two o'clock, when, ujion the inviution of
Mr. Page, they ilined together at the "Green Dragon," Byfleet. A busy after-
noon was spent on the banks of the Wey, and, tea having been enjoyed on the
breezy heights of St. George's Hill, T)hotogra]ihic operations were concluded
by taking a scries of views of Deail Man's Lake. Saturday, 2i, Excursion to
Edenbriilge, conducted by the President. Train from East Croydon, three
minutes past two.
Birmingham Photographic Society.— May 30, Mr. Mousley in the chair.—
Mr. Hendren read a paper on ('hrislian Architecture in England, which was
illustrated by sketches and diagrams on the blackboard. Mr. Hendren
traced the evolution of architecture from the early Grecian time.s, through
successive stages to the Norman, where he paused, intending to resume at an
early date. A number of very fine photographs by the lecturer, which were
shown in illustration of his remarks, were much aiipreciated.
June 13, Mr.W. Jones in the chair.— Mr. W. . I. Belton, representing the Paget
Prize Plate Company, gave a demonstration of the firm's printing-out opals
and lantern plates.
Leicester and Leicestershire Photographic Society.- The first outdoor
excursion of this Society took place on the 9th inst., when about a dozen
members and lady friends journeyed to Dovedale, and were favoured with
beautiful weather, both as regards the quantity of light and absence of wind.
The party met at the Midland Station and booked for Derby, and were joined
nt Loughboro, by some members of that Society, where, arriving about
9.30 a.m., they were met by Mr. Thos. Scotton and Dr. Highton, who joined
the party. A break had already been chartered by the kindness of Mr.
Scotton, and the party drove through most charming scenery, a distance of
eighteen miles, to Dovedale, where the party soon entereil the glorioiui dale,
and operations soon commenced, the President, clamliering down the
precipitous side of the clifl', coming in for the first "snap." The difficulty was
not so much what to take as how to avoid it, so many magnificent pictures
presented themselves ; and, drafting off in two's and three's, the excursionists
wandered about in a paradise of pictures. Leaving the Dale at 4.30, the party
re-embarked and drove back to Ashbourne, where a welcome cold collation
was done ample justice to, under the presidency and vice-presidency of the
President (Mr. Porritt) and Dr. Highton respectively. Altogether, about
seventy-two plates were exposed, and it is confidently expected that they will
yield some of the outdoor prize pictures for which the Presideut has offered
silver and bronze medals.
Sotherham Photographic Society.— June 6, Dr. Balilwin (President) in
the chair.— It was announced that the Rotherham Corporation had offeretl the
use of a room iu the Clifton Park Museum for a representative display of the
Society's work. Mr. Jerome Harrison's Warwickshire Survey paper was dis-
cussed, and afterwards a resolution was passed recommending the committee
to consider the best means of conducting a photographic survey of the Rother-
hani district. Negatives and prints resulting from the Ingleton excursion were
exhibited and criticised. Three n3W members were elected.
Sheffield Photographic Society.— June 6, Mr. B. J. Taylor in the chair. —
A letter from the Secretary of the Photographic Convention of the United
Kingdom asked whether they intended to send delegates to Plymouth. It was
decided not to do so. Mr. Sjiarham Camp gave a demonstration on Printing
on liotujh-swrface Papers, showing the process of sizing, sensitising, and fixing
ordinary drawing-psiper to produce a nice soft picture.
Edinburgh Photographic Society.— June 7, the Vice-President (Mr. L. C.
Oliphant) in the chair.- The Secretary, Mr. T. Barclay, submittetl his report
of the business and work transacted during the preceding year, which was, on
the whole, a satisfactory one, showing the continuing advancement and pros-
perity of the Society. It emphasised the advantages of the new premises,
stated the additions to the library, together with the Council's desire that the
benefits of it, and of the reading room, should be more fully made use of
by the members, giving the number of the latter at ne.arly 400. Mr.
James McGlashan, Treasurer, submitted the financial report, which showed
tliat the ordiuary income for the past year hail amounted to 236^ \s. Stl., and,
after meeting all items of current expenditure, there remained a balance of
98/. 2s. tid. to be added to the Society's credit. The Chairman congratulated
the members upon their sound financial condition, and moved the adoption of
both reports, which was agreed to nem. con. Before proceeding to the election
of office-bearers, the Chairman stated that, in conse<iuence of the state of his
health, their President, Mr. John Moffat, sen., desired to thank the Society for
his appointment, and asked to be allowed to dimit his office, and, in the
circumstances, the appointment of his successor was delayed. The names of
several gentlemen were suggested whom the Council might interview before
the resumption of business next session, and this was agreed to, thus leaving
the office of President meantime in abeyance. The members of Council
retiring by rotation were Me.ssrs. H. Auld, J. C. H. Balraain, A. A. Inglis, and
J. R. Roddick. Mr. W. T. Bashford having been appointed Vice-President iu
room of Mr. Alexander Ayton, the following gentlemen were appointed office-
bearers and Council. Vice-Pre.ndenls : Mes-^rs. J. C. Oliphant and W. T.
Bashford.— CoKHCtV ; Messrs. H. W. Bibbs, Hippolyte J. Blanc, A.R.S.A.,
R. W. Hawks, J. Patrick, S. Keith, A. W. McGregor, T. Wardale, Alexander
Ayton, jun., J. Anderson, A. H. Baird, G. Clevehind, and R. S. Webster.—
Librarian: Mr. Charles Eraser. — Treasurer: Mr. James McGlashan. —
Secretary : Mr. Thomas Barclay, 180, Old Dalkeith-road, Edinburgh.
Cape Town Photographic Club.— The monthly meeting of the Cajw Town
Photographic Club was hehl iu the dining hall of the Y.M.C. A. on April 12.
The subject for the evening was Stereoscopic Photography, which was very
ably handled by Mr. A. J. Fuller, who also liad a large number of stereoscopic
306
THE BRITISH JOORNAL OF PHOTOGRAPHY.
[June 2:5, 189S
slides of Cape scenery on exhibition. At the conclusion, he exhibited the
various advautages of Cbadwick's stereoscopic camera, whicli had been used
in taking the views. A public limelight exhibition was announced to take the
place ;of the usual meeting on May 10. Lantern slides by several members
were exhibited on a new Aptus oi)aque screen, amongst them being some by
Mr. Fuller on the new Pa;;it print-out plates, and some very fine views of
Ceres and the Pearl by Mr. Steer. The South African slides, which were
exhibited here some time ago, previous to their despatch for the English
Societies, have commenced their home tour, and glowing notices of their
reception were quoted.
FORTHCOMING EXHIBITIONS.
1893.
,Iuly 3-8 Photographic Convention of the United Kingdom,
Plymouth. Hon. Secretary, F. P. Cembrano, jun.
10, Cambridge-gardens, Richmond, Surrey, S.W.
Angait Welsh National Eisteddfod. The General Secretary
Pontypridd.
Sept. 25-Nov. 15 ... Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. Assistant Secretary, R. Child-Bay ley,
50, Great Russell-street, W.C.
October 1-31 Hamburg. Das Ausstellungs Committc' des Amateur
Photographen Verein, Scliwanenwik, 33, Hamburg.
„ 9-Nov. ... Photographic Salon, Dudley Gallery, Piccaililly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesbury-avenue, W.C.
December Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
Corre^ponlrence*
' CorrenpondfnU nliould never write on hoth siilest of ike "payer. No notice is taktn
of communications unless the names and addresses of the tcrttsrs are given.
THE DOUBLE ANASTIGMAT.
To the Editob.
Sib, — I notice in The Bbitisd .Jouhnal or Photography of June 16,
1893, pages 372 and 382, a report on Goerz's Bo-oalled " Double
Anastigmat." Beterring to those paragraphs, I hasten to state that the
objective there alluded to is strictly coincident with the triple lens con-
struction patented by Dr. P. Rudolph, of Jena (Patent No. 4G!)2, April 22,
1893, vide Biutish Jodknal of Photography, May 26, 18113). Mr. Goerz
having communicated with several Berlin photographic societies on this
subject, Messrs. Carl Zeiss, of Jena, informed the respective societies that
already in March, 1892, they had made experimental lenses after the type
of tlie double anastigmatic lens ; that, liowever, owing to the clumsiness
of the six-lens type they had preferred introducing the more important
dissymmetrical types (Series I., II., and HI. a). Should Messrs. Zeiss in
the course of time issue this new type, they would do so for the special
reason that the individual parts of their six-lens symmetrical doublet form
exceedingly rapid landscape lenses.
To this general communication I appended a critique of the five photo-
graphic prints distributed by Herr Goerz which I believe to be sufficiently
interesting for verbatim reprint.
Herr C. P. Goerz caused, on the occasion of a paper read by Herr von
Hoegh on the properties of the double anastigmat ./-7-7, comparison prints
to be distributed in several Berlin photographic societies, which were
intended to demonstrate the superioritylof the Goerz double anastigmat
and the lynkeioscope over the lenses of other makers. These prints,
which have been ciiculated in large numbers beyond these societies, have
not attached to them the name of an author who undertakes the respon-
sibility of correctness and impartiality, and as they appear to be calculated
to lead to misconceptions I believe that a few words of criticism may not
be out of place.
The prints represent a test screen arranged after the manner of Zeiss's
screen and seiTing in particular for testing the objectives with respect to
astigmatism and curvature of image.
In the article contained in the Photographuche Mittheilungen of
June, 1 1893, p. 7t, a statement is made to the effect that the negative
had been taken witli the five best (German) objectives of the present day
and the pictures are arranged in such a manner as to produce at first
sight the impression of the new double anastigmat being incomparably
the most perfect objective in existence, as regards anastigmatism, and the
lynkeioscope of Goerz is represented to be better than the " aplanats " of
other makers, and also better that the " antiplanats." This impression
will necessarily be permanent with those who have only an imperfect know-
ledge of the capabilities of the objectives produced by various makers,
and who are satisfied with a superficial examination of the prints thus
shown to ihem, without entering into critioal examination.
I contend, in the first place, that some of the best lenses of the present
time have been excluded from the comparative tests. Among these is-
the Zeiss anastigmat /'-(;-3 which, according to often -repeated state-
ments contained in the publications of the Zeiss Optical Works, is em-
phatically the best representative of the rapid anastigmatic types as
regards optical powers. The omission of this anastigmat from the tests
loses nothing in its partiality by the fact that an antiplanat and euri/scope ,
possessing similar relative aperture to that of anaxlHjmat /-63 have-
been allowed to enter into competition. For the latter is substituted the
Zeiss anastigmat .r-7'2, the specific construction of which was governed
by the postulate that lighter, cheaper, and purer glass were to be em-
ployed in its construction than is possible with the iCeiss ananliijmal
/-6'3, or the (ioerz double unas/irimat. Had this Zeiss anastigmat fd-'i
been made to form an element in the comparative tests, impartial examina-
tion would surely not have been capable of discovering marks of inferiority
in this objective as compired with the double anastigmat. On the other
hand, it can readily be proved that when working with wide angles the
anastigmat ./'-6'3, which is half as rapid again, possesses better anastig-
matism than the Goerz double anastigmat. This is, for instance,
shown by negatives which were taken in the studio of the Zeiss Optical
Works to obtain comparisons with a dmible anastiiinuit /-7-7 of 150 min.
focus sent by Herr Goerz. When taking the negatives, the lenses were-
both stopped down to 7-15, so as to obtain sufficiently unifonn illumina-
tion witli wide angles. The result showed that, with angles exceeding
71°, the double anastigmat rapidly diminished in definition, and exhibited
considerable anastigmatic aberrations, whereas the Zeiss anastigmat
within the angle of 82" employed in the experiments, exhibits a hardly
perceptible amount of astigmatism, and still reproduces legibly the
printing on the test screen.
Further, it is important to note that, excepting the anaKtitjmat f-7-2,
the objectives made by other firms, i.e., the antiplanat and euryncope are-
more than half as rapid agaii^ as the Goerz objectives. Any one ac-
quainted with the subject knows, however, that the difficulty of effecting
anastigmatism increases with the rapidity of the lens.
It will thus be seen that, in the mere selection of the objectives for the
purpose of making comparisons, the various types of the other firms have
been placed at a disadvantage. Uteinheil and Voigtlander are represented^
by more rapid objectives, and, in the case of Zeiss, the best of his rapid
anastigmats has been ignored.
The conclusions to which a glance at these comparisons is apt to lead
become under this aspect quite illusory ; but, after examining the several
prints more closely, the particularly surprising fact will find an explana-
tion how it is that just tlie Goerz lynkeioscope compares apparently so
favourably with the antiplanat, euryscope, and anastigmat ./'-7'2.
The pictures are all of the same size. Since, however, an antiplanat
and euryscope of 141 and 138 mm. focus respectively are compared with
a lynkeioscope and double anastigmat ./'-7'7 of a larger focal length,
VIZ., 150 mm., the lenses of Steinheil and Voigtlaender are made to work
at a considerably larger angle than the lenses of Goerz. The necessary
mathematical consequence is that the antiplanat and the euryscope ex-
hibit greater astigiyatic aberrations than they would have done if em-
ployed with the smaller angle of the objectives of Goerz.
We further notice that with the antiplanat the centre is perfectly-
sharply defined, while at the edge the definition is normal. The eury-
scope shows nowhere perfect sharpness, neither in the middle nor at the
edge. There is, therefore, the suspicion that the sensitive plate was^
placed in such a position as to cause the image to degenerate towards the
edge mote than would have been the case with an accurately focussed
centre. The photograph taken with the lynkeioscope does not, however,
show the same sharpness in the middle as in a zone, say, one and a half
cm. away from the centre. This favours dininution of curvature of
image and of astigmatism.
The anastigmat ./■-7'2 has, like the lenses of Steinheil and Voigt-
laender, also been treated somewhat negligently. The axis of the objec-
tive was, in the experiment, not directed towards the centre of the object,
hut towards a point about 1'5 cm. to the left of that centre. The margin
on the right corresponds, therefore, to a considerably wider angle than is-
the case with the lynkeioscope and the double anastigmat, with both of
which the adjustments appear to have been made with due care.
Comparing these results, it must be admitted that the prints shown by
Herr Goerz constitute no fair basis for comparison and (or ascertaining,
the relative powers of the best objectives of the present day and, in parti-
cular, for determining the qu.alilies of the antiplanats, euiyscopes and
Zeiss anastigmats, as compared with the double anastigmats and lyukeio-
scopes. I consider them, on the contrary, conducive to very one-sided,
and erroneous results. — I am, yours, etc., Dn. Paul Kudolph.
Jena, June, 1893.
TELE-PHOTO LENSES PAST AND PBESENT.
To the Editor.
SiK, — In your leading article of last week it would appear to ordinary^
readers that you yourself lay claim to the enunciation of the principle
involved in the enlargement of primary images by the interpos'tion of a.
negative lens.
This, of course, you must be aware, is not the case. The principle it
as old as he science of optica itself. TLeJiret application of the principlif
June -'3, 1893]
THE BRITISH JOUKNAL OF PHOTOQKAPHY.
aor
in a corrected and intelligent form was that of George DoUond to lU: trie-
scope nearly siity jeara ago in 1H31, and described in the prooeedingi of
the Koyal Society of that year. The use of all kinds of telescopes for the
production of enlarged images upon a screen, particularly of the sun, has
l)cen known and practised before and after the discovery of photo-
graphy.
When lecturing at the Society of Arts this year on " Tele-photography "
I took pains to be certain to whom the credit belonged for the application
of the principle involved, to optical instruments.
Barlow's negative achromatic lens applied by DoUond in the astro-
nomical telescope is the only record for direct enlarged primary
images.
For obvions reasons telescopes, Gallilean or others, are unsuitable for
photographic work, for in the latter central and excentrical pencils have
to be considered.
You are good enough to mention your appreciation of the corrections
of my lens before closing the leader, for which I thank you, but I write
this letter as I think it is only fair that credit might be given to the /rut
to turn his attention to an adequately appointed and corrected optical
system for tele-photographic purposes.
Although you state that nineteen years ago " we spoke of it to one
optician," it is remarkable tliat between a date (see former controversy)
prior to your leader of October 10, 1891, and my first paper on the
subject delivered before the Camera Club, in the latter part of the same
year (December) you appeared to be as innocent of the suggestion as I
was myself. , i ^^
Advances in optical work, as in any other, are frequently brought
about from suggestions as to the desirability of attaining a certain end.
Photographers who would have welcomed tele-photographic lenses sooner
have only to regret that your valuable and expressed " desideratum " of
nineteen years ago has lain so long dormant. — I am, yours, <Sc.
2,j, }^emnan-strect, W., June 19, lK!t3. Thomas B. Dallmevkr.
AMATEUKS VERSUS PBOFESSIONALS.
To the Editob.
Sib,- Many references have been made in text-books and in our
journals lately concerning amateurs, and to the professional mind it
seems unfair tor any one outside what is termed the profession to receive
remuneration for tlioir labour. I may at this point be allowed to remind
the profession that, should the amateur be a working man whose means
are very limited, but who possesses an intellectual and refined mind, and
in many cases (my own included) whose every spare penny is required to
obtain even a makeshift outfit, and handicapped by having to pay higher
prices for most of his photographic materials than his brother of higher
degree, can it be wondered at that the amateur should not be able to
resist the temptation of trying to recover at least some of the wisdom-
bought money that has been spent upon this expensive hobby ?
It is all very well to talk about the honii Me amateurs. Who are they ?
I suppose, ladies and gentlemen who practise photography as a pastime.
I, for one, Mr. Editor, cannot see wherein anything mean can exist in
earning an honest penny.
The mysterious halo which has encircled the photographic art has, to
a considerable extent, been reduced, thanks to the many manufacturers
of photographic materials, who, by the way, seem to be as eager to
supply the amateur with their goods as the professional, and it cannot
be denied that with such advantages the intellectual and careful amateur,
be he gentleman or mechanic, can make a fair show against many of the
professors of the art.
If the profession perceive their craft to be in danger, let them form an
Association, with power to receive such amateurs into their fold as may
be deemed qualified. Then a distinction could be made between the
worthless followers of photography and those who have, through careful
study and dogged perseverance, attained to that perfection in the art
worthy of the name of professional.
The distinguishing mark between the fit and unfit would then be
the professional certificate from that body.
Of course the law of this organization would rule the profession to a
certain extent, and some restraint upon its members regarding prices for
work would be recognised, thereby producing less friction between local
artists, whose elastic price lists and mode of securing orders in many
cases are calculated to lower the dignity of the profession in the eyes of
the public. — I am, yours, Ac, Ssenkbak.
Jkiic 10, 1S93.
TECHNICAL INSTRUCTION CLASSES.
To the Editob.
Sin, — The great success of the series of Instruction Evenings held by
my Society which has just finished, and the keen appreciation shown by
those gentlemen who attended them, has induced the Council to arrange
another series for the ensuing half-year. The course is as follows : —
July 1.5. — Personally conducted outing.
July I'i.— Development Modifieil to So/leii Ilarth Contrattt or Brief
I^jpnsure,
August 19.— Personally conducted onting.
KagavX'iZ.—Deorliipmenl Modified tn Improve Flat Subjectt or Over
KTjHiKure.
September 20. — l.antern Slides by Contact.
October IH. — Cold Bath I'latinoli/iti- with Gelatine Deiehtpment.
December 20. — Bromide I'lijier.
There are no fees of any kind for attending these classes, and we throw
our doors open to gentlemen who are not members of our Society lo fatr
as our space will permit.
If those gentlemen who are strangers to us who would like to take part
in this series will kindly write me, I will send them fuller particuura
than I dare trouble you with.
Trusting that you can afford mo space for this announcement — I am,
yours, Ac, Okoroe Gohi.ino, lion. Secretary,
North Middlenex PhotOfiraphic Societi/, JuhiUe Ilou»e, Ilomney-road, N.-
June 20, 1898.
LABGE CAMERAS FOR PHOTOGRAPHIC SOCIETIES.
To the Editor.
Sib, — ^Since writing my letter on the above subject, which appeared in'
your issue of the 9th instant, our Committee have decided to supplement
the 12 X 10 outfit loaned to our members by purchasing a whole-plate
camera, with rectilinear and wide-angle lenses, tripod, and shutter, for
the benefit of such of our members who desire the use of a camera ot
that siie. — I am, yours, &c., Charles H. Oakdkn, Hon. Secretary.
South London Photographic Society, 51, Melhourne-grove, Eaet
Dulwich, S.E., June 15, 1898.
DEPRESSION IN PHOTOGRAPHY.
To the Editob,
Sib, — I have read with much interest your leader on " The-
Causes of Depression in Professional Photography," also the letter
signed " Hard-up Pro.," which on one hand is very amusing, but on the
other a true picture of many another photographer. In my opinion, the
amateurs are largely to blame for the present state of affairs, for with a
few months practice they can turn out work which is not by any mean»
first class, but it satisfies their friends because they get their pictures for
nothing, or next door to it. There is a remedy, and only one, that I can
see, other than was suggested in the correspondence column a few weeks
ago, viz., that we have a society like the chemists, and examinations-
just as they have to pass before starting in business ; this would clear
out a vast number of pros, not worthy of the name, also a large number
of amateurs who receive money for their work, because by so doing they
at once become professionals. Trusting this matter will now be gone
into thoroughly, and that all our professional brethren may make theic
opinions and suggestions known, as it is a question which needs an
early settlement, — I am, yours, &c.. As other Pro.
To the Editor.
Sill, — This is an urgent subject that the Convention might discuss one
evening, or at least the professional members, and the N. A. P. P. which
hardly as yet seems to have justified its existence ; they might suggest
some remedy although the outlook is very dark. There is, no doubt,
photographers have made themselves too cheap in the past and are now-
reaping the fruits, also do so at present for that matter, though I cannot
personally plead guilty, for I have always tried to uphold the status of my
profession, to the detriment, I find, of my pocket. 15ut it is no use bewail-
ing the past, it is no use railing at the amateur ; he is here and will stay
more or less, although I could tell of some mean tricks done by so-called
amateurs, but let that pass, we should get over all that sort of thing ; it finds
its level. Just now the two main factors in the depression are : first, the
trade of the country generally is bad, very bad, so that those of us that live
(or, rather try to live) in the industrial centres are the first to suffer from
that cause ; the other, and most serious one, is : photography seems going
out of fashion, people are rather ashamed than otherwise of being photo-
graphed. That this is so, Mr. Groves's letter proves, and when the leisnred.
classes cease to patronise any branch of the fine arts it's in a parlooa
case.
We have not had anything strikingly new of late years ; what is wanted^
is a new photograph that can bo produced with little expense and expe-
ditiously, that will be likely to take the public fancy. Such a photograph-
I hope shortly to submit to the profession and the public ; I must, how-
ever, patent it first, or it will not go, or send it to America and let it come
back as a Yankee invention ; then , oh, it will boom !
Another thing might rouse business « bit if we sold or exchanged
studios, 4c. I think three to five years is long enough for a photographer
to stay in a town of 15,000 to 30,000 inhabitants, or even larger ; the
public like change and will often run after a new man or studio. I fear we
398
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 23, 1803
^re something like actors, get a certain mannerism of which the pubho
tire, which a change would do away with somewhat ; but, then, what about
goodwills? according to your correspondence, there is none; accordmg to
Tit-DiU, it is better to be a costermonger than a photographer, for costers
get good-will for their pitches, so that, altogether, we seem m a bad case.
" Pioneer's " suggestions are too late, we should wantlActs of Parliament,
and Pat's affairs stop the way and will do for many years to come ; I fear
there is no hope of help in that quarter. Perhaps some one else will give
us some ideas or invent a new fhotograph ; at any rate, it seems all we can
•do at present is to cudgel our brains for something new and wait with
patience the revival of trade. — I am, yours, &c., T. S. Hicks.
373, Glussoii-road, Sheffield, June 19, 1893.
t
To the Ediioh.
Sib, — I have read with some interest the discussion in your paper on
the stagnation in the professional photographic business. It seems to
me that the reason is not far to seek, and comes, firstly, from the supply
exceeding the demand ; or, in other words, the number of professional
photographers being in excess of that required to supply the public
demand ; and, secondly, from the miserable work turned out by many of
them. I know a country town where, with a population of 1500, there
are no fewer than four photographic establishments, and I can only ask
if there can be work for all of these.
Your correspondent sees fit to be down upon the amateur, and I should
like to make a few remarks in reply. I know very well a very leading
professional, one to whom the Judges at the chief exhibitions have
awarded many gold medals. In conversation he has often told me that
he considers the amateur the best friend he has, and is always pleased to
have a chat with him, as he finds that there is always something
interesting and instructive to be discussed and learnt about new processes,
new makes of printing papers, &c. In a large town no one can help
being struck with the photographs in the show-cases of all except
perhaps about half-a-dozen of the best photographers. Prints from
poor, under-exposed negatives, prints that a good amateur would consign
to the waste-paper basket along with the negatives, are what he sees in
the specimens there exhibited. People are now beginning to know good
work from bad, and the end to which this tends must be that, more and
and more every year, the best photographers will get more and more
work, while the ones that turn out bad work will get less and less, till
they are driven to earn a livelihood in some other work that they are
better suited for.
The paragraph in which "Pioneer" dismisses the amateurs to "the
obscurity from which they came " is rather cruel, but I can tell him that
no greater blow could be struck at the development and progress of
•photography than that his wishes should be realised. The amateur takes
up photography at first, as a rule, as a pure amusement, but very soon
finds so much to interest him in the chemistry, optics, and the composi-
tion and lighting of his pictures, that he reads up and studies his subject
in a way that none of the legion of second-class professionals have either
the time or the inclination to do. Professionals have not time to experi-
ment with all the new things that are coming out, and it is only when the
amateur has tested them, and seen that they are good, that the profession
comes to adopt them. To take an example of this, how many profes-
sionals have ever tried glycerine, and different strengths of developers
used with brushes, to bring out a platinotype print? The power of
retarding portions of a print, or bringing on others, I think places the
platinotype easily first among the printing processes, and makes the print
what in etching would be called " an artist's proof."
The successful photographer will always be the one who to artistic and
technical ability can add sound business capacity, power of organization,
and metliodical working in his establishment. In men of this stamp
there is no jealousy of the amateur, but among those who do not possess
these qualifications I am quite aware that the reverse is the case.
June IG, 1893. Amatedk.
ME. IVES AND PHOTO-ENGRAVING.— A COBEECTION.
To the Editor.
Sib, — I notice that Mr. Ives, in his very interesting paper on " Com-
posite Heliochromy," makes a claim which, for historical as well as
personal reasons, I must traverse.
I yield to no one in admiration of the splendid work which Mr. Ives is
doing in a most difficult branch of our art. I also acknowledge that in
photo-engraving he has made his mark, and that it is specially to him
that the net-work method has been so developed in America. Neverthe-
less, I must take exception to the following extract from his paper. He
says : " As long ago as IhhI, when I was the only siicccxxful producer (my
itahcB) of half-tone process blocks for the type press, and had considerably
improved upon the older methods of composite heliochromy without quite
reaUsing the true principle which I first published in 1888, / made the
first photograpluc reprodttction of a coloured subject by three impressions
Jrom process bleckt (my italics). This three-colour print, a reproduction
of a chromo-lithograph, was referred to in a leading article in the
Photographic News, September 5, 1884, p. 561."
Now I claim, in opposition to the foregoing, that, as regards both line
and half-tone photographic engraving for blocks to be printed at the type
press, Dallastype and Dallastint <ire the oldest processes which have been
teorked commercially in this or any other country. I am quite willing to
take a back seat in favour of Cousin Jonathan, John Chinaman, or
even Thibetan Mahatma, if it is prored that any such ingenious persons
have prior claims.
The first reference to Dallastype will be found in the Photographic
Neics of July 27, IBGO, p. 360, and the Dallastint half - tone block
method in a letter of mine in the Photograpliic News, July 23,
1875. Further references to Dallastint, which I had been working com-
mercially since July 1875, will be found in the Photographic News of
June 15, 1877, and June 22, 1877. At the former date will be found,
under the heading " Photography In and Out of the Studio," that special
attention is drawn to the perfection of the gradation and detail in
Dallastint blocks. Then, as to colour, I refer to a letter of mine in the
Photographic News, June 22, 1877, p. 299, in which I mention that I
had applied Dallastint to composite colour printing under the name of
Chromo-Dallastlnt, and I drew attention to a specimen in four workings
of a very difficult subject, viz., the reproduction of a sepia drawing, which
I was to exhibit at the Caxton Exhibition.
I have been producing Dallastype blocks commercially since the begin-
ning of 1869, and Dallastint blocks since 1875. During the whole period
I have produced some thousands of photographically engraved blocks,
not only for this country, but for America, Canada, and other places.
I claim for Dallastint blocks that they render more perfectly half-tone
and detail than the net-work system. The reason why net-work is in
such vogue for half-tone blocks is — egotistical as it may seem in me to
say it — ^because Dallastint is a secret process, while the network method
is open to all. If Dallastint were known, it would supersede net-work.
The natural grain in Dallastint has a far more agreeable appearance to
the eye. It can also do what is impossible to net-work, viz., render cor-
rectly the detail in photo-micrographs. Further, it is more easy to print,
and requires very little "making ready." With net- work, on the con-
trary, it is only satisfactory when the mesh is extremely close, but then
it is more easily blocked up by the ink.
A combination of Dallastint grain and net-work produces a better effect
than the plain net. For best results, however, Dallastint natural grain is
to be prefeiTcd.
Looking backward, it is interesting to note the evolution of the net-
work system. The first use of a photographic screen or veil is in that
classic patent of Mr. Fox Talbot, viz.. No. 565, October 29, 1852. He
employed folded gauze to obtain his grain.
Later on, viz., twenty years after the above, Walter Woodbury, that
most ingenious and indefatigable worker, patented the use of " mosquito
netting," and Brussels net (see Patent 3654, December 4, 1872) ; and
again in Patent 1954, May 30, 1873, he claimed the use of " fine ruled
lines." Lastly, Woodbury obtained a patent (No. 4735, October 5, 1883
for the use of " fine ruled lines, netting, gauze, dots, or a print from a
grained stone." Nothing really good was done by any of these methods
until Mr. Ives, in America, introduced his net-work system, which was
altogether a new departure, as described in his two United States patents,
viz., February 8, 1881, and August 9, 1881. The method consisted in
using, not a screen, but an elastic-lined surface which was inked, and
then impressed on a relief, which could be photographed. When I saw
Mr. Ives some three years ago I understood that he had sold his rights to a
firm which were still working his system. The next advance was made
by Meisenbach, using a screen in some way of which I confess the patent
did not gi'je a clear idea. It, however, gave a great impetus to screen
methods in Europe and America, and there are now several practitioners
of the net-work style. I am bound to confess also that, given good print-
ing conditions, very high-class work is produced, especially where copper
is used instead of zinc for relief etching. Still, I do not hesitate to say
that there will always be an artificial appearance, even with the finest
net-work, and that in every respect tlie natural grain gives truer rendering
and more agreeable effect. I can show examples of Dallastint, produced
as far back as 1875 and recently, which, I think impartial critics will
admit, bear out my contention. Dokcan C. Dallas.
5, Furnival-street, June 7.
THE CONCENTRIC LENS.
To the Editob.
Sib, — A brief reply to Mr. F. H. Burton, and I will trouble yon with
no more words on the subject of his contentions. There seem to be too
many things which have to be explained to him to make it worth while
to keep up a discussion with him. Amongstthese is the fact that, when
one wants a negative for enlargement, he uses a stop which will bring all
the planes of the subject into the sharpest definition possible, and neither
the Concentric nor any other lens will bring the foreground and the dis-
tance into focHs at the same time, for which reason we use, as a rule, a
very small stop, that the loss by the process of enlargement may be as
far as possible equalised all over the enlargement. For the same reason,
when I make a negative for ordinary use in which the foreground is
June 23, 1893]
THE BIUTISH JOURNAL OF PHOTOGRAI'IIY.
800
Important, I use the smullest, or nearly the smallegt, stop, for, as a
distance which does not give the most delicate definition possible is dis-
agreeable to me, I secure that, and then do all for the foreground that is
needed. If the forct^rotind is unimportant, I work with the larger stops,
only using anything smaller than /-IC when the light is so brilliant that
overex)io)<urc is certain, for I rarely use the mechanical slintters. That
is what " hu does stop down for."
Mr. JJurton seems aggrieved that X Iiad not paid attention to his hint
to " read your very able article on the ' Focal Peculiarities of Wide-Angle
Lenses,' " and had persisted in always focussing at./'-16, as if ho had not
said a word ! " Ye gods ! " and especially Apollo I Having during the
last thirty-five years used or tried all the forms of lens in the market,
except the very latest Zeiss wide-augle, I think that the author of that
very able article will admit that I know what a wide-angle lens is and
how to use it, we having worked together not a little during that time.
Mr. liurton seems to think it discourteous to talk of "duffers " in his
connexion. What does he think of his own suggestion tliat I do not
know the differance between a negative taken thj-ough a crack in the
front of my camera, pinhole fashion, and one taken through the lens ?
As to sending my lens to Kew, Mr. Burton will excuse my not accepting
his suggestion ; but, if it would not give me what I want with f-Ui, I would
send it back to lloss <t Co. for correction. Its definition on the screen is
so exquisite as to make it certain that when there is a falling off in the
negative the fault is mine, and not that of the lens. As for others,
whether duffers or experts, " they pays their money, and they has their
choice." — I am, yours, Ac, W. J. Stillman.
Borne, June 8.
P.S., June 11. — I have just seen the letter of Mr. Burton in Tbe
Bkitish Journal of Photoobai'HY of the !)th. He is, of course, at perfect
liberty to do what he thinks best to satisfy himself that he is right ; it does
not concern me in the least. " The proof of the pudding is in the eating,"
and of the lens in the photograph. But, now that the controversy is
ended so far as I am concerned, I would counsel Mr. Burton, the next
time he provokes a discussion, to maintain the courtesy in his letters that
gentlemen are used to in personal intercourse if he expects the debate
to be profitable or courteous. W. J. S.
^
EEDUCING OVER-PEINTED GELATINE PROOFS.
To the Editor.
Sm, — I have to thank " Free Lance " for his allusion, in last week's
issue, to my article on " Reducing Over -printed Gelatine Proofs," as it
has called my attention to a stupid mistake in the formula given, which
I wonder he did not also pouit out. Two ounces of alum dissolved in one
ounce of water is so palpably an error that I can scarcely understand his
passing it, but the formula should read as follows : — " A hot saturated
solution of alum is made, and, when cold, to each 2>int of it two ounces of
common salt and half an ounce of hydrochloric acid are added." I do
not know how I managed to transpose the alum and salt, or use " ounce"
instead of "pint;" but, as compositors are not, as a rule, chemists, I
suppose I must be to blame for it. I learnt all about the solubiUty of
salt in hot and cold water when I was commencing chemistry. — I am,
yours, etc., W. Lindsay.
«
GLASS SCREENS.
To the Editor. '
Sib, — In reference to patent No. 9721 (Lauder Brothers), the speoifica.
tion of which appears in your issue of tlie 12th inst., this idea has long
ago been carried into practice. Apart from cases in which I have seen
such screens in actual use, I may mention a large floral foreground upon
glass which was some years ago in the stock rooms of Jlessrs. Percy
Lund & Co., of Bradford. — I am, yours, &c., W. Ethklbert Henry.
Samia, Ontario, May 29, 1893.
Enscluerst to CorresponHents.
PHOTOaBAPHS Rkgistebed :—
Charles Walker Clarke, Devizes P;io;o!jra}ih of Prince 0/ Wales at Deviiet.
Herbert William Hugrhefl, Dudley. — P/tofoyrapfis ofmineis at work.
William Ernest Parkin Haiph, Taunton. — l^wtoyraph of a ijrouy of skeletons,
Augnsftua Frcdoriok Perron, Bath.— PHotoi7rap?i ofW. Clark Russell, JBirj.
James Thomson, Fermoy, 00. Cork.— PJiofo'jrap/i of Oie Duke of Devmshire ani
<jU€StA at Liamore Castle,
William Frederick Hollctt, OanterbnrT.— Phofojraph of the laniiing of th« Huguenots,
from a painling in the French Church, Canterbury.
Tobias Kiplins, Darlington.— P/iolograjih 0/ "Lori" Thomas Williamson, the
DarliTijfon u-catlur prophet, aged eighty^four; also a photograph of the "old
Standnrtls."
Eobert Millikin, Kirkoaldy.— Tiro photographs 0/ the late James Townsend Oswald, of
Vunnikler, Provincial Oraiid Master of Fife and Kirois Lodge; tuo ])l>oto<7ra]>ka of
Dr. Andreve Wilson, F.R.a.E., CoomU Trmt Lecturer, Edinburgh.
?BON. — Tron phosphate is not used in photography.
J. H.— Apply to Messrs. Avery, 81, Great Portland-street, W.
T. S. II.— The address i> Edward L. Wilsou, 863, Broadway, New York.
C. Lksty.— Vex, as unfixo<l bromide enlargeioenth contain unaltered ailver nit,
they are decidedly worth kcopiiig for residue purposes.
C. Ward.— There is no Government <lepartinent of photography, as such, con-
sec^uently there are no competitive examinations, as in the cm* of P6st
Oflice and other emplnyis. .
N'ovicK (heeds) writes, asking how ammonio-nitrate of silver solntion Is ma/le.
Dis.HoIve the nitrate of silver in water, tlien a<ld liquor animonln; until the
brown precipitate (ir.'<t thrown down is just redisHolved.
P. O'CONXKLL. — The probable cause of yellowne*|) In the prints enclosed is
that there was not sullicient gold in the toning bath. They have the
appearance of having been toned by sulphur rattier than by gold.
H. Glover.— If you are offered to he supplied with nitrate of sliver at one
shilling and eightpence per ounce, you may rely upon one of two things,
namely, that it has not been come by honestly or it Is not pure nitrate of
silver.
W. W. G. — The examples are .ill fairly goo<l as photographs, but in every .case
no care has been taken to have the camera level, hence most of the buildings
look a long way out of the perpendicular. BHt for this the majority would
be geo<l pictures,
E. C— The "sparkling, frosted " appearance of the lantern slide arises firam
imperfect washing, or, we might almost say, its not having been washed at
all. So much hyposulphite of soda was left, in the film that, with the few
minutes heat of the lantern, it crjstalllsed out.
R. Sedowick.— Thanks for a sight of the prints. It is' by iio means an
uncommon thing with some of the older prints that have been kept in a
damp place to tind that, although the mounts have become mildewed, the
prints have remained intact. The pictures have been forwarded on as
desired.
T. Skbboxs.— The ferridcyanide and hypo reducer is a very good one, but it is
obvious that, in your case, it was used much too strong. With all reducing
agents it is better to use them weak and allow a longer time for their action.
Particularly is this the case with any reducer with which the worker is not
familiar.
T. Read. — We have had no experience with the lens in question ; but, from
what we know of the firm, we have no doubt it is good value for the money.
You must not, however, expect to get for five ppunds an instrumept $qual
in quality to one by the best makers, whose price for the same size is about
three times that amount.
T. R. J. — Although common glue is easier to mount photographs with than
the best gelatine, it should never be employed on account of the acid aOd-
other impurities it usually contains. Nelson's "No. 2 Soluble," or Cox's
soup gelatine, is almost as easy to use as common glue, and they, being pure
articles, will have no injurious action on the pictures.
S. Clbkvar. — It is quite a fallacy to imagine that good collodion for the wet
process is not to be had at the present time. All the best brands are still in-
the market, and the consumption of them is large even now, though not, of
course, for portraiture. The fact that Continental workers make their own
collodion has possibly induced this idea in your mind. - But foreign
operators, for the most part, have always preferred to make their own collo-
dion, more especially those making negatives for mechanical processes.
Cabbonensis. — Don't be deterred from working the caibon process by the fear
of the injurious action of bichromate of potash on the skin. This, so far as
we know, never occurs unless by continual daily working. It is not at all
likely that, working on an amateur scale, any inconvenience will b^
experienced. Nevertheless, it is well to be careful. Always thoroughly
wash the hands to free them from the bichromate when the work is finished.
Tent. — The stuff will do very well for the operathig tent, provided It is situated,
where it is not subjected to full sunshine when in use. If the tent is to be
exposed to the rays of the sun, a more opacpie material will be preferable.
It will be better to purchase a waterproofed stuff in the first instance than
to render it waterproof afterwards. " Willesden " canvas is very .suitable.
For the framework of the tent, nothing is better, or cheaper, than iron gas-
pipe. It is sold under the name of " gas-barrel."
A. 0. X. (Clonmel). — As the ink adheres evenly all over the paper after it has
been soaked In tepid water and sponged, something is wrong. Possibly the
gelatine paper, after sensitising with the bichromate of potash, was kept too-
long before use, or it may have been over-printed. It may be that the
negative is not of the right character for photographic work. This Is a very
prolific failure with beginners. The negative should be very dense, while
the lines are perfectly clear ; indeed, as clear as the glass itself.
Young Beginner writes: " Will you kindly give me advice with regard to the
following : — 1. I am having a studio attached to the house ; I am told it will
be rateable, but how so ? I am not a householder ; unmarried, lodging with
the tenants of the house ; I am not going to have water laid on, as we have a
meter. 2. Tbe studio is being built for convenience upon wooden supix>rts,
which the landord is going to the expense of, but the studio is mine. Would
the fact of the studio being on his posts give him any claim to it ? and will it
he necessary to have an agreement or guarantee .' 3. The studio has met
with the disapproval of the neighbours, inasmuch as it hinders the view,
but does not stop the light. The house and ground are tlie landonl's, who i»
quite in with it (or willing), they (the neighbours) have tried to frighten me
by saying it will have to come down ; have I anything to fear with respect
to it?" — fn reply : 1. If the value of any property is increased, as it will !»
by the addition of new buildings, so will the rate value be increased accord-
ingly. 2. A definite agreement had better be made as to this point. 3. If
the new building obstruets any "ancient lights," it will certainly have to
come down if the neighbours object. As we do not know what bye-laws the
local authorities may have, we cannot say whether the erection contravenes
them. Our correspondent, to be on the safe side in the matter, had better
consult a solicitor who is familiar with bye-laws of the local authorities..
They vary in different towiis.
400
THE BRITISH JOURNAL OF VIIOTOGRAPHY.
[June 23, 189y
Jl. WpJUJiSON.— Though the fact of your having photographed a royal prince
no doubt permits you to use the words " Under Koyal Patronage, ' the ac-
ceptance of a copy of the picture by the Queen does not entitle you to dis-
play the royal arms, by doing which you run the risk of a penalty. If you
dissolve partnership, it seems to us that your partner, eiiually with yourself,
may claim to have bad royal patronage.
TThornhili, Square asks: "If I send a negative to a professional printer to
have a donen prints made therefrom, and the negative breaks after a tew
prints are obtained, cannot I sue the printer for the value of the negative -.
In my case the Negative is a valuable one, as I cannot retake it without
making a journey to the West of England to do so. I have made a claim for
five guineas, and this the man repudiates entirely."— Th 3 printer can be sued
for the live guineas, or any other amount for that matter, but we expect
that nothing will l)e rcKovered. It is a recognised custom of trade that
printers and enlargers are not responsible for breakage of negatives while in
use or in transit This is usually stated on all prospectuses.
Vbry Puzzled writes : " I should feel much obliged if you will kindly explain
the ditticulty herein met with. The enclosed print is one of the interior of
the parish church here, taken with a Ross lens. No. 3 stop, fifteen minutes
exposure. On the right-hand side of print appears an inverted image of the
east window. Ilfotd Ordinary plate used, backed with lampblack and gly-
cerine. The same phenomenon appears in every negative taken with this
lens of the church. Camera carefully examined and covered with focussing
cloth during exposure."— There is a minute hole in the camera, probably in
the front, cTos« to the lens flange, which produces another image after the
manner of » "pinhole camera." This will easily be discovered by examining
the interior of the camera in strong sunlight, with the head shielded with the
focussing cloth.
♦ : —
Skvebal correspondents in our next. . .
Photogbaphio CLtiR— June 28, Leases up to Date.
Received.— Glycin-An<lresen, Arthur Schwarz & Co., Photograph}/ Annual.
In our next. J. J. Moran, and others, thanks.
London and Provincial Photooraphic Association. — June 24, Outing to
Chingford. 29, Annual Meeting. July 6, No Meeting.
Photographic Society of Great Britain.- June 27, Technical Meeting.
A demonstration of Carbon Printing by Mr. W. E. Debenham.
Manchester Amatkur Photooraphic Society. — June 24, Chester. Train,
Exchange Station, five minutes past one. Leader, Mr. J. O. Jones.
Oldham Photographic Society. — June 24, Greit Budworth. Depart,
Central, thirty-eight minutes past twelve, for Lostock Gralam. Return fare,
3*. 2d. Leader, Mr. S. Asliton.
We learn from Mr. Birt Acres that the firm of Messrs. Elliott & Sou, Barnet,
is about to manufacture plates of greater sensitiveness than they have hitherto
done, the new emulsion to be prepared by Mr. J. B. B. Wellington, whose
services they have secured.
Mb. S. B. Tdrnet, of 183, Union-street, Plymouth, writes : " I shall be
glad if you will notify in your next issue that I have fitted up a convenient
dark room which wil be at the free disposal of members of the Convention for
plate-changing during the forthcoming Plymouth meeting."
pBEETBAH Photographic Society.— The studio and diirk rooms of this
Society are now at 4, Grosvenor-street, Cheetham Hill, Manchester. The
ibllowing is a list of meetings for the immediate future: — July 4, Bromide
Printing, by Mr. A. V. Wilkinson. 19, Isochromatic Photography. August
1, ^and Cameras. 15, Wet Collodion Process.
QmiENWicH Photographic Society.— The first Field Day has been fixed for
JuM ?4 (Saturday), when it has been decided to visit Eynsford, Kent. Trains
leaw Oreenwich (L. CD. R.) at two o'clock; Nunhead, fifteen minutes past
two ; Brixton, fifty-four minutes past two ; arrive Eynsford, twenty-seven
minutes past three. Return fare, 2j. lOd. if under twenty travel ; if more than
twentj, fare is reduced about one-third.
Lsytokstone Camera CLCa— June 24, Greensted Church and Ongar
Leader, Mr. T. F. Sanderson. The Club will proceed by the train leaving
Liverpool-street at ten minutes past two, calling at Leytonstone at thirty-nine
Juinutea p»st two, arriving at Ongar at twenty-four minutes past three. 28,
Second Annual General Meeting at headquarters for the purpose of receiving
the baUnee-sheet and report, and for the election of Officers and Council for
the y«ar 1893-94. Chair taken at eight o'clock. It is hoped every member
will attend.
In reference to our paragraph of June 9, in which we expressed regret that
-one of pur correspondents on April 29, 1892, had erroneously attributed the
authorship of certain articles in a contemporary to a well-known optician, we
hav«| discovered that, by an oversight, the name of the paper was omitted, and
in now giving it we accede to a request to correct our correspondent's state-
ments implying that the Optician was at " the beck and call of one ojitician,"
and that " it was not the trade organ of opticians generally." These and the
other statements in Cimabue Brown's letter were made, we are persuaded,
under a misapprehension, and we are glad to hear that our correspondent was
mistaken.
A. Congress of the Photographic Society of Great Britain and Affiliated
Societies will be held at the time of the Exhibition of the Photographic Society.
The Congress will tie opened on Tuesday, October 10, with an evening meeting
at the Gallery, Pall Mall, when the President will deliver his annual address
and present the medals awarded in connexion with the Exhibition. On
October 11, at three and eight p.m., and October 12, at three p.m., there will
be a meeting at the Theatre of the Society of Arts for the reading and dis-
cnssion of papers; and on October 12, at eight p.m., there will be a special
Untern display in the Gallery at Pall MaU. Farther particulars will be duly
TnnounceiL
Many of our wealthy rea<lers who, in these'days of bank failures, may find
difficnlty in investing their surplus cash, and who are tired of the uncertain
and fluctuating bubble-company speculations, may be interested in knowing of
an opportunity of profitably and securely investing. Freeholds of business
premises in and about the city of Ix)ndon have surely and steadily increased in
value ; of late, thirty, and even thirty-three years rental have been paid as
purchase money for first-class property. This is suggested by the fact of the
freehold of the premises, 99, Hatton-g.arden, at present occupied by Messrs.
Perken, Son, & Rayment, being down in the lists of Messrs. Edwin Fox k
Bousfield for sale on July 5, the estimated rental value being 500/. per
annum.
Explosion ok Gun-cotton. — A somewhat alarming explosion occurred at
the shop of Messrs. Doig k Son, chemists, High-street, Dundee, on Saturday,
June 3. One of the assistants, Mr. Charles Duncan, was engaged making
collodion on the shop counter, when a quantity of pyroxyline which he was
handling suddenly exploded with considerable violence. He was knocked
down and rendere<l unconscious for a short time, while he was rather severely
cut about the face and hands by pieces of broken glass. Another of the
assistants, Mr. Andrew Halliburton, who was standing near, also sustained
some slight injuries from rtying chips of glass. Medical aid was soon obtained,
and the injuries were attended to. The damage done to the shop, although
considered very serious at first, was found to be comparatively trifling, being
confined to the breaking of two or three panels in the glass cases. It is difli-
cult to account for such an explosion— the wax jet was not burning, and the
ether bottle was not about — except that it may have been caused by some im-
purity—perhaps improper washing — of the gun-cotton, or that some of the
more explosive trinitrocelluUn may have been produced in the process of
manufacture. Mr. Duncan's injuries are such that he will be confined to the
house for a few days. Mr. HalUburton'.i are not serious.
The Chicago Exhibition. — In reference to an article which appears in
the Chicago Tribune, relative to the high-handed doings of the official
photographer, we have received the following from a correspondent :—" Your
sheet has been so outsiwken in defending the rights of the public as opposed
to the extortions and swindles perpetrated bythe management of the Columbian
Exposition, that I think you will be interested in the enclosed cutting from a
Chicago paper in regard to the action of the photographic monopolists (one of
whom, Mr. Higginbotham, is the son of one of the highest oflicials of the Ex-
lH)sition, as the cutting will demonstiate). The whole show is conducted on
the most grasping principles— even drinking water is sold. There are huge
piles of seats in an unfinished state, in which condition they have remained lor
weeks past, while the completion of thousands of ' chairs for hire ' has been
pushed to the utmost. The Fair, though it has been open for more than a
month, is very incomplete still, and it probably will not he/iiUg finished for a
couple of months moro. Many exhibits that were displayed some weeks ago
are now closed up by reason of the lime and mortar dust which permeates all
the cases, and injures delicate instruments. These will not be reopened until
this nuisance abates. But the visitor need not fear the • fleecing machinery'
is incomplete. I cannot see how it could be carried nearer to perfection. This
is the opinion of all the disinterested visitors I have talked with."
Dark Rooms in Austria, Germany, and Italy.— Herr E. Liesegang,
Diisseldorf, has been good enough to refer us to his Almanac and Calendar
for 1892, in which are given particulars of Austrian, German, and Italian dark
rooms open to amateurs as asked for by a correspondent last week. This
information may be of service to many of our friends who go abroad at this
season of the year. Germany and ^4 ijsirm .—Baden-Baden : B. Bickel,
Langestr. 20 ; G. Stumpf, Phot., Lichtenthalcrstr. 53. Berlin : Romain
T.albot, Kaiser-Wilhelmstr. 46. Dresden : C. F. Bernhardt, Palais Gutenberg ;
E. Kaders, Phot. Manufactur, Altst. ; Otto Francke, Pragerstr. 28. Fleusburg:
J. A. Groth, Director der Schlesw. -Hoist. Land-Industrie- Lotterie, Carsten-
Nirsen-Weg 10. Frankfurt a. M. : Haake & Albers, Kirchnerstr. 4 ; Frank-
furter Trockenplattenfabr., E. Vom Werth 4 Co., Frieilenstr. 2. Hanover:
S. Federlein, Luisenstr. 2. Kiel : M. Bensemer, Apoth., Brunswickerstr. 38.
Markersdorf a. d. Bdhm. Nordb. (Station Rabstein); Franz Eypert, Weinhaus,
Prague : Adolf Fischl, Ferdinandstr. 23. Steinschfinau : (Biihm. Nordbahn)
Carl Hahnel ; Rich. Helzel, Sonnenbergerstr. Stuttgart : Lud. Schaller,
Marienstr. 14. Vienna : Oscar Kramer, Graben 7 ; R. Lechner, Graben 31.
Wie-sbaden: W. Hammer, Kirchgasse 2 a. itoiy .— AUessandria : Castcllani,
Corso Roma. Bergamo : A. Tarranielli. Via Torquato Tasso 22. Bologna :
Sargato k Belvedere, Via Farina 24. Casale Monferrato : A. Bertolio, Via
Garibaldi 6. Florence : Pietro Sbisa, I'iazza della Signoria 4 ; Societa foto-
grafica Italiana, Via della Scala la. Genoa : A. Sotteri, Via Carlo Felice 10 ;
A. Speiche, Solita S. Gerolamo 3 ; Ba.lino, Portici Vittorio Emanoeli ; Cario
Coppo, Via Guilia 43 ; F. Passadoro, Via Ponte Beale 242 ; Hotel de la ^ ille
(H. Engel). Leghorn : U. Bettini, Via Ricasoli 18. Mailaud : Bathista Borghi,
Via Angello 17 ; Pietro Piellavinci, Via Orefici. Naples : Guilio du Besse.
Novaro: A. Zenoni, Via Ospedal. Rome: J. Juliana, Via Babuino 147 ; Pietro
Sbisa, Via del Corso 149; Oreste Ducchi, Piazza Nicosia 27. San Remo: J.
Scotto, Rue Victor Emanuel 16. Turin : A. Berry, Via Roma 1. Venedig :
Gerolamo Mankovain, Optiker.
OONTKMTS,
JUDGING AT PHOTOORAPHIC EXHl.
niTIONS ^^
ANOTHER 80CIETT WANTED 3811
THE PERFECT FIXATION OF NEOA-
PHOTOGRAPHIC CONVENTION
THE UNITED KINGDOM
A NEW STUDIO
REVERSED NEGATIVES. By WM.
BISHOP axi
Pa«s
COMPENSATION IN DEVELOPMKN I
FOR VARIATIONS IN EXPOSURE.
By ALEXANDER COWAN S«M
SUMMER NOVELTIES IN APPARATUS,
4c 8»)
OUR EDITOBIAL TABLE S91
RECENT PATENTS .....892
MEETINGS OF SOCIETIES «»
FORTHCOMINO EXHIBITIONS 89f
COKUESPONDENCE SW
ANSWERS TO CORKESPONDENTB 81M
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1730. Vol. XL.— JUNE 30, 1893.
THE EQUIVALENT FOCUS OF A COMBINATION
OF LENSES.
The letter of Mr. L. V. Drew, of Cape Colony, on another
page, is only a type of similar inquiries we are receiving more
or less constantly, especially from those who have taken up
photography of late years. Few years only have elapsed
since the catalogues of some leus-makers did not recognise the
real focus of their productions, but only the " back " focus of
a combination, a term which conveys no definite information.
But, since the times referred to, photographers are being
educated up to know something more about the tools with
which they work than can be gleaned from "back focus"
references, and we are glad to perceive in more recent cata-
logues a marked improvement in this respect. What has
iieen said of the lack of information conveyed by the term
liack focus applies equally to front focus — a term, however, we
hear but seldom employed.
It is the equivalent or solar focus that concerns photo-
graphers, although the back or the flange focus may prove
useful to the camera-maker in affording some idea as to his
measurements when making a camera. The equivalent focus
may be defined as the focus measured from the optical centre
of the combination when such centre has been determined for
a distant object.
If there is one blunder that has more frequently been made
than another in trying to determine the equivalent focus of a
combination, it is the recommendation, so frequently met
with, to focus upon an object situated at such a distance from
the lens as to make the image upon the ground glass of the
camera of precisely the same dimensions as the object, which
we may assume to be an engraving or a photograph that has
to be copied its own size, and then divide the distance between
the object and the image by four, which, it is alleged, will give
as the quotient the precise equivalent focus of the objective.
But this method is incorrect for a combination of lenses sepa-
rated from each other by being mounted apart in a tube, and
the amount of their separation not admitted as a factor in this
calculation. We mention this method first on account of the
widespread belief in its accuracy, which, as we have shown, is
incorrect. The method is only correct in the case of a single
biconvex lens of infinite thinness, could such a lens be made,
or even conceived of, in connexion with the optics of photo-
graphy.
A simple method, and one which is within the powers of
«very one, by which to ascertain the focus of a lens, consists in
directing the camera to any subject situated at a distance, and
focussing it by aid of a magnifier, so as to ensiure sharpness.
Have the subject so arranged that a well-marked object, e.g., a
lamp-post, or the trunk of a tree, shall occupy positions at
opposite margins of the ground glass. Now, having marked on
the focussing screen the exact positions occupied by these two
respective objects, unscrew the lenses from the mount and insert
anywhere — by preference, and for convenience in the slit for the
diaphragm — a thin piece of metal punctured with a pinhole, and,
having thrown a focussing cloth over the camera, examine the
image and rack the camera in or out until the pinhole image on
the ground glass exactly coincides with that produced by the lens,
the two marks to which we have referred aiding in this. This
coincidence of images having been obtained, measure with
accuracy the distance between the thin metallic plate pierced
with the pinhole and the ground-glass focussing screen, and this
represents the equivalent focus of the lens.
The only drawback to this method lies in the difficulty of
projecting an image on the screen with such a degree of sharp-
ness and luminosity as is necessary, for if the pinhole be too
large the sharpness is defective, and if too small there may
not be light enough to see the image. We have, however, by
making use of lighted gas lamps as test objects, been able to
employ a very small pinhole, and thus to secure a very high
degree of accuracy in the measurement.
There is no method of ascertaining the true focus of a lens
more beautiful and accurate than that of making the camera
itself do duty as a theodolite — a method that will always be
associated with the name of the late Mr. Thomas Grubb. lu
adopting this system, a table, on which is spread a large shee(b
of white paper, is brought up to a window, and the camera ia
placed thereon. The only preparation of the camera necessary
is to draw a pencil line at each end, and from top to bottom of
the ground glass, say, one inch from the edge, although any
definite distance is quite immaterial so long as both sides are
alike. Now, having selected any object at a distance, such as
a church spire, a tree, or a chimney of a house, focus thia
sharply upon one of the lines drawn on the ground glass, and
then with a pencil draw a straight line on the sheet of paper
on the table, using the edge of the baseboard of the camera as
a ruler. Without altering the focus of the lens, rotate the
camera until the same selected object falls upon the second of
the vertical pencilled lines, and draw another straight line on
the sheet of paper, using the same side of the camera, as before,
as a ruler.
The camera may now be lifted down, as the measurement is
to be deduced from the paper, wliich contains as yet only two
lines. These are to be prolonged until they meet at a point ;
and by a pair of compasses opened out to the distance between
402
THE BRITISH JOURNAL OF rHOTOGRAPHY.
[June 30, 1893
the two marks ou the focussing screen, these two lines are con-
nected by a cross line like that in the letter A, that is to say,
the cross line must equal the distance between these marks.
The true equivalent focus of the lens by which the experiment
wa? conducted is equal to the distance between the centre of
the cross line and the junction of the two side lines.
PHOTOGRAPHY AND SCIENTIFIC RECORDING.
We are pleased to find in the Smithsonian Report for the year
ending 1892 a sentence echoing a recommendation we have
frequently made as to the use of photography in scientific re-
cording, and we can only hope that it will be another strike
against the neglect of photographic processes in the reduplication
of phenomena or records produced by photographic means. No
one more than ourselves is more willing to express estimation
of the valvie of past illustrations of such phenomena done by the
hands of skilled and careful engravers who have been able to
translate through the medium of their gravers, wielded by deft
fingers, the very best of sketches into valuable pictures and
plans of the utmost service to scientific men. But the time is
past for the bulk of that class of work, and it is but seemly
that photography should repeat to any required extent by one
of its many methods those results and memoranda obtained by
photography. We want now not pretty, nay, beautiful en-
gravings, but fcKsimiles of the spectral lines, the cometary
pictures, the maps of stars, the hills and craters of the moon,
and that multitude of results now daily obtained by the aid of
lens and dry jjlate. Doubtless such reproductions are gra-
dually gaining ground, but we would see all but sun-made
pictures banished.
Tlie words of the particular paragraph of the Report quoted,
i-eferring to matters of great interest, we will further allude, to
are as foUows : The Institution is already in communication
with some of the leading observatories of the world, and tliey
hope for "a series of photographic representations of hitherto
unequalled size and definition, which shall represent the moon's
surface as far as possible on a definite scale, and entirely with-
out the intervention of the draughtsman." Of course, there are
nowadays, many draughtsmen and engravers with a knowledge
of the subject they are set to work at, but they are not always
available, and not always obtainable for a particular class of
work. We well rememl^er, now many years ago, the late Mr.
Philip Carpenter telling us that, in getting together a set of
illustrations of a particular series of shells for a conchological
list he was making, he obtained the services of some skilled
students from South Kensington, who, owing to their want
of acquaintance with the subject, made pretty sketches, but
useless science memoranda. He was forced, though little
skilled in drawing, to do the work himself. What a boon
photography and dry plates would have been to him !
Astronomy gives the lion's share of work at present, and
its future is opening out. Take, for example, the Smithsonian
Institution, the branch of astronomy to which the resources of
the Observatory will be devoted will be that of exploring the
great unknown region in the infra-red end of the spectrum by
the method recently improved by Mr. Langley himself. We
need scarcely say that this region has been investigated both
by photographic and electric metliods.
Every one knows what the Lick telescope has done and will
do with photographic processes of recording, but a lens a yard
in diameter means much more than those unfamiliar with
observatory work have any conception of.
The Royal Observatory at Copenhagen follows the same
course, and is to have a telescope on the lines of that of
Upsala. It will be double, and the optical photographic
tubes will be mounted on the same stand. ■
We have frequently alluded to plans and speculations about
new instruments of gigantic size, their probabilities and capi-
bilities, but at last it is possible to speak more definitely.
Astronomy and Astrophysics for the current mouth is responsible
for very complete details. The new instrument now to be
made is the Y'erkes telescope, and it will be of interest to our
readers to give a brief description of the proposed monster
erection.
The great tube pier is being built by the same firm who made
the Lick instrument. The column will be in five sections,
each weighing five and a half tons, excepting the base, which
will weigh about eighteen. It rises about ten and a half yards
from the base. The pier-head weighs five and a half tons, the
total being thus about forty-five tons. The polar axis is steel,
and fifteen inches in diameter, and thirteen feet long, the de-
clination axis being not much smaller. The telescope tube
itself is of sheet steel, and, exclusive of the arrangements at
the observing end, is over sixty-two feet long, weighs six tons,
and is about fifty-two inches in diameter. All the quick and
slow motions and clamps can be operated from the balcony,
eye-end, or floor, and either by hand or electricity, as needed.
Our readers will join us in the hope that this big camera, as
long as several railway cars joined together, fixed on a camera-
stand weighing as much almost as a thousand men, and as tall
as a good -sized house, will do worthy photographic work,
worthily recorded by photographic means alone.
TONING GELATINO-CHLORIDE PRINTS WITHOUT
GOLD.
In a variety of ways the question of the possibility of toning
printing-out papers without the use of gold, and the un-
certainty of colour that, to some extent, attaches to that
method of toning, is one that is constantly being presented to
us. There is no possibility of denying the fact that the
neutral black and cool grey tones obtained with developed
bromide prints, so closely resembling as they do platinotj'pcs,
are growing in favour ; and, though these may be imitated
very closely with the ordinary printing-out papers under
favourable circumstances, the result is by no means a matter
of certainty. On the other hand, a good many users of those
papers prefer brown tones, and meet with the same diflSculty
in stopping the action of the toning bath at just the right
moment to secure the pi-ecise tone wanted.
In the course of last year an article appeared in these
columns on the subject of the restoration of faded prints by
means of a process of bleaching and subsequent redevelopment,
and several correspondents have during the past few weeks
suggested the possibility of systematically applying this method
in preference to the ordinary gold toning bath used with
printing-out papers, either gelatine or albumen. We have |
before us, as we write, a set of prints forwarded to us that are
stated to have been made upon gelatino-chloride paper, and
which yet so closely resembled platinotype that we have been i
induced to inquire as to the details of their production, and j
also to try to imitate them.
At first sight it may seem that the easiest way to obtain thel
tones required would be to use the bromide papers and de-f
velopment, but this is precisely what most of our corre-l
June 30, 1893]
THE BRITISH JOUKN'AL OF PHOTOGRAPHY.
403
^jiondenta do not wish to do. It is pointed ont, as the chief
advantage of the printing-out papcr.^, that the result can be
watched in the printing frame, and tliat any 3uhseq\ient change,
- 1 far as loss of strength is concerned, can be much more easily
^stimated and allowed for than in the case of contact printing
with development pnpers. The development is nowadays easy
nough, and, even with the suggested modified treatment of
rintiug-out paper, has to be performed, though it is with this
lifference, that the formation of the image can be watched
.1 the printing; frame, and the after-treatment is little more
riiau mecliaiiioal, the redevelopment after bleaching being only
I process of reduction of the material already constituting the
mage, and therefore only capable of altering the colour with-
out adding anything to it in the way of detail.
In the course of the article already referred to it was pointed
out as a curious fact that, after bleaching and redeveloping an
ordinary print, faded or otherwise, the original tone is in
most cases reproduced with singular persistency. This
observation was made in connexion with gold-toned prints,
both on albumen and gelatine paper, and it applies with e^ual
force to those that have not been previously toued. Obviously
here can be nothing gained by applying the bleaching process
•i.> prints that have already been toned with gold, unless they
happen to be so bad that any method of improving them is
welcome, so we start with the idea of treating prints that have
been passed through the hypo bath without gold toning.
Most of our readers will have met, at some time, with the
^o-called " magic photographs," which make their appearance
upon an apparently clean piece of paper upon immersion in
.. ater in contact with another piece equally clean, or which
uay be developed by the smoke of a cigar or cigarette. But
aany are, perhaps, not aware that these are simply untoned
ulViumen prints, bleached with bichloride of mercury, the in-
visible image being reproduced by the action of very weak
lij'po, ammonia, or any of tiie reagents employed under similar
circumstances for the intensification of a gelatine negative.
The tones produced by weak hypo, following bleaching by
mercury, are of a most pleasing sepia tint, and for albumen
paper, where brown tones are desired, this treatment answers
well. But for gelatine papers, in consequence of the hardening
ictiou of the bichloride and the persistency with which it
clings to the gelatine, it is not to be recommended ; although,
given thorough washing between the different operations, it
will answer as well as with albumen. Sulphite of soda, in place
of hypo, is, however, better, as it gives, perhaps, a better colour,
with less risk of staining.
A preferable bleaching solution is found in chloride of copper,
or, better still, in bromide of copper. These salts may not be
found in the ordinary photographic dark room or laboratory,
but are easily extemporised out of readily obtainable materials.
Sulphate of copper is obtainable at any village chemist's, and
if half a drachm of that salt be dissolved in two ounces of
water, and the same quantity of bromide of potassium or
twenty grains of common salt be added, a solution will be formed
containing bromide, or chloride of copper, as the case may be,
either oi which will rapidly bleach the positive image, and
convert it into bromide or chloride of silver.
With either the mercury or copper salts there will, of course,
be other metallicproducts formed in the bleaching process, though
these do not appear to materially afifect the final result, provided
a sufficient washing be given. A better solution consists, per-
haps, in a weak mixture of bichromate of potash and hydro-
chloric aci'l, ten grains of the former and twenty minims of the
latter to the ounce of water. This bleaches the image with
great rapidity, and, if the print be washed until the yellow tint
of the l)ichromate is removed, it will be free from any foreign
matter in the shape of metallic salts other than those of
silver.
, The bleaching is a merely mechanical operation, and the
result does not greatly vary whatever may be the agent
employed. The reduction or redevelopment is, perhaps, equally
a mechanical process since the solution employed cannot
possibly go beyond a certain point — that is, the complete re-
duction of the silver haloid present. But a great difference
may be made in the colour produced. If the image is con-
verted into chloride, it will behave much in the same way as
ordinary chloride paper under development — that is to say, it
will with every developer we have tried, unless very powerful,
produce a yellowish-brown colour that requires toning with
gold or platinum in order to make it acceptable.
If, however, a strong, fresh ferrous-oxalate developer be used,
fairly good black and grey tones may be obtained if the paper
be not exposed to a strong light before treitment. By ex-
posure to light and treatment with a weak solution the result
is precisely the same as with Alpha or other chloride paper.
With a bromide-bleached image, amidol or metol, if employed
of the usual negative strength, will give good black tones, but
if reduced in strength, as for ordinary development of bromide
papers, the colour shows a strong tendency to return to the
yellow-brown of the fixed untoned print. Ferrous oxalate ex-
hibits the same tendency, though not to the full extent of the
two first named ; but in every case the strength of the reducing
solution must be much greater than for ordinary bromide paper,
more nearly that usually employed for negatives.
The fixing, bleaching, and redevelopment of prints, instead
of toning with gold, may seem a round-about way of arriving
at a result ; but, as a matter of test, we have found it more
rapid and less trouble than the ordinary process of gold-toning.
The Japan Sxhibltion.— The recent exhibition of photo-
graphs in Japan was chiefly composed of contributions of well-known
pictures by English photographers, including a collection from the
Camera Club. The credit of oru^anizing the E.\hibition belongs to
Mr. W. K. Burton, who, according to opinions expressed in the native
press, should be pleased at the result of his labours. About 300
pictures were hung, and the catalogue of them is a tasteful and
artistic production. It was printed on tinted crape, with decorative
designs on each page.
Auxiliary Zilgrhtingr. — Every now and again the advantage,
or otherwise, of a supplementary lighting of the plate in shortening
exposures crops up. It did only last week amongst a few photo-
graphic friends, when an animated discussion was carried on for an
hour or more. Now, although it was denied by some that any extra
detail could be obtained by secondary lighting, the effect being
to cause fogging, contrary to the opinion of others all were agreed
that in the case of some under-exposed plates, such as " snap-
shots," a little judicious fogging of the shadows would often be an
advantage, particularly when the negatives were to be used for
stereoscopic transparencies or lantern slides.
The Patent Office.— The Comptroller-General of Patents ha.»
just issued a new series of abridged classes relating to agricultural
and horticultural appliances. These abridgments are exceedingly
useful as guides to the various specifications. They are, or rather used
to be, issued on almost every subject, but unfortunately they are now
in a very backward state. The latest issued relating to photography
404
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 30, 1893
only brings us to the end of 1833, though it bears the date of a couple
of years later. The number of patents taken in connexion with photo-
graphy during the past ten years is very large, and an abridgment of
them would be of service to would-be patentees. Considering the
profit realised by the Patent Office, it might be surmised that the
compilation of the various abridgments would not have been allowed
to fall so much in arrear as they are at present.
" Our Climate." — The moderated temperature of the past
week or so has been a great relief to the majority of photographers,
and certainly to all workers of processes dependent upon gelatine in
conjunction with the alkaline bichromates. At elevated temperatures,
such as have recently been experienced, some of them, such as collo-
type, Woodburytype, and the carbon process, are only worked with
difficulty, even when the ordinary conditions of working are consider-
ably modified. "With the thermometer at 88° in the shade, Wood-
bury printing becomes almost, if not quite, impracticable, and collotype
only workable when the plates are specially prepared to meet the
exigencies of the ciise, which, by the way, may be changed in a few
hours, and then the plates are no longer suitable. Few countries but
ours can boast of a climate that can show a difference in the mid-day
temperature of 27° in twenty-four hours, and, we might add, so far
as gelatine photography is concerned, would desire it.
PbotOe'raphing' the Voice. — Professor Hermann has
recently succeeded in photographing the vowel sounds. The method
employed was speaking them into a phonograph that reproduced
them slowly. The vibrations were lecorded by a micro-telephone, in
the vibrating drum of which was a smaller mirror, a ray of light
from which recorded its vibrations on a travelling strip of sensitive
paper. The idea of photographing sounds, however, is not new, for,
when the phonograph first came out years ago, the late Professor
Jenkin, of Edinburgh, together with Professor Ewin, made similar
experiments to those of Professor Hermann. The phonograph, how-
ever, used by these gentlemen was the original tinfoil instrument,
and the sounds reproduced were somewhat crude. Notwithstanding
this, some very interesting results were arrived at, and were published
at the time. What would have been thought, prior to the invention
of the phonograph, of any one who might have suggested that sounds
could be photographed ?
Colour Blindness. — The latest suggestion as to the cause of
defective colour sense is that of Messrs. Blake and Franltlin, of
Kansas, who have recently investigated the subject, and who attribute
it to a product of civilisation, with the use of tobacco as a possible
factor. It is said that colour blindness has been found to occur in
about four per cent, of civilised European and American males,and with
the Finlanders and Norwegians it is said to rise to five per cent., while
the Butch go dowu to 1'43 per cent. According to these authorities,
only seven-tenths of one per cent, of the full-blooded Indians of the
Haskel Institute at Lawrence are colour-blind. It is not stated
whether these Indians abstain from tobacco or not, but it is certain
that the Dutch, who have a very low average assigned to them, do
not. Colour blindness is suffered by many who really are not
cognisant of the fact. Some photographers cannot possibly tone a
batch of prints to anything like a uniform colour. One gentleman
we know, who is an artist in every way, so far as photography and
monochrome goes, occasionally colours a picture, and the result is little
short of ridiculous. Although the execution is excellent, blues pre-
dominate to such an extent that the picture is completely spoilt.
Use Of Dark Rooms.— A few days ago we received a letter
from a correspondent, an amateur touring with a camera in the West
of England, complaining of the churlishness of some professional
photographers in refusing the use of their dark room for the changin"-
of plates or the development of a trial plate. Curiously enough,
within a few hours we had letters from two photographers in the
provinces complaining, in the one case, of the " impertinence," and
in the other of the " nuisance " of amateurs with regard to the use of
a dark room. Both of these gentlemen say that a large proportion of
amateurs seem to demand the use of a dark room as a right rather
than ask it as a favour, and invariably they will not tell their busi-
ness to the reception-room attendant, but insist on seeing the principal,
however busy he may be, to state their requirements. One also com-
plains of the mess made when a plate is developed, and the litter left
behind when plates are simply changed, the tourist often departing
without even expressing thanks. Each year we receive similar com-
plaints to these, on both sides. Amateurs en route should remember,
and we believe the majority do, that in asking the use of a dark room
they are asking a favoui^, and at the same time to bear in mind that
they may be causing inconvenience to one whose time during business
hours is money.
—*■
A NEW DEVELOPER FOR GELATINE DRY PLATES.*
The best experimental results were obtained with the tartrate and
the metabisulphite of silver. Sulphite of silver, produced by
precipitating nitrate of silver by its equivalent weight of sulphite of
soda, is but little soluble in water, and is easily washed. The
precipitate readily dissolved in a strong solution of sulphite of soda,
but when combined with gelatine is less sensitive to electrolytic
action tlian the tartrate. An impure double sulphite of silver and
soda can be readily prepared by the addition of a solution of nitrate
of silver to a saturated solution of sulphite of soda, as long as the
precipitate formed dissolves on stirring. The nitrate of soda produced
by this reaction, if not removed, seems to have a restraining action
when the developer is prepared witli hydroquinone. As pyro is not
as strongly influenced by the presence of nitrates, it may be fotmd
practicable to prepare the silver salt in this manner in developers in
which pyrogaUic acid is the reducing agent.
In like manner ammonia may be used in argentic emulsions with
pyro, though the addition of ammonia to a hydroquinone developer
instantly arrests all reducing action,
Developer No. 1.
Formula.
A.
Argentic emulsion (prepared with silver
tartrate) .5 ounces.
Metabisulphite of soda 120 grains.
B.
Eikonogen 500 grains.
Hydroquinone 100 „
Metabisulphite of soda 120 „
Distilled water (hot) 4 ounces.
Pure glycerine 1 ounce.
C.
Carbonate of potash 144 grains.
D.
Caustic potash 270 to 300 grains.
Distilled water (hot) J ounce.
E.
Bromide of potash 72 grains.
Solution A is prepared by warming the argentic emidsion gently on
a water bath in a glass or porcelain vessel of a capacity of about
sixteen ounces. The metabisulphite of soda is stirred in dry im-
mediately before incorporation with B.
The eikonogen, hydroquinone, and metabisulphite (B) are mixed
together dry, the water, heated nearly to the boiling point, is
mingled with the glycerine and poured over the mass, which im-
mediately dissolves if rapidly stirred, forming a clear golden yellow
solution.
The incorporation of A and B requires careful manipulation to
avoid the precipitation of the gelatine or the reduction of the silver
salt. These solutions are mixed at a temperature of 110° to 140°
Fahr., a few drops of B are added to A, with rapid stirring continued
for several minutes, until the emulsion, which at first darkened,
becomes of a lighter shade. The remainder of B is then poured
gradually, a little at a time, into solution A, stirring constantly.
The emulsion should show but little change in colour ; it is at once
neutralised by C, mixed dry. Carbonic acid is evolved, the emulsion
* CoDcluded from page 375.
June 30, 1895]
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
4M
chftnpps to a dark drnb colour, and oorae gelatine separates as a dark-
coloured precipitate. T) is then added in succesaivo portions, the
colour of the emulsion changes to yellowish olive, and the precipitated
gelatine redissolves. The amount of caustic potash required varies
with the purity of the chemicals, and with any change in the formula.
It is best to add to each ounce of the developer from two to four
grains of caustic potash in excess of the quantity required to dissolve
the precipitate.
Care should be taken to determine tiie least amount that will form
a permanent emulsion. If the proportion of potassium hydrate is too
great, the combined silver and gelatine are precipitated.
E is dissolved in the emulsion, and produces no apparent change in
its appearance. Water is added sufficient to make the volume twelve
ounces. The developer is bottled and cooled in a stream of water,
with frequent shaking.
Thus prepared, this developer is permanent, and but little affected
by a moderate exposure to daylight. It is kept in bottles of dark-
coloured glass wrapped in paper.
The density and colour of the resulting negatives are much affected
bv the relative proportion of eikonogen and hydroquinone in the
above formula. In the proportions given, of two parts eikonogen to
one part hydroquinone, the negatives produced are brilliant black in
the high lights and of extreme density. With i40 grains of eikon-
ogen and 80 grains hydroquinone, a ratio of three to one, the
negatives are grey black, with relatively less density, but with extreme
detail.
Composition per Ounce of Developer No, 1.
Eikonogen 16'7 grains.
Hydroq\iinone 8'3 ,,
Gelatine So „
Sulphites of soda 48' „
Carbonate of potash .... 12- „
Caustic potash 2o' „
Bromide of potassium ... C' „
Tartrate of silver 4'8 „ = 1 per cent.
Glycerine 1'.5 draclim3 = 19 per cent.
It should be noted that the object of using metabisulphite of soda
in the above formula is to make the solutions A and B acid when
incorporated, in order to diminish the reducing action of the eikonogen
and hydroquinone upon the silver salt. It is more difficult to combine
these solutions when alkaline; not infrequently metallic silver is
precipitated. By careful manipulation, however, an equivalent quan-
tity of neutral sulphite of soda may be substituted for the
metabisulphite.
Carbonate of potash is employed to neutralise the metabisulphite of
soda ; it also greatly diminishes the action of potassium hydrate upon
the gelatine film, preventing, at a temperature not exceeding 60'
Fahr., the frilling or cutting of the edges of the film by the caustic
alkali.
Bromide of potash, in the presence of the great excess of alkaline
salts in this developer, keeps the shadows clear and transparent, even
with prolonged development. It has no restraining action, but, in the
proportion of five to eight grains per ounce of developer, appears to
act rather as an accelerator.
This developer is adjusted by a trial development upon an extreme
under-timed plate. The picture should appear in twenty-five to
thirty seconds ; if longer, two to three grains of caustic potash and
one to two grains of bromide of potassium are added to each ounce,
to accelerate the action.
There are evidences that this emulsion undergoes ripening if kept
in a warm place, or if heated to a temperature of l^O" to 160° Fahr.
for some hours ; the effect of this ripening remains to be investigated ;
in some experiments a grey precipitate of silver bromide formed, and
the electrolytic sensitiveness of the developer was increased.
The objections to the above developer are the complicated formula
and the large amount of the caustic alkali used, nece«itating develop-
ment at a low temperature, not exceeding 60° Fahr., to avoid cutting
the film. It also requires, to form a permanent emulsion, careful
manipulation in compounding, and is much affected by any change in
the purity of the chemicals used.
Developmbnt.
If the preparation is complicated, the development is correspondingly
simple, and it is practicable, with a little experiance in its use, to
obtain results that are unapproachable in density, and can only be
equalled in detail by skilful manipulation with pyro.
For instantaneous and imder-timed exposures ii^ developer is used
without dilution; if desired, the action may be .restrained by the
addition of water. A somewhat larger quantity of the developer is
quired to properly cover the plate, owing to the viscidity of the
emulsion. Two trays are used in development, the larger filled witk
cold water, in which the smaller tray containing the developer partly
floats. The negative is placed in the developer, and disappears from
view Ijoneath the opaque emulsion; the tray is rockea until the
picture comes up. It is only necessary, during the development, to
occasionally rock the trays, the viscidity of the developer preventing
unequal chemical action or the settling in spots upon the film of any
sediment.
The progress of the development is judged by the colour and ap-
pearance of tlie plate when viewed by transmitted light ; the low
lights and shadows are indicated by white spots in the film, whick
become yellow-brown as the action proceeds; the development is
stopped when the plate is opaque and a walnut-brown colour
throughout.
The negative is thoroughly washed, and the surface of the film is
rubbed with the hand under a stream of cold water to remove tho
adhering emulsion ; it is then fixed as usual.
When working with plates that have received nearly equal ex-
posure, tho time of development furnishes the best guide in obtaining
the desired detail and density. There is a wide margin in time when
instantaneous views and extreme under-exposures are developed. A
good negative may be obtained in si-x to twelve minutes ; if the de-
velopment be prolonged to half or three quarters of an hour, no harm
is done, save that the negative, from mcreased density, will print
very slowly. When desired, the development may be prolonged for
one or two hours by changing the water in the outer tray, so that
the developer is kept cool and the film uninjured.
This developer may be used repeatedly without exhausting its
power or staining the film.
Intensification.
Negatives that have undergone development may be intensified
before fixing. For the primary development there is probably
nothing better than pyro and soda ; no bromide is used, and the de-
velopment is conducted so as to bring out all the detail possible, keep-
ing back density in the high lights, in order that all parts of the
image may be nearly uniformly dense. "When no more detail can
be obtained, the negative is thoroughly rinsed in a stream of cold
water and the secondary development conducted with any of the
argentic developers, preferably with No. 1. The action is quite
rapid and should bo carefully watched, lest the negative be over-
intensified. The time required for secondary development is from
three to fifteen minutes. The best guide is the appearance of the
plate when viewed by transmitted light ; the development is finished
when the negative becomes brown and opaque, without any light
spots in the film. It is then immersed in cold water, the surface of
the film is gently rubbed beneath the water with the hand or with
absorbent cotton, to remove any adhering emulsion, and the negative
is fixed with hypo in the usual manner.
In this 8econd!ary development the action of the argentic emulsion
appears to be an electrolytic building up of the image in metallic
silver. This view is confirmed by the fact that a negative after
fixing and washing may be slightly intensified by immersion in the
argentic developer. In this case the electrolytic action is very slow,
and could probably be made more energetic by increasing the sensi-
tiveness of the emulsion, and indicates that it would be possible to
make an argentic intensifier for negatives after fixing, by employing
a very sensitive emulsion with ferrous sulphate as a reducing
agent.
Dbvblopkb No. 2.
Formida (apothecaries' weight).
A.
Argentic emulsion (prepared with silver
tartrate) 6 ounces.
B.
Sulphite of soda crystals (pure and neutral) 2 ouneas.
Water (hot) 8 „
Amidol 120 grains.
D,
Bromide of potassium 8 grains.
The argentic emulsion is gently warmed and the sulphite of sods
solution B gradually mixed with it. If a precipitate of gelatime
forms from too concentrated a solution, warm the emulsion on a
I water bath and add gradually hot water until it dissolves. The
emulsion, which is of a light olive colour, is allowed to cool ; C and D
406
THE BRITISH JOUENAL OF PHOTOGRAPHY.
[June 30, 1893
are added dry and quickly dissolve ; the volume is made up to six-
teen ounces by water, and the developer is immediately bottled to
avoid absorption of oxygen. Tested with litmus paper, it should show
a faint alkaline reaction.
Composition per Ounce of Developer No. 2.
Amidol 7-5 grains.
Gelatine 3'1 „
Sulphite soda (free) 60- „
Sulphite soda (combined with silver salt) 25' „
Bromide of potassium O'S „
Silver tartrate 4'4 „
Glycerine I drachm = 8 "/„
This formula is less complicated and more easily prepared than No. 1.
Only a minute quantity of alkali is required, the sulphite of soda acting
as the accelerator, and in consequence, in prolonged development, there
is little danger that the film will be attacked. It is also practicable to
use a more sensitive argentic emulsion, prepared with the least propor-
tion of gelatine that will restrain the silver tartrate, in order to in-
crease the electrolytic action. This developer has been but little
investigated ; it is probable that metol, or a mixture of matol and
hydroquinone can be substituted for the amidol in the above formula,
. and other alkalies employed, such as caustic lime, lithia, or baryta.
Development.
'In hot weather, or when the development is greatly prolonged, it is
.-advisable to keep the developer cool by an outer tray containing ice
water, as heretofore described. Usually, with formula No. 2, this is
not necessary, and the development is carried out much in the same
manner as with pyro. The action is started with one ounce of the
developer mixed with three to five ounces of water, two or three
drops of a solution of
Carbonate of potash 120 grains.
Water 1 ounce,
are added to each ounce of the mixed developer to accelerate the
development.
The strength is increased by the addition of fresh developer as the
operation proceeds. It is only necessary to occasionally rock the tray.
The action is less energetic than developer No. 1, and the negative
does not so rapidly become opaque. The point at which to terminate
the development is judged in the same manner as with pyro, save
that, as there is no danger of fogging, it may be prolonged until the
negative is dark and opaque. The plate is rinsed in water and fixed
as usual. The negatives developed with amidol emulsion much re-
semble in appearance those produced by pyro.
With a developer of this class it would be practicable, when many
negatives were developed, to employ a grooved rubber bath (such as
are used for hypo) filled with the developer, and immersed in a vessel
of cold water. The vertical position of the plates would prevent any
sediment in the developer settling upon the films.
Conclusion.
The formulae here given are selected from nearly fifty experimental
developers, prepared with various emulsified silver salts, combined
with different developing agents. They illustrate the preparation
of argentic emulsions and the combination, in a chemically passive
condition, of such emulsions with reducing agents, in photographic
developers.
Much experimental work remains yet to be done to determine the
formulae best adapted for use. The gelatine and the silver salts have
. a tendency to slow the action in development. It is desirable that
the time of development should be shortened, and the electrolytic
.JtctioQ of the silver salt made more energetic. W. P, Jsnnct.
«
'ON THE USE OF TIN-FOIL AS A SUPPORT FOR
PHOTO-LITHOGRAPHIC TRANSFERS.
[Photographic Society of Great Britain."]
In the execution of photo-lithographic work, considerable difficulty is
sometimes caused by the fact that a transfer prepared in the usual
way on paper expands when damped, and also is stretched when
pulled through the press in the process of transferring, The image
on stone or zmc is tnerefore distorted, and, in cases in which it is im-
portant that the reproduction should be to scale, elaborate precautions
must be taken to ensure this. This difficulty is frequently met with
in the Lithographic School of the School of Military Engineering,
Chatham, which is in my charge. A considerable number of plans
and drawings are there reproduced, and in all cases it is desirable that
distortion should be avoided. In some cases this is of special im-
portance.
It has recently occurred to Mr. Husband, who is employed in the
school as lithographic printer, that tin-foil might be used instead of
paper in tlie preparation of transfers, so as to prevent distortion, and
he. together with some of the military lithographers, have been
working out the idea.
Incidentally various other advantages in the use of tin-foil (besides
that of non-distortion) have come to light, as will be seen presently.
Mr. Husband was for many years iu charge of the Lithographic
School while he was a non-commissioned officer and warrant officer
in the Royal Engineers, and his name is known in connexion with his
" papyrotint " process for photo-lithography in half-tone. He there-
fore brings a very large amount of experience to bear on the question.
It should be said at once that there is no new principle involved in
the process. For line work it is merely a modification of the
" papyrotype " process, introduced at the School of Military Engineer-
ing by Captain Abney when he held my present appointment, while
for half-tone work it is a modification of Mr. Husband's own
"papyrotint " process. It is, in fact, quite possible that this identical
tin-foil process is in use in other establishments, but I believe that no
account of it has ever been published.
The method of procedure is as follows : —
(A) Papybotype Transfehs (fob Line Subjects).
A zinc plate, such as is used for zincography, is damped with a
dilute solution of gum arable (say one part in sixty parts water). A
sheet of smooth tin-foil of the size of the transfer required is laid on
the zinc plate, and the two are pulled through a lithographic press to-
gether. The tin-foil adheres to the zinc plate, which thus enables it
to be conveniently held during the process of coating with gelatine.
A solution of chromated gelatine is prepared as follows : —
Gelatine, common flake 1 ounce.
Glycerine 2 drachms.
Bichromate of potash 40 grains.
Water (measured independently of the
other constituents) 8 ounces.
The gelatine is soaked in the water for half an hour (the water
being cold) ; it is then dissolved by heat. When it is thoroughly
dissolved, the glycerine and bichromate are added, and the whole
stirred up together ; in three or four minutes the bichromate is dis-
solved, and the mixture is ready for use.
The above quantity is sufficient to coat about eight sheets of the
size of half a sheet of foolscap.
The surface of the tin-foil is then cleaned with a solution of caustic
potash (strength about one part to forty parts water) to remove all
grease, and the chromated gelatine solution, while still hot, is poured
over it in the same way as collodion is used to coat a glass plate in
wet-plate photography. The beaker containing the solution is
covered with a piece of muslin, so that the liquid may be strained
while it is poured out. The zinc must be slightly warmed to prevent
the solution setting too quickly. The excess of solution is drained
off, and as soon as the gelatine has set the plate is stood up to dry
in a dark room. The process of drying takes about four hours at the
ordinary temperature.^ If the room is warmed, it requires, of course, a
much shorter time, but the results are inferior, as the transfer does
not roll up so clean.
The tin-foil is then peeled oS the zinc plate by lifting one comer of
it with a knife. It may be kept in this condition about twelve days,
or it may be used as soon as it is dry. It is placed in a photographic
printing frame, and printed in the daylight behind a line negative in
the ordinary way until the image is visible in all its details. After
printing it is placed in water for three minutes, and then rolled in
as usual with a rather soft lithographic ink of the following
composition : —
White virgin wax 1 ounce.
Stearine 1 „
Common resin 1 „
Palm oil i „
Chalk litho printing ink 4 ounces.
The transfer is immersed for three minutes in a solution of bichro-
mate of potash (strength five grains to one ounce of water) and dried
in a dark room. It is then exposed to daylight for a period of three
minutes or upwards, according to the strength of the light, so as to
harden the celati'.ie all over. This action should not, however, be
carried too far.
June 30, 1893]
THE BRITISH JOURNAL OP JPHOTOORAPHY.
407
Before trAnsferrinjr, the trnnsfor is damped for about three minutes
in a " dumping book" (iisin^ water only), and it is then pulled throujrh
the press on a prepared stone or zinc plate. The after-processes are
the same as when a transfer on paper has been used.
Willi care, each sheet of tin-foil can be used a dozen or more
times.
Various examples are shown of subjects which have been photo-
lithoffriiphed or photo-zincojfraphed under identical conditions, except
that tin-foil has in some cases been used for the transfers, and in other
cases paper. The stones or plates are quite vmtouched, and it will be
seen that the results given by the metal transfers are sharper and
cleaner than those obtained by paper. There is also decidedly less
distortion in the former case.
In the case of these prints, the images on stone or zinc obtained
from the foil transfers are absolutely the same size as the negatives.
The images obtained from paper transfers are all stretched to the
extent of ^V to t'i? of an inch each way, i.e., ^\ to iV of an inch in a
length of four to eight inches.
The prints could, of course, be greatly improved by cleaning up
and working on the stone or zinc, but it has been thought better
to show the results obtained without any retouching or cleaning
whatever.
The cost of the work is practically the same in both methods of
transfer.
The advantages of the new method of preparing the transfers (as
compared with paper transfers) are : —
(1) The image on stone or zinc is not distorted. The' print,
therefore, only has the distortion due to the stretching of the print
itself in the press, and this can be eliminated by using a sufficiently
stout paper and pulling the print dry.
(2) The work is finer.
(3j The work is cleaner, as specks, &c., can be more easily removed
from the transfer.
(4) The transfer does not buckle in the printing frame even when it
tako^i a long time to print and the weather is damp.
(o) Le«- "olution is required to be made for coating a transfer of
any given size.
(6) The transfer dries in about half the time.
There is the slight dimdvantage that, m tlie case of zinc work, it is
rather difficult to get broad lines to transfer solid ; they are apt to
require retouching.
It is thought that with more experience this difficulty will be over-
come, especially if a softer ink is used in rolling up the transfer.
(B) Papyiiotint Tbansfbes (fob Halp-tonb Subjects).
The tin-foil is laid on a zinc plate and prepared as if for a line sub-
ject; it is coated with a solution made up of : —
Gelatine, common flake 2 ounces.
Bichromate of potash 40 grains.
Common salt 70 „
Calcium chloride 70 „
Ferricyanide of potassium 30 „
Chrome alum 8 „
Water (measured independently of other
constituents) 8 ounces.
The gelatine is dissolved in the water as in the previous case, and
the other ingredients are then added ; the foil is dried at a tempera-
ture of 70' to 80° Fahr.
The coated tin-foil keeps in good condition for about twelve days.
The transfer is printed under a half-tone negative, rolled in as for
a line subject, and then dried. It is not necessary to immerse in a
second bichromate bath.
The transfer is damped in a " damping book," using dilute nitric
acid (one part to sixty or eighty parts water) ; this tends to prevent
the work becoming blurred through spreading.
The transfer is then pulled through the press on a prepared zinc
plate or stone, and the after-processes are carried out as usual.
Examples are passed round showing how the tinfoil transfers com-
pare with paper transfers.
The cost is practically the same in both cases.
The adoantages of the use of tin-foil as compared with paper are : —
(1) The image on stone or zinc is not distorted.
(2) The transfer can be cleaned more easily.
(3) The transfer does not buckle in printing.
(4) Less gelatine solution is required.
(5) The transfer dries in about half the time.
There is one very slight disadvantage, viz., that, if there are any
inequalities in the roller u?ed for rolling in the transfer, the marks
produced by them show up more thon in the case of paper transfers.
Tin-foil transfers give more contrast in the prints, and this is an
advantage as compared with the papyrotint process previously used
at the School of Military Engineering, which very often produces too
flat a print.
(C) Kktbansfbiis.
Tin-foil may also with advantage be used for retransfer work, by
coating it with the composition ordinarily used for retransfer paper.
The distortion, which with paper is unavoidable, can in this way be
prevented, and this might be a matter of considerable importance.
The re.«ults are somewliat better than those obtained with ordinary
composition paper ; but the foil, when coated with composition, has
the disadvantage, that it is not quite so easy to store without rbk of
damage.
(D) Obtiining Several Retbansfebs of Owe Subject.
If a reversed negative is used, and a tin-foil transfer is prepared as
described above, and, if this transfer is inked in as usual with transfer
ink, a print can be taken from it on transfer paper as in the process of
collotype printing. The paper print becomes, of course, a retransfer,
and can bo transferred to stone or zinc.
From the same original tin-foil transfer a number of paper retrans-
fers can similarly be obtained. If these are all transferred to stone
or zinc, the various stones or plates can, of course, be printed from at
the same time.
For line subjects this method has no advantage as regards the final
result over the ordinary method of transferring the tin-foil transfer to
a stone or plate ; but for half-tone subjects it seems to give much
sharper and better results than the ordinary method. Also, in any
case the retransfer method takes much less time, as the foil can be
printed from while still wet, otherwise it has to be dried.
The experiments are not sufficiently advanced to speak positively as
to the retransfer method, because up to the present time there has
been a difficulty as regards getting a suitable transfer paper. It is
believed, however, that this difficulty has now been surmounted.
(E) Process Work.
One other use of the tin-foil transfer suggested by Mr. Husband is,
as a means of preparing a half-tone process block. If the method is
a practical one, it certainly might be of very great importance. I am
not able to form an opinion as to whether it could be worked, and we
have no facilities at the School of Military Engineering for testing
the method. In any case, as process -^^ork does not appear to be of
any use from a purely military point of 'view, we should not be able
to expend time or money on such experiments.
If a sheet of tin-foil is coated vi-ith It; gelatine solution as described
above for the half-tone process, a mucb'thicker layer of solution being
left on it than is required for lithographic work, the transfer obtained
from such a sheet will have a much coarser grain. If such a transfer
were transferred to zinc, and the metal etched with an acid, it seems
possible that a half-tone process block could be obtained. Assuming
that this would give satisfactory results, the method appears to be
decidedly simpler than those ordinarily used.
A coarse-grained transfer when printed from zinc gives a print
such as that now passed round for your inspection. Those who have
a practical acquaintance with process work will be able to judge
whether Mr. Husband is right in suggesting that such transfers couJd
be utOised in this way.
Kind of Foil to be Used.
The most suitable kind of foil vet found for this work is the
"4B foil," supplied by Messrs. Betts & Co., 1, Wharf-road, City-
road, N., price \Gd. per lb. Three and one-half sheets of size 25 x 18
inches weigh 1 lb. The foil can be obtained up to 3 feet by 2 feet 6
inches in size, and no doubt still larger sheets could be got if required.
The foil contains a considerable quantity of lead. Foil made df
pure tin has been tried, and has failed entirely, owing to its being too-
springy to be manageable. Several samples of pure lead foil have beea
tried, but without success. In contact with the lead, the chromated
gelatine becomes of a greenish colour, and loses its sensitiveness
almost entirely.
In the process above described, an immense number of variations
are, of course, possible. The formula) and method here given are
those which have been found to give the best results, and they may
possibly be of interest to some of our members. It is in the hope
that this will be the case that I have obtained permission from tiie
military authorities to read this short paper before the Society.
[Captain Mantell remarked that the degree of fineness of grain
408
THE BRITISH JOORNAL OF PHOTOGRAPHY.
[June .'30, 1893
might Ve regulated by the thickness of the gelatine solution employed,
and he exhibited proofs showing the fine grain obtained by using a
thin coat of chromated gelatine, and the coarser grain resulting from
employment of a thicker coating. Referring to the end of paragraph
D of the paper, he said it sometimes happened that the transfer paper
adhered to the tin-foil, but he believed that difficulty had now been
surmounted. He explained that the present communication was
adapted from an official report which he recently had occasion to
make to the military authorities on the subject of the experiments,
■which were 'being continued for certain military purposes.]
Captain A. M. Mantell, R.E.
A RAPID TONING BATH FOR GELATINO-CHLORIDE
PAPER.
London and Provincial PhotograpMc Association.
liAST year I had the pleasure of bringing before yournotice an exceed-
ingly rapid and simple method of toning gelatino-chloride prints, by
nsing a much more concentrated solution than usual. At the time I
was seeking rapidity of action merely, and, as the means necessary
proved to be of the" utmost simplicity, that point was added also.
IJpon the question of the resulting tone, I also claimed an approach to
platinotype, and, though my results then fully bore out the claim, I
Jhink it would be wiser now to describe the tone as of a neutral nature,
neither too warm nor too cold, but ranging between the warmth of
ft silver print and the coldness of a platinum or bromide.
But the matter of tone altogether is so much a matter of taste, that
it would be better to merely put the one obtained by my experiments
as the result, without claiming anything for it. Complaints were
made that the workers could not get warm, brown, and red tones
•with jt, which caused me to wax wroth at the idiots who used a bath
specially devised for cold tones, with the idea of getting warm, and
then thought the bath no use in consequence. Therefore, for the
present, I claim the following points as the features of my method of
ioning : —
1, Great speed of action ; 2, absolute simplicity ; 3, no trouble to
work.
The idea has often occurred to me that we are sometimes too hasty
in accusing a man of being old-fashioned and stick-in-the-mud,
Jiecause he prefers old methods and won't change, as we, perhaps,
have done, to newer ones. The point is often overlooked that the
new method, however excellent in many directions, may yet lack any
improvement in the particular one appreciated by the older worker.
The above bath is an illustration, and one no doubt applicable to
many workers. If rapid work and simplicity be to them no attraction,
then it cannot be expected that they will forsake an old friend which
perchance gives them a tone they like better.
To make a personal application of this thought, I should hardly be
attracted by any toning bath that was no improvement upon mine as
regards speed and simplicity. Our pet ideas govern our thoughts and
wishes to a greater degree than we imagine or would be willing to
allow. It therefore matters but little how vast the improvement be ;
if it is not in our own direction, we perhaps prefer to stick in the old
groove.
All my experiments have been made with the direct object of
ebtainirg speed in toning. This I have decidedly accomplished, as I
shall prove to you later on. But only those who have left the beaten
track of toning baths for that of experiment know the great variety
of tones obtainable — or, rather, obtained — for they are not always
obtainable ; at least, it is difficult to ensure the same tone again, and
I have settled down into the conviction that batches of paper must
vary considera,bly. With exactly the same bath, and under precisely
similar conditions, different tones are obtained. I have practically
tested this by using four pieces six months, four months, and two
months old, and a piece bought the day before. These, when toned
together in the same bath, have not resulted in the same tone. It
may be that some gradual chemical action takes place in the emulsion
upon the paper in the com-se of storage. I am convinced that it is
apt atmospheric influence at all, because I have carefully stored
pieces nine months, and then exposed to air for a week in a dark
comer pieces of absolutely new paper. The result was that the
new paper did show traces of the treatment, but the old did not. It
IS therefore either a difference in the emulsion or a chemical action
Airing storage.
_ The range of tones obtainable upon gelatino-chloride paper is
simply marvellous. The fact strikes the experimenter most power-
fully. Upon many occasions the results have caused me to use
language which was quite warranted by the exigencies of the case,
and was good English, but quite unfit for publication. The density
ol the negative, its colour, the length of time printinar, and even the
degree of washing before toning, all had a hand in the tone. How-
ever, as tone is to me at present a secondary matter, we will dip at
once into actual experiment.
I fully intended last year, during the autumn, making a complete
attack upon the question of rapid toning, but business did not permit,
nor, for various reasons, have I been able to do much till lately.
Even now, living in chambers, the opportunities end conveniences of
work are most limited. Still I have convinced myself of several
points. When I first introduced the bath, the extremely rapid action
seemed likely to be a boon; but, when scant attention to it followed,
it not being even thought worthy of insertion in the annals of pro-
gress published at the end of the year, it struck me that perhaps
there wasn't very much in it, after all, and for months, though using
it exclusively myself, the subject did not bother my head. Recently,
however, occasion arose, after three or four months' complete absence
from any printing work at all, that batches of 100 to 1.'50 prints every
night were necessary. The same bath was used, and the fact that it
was a good thing came most forcibly to my mind. I determined to
experiment further, and the present paper is the result.
The experiments were all made with two main objects — rapidity of
toning and finality of result, leaving the resulting tone to be the un-
known factor. The principles laid down were : —
1. Each print must tone completely in two minutes as a maximum.
3. There must be a definite tone (finality) which no reasonable
amount of after-immersion can alter.
The reason of the first is obvious. By the second, I wanted to get
the power of what may be termed " careless work," that is, that, if
the print be unevenly toned, it can be put right afterwards. As a
matter of fact, my first point in starting a batch is to see that they
will readily tone unequally.
Two kinds of paper, " Solio " and " P. O. P.," the former in white
and pink tints only, owing to inability to obtain the mauve ; and the
latter in all three. Prints from the same negative were toned in the
four following baths : — -
Bicarbonate Bath.
Gold 1 grain.
Bicarbonate of soda -o grains.
Water 1| ounce.
Acetate Bath.
Gold 1 grain.
Acetate soda 20 grains.
Water IJ ounce.
Phosphate Bath.
Gold 1 grain.
Phosphate soda 2.5 grains.
Water I^ ounce.
Borax Bath.
Gold chloride 1 grain.
Borax 40 gi-ains.
Water I5 ounce.
All these baths worked rapidly enough, but the acetate one re-
quires mixing at least an hour before use, whereas the others can be
made up immediately.
The first result arrived at is, that the tint of the paper governed
the tone more than any differences in the bath. I will detail the
actual results : —
Pink paper (P.O.P.) .... No difference in tone at all.
White „ , The acetate bath gave a slightly
redder tone ; the rest, alike.
Mauve „ „ .... No difference.
Pink „ (Solio) .... No difference.
White „ „ .... Bicarbonate, grey black ; phos-
phate, a warmer tint; borax,
warmer still ; and acetate, quite
a purplish pink.
Upon the whole, the best results were obtained upon white Solio,
mauve P.O.P., and white P.O.P. The latter, with the bicarbonate
and borax baths, gives a tone very closely approaching that often
obtained in platinum toning, viz., a very warm sepia. As a general
rule, white paper should always be used if a grey black tone be
desired.
Leaving, now, the question of tone altogether, to deal with rapidity
of action, there is not much to choose between bicarbonate, phos-
phate, and acetate. But I certainly prefer the bicarbonate bath as
the best of these four at all events. Mixtures I did not try, as I was
aiming at simplicity. The less mixtures in photograpliic formulas the
June ao, 1893]
THE BUmSH JOURNAL OK PHOTOGRAPHY,
400
better is my maxim ; and, certainly, in toning batbs for ffelntino-
•chloride pai)eM we can do with a littl'o more simplicity. Some of the
•concoctions put forward are a credit to the inj^nuity of the chemist,
viz., the number of ingredients possible to be put in without injury.
They are .simply preposterous.
You will see inter on that my assertions as to the speed of toning
•will be borne out by the demonstration. I noted down the other
nig-ht the time occupied by a batch. A whole-plate tray was used,
and the following bath : — "
Bicarbonate of soda ] ^ drachms.
Chloride of gold 4 grains.
Water (i ounces.
The prints were merely laid in the tray and kept under the solution
by touching with the lingers; the tray "itself wa.s never moved. Until
the last few prints it took all my time to get them in and out fait
■enough. Even then I lost time by having to light my pipe.
Total toned lOo quarter plates.
Full time 28 minutes.
First print 23 seconds.
Last print 70 „
l>ne that occupied about forty seconds to tone was left for nearly an
hour in the bath, and the resulting tone was no different. If we" say
fifty minutes, that means a period of time which may be roughly
stated as twenty-tivo to one. The print was certainly flattened or
bleached a little, but the tone was not different. This jfroves that my
claim to a finality of tone is quite within reason.
By this means the power of what I have termed " careless" toning
is acquired. A print can be half toned, the other half not touching
the solution at all, laid aside for a time, and then finished. There
will be no mark apparent. Or spots and streaks can be dealt with in
the same way.
Of course, I in no way advocate such treatment, nor that prints
should be toned for fifty minutes when forty seconds will suthce.
These are merely extreme experiments, but they serve to show how
easy this method of work renders the toning of gelatlnu-chloride paper,
which it must be admitted in some toning hatha is certainly not the
esse.
There is one point worth reference, which is that the actual amount
of bicarbonate of soda in the bath is not, within limits of course, a
matter of much importance. At least experiments with three-quarter
drachm to two and a half drachm, the gold and water remaining the
same have not produced any different results. The only thins.- 1 can
fancy to have noticed is that the more bicarbonate the slower the
toning and the greater tendency towards warmth of tone. But one
and a half drachms is a fair workable proportion.
The mere relation of the advantages of the bath impresses no one.
Every one fails to grasp its advantages to a considerable extent;
but, when shown it in actual work, it is altogether different. For that
reason I shall proceed to demonstrate it before you to-night, and in
doing 60 will work completely in my usual fashion.
_ I claim for the bath that it is the most rapid in action and most
simple in working of any one ever introduced, and the resulting tone
is to me and to many others a pleasing one. W. D. Wklford.
♦
DODGES.
[North Middlesex Photograpliic Society.]
The subject of "Dodges " is one that should be of great interest to the
amateur photographer ; in fact, it goes a long way to complete his photo-
graphic education. To the profession I presume it is impossible to
mention anything under this head that is not in their every-day practice ;
but the beginner in the art regards anything outside the elementary
instructions of procedure as dodges — at least, I do. That the best workers
among us indulge in dodging is admitted. One will toll you he is obliged
to dodge all his negatives, another that good negatives are the exception
■with him rather than the rule, or another tliat he has no good negatives,
mostly failures, and so on. Of course, a good deal of this is modesty ;
but it leads one to the conclusion that the production of superior work is,
as of course it must be, the result of careful manipulation at every stage
of the process, and knowing the means by which to avoid or overcome
defects of every description as they arise, and to many of us they arise
often enough. It is my intention, therefore, with your permission, to
refer to a few rough-and-ready dodges that in my own limited practice of
photography have been found useful, and I will also offer you a sugges-
tion or two which I trust will be worthy of your consideration ; but I
would add, that my remarks (coming as they do fcom rather a raw recruit)
are intended for the less-advanced workers chiefly.
The most interesting part of dodging refers, no doubt, to work on the
negative ; but before we come to that I pnrpose mentioning a few other
items, and will commence with development, and thence of a brush. I
first saw a brush used in this room for the purpose, as I understood, of
preventing air-bells and keeping the developer in motion. I tried it for
the latter purpose, and soon accustomed myself to use it in literally
painting out under-exposed parts (after pouring off the developer), and
by this method worked up detail in the weak parts without causing uiidae
density in the high lights— to me a most important point. With u-ual
development, when a plate was any way underexposed, or the contrasts
great, I was always liable to get the high lights developed right through
to the back of the plates (when they begin to spread and cause halation)
before sufficient detail was obtained in the shadows. On the other hand,
with a brush, when I find the high lights progressing favourably, I pour
off the developer and work out all detail, then pour on_the whole of
developer again, rocking the dish until sufficient density is obtained, and
stopping development when the high lights are quite through the plate
and before they have time to spread. The negative I pass round for your
inspection was produced in this way. The white garments of the
cricketers and tent came up at once, and were fully out when the lower
part of the plate was bare ; the black coat in central figure was also bare
glass without detail ; but by pouring off developer except a small quantity,
and tilting the tray so that the developer only covered the bottom part,
with the brush I was enabled to get out all detail of grass and black coat
without losing detail in the highjlights. With the ordinary mode of
development I think the result would have been far different. As a
curiosity, I also show you another negative of the same subject, worked
up in the same way, but over-exposed, the exposure being in the propor-
tion of three to seven ; the developer was, of course, very different. You
will notice there is ;a difference in colourjof the film, but the printing
quality is the same, and in this case I think the developer has modified
the action of exposure, for I doubt if you^ can tell which is the over-
exposed plate. I also pass round two other negatives, exposed and
developed with the idea thatidevelopment with the brush will go a long
way to prevent halation. In the first the distance came up at once, but
the near buildings were certainly under-exposed, being in heavy shadow.
It took twenty minutes to get out detail ; but the distance or central part
was only a minute or so under the developer, irregularity being avoided
by occasionally sweeping the wet brush over thejwhole of the plate. The
other negative was an instantaneous exposure, treated in the same way ;
but you may observe that the edges of thejtrees are perfectly sharp, and
the negative with a little other dodging gives a fair print.
Another advantage of the brush and local development is that clouds
can be saved in the negative if there are any in the landscape ; or, in other
cases, it may be desirable to keep the sky thin, and work clouds on the
back in the manner to be presently described, and I feel confident, after
twelve months' trial, that the brush'gives great power over the quality of
the negative, and I mention it to you as a most useful dodge.
Before I leave development, I would also mention the use of the warm
finger in more energetically bringing out particular parts. In lantern
slides this is very useful, but it' can' be [easily overdone. Gently move
the second finger over the i)art you wishj.to bring out stronger. When
the second finger gets cold, use the third finger on the place, and, by the
time the third is'cold, the second will be again warm enough to continue
the operation, and so on until the desired effect is obtained.
Intensification is, I think, almost outside our subject, especially as the
matter has been so ably dealt with on other occasions. I am tempted,
however, to say my own opinion is that, if thin negatives are cases of
vexation, intensification, unless performed with great judgment, is, nine
times out of ten, quite as bad ; but there is a dodge or two in connexion
with it worth mentioning. The first is, dry your negatives quickly and
in a strong light ; it gives (or prevents them losing) density. You wUl be
surprised at the difference in a negative dried in a strong light, or even
in the sun, if the negative has previously passed through the alum bath,
and one dried in the dark in a cold- situation. The first will be of a rich
brown colour, the other of a greyish tone, and of less printing density.
Another dodge is slight intensification by the clearing bath, but it must
be a clearing bath containing uron. The iron immediately changes the
colour of the film, darkens the high lights, and at the same time clears
the shadows, and so gives a crispness not possessed by the negatives
before. A weak solution of plain iron, or the usual u:on developer, will
also intensify by changing the colour of the film.
In some instances it becomes a necessity to reduce parts of a negative.
a strong light through the branches of trees, or a bright ray of light
through a window, or an archway, generally causes halation, to the
detriment o£ the negative. In most of these cases it is possible to con-
410
THE BRITISH JOUK^^AL OF PHOTOGRAPHY.
[June 30, 1893
sidcrably modify the evil, or even entirely overcome it, by chemical or
mechanical means. I recommend methylated spirit (it must be neat, not
s.jirit and water), and must be used, after the negative is dry, by applying
a little to the part to be treated until it softens (don't be in a hurry about
it) ; then, with a piece of chamois leather, rub the part until it comes off
on the leather, changing the leather when it gets black, and continue
until the desired effect is obtained. I only recommend this treatment for
small patches, say, not excee.ling the size of a sixpence. For larger
surfaces the remedy is often worse than the disease, as the result often
appears unpleasantly smeary. It is effective on faces when too dense,
also to bring details out in the folds of a white dress ; but, like all
remedies of this description, it must be used with caution and patience.
Another method I have tried, rubbing down with brickdust, and find it
effective on thick films. The way to use it is to rub your finger on a
piece of bath brick until the ribs on the skin are worn down, and the
finger quite smooth. The finger will then have adhering to it suflScient
of the fine dust to reduce density on the face, &c. This will not do for
thin films.
It is sometimes desirable to use quaiter-plates in a half-plate dark
slide, but it is a, nuisance bothering with quarter-plate carriers in addition
to being obliged to get a separate box of plates. Both of these troubles
can ba avoided by cutting a half-plate in half with one of the cheap glass
cutters. Place one half in centre of dark slide, filling up the side spaces
with cardboard the same thickness as plate. In this way two quarter-
p'.ates can be used back to back, or one quarter-plate and one half-plate.
(To he continued.) C. 0. Gregory.
SUMMER NOVELTIES IN APPAR-iTUS, &c.
Walter Griffiths & Co., Union-passage, Birmingham,
In the Zodiac camera of Messrs. Walter Griffiths & Co., which, they say,
signalises their entry into the manufacture of general photographic
apparatus, the substitution of metal, and that in a tubular form, for
several parts usually made of wood, is not only calculated to make the
camera of peculiar service in trying climates, but does so without adding
to the average weight— indeed, it is claimed that it actually reduces it.
The first cut shows a front view of the camera, with rising front and ex-
tending base. The camera has either a leather or a cloth bellows, and all
the usual movements, long extension being obtained by means of the screw
which, it will be observed, runs the whole length of the base. There is
no woodwork where the joints can open, the few wooden parts that are re-
tained being bound with brass. The double slides are entirely of metal,
and, besides being only an eighth of an inch larger than the plate, are only
three-eighths of an inch thick. They carry films as well as plates. Placed
in the camera, they drop into the recess from the back, and are held in
position by spring clips. The construction of the slide is of the simplest,
it consisting, in brief, of a species of double sheath, with two shutters.
The second illustration shows the method of fixing the camera to the
stand ; head, screw, and loose parts thus being obviated. Th9 camera,
when folded up, is very compact. A stereo camera of the Zodiac type is
also supplied by Messrs. Griffiths. Espacially in such climates where
wood is liable to be affected, the substitution of tubular metal will
probably be found an advantage.
Upon their premises in Union-passage Messrs. Griffiths place a studio,
dark room, and reading room at the disposal of amateurs.
Miller's new Adelphi hand camera, which was shown us by Mr. F. V.
Lloyd, of South John-street, Liverpool, has now a simple but ingenious
attachment in the shape of a movemant which both releases the shutter
and elevates the flap that intervenes between the senaitiva plate and the
lens. This is a very happy idea.
The Thornton-Pickard Manufacturing Company, Altrinchaji.
The recently erected works of the Thornton-Pickard Company at
Altrincham, near Manchester, which are chiefly devoted to the manufac-
ture of the famous shutters with which the name of the firm is identified,
are in all senses interesting, not only from their extent and completeness,
but as showing the great amount of ingenuity and skill which has to be
specialised and concentrated upon the produi tioii of tae r rm's specialities.
The workshops, as indeed the premises generiliy, ar- situated entirely on
the ground floor, and in the first-named, which radiate, as it were, from
the office as a. base, it is instructive to follow the growth of a shutter in
the various hands tlirough which it has to pass. Under the guidance of
Mr. Edgar Pickard, such an opportunity was recently given us.
The preparation of the mahogany boxes in which the mechanism and
blind of the shutter are contained is first noticed. The parts are glued
up under pressure, and the boxes as made are double, and are therefore
split into two. A sand-papering machine imparts the necessary finish to
them, the particles of mahogany dust created by the revolving stones
being carried off by fans. For the wood in the rough a planing machine
working at 5000 revolutions a minute is used. Passing by several circular
saws for light and heavy work, we stop to watch a workman pressing the
little indicator wheels out of sheets of brass; an upright moulding
machine for ronnding off the corners of the boxes, and a cutting machine
for turning out the small connexions for connecting tubing to the shutters.
Other machines are devoted to polishing the pins of the shutter, turning,
holes in the shutter cases, etc., the machinery being driven by a seven
horse-power Otto gas engine. In one corner a lad is at work at a sewing-
machine preparing the blinds.
One side of the workshop is practically devoted to lacquering and
blacking the various parts and the fitting together of the shutter. The
spring of each shutter is tested by a weight before it leaves tlie shop for
the testing department. A separate shop is devoted to the polishing; and
in the stock-room, behind a series of carefully "blinded" divisions.'stock
June 30, 18U3]
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
411
of the numerons parts is kept. Taking a line by the enormous numbers
of each individual part — such as the indicators — which wo saw in pre-
paration, one is driven to the conclnaion that the output of the Thorntcn-
Pickard Jshuttora is very largo. This rapid and imperfect sketch of the
firm's workshops does not in any way do justice to one of the completest
and most interesting installations in connexion with photographic in-
dustry which we have recently inspected.
Since its first introduction, the well-known Time and Instantaneous
shutter has undergone some slight modifications, although its action and
principles remain the same. Among recent additions is a speed indi-
cator, which consists of a dial, marked in fractions of a second, attached
to the side of the shutter, and a pointer on the end of the spring-roller
spindle. The speed is indicated on the dial in fractions of a second by
the pointer, which can be set to the speed desired by means of the nob.
A similar type of shutter, the " Snap Shot," is very popular for hand
cameras. The Focal Plane shutter is designed for use where the
maximum degree of rapidity is
required.
It is made upon the roUer-
bUnd principle. It fits into
the back of the camera in the
place otherwise occupied by the
dark slide, the dark slide itself
being placed in the baqk of the
shutter. The shutter blind,
therefore, works just in front of
the plate, and has a narrow slit
in it the tall width of the plate,
which gives the exposure as it
passes rapidly across. The speed is regulated by the small knob. The
shutter is set for exposure by winding the large knob at the top, and
to show how far to wind there is a winding indicator at the opposite
side, not shown in the engraving.
In the bottom end of the blind there is an opening the full size of the
plate, by means of which the picture may be focussed on the ground glass
if the blind is wound to the top.
A new patent adjustable slit is now added to the focal plane shutters in
addition to the adjustable spring roller. This improvement adds greatly
to the range of speed of the shutter, which now extends from one-twentieth
of a second to one one-thousandth of a second. The speed is varied by
means of a chain at each end of the slit, which can be lengthened and
shortened at will, making the sides of the slit perfectly parallel without
skill, the directions for use being as follows : —
After removing the focussing screen, take hold of the two struts which
form the parallel sides of the slit in the blind, and turn them askew, at
the same time drawing them forwards out of the shutter. The chains at
the ends of the slit can then be manipulated. One end of the chain is
fixed permanently to one strut, while the other part of the chain is
linked on to the extreme end of the other strut, the end of it passing
inwards along the length of the strut. This part may be pulled out and
linked on to the end of the strut to make the slit wider, or allowed to
spring back into the strut which makes the slit narrower. All that is neces
sary is to see that the same number of links are used at each end of the slit.
The speed of the shutter is found by dividing the speed given on the
indicator by the number of links in use at each end. That is to say, with
only one whole link the speed is that given on the indicator ; with ten
links (which is the extremity) it is one-tenth of the same.
The safety blmd which Messrs. Thornton-PIckard fit either to the Time
and Instantaneous, or the snap-shot shutters, when fitted to the shatter,
will automatically cover the opening during the
act of resetting the shutter for the next exposure,
60 that the sensitive plate may always remain
uncovered in the camera. It only adds five-eighths
of an inch to the thickness of the shutter, and
does not increase the dimensions otherwise.
The illustration shows a section of safety blind
attached to an ordinary shutter, either Time and
Instantaneous or snap-shot pattern.
In action, when the tassel is pulled, the exposing
blind D is wound on to the top roller A, by means
of the cord C, and at the same time the sifett'
blind K is pulled up over the top roller M by the
cord N. It will be seen from the illustration that
the safety blind K, and the opening H in the "^ '
exposing blind, both pass across the aperture in
the shi.'.ter together, so that no light can pass throu
-'h. When the
K9T SUfOStO
tassel ii released, after palling the cordi as far as pcsaible, the safety
blind immediately rewinds on to the spring roller Q, leaving the ezposiiig
blind set ready for exposure.
The annexed llustration shows a small and useful device for enabling
one to see at a glance which plates have been exposed, thus preventing
the possibility of two pictures being
taken on one plate. It consists of
a small hinged plate or lid, which
lies down fiat before exposure, bat,
as soon as the shutter of the slide
is withdrawn to expose the plate, the
lid files open and discloses the word
" Exposed," and remains in this
position until the slide is again
charged with a fresh plate in the
dark room. The " Becorder " may
then be set ready for the next exposure by simply closing down the lid
with the forefinger, at the same time closing the shatter of the dark slide.
Whenever the shutter of the slide is withdrawn without exposing the
plate, the "Becorder" lid may be closed again at the same time the
shutter is pushed home.
The " Euby " camera is an exceedingly light, rigid, and portable
instrument, fitted with a turntable, the centre of the latter being cat
away so that the lens and shutter fold up with the camera. The front
can be quickly erected, and is rigid and firm when in position. The cut
shows how to fix it. After opening the camera, place the front in the
position shown, leaning backwards, so that the bottom corner hooks of
the front are over the pivots marked P. Press the front down between
the pivots, and then place it in the vertical position, as shown in the figore.
Fasten in position by turning the winged clamping screws marked W.
The camera has double pinion for focussing ; it allows of the use of very
wide-angle lenses, rising and sliding front, and all the other usual move-
ments, obtainable with a minimum of trouble.
In the way of tripods the firm have very recently brought oat a stand
having automatically locking joints, which, while being perfectly rigid, is
easily set up, and is adjustable to various heights. The lower section
slides so as to be adjustable in height. On paUing out this section as
far as possible the spring bolt marked by the arrow in (he engraving
springs out and instantly locks the oint. To close again, the spring
bolt is pressed with the thumb, which allows it to slide back again. A
thtunbscrew is provided at this joint, so that the section may be adjusted
to any height, as above mentioned, and may be used in addition to the
spring bolt to give extra rigidity if desired.
The upper joint is locked on exactly the same principle, but it folds
instead of slides ; the spring bolt is larger and stronger, and snaps into
position as soon as the upper section is nnfolded. The two sections are
412
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 80, 1893
therefore wedged together in a very practical manner, and the utmost
rigidity is secured.
The rapidly increasing specialities of the firm show that a great deal
of mechanical tliought and application have been expended on them. AU
have a degree of finish and carefulness of construction which stamp them
as the products of great skill, while of the practical efficiency of the
series of shutters, and their adaptability to the needs of various classes of
photography and shutter-users, there can be no doubt.
The Chadwick Impkoved Hand Camera.
The annexed cut was omitted from onr
notice of the Chadwick hand camera last
week. It shows the camera on a stand, and
the swing back in use. As may be observed,
the back swings from its centre, which, in
theory, it should do.
©ur lEDitorial Catlt.
Dr. AxDiiESF.N'"s Glycin.
Arthur Sdiwartz & Co., Dasbwood HouFe, E.C.
Thk directions for using Dr. Andresen's glycin are as follov^s : —
I. For soft development :
Solution A (warm slightly).
Glycin 4 parts.
Carbonate of potash ; li „
Sulphite of soda (crvst.) 12 „
Water ". 100 „
Solution B.
Carbonate of potash 10 „
"Water 100 „
For use, mi.x one part of A with two parts of B.
II. For hard development :
Glycin 5 parts.
Carbonate of potash 2-5 ,,
Sulphite of soda (crvst.) 2-5 .,
Water '. 100 „
For use to be diluted three times its volume.
Employing the developer in accordance with the first-named
formula, we find that, although it is rather slow and deliberative in
action, yet it yields negatives of great harmony and softness, and of a
charming colour. It is an elegant developer, likely to be of service in
special cases.
Bakeks Toukists' Developing Tent.
Mn. C. Bakeh, of Wallington, Surrey, has modified the developing
tent he brought out some time since. The illustration shows its con-
struction and general appearance. The tent when open is about
IM use. 26 in:;^ I2XIO
CLOSE
forms a box twelve inches square by three and a quarter inches, iis
which there is room for several small articles. The sides of the tent are-
composed of ]3erfect]y opaque material, and as the light can only enter
by the red window, which is guarded by a blind, its amountcan be-
regulated as desired. The tent is simple and efficacious in use, and
should be popular.
"PilOTOGKAPHY" ANNUAL,
London ; lliffe k Sou.
Mb. Henby Sturmky, the editor of this ponderous annual, may con-
gratulate himself upon having this year issued a volume exceeding-
both in quantity and quality any of his two former annuals. It opens-
with a section devoted to reference tables, a feature that is always
useful. I'ips for tyros follow. Mr. C. II. Bothamley discourses on
"Progress in Photographic Chemistry during 1892,"" and Mr. A-
Taylor similarly on " Progress of Astronomical Photography." There
are other articles on various phases of photographic pi-actice, and quite
a number of illustratioHS both of a pictorial and diagrammatic nature.
Recefved : — Sixtieth Annual Report of the Royal Cornwall Poly-
technic Society; The llluftrnted Archaroloyist, No. 1, edited bv J.
Romilly Allen (Chas. J. Ciarli, 4, Linooln's-inn-fields, W.C).
RECENT PATENTS.
APPIJCATIONS FOR PATENTS.
No. 12,008. — "An Improved Plate Rest for Supporting Negative or Positive-
Photographic Plates in .a I''i.\lEg or other Bath." J. B.iRNEs. — Dated June 1£>,
1893.
No. 12,287. — " Ira))roveincnts in Photographic Apparatus." Coramunicatecl
by P. Meyer. A. J. Boult.— Dated June 22, 1893.
No. 12,296. — " Improveioeiits in the Manufacture of Half-tone Gelatine
Reliefs for Process Blocks." Complete specification. J. HusNiK.^Ocite/
June 2'^, 1893.
No. 12,304. — "An Impiovement in the Manufacture of Sensitive Plates or
Filnis for Photographic Purposes." Complete specification. F. W. Edwabds-
and H. R&hsom— Dated June 22, 1893.
No. 12,443. — " ImproveineBts in Photographic Apparatus." W. J^
Greatorex. — Dated June '2i, 18'.i3.
SPECIFICATION PUBLISHED.
1892.
No. 13,857. — " Photographic ChaBging Boxes." Newman k Guardia.
ifletttKisiS Of SoctetteiS,
MEETINGS OF SOCIETIES FOR NEXT WEEK.
twenty-four inches long by ten inches wide and ten inches high
without the sink, which is two and a half inches deep; AVhen closed, it
Date oi Meeting.
Jnlj
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3
3
3
3
3
4
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4
4
4
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4
4 ...
4
4
4
4
5
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Nanio ot Society.
Dundee Amnlour
Ptiterborowgh
Putuey
Eiohmomi
South Londoo
StereosGopii; Clnb
Birmiugham Photo, Society
Brixton auU Ohipham
Ezeter
Hackney
Hereford^ihire
Lewo8
North Loutlon
Oxford Photo. Society
Paisley
Rochester
Rothorham
Sheffield Photo. Society
York
LeytoDhtoue
PhotogTaphic Club ,
SoTithport ,
Southsea ,
Wallasey
Birmingham Photo. Society
GlosKop Dale
Hull
Leeda Photo. Society_
Loudon and ProTincial
Oldham
Tnnbridgo WcUb
Cardiff
Oroydou MioroBOopical
Holborn
Leamlni^toa
Maidftono
Hnil '.
PlAce of Meeting.
Abso. Studio, Nethergato, Dundee*
Museum, Minster Precincts.
High-stroot, Putney.
Greyhouud Hotel.
Hanover Hall, Hanover-park, S,E,
Brooklauds Hotel, Brooklands.
Club Room, Colonnade Hotel.
376, Coldharbour-lane, Brixton.
City Chambers, Gandy-st,, Exeter.
20G, Mare-streot, Hackney.
Mansion House, Hereford,
Fitzroy Library, High-st., Lewes.
Canonbnry Tower, Islington, N.
Society's Rooms, 136, High-street.
9, Gauze-street, Paisley.
Mathematical School, Rochester.
5, Frederick-street, Rothorham.
Masonic Hall, Surrey-street.
Victoria Hall, Goodramgate, York.
The Asseml^ Rooms, High-road.
Anderton'a Hotel, Fleet-street, E.C,
The Studio, 15, Cambridge-arcade^
3, King*8-road, Southsea.
Egremont Institute, Egremont.
Club Room, Colonnade Hotel.
71, Prospect-street, Hull.
Mechanics' Institute, Leeds.
Champion Hotel, 15, AJdersgate-at--
The Lyceum, Dnion-st., Oldham.
Mechanics* Inst., Tnnbridge Wells..
Public Hall, George-street, Croydoci
Trinity Church Room, Morton-at
" The Palace," Maidstone.
71 Prospect-street, HolL
June 00,1693]
THE BRITISH JOCKNAL OF PHOTOGRAPHY.
418
PHOTOGRAPHIC SOCIETY OP GKEAT BRITAIN.
! . NE i7,— Mr. G. Soamell in the chair.
Mr. W. E. Ueeenham gnvo a, demon.itmtion of Tlic Carbon Process, pre-
i.vjiug it with .% brief ilescription of its essential principles. Speaking of the
sensitising of the tissue, he said he preferred to use the bichromate in the pro-
portion 01 one ounce to a (juart of water. He found no advantage in the addi-
tion of aiiiniouia, except when an excess of chromic acid is present. In diying,
he recoinnieuded squeegeeing the sensitised tissue on to tlie glass, and leaving
it thereon until it is wanted, as if dried by hanging the tendency to curl was
objectionable. Having dealt with the uses of the safe edge, and demonstrated
both single and double transfer, he said that for exposure he preferred the
actiuomcter he himself devised some years ago, and which was .•ulopted by the
late Mr. Sawyer. He, however, used a portion of a portrait negative, various
tints from which were made on gelatine or albumen paper, and could be
matched in printing. In development, if the print was too dark, hotter water
could be used.
A brief discussion followed on the continuating action of light.
Mr. H. J. BuBTON remarked that, in the print developed, which was said to
have been ovcr-priuted, the continuating action had taken place. There was
plenty of time since the afternoon, when Mr. Debenham had made the print.
Mr. T. BoL.vs agreed with Mr. Burton, and said that, if a trace of damp was
present in the tissue, the effect of keeping the exposed tissue a little while in
a hot place was easily recognisable.
Mr. H. C'HAP.MAX JoxEs, when exposing tissue to be kept a day, would
only give it a quarter of the time as against the full time when exposing and
developing the same day.
After other discussion, a vote of thanks was passed to Mr. Debenham, and
the meeting closed.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
J f.NE 22,— Mr. W. E. Debenham in the chair.
Mr. \V. D. Welford passed round the catalogue of the exhibition of photo-
graphs recently held in Japan, also two books of pictures by Mr. W. K. Burton
of snapshots and enlargements in collotype.
The Universal Hand Cuiera.
Mr. H. B. Sharp (Messrs. Sharp & Hitchmoiigh, Liverpool) exhibited and
explained the Universal hand camera. This is a quarter-plate camera con-
tained in a box, the back and front of which let down, or the camera may be
entirely removed from it. Focussing is effected by means of a rack and pinion
attached to the body, thus rendering the camera useful for co]iying and
lautern-slide making where it is desired not to move the lens. The camera
iias swing back and rising front, time and instantaneous shutter.
An I.MPBOVED Ketoochixo Desk.
Mr. Sharp also showed a retouching desk having a spring, .attached to which
was a diaphragm, with inner diaphragms, for ]>lacing round the head or any
part of a negative, and thus coucentnating the light upon it. Chamois leather
on the diaphragms protects the negative. At the side of the frame a small glass
is let in, which is illuminated by the same light as the neg.ative, and is used
for matching tints.
" Welford's Toniso Bath fob Gelatejb Prints."
Mr. W. D. Welkord read a paper on this subject [see p. 40S], afterwards
toning several prints by the bath. Toning was completed in less than a
minute. Prints the halves of which were toned at intervals gave no indication
of "joins." Untoned patches subsequently toned were indistinguishable from
the parts tirst toned.
In the discussion which followed, Mr. T. BoLAS observed thiit he preferred a
more thorough washing between the fixing and the alum solution than Mr.
Welford gave. ,
Mr. J. S. Teape tried the bath last year, and found that, after toning a
dozen prints, the others had a certain tendency to mealiness, and finally they
lost quality altogether. He used the same batch of paper tliroughout, and
noticed that many of the prints had a tendency to pinkiness.
Mr. T. E. Freshwater had succeeded well with an acetate bath for gelatine
paper. The latter seemed to require much more careful washmg than
albumenised paper. The bath, which was supposed to be kept twenty-four
hours after being made, and which he had used at once, was as follows : —
Acetate soda 1 ounce.
Gold chloride lo grains.
Water 20 ounces.
Of this stock solution he had used two ounces in eight ounces water.
Mr. P. Everitt thought the rapidity of action of Mr. Welford's bath might
be a disadvantage to many ; he himself would not care to use a bath that
toneil so quickly. If one wanted a variety of tone, there would be a consider-
able difficulty in obtaining it with a very quick toning bath. He himself used
one and a half grains of gold chloride in twelve ounces of water, to which a
pinch of borax was addetl.
Mr. A. Haudos asked if Mr. Welford had noticed any difference of result
between carbonate and bicarbonate of soda.
Mr. J. Weir Brown pointed out that the tones of some experimental prints
Khowu were not the same as those of some prints which Mr. Welford had made
with the bath last ye.ar.
Mr. S. Herbert Fry thought it a misfortune that Mr. Welford should advocate
such a process, as the double colour in the prints was most detestable. It
appeared to him that the bath had no other advantage but rapidity, and the
fact that it toned so quickly proved that one h.id no control over it. The
colours that one saw with the gelatino-chloride process were very nice, but he
W.1S inclined to think there were other processes which yielde<l better blacks.
His (Mr. Fry's) main objection to Mr. Welford's bath was that the prints were
not half so good as could be got from the negatives. The double colour was a
technical defect of the worst order. This was the weakest point of gelatino-
chloride printing ; the snlphocyanido bath had a tendency to give it. He had
found a combined bath the most convenient.
Mr. Boijvs inquired whether the tendency to pinkineM In the lights wa»
greater when the washing had been short or imjierfect .'
-Mr. EVKBITT also asked whether the pinkiness was not more Jen^ible when
a large ([uantity of soda was used ?
-Mr. A. Mackie suggested that the pinkiness was caused by the prints
being very much over-toned. The jiinkiness was more apparent at night.
.\rter other remarks, tlie Chairman said ,Mr. Welford had claimed for the
bath a power over careless toning, but it went beyond that. It we left the
)irint in the toning hath very much longer without producing a considerable
effect upon it, he thought we might take it that it had got much more gold than
usual, and that might point to an advantage in the way of greater permanence,
by the greater deposit of gold. It had been said that baths other than sulpho-
cyanide were more economical of gold, a fact that had been quoted against
sulphocyanide. He thought it au argument in its favour that it did put so
much gold in the print. .\s to the tone of the prints, if we can get a tone
which is consistent with a large deposit of gold and probable permanency, so-
much the better. In regard to prints toning differently when the paper had
been kept some time, he had noticed, with some plates coated with gelatino-
chloride emulsion that had been kept for some time, that they printed out a
purplish colour, looking, in fact, as if they had been toned.
Mr. Welford, in reply, said that many of those who had spoken were
answered in the paper he had just read. In reference to Mr. Teape s complaint
of mealiness and pinkiness with the bath, he (Mr. Welford) tonnd it work,
better with P.O.P. than with Solio. As to Mr. Fry's remarks^ about the
double colour in gelatino-chloride, he would remind him that double colours
were sometimes obtained on bromide paper. Replying to other remarks, Mr.
Welford said the slight pinkiness complained of occasionally disappeared, but
he was at a loss to discover the why or wherefore. In conclusion, he said he
thought rajiid toning tended to permanency.
-A. vote of thanks was passed to Mr. Welford for his paper and demon-
stration.
North Middlesex PhotogTaphic Society.— June 26.— Mr. Barnard showed
the results of his attempt to copy a Daguerreotype, .and appeared at last to be
entirely successful. Mr. S.mith related a curious experience he had had, at the
outing to Cassiobury Park, of two dark spots on the focussing screen, which he
could not account for; he exposed, however, and, on developing, they came up
blacl:, and consequently print white, but, being in the sky space, blocking out
the sky hides them. Mr. Aveky was of opinion that light must have been
somehow reflected through the lens, forming the sj^ots. Sir. MarcHant had
been troubled and puzzled by a number of tlies inside the camera, and suggested
this as a solution. In the end, everybody said it was curious, but uo' siitis-
factory explan.ation was forthcoming. A long discussion on films and their
defects took place. " A large number of members had found insensitive spots.
One had a film strip completely from the support on taking it out of the box.
Mr. Matthew? said that, in case of a celluloid fibr, partly stripping, it could be
made to adhere by licking with the tongue. Mr. Gill had found a great
tendency of plates to frill badly lately, and inquired whether the temperature
of the developer would be the cause. It was thought to be very probable.
One member suggested that the fact of being coated during the hot weather
might have prevented perfect adhesion to the glass. Seven new members were
elected. The outings resulted as follows :— Kew : Mr. Beadle, lirst ; Mr.
Smith, second. St. Albans : Mr. JIarchaat, first ; Mr. Smith, second. Cas-
siobury Park : Mr. li:.rzh:.r,t, tcth trst and second.
Hackney FholograpUio Sooi«ty.— .June 20. Mr. W. Fenton-.Jones in tho
chair. — Tfio Ciairsiii; sictcii,; ^,i.j ii^tuod of takiiii- portraits outside, which
was to iiavo & Vvvy iii-gii cio\,iLSB-norse, and so make a sort of outdoor
stu.ii^, plMiJif s zijid of tliiid ov'r to rsjniste the top light. Mr. T. H.
Smith snowed some pictures he had taken on the Bamet plate by gaslight.
One had five minutes and the other forty minutes. Both were under-exposed.
Mr. AvENT had taken portraits using six Welsbach incandescent lights, and
found that five or ten minutes would be about the right exi>osure. The
Chairman then showed and explained a Wynne's exposure meter. It appeared
to him to be a very good and cheap article, and he said he would try and report
further on it. Mr. Penny showed two negatives. One had been enlarged by
the cresco-fylma method, and the other by using hydrochloric acid two
draclims to four ounces of water. The result was precisely the same. Owing
to the unavoidable absence of Mr. Hensler, Mr. Gosling started a discussion on
Toning. He was in favour of plenty of gold, and the use of the sulpho-
cyanide bath, for P. 0. P. Mr. NuNN said he had obtained yellow tones when
using borax. Mr. Barnes used a lead toning Imth, but the colour w.is too
slaty. The Chairman said he had read tliat chloride of ahmiinium was recom-
mended in place of alum to hanlen the gelatine in the prints, the great
recommendation being that they could be the more readily handled without
injury.
Brixton and Clipham Camera Club.— June 20.— Mr. C. Gowlwin Norton
gave a demonstration on Phctoiira^hy hy Arliricial Light. He advocated the
use of five or six blow-through jets arranged in a cluster, and enclosed in a
box, in front of which a tissue or prepared calico screen should be stretched.
The exposure averages from eight to twelve seconds, and the results are very
good. The average cost per sitter is about threepence for the limes and com-
liressed oxygen. Reflectors of some white material will be necessary in order
to lighten the shadows a little. The light should be suspended from the
ceiling of the room by a cor<l. and it should Ije about six feet from the ground.
Better results are claimed for this liglit than from the magnesium flashlight.
The electric light would, of course, be better, but it is beyond the reach of the
niajority of professional photographers at present. The whole cost of the outfit
is only about 5^ complete. Specimen photographs taken with this light were
passed round, and at the conclusion of the demonstration a discussion took
I'lace.
Croydon Camera Club.— The President (.Mr. H. Maclean) conducted a
party of members on Saf.irday, June 2^, through the Edenbridge district.
414
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June SO, 1893
The chief points of interest centered upon the banks of the Eiien, which offers
several attractive little bits. The neighbourhood of Lake Deadeye is both
photographically and paintably good. Those present took full advantage of
the somewhat trite attractiveness of this lonesome sheet of water. Rambling
on towards Lingfield, several secluded scenes were come upon, :ind, although
not in all cases taken, none the less enjoyed.
Gosport PhotographlG Society.— June 20.— Mr. S. Herbert Fry, of R. W.
Thomas ife Co., Limited, gave a highly successful demonstration on Tlie SancleU
Plate. The lecturer ex))lained the mode in which the plates were coated, and
said that the great advantage of the multiple films was the extended scale of
correct representation. Some specimen prints from Saudell negatives showed
that a good foreground could be obtained without spoiling the background. Jlr.
Fry said it was best to expose for the shadows and leave the high lights to
take care of themselves. He recommended development with a weak solution
to cor.;mence with in cases where the exposure is known to be more than
normal. Two plates of a sitting-room, with the sun shiuing in the window,
fulfilling all the conditions of a difficult exposure, were developed. In both
instances the negatives were clear and good. Another plate exposed by a
member yielded good results.
Birmingham Photographic Society.— June 20, Mr. F. S. Roode in the
chair. — Mr. Hexdren continued his lecture on Chri$tian Architecture in
England. Mr. Hendreu, in the course of his very interesting remarks,
showed by diagrams the various forms of arclies, pointed and round, and the
evolution of one from the other, also the various kinds of decorations com-
monly in use both on arches and pillars. Several of our well-known catliedrals
and other public buildings served to illustrate this or that style of work, a
large number of photographs being shown.
FORTHCOMING EXHIBITIONS.
1893.
•July 3-S Photographic Convention of the United Kingdom,
Plymouth. Hon. Secretary, F. P. Cembrano, jun.,
10, Cambridge-gardens, Richmond, Surrey, S.W.
August Welsh National Eisteddfod. The General Secretary,
Pontypridd.
Sept. 25-Nov. 15 ... Photographic Society of Great Britain. 5a. Pall Mall
East, S.W. Assistant Secretary, R. Child-Bayley,
50, Great Russell-street, W.C.
October 1-31 Hamburg. Das Ausstellungs Commltte des Amateur
Photographen Verein, Schwanenwik, 33, Hamburg.
,, 9-Nov. ... Photographic Salon, Dudley Gallerj-, Piccadilly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesbury-avenue, W.C.
December Madras. The Hon. Secretarj- Amateur Photographic
Society, Madras.
• ♦
Cott^jEfpontrence.
iV Corresjxnidwiis should never write on both sides of the paper. No notice is taken
of conimiuiicationa unless the names and addressee of the writers are given,
THE FOCUS OP A COMBINATION.
To the Editor.
StR, — I have a Dallmeyer 2 C Baby lens, advertised as four and a half
inch focus and two and a half inch aperture. I find that, when the direct
rays from the sun pass through the lens into a dark room, the dust
of the room renders those rays visible, and that they converge in a cone
to a point exactly five inches from the front surface of the lens and then
cross and diverge ; I wish to know whether this five inches may be taken
as tlie focal length when calculating for enlargements.
The above is the question, but perhaps I may add that I have pre-
viously tried to obtain the focal length by the means suggested by Mr.
Bothamley, viz., to place the lens on a rule at one end of which is a
white card and to focus the image of the sun sharply upon the card, the
distance from the card to the diaphragm will then be the focal length ; by
this means I made the focal length about four and three quarter inches,
but in the experiment above you will notice that the distance was five
inches from the nearest surface of the lens ; that the rays from the sun
were brought to a fine focus is, I think, proved by my having lit my pipe
by this means at the point indicated. — I am, yours, &c. L. V. Drew.
Mount Ayliff, East Griqualand, Cape Colony, June 2, 1893.
[See Leader. — Ed.]
*•
DEPRESSION IN PHOTOGRAPHY.
To the Editor.
Sir,— I am really sorry to see you printing so many letters on depression
in photographic business, such as those written by Messrs. T. S. Hicks,
Another Pro., and many others, losing in so doing such valuable space in
your independent British Journal of Photography, specially since
" Amateur," page 398, answers so well all points. He gives the remedy
in a few words, a kind of universal panacea, and without recourse to law
orN.A.P.P., or any convention. All that is needed is to enlarge the
amateur agglomeration, and then reduce all the professionals in larger
cities to six or less first-class ones, these to be selected, of course, by a
committee of amateurs. Any of these will do for that purpose, they being
all superior beings, to which (as is well known now) all that is known in
photography up to date is due.
Mr. Editor, in your modesty you have never given us a list of what
we owe to the amateur. Allow me, therefore, to ciuote a few of the
improvements they have made, or, more modestly, brought about, and to
quote in rotation let me refer to page 280, over Mr. W. D. Welford's
signature : 1. Increasing speed of plates (never thought of before the
amateur came with his hand camera). 2. Improving apparatus generally
(same remark as above). 3. Causing greater attention to small work
(ditto). 4. Increasing the number of photographers (amateur wants them,
singularly, reduced). 5. Naturalness of posing (ditto as above No. 1). C.
Aiding journalism and study of life (this is true). 7 Improving mental
(?) and physical action (certainly around the chin, especially, to brag
about all amateur achievements). Then Mr. Amateur comes in by stating
that this particular class takes up chemistry, composition, and lighting,
and. what is a new addition, optics, which I think was left up to date to
specialists, only. What next ?
Mr. Amateur must have an exceptional lot of first-class amateur
acquaintances Jwho throw away all pcor negatives snJ prints. My
experience so far has been that, if amateurs were to act in such a radical
way, they are not likely to find glass too heavy and bulky to store away
and want films instead. Oh dear, no !
To return to the poor professional, I would say that the amateur does
him more harm by his talk than by actual work. The amateur tells
how much one plate costs him and the paper to print on, and maybe the
small outlay for a piece of cardboard. From this the uninitiated counts
up the difference asked by the professional without adding anything for
work, failures, chemicals, rent, taxes, retouching, living, help, dull
times, instruments, repairs, &c., all things Mr. Amateur knows very
little about, and never speaks of to others. He has one outfit
and one lens, generally one that does for all work, good or bad,
principally the latter. He takes views and portraits, interiors and
churches, buildings, and reproductions of engravings, all with one
lens, and instantaneous too. If it is bad, the plate or chemicals are at
fault. If it turns out good, believe me, it is nine times out of ten a mere
chance. Exceptions, Mr. Amateur, prove the rule. There are better and
worse photographers the same as in any trade, wliichever you take, linen,
clotli. machinery, tailors, milliners, &c., photography is no exception.
The British Journal of Photography tries hard to improve the standard ;
but, it there are only six good ones in larger towns, the others may have
some good reasons to complain, even if they are a little inferior. Re-
member, please, Mr. Amateur, that superiority is only possible among
amateurs, and be more generous towards the poor professional that only
wants to make a living.
One word more and I am through. I know of a great many amateurs
whose only library consists of a sheet of paper with a formula on it and
a few circulars of cheap outfits and plates, and, maybe, paper and card-
board, but no books or journals. — I am, yours, A'c. , A. Levy.
Asmere.<. June 24, 1893.
To the Editor.
SiR.^There has been a good deal written lately about amateur r.
professional photographers, but a letter in yesterday's issue of The British
Journal OF Photography really requires an answer. "Ssenkrak" does
not seem to understand wliat " an amateur " is, and writes a lot of
irrelevant stuff, apparently to throw people off the line. The definition
of an amateur as given by the A.A.A. is as good as it can well be, and
has, I believe, been adopted by others.
" An amateur " is, as the name implies, one who does a certain thing
for love of it and not for money (this is not the A.A.A. definition). What
does it matter if he (or she) be poor ? they need not make money by it.
" Ssenkrak's " second paragraph is delightful humbug. Yes, •' it is all
very well to talk about the hona-fide amateurs; who are they?" They
are scores of people who (like myself) have practised photography from
love of it, and who have never received, either directly or indirectly, any-
thing beyond thanks for their gifts of pictures.
I agree with "Ssenkrak" in being unable to see wherein anything
" mean can exist," ttc. I don't know how any one could. It is not
" mean " to be a professional pure and simple, but it i.-' " mean '' being a
professional, earning money by the art, to pose, or try to pose, as an
amateur. Be one or the other, no one can be both, and whichever you
are don't be ashamed of it, as there is nothing in being a professional,
or amateur, photographer to be ashamed of; but itis " mean " and some-
thing to be ashamed of being one thing, say a professional photographer,
to try to deceive people, and make them believe that you are another, say
an amateur photographer. — I am, yours, Ac,
It'eitward Ho ! June 21. J. E. Gubbins, Lieut. -Col., late li.A.
To the Editor.
Sir, — Your contributor, " Pioneer," under the lieading of " In Darkest
Photography — and the Way Out," in your issue of June 16, makes some
remarks which I think are rather likely to do more harm than good.
As a shop'-ieeper I fe^l rather insulted by the manner in which he
June :iO, 1803]
THE BIUTISH JOURNAL OF niOTOGRAniY.
4ir
refers to my class in tba following paragraph : — " There is too great
a tendency at present amonK professional photcgraphere to adil the sale
of apparains, chemicals, .Vc. , to the ordinary branches of their bu-inesi.
It is a system to be deprecated, and tends to liirer the ttitiii of the pm-
ussion, caiifiiig thii.ie uhofulloic euch a i>iacticc to dtuceiid to the level (■/
ci shiipkeejnr." The italics are mine.
Now, I would be glad if •' Pioneer" would point out wherein consirts
the degradation of a shopkeeper as compared with any other member of
society, not excepting even the aristocratic professors ut photography.
I take it that, whatever occupation a man follows, if he does liis duty
and conducts himself in a becoming manner, he is worthy of our respect
and admiration, and I fail to see what there is in the business of photo-
graphy to make a photographer such a very superior person, so far above
the level of a shopkeeper.
"Pioneer" should have lived in the middle ag-s, when wealth and
power, class and lineage, were the chief factors in giving a man a status
amongst his contemporaries ; but in the nineteenth century people are a
little more enlightened, and honour a man for what he is, and for what
he makes himself by his conduct and abilities.
I would be the last to cast a slur on the business — call it profession if
you like it better— of photography, and 1 consider I do it no dishonour if
I place it on the same level as shopkeeping.
There is far too much nonsense talked of the status of the profession
of photography, and it is time the " low shopkeepers " had an innings.
It is also entire nonsense to talk of Excise licenses or Acts of Parlia-
ment helping to give a status to photography, and limiting the number
of photographers. An ordinary hawker has to have a license, but that
does not make him a superior or inferior person more that he was before.
Ills character that tells.
Photography in these days is easily acquired by one year's careful
study and practice, and those who are so contemptuously referred to as
shopkeepers often beat, by their amateur productions, the work of a lot
of professional photographers. So long as professional photographers
can turn out superior work, they have no need to fear amateur compe-
tition, and " Pioneer" should remember that in this world everything is
governed by natural laws, and when artificial law clashes with natural
law its efforts are useless.
1 have a large amount of sympathy for those professional photogi'aphers
who cannot make their business pay. Here natural law comes in — the
supply exceeds the demand. They must, therefore, turn their hands to
some other work. And we must remember that if the amateur does
injury to the professional, he does a large amount of good to photo-
graphic manufactureis and dealers; therefore, those who cannot make_ a
living as professional photographers should take heed of the signs of the
times, and make a living by catering for the increasing army of amateurs.
It is merely diverting trade into another channel. Ko honest work or
business can possibly be degrading to any man, but idleness is most
reprehensible, and so is pride of class. — I am, yours, &c.,
William James Farmer.
68, Blackburn-street, London-road, Blackhiini, June 20, 18'i)3.
PHOTOGRAPHIC CONVENTION OF THE UNITED KINGDOM.
To the Editor.
Sir,— It may interest those of your readers who intend attending the
Convention to know that the Great Western Hallway issue third-class
excursion return tickets to Plymouth for 2U. by the trains leaving Pad-
dington on Saturday, July 1st, at 7.55 a.m. and 1.55 p.m. Passengers
can return on the following Saturday, Monday week, Saturday week, or
Monday fortnight. Times of return trains on Saturdays and Mondays,
8 a.m. and 12.30 p.m. — I am, yours, Ac,
10, Cambridge-Hardens, F. P. Cemeb.vno, Jcn., Hon. See.
liichmond, S.ir.
•
DE\'ELOPMENT OF OVER-EXPOSED PLATES.
To the Editor.
Sir,— Many readers of The British Journal of Photography for June
2, 1803, p. 251, and those of Photographic Scraps for this month, must
have been greatly interested in the record there given of Prof. W. K.
Burton's experiments respecting the successful development of greatly
over-exposed gelatine plates, and will be looking forward to the time
when full details of his system of treating such long exposures are pub-
lished in the photographic journals. I understand that he will read, or
send to be read, a paper on this subject to the Photographic Convention
for 1893, which will give full details of his method, no doubt, which will
greatly assist any one who is interested in this important matter, for the
speed of the gelatine dry plates is being increased by some maker or
another almost every week, which, of course, will tend to favour over-
exposure greatly ; therefore a reliable method of overcoming it will, or
should, be welcome to all photographers.
Judging from a description I read a short time ago, the new develop-
ing agent known as " Glycin-Hauff " appears specially adapted for the
successful development of greatly over-exposed gelatine plates. It may
also interest many readers to know that a saccessful method of develop-
ng both iinder-txpiiied and orrr-crpoted gelatine platen was published in
TuK British Journal of I'lioKMinAPHv for May 29, 1H8.5, pp. 842 and
Siii. also in the Almanac of the same Jocbnal for 1887, pp. 197 to 199 ;
in the latter, additional details were given. The developer used waapyio,
bromide, and ammon'a. I have tried the formula given there for under-
exposure, and found it work well, and have no doubt but what thote
recommended by the writer of the article referred to, Mr. F. P. Leon,
would be found equally satisfactory. He said the formulic he gave suited
all the gelatine plates then upon the market, theretoie ii is very probable
that they would be equally successful if tried at the present day ; indeed,
I intend to do so at the earliest possible uiomeiit, and may send you a
report of my success, or otherwiuc, for publication, should you be able 1o
spare space for it. — 1 am, yours, Vc, J. j. Hacketi.
Fleet, Hauls.
iEictangc (ZToIumn.
•»* iVo charge is made Jot inserting Exchanges of Apparatiis in this cohimn ;
but none vnll he inserted unless the article wanted is definitely stated. Those
who specify their requirements as "'anything us'faC will therejore understand
the reason of their non-appearance. The full name of the advertiser must
in all cases be given for publication^ otherwise the Exchanges will not be
inserted^
Will exchange I2s. 6l1. set of Xameit (new) for r'aotogrcxihy, by A. Brothers.— Address
John Weie, photographer, MoHat, X,0.
WR-nted, changinBT bag; -will give Luncasler's patent foldinaf lamp in exchange. —
AddiN:88, H. Ward, tne Stratford Studio, the Dulph, Bri^rrley Hill.
Will exchange embossing press and four dies for cabinets and C.T>.V.'s, by Marion,
cost 51. OS., for other photographic apparatus.— Address, W. Walker, lo6, >oel-
street, Nottingham.
Wanted, whole-plate modern camera and three dou>»le slides, in good condition, in
exchange for tricvele in good coudition. Can be seen any day.— Addres?, A. Ij.
Smith, 233, Uxbrjdge-road, W.
Will exchange quarter-plate camera (by Talbot & Eanier), three donble book »1tde»
three-fold tripod, also silver Geneva watch, tor half-plate camera, three donfal
slides, and tripod. — Address, J. K. Smith, Little London, Kawdon, Leeds, Yoric^.
Will exchanore a Robinson's iniarter-plate single laLdscape lens and a enryscope, /-6
quarter-plate rapid vecciliuear lens, and 5s., for a rea ly decent wbole-plate lens. —
Address, Charles J. Harris, 3, Pentyre-tori ace, Sea-viow, Plymouth.
Will exchange Mofs k Milton's twelve-inch enamellor, nickelled roller, perfect as new
for 12x10 outdoor camera, with all movements, three double alided, tripod, «tc.,
posing char, or first-class backgi-ounds. — Address, Thompson, 72, Market-street,
Uradtord.
Will exchantre a rigid brown waterproof campra ca*e, nine and a half inches in
height, eight and a half inches wide, and fourteen and a half inches long, never
used, also changing bae and half -plate sliding mahog»uy tripo<l, for Eujlish and
foreign stamps, envelopes, and post-cards, — Address, Dr. W^atkrs, 21, Weatboume-
park-ioad, Bayswater, W.
Will exchange a Cox quarter-plate portrait lens (/-5) and a wide-angle qnarter-plate
Lanca.^ter lens (/-16) for a Wray special rapid rectilinear hand-camera lens of sit-
inch equivalent focns, working at /-8 ; or, for a portable half- plate s<iaare-bellow8
camera, donble extension, with rack work, double swing back, rising and cross
front, and three or more donblo or single dark slides.— Address, J. T. Haccett,
lyi, Albert-street, Fleet, near Winchfield, Hants.
ansiMEw to (fforrcspontiEmg,
%* All matters intended for the text portion of this Journal, including
Sueries and Emhanges, must he addressed to " The Editor, Thk British
ot'RNAL OF Photography," 2, York-strut, Covent Garden, London. In-
attention to this ensures delay.
*,* Correspondents are inforned that we cannot undertake to answer com-
munications through the post.
*,* Communications relating to Advertisements and general btisiness affair!
should be addressed to Messrs. Henry Greenwood & Co., 2 York-street,
Covent Garden, Londcn,
*,* It would be convenient if friends desiring advice respecting apparatus,
faiiures in. practice, or other information, would call at the Editorud Office
either on Wednesdays from i toG, or Thursdays from 9 to 12 noon, when
some one of the Editorial staff will be present.
Hugh Blackwood.— In our next.
E. Edwards. — On such a purely legal point we cannot hazard an opinioo.
Better consult a solicitor.
J. T. S1.MISS. — If yon will refer to our rules, &c., for e.Tchanges, you will see
that we make it a condition that the name of the ailvertiser must be given.
Reader. — We cannot trace the number of the patent. A visit to the Patent
Office, where you can reftr to the alphabetical list of patentees, will give yoa
the desired infonnation.
416
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[June 30, 1893
Othello. — 1. So far as we are aware, no explanation has been forthcoming as
to why, upon applying a drop of water to a dried negative, a reduction of
density takes place. 2. It would be better to fix out tlie silver salt in the
usual way, and recover by means of liver of sulphur.
Thbogmorton. — Photography is largely practised in an amateur way by
members of the Stock Exchange who are also members of different photo-
graphic societies, but we have no knowleilge of a " Stock Exchange
Photographic Society," nor do we think that any such Society exists.
F. GOLDBT. — Each formula, as given in the AL5Iaxac, is complete in itself,
and should be adhered to. If additions of one formula to the other be made,
unless the various chemical equivalents be taken into consider.ition and com-
pensated, failure will probably result. Why wish to add acid to the washing
water ?
A. B. — If the copyright is not registered, no proceedings can be taken
against pirates. It was a pity, when such an event would never occur
again, and the negative was obtained under sucli extreme difficulties, that
registration, as its cost is so little, should have been neglected. Tlie only
thing now is to " grin and bear it."
W. H. C'ROncHER. — This correspondent, in the course of a letter on " Depres-
sion in Photography," dubs the amateur an "eyesore to the professional,"
and suggests that both professionals and amateurs should be licensed — the
latter to the extent of ten or twelve guineas a year, ' ' which would soon wipe
out the amateurs " who are " a curse to the professional."
A. X. L. — If the two rival inventions have been patented abroad prior to their
being patented in England, the first application here need not be the most
valid patent in this country. Consult an established patent agent, giving
him fuller particulars as to what has been done in foreign patent offices than
is given in the communication, and get his opinion on the subject.
T. Stokes. — The two negatives received. If they are fair examples of your
general work, we are by no means surprised that you fail with the platinum
process. No one could obtain vigorous prints in platinotype from such thin
or veiled negatives. For platinum printing, to obtain the best results,
tolerably vigorous negatives are an essential. Plates returned as requested.
W. G. Honey. — A method of printing resembling that about which you write
was introduced several years ago by the late Oliver Sarony ; nay, if we are
not mistaken, he obtained a patent for it, but it has long since been lost
sight of. However, it is a gooii method, and we shall be pleased to see it
reintroduced with such modifications as are suggested by knowledge and
experience.
Cici writes : " Will you oblige me by letting me know if there is any silver
in the hypo solution after the plates have been fixed ! Why I ask you is
because I found that, after a week, some thick dark matter settles on the
bottom of the jars. Is it worth while to keep it on '! What would throw
the silver down quickly f— Of course there is silver in the fixing solution, and
it is certainly worth saving in a large business. Sulphide of potassium is
the best precijiitant.
J. SiHTH.— -1. The best varnish for your purpose is one that is now beini^
extensively used as a lacquer for silver goods by jewellers and others It
emanated originally from the Frederick Crane Company of America, and is
obtainable from several firms in this country, among these being J R Gotz
Buckmgham-street, London, W.C. It is a solution of celluloid in acetate of
amyl, modified by the presence of other matter. 2. The mirrors next to the
eye may be 2x3 inches each.
"W. H. C.—l. No such work is published. Better get a few practical hints
from a professional photographer. 2. The articles that have recently ap-
peared on studio-building give all that is necessary. Supply anv builder
with p ans according to your requirements and the space at disposal, and
he will do the rest 3. Dark blue or light green for the roof, of such
materials as is usually supplied for window blinds. Unbleached sheeting or
pale blue will answer well for the side blinds. 4. See Leader on another
page. ^. A refiectmg screen or two is always useful in a studio A frame
covered with pale blue calico answers every purpose. Any blind-maker will
*'t^;^.^n"!°^ ^f? ■ !'Il}ave.some very old stereoscopic transparencies bearing
the name of Ferrier that m the stereoscope are very ditfereut from any of til
modern ones I possess, and they are infinitely superior. On looking at them
in the stereoscope, the towns and villages seem like models, and not as those
of the present day do-pictures with a certain degree of rel ef. Why is X s
and why do not modem workers aim to obtain the .same effects as
described.^ "-The efiect described is obtained by placin- the lenses or the
cameras very wide apart, sometimes many feet, an^'not, as°at present, aboi,
the distance, or a little more, than the eyes are ap.art. The pictures alluded
to are untrue to nature as the eyes see it. Jnuuea
Robert Bruce asks: "What lighting would you advise me to have for a
studio which IS to be con.structed for reproduction exclusively? I mean to
reproduce all classes of work, engravings, maps, photographs, &c., for photo
mechanical processes. I simply want to know Vhat^you consider the best
gh ing for this class of work, as the studio can be constructed to get the
light from any point."--For general work of this kind a ridge-roof stud o
running north and south, with lighten both sides, and the north end also
gkss, with a complete set of blinds, wUl be the most useful : then ligh may
be ootained on the subject in any direction that may be required Some-
Stereo asks : "What lenses are best for stereoscopic work antl lantern-slide
negatives '!" — For general work lenses of from four and a half to five and a
half inches focus are the most useful. As lantern pictures are required, we
should recommend a pair of lenses of the rapid type of about four and a half
inclies focus for architectural and instantaneous work, and a pair of single
lenses of something like five and a half inches focus for other purposes. As
for the distance apart, from three to three and a half inches will be best for
most subjects.
Ars-loxga writes : "The light of my studio is situated on my neighbour's
side. She has had some door and window cases from some old building
brought to her house, and has placed them iu front of my side light, which
will very much alTect my work. Does the law permit her to take such a
course, or can I compel her to remove them < " — The neighbour has the right
to place anything she likes on her own property, even to the extent of stop-
ping out the whole of the light from the side of the overlooking studio,
unless that enjoys the privilege of " ancient lights " — that is to say, it has
had an unobstructed light for not less than twenty years. Unless the studio
has enjoyed this, law will give no remedy. Perhaps, however, a polite
request for the removal of the thing will accomplish what legal proceedings
will not.
Hackney Photographic Society.— July 4, Open Night.
Northern Photographic and Scientific Association.— July 1, Soatli
Kensington Museum.
Gosfort Photographic Society.— July 6, Winchester. Leaves Gosport
thirty-five minutes past ten a.m.
Mr. William England has been awarded a silver medal for his Alpine
studies at the Lille Photographic E.xliibition, recently opened.
Manchester Ajiateuii Photographic Society.— July 1, Healey Dell,
Leader, Mr. E. Ashman. Train leaves Victoria (No. 5) at one p.iiL
EnRATfM. — In Mr. Gosling's letter published last week, the word "gelatine,'
as applied to the cold-bath platinotype developer, should read "glycerine."
From Mr. John Rowden, St. Leonards, we have received a sample of his
sensitised albunienised paper of the " Incomparable " brand. It is claimed to
be very rich ia silver and free from blistering.
Mr. Wilfred Emery (South-street, Baker-street, W.) sends us specimens of
his work as a retoucher and printer. They are in platinum and silver. Tlie
retouching is effective, and the work is good in evei'y way,
A CORRESPONDENT writes: "Re the amateur difficulty, I suggest that, to
end the matter satisfactorily to professionals, each professional should invite
an amateur acquaintance to dinner, and then attack him with a club. Hicjacet
amateur ! "
Dinner and Testimonial. — On the termination of the three years engage-
ment of Mr. J. B. B. Wellington with the Eastman Company as"tlie Manager
of their factory in Wealdstone, Harrow, he was entertained at dinner by a
number of the emphyls, who, upon his leaving, desired to testify their esteem
for him both as a manager and as a personal friend. The chairman after
dinner in the name of those present presented Mr, Wellington with a handsome
marble clock.
" Dry Plates " for June says : "In accordance with the promi.se made in
the last number of our magazine, we have made a series of exjieriineuts to
determine the alteration in speed due to using our developing formula;
instead of the standard formula for speed testing. The result is that the speed
number should be multiplied by two with our developer at 6.5° Fahr. It may
be asked why we do not give speed numbers with our own developer. This
would not leave our numbers comparable with those of other makers using the
Hurter & Driffield system ; we therefore use the formula up to the present
used by two makers for this testing purpose. Our minimum lightning speed
is now fixed at SO' H. i D. = 160° if our developers are used."
OONTSNTS,
Vkam
THE equivalent FOOUS OF A COM-
BIN.tTION OP LENSES 401
PHOTOGRAPHY AND SCIENTIFIC
RECORDING 103
TONING GELATINO - CHLORIDE
PRINTS WITHOUT GOLD 402
A NEW DEVELOPER FOR GELATINE
DRY PL.ITES. By W. P. JEXNEY .... 404
ON THE USE OF TIN-FOIL AS A SUP-
PORT FOR PHOTO - LITHOGK.APHIC
TRANSFERS. By CAPTAIN A. M.
MANTELL, R.E 405
Pasi
RAPID TONING BATH FOR GELATINO.
CHLORIDE PAPER. By W. D. WEL-
FORD 4(M
DODOES. By C. O. GREGORY 409
SUMMER NOVELTIES IN APPARATUS,
S^a 410
OUR EDITORIAL TABLE 412
RECENT PATENTS 412
MEETINGS OF SOCIETIES 412
FORTHCOMING EXHIBITIONS 414
COREESPOSDENCE 414
EXCHANGE COLUMN 415
ANSWERS TO COREESPONDENTS 4i:
THE BRITISH
JOUKNAL OF PHOTOGRAPHY.
No. 1731. Vol. XL.— JULY 7, 1893.
METAL VEJiSUS PAPER FOR-JIHOTO LITHOGRAPHIC
TRANSFERS.
The paper read by Captain Mantell at a recent meeting of the
Photographic Society of Great Britain, -which we were enabled
to give in our last issue, on a method of producing photo-litho-
graphic and photo-zincof^raphic transfers, as worked out by Mr.
Husband at the School of Military Engineering, Chatham, is
one of more than passing interest to experimentalists in jjhoto-
mechanical processes generally. From the paper it will be
seen that the sensitive film is, as usual, bichromated gelatine.
But the novelty is the material upon which it is formed,
namely, tin-foil instead of paper, the material generally employed
for the purpose.
After all, however, this system is by no means new ; but that
does not detract from &nj merits it may possess. Tin-foil, if we
mistake not, was first used for photo-litho transfers by Senor
Rodriguez, of Lisbon, now some dozen or more years ago, and
■with success too. Why the method has lain dormant so long it
is a little difficult to conceive, unless it be that the foil then
used was tin-foil, and also very thin. It was said at the time
that the thinner it was the better it was for the purpose, j)ro-
vided it was perfectly free from holes, a condition diflBcult to
secure in exceedingly thin foil. Now, as will be seen by refer-
ence to the paper, a thicker foil is used, and, instead of its
being tin, an alloy, probably of tin and lead, is employed. It
will readily be imderstood that the inking up, and handling
generally, of even a moderate-sized sheet of extremely thin tin
foil, coated with bichromated gelatine, without stretching or
distorting it, was by no means an easy operation.
Let us now compare the advantages claimed for metal over
"those of pa])er for transfers. Photo-lithography, which, by the
■way, is perhaps worked by a larger number of persons than
any other photo-mechanical process, is principally employed
■for line subjects ; and in the majority of instances, as with
maps and plans, the work has to be done strictly to scale. It
is in such cases as this that the inconvenience of paper is most
experienced. The image on the bichromated gelatine has to
be printed from the negative while the paper is in a dry state,
and it has to be transferred to the stone or zinc plate, as the
■case may be, when it is in a moist condition. Now, paper, it is
well known to most persons, expands more or less when it is
■wetted ; consequently the image, as piinted from the negative,
becomes of a different size from what it was at first by the
time it is ready for transferring. But that is not all. Machine-
made papers, and they are the ones used, expand more in one
direction than they do in another. The expansion is greatest
in the widtli of the paper, that is, the width of the web as it
leaves the machine. This, of course, need not be represented
by the width of the sheets ; that will necessarily depend upon
whether they are cut transversely or longitudinally from the
roll. Lengthwise, the expansion with some papers is next to
nit, while crosswise it may be considerable. Furthermore,
even with the same make of paper, the degree of expansion is
not always the same, for the age of the material appears to be a
factor in the case. Hence it will be seen that, when extreme
accuracy is a necessary condition, paper transfers may, and
frequently do, give considerable trouble to photo-lithographers
and photo-zincographers.
It is just the above difficulty that the process, worked by
Mr. Husband to a successful issue, is intended to meet. The
metal foil retains its original dimensions alike when it is wet
and when it is dry. The only thing that is likely to cause any
variation is temperature, and that, in the case of the metal
recommended, will be under ordinary conditions so trifling that
it may be quite disregarded in actual practice. Another
advantage of the metal over paper is that, in contact with the
negative, the print is not liable to buckle or cockle in damp
weather with a long exposure to the same extent as is the
latter. We also anticipate another advantage from the use of
metal foil over paper. It is that the bichromated film upon it
will be retained for a longer time in good working condition than
would be a similar one on paper, as the latter material often
contains aluminous and other matters that exert an insolubilising
action on the sensitive gelatine, while the metal may be
expected to be perfectly inert.
It might well be asked why this system of making photo-
graphic transfers, which was published so long ago and working
details given which, by the way, do not differ materially from
those published by Captain Mantell, has not been taken up by
those who practise photo-lithography commercially. It may
be that, as is tolerably well known, lithographic and other
printers are usually very conservative, and seem to have an
aversion to any innovation, or indeed anything that will neces-
sitate any deviation from the tract with which they are already
familiar. It is quite possible, however, that the system may
be in actual use, for it is tolerably well known that those who
work photo-mechanical processes commercially keep their
methods as profound trade secrets.
Now, however, that the system has been prominently brought
liefore the photographic world, it will probably receive more
attention than it hitherto has from experimentalists in photo-
mechanical work, as it is obvious that the use of metallio
transfers is not confined to photo-lithography and photo-zinco-
graphy alone. In the foregoing remarks no attempt has been
418
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[July 7, 1893
made to indicate the various directions in which metal transfers
may prove more convenient than paper ones, or how the methods
of preparing them may be modified. The object of the present
article is to emphasise the advantage in some ways of metal
over paper for photographic transfers in fatty ink.
• TONING GELATINO-CHLORIDE PRINTS WITHOUT
GOLD.
When we wrote on this subject last week, we were under the
impression that the general principles of the bleaching and re-
development method were sufficiently well known to most of
our readers to warrant us in treating the subject in a general
way, without going very minutely into detail. But it now
appears that there is room for a few additional remarks, in
order to make clear certain points on which some of our cor-
respondents are in doubt.
We would, in the first place, protest mildly against the care-
less manner in which some readers follow the instructions
given, and also against the way in which others modify those
instructions to suit their own ideas, and then complain because
they do not succeed. For instance, in spite of the warning we
gave in connexion with the use of bichloride of mercury on th e
score of the extremely careful washing required afterwards, we
find that more than one correspondent has used that salt, pro-
bably because it was ready to hand, and then, according to the
descriptions of what followed, has neglected the necessary
washing, and so failed to get results as satisfactory as antici-
pated. Another states that, having used a solution composed
of bichromate of potash and'chloride of sodium, " which is prac-
tically the same " as that given by us, he failed, in some cases,
to get any image at all on redevelopment, while, at the best, he
could only develop a mere shadow. We shall show presently
that the two solutions are certainly not either practically or
theoretically similar in action.
With regard to the use of bichloride of mercury, we can only
repeat what was said last week, namely, that it should only be
used in conjunction with very thorough and careful washing,
and even then, for various reasons, the solution of chloride or
bromide of copper is to be preferred. For one reason the
cuprous salt formed along with the silver chloride in bleaching
the image appears to interfere less with the subsequent action
of the developer than does the corresponding mercurous salt,
and the films, both before and after treatment, require less
washing than is the case with mercury.
Our reason for expressing a preference for cupric bromide
over chloride was that the image is thereby converted into
silver bromide, which exhibits a far less tendency to revert
under development to the old colour of the untoned but fixed
print. Bromide of silver, too, gives with greater readiness than
chloride the rich blacks and neutral greys that are now so
popular ; and, as one method is as easy as the other, we give
the preference to bromide on the ground stated, more especi-
ally as it requires the exercise of no precautions that are not
necessary with the chloride.
With regard to the employment of the improvised solutions
described by us, formed by the double decomposition of sul-
phate of copper and chloride of sodium, or bromide of potassium,
and recommended, on the score not only of economy but also
of convenience, our correspondent appears to think it unwise
on our jiart to recommend an " impure solution " in preference
to the real thing when the latter is so easily obtained. In
reply, we can only say that, if lie is in a position so easily to
obtain cupric chloride and bromide, by all means let him use-
whichever he prefers ; but all our readers, especially those re-
siding in small provincial towns, will not find it so easy to
obtain the salts named, especially the bromide, whereas the
ingredients of the solutions mentioned by us can be obtained
wherever a chemist's shop exists, or even where there is a
veterinary or other surgeon within reach.
Again, so far from the " impure solution " being a disad-
vantage, it is, in fact, if anything a benefit, since the sulphate
of soda or potash formed in the solution along with the copper
salt will tend to prevent the softening of the gelatine film, and
thus facilitate the manipulations. It is perhaps worth our
careful correspondent's while to go to the little extra trouble-
of preparing the " impure solution " instead of the easier but
more expensive plan of using the pure salts.
Turning next to the solution of bichromate of potash and'
hydrochloric acid, which for all-round purposes we prefer to-
those already mentioned, because, if properly applied, it leaves
a bleached image consisting of pure silver chloride, we can
assure our other correspondent that his failure is entirely due
to his own eagerness to improve the formula given. Hydro-
chloric acid, with the aid of the loose atom of chromic acid in
the bichromate, converts the image into chloride of silver ; so
also does chloride of sodium under the same conditions, but the-
latter goes further, and, if in excess, dissolves the silver chloride
so formed. Our correspondent has evidently employed a
solution of salt of sufficient strength to fix the image — or
rather to remove it ; after bleaching it so, it is little wonder
that little or nothing remained for redevelopment. Perhaps-
he will recognise that his solution is iwt practically identical
with ours.
We may add to our remarks of last week that where hydro-
bromic acid is available it is to be preferred to hydrochloric;,
for precisely the same reason as that given in the case of
bromide of copper. In fact, the image bleached with bichro-
mate and hydrochloric acid, if properly washed and treated
throughout, behaves precisely as any of the slow bromide
papers. If hydrobromic acid is not obtainable, a substitute is-
found by adding sulphuric acid to a strong solution of bromide-
of potassium, or by cautiously pouring a few drops of the-
strong acid on to some crystals, and then adding sufficient
water to remove the red-brown colour. It is not necessary to-
adhere to any strict equivalent proportion ; the potassium sa-lt
may be in excess, and, if the compound solution be employed in-
a sufficiently dilute state to ensure that the silver bromide is-
not dissolved by any excess of soluble bromide present, that
will be all that is needful.
We may perhaps lay some further stress than we did last
week on the importance of employing the solution of bichro-
mate and acid in as dilute a condition as possible, on account
of its physical action on the gelatine. So far as the chromium
salt itself is concerned, its strength would be quite immaterial
if it were not for the risk of staining that a strong solution-
entails. It is the halogen that does the bleaching, and so long
as there is sufficient present to convert the whole of the silver
in the image it cannot be employed too sparingly, that is to
say, in too dilute a solution. The best plan is to use a
solution of bichromate of fixed strength — say, ten ounces, five
grains to the ounce — ;ind to add the halogen solution in
small quantities sufficient to bleach the print with moderate-
rapidity.
If from prolonged contact with the bichromate solution a^
July 7, 189.'i]
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
419
i()ermnnent or persistmit yellow or brown stain should remain
in 8])ito of washing, it may be removed by means of very
dilute sulphuric or aqueous sulphurous acid ; but this opera-
tion is better left until after redevelopment.
Some of our correspondents in(]uire whether it is necessary
to expose the prints to light before redevolopinent, to wlxich we
■can only reply that, in the case of bleaching with mercury or
■copper, the redevelopment would most probably take place
■under any circumstances without exposure to light ; and, also,
•when hydrochloric acid is used with bichromate, if a sufficiently
strong developer were afterwards employed ; but, working as
we have done by lamplight or diffused daylight, more or less
exposure does not appear to exercise any influence on the
result. If a strong light be allowed to act, especially on an
imago bleached with bichromate, then, no doubt, the conditions
are identical witli those existing in the case of ordinary emulsion
}m])er, but the minute traces of chromic salt left behind render
the bleached images very insensitive to light.
The mercury-bleached image is probably quite insensitive to
light, as witness specimens of the old " alabastine " pictures,
■which retain their pristine whiteness in spite of light The
image bleached with copper is also practically insensitive,
perhaps (juite so, though it does change in time, but possibly
from other causes than light.
So far as the redevelopment of the image is concerned, we
cannot, in the space at our command, add anything useful to
what we have already said. The circumstances are so variable,
and the choice of developers so great, tliat we must leave indi-
vidual experimenters to select their own particular course,
assuring them, however, that they will experience little
/lifficulty if they work on the lines we have indicated.
Seducing' Action of Sulphite of Soda Tlie (luestion
-of the ability of sulphite of soda, in conjunction with pyro, to
•develop a di-y plate without any addition of alkali, has often been
raised, and it has been assumed occasionally that the development
obtained by such means was due to the presence of a small quantity
of carbonate of soda in the sulphite employed. Hut that sulphite
alone may act as a reducing agent is known to chemists, and quite
recently we may note in this connexion an important chemical process
has been founded on that property. Messrs. Augustus Lumiere and A.
■Seyewetz have succeeded in isolating several amido-phenols iu a pure
state by utilising for the decomposition of their salts neutral sulphite
of soda, which, in consequence of its reducing properties, prevents the
■oxidation of the base formed. When this reducing action is thoroughly
understood, it is capable of explaining many of the little-understood
properties of sulphite, -which is now a chemical absolutely necessary
in many photographic processes. Yet it seems only the other day
that the late Mr. Herbert Berkeley called attention to its value, and '
.this he had to do repeatedly before its use became at all general.
examines them by reflected light under the microscope. If any braot
is present, clusters of crystals of meUllic silver will soon be seen
forming themselves on the surface of the paper. After the solutio?
has nearly dried into the paper a drop of the ferrocyanide solution is
placed close to the margin. On diffusion it produces a chocolate
colouration about the margin. Other metallic particles, he gt«teg, are
rarely met with.
DKlcroacope Projection.— At a recent meeting of the Royal
Microscjpic Society, Sir David 1... Salomons gave an exhibition of his
projection microscope, which was spoken of in very high terms by the
President of the Society, who remarked upon the unusual flatness of
the field. We have, however, some difficulty in following the meaning
of the brief account which appeared in Nature of the course of the
succeeding discussion. The President said there -was one point on
which he should like to ask for information : " It sometimes happened
that great concentrations of light produced also a great concentration
of heat, and that, consequently, objects in balsam, if e.xposed for too
long a time, were apt to get spoilt through the softening of the
medium. Was this difficulty got over in the present instance by
using the electric arc light as an illuminant ? " Sir David Salomons
said he obviated it very much by using lenses cemented -with balsam.
The customary alum and water he found to he rather a trouble, so he
used simple distilled water, and found that it answered all the neces-
sities of the case. It is difficult to see how the action of the balsam
cement comes in, but there can be little doubt that plain water -will
answer as well as the time-honoured alum solution. It is not very
long ago we published the result of an exhaustive scientific investiga-
tion of the relative diathermancy of several liquids, one of the results
of which was to show the uselessness of adding alum.
Metallic Spots in Paper. — One of the first properties needful
to be possessed by a paper for photographic purposes is that it should
be free from contamination by metallic particles. It is difficult, even
with a microscope, to detect such spots, and in last week's Chemical
News Mr. Clayton Beadle has given a very simple and excellent
method of testing paper for the presence of these deleterious matters.
Strips of the suspected paper are floated in a one per cent, solution of
ferrocyanide of potassium acidified with a few drops of nitric acid.
.Vfter three hours' treatment, particles of iron will be rendered evident
by the production of deep blue spots, and brass by chocolate-coloured
spots. The former are of a very marked and certain character, but
the latter may easily bs mistaken for other foreign matter contained
in the paper. To confirm the presence of brass particles, Mr. Beadle
.places a bead of nitrate of silver solution on the suspected spots and
A New Sisinfectant. — Substances for preventing the decom-
position of gelatines, paste, &c., are of perennial interest in photo-
graphic technics, hence an account of the latest introduction of the
kind will be of interest to most of our readers, especially as the new
chemical possesses most remarkable qualities. Mr. Worrell, chemist
to the Thorncliffe Collieries, while investigating the nature of some
bye-products, has discovered a hitherto unknown oil, intermediate in
properties between the benzine series and its derivatives, on the one
hand, and the paraffin series on the other. From this oil he extracted
a body which he found to possess greater antiseptic properties than
even pure crystallised carboUc acid. It is insoluble in water, though
readily made into a permanent emulsion with it. Further, it has a
high boiling point, which gives it a persistency of antiseptic action.
A great advantage the new substance, which has been named " Izal,"
exhibits is its absolutely non-poisonous character. It produces no
detrimental effect when taken internally or applied externally, in
striking contrast to carbolic acid, as those who have inadvertently
spilled it on their hands know too well, while the poisonous quality
of " carbolic " is painfully and frequently sho^wn by newspaper
reports. It is no part of our work to show its wonderful effects on
the pathological forms ; but a substance such as Izal is described to
be should be simply invaluable in all gelatines and pastes when used
«nder circumstances likely to induce decomposition.
A Hew Photometer.— Before the Physical Society, on June 9,
Mr. A. P. Trotter read a paper on " A New Photometer." The authwr
has modified his " illumination photometer," described Proc. I. C. £.,
vol. ex., paper No. 2(519, so as to adapt it to the measurement
of candle power. The principle employed is to view a screen
illununated by one source through an aperture in a second screen
illuminated by the other light, the aperture becoming invisible when
the illuminations are equal. After using perforations of various
patterns, a series of narrow slots cut in thin paper were found to
give the best results. The plain screen is mounted behind the slotted
one in a box sUding on the photometer bench, and they are arranged
so that the light falls on them at equal angles. The screens are
viewed from a distance of six or seven feet through an opening in the
front of the box, cords being provided for producing the transversing
420
THE BKITISH JOURNAL OF PHOTOGRAPHY.
[July 7, 1893
motion. Two " sights," set respectively at the middle of the length
cf the plain screen and on the lower edge of the front opening, serve
to show -when the middle of the band of equal illumination is verti-
cally above the pointer on the carriage. The photometer is found to
be particularlv valuable when it is desired to determine the maximum
power of a variable source. When lights of different colour are
being compared— say, a gas flame and an arc— one end of the screen
showj blud strip4 ona yellow ground, and the other end yellow strips
on a blue ground ; at the centre the colours seem to blend. To facili-
tate the comparison of such lights, Mr. Crompton, who has been
working at thesubject simultaneously with the author, uses one screen
tinted pale yellow and the other pale blue. Details of construction
of the new photometer are given in the paper, and the accuracy
attainable when comparing two equal lights of about eight candles is
stated to be about one per cent.
PHOTOGRAPHIC COJfVENTIOX OF THE
UNITED KINGDOM.
PLYMOUTH MEETING.
The seventh annual Photographic Convention of the United Kingdom
was inaugurated at Plymouth on Monday evening, when the Mayor
(Mr. W. Law) held a reception in the Athenseum, and the President
(Mr. George Mason, of Glasgow) delivered his address. The attend-
ance is not so large as at Edinburgh last year, owing to Plymouth's
great distance from Scotland and the Midlands, and to the Koyal
wedding festivities falling in the same week. Still, there is a fairlj'
large gathering, which not inadequately represents the scientific,
artistic, and commercial aspects of photography. Among those
present were Messrs. George Mason (President), Andrew Pringle, F.
P. Cembrano (Hon. Sec), F. York, J. Traill Taylor, A. Haddon, F.
W. Hindley, J. Guardia, C. H. Bothamley, 11. M. Smith, Phipps
Lucas, Cornthwaite, W. D. Welford, Seaman, K. L. Kidd, Major
Lysaght (Cork), H. Sturmey, K. Keene, W. Scorer, E. A. Leblanc,
J.Birtles, Col. Harrington Baker, R. Hansford Worth (Local Hon.
Sec), W. G. Tweedy, K. F. Yeo, R. Rugg Monk, S. Weekes,
Lethbridge, G. F. Treleaven, and others. Many ladies also graced
the proceedings with their presence.
The Mayor, who wore his gown of office, tendered a hearty wel-
come to the Convention, and congratulated the members on the
prospect of fine weather. They would, he was sure, find an abundance
to delight them in the district, with its wealth and variety of foliage
and flowers, hills and dales, woods and moors, tors and rivers, and a
sea-coast of great beauty. They would, he was sure, feel amply re-
paid for the long journeys they had undertaken. Of the historic
associations of Plymouth and its famous Hoe all had heard, and, with
Dartmoor at its back, they would find much to interest and to admire,
and especially in the neighbourhood of Tavistock and Ivybridge, both
of which the Local Committee, he was glad to see, had included in
the week's programme. Again, he would say he felt it an honour
to receive the Convention in such numbers, and would add the hope
that they would be so impressed with the beauty of the place and
the heartiness of the people that it would not be long before they
came again.
Mr. Bothamley said, in the absence of Mr. George Davison, last
year's IVesideut, he had two duties to perform. The first was to
acknowledge the Mayor's most hearty welcome. Plymouth they all
associated with those great sailors who had made England what it
is to-day ; and they recollected that in Penzance, still further west,
was born one of the greatest chemists that ever lived— Sir Humphry
Davy— who was a-'socinted with Wedgwood in some of the very
earliest photographic e.^periments ever made. It was, however, the
feeling of good fellowship so characteristic of photographers that had
brought them so far west to enjoy and make pictures from some of
the finest scenery the United Kingdom coiild. boast of ; and he was
sure the Local Committee would do its "best to make their visit
pleasant and profitable. His second duty was to introduce to them,
as President, Mr. George Mason, a good photographer, an active sup-
porter of the Convention from the very beginning, and a very good
fellow. The President then delivered his annual address as follows : '
rRESIDENT'S ADDRESS.
At the Bath Photographic Convention meeting, Mr. Traill Taylor said
that, up to that point in the history of the Convention, the presidential
chair had been filled consecutively by representatives of the following de-
partments of the art science, viz., the literary, the scientific, the chemical,
the professional, and last year the chair was most ably filled by Mr.
Davison, who might, with every confidence, be termed the artistic. And
now come we this year to what is known as the commercial element,,
for you all know that the commerce of photography is what fills up the
most oi my time and study, and in this phase of the art-science I am
most at home. The commerce of photography may seem at first sight-
the most commonplace and least attractive of all its various branches ^
but this is not so, for more or less it embraces all, and it will be found,
to be the most essential element in the whole, it is the leaven that
leaveneth the whole lump. Only in so far as any profession is found to
be for the general good, so is it essential, and by its claims proving good
or bad so will it succeed or fail. All our introductions, experiments,
discoveries, and inventions — ^and their name is legion — are but means to
an end, and the end is commercial.
I fancy I can bear the enthusiast exclaim, " Oh, no, that is not 3o>
The glory of discovery is the reward. The love of the work is ample re-
payment." That's all v.-ry well, and I believe that he who says so has
perfect confidence in his statement. Yet, " What is it worth ? " is
really the point to be solved on the introduction of any new thing. It
may seem a very poor platform on which to place the work of the en-
thusiast and the investigator, embracing as it does years of experiment
and labour that on which is marked ■' What is it worth?" but I fear
that with but few exceptions it comes down to that at last.
There are exceptions to every rule, and all of us have met the enthusi-
ast who, for the love of the thing only, goes on working untiringly in one
groove or another, using both time and money for the advancement of.
the art-science, anticipating no profit from his labour, the pleasure of
overcoming difficulties and the joy of " finding out " being his end and
aim. But, even in such a ease, what has been discovered, if to spread
and flow, it must come to the river of commerce. If one happen to have-
income enough so as to render his position independent of any thought
of repayment, he may sneer at the position herein taken up ; but, never-
theless, it is a fact that commerce is the stream into which all the-
tributaries flow. Looking bock to the beginning, we find Niepce straying
along the country roads trying to gather stones suitable for his
photolithographic experiments ; liis correspondence with the I'aris litho-
grapher and his partnership with Daguerre all have a commercial
leaning. We also find his brother, who, in his own time, was as great a.
scientific enthusiast as himself, determine to leave his home, and
resolve to come to England, feeling sure that it was a better field for
the success of his inventions. And have we not the notable cases of
Daguerre and of Mr. Fox Talbot protecting their inventions? What for?'
For a profit, of course I
Whether we agree regarding the position I take up, that the end and.
aim of all our work tends to commerce, I have no doubt we will be at one
on the various items that I intend to touch upon to-night, for they are in
their very essence the work of the business. And, first, I would make a
few remarks upon the Convention itself and its membership.
Last year was tbe most ^successful of all our meetings ; but the Con-
vention meetings, since the very start, whether large or small, have ever
shown great vitality. Still, the professional has not given it either the
attention or the support that I feel it was his duty to do, and that the
institution deserves.
The greater part of the success of our meetings is due to the support,
and enthusiasm of the amateur element, and why should this be?
Surely there ought to be some equality of representation. The pro-
fession, as a body, is large enough and influential enough to at least
treble its present representation ; but I fear that it is the spirit that
lacks energy and enterprise. At first there was a considerable outcry
about the time the meeting was held being unsuitable for many in the
profession. To meet this objection, the date has been changed two or.
three limes, I think ; this with some little advantage perhaps, but not^
much.
Taking professional photographers collectively, I feel that if they tried
they could make this meeting for themselves the most pleasant and .
profitable outing of the j'ear. Every one that has been with us-
knows that this is an honest statement, and, if they would only gather
round in numbers, they would find it a gain both in health and business.
The lines on which our Convention is run commend themselves, and are
better, in my opinion, than those adop'ed by our American friends. To
a great exttnt the American Convention is a dealers' show, a good enough
thing in its way, but the platform upon which we meet is more inde •
July 7,1893]
THE BRITISH JODRNAL OF PHOTOGRAPHY.
431
pendent, and the principal bnainess of oar gathering ig educational and
social, the dealera' part heinR a mere detail, and never interfering with
the more salient points for which we meet.
The profeBsional who joins us in this week's outing, by personal con-
tact and general interchange of ideas and experiences alone, is bound to
learn more than he would in very much more time spent in less con-
genial and less favourable circumstances, so that, even as a paying
speculation, I look upon the Convention as a profitable investment to any
member with his eyes and his ears open. Hence I would that the pro-
fessionals bestir themselves, and make a fairly representative turn out.
If they but did this, the institution would be, beyond doubt, an assured
success for all the coming years, a centre where the representatives of all
the various societies might meet in a broad union once a year.
The National Association of Professional Photographers should find
the time and places of the Convention a fitting opportunity for their
meetings. There they could be in numbers, and could easily arrange to
bold their own special meetings during the week, to suit [themselves
without in any wiay interfering with the general arrangements of the
Convention.
All being in one town at one time, more meetings could be held, larger
audiences could be got, and they would be far more likely to command
Attendance than where they have to travel, in many cases, long distances
for single meetings.
Last year Messrs. Fall, Whitlock, and O'Neill made a move in this
direction, and I have no doubt that their endeavours then tended to the
growth and influence of the Society. This Association, worked on broad
lines, should be a power for good to the whole profession, there are so
many questions of importance, such as insurance, copyright, holidays
legal defence, prices, and many other subjects that are of great com-
mercial interest to the whole profession alike.
One thing might here be noted : that the obtaining of a closer union
between the individual members of the profession is what should be aimed
at if success is to be the result in this as well as all otlier like institu-
tions ; and this is the greatest difficulty to be overcome, for the photo
grapher does not take so kindly to unity as most other professions do.
Here I would say a few words on behalf of the Photographers' Benevolent
Association. This Society should have much more consideration and
sympathy from the photographic worker. On investigation, I find that
most of the funds and the greater proportion of interest and work is
undertaken by the kindly well-wisher, and that don't-care-about-it apathy
still belongs to the working photographer. As I have elsewhere said,
every employe in the photographic trade in the United Kingdom holds a
special interest in this Society, and half-a-crown a year is all that is
necessary to be paid up by any one to place himself in the position
of membership, which, in cases of need, gives him the advantage
of becoming a participator in the funds of the Society. About a
halfpenny per week ! just think of it ; and for this fraction, if paid by
the body of employers, the income of the Society would be raised to 400i.
a year, and, if the employers also joined, the return shown could not be
leas than 500/., at the very minimum, of our outlay. Look at the power
for good this would place in the hands of the Executive. If every em-
ployer would interest himself to induce his employes so to assist them-
selves, the feat would be accomplished, for they could not fail to be
successful, and thus the many rivulets would swell the greater river.
For the promotion of union in the profession, I think that the institu-
tion of the " Central Photographic Club" is no mean factor.
It opens up an avenue of social intercourse and information, and any-
thing of such a nature must help to advance a man in his business ; it
gives him the opportunity of being up to date, and that is one of the
essentials of successful trading.
A place of meeting where, at all times, the country member comes in
contact with his compatriots in the city, and where he at once gets into
the centre of that which most interests liim — and the friends from the
provinces will also keep the city members ac(iuainted with what is going
on in the country districts — and these advantages are to be obtained at a
merely nominal outlay. This Institution should have the fullest support
of the profession.
The Affiliation scheme of the Society of Qreat Britain is also a march
in photographic progress that should help to draw photographic societies
together, and, if taken up with a will, must result in an intercourse that
is bound to be beneficial to all, the interchange of papers and slides alone
being of great moment and importance, especially where societies are too
small or too young to be able to produce new subjects or original matter
without help from wider fields.
The progress of the year shows steady advancement ; nothing startlingly
new, but there's not a week passes without the introduction of some in-
genious device or discovery which tends to save labour or to perfect results.
It has been stated that there are more patents taken ont in conoezion
with photogriphy than in any other trade of like dimensions, and, looking
at the continuous stream of applications for protection, it is easy to
believe.
Printing-out papers is one phase of photographic work that has made a
marked advance in the currency of the year. Uelatino-chloride paper has
come into almost universal use, the beauty of the finished results se-
cured by the use of this paper tending greatly to its growing popularity.
Collodio-chloride paper has also grown considerably in demand, as it is
considered by many to allow of a greater variety of tone, and also that it is
more permanent than the gelatino-chloride, but to prove the latter re-
quires the test of time. The new cold-bath-process paper introdnced by
the Platmotype Company has also made a rapid stride to the front, and
is now almost universally adopted. The advantage of local development
by its use being rendered sure and easy was a great recommendation to
its success, and, where it has been fairly tested, the hot bath baa been
laid aside for this more perfected process.
Stereoscopic photography, which, like the sleeping beauty, bas been
lying dormant for so many years, Jives and breathes again. A great ad-
vance has been made, and considerable work has been done in this de-
partment during this last year, and it still goes on increasing. A big
future may be anticipated for it.
The hand-camera competition still runs on without impediment. The
originality and ingenuity displayed and expended on the construction of
these little instruments is perfectly astonishing, and the excessive number
of forms placed upon the market— each professing to be the best— is
marvellous. By their results ye shall know them. The work produced
by them is to be found broadcast in all sorts and conditions of illustrated
papers, photographic and otherwise, ranging from very bad impressions
up to charming productions. So much in favour has the hand camera
become, that I have no doubt but that the larger proportion of the
apparatus brought for use by the members of the Convention will be fonnd
of this description. If the advances daring the year have not been made
by leaps and bounds, they are at least sure.
In lenses, the Zeiss, the Dallmeyer Tele-photo, and the Boss Coneentrio
are increasing in demand. Isochromatic plates are taking a firmer hold,
and the Sandell has been adopted by many.
The journalism devoted to the profession seems to be oat of all propor-
tion to the extent of the trade it caters for, bat I suppose time will try
them, and the weakest will go to the wall.
Since last we met we have had to mourn the loss of one of our beat
friends — one of the most genial and gentle of men, foremost in every
good work, an able artist, and thorough experimentalist — Mr. William
Bedford. I pay this tribute to his memory as one of our previoas presi-
dents and the friend of all.
And now I will leave the various members, in their various claaiM,
daring the Convention, to thrash out their varioas themes, one by-one,
scientific or chemical, each in his department, be it development, speed,
light, colour, or optics, each of them needing its own specialists to do it
justice.
I hope you will aU spend a happy and enjoyable week.
On the motion of Mr. James Martin, the President was thanked
for his able address, and the Mayor for his cordial welcome.
Light refreshments were then served, and the rest of the evening
■was devoted to the admirable exhibition arranged in the art gallery,
and to views shown by the optical lantern. The exhibition, a fuller
notice of which we will give next week, contains much that, in the
estimation of the Wsaitem Morning Neies, \a a revelation for the west.
Kastman has a grand and tastefully displayed exhibit illustrative of
the capabilities of their Solio paper and of their Nikko paper, a de-
velopment paper which may run bromide paper very hard. Morgan
& Kidd have remarkable bromide enlargements (one eight feet long
in one piece), and specimens of the beautiful collotype process. Mr,
W. Scorer, of Havant, has two direct landscape works, 36 x 20, and
two of his very ingenious cameras with double eccentric fronts.
Elliott & Sons have a splendid portrait of a lady from a direct nega-
tive live feet by three. Mr. E. H. Micklewood has works illustrative
of his shutter for securing clouds naturally ; and Messrs. li. W. Thomas
of the Sandell plate. 0. Sichel & Co. have a fine collection of moulds
and mounts and elegant studio accessories, and a very complete studio
camera. Byrne & Co.'s portrait of an infant Battenberg prince is
one of the choicest things shown. Mr. W. t«. Tweedy sends inter-
esting results of panoramic photography, and J. Martin & Co.,
New Soutbgate, an ice picture. There is a very neat collection of
422
THE BRITISH JOURNAL OF PHOTOGRA,PHY.
[July 7, 1893
Dr. Andresen's chemicals, many of which are in handy cartridge
form. Local photography is admirahly represented. Mr. Heath, of
Plymouth, includes a more than life-size autotype carbon print of
the Prince of Wales, from a negative taken by command during his
Royal Highness's recent visit at Admiralty House, Devonport; Mr.
Hawke, of Plymouth, sends a score of photographs of the Duke of
Edinburgh ; Mr. R. F. Yeo, of Plymouth, has charming studies of
children ; and Cox & Durrant, Torquay, send a delightful portrait
in sepia.
There was a lantern display at the close of the reception. Among
the slides were several by Dr. Mitchell (of Philadelphia), Major
Lysaght, Messrs. York, Cembrano, Bothamley, Welford, Hindley,
Forsham, and Brier (of Bollington, near Macclesfield).
On Tuesday there were excursions to Tavistock and up the rivers
Yealm and Tamar, landing to visit Mount Edgcumbe Park and
Gardens, and Cothele, by the kind permission of the Earl of Mount
Edgcumbe.
About seventy members with several ladies and local amateurs
attended the invitation excursion of the Devon and Cornwall and
Devonport camera clubs up the rivers Yealm and Tamar. A fine
steamer had been chartered for the purpose, and an excellent luncheon
was served. CoL Barrington Baker and Mr. R. H. Worth (local
Hon. Sec.) were indefatigable in promoting the comfort of the
visitors, who, early in the day, experienced heavy rain.
Wednbsday.
The weather, which on Tuesday had been very rainy and had some-
what interfered with the excursions, improved as the forenoon of
Wednesday wore on. A very large number of members had arrived
to swell Tuesday's total, and more were expected, so that, numerically
speaking, the meeting promises to be as successful as several of
those that have preceded it. The group was to have been taken at
mid-day in the Ouildhall-square. The past President (Mr. George
Davison) was conspicuous by his absence from the Convention, for
which no explanation was forthcoming.
Next Y'eab's Convbntion.
At the committee meeting held on Wednesday morning it was
decided that the Convention of 18!)4 shall be held in Dublin.
"ON A FAILURE OF THE LAW IN PHOTOGRAPHY THAT,
WHEN THE PRODUCTS OF THE INTENSITY" OF THE
LIGHT ACTING AND OF THE TIME OF EXPOSURE ARE
EQUAL, EQUAL AMOUNTS OF CHEMICAL ACTION
WILL BE PRODUCED."
[A Communication to the Royal Society.]
It has been generally assumed that, when the products of the intensity
of light acting on a sensitive surface and the time of exposure are
equal, similar amounts of chemical action are produced, and, with the
ordinary exposures and intensities of light employed, such, no doubt,
is practically the case, and any methods of measurement hitherto
practicable nave been insufficiently delicate to discover any departure
from this law, if such departure existed. In some recent experiments,
however, I have discovered that this law breaks down under certain
conditions, and I think the fact worthy the attention of those interested
in the subject, since it is possible that these conditions may arise
■with other experimenters. Quite lately I have described the method
of comparing the photographic value of sunlight with that of candle
light (VhotHjraphic Journal, June, 189-3), which was as follows : —
A beam of sunlight, after three reflections from plain glass mirrors,
was admitted through a narrow slit to sensitive bromide paper
stretched round a drum of about four inches in diameter. The drum
could be caused to rotate round its axis at any speed up to about
sixty revolutions per second by means of an electro-motor. A
small exposure with this light was given to the paper during the
lotation of the cylinder. Subsequently an amyl-acetate lamp was
placed in position at any convenient distance from the same slit, and
a fresh portion of the same sensitive paper exposed to its action
during a much longer period, the rotation being continued as before.
The slit was next replaced by a small square aperture of some half-
inch side, and further portions of the - ime paper exposed to the amyl-
acetate light at the same distance, for varying or unknown exposures,
with the drum at rest. On develvment the paper showed three
images, a narrow band of deposit of the width of the slit caused by
the sunlight, a second band of the same width due to the light from
the amyl-acetate lamp, and a third row of squares of varying
blackness of deposit due to the different exposures given with the
drum at rest.
If the width of the slit be accurately measured, the band formed
by the amyl-acetate lamp is evidently superfluous, supposing the
usually accepted law to hold good under all circumstances, as by
measuring the blackness, or rather want of whiteness, of the different
squares, and using them as ordinates to the absoisssa which were the
times of exposure, and drawing a curve through them, the blackness
produced by the sunlight could be referred to that produced by
the light of the amyl-acetate lamp, and its equivalent value in
terms of the latter light be calculated. The band of deposit produced
by the amyl-acetate lamp was introduced as a check, for its black-
ness could also be referred to the curve, and the width of the slit
be calculated from it. On making such calculations I was surprised
to find that in every case the calculated width of the slit was always
considerably less than what it was in reality, the difference being far
beyond that which would be caused by any error in the measure-
ment. This led me to commence an investigation into the cause of
this difference, and what has already been carried out is sufficient to
show that there is a failure in the usually accepted law. It may be
pointed out that, if it held good, the sum of any number of very short
exposures should be equivalent to a single exposure for the same
length of time.
The experiment which naturally suggested itself was to expose a
sensitive surface to the action of the light of an amyl-acetate lamp
passing through a slit as before, the drum on which it was stretched
being caused to rotate at high and low speeds, and also to place on
the same paper a scale of exposures with the drum at rest. These
were all developed together. An example of one of many experiments
is given as an illustration.
The circumference of the drum with the paper stretched round it
was 12-2.5 in. The width of the slit was arranged to be 0 012 in.
The amyl acetate lamp was placed 2 ft. from the sUt, and a rotation
of 30 per sec. was given to the drum for one exposure and 1 per sec.
for a second exposure. In the first case the time of exposure during
each revolution was c^-^t x --, sec, or about 1/30,000 sec.
12'2o 30
The sum of the exposures during 20 mins. was thus 1-176 sec.
In the other case the exposure was
?^, or about 1/1000 sec,
12"2o
and the sum of the exposures was, as before, 1'176 sec. Thus the
first individual exposures had only 3'ti of the duration of the second
exposures, though in the aggregate they were thf same.
A scale of blackness was made on the same paper, through a
square aperture, without shifting the lamp, the exposures being |, \,
\, 1, 2, 4, and 8 sec. On developing it was apparent to the eye that
the first band was much lighter than the second. The scale and
blackness of the bands were measured accurately, and the times of
exposure which had been given to each band, on the assumption that
the law enunciated held good, was calculated and found to be for the
first band O'O sec, and for the second band 0-91 sec, instead of
1'176 sec, which was really given in all. Another example is where
the slit was opened to Oil in., and the time of exposure reduced from
20 to 10 min. It was found that in this case the exposures given on
the same assumption were 3'7 sec. and o'28 sec, the real exposure
given being 5-30 sec. The last experiment shows that if the slit had
been slightly wider, or tha rotation slower, the law would have been
approximately obeyed.
Another experiment was made by throwing an image of the crater
of the positive pole of the electric light on a hole bored in a plate
about YTi in. in diameter by means of a lens, and allowing the
emergent beam to fall on the slit and paper, the drum being made to
rotate as before. The same kind of results were obtained.
As it might be thought that this difference was caused by some
action other than chemical, another series of experiments was under-
taken. In these different sensitive surfaces were employed in order
to eliminate any possibility of the effect being due to any phosphor-
escence of the paper, though none could be detected. Plates were
held stationary and exposures made by admitting light to portions of
them through slits of known angular aperture, cut in a disc which
could be rotated at any desired speed. Similar resulU were obtained
to those already described. The quickest rotation gave the least
density. It may be remarked that the more sensitive a surface is to
radiation the less marked are the differences observable for the same
speeds of rotation. This is what might be e.xpected.
As an outcome of the experiments so far made, it seems that, when
exposures less than -ixrVir sec. are made on a sensitive surface, and the
source of illumination is an amyl-acetate lamp (Von Altneck's) placed
1 ft. from the sensitive surface, the law quoted ante fails.
Tlie question of a very low intensity of light acting and of the
sensitiveness to different spectrum colours is now occupying my
attention. Captain W. de W. Abnet, C.B., F.R.S.
July 7, 1893]
THE RIUTISH JOURNAL OF PiIOTOORAPflY.
423
MY FIRST DAGUERREOTYPE.
Thk interesting demonstration, by Mr. William Enpflnnd, of an almost
forjfotten procefis, but of which he wss n most ilistinguislied exponent
about forty yenra ago, surely must have been very (ittractive to those
who were fortunate enough to witness it. At least, I know it would
have lieen to me, and, indeed, to any one who had ever marred the
pure surface of the silver plate by a failure ; for I never knew any one
who had ever attained any proticiency in the Daguerreotype process
who did not retain a lingering yearning for the revival of this lost
art.
In the recent editorial remarks on " Daguerreotyping," the
editor said that " unlike all other systems of photography, the
personal skill of the operator is the sole factor in the achievement
of success." How true this is will be seen by the narrative of my
early struggles with this difficult process; indeed, I might, with
justice, use stronger terms, and say obstinate and refractory process,
for so it proved in my hands just thirty-nine years ago.
During the latter years of my apprenticeship, I had passed through
the cigar-box-and-sixpenny-lens struggles with photography, and was
rewarded by most complete and entire failure, but was more fortu-
nate, however, in my printing efforts. Some paper negatives were
fpven me by an amateur— who was, by the way, the instructor of
Buckle, of brush fame — and I showed him my verj- imperfect results.
A few hints helped me on, but the fearful price of the chemicals
cleaned out the shallow pocket of the apprentice, and there were long
and serious waits until sutKcient funds enabled me to replenish my
photographic stores. In those days hypo was sold by the country
chemist at sixpence per ounce : but, to encourage me, he let me have
it at threepence ! Even at that price, however, the cost, from my
point of view, was simply ruinous.
In a very short time the serious business of life was before me, and
I went to London to face the unknown. Of course, photography had
to go overboard to lighten the ship ; in fact, the ship became too
light, for frequently a biscuit, eaten m the National Gallery, was the
sole furniture of my mid-day meal. The eye was fed, however, and
that was something.
I read every scrap relating to photography that came in my way,
and thus theoretically got to know a great deal more about it, and
patiently waited for liappier times when I might hope to ripen theory
into practice. About eighteen months after my arrival in London I
made a new friend, who absolutely had a practical knowledge of the
Daguerreotype process. He had just returned from America, where
he nad taken lessons in the art, and was looking about for premise?
in oi-der to commence business. When he finally got to work and
put out his specimens, I am compelled to say there was a marked
difference between the examples of the art brought from America and
those produced by himself, the artistic metit being most evident in
the foreign productions. As time went on, his work improved, and
his clientele rapidly increased. We lodged in the same house, and
therefore I daily heard of his photographic doings, and I determined
the moment I could get together sufficient money to make a start. I
would take le.?sons of him, and try my luck also.
After patient waiting the long-looked-for day came, and I took my
first lesson in " Daguerreotyping." I need scarcely say this was a
memorable day for me. .\fter eagerly watching the whole process
through, from the poUshing of the silver plate to the final gilding
operation, so well described in the article in this Joubxai,, already
referred to, I saw that all I had read and done — or rather had not
done — in photography would avail me nothing, and I had to com-
pletely start afresh.
The first business was to completely master the by no means easy
art of buffing the plate, for upon the perfect doing of this depended
the success of the final result. An absolutely " black " polish was
necessary, and the faintest visible scratches, therefore, made the
attainment of this impossible, and, in consequence, weakened the
force of the shadows. It will be seen by this that, unlike most of
the other photographic processes, black shadows W(;re necessary in
order to obtain a brilliant as well as delicate Daguerreotype. Day
after day I worked at " buffing," and found it hard work, ana, though
it was winter-time, the coat had to come off in order to lighten the
labour. The rubbing up and down on the plate with the long piece
of wood, covered with buckskin, and treated with the finest rouge,
seemed easy work enough at the start ; but, as the hours went on, the
operation became tedious, as well as tiring, and I decided that buffing
could not lie the most interesting part of Daguerreotyping. I sus-
pected that my friendly instructor found this irksome part of his
business quite as well done by proxy. At any rate, as time went on,
with no change of employment, I mililly suggested that I wished to
be something more than a photographic "buffer," and that the
number of lessons agreed upon were rapidly coming to an end, and
that only one stage on the photographic journey had been reached.
I was assured that, when I had fully mastered this most difficult
operation, I had little else to learn, as all the rest was comparatively
simple. I thought of the master who kept hi« pupil at scales for
seven year.^ when teaching him to sing, and, in reply to remonstrance,
said, "Go forth, thou art the finest singer in Europe!" Perhaps,
when I became an absolutely perfect buffer, I should astonish the
world with mv unrivalled Daguerreotoyjie productions, so 1 worked
on patiently. 1 think, if the truth were told, my friend was so busy,
that not only was I useful, but I was less in the way when occupied
by this neces-sary operation.
' My friend hail brought all his apparatus with him from America,
and, as he had several surplus article.", he sold them to me. Amongst
them was a camera of .\merican make, and I must say that, though
it would be regarded as clumsy now, it was far in advance of the
English cabinet work of that period. It was a bellows camera, and
the woodwork was rosewood. The focussing screen was inserted soma
distance in the camera, and was protected from the light, so that a
focussing cloth was not necessary. A little trap-door admitted the
former as well as the dark slide. When the latter was in position
ready for operation, the shutter, which was of sheet iron, was pulled
entirely out, and the lid of the camera shut down until the exposure
was over. In those days a little extraneous light was not heeded,
and the small amount that could get down the groove during the
opening or shutting of the camera lid did not appear to affect the
plate. The bellows portion of the camera was beautifully made ; in-
deed, the whole instrument was a marvellous contrast to the clumsy
wooden boxes made in England and sold as cameras. It would be
interesting to learn when the first bellows instruments were made in
this country. I can simply say that in 18.54 I had never seen one of
English make.
All the American silvered plates were slightly bevelled downward,
and in appearance were not unlike miniature reproductions of the
Venetian bevelled looking-glasses. They were lighter and cheaper
than the Birmingham electro plates at first employed in England, and
in consequence the name of Scovell — the American manufacturer of
these plates — became known all over the world. This slight bending
downward of the edges prevented any cutting of the tine leather
surface of the buff, and also enabled them to be more readily fixed in
the slight grroove of the screw block to which they were attached in
order to hold them tight during the process of buffin".
The American arrangement for holding these blocks of various
sizes was very ingenious. The instrument was of cast iron, and in
general appearance was not unlike the modem American burnishers.
There was a broadish flat bar, slightly tapered and bevelled on the
under side, so that the block carrier of the plate, which had a corre-
sponding tapered groove, could be pushed along it until it was held
tightly. The ends of this bar were bent upwards at right angles, and
were furnished with pivots wliich fitted into sockets provided for
them in two uprights, which formed portions of the more solid part
of the apparatus, and which had to be screwed down to a solid bench
in order to secure the necessary rigidity.
When the pressure of the buff came on to the plate, the socketed
bar took the necessary angle to ensure even contact between the buff
and plate, and thus the friction was even all over its surface. A
moment's consideration will show the use of this arrangement Had
the plate been rigid during the process of buffing, the silver surface
would very soon have been scrubbed away from the copper support
at the edges. In those days there were .iome failures, even as now,
and the cost of these plates made it imperatively necestary to use
them over and over again as long as possible, for replating was nearly
as costly as new plates.
The American coating boxes as they were called were far superior
to the English apparatus for applying the iodine and bromine vapour
to the silver plate. As the constant inhaling of the iodine and
bromine vapours would have in a very short time seriously affected
the health of the operator, it was necessarj' to devise some efficient
way to keep them imprisoned, and get always ready for work. The
Americans employed two square shallow porcelain pans with the
edges ground perfectly true. These were placed side by side in a box
that was provided with a framed top which fitted closely on to
ground tops of the pans. A sliding carrier with inner frames for the
various-sized plates travelled from pan to pan along grooves in the
wood work, but there was plenty of wood at each end of the carrier,
so that, when the plate was over the iodine pan, the bromine one was
tightly covered, and viae versa. This American contrivance was so
much superior to all others that it finally drove all the rest out of the
market.
I wish I could speak with equal praise of the .\merican mercury
bath, but I cannot, and for reasons which will appear later on. My
friend had not one to spare so I proceeded to get one made on the
424
THE BRITISH JOORNAL OF PHOTOGRAPHY.
[July 7, 1803
American model. The matter seemed so simple that I did not appre-
hend any difficulty. All that was needed was a hollow cast-iron
pyramid which had to be fitted on a retort stand, and made to slide up
and down so as to adjust the flame of the spirit lamp in order to get
the correct temperature of the mercury. Of course, the pyramid was
fixed with its hollow base upwards, and on this was fitted the carrier
with the silrer plate downwards, to receive the fumes of the mercury
which was placed at the bottom of the well thus formed. A
thermometer with metal index plate was attached to one of the outer
sides of the inverted pyramid so as to record the right temperature of
the mercury necessary for the development of the latent imag;e.
Valentinb Blanchaed.
{To be concluded.)
DODGES.*
The Printing Feame.
A QUABTEB-FLATE picture Can be vignetted into cabinet or half-plate size
by using a half plate printing frame with a piece of cardboard, the same
size with an aperture cut out for the quarter-plate negative, covering the
join with yellow or blaek paper, as in the example I show you ; the same
arrangement applies to larger sizes.
Plain and Fancy Bobdebs.
At times yon may wish to have a margin round a print, perhaps a
plain one round a landscape, or a fancy one for a portrait. For that pur-
pose a mask must be provided of opaque paper, cutting out an oval,
square, or any other chape desired ; place the outer portion on the nega-
tive in its proper position, then the sensitised paper, and priut. By
using a larger frame, and filling up the space round negative with card-
board, a much wider border can be obtained ; a plain white border gives,
I think, a neat and bold appearance to a print. It may, on other
occasions, be desirable to print a fancy border, and it will be necessary
then to make a negative of the design required, marbled paper or imita-
tion morocco paper will answer the purpose. After printing with the
plain border, the part already printed must be covered with the piece of
opaque paper cut out of the mask ; slightly stick it in its place on the
print, and print the border from the border negative provided for the
purpose. There are several modifications of this style of double-printing
which will, no doubt, suggest themselves as occasion requires.
The Neoative.
I now come to dodges in printing from the negative, and will suppose
that, on examination of the negative, unpleasing defects are observed.
There may be shadows too intense, one side thicker than the other, the
foreground too thin, &c. All these matters want attention and correction,
and for these and similar faults I prefer simple to more elaborate means,
and I don't think there are many faults but what can be corrected by
means of semi-transparent material, tissue paper, and the like. Use it in
this manner : suppose the lens does not cover the plate sufficiently, the
corners of the negative arc then thin and print dark ; in such a case, gum
pieces of paper on the comers of the frame, to shade off the corners and
80 prevent any unpleasant appearance. A road is perhaps too dense :
cover all except the road with tissue or yellow paper, one side of negative
thinner than the other, and so print quicker, paste tissue paper over one
Bide. Perhaps a central portion of the negative is thin, cover the whole
of the negative with tissue, and a second or third piece of the centre, and
so on — in fact, I know nothing more generally useful than tissue paper.
It is also invaluable for thm negatives ; use one, two, or more thick-
nesses ; in fact, any negative is better for printing under it. As an
example, I show you a print from a negative of an interior, about the
worst I can find, another print from the same negative dodged with tissue
and yellow paper ; I think the superiority of the latter over the former is
apparent. Another example is of a workshop ; the light at the window is
rather strong ; consequently, printed as usual, it is unsatisfactory, but, if
after printing to usual depth a piece of opaque paper is taken with an
aperture cut the shape of the window, and the window is printed deeper,
a great improvement is made.
For landscapes a bent cardboard shade is very useful, and is a simple
means to dodge a negative with a thin foreground. If any clouds are in
the negative, it will help, if not entirely bring them out. I show you
an instance of a print from a negative without a shade, and another
using a shade, and I recommend you to try it. I first saw this idea
mentioned in a paper by Mr. Blanchard, and I consider it a valuable
dodge.
• Coiiti::uc3 fro3 ra;e 410.
Negatives are further dodged by working on the back. In the case of
a group some of the faces may print too dark, in which case a light touch
of pale blue paint on the back of the negative will improve the print ;
also, tissue paper can be pasted on the back or gummed by the edges,
and worked on with a pencil or crayon to increase the high lights,
cutting away parts of the paper to increase shadows. I show you a
portrait which I think treatment of this kind has improved. It is from
the negative of one of our members, who kindly lent it me to experiment
with. No. 1 is a print from the negative in its first state ; No. 2 the
same after iotensification with mercury and ammonia ; No. 3 is after the
negative had been backed with tissue paper and worked on roughly with
pencil to take out the brick marks, also vignetted. The cabinet is from
the same negative, printed in a half-plate frame as before described.
Matt varnish on the baek of the negative is also another means of
improving a print ; but, unfortunately, it is a dodge of itself how to get
the varnish on the plate, and I do not think it will be out of place to
describe how it is done. When you first try it, you will perhaps get the
varnish oq the under side of the plate, or over your fingers, up your
sleeve, and on the carpet ; in fact, anywhere except the right side of the
plate.
To practise the trick, I can recommend you thin gum water ; it doea
not cost much if wasted, and it will flow in about the same manner aB
varnish if not too thick.
To coat a plate with matt varnish, the plate must be cold ; with spirit
varnish, warm. Take the plate at the left-hand near comer by the
thumb and finger of the left hand, hold it in a horizontal position,
supporting it by the tips of the extended second finger. Pour the varnish
in a pool in the middle of plate, then gently tilt the plate so that the
varnish slowly runs to the corner held between the thumb and finger ;
then tilt it to the other left-hand corner, then to the right outside corner ;
finally, with one gentle sweep, pour the surplus off at the corner nearest
you on the right-hand side, gently rocking the plate at the same time, to
prevent lines forming. The plate must now be laid at one side to dry,
and, when dry and hard, can be worked upon with pencil and brush, and
parts scraped away with the knife to increase the shadows it necessary.
This mode of doJging is useful to put clouds in a weak sky. Get a suit-
able cloud negative as a guide, and, with pencil or crayon and stump to
shade off, copy as well as you can the cloud negative. With a little
practice it is easy to get passable results. A blue pencil is also one of the
easiest articles to work with I have ever tried.
When thinking over this matter, it occurred to me to try ground
glass itself, and I think (after trial) that it has some advantages. It is
remarkably easy to work upon, and can be used over and over again. To
use it, take a piece of ground glass and place it, ground side up, on the
top of negative, film side up. Work on it to increase high lights as
usual with black and blue pencil, blue for medium effects. To increase
the shadows it is not possible, of course, to scrape away the matt, but the
same effect can be obtained by thin gum water. Put it on lightly with a
small brush, the thinner the better (this is important, because, if thick,
it will have a diminished effect), and let it dry. After doing what you
think necessary, place the ground glass at the back of negative, the
ground side next back of negative, then print as usual. A softer effect
will be produced by placing the ground glass on the back of the negative,
working on it and printing in the same position. In the former case
only one thickness of glass intervenes between the ground side of glass
and the film of negative, in the latter case there are two thicknesses. If
you wish to use ground glass again, the work can easily be removed by
that useful kind of soap that "won't wash clothes." Matt varnish is
very inferior to ground glass in its liability to damage.
Vignetting.
There are many ways of doing this, and many effects to be pro-
duced. A good plan is to make a cardboard screen for the purpose
to go on top of printing frame, leaving a space between negative and
cardboard. Cut a hole half an inch smaller than you wish your vignette
to be, then gum tissue paper round the edges, also a piece of tissue paper
over the whole aperture. This softens the effect to a large degree. It is
also advisable — in fact, with gelatino-chloi ide paper, necessary — to stuff
wool between the cardboard and glass to prevent the light unduly
spreading over the whole print.
Double Pbintino.
I give you an example of this. On looking through my negatives I
selected one with a cow, and decided to transfer her from Chingford to
Hampstead Heath. I then printed the cow on a piece of sensitised
paper, cut out the animal with a penknife on a piece of glass, and stuck
tne piece cut out on the Hampstead negative in the position in which I
July 7, ItiOS]
THE BRITISH JOUhNAL OF PHOTOGRAPHY.
42S
wished the cow to appear. The other part of the print was stack on the
negative of the cow, so that tlie cow could be seen exactly in the aperture;
the other part of the negative was then covered with opaque paper. The
«ow was then printed on a piece of sentitised paper in the position re-
quired, then a second print from the other negative, taking care that the
<ow already printed was exactly behind the mask, and the trick is done,
more or less cleverly according to the care and skill exercised. There are
other ways of doing this, but the example is as good as any.
C. 0. Obeooby.
( To be concluded. )
|le\»8 ant) ipLotes.
Messrs. Wok-mald k Cos. new address is Rodney-road, New Maiden,
Surrey.
Manchester Am.^tbuh Photoohaphic Society. — July 8, Monsal Dale and
Ashfonl. Leader, Mr. J. T. Lees.
Hackney PHOTOORArHic Society.— July jf, Excursion to London Colney.
11, Lantern Slide Reduction, by Mr. A. G. Nunn.
Received. — Traite de Photo - lithographie. By Leon Vidal. (Paris:
Gauthier-Villars et Fils, hh, Quai iles Grands Augustins.) The Great Barrier
Reef of Australia. By W. Saville-Ketit, F.L,.S., K.Z.S. (W. H. Allen & Co.,
13, Waterloo-jiliice). These an<I others in our next.
Ak Amateur Photoohai'HER's Camera Party. — Mr. G. A. T. Middleton,
■of 42, Bolingbroke-gTove, Wau<l»worth-coiiimon, is organizing an amateur
photographers' camera jmrty to Belgium for the week commencing August 2,
1893. Full particulars and itinerary may be obtained from him at the adilress
•given.
BraMixciHAM Photoorapbic Society.— July 8, Last day for sending in
photograplis for the Stoneleigh Excursion Competition. 11, Social Evening.
'12, Whole-day Excursion to Charlecote, Hampton Lucy, Wellesbourne, Sher-
borne, and Compton Vemey. Leader, Mr. W. .Tones. Train leaves Snow
Hill for Warwick at thirty-two minutes past eight.
J. H. Stewards Photographic Catalogue. — Mr. J. H. Steward, of
'7, Gracechurch-street, and 406, Strand, has just issued a new photographic
•catalogue, -which is devoted to particulars and prices of cameras in considerable
variety, lenses, stands, shutters, and other accessories. The Omni and
Standard cjimeras appear to be particularly well adapted for those requiring
a strongly made, serviceable instrument, having all desirable movements.
" Simmer Trips on the River Thames." — Bearing this title Messrs. Salter
Brothers, the well-known boat builders, of Folly Bridge, Oxford, have sent us
a capital little pamphlet, illustrate<l, containing complete guide-matter as to
fares and times for their steamers plying between Oxford and Kingston. An
. Lcconnt of the trip is also given. With photographers especially, these trips
■«hould be popular, an unequalled field for camera work being afforded by the
lovely scenery encountered. The pamphlet may be obtained from Messrs.
Salter, price one penny.
Associated Foreign Tours for Amateur Photographers.— The Associa-
tion for the Promotion of Home and Foreign Travel, of 41, Eastcheap, E.C ,
inform us that special arrangements have been made for associated tours to
districts which are particularly rich in features of attraction to amateur
photographers, as well as to all who take an interest in architecture. One of
the tours is arranged to visit the finest cathedrals and chateaux of northern
France and the course of the beautiful French and Belgian Meuse. The other
tour takes in the Central Pyrenees and the ancient Republic of Andorra, a
district which at i>resent is practically unknown, but which is one of the most
Interesting in Europe. Fuller details of both tours are given in a pamphlet
• supplied by the Association.
Mb. Henry Blackburn's Studio for Instruction in Drawing for the
'Press. — The well-known art critic and journalist, Mr. Henry Blackburn, has
opened a studio devoted to this purpose at 123, Victoria-street, S.W., which
we hope to have the pleasure of visiting shortly. From an Educational Review
■reprint on the subject, by Mr. Arthur Montefiore, we learn that Mr. Black-
burn is meeting with considerable success in teaching artists the requirements
of work for photographic reproduction. We cull the following passage from Mr.
Montefiore's brochure with much pleasure : — " This brings me to a question
on which Mr. Blackburn is properly emphatic. Critics are continually
inveighing against these 'cheap and nasty' processes, entirely forgetful or
ignorant of the fact that it is 7Wt the process but the drau<ihtsinan who is
■ generally in fault. Men will continue to draw what the public call 'pretty
pictures,' ignoring entirely the question whether the process can reproduce
them or not. Some men won't — others, apparently, can't — learn the simple
rules of drawing for photographic reproduction. I know of a sketch by an
rR.A. in which tlie stars came out a beautiful black on a white sky ! Now, if
the draughtsman has a reasonable amount of knowledge, the result may be so
beautiful (for the fidelity of photography in line-work cin be exquisite), that I
have known the reproduction mistaken for the original drawing, and that by
an expert. I cannot add a stronger argiiment in favour of the study of
drawing for the processes so largely used in the press." We have before now
■ noted that Mr. Blackburn haa shown a great appreciation of photography as
an aid to artists, and we are glad to have his testimony on a point in con-
nexion with which half-educated newspaper art critics are constantly de-
nouncing photomechanical work, namely, its unsuitability for reproducing
.artists' drawing?.
{'HECK Patterns on Half-tone Prints.—" A good many proce»« workers "
(Miyc I'ruceia Work) "have no doubt puzzl«<l their heads over the fact that when
they attempt to i<epro<luce a print from a half-tone hlock by tlie )ialf-tone pro-
cess, there is a peculiar chequered apjiearnnce all over the picture. Thin ha*
been variously ascribed to the grain of tlie paper, to the print on the back of
tlie paper, and, in fact, anything but the right cause. It is really due to the
superiiiiposiug of one set of parallel lines upon another, and so producing the
eti'ect of the magic-lantern chromotrope. Any one who has a screen and a half-
tone nei/ative, can soon test the matter by putting the screen and the negative
together, and holding them up to the light. Vou will then see the check
pattern that has troubled you ; or again, if you lay your screen over a liaU-tooe
print, the same thing will be visible. But observe further, if you turn the
screen circularly, the pattern will grail ually become smaller, and when the line*
of the screen cross the picture at right angles, the pattern has disappeared
altogether, ami a rather pretty me/zotiut appears. The application is
obvious."
New F0R.MULA for Silver Bromide Paper with Metol-Haukf.— .Messrs.
Fuerst Bros., say : — " For bromide jmper the normal metol developer requires
much less exposure than ferrous oxalate. The best plan is to use the metol-
potasli carbonate developer in concentrateci form. Tlie developer should be
kept up to strength, and exposure made to suit that strength, so as to obtain
results which cannot be distinguisheil from results by ferrous oxalate. A
little bromide solution (1 : 10) say half to one grain per ounce of developer,
should be used, which allows more latituile of exposure than fenous oxalate.
If these instructions be carried out, the best tones will be obtained. If the
developer, as a whole, is much diluted, or if the alkali is much reduced in
proportion, or if too much bromide be added, the tones will be more grey and
black than is usually desired. When soft greyish prints are refjuired, as for
after-toning or intensification, the plan is to dilute the developer. The process
of development is speedy, and there will never result any discolouration of any
kind, even if the prints are kept lone in the developer, as when a large
quantity of bromide has been added. The gain of time in exposure and de-
velopment for enlarging is considerable, and will commend itself to all who
enlarge on this paper. No clearing bath is needed ; the prints are extremely
amenable to the )>roces8es of toning after fixing.
Emotions of THE Heart in Photography. — "Recently," says Mr. George
Davison, in the Photographic Gazette, " addressing some art students, Mr. W.
F. Yeames, R.A., sought to give photography its proper place in the training
and work of the draugtitsman. It is something to find a painter admitting the
actual use made of photography by draughtsmen. Almost without exception
they get practical assistance in their drawing from it, and, in most instances,
at the same time abuse and misrepresent it. Mr. Yeames admitted that
photography lightened the labour of the draughtsman and extended the ranije
of his subjects ; but, he averred, ' in no photograph did one see any expression
of the emotion of the heart, which were qualities artists had to deal with.'
How far a painter may legitimately or with advantage use photography will
always be a matter of personal opinion. The tendency of all photography is to
educate the eye of the public as well as that of the artist, and to raise the
standard of excellence and correctness. As to expressions of the emotions,
Mr. Yeames would probably find considerable difficulty in so defining his
meaning as to exclude photography from getting such qualities into its produc-
tions. The character of a worker may be shown in his photographs, and the
more he learns of his technique the more subtle may be the signs of his individu-
ality and perception. Photography, as Mr. Yeames stated, deals in facts, and
expression of emotion is one of these facts. The kind of emotion one sees in
ninety-nine out of a hundred of our Royal Acidemy pictures is certainly not
out of tile range of the susceptible and capable photographer. Mr. Yeames
may not know so much about ' emotions ' as about the use of mechanical
photography. The brush will do mechanical work as well as the camera.
When jiainters iliscuss such subjects, they generally find it convenient to use
terms vaguely and without definition."
Photographing in Norway. — Mr. Edward J. Smith, of Park Royd,
Halifax, writes : " I have not sooner responded to your invitation for inform-
ation on the above subject, hoping that some one having a wider experience
would reply, but, a fortnight having elapsed without response, perhajis ray
limited knowledge will be better than none. Writing, then, from personal
experience, extending only so far north as Sogne Fjord, I should decideiUy
say there is not much scope for a stand camera placed upon tlie deck of a
steamer. In the first place the Fjords, though exceedingly grand as viewed
with the eyes, do not lend themselves well in a general view to picture-making ;
and, secondly, the deck of a steamer is about the worst place that could be
chosen upon which to erect a tripod, unless the camera is pointed directly at
right angles to the side of the vessel, which is the most trying position from
which to take moving objects ; it is almost impossible to get the field of view
free from ropes or spars, and, if the deck be at all crowded, one's fellow-
passengers vote the sprawling legs a decided nuisance. There are a few ' bits '
that may be taken from deck, such as passing vessels, and the little landing-
stages with their picturesque groups of natives, &c., but these are far more
easily secured with a hand camera, which may be either rested upon, or held
right over, the side of the vessel. When, however, there is opi>ortunity of
going ashore, by all means take the tripod, and give as long exposure as
jmssible. The special features of the barren hills arc entirely lost with snap
exposures, whereas time exposures give in beautiful detail the bare limestone
rocks and dwarf herbage. Trees in our sense of the word are unknown on the
west coast. In August, I found that a Ross RS., used at/-ll, gave good
droji-shutter exposures, but in Norway, as everywhere else, the only good
exposure meter is * brains.' My best results were with /•64, and exposures
from tliree to twenty secomls, according to light, llford oi-dinary. In passing,
I may just mention I took two makes of plates; every llford expoaeu gave a
good result, my failures were entirely confined to the other make. Some
steamers are fitted with dark rooms ; but, if there is not this accommodation, a
changing bag of some sort is necessary, as for some months there is not any
night."
426
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[July 7, 1893
Fkaud by a " PHOTOORArHER."— On Friday, June 30, John Wilson, 48,
described as a photographer, and formerly of Ipswich, was charged with
having obtained by false pretences 4s. , the moneys of the Bev. W. R. Tate, at
Walpole ; 2s. 6('., the moneys of Harry Sallows, at Halesworth, and Annie
Booth, at Huntingfield. Mr. Blofeld appeared for the prosecution, and de-
tailed the facts in the first case. The prisoner drove up with a horse and cart,
and boy, to Walpole Vicarage, and told Mr. Tate that he had taken a photo-
graph of the church, and .should like to take one of the house. At the same
time he handed the Vicar a card, giving' an address, 5 Tintern-terrace, St.
John's, Ipswich, and stated that all photographs must be paid for when
onlered. Witness gave the man 4s., and he went through the form of photo-
graphing the house, but no photograph was ever received. Ultimately the
prisoner was apprehended by Superintendent Andrews, of Halesworth, at Lynn.
The superintendent, who understands photography, searched the house, and
found some twenty-six negative plates, but none of them relating to Walpole.
He also found a camera and lens, but they were in such a dilapidated state tliat
he was of opinion they were incapable of being used for the taking of a photo-
graph. The inspector afterwards visited Tintern-terrace, and found one table
left on the premises, but that was all. There were no signs of photographic
processes ever having been carried out there. In his evidence, the superin-
tendent added that he found at prisoner's lodgings at Lynn a cigar bo.\
containing some chemicals in boxes, but not sufficient to take one plate.
Prisoner, in defence, handed in a photograph of a country seat at Lynn, and
said that, if his apparatus were dilapidated, ne could not have taken that. The
superintendent replied significantly that he saw those photographs on sale at
Lynn. Prisoner emphatically declared the photograph was his own production,
andhanded in another of another kind that he had bought to prove a difference.
Charging the jury, the Chairman said the prisoner seemed to think, or would
have them believe, they were trying the question whether he could photo-
graph ; but that, of course, was not the issue. The real question was, whether
he got the money by false pretence.';, and it appeared from the evidence that he
had never supplied a photograph of the house as he had undertaken to do.
■The jury promptly returned a verdict of guilty. The prisoner mentioned that
he had been locked up for three months. Mr. Blofeld did not proceed with
the other two cases, but said he held in his hand a document showing that the
prisoner had been carrying on the same practices in various parts of the
county. The Chairman said he was aware of this, although, of course, he
could not tell the jury. Complaints had been made about the prisoner in his
(Lord Rendlesl'.am's) neighbourhood. Taking into consideration his detention
for three months, the Court now sentenced prisoner to a further term of three
months' hard labour.
MtHinQ^ of SbocutteiEf*
MEETINGS OF SOCIETIES FOE NEXT WEEK.
Date of Meeting.
July 10
„ 10
„ 10
„ 10
,. 11
.. 11
.. 11
., 11
.. 11
,. 11
.. 12
.. 12
,. 13
„ 12
» 12
., 12
.. 13
„ IS
.. 13
.. 13
,. 13
» 13
,. 13
.. 14
.. U
.. 14
,. 14
., 14
.. 14
., 14
.. 15
Name of Society.
Darlington
Dundee Amateur
North Middlesex ,
Richmond
Birmingham Photo. Society
Derby ,
Great Britain
Hackney ,
Manchester Amateur ,
Stockton , ,
Leicester and Leicestershire
Leytonalone ,
Munster ...,
Photographic Club ,
Southport ,
Stockport
Birkenhead Photo. Aaso
Glossop Dale ,
Hail
London and Provincial
Manchester Photo. Society ..
North Kent
Oldham
Cardiff
Croydon Microsoopical ,
Halifax Camera Club....
Holbom
Ireland
Maidatono
Wast London
HnU
Place of Meeting.
Trevelyau Hotel, Darlington.
Asso. Studio, Nethergate, Dundee.
Jubilee House, Homsey-road, N,
Greyhound Hotel, Richmond.
Club Room, Colonnade Hotel.
Smith's Restaurant, Victoria-sl.
50, Great Ruasell-st. Bloomsbury.
206, Mare-street, Hackney.
Lecture Hall, Athenseum.
Mason's Court, High-street.
Mayor's Parlour, Old Town Hall,
The Assembly Rooms, High-road.
School of Art, Nelson-place, Cork.
Anderton's Hotel, Fleet-atreet,B.C.
The Stndio, 15, Cambridge -arcade.
Mechanics' Institute, Stockport,
Y.M.C.A., Grange-rd., Birkenhead.
71, Prospect- street, Hull.
Champion Hotel, 15, Aldersffate-st.
36, George-street, Manchester.
Gravesend.
The Lyceum, Union-street, Oldham,
Public Hall,George-atreet,Croydon,
Rooms, 15, Dawson-street, Dublin.
** The Palace," Maidstone.
Ohiswick School of Art. Chiswick,
71, Prospect- street, Hull.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
June 29,— Annual General Meeting,— Mr. Alexander Mackie in the chair.
Mr. T. E. FitESHWATER read the annual report of the Committee :—
Blevknth Annual Report ov the Lohdon and Provincial Photographic
AsaociATioN.
In submitting this report the Committee have to congratulate the members on the
very sound basia on which the Association stands. There is a good balance on the
right Bide, though this balance would have been much greater but for the large sum
spent on the bindmg of so many volumes of the photographic journal* ; l)ut we have
tne value, though not the cash, and, if we go on increasing the libraiy to the extent we
have lately, we shall soon want another bookcase, so I will ask you to look around and
see It yon can finrl another kind friend to give us one. There have been large gather-
ingsof members and visitors. Many valuable discussions fcave taken place, arising
?™«i,- i^,"* *^'^^° ^^^ papers read by members and others well known in the photo-
s'SwiTi.'AT"^^^ °^^^" being :~7nfensi/ifaf. 07), by Mr. Teape, the discnssion
HaJ?™ ■*^it'"^,?^®"^°8ra; On a Sivvple Apparatui^ for Testing Oxygen, hj Ut,
Haddon, assisted by Mr. Grundy ; Photographing Paintin<i>i 6y ArtHkial Light] by Mr
W. K. Debenham ; On the Calculation of the Angle of Vie-w, by Mr. Everitt ; Retouch-
ing, by Mr. Redmond Barrett; Investigations in Spirit Photography, by Mr. Traill
Taylor, which has caused no small stir in the photographic world ; The Sandell Plate,
by Mr. Fry; Determination of the Speed of Plates, by Mr. Williams; The Infumce of
the Hand Camera, by Mr. W. D. Welford ; Is t:ie Present Construction of the Photo-
graphic Studio Wrong in Principle ? by Mr. W. H. Harrison ; Development of
instantaneous Exposures, by Mr. Parfitt ; Stereoscopic Photography, by Mr. Dando j
Photographic Limits, by Miss Catharine Weed Barnes ; Various Rapidities of Printing'
Processes, by Mr. Fonlkes Winks ; Flashlight Continuous Lamp, by Mr. Hudson; On
the Difference in Bulk of Liquid Ammonia, by Mr. Haddon ; T}ie Hurler & Driffield'
System of Testing the Speed of Pint es, by Mr. A. Cowan ; The Toning of CJdoHde Papers,
by Mr. Welford. A course of Technical Lectures have been started, which at some
future time it is hoped will be put together in book form. We have had one on The
Lens, by Mr. Traill Taylor : On Camera, Tripods, and Dark Slides, by Mr. Clifton ; Or. ■
Developers, by Mr. E. J. Wall; and we hope this nest year to get through a good many
more.
The Lantern and Musical Evening was attended by nearly 350 members and their
friends ; in fact, the large I'oom in the hotel was not big enough for the gathering.
The Lantern Evenings have been much appreciated, and when Mr. Hindley showed
his Irish slides the room was over-crowded.
The Fortnightly Outings have not been so well attended as they might have been.
The Library has had many additions and valuable gifts of books from the friends-
of the Association, and they have been very carefully arranged by the Librarian, Mr.
F. W. Pask.
The Affiliation scheme seems to be successful. The Association has been ably
represented on the Committee of Delegates by Messrs. Everitt and Pask, and much
good work has been done-
We have lost one of our most able members through death— that is Mr. William
Bedford, and I think the last photographic meeting that he attended was that of this
Association.
There have been a good many new members elected during the year and several'
resignations, and the Committee ask the members to do all they can to increase the-
number and look around to see who they can bring into the ranks of this Association ;
also, they ask the members to do a little more in way of getting papers to be read and
subjects for discussion, and fifty-two meetings in the year are a great many and entail'
a large amount of work in this matter.
We cannot close this report without expressing our great regret that our late-
Secretary, Mr. Drage, has been compelled to leave us. The Association has grown
and made great strides during his three years of office, and we can only say that we-
hope the long holiday that he is about to take will do him much good, and that we
shall see him back again safe and well.
The report, together with the balance-sheet, which showed the Associatiom
to be in a healthy financial condition, were adopted.
Two or three alterations in the rules were made, and votes of thanks to thfr
various officers for their services during the past year were adopted.
Mr. P. Everitt proposed, and Mr. W. E. Debenham seconded, a vote of
thanks to Mr. R. P. Drage, for his services to the Association as Secretary"
during the past three years, in recognition of which the same gentlemen pro-
posed a resolution that Mr. Drage be elected an honorary member of the-
Association. Both resolutions were carried by acclamation.
The election of officers for the ensuing year resulted as follows : — Committee :.
Messrs. G. W. Atkins, Thomas Bedding, J. Weir Brown, C. H. Cooke, P.
Everitt, C. H. Oakden, J. S. Teape, W, D. Welford.— i:/^^a?-ia?i .• Mr. F. W.,,
Pask. — Curator: Mr. A. Haddon. — Tmstees : Messrs. J. Traill Taylor and J...
B. B. Wellington. — Ho7i. Secretary and Treasurer : Mr. T. E. Freshwater.
A vote of thanks to the Chairman coacluded the proceedings.
North London Photographic Society.— June 20, Mr. A. E. Smith in the^
chair. — Mr. Oakley referred to the meeting of the Affiliation Committee oiv
June 6, which he had attended as one of the delegates of the Society, and.'
reported that, stated shortly, the business transacted consisted of a balance-
sheet being presented, and two sub-committees, each consisting of two dele-
gates, being appointed and respectively commissioned to tilt with the English.-
railway companies on the subject of reduced fares for photograpliers, and to
consider what the Affiliation rules meant. Mr. Oakley had no doubt that the
affiliated 5000 awaited the reports of these sub-committees in nervous expect-
ancy. Mr. Walker showed prints on gelatine paper, the toning results being
unsatisfactory. Mr. Bishop advised the use with this paper of the combined
toning and fixing bath, made according to the formula recommended for Solio ■
paper. Mr Williams advised workers to make the chlaride of gold they used;
and, preferably to others, from Australian gold coins, as these contained nO'
copper alloy. Mr. Morgan then gave a lecture and demonstration on the
Amidol, Metol, and Gtycin-Hanff Developers. He stated that amidol was
essentially a developer for all-round work, whether for negatives, lantern ■
plates, or bromide paper. He especially urged the formula in which the dry
orystals were added to the solution of sodium sulphite immediately before use,
and, in cases of over-exposure, adding water and bromide according to require-
ments— the last-mentioned even to the extent of three grains to the ounce of
develoi^er. He. averred that a gooil printing negative could be made witKi
amidol as a developer which had received only one-third of the exposure- neces-
sary to produce one when pyro was used. Metol was a developer to be used
in two solutions, one being the free alkali. It was not so powerful as amid(il,
and any amount of tentative work could be done with it. For bromide-print.^-
it bid fair to supersede the ferrous-oxalate developer altogether. He had been
experimenting at the works of a large photographic company that day, and, as
a result, it was admitted that metol developed a print equally well with half
the exposure required when ferrous oxalate was used as the developer. The
lecturer did not enlarge much on glycin, it being a more recent introduction ;
but, from what he intimated, the audience concluded it would be a kind of
automatic developer, such as the button-pressing fraternity would gladly hail'
if they ever dared on development. You only harl to put the exposed film im.
the solution and take it out when it was reduced to a perfect negative.
Northern Photog^raphic and Scientific Association.- On Saturday, July 1,
through the kindness of Mr. George Murray, F.R.S.E., F.L.S., a visit was paidj
to the Natural History Museum at South Kensington, and a most enjoyable-
afternoon was spent. It has been arranged to have an excursion every Satur-
day afternoon throughout the sunmier. Next Saturday, July 8, there will be
an outing to White Webbs Park and Enfield. Train leaves Broad-street ati
five minutes to three ; Finsbury Park, twelve minutes past three ; Harring^y.
July 7, 189:J]
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
427
^G.N.R.), lit'teen minutes past three ; Ilorasoy, seventeen minutes jiast three ;
Wood Green, twenty minutes past three ; and Bowes Park, twenty-two minutes
past three.
Eaat London Photograpblc Society. — June :^7.— A (luestion from the
<jue8tion box was i-ead: "Wanted, a good formula for a borax bath. The
Chairman recommended one ounce of Dorax to eiglity ounces of water for
.stock, for use, take one ounce of stock and one grain of gold. Mr. E. M.
Minns then read his paper upon Su/'jixt.'!, and how to Find Them, During
the course of this most interesting paper, the lecturer strongly advocated the
use of a view meter, and showed one of his own con.stnictiou ; he also advised
ithe use of blue spectacles, so as to do aw.iy with the colouring effects in the
view, and only to perceive the relative values of the high liglits and .shades ;
lie further said that the " subject " was only a secondary consideration, the
manner in which it was portrayed was everything.
Leytonstone Camera Club.— June 28, Second Annual CJencral Meeting,
■the Resident (l>r. W. Pickett Turner, E.C.C.) in the chair.— Mr. Albert E.
Bailey, Hon. Secretary, read the report for the jiast year, which was higlily
satisfactory, accounting for weekly meetings during the winter, and weekly
■outings during the summer; a brief resume of the lectures, demonstrations, and
public entertainments showed a very varied and interesting programme ha<l
been gone through, special reference being made to the great success attending
the first annual exhibition, which had resulted in the satisfactory balance of
zlU. being added to the revenue of the Club. The balance-sheet of the Club
for the past year was next presented and adopted, sliowing an increase of
'receipts over expenditure of 38/. 2.s. lOrf. The election of Olficers resulted as
follows: — Presulcnt: Dr. W. Pickett Turner. — Vice-Presidents: Messrs. E.
AViddrington Byrne, Q.C., M.P. ; W. B. Whittingham, J.P. ; A. Horsley Hinton ;
D. J. Morgan ; J. V. Sanderson. — Council : Messrs. G. H. Cricks, A. T. Cufley,
H. E. F.armer, A. Frost, G. H. Hart, A. J. Newton, D. G.Riddick, F. W. Wates,
A. P. Wire. — Hon. Treasurer: Mr. Tom Symmons.— 7/o)i. Secretary: Mr.
Albert E. Bailey. — Assistant Hon. SecrelaDj atul Curator: Mr. Montague
Atkinson. The Hon. Secretary announced the number of members as 136,
that the subscription for the new year would remain the same, as., and that
before the next winter season the Club hoped to be in their new hall and studio.
The detiuite date for the 1893 e.xhibition had been fixed for November 20 to 25
'inclusive. A vote of thanks was passed to the Chairman. The Hon. Secretary
wislies particularly to call the attention of botli amateur and professional
photographers in the vast Epping Forest district in which they work to the
many advantages of this Club, offering, as it does, throughout the year an
jilmost weekly entertainment and use of dark room, and shortly a studio, for
the annual sum of 5,?. On the completion of the new premises, it is proposed
to introduce an entrance fee, so there is no time like the present to .join. The
headquarters, the Assembly Rooms, are about three minutes' walk from
Leytonstone Station, G.E.B., and the Hon. Secretary's address, Rose B.ank,
South West-road, Leytonstone.
Liverpool Amateur Photographic ASBOciation.— June 29, Mr. Paul
"Lange in the Chair. — Three new members were elected. Excursions to the
following places were announced : Burton (Cheshire), for beginners, Satur-
day, July 8 ; leader, Mr. J. T. Norman-Thomas. Puddington, Saturday,
.July 22 ; leader, Mr. F. Anyon. Mr. W. T. Wilkinson gave a lecture and
demonstration on photogravure. After describing the class of negative re-
■quired for photogravures, a carbon positive was developed, then a ground was
laid with resin on copper plate, and a carbon negative developed upon dusted
copper plate, the image being afterwards etched in relief. After replying to a
few questions of technical interest, the spectrum was projected from the lime-
light through a prism, and various colour screens interposed to show the
■orthochromatic value of various aniline dyes, and also demonstrating the
value of different screens, both for orthochromatic work and providing a safe
light for the dark room.
FORTHCOMING EXHIBITIONS.
1893.
July 7-8 Photographic Convention of the United Kingdom,
Plymouth. Hon. Secretary, F. P. Cembrano, jun.,
10, Cambridge-gardens, Richmond, Surrey, S.W.
August Welsh National Eisteddfod. The General Secretary,
Pontypridd.
Sept. 25-Nov. 15 ... Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. Assistant Secretary, R. Child-Bayley,
50, Great Russell-street, W.C.
•October 1-31 Hamburg. Das Ausstellungs Committe des Amateur
Photographen Verein, Schwanenwik, 33, Hamburg.
,, 9-Nov. ... Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesbury-avenue, W.C.
December Madra-s.^^The Hon. Secretary Amateur Photographic
Society, Madras.
♦
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 12,551. — " Improvements in the Fronts of Optical Lanterns." J. H.
Barton-. -flatoi June 27, 1893.
No. 12.590.—" Improvements in Vitrifying Photographic Prints on Glass,
Metal, Porcelain, China, and like Substances. " H. W. Cox. — Dated June 27,
1893.
No. 12,621. — " Improvements in Photographic Cameras." G. I. Spalding. —
Hated June 27, 1893.
„ ^'°■ ,}MP:r". Iraprovements in Apparatna for Vignetting PhotOflrapblo
Prints." K. M. Aauu'.Y.— iMtrd ./une 27, IHm. -t> iui<-
No. 1'2,65.^— "Improvements in Apparatus for Trimming PhotOKranhs "
Complete specification. A. O.RKrns.—/)aledJune'iS, 1893° '
No 12.656.— " Improvements in and in connexion with Saturatore for use in
Signalling, Optical Lanterns, and for similar Purposes." J. G Pahvin _
/>«/(■(« y«n/; 28, 1893. 'Ainiiv.
„T^m- 1^.734.— "An Appliance for Washing Photographic Plates and Print« "'
W. Thcmson.— />ato;yu7ic29, 1893. ■•<:» aim rnnw.
No. 12,839.—" Improvements in Tripo<l Stands for Photographic Caraenw
and other Purposes." L. A. Marion, H. Gdibout, G. Bishop F Bishop
and J. }>. KmK.— Dated June 30, 1893. ' " **"'"'"^-
No. 12,840 —" Improvements in Apparatus for Storing and Exhibitinit
Transparent P.ctures, Photographic Negatives or Positives, and the like''
y«(t'30'']893' "' ^''■''"'^■''' ^- •'^'^"*"'' *'• ^""°'"' ^"'* •'• P- KinK.-Dated
No. 12,860.— "Improvements in Photographic Cameras." H H vov
HocHUEHG, Piu.N-CE OK Vless.— Dated June 30, 1893.
CorrejSiioiiDrence.
IV OorrespoiKimts thovXi never write on hoih sides of tlie poper. No notice is lakta
of coimiiitnications unless the name« and addresses of f/w writers are giwn,
THE DOUBLE ANASTIGMAT OF 0. P. GOEEZ.
To the Editor.
Sib, — In The British Journal of Photography of June 23, page 396,
Dr. P. Rudolph, of Jena, makes an attempt to submit to an unfavourable
criticism the comparison prints published by Mr. C. P. Goerz. At the
outset of his critique, hints are thrown out as to the validity of the
patent, with the evident intention of favouring misconceptions by sup-
pressing the true facts of the case.
The type of construction which forms the basis of the double anaatigmat
had already been made the subject of an application for patent in England
on December 19, 1892, a fact which was well know to Dr. Rudolph. The
latter had made experiments in March, 1892, with tie object of obtaining
landscape lenses of good illuminating power, and claims to have, in the
course of these experiments, arrived at the form of the separate lenses on
which the double anastigmat is based. These trials have, however, not led
to satisfactory results. Dr. Rudolph has not only admitted this fact in
private conversation, but has also stated it in public. In his lecture,
given on March 18, 1892, before the Freie Photographische Vereinigung
in Berlin, on the subject of the Zeiss anastigmats, the elements of which
he had calculated, he has made the following verbatim statement : —
" The doublet type invented by me, is doubtless the only one by means
of which anastigmatic flatness of field can be obtained without injury to
the other properties expected from a good photographic objective." (See
Photographisches Wochenblatt, Berlin, 1892, page 153, a.f.)
If, therefore. Dr. Rudolph in his letter says that already in 1892— the
time of his lecture — experimental objectives of the type of the double
anastigmat had been made, I can only understand from that statement
that such trials have produced negative results.
I find my assumption confirmed in the work. Theory of Optical Instru-
ments after Abbe, by Dr. S. Czapski, scientific co-operator at tlic optical
works of Carl Zeiss. Breslau, 1893. Dr. Czapski writes in this work,
after commenting upon the most important types of construction of
photographic objectives, page 205, the f ollowing : — " At length en-
deavours have been made, after abandoning restriction to two single
component parts, to obtain improved effects by a combination of three
lenses, single or cemented. These attempts, made in various quarters,
have, however, not yet been rewarded with undoubted success. "
In his specification for the British patent, dated March 3, 1893, Dr.
Rudolph certainly says : " The practical question as to whether in a
combination of the above description it is possible to obtain a sufficient
anastigmatic correction, and at the same time to comply with the other
conditions required in photographic objectives, has been answered in the
affirmative by theoretical and practical investigation of both types of the
new triple lens." But nothing is mentioned about the time when this
affirmation took place, and only a sufficient astigmatic correction is
spoken of — a rather elastic term.
By calculating the elements of construction given by Dr. Rudolph in
his specification for patent, I have been able to ascertain that both the
detailed constructions show insufficient astigmatic and spherical
correction.
I have only closed my investigations, which have led to the construc-
tion of the double anastigmat, at the end of last year, after years of
preliminary labour, which, as far as I can show, takes me back to the
middle of 1889, and after correction of astigmatism of the radial lines
and of spherical aberration, I have found not only that there exist kinds
of glass which induce achromatism, but also that these kinds of glass
possess the property of reducing the secondary spectrum, and fnrthec,
that astigmatism is not only eliminated from the radial lines which come
first into consideration, but from the whole surface of the image, and
428
THE BRITISH JOURNAL OF PHOTOGRAPHY,
[July 7, 1893
finall; that np to an angle of seventy-two degrees absolute flatness of
field has been obtained.
Not until I had safely recognised all these advantages did I feel myself
at liberty to declare that I stood before an important inveniion, of which
I do not intend to allow my priority to be removed by the incomplete
labours of others.
Lastly, I feel it my duty to make the following statement : —
When we entered the double anastigmat at the Patent Office, neither I
nor Mr. Goerz had the slightest notion of similar labours in this direc-
tion on the part of Dr. Rudolph. We did not gain cognisance of this
fact until we paid a visit to .Jena at the end of December last. On that
occasion we were informed that it had then been resolved to apply for
a patent on the basis of Dr. Kudolph's investigations.
The circumstance, therefore, that Dr. Budolph, nevertheless, postponed
his application until March 3 last, requires further explanation.
I did not think myself justified to omit this remark, and the less so be-
cause the communication on the part of Dr. Rudolph opens the widest
field to misconceptions.
As regards tbe critique on the comparison prints published by Mr. C.
P. Goerz, I will now show that Dr. Budolph, though laying claim to the
construction of the double anastigmat, has not even conceived the impor-
tant advantages of the same.
Dr. Rudolph asserts that the antiplanat and euryscope had not had a fair
chance on account of the free aperture of /-6. What on earth has free
aperture to do with astigmatism ? That with objectives possessed of un-
avoidable astigmatism the effect of the latter can be diminished by a
judicious arrangement of aperture and distance of lenses, whereby through
timely vignetting a large portion of disturbing rays is cut off, was un-
doubtedly known to the constructor of the lynkeiosooije ; he well knew
how to successfully utilise this experience, and attained thereby that his
aplanat, by employing larger stops, gives much better results than other
objectives of a similar kind with the same size diaphragm. And that
this is so the photographic prints are intended to show — nothing else.
While, on the one hand, according to Dr. Rudolph, the antiplanat and
euryscope are at a disadvantge by reason of their free apertures being too
large, the anastigmat of f-1 '2 on the other hand is at a disadvantage on
account of not being corrected for a larger aperture.
There could be, surely, nothing more natural than to select from the
price lists of the various makers objectives intended for the same pur-
pose, and which in aperture and focal length approach as nearly as pos-
sible the double anastigmat ; and of the Zeiss arastigmats No. 3 of
series III. is that which in the just mentioned conditions almost com-
pletely harmonises with the double anastigmat, while Series II. of the
Zeiss anastigmats does not include a suitable focal length.
Now, Dr. Rudolph asserts that no disadvantages would have resulted
to the Zeiss anastigmat against the double anastigmat, if instead of a
Zeiss anastigmat of N7-2 one of /-() -3 had been drawn into competition.
But instead of supplementing the published comparison prints by a corre-
sponding photograph taken with a Zeiss anastigmat of A6-3, which would
at once have decided the correctness of his assertion, if founded, Dr.
Rudolph produces in evidence of his statement certain prints which have
been obtained under chosen conditions of disadvantage to the double
anastigmat.
Even though stopping down to/-15-5 cannot be admitted as a measure
for the examinations of systems of strong illuminating power, the result
in favour of the Zeiss anastigmat is still further removed by the circum-
stance that Dr. Rudolph approaches the object to the short distance of
1-2 meter with an objective lens corrected to an infinite distance. Of
what worth such manipulations are I leave to the judgment of any unpre-
judiced person.
I am prepared to repeat the photographic exposures as represented by
the prints with a Zeiss anastigmat of Series II., under the assistance of
Dr. Rudolph or his representative, and declare emphatically that such
exposure can only lead to further confirm the superiority of the double
anastigmat.
The reproach that the two first objectives of the photographs have a
shorter focus than the three others may have some justification, but as
only specimens of this focal length are in commerce, nothing remained
for Mr. Goerz than to use them. Moreover, any one with a technical
knowledge can easily appraise and take into account the amount of the
defect which may arise from the slight difference of the focal lengths,
from the data given with each of the prints.
From the unequal definition of the two sides of the photographs. Dr.
Rudolph infers that not the centre, but one of the sides, of the plate had
been focussed. This assumption is erroneous. The unequal sharpness
has much more its cause in the fact that the iron rails by which the
Stegmann apparatus for reproduction used for the production of the
originals was guided, though accurately directed upon the centre of the
trial plates, were placed, as I could ascertam after closer scrutinv not
completely vertical to the plate. Tliis circumstance, which affected
uniformly all the exposures, cannot, however, in any way be considered
a fault which might induce erroneous conclusions. On the contrary it
18 particularly well adapted to demonstrate the difference in the lateral
want of definition with objectives more or less corrected for astigmatism
Finally, Dr. Rudolph objects to the omission of the author's name on
the prints.
In producing the originals for the photographs, we have been assisted
in a most amiable manner by Professor Dr. Gustavo Tritsch, privy-
medical counsellor in Berlin, for which assistance we acknowledge our-
selves to be greatly Indebted to him. Professor Dr. Tritsch, to whom the-
prominent qualities of the double anastigmat at once became evident,
exhibited such lively interest in this new objective, that he has sacrificed
several days in testing them, and was not only present at the production'
of tbe originals, but also at most of the extremely painstaking, and
sometimes tedious, preliminary labours.
The placing of the plates was separately executed by all persons present,
in order to render ourselves as much as possible independent of personal!
errors, and exposure was nnt made until the placing by all agreed.
Present were : 1, Privy Medical Counsellor Professor Dr. G. Titsoh ; 2,
Mr. Paul Goerz ; 3, the undersigned ; 4, Mr. Biffarth ; 5, the operator of
the Institute for Reproduction of Messrs. Meissenbaoh, Riffarth, & Co.,
who developed the plates.
With each of the objectives taken for trial at least two exposures were-
made, and the best only used for the prints.
If Mr. Goerz has omitted to attach to the prints the name of Professor
Dr. Tritsch as author — this Dr. Rudolph no doubt has meant — it was done-
chiefly for this reason, that such a notification could only produce the im-
pression of an advertisement, which in my opinion our double anaatigmats
are not in need of.
With a subject of such importance it cannot fail that, very soon,
scientific authorities who have no interest in either side will comment
fully upon the questions which here come into consideration. I can only
welcome this in the interest of my good cause.
Asking you. Sir, to kindly admit the contents of this letter to youc-
esteemed Journal, — 1 am, yours, &c., Emii, von Hoegb.
Berlin.
THE COls-CENTBIC LENS.
To the Editob.
Sia, — I had not intended troubling you further in this matter until
some reliable independent testimony was obtained, but I am unwilling to-
let Mr. Stillman's letter of June 8 remain so long unanswered in face of
the unfair charge he makes against me in his postscript.
Mr. Stillman is no ordinary controversialist. I was provoked, in the
first instance, to lodge an emphatic protest against a statement that
seemed to me inaccurate and misleading, twice repeated — a claim for thet
lens that is repudiated b.v the makers and has no foundation in fact.
That 80 insignificant individual as myself should presume to question
Mr. Stillman's accuracy, and suggest that his facts are fancies, seems to-
have roused his indignation, but we Yorkshire folks are a plain, practical
lot, and have a habit of sticking to a point until proved right or wrong
No amount of indignation will crush us, and if we get into a dispute we;
accept the responsibility.
Just note how Mr. Stillman has performed the operation known as:
" climbing down." At first he contended that the concentric defined as-
sharply at/- 16 as at/- 64 over a plate as large as the focal length of lens.
Then he changed to " any given object," and now he has watered that;
down to " such definition as meets his requirements." Had he said this-
at first, this controversy would not have arisen.
Then Mr. Stillman's style of argument — a long letter, not to me, but
certainly at me, in which he commiserates other users of the lens for not
achieving the impossible because -we have not a nice delicacy of touch, or^
our cameras are not sullioiently well made, while Mr. Stillman proves his
superiority by admittedly sending you a partially developed negative-
taken in a camera with a cracked front. Our cameras must be very bad.
Mr. Stillman's own interpretation of my protest was, that if I was
right his contention was " brag, or worse." Now, he says I may take
any course I like to prove my case, as "it does not concern him in the.
least." This is the same gentleman who contended that the instructionsr
sent out by Messrs. Ross with the concentric were " illogical " because-
they did not support his views. Mr. Stillman is an excellent judge of
what is illogical.
In conclusion, I regret I am unable to accept any advice from Mr. .
Stillman in the matter of courtesy. My letters have been very much on
the same lines as his, and if I have sinned in this respect he is not en-
titled to reproach me. I take it as a little ruse to cover his retreat. I
will send a concentric to Kew, and submit the report to you in due course.
Whether for or against, we will have proof, which will be the one graii*.
of wheat in this mountain of chaff. .».j - ^^i
Thanking you in anticipation, — I am, yours, itc., F. H. Bcbton. j
Roniulhay, near Leedf, June 27, 1893.
IMPROVEMENTS IN PHOTOGRAPHIC LENSES OR
OB JE CTIVES.
To the Editor.
Sir, — Apropos of new lenses that are now being issued, permit me t^)-
say that in Patent No. 1261, of 1889, it was not my intention to place-
upon the market a new lens of such formation and advantages as that.
existent objectives, single or double, rapid rectilinear or wide-angle,
should thereby become obsolete, but, on the contrary, by the use witU-
July 7, 1803]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
420
thorn of my patented combinations of greater public utility, that
this end should be attained by aimple, yet correct, means, and, at
the same time, that a great saving to the photograpliic artist should be
eflcoted. That these desired results have been, and can be, obtained by
the series of combinations specified in my patent cannot truthfully be
denied. They are partially placed on the market in the French goods of
F. Darlot & Co., and brilliant results are secured when, in workshops of
British experts, the lenses arc carefully centred and ground or selected
exact to specification. That such combinations are absolutely corrected
is proved by the fact that in the proportions specified no alteration can
be made witliout detriment to their symmetrical definition, either in the
centre or in the outer edge.
Owing to the facilities afforded by such a formation for obtaining a
deep globular field (with the smaller stops in use), or, reversed, a flatter
field (with the larger stops in use) ; or for obtaining an exceptionally deep,
long narrow field, such as the cabin of a steamer or a long corridor
(when, in such case, they can be placed one in front of the other in the spiice
between the plane of the diaphragm and the front collecting objective of
a half-plate rapid reatilinear doublet, or of an Optimus 10 x 8 rectilinear,
wide angle, or other doublet) ; or, again, a narrow angle for obtaining a
view of a dist.'uit subject (when, in such case, they may be placed at
point, so called, of principal focus, outside and at rear of any photo-
graphic doublet, or single ordinary achromatic lens, and whereby, also,
" instanto " effects may be obtained) ; the combinations, by preference,
consist of four parts or pieces, two positive and two negative lenses, after
a manner described in my specification, and divided into two separate
cells, which whole combinations can, as aforesaid, "be applied in or irith
any photographic achromatic lens ; astigmatism being corrected for, it
follows that a correct media being added to any correct media the whole
is correct, whilst a symmetrical and " the most accurate resemblance
between the object and the image is secured," as shown in copies of finest
engravings.
Consequently, as before written, it was no point of mine to
interfere with the construction of an outer front collecting, or, in
doublets, rear dispersing objective on lines as made previous to date of
my patent, but to provide combinations to become, as it were, handmaids
to render them increasingly effective and useful. Such being my case, it
becomes my duty to, on the foregoing and on other grounds hereinafter
stated, again present the claims of my Patent, No. 1261, of January 21,
1S8!), befor the public photographic world.
I. It would be superfluous to correct that which is correct, and these
absolutely correct media are found specified in the first series mentioned
in Patent Xo. 1261 ; they form the key to guide the construction of
equivalents, as mentioned in following series, which were purposely
inserted by me to prevent infringements. British opticians do not, of
necessity, require the aid of other experts to calculate in two or three
part the equivalents of the faid series of four parts (as, for convenience,
placed in plane of diaphragm front and rear of a doublet, with an air
space between such, as is afforded by the stop-slot, width of angle being
attained and retained, together with increased or decreased size of object,
at will of the operator). To many the various series quoted in my patent
seemed to be superfluous ; but, upon examination with the first key-guide
series, they will be found, I am well assured, to cover all needful ground.
Some months back a Resident Barrister mentioned to me that, in
experimenting with an ordinary achromatic lens, instead of a stop, he
placed behind it a piece of tinfoil, and, no matter in what part of that
piece of tinfoil he pricked a minute pin-point hole, he found a perfect
picture delineated on the screen or ground glass behind. This, in the
minds of most people, will argue ill for the correctness of calculations
dogmatically describing the formation of lira partial focal points, formed
by rays passing through " the meridional and sagittal sections respec-
tively (why so called, one ray shoots as much like an arrow as does
another wherever it gets through?). It follows, then, that that form of
lens, or combination of lenses, which in practical work gives the best
all-round results, will commend itself for use.
II. Correction for " astigmatism" will, in the rapid rectilinear doublet,
be found to be a correction for " residual error," lying between the points
A (at top-slot) called " principal focus," and other points between it and
the points B (at rear-objective), called " conjugate foci ; " this, in a very
complete measure, is got rid of by insertion of my combinations at A,
making these combinations principal to the front collecting objective, and
transmittents to the rays passing through it ; and B, the rear objective,
become principal to the combinations at A, whereby " residual error " is
so removed. This will be found to be the case with any rapid rectilinear
doublet by a conscientious maker of repute ; and is proved, by the interior
(15x12) of the Crystal Palace, taken by Negretti & Zambra with my
whole-plate, eleven and three-quarter inch focus, rapid rectilinear doublet
(Fallowfield), the focus being increased by my combinations to fourteen
and a quarter inches e(iuivalent focus, stop of a quarter inch orifice.
Lines — of the multiplicity of iron pillars of the vast building — rectilinear ;
and girders sharp to outer edge of circle of the image, received through
the front collecting objective, and whereby great width of angle is
obtained, to manifest advantage.
III. By placing the combination of four parts, contained in the two
separate cells, in the plane of the diaphragm, they act either as a collect-
ing or dispersing lens to the front or rear lens of a photographic doublet.
Used singly with them, as may be desired by the operator, rectiline&r
lines being in marked measure still secured, and with a comparatively
small stop, objects from twenty feet to over three miles are delineated in
good definition or focus. Again, the " compensating " part of my com-
bination in cell by itself may be allowed to remain in its position in the
plane of the diaphragm, and the other portion, in a cell by itself, be
placed at the point previously occupied by the front or rear lens (of the
doublet), whicli had been unscrewed and removed for that purpose, and
the correction for " residual error," mentioned above in Section II.,
becomes distinctly marked and observable. Therefore it appears clear
that the position at point called principal focus, in which the combina-
tions are placed in their connexion with "an ordinary achromatic lens,"
has to be considered rather than a fixed system of calculations as to
" radii of curvature of the surfaces of the lenses," and " central thick-
ness of the lenses." As, again, as a general rule, the radii of curvature
of combinations must perforce have that relation to the radii of curvature
of the " ordinary achromatic lens," or lenses, in conjunction with which .
they may be used — as have the various inner skins of an ordinary
Spanish onion in varying "radii of curvature" to meet the require-
ments of the radii of curvature of each outer skin to which it is.
adapted, be that onion of what size or shape it may. But the shape
of the human eye might, under the same conditions, be followed to-
advantage, and Professor George Butler Bradshaw (Gold Medallist in
Science) Informs me that the eye of the sparrow sees the hawk before the
hawk's eye discerns the sparrow. The variation of radii of curvature of
positive and negative meniscus lenses of from three and a half inches to
seventy-two inches focus has been offered to be done for me by a London .
maker of such lenses, whilst it will scarcely be disputed that ho optician
would rightly be considered as an " expert " who was not an fait as to
the methodical fulfilment of such requirements with the "ordinary achro-
matic lens," or lenses of any diameter with which he purposed to use
combinations of lenses.
IV. The question, then, of correction for the astigmatic aberration of
simple ordinary single meniscus lenses may be tested by taking any
pair of positive meniscus lenses of, say, sixteen Inches focus, either of.
which, viewed through by a person of normal sight, will "neutralise " a
negative ordinary single meniscus lens of same focus, in such a manner
as that a series of parallel lines, a quarter of an inch apart, will be found of
exactly the same distance apart whether seen through the two
neutralising lenses or on either side of them. Similarly, this pair of
positives of sixteen inches focus— placed one on either side of a negative
meniscus lens of eight inches focus, and found to neutralise it in such
measure as that the same series of parallel lines will also still appear
equidistant, whether viewed through the three neutralising lenses, or on.
either side of them (at points of impact and epact, so to speak, respect-
ively) ; then either one of those two positive lenses may be used with that
eight-inch negative as its corrector for astigmatism, subject to (after a
similar process of testing) a positive ordinary single meniscus lens of
forty inches focus, placed with a negative meniscus corrector lens of eighty
inches focus, being together used with the previous mentioned pair as a
compensator. These four parts, inserted in two separate cells (or cemented
together or in pairs), as described in Patent No. 1261 ; the curvature*
regulated as mentioned in Sec. III. herein ; used in or with an ordinary
achromatic lens or doublet, "with a single or divided objective tube," and
placed at the point called principal focus, which may be either in the
plane of tbe diaphragm, or in front, or at rear of either a single ordinary
achromatic lens, or rapid rectilinear, or wide-angle doublet. It will be
found that no one of these four parts can be replaced by any other lens
of a different focus, even a shght variation shovring a tendency to •
introduce spherical or other aberration. It will also be found that the
positive may be separated from the negative at certain varying distances,
if what are called " tele-photo " results are required with a short-focu&
camera.
To borrow, then, a simile from Lord Salisbury's speech at Derry : —
Should "Infringerites" attempt to introduce into the British land of.
Canaan improvements in lenses which are already effected under a British,
patent of January, 1889 — now that these plain facts in connexion with .
the patent (No. 1261) are agiin pressed upon British opticians and the
scientific world, specifying a mathemotically exact principle of construc-
tion and correction, I hold that a syndicate of experts behind Patent.
No. 1261, as a rampart, would be unassailable before any court. Be this
as it may, my desires have never extended beyond re<iuiring absoluteljr;
customary British " fair play." — I am, yours, &c., Hugh Blackwood.
lleckenham, Kent, June 20, 18'J3.
"A'fEW MORE WORDS."
To the Editor.
Sir, — That considerable opposition will be evinced towards the schetne
as mooted in "Darkest Photography" on the score of " Free Trade,'" '
eela va sanx dire. But where, it may be remsurked, has free trade landed
us ? As pointed out in the previous article on this subject, it has caused
a tremendons influx into the ranks of the profession without a corre-
sponding degree of excellence. Yon are asked now to protect yournelvea
against this great incursion, which has exercised such damaging elTeots-
on your prosperity. The remedy, as suggested, is, to a great extent, in.
430
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[July 7, 1893
your own hands. Be united! Act with a greater Bpirit of unanimity !
Show to your fellow-men that this great art science of photography, of
-which you are, or ought to be, so justly proud, and which you, as the
professional exponents of, have brought its varied works to such a high
state of perfection, shall no longer be invaded by a mob, sometimes com-
posed of only the merest tyros, and henceforth only tested and proved
men shall remain in, or find a welcome, in your ranks.
With regard to the licensing of photographers, there is one very great
point to be urged in its favour, and that is. What body possesses such
powerful influence within itself for its own trade's benefit as that of the
■' ' Licensed Victuallers ? " and why should not such a happy state of affairs
exist for the " Licensed Photographer? " . , ,
Another point is almost entirely overlooked in connexion with photo-
graphy, and that is, the vast army of persons who are employed, either
directly or indirectly, in the various manufactures and kindred trades
required for the production of only a dozen cabinet photographs. This
is again a matter for serious thought and reflection in connexion with the
political economy of this vast kingdom. As the Government of the
country has, by the introduction of photography some fifty years ago,
been relieved of a terrible incubus in providing, or finding the means of
support for the many thousands which our art-science has found good and
remunerative employment, possibly no industry has ever cropped up so
(luiekly, or made such rapid strides within so short a period, and there-
fore it behoves us to do all that lays in our power to protect this gigantic
industry, and not let its vitality be choked, as seems probable it will,
unless some decisive steps are speedily taken whereby to remedy the
ipresent state of affairs.
It is therefore suggested that a quick and easy means of obtaining the
voice of the profession on the proposed scheme is this : All photographers
to be invited to send a post-card, with their names and addresses thereon,
and just these words, " In favour," to The Editor, at the office of
The British Journax, of Photography, 2, York-street, Covent Garden,
London, W.C., and these post-cards would go far to simplify matters, and
assist in initiating the necessary proceedings, so as to push forward the
project of " Begistered and Licensed Photographers." — I am, yours, &c.,
June 30, 18!>3. Pioneer.
AMATEUBS AND PEOFESSIONALS.
To the Editor.
Sir, — I beg to express my thanks for permitting me in your issue of
June 30, to defend the occupation of shop-keeping from the imputation
of degradation made against it by one of your contributors. I would
further like to make a few remarks on the vexed question of amateurs and
professionals.
One of your correspondents suggests that amateurs would be wiped out
if they had to pay a tax of ten or twelve guineas a year; undoubtedly they
would. Seeing, therefore, the remedy is admittedly potent, why is it not
applied ?
Well, in the first place, photography was not invented for the purpose
of giving a body of professionals a monoply of the art, and one man has
as much right to practise it as an amusement as another has to practise
it as a business. Can your correspondents be so childish as to suppose
that Parliament will pass such an absurd law — they are surely joking?
Only a short time ago a Lancashire County Council or Local Board
proposed to the Chancellor of the Exchequer that cyclists should be taxed
five shillings per year. The proposal was not entertained for a
moment.
Undoubtedly there is much to be said on the professional side. The
amateur does, to a small extent, affect the trade, but the remedy is not
Acts of Parliament.
The only way in which amateurs can unfairly compete with pro-
fessionals is in the line of underselling them, or in giving photos away
free. We must appeal to the good feeling of amateurs not to act so
thoughtlessly.
If they must take photos for money let them charge the proper price,
and if they can afford to do them without receiving pay let them carry
round a subscription card for some hospital or charitable institution.
Then, when a person wants a portrait doing, do it on condition that a
subscription for its value be given to the charity. Of course there will
be exceptions to this rule ; there are times when it would be correct and
proper to make presents of photos to our friends, such as views, and
special subjects of a like nature.
But let no amateur practise the indiscriminate free giving of photos.
It will only tend to make them common and unappreciated, and when a
charge is made let it be the usual professional charge for the same class
of work, whether the amateur keeps it himself or devotes it to charity.
Then, in my opinion, professionals will have no need to complain of the
amateur, and the problem will be solved. They have just cause to com-
plain of the amateur who undersells them or gives away his work for
nothing without discrimination.
Could an association be formed of amateur photographers binding each
member to those terms, it would help to bring about the result so much
•desured.— I am, yours, &e., William Ja.mes Farmer.
68, Blttckhurn-street, Lundon-road, Blackhurn, July 1, 1893.
To the Ediiob.
Sir, — I am sorry to see so many foolish utterances in the Jocrnal on
this question.
It is so evidently impossible to restrain amateurs from the use of the
camera, or from selling their productions if they find buyers, that it is
the veriest waste of time and material to print the absurdities which have
lately been written on these matters.
As well might the professional bakers seek to restrain home-made
bread, dressmakers to prevent unlicensed infringement of their sphere,
authors to tax the unprofessional essayist, and so on with every trade in
the country ! Is it not true that most trades are at present depressed,
and people of all mercantile pursuits complaining ?
There are causes for the depression in photography which are very
plain to be seen do we but look for them.
" To him that hath more shall be given." Yes, if he does good work,
and spends largely in advertising.
Nay, sometimes it is bad work that pays best ; the flattering retouch-
ing, the untruthful effect of unnatural lighting, possible only in a studio
furnished at great cost with an elaborate system of blinds and reflectors ;
these, and the magnificent " get-up " of the studio of the monied man,
take a large slice from the general run of photographers.
A little lower in the scale commences the system of price cutting, of
taking small orders and making up for it in number of sitters, overwork-
ing and underpaying assistants, running a number of branch studios for
the profit which should be obtainable from one.
Panic fear of each other is a large factor in the present crisis. If it
happens that the next stand, however unpromising, is working at lower
prices than, say, mine, down must go my prices, however inferior hia
work.
Grabbing at one another's business, competing for estimates where the
lowest tender is always accepted, and other things not so patent to the
public, all combine to make our position what it is. We are largely
paying the penalty for our own sins, and it is purblind folly to lay the
blame on the amateur.
A certain man took transfers for 3s. 6(2. minimum. Being one day
asked for a block, he took the transfer, paid 2.v. 6(/. for etching, and fur-
nished the block for 3s. 6d. Why? Because he heard that somebody in
that trade was doing them for so much. (I generally publish my name,
but wish not to do so in the present instance.)
Some of the very best work I have ever seen has been done by ama-
teurs, and some of the most valuable discoveries of photography have
been made by amateurs. To deny it is to plead ignorance of the history
of photography.
But what is the cause of these causes ? How comes it that we find
ourselves in the toils of advertising monopolies, price-cutting, falsifying,
labour-sweating, seven-day working, neighbour besting, toiling for
nothing? The answer is to be found, but it has nothing to do with
photography ; therefore, unless at special request, and by special licence
of the Editor, I shall not divulge it. Indeed, to many correspondents on
the subject, it would, I fear, be unintelligible. — I am, yonre, &c.,
June 29, 1893. Individcal.
To the Editor.
Sir, — No one can fail to sympathise with the unfortunate professional
pliotographers who, while suffering tlirough the laws of political economy,
lay all or most of the blame on the amateurs.
The recent suggestion that the latter class should pay a heavy licence
for the privilege of carrying a camera points out the most practical way of
dealing with the matter.
There may, however, be a good deal of conservatism to overcome
before such a tax could be imposed, and as the ranks of our legislators
include a number of amateur photographers it is to be feared that a
certain amount of class prejudice will oppose the scheme.
The suppression of the amateur will, doubtless, seriously damage the
manufacturers of plates, cameras, Ac. The latter will find it to their
interest to pay the tax for the amateurs so as not to lose such good
customers.
If this happens the National Association of Professional Photographers
will, of course, have to buy off the opposition of the manufacturers. The
financial results may prove complicated.
The principle of taxing those who amuse themselves with any
occupation outside their own trade or business is too good to be applied
only to photographers. As soon as the public have been educated up to
it, we shall of course tax amateur carpenters, gardeners, soldiers, ei hoc
genua oiime. They all interfere with those engaged in the corresponding
trades.
The Chancellor of the Exchequer would be only too delighted, and
many vexatious duties (including perhaps the income tax) could then be
taken off.
I would only suggest that the snap-shottist be exempted from the
proposed licence. Such a large proportion of his shots are failures that
he greatly benefits plate-makers, without doing any appreciable harm to
the professional photographer. — I am, yours, Ac, Econoiiisi.
July 1, 1893.
July 7, 1893]
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
431
LEYTONSTONB CAMERA CLUB, SECOND ANNUAL EXHIDITION
Ti) tlu Editob.
Sir,— Owing to the great snccesa and overcrowding attending our
First Annual Exhibition held on last November 10, 11, and 12, the
Conncil o( this Club liiive decided to extend the time this year to a week.
The date is also lixcd, and itwill be held at the Majonic Hall, High-road,
Leytonstone, opening on Monday November, 20, and closing on Satur-
day, November 25. Further ))artioulars will be duly announced, and it
is earnestly hoped that our numerous photographic friends who sup-
ported us HO well last year will do so again this year, when we hope to
eclipse our previous efforts. — Yours faithfully, Ai.hebt E. B\ii.ev,
Hose Bank, South iVentronil, Lei/tonstone. Hon Sec
" MUSIC HATH CHARMS."
To the Editob.
Sib, — My attention was lately attracted by an advertisement which
appeared in a popular photographic journal demanding the services of a
"musical retoucher,'' the particular quality of voice required being
soprano. This appears a novelty in the way of orders, but one which, I
am sure, will be readily filled. In the mean time " wonderment guesses "
why is such a combination desired, and to what more or less useful pur-
pose will it be applied when found ? Perhaps the best way to satisfy my
curiosity would be to wait until a retoucher with a tenor voice is applied
for, when, perhaps, it will be my good fortune to be selected to take part
in a "retoucher's madrigal " or a " stripper's roundelay." Whether or
not such happiness will ever be mine, this idea of combining two hitherto
widely separated vocations seems a happy one, and is rich in suggestions.
Attending, first, to such as are quite utilitarian, and therefore business-
like, one might suppose that the system of having a retouching depart-
ment conducted on harmonic principles would answer very well. I
know by experience that singing is a great relief to the nervous tension
caused by prolonged application to such tedious and monotonous wprk
as retouching. I knew a surgeon who had a habit of whistling softly the
air of some old ditty — a cross between a jig and a country dance — when
performing the most skilful and perilous operations ; doubtless he did so
in order to keep himself cool and his hand steady. Many employers
think that yon cannot do two things at once, and discountenance talking
and singing whilst at work. Talking may be bad, as it is apt to become
controversial and take up too much attention ; but there is not the same
objection to singing, as long as it is not of that class which requires the
accompaniment of gestures and poses, or too many " runs " and " shakes."
Singing acts beneficially on the circulation, remedying in some measure
the ill effects of sitting ; moreover, the energies receive that stimulus
which the work cannot give, activity is sustained, one is prevented from
falling asleep, or quarrelling with his neighbour, unless it be over a ques-
tion of "tempo" or " pitch," the work receives less begrudging attention,
and the result is — progress.
Shakespeare says, " The man who has not music in his soul is fit for
treasons, stratagems, and spoils." He does not particularly allude to re-
touching, unless in the last part of the sentence he refers to spoilt nega-
tives.
In connexion with this notion of employing stippling songsters, or
singing stipplers, many amusing thoughts present themselves. One can
picture the spectacle of an energetic foreman wielding the baton, which
might in this case consist of a retouching pencil, and seeing that the
bows — I mean the other pencils — keep time with the music. He prefers
pieces that have an "allegretto" movement, deprecates anything like
" adagio," but has a partiality fbr " accelerando al presto."
A " photographic establishment choral society " might do double duty,
so many birds might hit two objects with one stone — by being placed in
proximity to the studio their harmonious breathings would serve to evoke
that lively and amiable expression of countenance in the sitters which it
is the aim and endeavour of all good operators to obtain. Experience
would soon show whether the best singers turned out the most artistic
retouching, which we might expect them to do by dint of their mental
faculties being elevated and quickened to a perception of the beautiful,
whether it be found in the graduated tones of a negative or in a modu-
lated scale. Certain it is that amateur vocalists are so fond of exercising
their voices and their talents that many would be found anxious to
acquire the art of retouching in order to gain admission to such musical
salons as the retouching-rooms of the future promise to become.
Finally, we can imagine the fashion extending to other departments,
until at last it becomes a sine-'/ «« -now in an operator that he be also
operatic, and it may even lead to a solution of our present " Depression
in photography " problem, for if once the public takes to the new photo-
musical fad it will only patronise those establishments which are ready
to add to the allurements presented by a system of rendering the harshest
and plainest of features soft and agreeable, the further attraction of
being dissolved into ecstasies by strains of the sweetest music, vocal —
and it may come to this— instrumental whilst waiting one's turn in the
reception-room or undergoing the process, which will no longer be
stigmatised as the " ordeal " of being photographed. The subject is so
charming; bat I must tear myself away from it, sufiicient to say that by
the time that th« last-named state of thtng.s shall be unfait ncrompli, the-
profession shall have been subjected to euch complete and remorseless
action of the laws of natural selection and the survival of the fittest, that
the unmusical among them will have disappeared, leaving the fiddling
photographer more elbow-room for his scrapings and the photographic
flautist freer space and air as he " softly purling glides on the even tenor
of his way." Simultaneously another vexed question will be settled, the
last element of discord will be eliminated, and all photographers hence-
forth will hold the undeniable and inestimable privilege of calling them-
selves artistes, with or without the "e." — Yours, >l-c.,
July 1, 1893. The Piriso BvLrtscB.
COLOURED LANTERN SLIDES.
To the Editob.
Sir, — We notice in the Jane issue of " Supplement " to Tbe Banam
Journal of Photooraphy an article taken from the Photographic Timet,
written by Mr. L. C. Laudy, and must say we fully endorse what he says
about " the need of more trained artists in the slide-colouring line." He
very properly denounces the " rubbishy painting extant — harsh, wild, and
sensational colouring, and that those who are induced to try their hand
may avoid the above, and restrain that childish appetite for lurid and
glaring effects, and be guided by a rhante and educated taste." He then,
adds, "The field of lantern-slide colouring is an excellent and tempting,
one .... will bo delightful and bicrative in its results." (The italics
are ours. )
Now, we wish to add a few remarks, the result of nearly half a century's
experience in painting slides by hand, and colouring photographic slides.
The majority of the public refuse to pay a fair price nowadays for the -
colouring ; the cheap ISjj. a dozen complete (photograph and all) have
done it. Our dealers say they " cannot sell the true artistic work, and that
a ifood slide bij an educated artist would be passed by as tame and
poor, <fec." Really, what inducement is there to be found for eduoated
men to compete, receiving, as they would (from the dealers), from 3d. to
ad. per slide for their work? Then, again, the glaring and vulgar
colouring by the trade workers (as shown in all oar opticians' and
chemists' shops) that are turned out by the thousand, are done by girls
and children, in stuffy rooms in or near London — mostly by people who
never knew anything of art or taste. Poor things, they cannot afford
the time to improve themselves or their work, and, as to reading up a
suliject, that is out of the question. What art training do you suppose any
of the people have had that are regularly advertising in yours and other
papers ? It is the quantitij of cheaply daubed trash that pay them best
and real sweating out of girls and children. How different it was twenty
or thirty years ago, before the advent of the present grade of " artists 1 "
Very different it must be with the true artist ! He wants good pay, with
leisure to do his work conscientiously and well. He cannot afford to
advertise, because he could not work for enough to pay the expense.
And, lastly, if a man of ability must spend half his earnings in advertising
for work, he will turn to better-paying methods of earning a livelihood
We know of several clever artists w^ho have left slide-painting in disgust.
A man of ability is worth 3^. to 5^ a week at the very least ; can any of
the " sixpenny art " pay that sum? What number must he do per
week? — We are, yours, &a., Wilkinson & Co.,
Holmetide, Sunderland. Dissolfing View Slide-paintert^
iBxctange OTolumn.
%* JVo charge is made for inserting Exchanges of Apparatus in this column ,-
but noTit will be inserted unless the article wanted is definitely stated. Those-
who specify their requirements as ' 'anything useful" will therefore understand'
the reason of their non-appearance. The full name of the advertiser must .
in all cases be given for publication, otherwise the Exchanges will not be
inserted.
Will exchange rntchet safety bicycle, ball bearings all over, for good hand oameni
(i or 5x4), Facile or Kodak preferred.— Address, O. M. Miu.ee, 15, Cambridgo-
terrace, Belgravia, London.
Wanted, 12 x 10 camera, throe double Blidea, globe enameUer, good hand camera, or
accBflgories. Exchange Singt>r tricycle, as nevr, cost 26i. n^t, or 24x18 hot rolling
proas. Addi-esa, J. Aston Brioos, Whitby.
Wanted whole-plate studio cameni, with two doable back^ and carriers. Will ex-
change a 15 X 12 enlarging, &c., camom, with full set oarriors for same. — Addreaa,
H. Wii.Kiiisoif,2, Church-greeu, Harpend«u, Herts.
Will exchange Thk British Journal of Photo»eapht from 1989 to 1898 (indniiTe)'
and a fow odd numbers of Vfwtoijraphy lor graduated background or interior. —
Address, Fredk. Hcbd, Photographer, 'Shepton Mallet.
Will exchange a IS x 12 reversible camera, long extension, with two double and one-
single slides, for a 10x8 folding bellows camera, with three 9Ude«, doable. —Addnas,
JoHH BaooKS, Photographer, 40, Parliameat-atreet, Bnmley, Lnno.
432
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[July 7, 1893
Ensftoer^ to (ttorrcsponUcntB.
-*,* All matters irUmded for the text portion of this Journal, including
mwries and Exchanges, must he addressed to " The Editor, Thb British
Journal op PHOToaRAPHT," 2, York-street, Covent Garden, London. In-
attention to this ensures delay,
*,• Correspondents are informed that we cannot undertake to answer com-
municalions through the post.
•,* Communications relating to Advertisem/ints and general business affairs
should be addressed to Messrs. Henry Greenwood & Co. , ii York-street,
Covent Garden, London.
■*^* It would be convenient if friends desiring advice respecting apparatus,
faitures in practice, or other information, would call at the Editorial Office
either on Wednesdays from i to 6, or Thursdays from 9 to 12 noon, vihen
some one of the MditwuU staff will be present.
Constant Reader. — You omitted to give your name.
Knowledge is Power ; A. J. ; and others, in our next.
Accessories. — Mr. W. H. Redshaw, of Bourne, Lincolnshire.
G. Wright & Co. — Why not adverti-^e the solution for that purpose .'
JEbor. — Apply to Mr. W. I. Chadwick, St. Mary's-street, Manchester.
Xux. — The simplest and, in the end, the cheapest plan will be to purchase a
new dish.
W. M. — It is doubtful if the stains can be removed,
dilute hydrochloric acid, or, failing that, oxalic acid.
Try the effect of very
G. Reynolds. — Yes ; the chemicals are measured out by avoirdupois weight —
sixteen drachm3,;of twenty-seven and a half grains each, to the ounce.
T, Ray.ment. — So SJ- as we are aware the collodion transfer for the so-called
" Club Picture " is extinct. Therefore, if you must have them, we suspect
you will have to learn how to make them for yourself.
Spots. — ^We know seve^i ways by which the stains may be taken out, but
none that will remove them without also removing or changing the colour of
the fabric, so that the remedy would probably jjrove nmcii worse than the
disease.
R. T. Watson. — The best way will be to obtain instruction from a practical
worker of the process. If you desire to work the process as a business, the
best way will be to "article" or apprentice yourself to some of the firms
who take apprentices, and many do.
E. Hopper.— A portable studio such as yon desire will be constructed by any
of the horticultural builders in your neighbourhood. If you require one
second-hand, no doubt an advertisement in the columns devoted to such
puqjoses will secure what you desire.
E. R. Newman. — Whether the emulsion was defective or not we, of course,
cannot say. The negiitive sent (which arrived in fragments) was not sharply
focussed, which may in some measure account for its apparent lack of detail.
Its appearance is not inconsistent with over-exposure.
•E. Walton.— Your friend is quite right, the boiling point of water is 100",
but that is on the Centigiade scale. On the Fahrenheit scale, with which
you are familiar, it is, of course, 212°. On the Reaumur scale, the boiling
point of water is 80°. The latter is the scale most used in Germany and
Austria.
'H. R. P. a.'iks : " Can I, as an amateur photographer, let photographs of mine
be .sold for a charitable purpose, thereby receiving no benefit for myself,
without infringing the laws for exhibiting as ail amateur. Kindly answer
this."— This query is on all fours with that put by C. Moore, and the reply
will apply in both cases. Each of these correspondents appears to be anxious
not to lose the privilege of being bond-fide amateurs.
C. E. CoE writes : "Will you please answer the followimc : What is the best
way to vignette bromide paper and opals, by artificial light, when printing
in contact ? I have tried several dodges, but up to the present cannot get a
reliable result."— Ma.sk the negative as in silver printing— that is, with it
placed some distance from the negative— and keep the frame moving during
the exposure, so that the light is diffused between the mask and the
negative.
Bromide. — 1. If the manipulations as described were carefully carried out, there
ought not to be any spots at all. Obtain a fresh batch of paper and compare with
the old. 2. If the glasses be clean, and are in goo<l contact, such appear-
ances are generally present, but we have never found them show in a print,
by whatever process it was made. The markings complained of, we suspect,
are due to other causes. 3. No work on ceramic photography in the English
language is in print at the present time.
C. W.— Makers of dry plates do not publish the formula; by which they make
them. Therefore we cannot tell you how the particular brand you are so
anxious about is produced. Probably others besides you would like to
know. It is very unreasonable to expect that manufacturers should publish
the various methods they employ, although some few amateurs may possibly
desire to prepare the whole of the material they use themselves. It is
possible, though scarcely probable, that some amateur Society might be
induced to offer medals for pictures made entirely on material prepared by
the exhibitor. C. W. had better take the initiative and see the result
Oils puts the following queries. I shall feel greatly obliged to you if you
can give me advice through your columns, as to the best way to clean and
remove creases from an oil painting on canvas, which is badly cracked and
soiled. The canvas has been taken off the stretcher and been carelessly
rolled up ? 2. Can you also tell me what preparation is the best for
varnishing an oil painting ! "—In reply, 1. To give the necessary informa-
tion for it to be of any use woidd occupy several columns of the .Journal,
and even then it is probable that an inexperienced hand would inevitably
ruin valuable pictures in the first few essays. We ailvise that the work be
put into the hands of an experienced picture-restorer. 2. Mastic varnish ;
but it should not be applied till the picture has been prepared for its
reception. Many valuable pictures are rumed by injudicious treatment.
C. MOOBB writes: "Agentlembn, amateur in photography, has succeeded in
taking some very fine views of the cathedral here, and I shall be glad to
know if it will disqualify him from competing as an amateur if the photo-
graphs are exhibited at my shop, and sold by me on behalf of a local charity I
None of the proceeds will go to the gentleman ; in fact, he is in a position
not to require or desire any. The photographs are placed unreservedly in
mv hands, and it is to prevent any possibility of disqualification that I
hesitate to make a sale before hearing from you in your Journal." — The
question just now is very vexed as to what qualifies an amateur and what a
professional in photography. We know that a considerable number who
are looked upon strictly as amateurs, and pose themselves as suoli, allow
their pictures to be published, and take a liberal commission on the sale of
them. We should like to have the opinion of some of our readers on the
question raised by our correspondents.
G. A. writes as follows : " We have moved into fresh premises, and in them
cannot get a toning bath to act. The print, on immersion, refuses to change
colour. After twenty minutes it tones in the high lights, but the shailows
absolutely refuse to put on any gold whatsoever, so come from hypo quite
yellow. We have made up quite a dozen new baths, buying fresh chemicals.
Bottles, dishes, &c., have been thoroughly washed so as there to be nothing
to cause precipitation of gold. Fresh paper has been tried ; the same results
exactly with P.O.P. and sulphooyanide, so it cannot be due to paper. The
failure is due, we think, to precipitation of gold ; but liow it comes about we
should feel obliged for you to tell us. We use acetate and P.O.P. baths.
On some acetate baths we have noticed the gold deposited a day after, but
P.O.P. refuses to tone directly, so the gold must be reduced simultaneously."
— If the facts be as stated, and all the vessels are chemically clean, we
should suspect either the water with which the toning baths were prepared,
or the water with which the prints were washed prior to toning. If the
latter be the regular supply to the district in which our correspondent
resides, we quite imagine the trouble does not arise from that. We surmise
that the difiiculty is due to some trifling manipulatory detail, which, of
course, we cannot localise.
Rrceived. — T. N. Armstrong ; J. Pike ; E. Dunmore ; H. Dennis Taylor ;
and W. T. Wilkinson.
Photographic Club. — July 12, Members' Open Night ; 15, Outing to
Bumham-on-Crouch.
*,* Several interesting communications, answers to correspondents, &c., are
unavoidably held over.
aONTBNTB,
Page
metal VETISUS PAPER FOR PHOTO-
LITHOGRAPHIC transfers 417
TONING GELATINO • CHLORIDE
PRINTS WITHOUT GOLD 418
PHOTOGRAPHIC CONVENTION OF
THE UNITED KINGDOM ««>
PRESIDENTS ADDRESS 4^
"OS A FAILURE OF THE LAW IN
PHOTOGRAPHY THAT, WHEN THE
■ PRODUCTS OF THE INTENSITY OF
THE LIGHT ACTING AND OF THE
TIME OK EXPOSURE ARE KyUAL.
EQUAL AMOUNTS OF CHEMICAL
ACTION WILL UE PRODUCED.' By
CAPT. W. DE W. ABNEV, C.B., K.R.S... 422
PlOl
MY FIRST DAGUERREOTYPE. By
VALENTINE BLASCHABD 4i3
DODOES. By C. O. OBEOOBY 444
NEWS AND NOTES 4»5
HBETINGS OF SOCIETIES 440
FORTHCOMING EXHIBITIONS 487
RECENT PATENTS 487
correspondence 417
EXCHANGE COLUMN 481
ANSWERS TO C0BBESP0NDENT8 4S2
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1732. Vol. XL.— JULY 14, 1893.
RA.TIO OF GRADATION.
Mr. Bothamley did good service at the Convention in en-
deavouring to remove what might not inaptly be termed the
deadlock on this question between highly skilful scientific
theorists and skilful practical workers. He disclaimed any in-
tention to introduce new facts into his lecturette, but led his
hearers into paths from which they could look at old facts
from different standpoints. He pointed oat that, while it was
patent that in this gradation question photographers appeared
not to agree, it yet might turn out they were talking really of
different things when they imagined they were discussing the
aspects of one only ; and he did not hesitate to point out the
folly of using loose nomenclature in discussing scientific re-
sults. He strongly accentuated the fact that nothing that
Messrs. Hurter & Driffield had written was contrary to the
contention of practical men that the printing value of a nega-
tive was greatly under control. Messrs. Hurter & Driffield,
rn their valuable researches, required to discover the relation
that existed between the amount of silver deposited and
the amount of light to which it was owing. Put into
simple language, their experiments, in their view, go to prove
that, if a certain amount of light results in a certain amount of
silver being reduced, twice as much light will give twice as
much silver, and so on. By means of two simple diagrams,
representing a set of four gradations, Mr. Bothamley showed
how the printing value of a negative might be vastly improved
by altered development, and yet the proportion or ratio exist-
ing between the highest, the lowest, and the medium tints
remain the same. Some difficulty was felt in accepting to the
full his valuation of the important position as regards the ratios
held by fog. Fog, he pointed out, was rarely, if ever, absent
from a negative. The typical perfect one, with "absolutely
clear glass in the shadows," rarely, if ever, was: absolutely clear
glass in the shadows, and this would be readily seen by placing
the plate upon a piece of white paper.
To every one conversant with mathematics it is a truism to
state, that, by adding to each term of a geometrical ratio, the
ratio is altered. If fog deposit be added to the light deposit,
ihe ratio that wo\il(l be obtained by a fog-free plate is interfered
with, and the printing value may positively be a function of
actual fog. When a plate is over-exposed, and it is said that
the ratios are altered by the usual mode of counteracting
over-e.xposure, Mr. Bothamley pointed out that what happened
Wiis that all the alterations worked for less fog, while with
under-exposure the correcting methods introduced fog.
A great part of the interesting discussion that followed
turned upon this view. Mr. Cowan, while quite ready to
believe that he was not really at issue with the lecturer,
claimed that fog had not the influence claimed for it. Dr.
Mitchell, Mr. R. H. Worth, and Mr. Watmough Webster joined
in the discussion, the latter gentleman introducing to notice
what he considered a neglected factor in fog valuation. Messrs.
Hurter <fe Driffield always experiment with an unexposed portion
of the same plate when estimating the light reduction, and
subtract the fog value exhibited on the non-exposed plate from
the total value. Mr. Webster considered that in counting
fog reduction as a constant in estimating the value of two
portions of one plate placed in a given solution, a mistake was
made. He contended that it was then a variable quantity, and
said that the experience of practical men would show that it
was possible to expose half of a plate to the image of a light
object varied by the presence of a few actual blocks, lines, or
spots, and obtain those lines or spots almost clear glass,
although the unexposed half be decidedly fogged. Mr. Cowan
considered this to be a mistake. It is a matter, however, that
any one could settle for himself by a simple experiment or two.
We make no excuse for thus attempting to bring before our
readers the salient points of an interesting discourse, if for no
other reason than to accentuate the fact that the important
and valuable experiments of Messrs. Hurter & Driffield have
been performed in such a systematic manner, and estimated on
a basis of scientific principles in a way in which the use of
mathematics was unavoidable, that a really fruitful discussion
cannot be carried out on any other basis. The majority of
photographers have no use for mathematics, and may presum-
ably be little acquainted with' them ; hence if a small com-
mittee were elected from our leading Society, instructed to
examine and report on the much-vexed question, their verdict
would stand a chance of being received as final.
We would conclude by adding a further contribution to the
fog question, which, nevertheless, may possibly increase to fog.
Not one of the speakers at the Convention said one word as to
where the fog deposit was to be placed in the negative. For
aught they said, it might be indifferent whether the fog deposit
was between film and glass, on the outside of the film, or evenly
distributed through it. In other words, so far as the argument
went, the added piece of tissue paper Mr. Cowan instanced
might be placed between negative and printing paper, or out-
side the printing frame, without altering the scale of gradations
in the print. Would this be the case ?
434
THE BRITISH JOURNAL OF PHOTOGKAPHY.
[July 14, 1893
VIGNETTING BY ARTIFICIAL LIGHT.
Thk operation of vignetting is one that requires a great amount
of care in order to produce the best results under the ordinary
circumstances of daylight, but when artificial light is in ques-
tion the difficulties are very materially increased. Whatever
may be the method employed for masking and softening the
image, it is of course of the utmost importance that the light
be as diffused as possible, and it is the production of the
necessary diffusion that renders the task of vignetting by
gas or other artificial light so much more difficult than by
daylight.
Of the unknown devices in use for daylight vignetting, none
answer practically with artificial light without very consider-
able variation in the mode of use. We may perhaps make
exception in favour of the mechanically graduated screens of
glass or paper sold for vignetting purposes, but these are com-
paratively little used, and far from perfect in their perform-
ance. If a perfectly graduated vignette glass or screen for use
in contact with the negative can be secured, then all the diffi-
culty at once disappears, but the provision of one such for each
separate negative is a practical impossibility. Failing that,
we can only do our best to imitate the diffusion obtainable
in daylight.
Of the mechanical methods employed for masking the nega-
tive, there is a sufficient choice, and probably each individual
will have his favourite, though, if properly used, nothing is
simpler or more efficient than a plain aperture with serrated
edges, and covered with tissue paper. Such a screen placed at
a distance of from three-eighths to half an inch from the nega-
tive will, in diffused daylight, produce the most delicate
gradation, and if the position of the printing frame be fre-
quently changed, or, better still, if it be kept ii» constant
motion, the evenness of action will be still further promoted.
It must be borne in mind that the securing of gradation is
not the only difficulty in vignetting ; to be perfect it must be
uniform, and this can only be obtained when the light falls
equally in all directions upon the negative. In vignetting in
daylight, should the light be stronger from one side of the
negative than the other, the inevitable result will be that the
shading on one side of the picture will be deeper or more ex-
tended than on the other ; and, if this be true of .diffused[light,
it is even more so when sunlight or artificial sources of illumi-
nation are concerned, and the necessity for softening the action
of the light by every possible moans becomes greater.
It is not our intention to describe the numerous varieties of
screens employed in vignetting, but rather to show how they
may best be utilised in connexion with artificial light, and we
shall therefore assume that such a one is employed as would
give a satisfactory result if employed in ordinary diffused day-
light. The question, then, is how best to imitate the diffusion
of light from a clear sky.
The simplest and most natural plan is to utilise reflected
light, that is, to expose the negative, not directly to the source
of illumination whatever it may be, but to allow the light to
fall on an extended surface of suitable colour, such as the wall
or ceiling of a room, and to expose the negative to that. If
the printing frame be held above the head in such a position
that no light reaches it directly from the chandelier or lamp,
but only that reflected from the ceiling, a very satisfactory
gradation will be secured, and, if at the same time the frame
. be slowly rotated, additional uniformity will be assured.
Another plan consists in suspending a board by its four
comers in a perfectly horizontal plane, and causing it to rotate,
the moving board being used as the table on which to expose-
the vignetting frame. If this be fixed in such a position with
regard to the source of light that the latter falls on it at ai>
angle of from 30° to 40°, and the board be set in even motion,
the gradation will be as perfect as in diftused light. But it
must be borne in mind that any irregularity of motion or de-
parture from the horizontal will, with a fixed] light at close
quarters, produce a corresponding want of uniformity in the
gradation.
A further means of softening and equalising the gradation
by whatever means obtained consists in interposing a sheet of
tissue paper or ground glass midway between the vignetting
screen and the negative in such a manner that the intervening
screen itself becomes, in a measure, the illumiuant. This, of
course, gives much greater softness, though it necessarily in-
creases the exposure. A simple frame of three-eighths of an
inch in thickness, to fit in to the front of the printing frame, will
suffice to carry the tissue paper on one side and the vignetting:
screen on the other, and can bo made attachable to any frame.
Some little more attention might well be given by dealers in
this country, as is the case in America, to the provision of
special frames and appliances for vignetting, and more especially
for vignetting bromide and other films that necessitate the-
use of artificial light.
. ^
The Chlcagro Exhibition.— We learn by a telegram just
received that the Judges appointed to make the awards to the-
exhibitors are to commence their labours to-morrow (Saturday). It
is to be hoped that they will prove satisfactory to all concerned..
Anyhow, exhibitors must be better satisfied to have their works-
adjudicated upon by a jury than reported upon by any single indi-
vidual. Had this system been adopted in the first instance, much)
unpleasant friction would have been avoided.
The " Benevolent."— During the outings of the Convention
last week, especially when these took place on a steamer, Mr. Hedley
Smith rendered excellent service to the Photographers' Benevolent
Association by going frequently round with the contribution box.
After a song, say hy Mrs. Mason, W. D. Welford, Birt Acres, or
others, off on his rounds among the passengers would start Mr. Smith,
whose appeal for the " smallest donation " was seldom disregarded.
In this way the goodly sum of five pounds was collected and handeds
over to the President of the " Benevolent."
Gold. — A great many professional photographers prefer to make-
their own chloride of gold, and usually, notwithstanding it is illegal,
employ the current coin of tlie realm for the purpose. From a return
just made, it appears that no less than 1(5,000,000/. worth of worn,
gold was withdrawn from circulation last year. In making the
chloride new coins should always be selected. This should be mani-
fest to every one ; hul we recently saw some about to be used which,,
upon being -weighed, showed a deficiency in weight of several grains
in the bulk. New sovereigns cost no more than worn ones, and they
yield more chloride. ^^^^^^_^_______
An Incomplete Novelty The Literary World, alluding to.
an American work, Titled Americans, which gives a Ust of Ame-
rican ladies who have married titled Englishmen, and some of
those who have married titled foreigners, says : " The most remark-
able feature of the book is the list appended of the unmarried scions-
of our nohiUty, with their estimated incomes— a sort of vade mecum
for Chicago miUionaires." Surely, such a work would be far more
complete if it were illustrated with the portraits of the titled
bachelors and widowers. We imagine there would, in some instances,
at least, be no difficulty in obtaining them if the object were ex.-
plained. Here is a hint to further " American tn erpiise."
July 14. 18»M]
THE BlUTISH JOUKNAL OF PHOTOGRAPHY.
43«
The Royal Academy.— A ro.solution has been submitted to
the Council of this body, and has been discussed by it, accordinjf to
which Academicinns and Associates will have to limit the number of
'their exhibits at the annual show to six, while outsiders are not to
send in more than four. This, if the resolution be adopted, will con-
siderably lij^hten the labours of the committees of selection, while it
may induce some artists to concentrate their energy on fewer [works
instead of expending them on a larger number, sometimes at the
expense of execution. Would not some such regulation with regard
to photographic exhibitions be an advantage, particularly some of
those held in provincial towns and the suburbs of London? In many
instances an exhibitor would figure to better advantage by showing
half-a-dozen pictures than he does by exhibiting twice or thrice that
Dumber.
The Silver Market.— Photographers are less directly inter-
ested in the value of silver now than they were formerly when the
nitrate was required for baths in the collodion process and for sensi-
tising paper. Now the silver nitrate is rarely required, if at all, by
many photographers. Still, the market value of the metal largely
•concerns dry-plate makers and those who supply ready-censitised
paper. Silver has been depreciating in value for many years past, and
the announcement of the lowest record has often been made. The
record lias, however, again been broken, for a fortnight ago it was
quoted at 29Jrf. per ounce. About five-and-twenty years ago it stood
«t something over (lOrf. per ounce. The market lias recovered some-
what, but is still in a very excited condition, and the value of the
metal has fluctuated as much as ."ieveral pence an ounce from dav to
day. Unless the new regulation with regard to the Indian mint be
relaxed, or more mines are closed, it is clear that even the present price
•of silver will not be maintained for any great length of time.
Show Cases. — In connexion with the lack of enterprise shown
by some portrait photographers, we have on more than one occasion
commented upon the small attention given to the specimens exhibited
in the show cases and shop windows. These are shown to attract
sitters, and therefore, one would think, should be in keeping with
the times. To exhibit portraits in summer attire when the snow is
upon the ground, or in heavy winter attire during the dog days, is
certainly a mistake from a business point of view. We were forcibly
reminded of this one day last week, when the thermometer was
registering over 80° in the shade. While admiring some excellent
pictures in a show case in one of our fasliionable West-end thorough-
fares, we overheard one young lady remark to two others, "Just look
at those people in furs ! Ugh ! how horrid ! " Furs in photographs
are always effective, and there is little doubt that the same pictures
would be looked at by these same people with admiration a few
months hence. With ladies the immediate style and fashion tell for
much.
Soyal Cornwall Polytechnic Society's Exhibition.
— The sixty-lirst annual Exhibition of this Society will open at Fal-
mouth on Tuesday, September 5, 1893. As heretofore, medals and
prizes are offered in various departments, including photography, the
•class being open to professionals and amateurs, and a section being
•devoted to photographic apparatus. List of prizes and all further
information may he obtained from the Secretary, Mr. Edward Kitto,
F.R.Met.S., the Observatory, Falmouth. Information respecting the
•photographic department may be obtained from Mr. W. Brooks,
Laurel Villa, Wray Park, Reigate (member of the General Com-
mittee). Medals are offered by the Society for meritorious produc-
tions in the following subjects: — Outdoor photography (professional) :
1. Landscape, not less than :20xl6 inches. 1'. Landscape, 12x10
inches, and under. 3. Genre. 4. Architectural (exterior), -j. In-
stantaneous, including marine. 6. Animals. 7. Enlargements.
Indoor photography: 1. Portraits, not le.?s than 20x16 inches. 2.
Portraits, 1.5 x 12 inches, and under. .3. Home portraiture. 4. Still
IlLfe, flowers, &c. o. Interiors, architectural or otherwise, 6. Photo-
micrographs. 7. Enlargements. Amateur: I. Landscapes. 2.
Aichitectural, exterior or interior, '-i. Hand-camera work, not less
than twelve examples. 4. Instantaneous, including marine. 6. Still
life. C. Enlargements.
The Aoyal Wedding:. — Probably on no previous occasion in
a single day were so many plates exposed, and with so little reralt, aa
on the day of the marriage of the Duke of York and the Princess
May. We are told by dealers that, at the beginning of last week,
there was quite a run on the most rapid brand of plates of the various
makers of the quarter-plate size. The day, as far as light was con-
cerned, was all that could be desired, and hand cameras were to be
seen at all points on the routes of the processions. Yet how dis-
appointingly small is the proportion of really good pictures that were
secured as compared with the attempts made ! \ large number of
novices have by now realised the fact that obtaining even fairly good
negatives of events, such as that referred to, in the streets of London
is by no means easy of accomplishment. Where there is a large
crowd of people packing a thoroughfare, with high buildings on either
side, there is always a considerable amount of haze and dust, which
brilliant sunlight makes painfully conspicuous, that quite obUterates
distance, though that may not be far off, unless there is a strowr wind
blowing. It is this that has caused so many of the negatives to
appear fogged when developed. However, many of the negatives
obtained, though they may not be good photographically, will serve
as interesting souvenirs of the occasion in time to come to those who
took them.
PHOTOGRAPHIC CONVENTION OF THE
UNITED KINGDOM.*
On Wednesday morning the General Meeting was held at 10 a.m., the
President in the chair. Mr. Cembrano read the minutes of the last
meeting, which were approved. He then read a list of societies which
had sent delegates. These included the following : — The P/ioto-
ffrajMc CM, J. Guardia and S. H. Fry ; Richnond Camera Club, R.
L. Kidd and P. Ennis ; North London Photographic Society, J. Traill
Taylor; Leicester Club, J. Porritt; Munster Club, Major J. D.
Lysaght; Mandiester Society , 3 . Brier and E. Woodward; Tooting
Club, Mr. L. E. Morgan ; London and Provincial Association, W. D.
Welford and S. H. Fry ; The Photographic Society of Ireland, A.
Wanier. There were also a large number of other ladies and gentle-
men present from all parts of the kingdom, among the latter, not
members of the council, being Messrs. J. W. Webber, Bromley; A.
Iladdon, Greenwich ; Birt Acres, Barnet ; W. M. Ashman, Bath ; J.
S. Hawke, Plymouth; E. J. Ilumphery, London; F. W. Hindley,
London ; and E. Marlow, Birmingham.
On the proposition of Mr. C. 11. Rothamley, the General Committee
with the addition of a few fresh names were re-elected.
Invitations from the Photographic Society of Ireland to hold the
next meeting in Dublin, and from the Shropshire Camera Club to
nieet in Shrewsbury were submitted to the meeting. A vote having
been taken, it was declared that a large majority was in favour of
Dublin.
The President then asked the meeting to accord a very hearty
vote of thanks to the Mayor of Plymouth for his most generous
reception of the Convention, to the Plymouth Institution for the
loan of their premises, to the Local Committee • for all they
had done to make the meeting pleasant, and to the leaders of the
excursions. If Tuesday's excursion might be taken as a sample, then
they had a store of interest and beauty to come. Of course, the
weather could not be commanded, but, inspite of the thunder and
lightning and the torrents of rain, all managed to enjoy themselves,
and the little sing-song in the saloon was by no means the least
enjoyable feature.
A cordial vote of thanks was given Mr. Cembrano, the Hon
Secretary ; and Mr. C. H. Bothamley, in proposing it, said the pro-
spects of the Convention had never been so bright, and that was due
largely to the efforts and tact of their 1 Ion. Secretary.
Mr. Cembrano, in acknowledging the compliment, said with this
meeting his first year's service came to an end, and he was pleased to
say that, for the first time in the history of the Convention, there waa
* Continued from last namber.
43G
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[July 14, 1893
a balance on the right side. (Applause.) It amounted to l-V. I9s. Qd.,
and next year he hoped it would be doubled, although the number of
members was certainly a good deal less. So far he had received sub-
scriptions from US, which was a good deal more than he expected,
considering the great attractions in other parts of the country this
week.
Messrs. John Howson and S. B. Webber were elected auditors.
The following motion, submitted by Messrs. II. Snowden Ward
and E. J. Wall, was recommended by the Council for adoption :—
" Resolved, that the Photographic Convention of the United Kingdom
acknowledges the courtesy of the Photographers' Association of
America in inviting British photographers to attend its Conference
this year as honorary members, and this Convention wishes its Com-
mittee to add to its rules one to the following effect:— That all
members of the Photographers' Association of America be considered
honorary members of the Photographic Convention of the United
Kingdom, and, if travelling in the United Kingdom at the time of the
Convention, are invited to take part in its proceedings."
Mr. Wall, in proposing the adoption of the motion, regarded it as a
first step towards a Photographic International Union.
The Hon. Secretary seconded the motion, remarking that he had
received courteous and encouraging messages from the Photographers
Association of America.
The motion was carried unanimously.
Mr. J. Traill Taylor, whilst in full accord with the desire to culti-
vate brotherhood with their American brethren, would point out that
some of their brethren at home had a feeling of soreness towards the
Convention, and th.it others regarded it with apathy. When the
Convention was at Birmingham a debt was incurred, not perhaps
wisely, and doubtless without due authorisation, by the brethren
there, but in the interests of the Convention. Some, and he himself
among them, looked upon this as a debt of honour, and he would
suggest that, now the Convention had funds in hands, the Council
should try to defray that debt as soon as possible, and thus remove
the feeling of soreness, and also to overcome the apathy of places like
Manchester.
Mr. Taylor's suggestion was adopted.
It was moved by Mr. A. Werner, and seconded by Mr. H. M.
Smith, that the following be elected members of Council for the
ensuing year: — F. A. Bridge, Dalston; J. J. Briginshaw, London ;
C. H. Bothamley, Taunton ; A. A. Carnell. Plymouth; A. Cowan,
Southgate ; J. P. Gibson, IJexham; M. J. Harding, Shrewsbury;
II. M. Hastings, West Kensington; A. L. Henderson, London ; T.C.
Hepworth, London ; R. Keene, Derby; J. A. King, Bath ; W. Lang,
jun., Glasgow; P. Lange, Liverpool ; A. Levy, London; C. Phipps
Lucas, Kent ; A. Mackie, London ; W. W. Naunton, Shrewsbury ;
J. Porritt, Leicester ; A. Pringle, Bexley Heath; B. J. Sayce, Liver-
pool; A. Seaman, Chesterfield; H. M. Smith, Stroud Green; J.
Stuart, Glasgow; H. Sturmey, Coventry; J. Traill Taylor, London;
A. Tate. B^lfan ; L. Warnerke, London ; G. W. Webster, Chester;
J. B. B. Wellington, London; A. Werner, Dublin; R. H. Worth,
Plymouth ; F. P. Cembrano, Richmond ; E. Appleby, Bath ; J. L.
Lyell, London; E. G. Humphery, London; J. Fergus, Largs; W.
Taylor, Leicester: R. L. Kidd, Hampton; T. Mayue, Dublin; and ,
Major Lysaght, Queenstown.
At noon the official Convention group was taken in the Guildhall-
square by Mr. Heath, of George-street, Plymouth, and the President
announced, in the course of the afternoon, that the negative had
turned out very satisfactorily. Mr. Scorer, of Havant, also took a
group on a plate 28x20 with a camera that would take a plate
30 X 24. Numerous other " shots " were had at the group, one by
Mr. Kidd, giving a fine picture which will be presented to our readers
next week.
Wednesday Evening.
This evening the Slajor of Devonport (Mr. Alderman W. VV aycott),
along with some of the Aldermen and Councillors, together with Mr.
Croydon, the Vice-President, Mr. C. H. Moore, the Secretary, and
with other members of the Devonport Camera Club, received the
members of the Convention. The President of tlie Club, Colonel
Stewart, was unavtiiably absent on duty in another part of the
country.
The Mayor s iJ it gave him muc'i pleasure to offer the Convention
a hearty welcom'>, especially in their Council Chamber, whose walls
were adorned with interesting examples of the photographic art taken
by a former official of the Corporation, Mr. C. B. Rowe, their late
borough librarian. It was with regret that he saw that the Con-
vention excur.-ion up the River Tamar on Tuesday was sadly inter-
fered with by the rain, but he hoped fair skies would favour them
during the rest of their sojourn, so that they might see in tlieir fullest
glory the beauties of the district of which the residents were so
proud. They would, doubtless, be interested in knowing that at
Devonport was born Robert Hunt, one of the earliest and most pains-
taking investigators of the principles and chemistry of photographic
operations. He apologised for the absence of the Town Clerk, who
was on a holiday, and of several members of the Council, who were
busy preparing for the Royal wedding celebration on the morrow.
The President, in a genial speech, acknowledged the heartiness of
the Mayor's welcome, and said it was an added pleasure to know that
they were assembled in the birthplace of Robert Hunt, to whom
photographers owed so much.
Mr. C. Croydon then, in the absence of Colonel Stewart, the
President, offered the Convention a hearty welcome on behalf of the
Devonport Camera Club, paying a tribute to the memory of Robert
Hunt, with whom was associated John Towson, another Devonport
man, so well known as the originator of great circle sailing, mention-
ing that Colonel Stewart was the inventor of tlie Panoram camera,
and graphically illustrated the great uses of photography in astronomy,
microscopy, and natural history.
3Ir. A. Tate, J.P., of Belfast, acknowledged the Club's welcome of
the Convention, remarking that everywhere in the district they had
been received with kindness and cordiality, and, in allusion to Mr.
Croydon's remark, said photography was now the trusty handmaid
of every science, seeing more than the eye of the astronomer, the
physician, and the naturalist.
Wines, tea and coffee, and other light refreshments were then
served, and an adjournment was made to tiie Town Hall, where a
most interesting optical lantern exhibition was enjoyed.
Following this was a lecture, copiously illustrated by the lantern,
by Mr. J. T. Cunningham, M.A., of the Marine Biological Laboratory,
Plymouth, descriptive of the developments of soles, crabs, jelly-fish,
and of the habits of the angler tish and the hermit crab.
A paper on the Special I'ropertirs of the Zeiss Anastiymatic Lenses,
by Dr. Paul Rudolph, with diagrams and specimens, was taken as read.
A lecture on Photography in Relation to Medical Record and
Demonstration was down on the programme to have been delivered
by Mr. Andrew Pringle ; but, owing to the absence of that gentleman
from illness, it was not given.
Thursday.
This day was devoted to a most enjoyable excursion to the ancient
town of Totnes, and thence down the Dart to Dartmouth. The
party, nearly seventy in number, started from Plymouth shortly after
nine o'clock in the morning, and Totnes was reached about ten
o'clock. The town looked gaj* with many Hags, while in the streets
were people, young and old, in holiday dress, making ready for the
festivities. The keep of the old castle was ascended for the view, and
many pictures were taken of the gate in Fore-street and of the church,
whilst a score of photographers all in a row were seen intent on
making pictures of the well-wooded island. Ere Totnes was left the-
children assembled on the Plains and sang the National Anthem,,
and some snap-shots of the scene were taken from the pedestal of the
monument to Wills, the Australian explorer. Most enjoyable was
the trip down the River Dart. It was made in a steam launch, and a
roomy boat and two smaller ones towed by the launch. The English
Rhine, with its grand woods sloping down to the water's edge, and
with its many windings, was seen at its best. Lirtle could be done
photographically on the way down, but the hand camera was in
constant use as soon as Dartmouth Harbour was reached. J3y H.M.S.
Britannia, naval cadet training ship, the launch went slowly, that
photographs might be taken ; then at grt ater speed the party proceeded
to the harbour's mouth, to view the castle so picturesque!}' situated on
the shore. Yachts, some dressed rainbow fashion and others in full
sail, the Kingswear horse ferry boat, and the high banks, with
beautiful residences nestling among woods and gardens, and the castle
itself weie t':e oirstant objects of member^' tittentim. Retu-ning-
July 14, 1898]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
487
from the harbour mouth, the party landed on the quay, and, pro-
ceeding to Bodley's Hotel, enjoyed a substantial luncheon, after which
the President, in sympathy with the feelings of tlie company, gave
expression to the hope that the Duke of York and his bride would be
blessed with a long and liappy life, and heartily thanked Mr. Barnston
for acting as leader of so interesting an excursion. Then the party
separated to photograph the Butter Walk (in one of the quaint
houses of which King Charles If. held court), the Church of St.
Saviour, scenes in the harbour, and the softening effect of a sea fog
which drove over the hills above the town was seen. All were agreed
that the borough and its land-locked harbour was truthfully described
by the Queen on one of her visits as " Beautiful Dartmouth." The
return to I'lymouth was by train, n'd Kingswear and Newton,
Torbay and Torquay affording charming views in the bright sunlight.
In the evening then- was a fair gathering at the Plymouth
Athenaeum, when >Ir. Bothamley gave an address on Some Points in
Connexion with Deiel'jiment, on which Mr. G. W. Webster, Mr. A.
Cowan, and others made remarks.
Other papers, on The Power of CompentaHnr/ in Development, for
Variation in Krposure, by Professor W. K. Burton ; Latitude of
Exposure and Speed of Plates, by Dr. F. Hurter ; and Our Pictorial
Failures, by the Kev. F. C. Lambert, M.A., were taken as read.
The members then adjourned to the Hoe, to witness the great pyro-
technic display (including the burning of a ship) in connexion with
the Royal Wedding celebration.
Friday.
There were three excursions this day, respectively to Lydford,
Bickleigh Vale, and Dockyard and Keyham, Cattewater.
The annual dinner was held in the evening, and was numerously
attended, many ladies, as usual, being present.
The toast hst, which was laudably limited, comprised the Queen
and the Royal Family; and The Convention, proposed by the Presi-
dent, was responded to by Mr. R. H. Worth, local Hon. Secretary,
and Colonel Barrington Baker, who then, in the name of the I'lymouth
Club and in a few fitting remarks, presented the Club's medals to Mr.
Mason, President, and Mr. Cembrano, Secretary, as a memento of the
Plymouth meeting, both of whom acknowledged the graceful gift.
Songs, speeches, and recitations were contributed by Mrs. Mason,
Mrs. (Dr.) Mitchell, Messrs. A. Cowan, S. H. Fry, A. Werner, C. H.
Bothamley, G. W. Webster, A. Tate, Fuerst, Laurence, Welford
Newman, and MowU. The dinner, taken all in all, was a great
success.
Saturday.
A meeting of the Council was held this morning to elect a presi-
dent.
5Ir. J. Traill Taylor said that, as the meeting next year was to be
held in Dublin, it was fitting that a representative Irish gentleman
should be elected. The name of Grubb had for a long course of years
been honourably connected with photography, both through the father,
the late Thomas Grubb, and the .son. Sir Howard. He therefore
begged to propose that Sir Howard Grubb, F.R.S., be elected presi-
dent for the next year. This was seconded by Mr. Alfred Werner,
who observed that Sir Howard's high position in Dublin would ensure
the success of the Convention.
This was carried by acclamation. A telegram was'received from
Sir Howard, accepting the position.
This terminated the proceedings.
THE CONVENTION EXHIBITION.
We now give a more detailed account of the exhibits :—
Messrs. Jlorgan & Kidd.— We have referred to the large portrait
of the lady which occupied the place of honour in the room. It was
trimmed down to 8 ft. by 4 It., having been taken G ins. larger
both ways. It was supported by two large portraits of a lady and
eavalier, somewhat inferior in dimensions, but equally excellent in
technique. Pictorially speakirg, Mr. Kidd's Mixty Mominy, an
enlargement from a hand-camera view taken on the return journey
from the Edinburgh Convention last year, was probably the best land-
scape in the room. Their works in carbon challenged attention,
especially a portrait of a lady seated in an ornate chair. Several of these
were nicely coloured. They had also a fine exhibition of works in
collotype, a department into which this firm is now going extensively.
Mr. Heath, Plymouth. — Among this artist's exhibits was an " At
Home" portrait of H.R.H. the Prince of Wales; also portraits o(
their R.H. Princesses Marie Victoria and Alexandra of Edinburgh.
There were also various carbon prints.
Messrs. Elliott & Son, Bamet. — A singularly fine portrait of a
lady, enlarged from a negative by Werner & Son. This was a direct
print in carbon, produced from a plate of the krge dimensions of 04 x
38 inches.
.Air. .fohn Hawke, Plymouth. — This artist's exhibit consisted of a
frame of eighteen portraits of H.R.H. the Duke of Edinburgh, which
bore the announcement that they were from part of a series of thirty-
one negatives taken in forty-two minutes.
Mr. W. C. Tweedy, Plymouth. — This exhibit consisted of a
number of views, some of them embracing an exceedingly wide angle
They are entitled " Experiments in Panoramic Photography."
Mr. II. Yeo, Union-street, Plymouth. — Mr. Yeo is evidently a
master as regards the taking of children, of which this formed one of
the most charming collections to be met with. Some are enlarged
and are skilfully coloured.
The Eastman Photographic Materials Company had an imposing
exhibit which occupied one entire side of the room. The leading
feature in their exhibits was soliotypes, plain, burnished, and enamelled,
mainly in rich purple and black tones, and in every size from twenty-
two inches downwards. The capabilities of solio paper have never
before been so well illustrated. This firm exhibited for the first
time specimens on their new Nikko paper. The tones of these are
of a peculiarly warm and brilliant character. The various exhibits
are from negatives by Lafayette, Dublin; Brown, Leicester; Yeo,
Plymouth ; and several by American photographers.
M. & T. Scott, Edinburgh. — Several excellent enlargements from
negatives by Wameuke, Glasgow ; Hawke, Plymouth ; Ellis, London ;
Heath & Bradnee, Exeter; and Villiers & Quick, Bristol.
O. Sichel & Co., London. — Two good enlargements from negatives
respectively by Byrne & Co., Richmond; and Cox & Durrant,
Torquay.
W. Scorer, Havant.— Direct prints of Netley Abbey and Portsmouth
Town Hall, taken on plates .30 x 24 inches.
The Sandell Plates were well represented by numerous scenes,
groups, interiors, and other subjects, prominent among them being
St. Mark's, Venice ; A lioyal Vinery ; Froymore ; Dean Stanley's
Tomb, &c.
Messrs. Benthall & Co. exhibited their ingenious simplex camera
stand, of which we gave an account a few weeks since.
Messrs. Geo. Houghton & Sons showed Clement & Gilmer's tele-
photo lens in brass and aluminium, together with the well-known
shuttle hand camera.
Beale's Non-Actinine had a prominent place on the table, and the
albums, frames, mouldings, backgrounds, and other exhibits of
Sichel & Co. were well to the front. This last firm also exhibited a
portrait camera for 15 x 15 plates, and an outdoor camera expand-
ing to fifty inches.
Messrs. Taylor, Taylor, & Hobson had appliances in the shape of
a camera front fitted with flanges and lens moimt showing their
system of perfect screw attachments.
The new developers were in good display. Messrs. Fuerst,
Leblanc, Morgan, and Haussmanu were present to impart informa-
tion when required.
Messrs. Geo. Mason & Co. showed a model of a singularly compact
projection lantern, believed to be the smallest practical lantern that
has yet been seen. The catalogue of this firm now forms quite a
thick volume.
The following are the papers that were read : —
RECENT DEVELOPERS.
Bt E. J. Wall.
A WRITER in one of the journals lately said, " On what grounds and to
what purpose this eternal pu£f of the most recent ? Is there a ' fashion '
in photography that we must all betake ourselves to the last haute
nouveaute or proclaim ourselves slovens ? Amidol 1 metol ! glycin t These
are ' the only wear,' and the old clothes are gone to the ragman I But
snpposo that the old should be better ? " I think possibly in the last
sentence we may find the reason why we have " this eternal pufl," or, I
would rather say, this eternal experimenting with new things. I take it
438
THE BRITISH JOURNAL OF PflOTOGlRAPHY.
[July 14, 1893
that there is a general feeling of a desire for progress, whether in
technique or art, and that to this desire we must put down the craze for
the last new developer, the latest lens, and the latest printing process.
If some snch healthy feeling did not exist, photography would not have
made the progress it has done in the last fifty years.
To our professional brethren who, when working in the studio, may be
said to work practically under given conditions, not the least of which is
to turn out good work which shall remunerate him suitably for his skill,
his time, and outlay, there is possibly not so much temptation to experi-
ment, especially when experimenting may mean increased expense
without any increase of revenue ; but to the amateur, to whom expense
is possibly not so much an object, and who firmly believes that he may
yet discover a panacea for all ills of under or over-exposure, or careless or
ignorant working, there is a very strong temptation to exchange " old
lamps for new."
One of the subjects which has claimed no small amount of attention
since our last happy meeting in Edinburgh is that of the new developing
agents — amidol, metol, and glycin — and I propose to summarise the
results of a few experiments which I have made.
The number tablet of Wamerke's sensitometer was used as a con-
venient subject to expose with. The light chosen was a Welsbach or
incandescent gas burner, the supply of gas being passed through two
governors to regulate as far as possible the supply. Commercial plates
marked with one batch number and one speed number were bought, and
exposed one after the other as quickly as possible, and then treated with
the various developers.
Mr. Bothamley's standard pyro-soda developer was used for the pyro
to obtain a standard. The other developers were modified to try what
was the effect of modifying the proportion of the constituents of the
various chemicals.
Amidol IS a salt of di-amido-phenol, and is fairly soluble in water, form-
ing a slightly acid solution. It is far more soluble in solution of sodium
sulphite, and with a saturated solution it is possible to get as much as
sixteen grains of amidol dissolved in every ounce.
The distinctive feature of amidol is that it forms a very energetic
developer in conjunction with sulf)hite without the addition of an alkali,
and for this reason alone I think it is worthy of consideration as obviat-
ing any chance of frilling, which was not unknown with eikonogen and
hydroquinone when used with caustic alkalies.
The first method of using this developer, suggested by the makers, was
to prepare a stock solution of sulphite and amidol, and dilute as required.
Such a solution, however, has, I think, given rise to some of the contra-
dictory statements we have heard about this developer, but it is now
generally accepted that keeping it in this form is certainly not the best
way of using it, and I have here a negative which fully bears out this
idea. A plate exposed in a studio was cut in two, and part developed
with a freshly made solution, the other part developed with a similar
solution three weeks old. The difference is so striking as to need no
comment to those who see it : the one part, that developed with fresh
solution, is dense ; the other, developed with old solution, a veritable
ghost. As amidol is readily soluble in water or sodium sulphite, there is
not the slightest difficulty about making a solution up as required.
Coming now to practical tests, I have tried the addition of varying
quantities of sulphite, amidol, and bromide, and I will summarise the
results I have obtained.
The normal developer used was amidol, 1 ; sulphite, 10 ; water, 100.
In this the image appeared in 10 seconds, and development was complete
in 5 minutes. Increase of sulphite in the proportion of 15, 20, 30 merely
reduced the time before the appearance of the image and the time of
development, but when over 20 parts of sulphite were used the plates
fogged very quickly. Increase of amidol also accelerates the appearance
Of the image, and enables one to obtain density very readily, and I may
here state that, with some plates I have tried, the amidol has to be
increased to the extent of 10 to 15 grains per ounce before sufficient
printing density could be obtained. Dilution of the developer with water
delayed the appearance of the image, and tended to thinness of image,
though this, of course, can be compensated for by developing longer.
The addition of bromide in small q'"ntities— that is, up to about 1
grain per ounce of developer, seemed t. lave little or no influence, but
in larger quantities to the extent of 8, J ., and 20 grains per ounce', the
appearance of the image was enormously delayed, and, notwithstanding
a development protracted to over six hours, neither density nor as many
numbers could be brought out. So far, I think that a more certain and
reliable restrainer will be found in the use of a weak acid, such as citric
or acetic.
- The influence of the temperature of the developer was tried as follows :
A developer was cooled by means of ice till it registered 35* Fabr.
In this the image appeared in ten minutes, and took one and a half
hours to gain anything like reasonable density, and was then finally too
thin. A developer of the same constitution was heated to 70°
Fahr., and the image appeared almost the instant the developer touched
the plate, and development was finished in two minutes, the plate being
slightly fogged.
I have here two negatives developed with amidol, kindly made for me
by Mr. Beckett, of Hackney, as examples of ordinary studio work, and he
says that negatives developed with amidol or metol do not require so
much retouching as pyro-developed negatives, and, as he does the best
part of his own work, he ought to know. I hand these round specially
for the benefit of our professional brethren.
Finally, it has been said that plates for development with amidol
require less exposure than for pyro. This I cannot believe ; I have made
a series of very careful tests, cutting exposures down, and I have not
found that amidol will fetch more out of the plate, it will not fetch out
what is not there, but what it will do is to flash the image up and give
far softer results, which are more amenable to after-treatment than
the harsh negatives so often yielded by pyro with under - exposed
plates.
It has also been recommended to use amidol in conjunction with
metabisulphite of potash and an alkali. So far my experiments have
only enabled me to obtain a filthy mess of a developer, and magnificent
examples of dichroic fog, but I intend to try it with other plates, be-
cause all plates do not require or stand exactly the same method of
working.
It seems to me to be absurd to suggest the use of an alkali when we
can get such excellent results without it ; but Dr. Stolze suggests keeping
a stock solution of amidol and metabisulphite, and then at the moment
of using neutralising with bicarbonate, not carbonate of potash, but so
far I have not been able to obtain better results with this than by dis-
solving the amidol in plain sulphite just before use.
Metol is the sulphate of methyl-para-amido-meta-cresol, and is a glisten-
ing powder of faint buff tinge. It is soluble in water to the extent of two
and a half parts — 100 of water. In solution with sulphite, it forms a
colourless solution, which keeps its developing power, so far as I can see,
unchanged, thus having the advantage of amidol in this respect. Like
amidol, it develops without the addition of alkali when used with sul-
phite, but the images are extremely thin and weak. The alkaline
carbonates of potassium and sodium may be used, and of the two potash
gives a quicker developer and rather more density, soda having a
tendency to a slower development and softer results. Bromides act in
small quantities merely by delaying the appearance of the image and
prolonging development. I developed some plates with eight to sixteen
grains of bromide to the ounce of developer, and with the latter quantity
the image was twenty minutes in making its appearance, and, after six
hours' development, only four numbers were rendered visible. In small
quantities, however, bromides seem to have far less action than with pyro
and some of the other developers.
A normal developer may be considered to be one containing metol
three grains, sodium sulphite thirty grains, carbonate of potash or car-
bonate of soda fifteen grains to every ounce. If distilled water be used,
there is no necessity to use so much sulphite, and I have not been able
to detect that the omission of the sulphite has any ill effect on develop-
ment beyond a slight tinge given to the gelatine. Increase of the alkali
tends to produce harder results, that is, the higher lights are denser than
the lower. Dilution with water produces greater softness, whilst increase
of metol causes again greater density.
Testing as to the influence of temperature, I found that at 35°
Fahr. development was unduly protracted, and only thin images
obtained, but in no case could I get a lower number, whilst heating the
developer caused fog. I again tried with metol to see whether it brought
out more than pyro, or, in other words, whether it permitted of a re-
duction of exposure, and I am compelled to say that my results were
distinctly contradictory to this statement. The main advantage of these
two new developers is that within reasonable limits, in fact, I do not
think I should be far out if I said it was impossible to obtain that
hardness which is so easy to obtain with pyro and slight under-
exposure.
Glycin is oxyphenyl-glycin, and is a pinky, salmon powder, smelling
strongly of carbolic acid, not very soluble in water, and more soluble in
sulphite solution or an alkali, when it forms a colourless solution, which
seems to keep well as a normal developer. I have used glycin five grains,
carbonate of potash twenty-five grains, water one ounce,2and find that
diluted with water or addition of bromide gives far more transparent
July 14, 1893]
THE BRITISH JOTTKNAL OF PHOTOGRAi»HY.
4.'i9
negatives. It is characteristic of glycin that it requires no addition of
bromide in order to give negatives absolutely free from fog under condi-
tions and with plates, that with amidol, metol, and pyro invariably gave
fog. It is, in its action, I think, more like ferrous oxalate than any other
developer, and should be useful for black-and-white work, and I have
used it for this purpose with excellent results. I have not used it so
much as metol and amidol, but am inclined to tbink it is less useful for
landscape and portrait work than the others, though for plates over-
exposed in the field I have obtained some capital results by using a very
weak glycin developer, in the proportion of glycin one and a half grains,
potash carbonate twelve grains to the ounce, and allowing plenty of time
for development.
Of these three new developers, I think the one that will find most
favour is metol, because it is more akin to the older developers, in that it
is used in two solutions with an alkali. All of them are applicable to
bromide paper and transparency work, but I must confess thnt so far
my use of them for this purpose has been so small that I am loth to say
anything about them.
Within the last two months yet another developer, reducin, has been
announced, whicli, like amidol, requires no alkali, and it is quite possible
that we are by no means at the end of our list yet, and that thanks to
the energy and researches of our German friends, we may be blessed with
still more tools to play with.
I have, of course, condensed my remarks, and I have not brought down
any experimental plates, though I had intended to do so, but I thought
it would hardly interest you to look through between 1.50 and 200 nega-
tives. Nor liave I in any case tried for what Messrs. Hurter & Driffield
have defined ad a perfect negative. I have tried these developers from
the same standpoint as a man in practice would use them, but I hope I
have said sufficient to prove that it is worth while giving the new-comers
a fair trial, even if it is not found that they will oust our dirty old friend
pyro.
Since tlie above was written, Messrs. A. <1- L. Lumiere's paper, read
before the Societe Franvaise on June 2, has been published, and I briefly
sammarise it. They suggest the use of the oxalate of di-amido-phenol as
preferable to the chlorhydrate, which is one of the commercial forms of
amidol, and the oxalate is formed by them by double decomposition of
potassium oxalate and chlorhydrate of di-amido- phenol. The one is of
course, well known to you all, and the latter is amidol Hauff : 20 parts of
this dissolved in 200 parts of water, and mixed witli 19 parts of oxalate
of potash dissolved in 200 parts of water gives a solution containing 21-5
parts of oxalate of di-amido-phenol. This salt is sparmgly soluble in water
1 in 2000, but far more soluble in sodium sulphite solution, and by means
of this it is possible to get a concentrated solution. A 2 per cent. [solution
of sulphite will dissolve IJ per cent, of oxalate of di-amido-phenol, a 5 per
cent, sulphite solution dissolves 3 per cent., a 10 per cent, oj per cent.,
and a saturated solution 7 per cent.
Messrs. Lumiilre state that increase of the strength of the di-amido-
phenol above 3 per cent, gives no increase of energy of the developer.
A very few drops of 10 per cent, solution of ammonia accelerates very
much without giving any fog, but that with larger quantities of ammonia
a general black fog is produced. A few drops of 10 per cent, solu-
tion of acetic acid is the best restrainer, small traces of bromide having
but little effect.
Finally, they suggest the following formula for instantaneous work :—
Oxalate of di-amido-phenol .
Anhydrous sodium sulphite ,
Distilled water
5 parts.
30 to 40 „
1000 „
For time exposures reduce the quantity of Bulphite to ten to twenty
parts.
The advantages of the oxalate salt are that both in the solid and liquid
state it is more stable, considerably less sulphite is required, which,
from an economical point of view, is not to be despised, and, finally, it
will not stain the skin.
I only received the number of the Bulletin containing this paper last
Tuesday, and have not, therefore, had much opportunity of doing more
than try the method suggested by Messrs. Lumiire, but I have tried it
both with amidol-Hauff and amidol-Andresen, and find it certainly
workable, and I tliink it will prove to be in practice an advantage, and
for those who would like to try it I suggest the following rough-and-ready
formula : —
Dissolve 20 grains of amidol in J ounce of distilled water, add 80
minims of the normal 1 in 4 oxalate solution as used for ferrous oxalate
developer, then add from 1 to 2 ounces of 1 : 3 solution of sodium
anlphlte, decant or filter from any precipitate, and the developer is
made.
I had hoped to have been able also to make acme mention of the
method of developing plates with gelatino-silver emulsions, as suggested
by Dr. Jenney, which has appeared in several photographic journals
during this last month ; but, whilst I have only just had time to concoct
tlic awful mixtures suggested, and try them for about a dozen plates, I
am unable to say anything for or against because of such few experi-
ments; but it is certainly a promising field for experimentalists, and the
process may prove yet another valuable assistant in practical work (or
obtaining pictures.
Mr. L. E. Morgan did not agree with the statements as to the reduction
of exposure by means of amidol. If they were going to use amidol, the
exposure must be reduced very much. Taking pyro as a standard, the
reduction must be one half.
Mr. Birt Acres found that with a very weak pyro developer he could
get everything he desired. The negatives just shown appeared to him to
be fiat.
Mr, Cembrano thought that they could get a softer picture with pyro
than with anything else.
Dr. Mitchell said his impression was that the new developers at present
offered no advantages over pyro. He felt there was a strong reducing
power in them, however ; but, as yet, it was like the task of cliaining
lightning to bring them down to the practical uses of photography.
Mr. A. F. MowU thought they could not judge as to the printing
qualities of the old and new developers, as one bad to be made more
dense than the other.
Mr. Sturmey considered that amidol should be used rather as an assist-
ant to pyro than to its exclusion. The two combined had given him the
best results he wished for.
Mr. Henderson thought they were simply working in the dark with
regard to new developers.
The President was inclined to the belief that pyro negatives, if well
worked, were to be preferred to any other.
In replying to the discussion, Mr. Wall said the new developers had the
advantage, that was much as it required a great deal of training and ex- .
perience to get good results with pyro, anybody could succeed with the
former.
LANTEBN-SLIDE MAKING.
By Charles L. Mitchell, M.D.
The preparation of lantern slides is a subject upon which so much haa
been both said and written within the past few years, that it would seem
almost impossible to say anything new. And yet, notwithstanding this,
the number of really good lantern slides made bears but a small propor-
tion to the entire amount produced, or to the large quantities of plates,
&c., used for their preparation. So that it seems, perhaps, after all,
something might be still said on such a trite and commonplace subject.
Having, during the past few years, occupied much of my time in lantern-
slide making, I have acquired considerable familiarity with the different-
methods usually employed in America, and also made some modifications'
of my own, so that, while not pretending, in the limits of the present
paper, to give a complete remm€ of the subject, it may be of interest if I
detail, in a general way, the methods mostly in use by American lantern-
slide makers.
The vast majority of lantern slides made in America by amateurs' are
prepared from gelatine plates, collodion emulsion being very little used,
and wet collodion being employed by but few outside the regular com-
mercial slide manufacturers. Perhaps this may be partly explained by a
prevailing fondness for the black and grey tones, so easily obtained with
gelatino-bromide emulsions. There is, however, a rapidly growing taste
for warmer tints in brown, and even sepia, or Bartolozzi red. Quite a
number of different brands of lanternsHde plates are found in our
market, and of varied excellence. Of these, those prepared by the
Eastman Company are probably the most popular. I have always used
gelatine dry plates for preparing my own slides, and I am a firm believer
that, all things being equal, it is quite possible to prepare as good, if not,
perhaps, even a better slide upon a gelatine plate than can be obtained
by any other procedure, while its convenience and readiness for im-
mediate use render it much to be preferred.
The size of the American lantern-slide plate is always 3J x 4 inches,
thus differing from the English size, which is usually square, and 3J x 3J
inches. We in America think the oblong shape the best, as it allows of
a rather larger picture, gives ample room for the label, and also for
taking hold of the slide when placing it in the lantern. We can hardly
expect in a country Uke England, where customs are firmly established,
that a change of size would readily be adopted. And yet it is highly
desirable, in view of the growing interchange of slides between not only
England and America but also with other countries, that some one
standard and uniform size for all should be adopted. The presen
difference often leads to considerable annoyance on account of fitting the
440
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[July 14, 1893
varying sizes into the carriers generally used for the lantern. This
difficulty is less in America, however, than in England, for it is always
easier to put a small slide into a large carrier than it is a large slide into
a small carrier. I notice, indeed, that one English photographic
periodical has announced that in future it will receive no slides for
competiaon unless made of the uniform size of 3Jx.3J inches. This is
much to be regretted, for it would seem possible iu such cases to use an
ordinary " push through " carrier, and I hope the example will not prove
contagious, for it will tend to check these international exchanges and
competitions, and prevent many on each side of the water from becoming
acquainted with the best examples of well-known workers.
In the preparation of lantern slides I believe that the majority of our
best workers in America prepare their slides by reduction in the camera.
I have been informed that in England the reverse is true, the larger
number being prepared by contact. I think this difference may partly be
ascribed to the fact that the sizes of negatives adapted for contact print-
ing m X 3| and 3J x 4^ inches) are not as popular in Americ i as they
are in England. We do not use the SJ x 3J size at all, and for all small
work the most popular size is 4 x 5 inches. This does not lend itself so
well for contact work, and hence the reducing camera is more frequently
brought into requisition. My own preference is unquestionably for
reduction by the camera, even when preparing slides from small
negatives. There seems to be a certain quality gained which is some-
times missing in contact work, and, in addition, the process affords many
facilities for shading or vignetting different parts of the negative which
may need either holding back or prolonged exposure.
The character of the light used is also another prime factor. In my
own experience I use two different lights — a south light, where full sun-
light falls directly upon a ground-glass window; and a north light, where
the window is of clear glass and at an angle of about 45° to the horizon,
thus securing an even, soft illumination all over the negative. I use one
or the other of these lights, according to the character of the negative, as
will be detailed later.
Beturning again to the subject of lantern-slide plates, I may say that I
do not believe it possible, when using all varieties of negatives, dense or
thin, to obtain uniform excellence with one grade of plate. This would
stand to reason, for a slow landscape plate will give a different negative
from one made with an emulsion of high rapidity. I therefore use two
grades of plates, one quite slow, giving great contrast, the other several
times as rapid. In the former I use the Eastman plate, for the latter
the transparency plate made by the Cramer Dry Plate Works, of St.
Louis, Mo. These two varieties are used as follows : — Given a very
strong, perhaps even harsh, negative, quite dense, and yet with plenty of
detail. In order to bring out all the best points of the negative, a strong,
intense light is required, and nothing but sunlight seems to answer the
requirement. A weaker light will not penetrate the dense portions of the
negative, and the corresponding parts of the positive will lack detail.
Furthermore, the negative probably possesses too much contrast already,
and the endeavour should be to reduce this contrast, and at the same
time obtain all the detail possible. I therefore use here the fast lantern-
slide plate, and fully time the exposure, using a diluted developer. The
harshness of the negative is thus materially reduced in the positive, and
the rapidity of the plate makes it more susceptible to the weak light
coming through tlie dense portions of the negative, and thus renders the
detail properly. Lantern slides made in this manner are usually quite
warm in tone.
Now, on the contrary, suppose a soft, thin negative full of detail, but
with comparatively little density. Here the advantage of the slow plate
and the soft north light becomes appaurent. This soft, even illumination
is amply sufficient to penetrate any part of the negative, and yet, not
being so intense as the sunlight, does not so rapidly overtime the plate.
The slow lantern- slide emulsion is amply sensitive enough to render the
detail perfectly in all parts of the negative, and with a moderately short
exposure gives good contrast and brilliancy much exceeding that of the
original. It is thus possible to obtain from an inferior negative quite a
crisp and brilliant lantern slide. The tones obtained by this method are
usually grey or black.
For a developer, I use a mixture of eikonogen and hydroquinone in the
proportion of fifteen parts of hydroquinone to eighty-five of eikonogen.
Eikonogen by itself does not always give the brilliancy or the density
desired, but this is easily obtained when a small percentage of hydroqui-
none is added. The development of a lantern slide is an entirely
different matter from that of a negative. In the latter, the time of ex-
posure, and the intensity of the light, are always, to a certain extent,
unknown factors, and the developer must be modified according to the
necessities of the case. With the lantern- slide plate, the developer, as far
as regards the proportion of reducer and alkali, is always the same, so alsa
is the lighting of the negative. The developer should, therefore, be of a
standard strength ascertained to give the best results with a normal ex-
posure, and then, when making the exposure, it must be shortened or
lengthened until the desired result is obtained. It will not do here to
give a short exposure, and then push development by adding more alkali.
The plate will soon fog, and an amount of fog which might perhaps be
allowable in a negative would be fatal for a good lantern slide. Nor
will it do to overtime, and then restrain development with a bromide, for
we will be apt to get harshness, much density, and opacity in the
shadows, all fatal defects for a good slide. What should be sought is a
correct exposure, then a normal developer, and as the former is always
under our control, it is better to reject a few plates and change the
time of exposure until we have it just right, than it is to attempt to
modify the developer.
The question of tone here comes in for consideration. This is a matter
influenced, first, by the plate, next by the developer, next by the character
of the light, next by the exposure, and, lastly, by the negative itself. As
I have before remarked, the cool grey and black-and-white tones are pre-
ferred by many in America. There we use eikonogen, hydroquinone,
ferrous oxalate, or pyro soda— all developers producing black or grey
tones. The warmer tones in most of the slides made by English workers
are, I am told, due largely to the use of pyro and ammonia as a developer.
Still, for true warm tones gelatine can hardly be made to equal those ob-
tained with collodion emulsion, either washed or dry. It is quite possible ^
however, with a strong negative, a sunlight exposure, a little over-timing,
and a developer well diluted with water, to obtain quite warm tones with
an ordinary gelatino-bromide emulsion.
As far as regards fixing, there is nothing superior to the acid fixing
bath, now so well known. It prevents staining and clears the plate
thoroughly.
The plate should always be varnished, to protect it from the effocts of
moisture. I use for this purpose the "Zapon" varnish, a solution of
nitro-cellulose in amyl-acetate and wood alcohol.
As regards matting, the square opening, with rounded corners, is used
by us for all commercial slides. Amateurs who make their own slides
vary the opening, however, making it oblong, upright, oval, or round,
accordmg to the artistic treatment of the picture.
In labelling the slide, a thumb label is placed on the lower left-hand
corner of the face of the slide, while the descriptive label is placed on the
opposite end (right hand), sometimes on the face, but more usually on the
back of the slide.
Much might yet be said regarding the arrangement of the negative,
apparatus for varying its position (so that either the whole or but a por-
tion can be used , the choice of lenses, varieties of cameras for reducing
purposes, Ac, but it would occupy too much time. The few extremely
general remarks that I have made on the subject of lantern-slide making
will, I trust, serve to indicate some of our most usual methods of working,
and present, perhaps, one or two novel modifioatiens of the orthodox and
regular modes of procedure.
After some desultory observations respecting the relative advantages of
the American and Enghsh sizes of lantern slides.
The President said that, on a commercial scale, (he wet-collodion pro-
cess was the only method by which uniform tones could be obtained.
AETISTIC EXPRESSION WITH THE HAND CAMEEA.
By J. GUABDIA.
At this period in the history of photography, when every user of a camera
is sorely puzzled to know whether his work is fine art or not, it seems to
me useful, now we are assembled here, to pause a few moments and con-
where we stand and whither we are drifting.
While some writers claim for photography the highest artistic possi-
bilities, others quite as strenuously assert that it is but a mere mechanical
process, admitting of no variation in the hands of different workers, and
therefore unworthy to rank as an art at all. Now, I think that the truth
here lies, as is so often the case, midway between the two extremes, and
that we should rather say that, though photography as generally practised
is not an art, yet artistic expression is not impossible to photography.
Further, if we admit, as I am afraid we must, that photography has not
as yet realised its proper sphere as an art, we may at least hope that the
day is not far distant when, acknowledging its limitations and under-
stinding its possibilities, photography will at last gain an honoured place
among the fine arts.
But are we really doing anything towards this wished-for end? No,
for the principles of art are order and culture, and in photography — in
July 14, 189SJ
THE BRITISH JOURNAL OF PHOTOGRAPHY.
441
the photographic world of to-day — nothing bat disorder and confusion,
yes, and ignorance too, prevail.
I am not now speaking of the great majority of people who " dabble in
photography " — who go about the country securing pleasant mementoes
of the places they visit, with the sole aim of amusing themselves and
entertaining their friends. They are quite right in what they do, for,
after all, they stick to what will always be the most popular side of
photography — photography as n mechanical procegs, in which good appa-
ratus and dexterity of hand are their own reward. Neither, of course,
am I addressing myself to the select few (real artists at heart) who are,
«ach for himself, earnestly trying te find a clear path out of the diffi-
colties which photography is constantly setting before them. Their
work bears the seal of their strong individuality, and is, therefore, truly
artistic.
But I am speaking of the general body of photographers, whom you
may see at our clubs, who often write in our papers, who cram our exhi-
bitions with their worthless productions. There is not one of them but
thinks himself a born artist. But look at their work, and you will see no
ait at all — merely a weak imitation of ^ome other art by means of photo-
graphy. And this work is turned out in cart-loads, and is bemedalled
by omnisapient judges, and crushes out any real pictures that may have
strayed amongst it. What wonder that in the end artists merely laugh
at us !
Our photographic world is chaos. We are all authors, publishers, and
readers ; artists, critics, and judges. We elect scientists to decide weighty
questions of art, and artists prattle about chemical problems. We all
know so much that we are always quarrelling, and we only unite to bowl
down any man who shows a little originality, and who strives to rescue
us from our slough of despond. There are men abroad who, before they
bought a camera, had never even stopped to consider that there was such
a thing as art in the world, and who, probably, have not seriously studied
a single word about it since ; but their fingers were deft, and they pro-
duced negatives beautiful to look at, and which earned them a goodly
show of medals. And, lo ! one day they issue forth past-masters in high
art. Other foolish people, after years of deep study and constant work,
hopelessly exclaim, " Art is long, and time is fleeting." Not so our facile
photographer ; he masters it all in a few months.
We clamour to be recognised as artists, but the bulk of the work at
our exhibitions shows nothing but our absolute lack of taste. To select
two samples only. Take first what we are pleased to call a " genre
picture." How is it done ? You begin by placing the cart before the
horse, i.e., by first selecting your title, and then looking around how to
construct your work of art. Some figures are now more or less gaudily
dressed and stuck in impossible attitudes before an impossible background,
and the chef-d'aiuvre is accomplished. The result is applauded by the
general run of photographers as a marvellous feat— a wonderful inspira-
tion. To a person of taste such productions seem eminently absurd ; in
fact, when they happen to represent historical subjects, the effect is often
60 incongruous that the authors themselves must at times feel ashamed
of their own work.
A particularly mistaken class of genre pictures is that which results
from " double printing." Although this has enjoyed the advantage of
being practised by some exceedingly clever people, their very best results
have only served to prove that such tricks are entirely out of place in
photography, and that nothing will ever be gained by these efforts to
mimic methods which are legitimate and admissible in painting and allied
arts only.
Another proof, if one were needed, of the bad taste displayed by photo-
graphers is to be found in the mounts they use. We need not mention
the wonderful green and chocolate bevel-edge enamelled cards on which
the professional fixes his perishable productions. No one has ever called
the ordinary portrait-taker an artist, except himself ; but let us consider
the mounts patronised by the " artistic amateur." Where could one find
a more glaring proof of his incompetency to make photography a fine art
than the " plate-sunk " mounts to which he consigns his efforts ? What
on earth a plate-mark has to do with a silver or platinum print, I presume,
BO one has asked himself. We have here a deliberate fraud — a confession
on the part of the man that he distrusts the art he practises, and an
attempt to make people believe that what he is showing them is not a
photograph.
This affectation is not art, and can do us no good. If a plate-mark is
essential for our work, let us have real one ; let us print in photogravure.
Fault-finding is an unpleasant task, and I do not intend to continue in
this strain. I think, however, that what I have said may account to some
extent for the contempt which photography is experiencing from painters
and other artists, who should be, and may yet prove, her best friends. It
seems to me that artists have not taken photography aeriously at all at
yet, but how can we wonder at it when to the majority of photographers
themselves a camera is only a plaything, and photography but a joke.
My work of destruction having ended, I will attempt to explain the path
which I think we shall have to follow when wc clearly undertand the
nature of photography and her only true sphere of action as an art.
That photography, an invention little more than half a century old,
should have so quickly spread throughout the world, and should be prac-
tised with equal enthusiasm by persons so different in temperament,
position, or education, it must have something in its very essence which
supplies a universal want, or gratifies some feeling which all civilised men
share in common. The love of beauty in nature is more general than one
is likely to suppose, and the very feeling which finds its loftiest expression
in our great painters is but evolved from the unconscious efforts of primi-
tive man, and, in fact, arises from tendencies inherited from our animal
ancestors. As Professor Baldwin Brown so aptly explains: — " On every
grade of his being man possesses an ideal sel^-determined life, existing
side by side with, but apart from, his life as conditioned by material needs.
This life expresses itself in, and is nourished by, various forms of free and
spontaneous expression and action, which on the lower grades of being
may be termed simply ' play,' but on the higher grades take the shape of
that rational and significant play resulting in art." Now, I think we may
readily admit that the success of photography is due to itj having given
us an easy means to satisfy that desire for " play," that wish to forget the
troubles of our daily labours which, as we have seen, is natural to us ; or
to its having made it possible to everyone to express by his unaided efforts
whatever artistic feelings he may have acquired through natural dispo-
sition or education.
The foregoing remarks, while explaining the wide popularity of photo-
graphy as a pastime, give us no gauge of its merits as an art. That
photography can be made an art we need not waste much time in assert-
ing. As Nadar recently said : — " Why should photography not be an art,
considering that, in copying nature, the painter, the draughtsman,
the sculptor, and the photographer all aim at the same goal? Why
should we trouble about the means employed if this reproduction of
nature awakens in us the same impressions which we felt when looking
at nature itself ? The superiority of the painter, the draughtsmen, and
the sculptor would seem to consist in their power to create. But the use
of the palette gives of itself no more right to the title of work of art to
any reproduction of visible objects than does the employment of a camera.
Photography is in itself a science and an art, and, above all, a means to
an end. Its results essentially depend from the taste, the artistic know-
ledge, and the temperament of the worker."
In forming an estimate of photography as a means of artistic ex-
pression, and in accounting for the unfavourable attitude which the
general body of artists preserves against us, the enormous disadvantages
which artistic photographers have had to contend, and are still contending
with, should not be lost sight of. These are disadvantages which, in the
nature of things, could scarcely be avoided in the early days of the new
art, and which are now being rapidly overcome, and will, no doubt, soon
entirely disappear. The principal difficulties which retarded photography
in its progress as a fine art were — (1) The low sensitiveness to light of
the materials employed, requiring long exposures, and (2) the inadequate
nature and unmechanical construction of the apparatus used. The speed
of plates has enormously increased within the last few years, and manu-
facturers are even now vying with each other to turn out plates of greater
and greater sensitiveness. With regard to a more correct rendering of
the different colours, however, much remains to be done. Celluloid films
also promise considerable advantages over glass plates, though they are
as yet scarcely perfect enough for the best work.
But it is the old apparatus which must bear the greater part of the
blame for the low position which photography still occupies as an art.
Lenses, it is true, have long been perfect enough, especially since the in-
troduction of Jena glass. If the lenses generally used are of too short a
focus, as undoubtedly is the case, the opticians are not to blame. In
shutters, too, the photographer has been fortunate to secure the services
of the highest mechanical skill, and though the modem shatter is a com-
paratively new creation (called into life by the increased sensitiveness of
dry plates), it is already, both in speed and efficiency, well in advance of
the present requirements of photography. With cameras, however, the
case is very different. Designed originally by incompetent persons, they
have remained to this day the evident production of cabinet-makers and
carpenters, whose only improvements during fifty years may be said to be
the substitution of the shaky bellows camera for its steady but ponderous
sliding-box ancestor, and the addition of simple movements, like rising
front and swing back. The same type of apparatus has been adhered to,
442
THE BillTISH JOORNAL OF PHOTOGRAPHY.
[July 14, 1893
not by a few, but by all makers, and this, not only in the early days when
the slow processes employed demanded nothing better, but long after
plates had reached a high degree of sensitiveness. For fifty years photo-
graphers have had to carry about bulky implements, necessitating the use
of a strong stand, and requiring long delays for setting them up ready for
work. What wonder, then, that photography never reached its proper
province among the fine arts— «/ie representation of life in nature, with all
its beautiful but evanescent phases and movement, which has only now
become possible, thanks to the modern hand camera.
" Fine art," says Euskin, " is that in which the hand, the head, and
the heart of man go together." What chance has the hand, the head, or
the heart with a 15 x 12 field camera, and a tripod weighing five pounds ?
Before hand cameras were invented, what was the aspect of nature as
recorded by photography? A dead maze of trees, and fields, and build-
ings. The rivers and lakes showed no ripple ; they were merely a mass
of glaring white. The streets were deserted, and tenantless houses were
but a mockery without reason. The beauty of cloud and atmosphere was
nnknown— was represented by acres of white paper. Here and there a
group of soulless caricatures of human beings were, indeed, to be seen,
all stuck up in constrained attitudes. Not breathing, and moving, and
palpitating with life and energy, but either blurred out of all recognition
or fixed in unnatural poses, like wax dolls glaring at nothing — " puppets
without muscles, and silhouettes without substance." Such was the
world as depicted by the slow exposures of the old photography— an inane
reiteration of topographical notes, or a spiritless multitude of lay figures
in Sunday clothes.
But, with the advent of the modern hand camera, all this has changed.
The ripple on the water can be seen and almost heard ; clouds, fleecy or
heavy, float across the sky; the elegant movements of the swiftest
animals are recorded ; bustling crowds of men, women, and children are
shown to us, picturesque in their ever- varying, unconscious attitudes in
the course of their daily occupations, their toil, or their play. The tra-
veller to distant countries will no longer bring uninteresting records of
rains and desert solitudes, but animated pictures of the life, the troubles,
and pleasures of the whole human race, from the tropics to the polar
regions. A hand camera, ever ready, easy to carry, and able to with-
stand all changes of climate and vicissitudes of travel, will help photo-
graphy to outstrip the other arts in the representation of all the evanes-
cent phenomena of nature, in making nations know and understand one
another, in furthering the brotherhood and union of the human race.
Useful to every one in indelibly recording what he sees, it will help the
stay-at-home to portray his friends in familiar and natural attitudes, the
traveller to bring back living records of his wanderings, the artist to
show us nature as he sees it, deprived of its ugliness, and with its beauty
enhanced.
This, then, is the true sphere of photography as a fine art. Creation
is impossible to us, let us therefore leave this to other arts. But ve still
have the great power of selection, and of showing our good taste and
artistic feeling. Let us cultivate this to the highest pitch we can attain,
and employ it in the representation of life, and movement, and beauty of
form in nature ; a field large enough, and one which the other arts cannot
touch. We shall then be doing good and useful work — work that will live.
The course which we should follow in our aim towards artistic perfec-
tion is, I think, clear enough, but to foUow^it means hard work. Let us bo
ti"ue to ourselves, always willing to learn from others, but doing what we
honestly think right, whatever the uneducated multitude may say. Let
ns study nature, for it is the fountain-head of all beauty. Let us cultivate
art, that we may improve our good taste.
There is no reason whatever why we should not photograph everything
that interests us, whether it is a picture or not ; but let us acquire sufii-
cient practice and knowledge to be able to see and secure a beautiful pose
or subject whenever nature unexpectedly presents it to us in the course
of our rambles. In order to do this with certainty, we must not only use
good tools, but must gain great skill in using them. But let us never
forget that tools and skill arejbut means to an end.
I should like to see the day when a photographer only shows as pic-
tures one ot tvio ol the very heit photographs he has taken during the
year — when he does his utmost to make these as perfect as possible, by
carefully enlarging them, if necessary, by printing, mounting, &o.
Let us have exhibitions of such selected work, let it be judged by
trained artists, and then we shall stand a chance of proving that photo-
graphy can be made a fine art, for artistic expression is possible by means
of the hand camera.
Mr. E. Keene, alluding to;,the remarks about the plate marks in the
mounts, considered that they were frequently a great improvement to a
photograph.
Mr. W. M. Ashman thought it might not possibly be known to Mr.
Guardia that in former times streets could be photographed without
being perfectly desolate. Skies also were not cloudless.
Mr. Traill Taylor asked Mr. Guardia how long it was since hand'
cameras were invented, in virtue of which such a revolution in artistic
photography had been effected.
Mr. Guardia. — Five years.
Mr. Taylor appealed to Mr. Guardia, for his own sake and that ot
accuracy, to strike out from his paper all those mis-statements about
deserted streets, clouds and atmosphere being unknown, soulless cari-
catures of human beings, with like statements equally devoid of truth,
as well known to every one who was acquainted with the state of photo-
graphy much longer than five years ago.
Mr. Mowll, too, could not agree with aU Mr. Guardia had read. It
required much greater intelligence and skill a few years ago than was
imagined in these " press-the-button " days, and the work turned out-
now was not better than it was then.
Dr. Mitchell said that while artistic pictures can easily be made by the
hand camera, much depended upon the man who was using it. Hand
cameras were often very useful on account of their compressed bulk.
After remarks by Mr. Birt^Acres and Mr. Fry,
The President had to differ from Mr. Guardia, and alluded to the high
art merit of the works of Wilson of Aberdeen, Wortley, and numerous
others, produced long years before hand cameras were known.
MULTIPLE FILMS.
By S. Herbert Fry.
The subject of compound or multiple-coated films is so new, and suppUes
so many fresh ideas for practical work, that I cannot pretend in this
paper to do more than deal in a touch-and-go fashion with it. My re-
marks will only be valuable, if at all, for some practical suggestions as
to the best methods of utilising the advantages which the principle of
combining emulsions of differing characteristics and speeds into one film
offers.
Novelty.
Although it would, perhaps, be safer to say that, for the preventioa
of halation, multiple films in gelatine emulsions are rather the result of
a happy thought than an entirely new idea, yet, as far as a practical
manufacture is concerned, there is, I think, little doubt of their
absolute novelty. Experimentalists may have drealmed of some such
thing; as, indeed, of what have they not? but it has not hitherto-
become a realisation.
Still, we have in the old collodio-albumen dry plate a compound film
consisting of a collodion bath plate with an albumen sensitised film
placed on top of it, and one of our veteran workers, Mr. Forrest, of
Liverpool, only a few days since, spoke to me most eulogisticaUy of thati
old method, and hopefully of the multiple gelatine film for sympathetic
reasons.
That process is not only beyond my recollection, but probably there are
few in this room who had any practical acquaintance with it.
Manufacture.
In making a multiple film dry plate, a coating machine may be said, to
be necessary to secure a regular flow of emulsion for the second and
third coating. With this exception there are no technical difliculties but.
such as are common to the manufacture of dry plates generally. Each
coating is dried before the next one is laid upon it, and the mos im-
portant consideration for the emulsion-maker is to provide an emulsion,
with as small a proportion of gelatine to silver salt as possible.
Theory of the Film.
In determining the relative speeds and characteristics of the different
films a large field for experience and experiment is open, and time alone
can determine whether the present an-angement is that best suited
to attain the end in view. This may roughly be stated to be the nearest
approximation to a single film in which the top surface shall be of the
highest possible speed, and the bottom of the film of a density-giving
silver salt, an emulsion slow and dense in the highest degree. The
film should gradually change from one characteristic to the other.
In theory the lowest portion of the film should perfectly resist the
passage of actinic light. Bolas has, I think, referred to this point in
some of his recent writings, and I take it to be the ideal of a sensitive
film suitable for all purposes.
Such a film, with our present knowledge, is not possible. We must be
satisfied with the best substitute for it. I refer to this especially
because it has been asserted that there are steps or jumps in the sensi-
tiveness of a multiple-coated film which are ascribed to the difterence in
speed of the various separate coatings. I do not propose to do more than
allude to this for a simple reason. An examination of the pictures.
July 14, 1893]
THE BRITISH JOURNAL OJf PHOTOGRAPHY.
44S
prodiicod by the films does not, I think, reveal any obvious faolt answer-
ing to this criticism. I can conceive that, were a mnltiple film wrongly
used, as, for instance, were the top film stripped off witli the idea o(
securing a negative upon the lower film only, then, in such a case, there
might be a lack of detail due to the removal of the top layer, and this
might appear to be a jump in the sensitiveness between the two films.
Such a method of working is not to be recommended, and I do not pur-
pose to seriously consider improper uses of the film. It not infrequently
happens that dangers or difficulties anticipated in theory do not occoi in
practice. This is such a case.
As to the part played by the underlying films, I regard them as pre-
pared to take up and usefully employ such actinic rays as fall beyond
the scale of correct representation in the overlying films.
DiBIRlnUTION OF TUE ImAGE.
Let us assume a case in which the range of contrast is great, such as a
^rk interior with a light and bright window. Let us also assume that
which, I think, is generally the case, that for such a subject an exposure
upon a dry plate is more or less of a compromise between the time
necessary to properly photograph the deep shadows, and that necessary
for the bright lights. Indeed, if it be not so, where is the difficulty in
making such pictures?
In the multiple film the image of the window will be formed upon the
lowest film, and the middle tones upon the second film, whilst the details
in the deep shadows will be upon the top film. In other words, the
image will be distributed in a selective manner, and this can be easily
demonstrated by stripping oS portions of the film of such a negative,
and ascertaining the action of light upon the lower films.
In the example given I have supposed that the exposure has been
abnormal, that is to say, that the exposure has been made to act upon
the sensitive material so as to sufficiently impress the details in the
deepest shadow upon the top film, leaving the brighter portions to act
selectively upon the lower and less sensitive emulsions.
It is with such an exposure that the best value can be obtained
from the multiple film. It is possible that, because better effects of light
and shade are produced upon a multiple film by abnormal exposures, some
have considered it a matter of necessity that such films should be,
in a photographic sense, slow. This is an inference not warranted by
the premise, as there is no reason to believe that the top film in any way
loses speed by being imposed upon a film ef emulsion instead of a glass
plate. Without hazarding any conjecture as to the why and the where-
fore, I think that, in a pictorial sense, there wiU be found a greater
range of gradation and more roundness, and, if I may coin a word,
more stereoscopicity, of effect, with an increased (or abnormal) exposure
than obtains in a homogeneous film with any exposure.
It must also be borne in mind that, with the ordinary dry plate, the
effect of more exposure than will influence the region of correct representa-
tion makes for flatness of image and loss of true gradation. With the
multiple film, however, it tends towards increased roundness of image.
With an exposure calculated to reproduce the shadow details to their fullest
•extent, and which I describe as abnormal because it is more than can be
usefully given to a homogeneous film, are the best results obtained with the
new tool. I am disposed to suggest that this is only a natural result of
the ability of the multiple film to successfully render a longer range of
contrast. In other words, the sensitive film which will reproduce in
natural ratio the widest range of light and shade may be expected to
produce at the same time the best pictorial effect.
It is for this reason that I am entirely opposed to the idea of over-
exposure and stripping the top film, a method which I regard as an indica-
tion of failure to properly understand the principle of the compound
film. We are, by this method, only able to make a picture upon one of
the lower films. Now, for this purpose, it is best to use such a one
in its simple form,, and not to risk failure by exposing through some
other film, which has to be wasted. Wilful waste makes woeful want, as
the old alliteration has it.
In point of fact, the useful detail of the negative will be found upon
the top film, and this detail we cannot afford to lose in our negatives.
Halation.
The question of the freedom of the compound film from halation or
light reflected from the posterior surface of the supporting glass plate,
depends upon two points— first, that the difference in sensitiveness
between the top and bottom films shall be at least as great as the differ-
■ence in the value of the light reflected from the brightest and the least
bright portions of the object to be photographed; and, secondly, upon the |
method of development employed. There can be little doubt as to the
efficiency of the principle employed, viz., that the light shall be inter-
cepted and 'usefully (in the photographic sense) employed by the loner
film. When " backing " is resorted to to prevent reflections, it is hut a
makeshift method of obviating the disagreeable effects of light in the
wrong place. The principle of the multiple film is to prevent the light
passing into the glass or support. In actual work a triple film gives
practical freedom from this defect in most trying circumstancea, and that
without backing.
This is not the place to discuss whether a commercial article is effective
or not; but I am compelled to add, that if the difference in sensitive-
ness between the top and bottom films in the commercial article be not
now sufficiently wide to secure without halation the most violent contrasts
which may present themselves for representation, the principle still ap^
plies, and it is but necessary to lower the photographic sensitiveness of
the bottom layer to perfectly effect th; object. Or, as an alternative
for extreme ranges of contrast, a fourth film might be added. So mnch
depends, however, upon the method of development, that I believe tbreei
films to be ample for all practical purposes.
Exposure,
I now pass to the question of development and practical treatment of
the films. There are two exposures for multiple films.
First, the normal, is the correct exposure for the top film,'snpposing it
to be coated upon a glass plate by itself in the ordinary way. For such
an exposure development will be normal, and precisely the same as it would
be supposmg the sensitive film to be of_ a homogeneous rapid character.
That I need not discuss further.
The second exposure is one which I prefer to call ahwrmal rather than,
over-exposure. It will be apparent that, with underlying films of
less rapidity, and each underlying film protected by a light-absorbing
filter of emulsion above it, without recourse to any devioeiin develop-
ment for restraining or retarding the effects of the light action, the lowest
films are capable of absorbing and using a largely extended exposure. I
am informed that the relative rapidities of the three emulsions in the triple
films are as 1, 4, and 30, and, when to tliis'margin of speed which exists
between the top and bottom film is added the" resistance tojlight passage
of the first and second films themselves, it will be obvious that there is a
considerable available margin of latitude in'exposure. The point, there-
fore, when over-exposure in the usual sense of the word begins, is so
far away from the normal as to render it unnecessary to take it into
immediate consideration.
Development.
With an abnormal exposure, development must be " tentative." There*
are two methods : —
First, by working with solutions of suitable>nergy to develop the image
until sufficient detail be obtained, and then, by the liberal use of a soluble
citrate, to develop up density and contrast from the lower films, in which
there is a store of density-giving emulsion to which the ordinary worker
is quite unaccustomed; or, secondly, to begin with a very dilute and
restrained (with bromide) solution, so as to secrue^in the lower film suffi-
cient density first ; afterwards, if necessary, acting upon the top film with
a more energetic developer, to bring out such detail as may be desired.
I am not quite certain as to which of these methods I prefer, but I am
largely influenced by the fact that it is the second method which the in-
ventor of the plates relies upon to make his pictures. I have had the
pleasure, on more than one occasion, of seeing him develop 15 x 12
interiors by this method with such ease, and so much regular success,
as to make me doubtful of the propriety even of mentioning the first
method.
I cannot do better, therefore, than give his method, premising that the
same principle appUes whatever developing agent be employed. The
developer Mr. Sandell prefers is a mixture of hydroquinone, eikonogen,
and rodinal, as follows : —
Concentrated Solution.
Hydroquinone 30 grams.
Eikonogen lOo „
Bodiual 9 drachms.
Sulphite of soda 2J ounces.
Carbonate of potassium,,,,, 2J „
Water to make 20 ,,
Supposing we have to develop a plate which has received, say, three
times a noinuJ exposure, generally the best results can be obtained
444
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[July 14, 1893
with from three to six times a nominal exposure. Commence develop-
ment with a weak solution, thus : —
Dilute Tentative Developer.
Stock solution 1 part.
Water ._ 15 parts.
Bromide of potassium (10 per cent, solution)
About twograim of the latter to the ounce of solution.
This will probably begin to produce an image in from two to four
minutes. The highest lights should appear first (although they are in
the lower films), and density and detail should grow steadily. The
important point to keep in mind is that the high light should be
developed by the first solution, rather than the detail. If detail comes
beely, the developer may be considered too energetic, and the remedy
obvious. II detail comes but little, it is of no importance, for being within
the topmost film it can be readily acted upon and drawn out by a more
energetic solution, and that without there being time enough for the
stronger solution to affect the density-giving sub-film. Should detail grow
faster than density, then, as we can only attack the density-giving sections
of the plate through the top film, we are forced to resort to the first
method of development, viz., the use of restraining citrates and bro-
mides to enable the solution to get down into the lower films without
overdoing the top layer. But by this procedure we risk making a thicker
negative than by cautious development by the second method. In
developing abnormal exposures in multiple films, if there be any error, let
it be on the side of a too dilute developer to commence with.
The manifest simplicity of Mr. Sandell's method should, I think, com-
mend it, and I suggest it as the easiest one and the most reliable. In
case, of need, however, density can be obtained by the first method with
certainty, but it may become a little difiicult to watch the action of
development. By the second method, the progress of development
can be easily followed, and it is not only not necessary for the image to
be lost sight of, but it indicates the use of a too strong and energetic
solution, or an insufliciently restrained one. The notion that with a
multiple film development must be a closed book I ask you to remove
from your mind. There is no such necessity, and, should the image be
lost tojsight, it is the clearest indication of injudicious procedure. I never
expect to see any indication upon the back of a triple film of the image,
and when I lose sight of the progress of development I know that it is
because I have been impatient or unfortunate in my judgment. In such
a case, however, with the reserve force of the multiple film a negative will
be the result, where with a simple emulsion extreme flatness would be
expected.
I have not mentioned pyrogallic acid development, nor do I propose to
advocate any particular developing re-agent. Whichever be the reducing
agent with which you are best acquainted, will be for you the right one
to use. It is not the developer (the reducer), but the developer (the
individual), which makes the negative. For pyro development, however,
I think there is nothing better than the following : —
A.
Neutral sulphite soda 55 ounces.
Boiling water to make 10 ,,
B.
Pyrogallol 1 ounce.
Nitric acid 20 minims.
Water to make 10 ounces.
C.
Bromide potassium 1 ounce.
Water to make _ 10 ounces.
D.
Carbonate soda (anhydrous) 1 ounce.
Water to make 10 ounces.
E.
Citrate soda 1 ounce.
Water to make 10 ounces.
B, C, D, and E are not exact ten per cent, solution. I prefer the
sulphite in a separate solution, and concentrated.
Normal Developer,
Pyro solution 20 minims.
Bromide solution 10 ,,
Sulphite solution 60 ,,
Carbonate solution 40 to 80 „
Water to make , 1 ounce.
Tentative Developer.
Pyro solution 5 minims.
Bromide solution 5 „
Sulphite solution 60 „
Carbonate solution 10 „
Water to make 1 ounce
In place of this latter, the normal developer may be diluted from one
quarter to one-tenth strength, although I prefer to have a larger pro-
portion of bromide than is in the normal, and an equal strength of
sulphite. The latter because, whilst doing no harm by its presence,
it enables one to add stock pyro and carbonate to form a more
energetic solution, without discolouring the film.
Fixation.
There is only one other point to which I need call attention, and that
is, that the fixing bath should be new and strong— eight ounces of hypo'
to a pint of water, and fixing should not be performed on white light.
An acid fixing bath works well with multiple films, both hardening the
gelatine and brightening the negative at the same time. The best form
is : —
Hypo 8 ounces.
Acid bisulphite soda 2 „
Water 1 pint.
With such a fixing bath, complete elimination of the soluble silver
salts is quickly performed unless the solution is unduly cold. In this
case the remedy is obvious. Warm the fixer to 55° to 60° Fahr.
SOME POINTS IN CONNEXION WITH DEVELOPMENT.
By C. H. BoTHAMLEY, F.I.C., F.C.S.
At a meeting at which so many papers on the all-important subject of
development are to be read, it is difficult to deal with the matter without
in some way encroaching upon the ground covered by the other writers.
Apart from the introduction of new developers, few photographic ques-
tions of late have attracted more attention or excited more discussion
than the relation of the gradations of a negative to the time of exposure
on the one hand and the mode of development on the other. At present
it cannot be said that any final decision has been arrived at as between
the theory that the gradations depend only on the intensity of the light
and the time of exposiure, and the theory that the gradations may be-
modified by the mode of development.
One of my scientific friends rarely troubles himself about any energetic
scientific controversy whilst it is still going on. He generally says that
he will go into the question " when the dust has settled a little." He is
a busy man, and his attitude in this respect is quite intelligible. It iS'
clear, however, that if every one were of the same mind the dust never
would settle, for the dust of a scientific controversy, heavy though it may
be, does not as a rule subside by its own gravitation. The views that I
have the honour of submitting to this Convention you will, perhaps, with
your usual indulgence, be good enough to regard as a small attempt to-
act the part of Aquarius, and to help a little towards the settling of the
dust of the controversy that is now being waged over the relation between
exposure, mode of development, and the gradations of negatives. I.
cannot, I regret to say, lay before you any new facts ; but I will venture
to ask you to look at some of the old facts in a way which, if not new,,
has, at any rate, not received the attention that it seems to merit.
The controversy, in its present aspects, has been excited by the re-
markable papers of Messrs. Hurter & Driffield, and the no less able papers
of Captain Abney.
Now, in the first place, it has not been sufficiently recognised that-
Abney, and Hurter & Driffield are quite agreed on the main point, that
the amounts of silver reduced at different parts of a negative are deter-
mined by the amount of light action, and not by the mode of development.
The question between them is really limited to the precise form of the
equation that connects the two quantities, Hurter & Driffield holding
that the deposit of silver may be regarded as homogeneous, whilst Abney
holds that it must be regarded as heterogeneous, and consisting of solid,
particles distributed in accordance with the " law of error."
Many photographers, however, on the basis of their accumulated ex-
perience, contend that they have the power, by altering the mode of
development, to alter the gradations of their negatives, Ac.
It will not be very difficult to show that both of the parties may be right.
To a great extent the confusion and misunderstanding arises from the use
July 14,1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
44S
of tlie same words in different senses ; it is the old story of a difTerenoe in
lan^aage and not in facts.
Not a little of the difficulty arises in the first place from the fact that
Hurter tt UrilVield use the word density in a sense that is quite accurate
and justifiable from a scientific point of view, but which unfortunately is
not the sense in whicti the word is commonly used by the photographer.
By •' density " Hurter * Driffield mean the absolute quantity or mass of
silver in the film at a given point ; the photographer means the opacity
of the film at that point. The two are intimately connected, but they
are by no means identical, and one cannot but regret that photographers
should have adopted the word density when the correct word, opacity,
was already coined. It is an important example of the folly— I ask no
pardon for using so strong a word — the folly of which the practisers of
any art whatever are guilty, when they use in a loose and inaccurate
sense words which already have a definite and recognised meaning
in any of the sciences on which the art in question may happen to be
based.
Hurter & Driffield's fundamental result is that the ratio of the densities
corresponding to different amounts of light action cannot be altered by
changes in the mode of development. So far as any quantitative evidence
goes, that statement must at present be accepted as correct. Photo-
graphers say that they can alter the gradations of their negatives. There
is really no necessar;/ antagonism between the two statements.
At the outset you will probably admit that the way in which photo-
graphers, as a rule, estimate the gradations of their negatives is, at the best,
somewhat rough-and-ready, and cannot claim any special degree of JKSCuracy.
What a photographer has in his mind when he talks about gradations is,
in ninety-nine cases out of a hundred, printing qualities. Of course,
this is the all-important point in actual practice, seeing that the negative
is but a means to an end. Now, the printing qualities depend on the
ratio of the opocitie) of the different parts of the negative, and it is quite
possible for the ratios of the densities to remain constant, as Hurter &
Driffield say they do, whilst the ratios of the opacities vary widely. It is
not necessary to enter into a detailed explanation of the law that governs
the relation between the quantity of an opaque substance, such as the
silver in a negative, and the quantity of light that it absorbs ; the law is
a simple one. May I ask your attention to the following table : —
First Case.
Second Case.
Thkkneis Ratioa Qmntity Ratios 'iliii-.kness Badoi Quantitii Eatitw
of the o/tht of Light 0/ ih.' of the of the of Light of the
Silver Venii. Trans- Liaht Silver Densi- TrnM- LigM
Layer. ties. mitted. Transmitted. iMyer. tiee. mitted. Transmitted.
11*4 2 1 i 64
2 2 i 3 4 2 ,V 16
3 3 J 2 6 3 „', 4
4 4 ,\ 1 8 4 ,J„ 1
It appears that in the two cases the ratios ot the densities are the same,
but the ratios of the opacities, or, in other words, the printing qualities,
differ widely, because the absolute values of the densities are different.
The two cases represent the same negative, development in the second
case being carried on longer, so that the quantity of silver deposited at
any part of the negative is, in the second case, just twice as great as in
the first.
What it seems to come to, then, is this, that according to Hurter &
Driffield we cannot in development alter the ratios of 1 the densities,
but, by stopping the processes at different stages, we do alter the absolute
values of the densities, and thus very considerably alter the ratios of the
opacities, that is to say, the printing quality.
It may be asked, however, how this explains the apparent effect of the
usual modifications in the composition of the developer. The reply in
the first place is, of course, that some of these modifications simply have
the effect of making development slower, and thus making it easier to
stop the process at any desired point.
It is, however, for a full discussion of the problem, essential to take
into consideration a point that is often neglected : Is any one prepared
to contend that sufficient attention has hitherto been paid to the Influence
of general fog — a uniform deposit of silver all over the negative — in
modifying the " gradations " and altering the printing qualities of a
negative ? We frequently meet with or hear the statement, " beautifully
clear in the shadows ; " but how often is this an accurate statement of
fact — how often does it represent inaccurate observation ? It is very easy
to be deceived by contrast, but, if the plate is put in contract with white
paper, it will in the great majority of cases be found that there is really
an appreciable deposit where there seemed to be no silver at all upon the
negative when it was examined by transmitted light. The term "general
fog " is here used in the ordinary sense to denote a uniform deposit all
over the negative, produced by the action ot the developer independently
ot any action of light.
Then comes the question. What is the effect ot general fog on the
ratios of the opacities, or, to use the common phrase, the "gradations?"
Since to add a constant quantity to the terms ot a ratio diminishes the
ratio, it is clear tliat the fog will lessen the ratios ot the opacities, and
thus tend to make the negative flatter or softer. The greater the amount
of fog, the smaller and smaller will the ratios become, or, in other words,
the flatter or softer will the negatives be.
In all Hurter & Driffield's experiments the inflnence ot tog was elimi-
nated by subtracting the value of the fog from all the measurements
before calculating the ratios. It is noteworthy that in almost all cases
the fog value was altogether too distinct to be negligible. In actiukl prac-
tice, however, whatever fog there may be is not eliminated or removed,
but exerts its influence all through the various uses to which the negative
is put.
As a matter of fact, very few of the developers commonly used can be
allowed to act upon ordinary plates for four or five minutes without pro-
ducing an appreciable amount ot general tog. The amoant of tog is
increased by —
(1.) Increasing the proportion of alkali.
(2.) Increasing the concentration of the developer.
(3.) Eeducing the proportion ot bromide.
(4. ) Prolonging the time of development.
Whilst, on the other hand, the amount ot fog is reda:ed by —
(1.) Beducing the proportion of alkali.
(2.) Increasing the proportion of bromide.
(3.) Shortening the time ot development.
The proportion ot pyro does not seem to exert any marked influenoe in
this respect. Diluting the developer acts in two ways ; the dilution of
itself tends to reduce the amount of fog, but the prolongation ot develop-
ment, necessitated by dilution, tends towards the production of fog.
When the photographer endeavours to compensate for over-exposure,
he reduces the amount of alkali, and increases the amount of bromide ;
but, as we have just seen, these are modifications which tend to prevent
the production of general fog, and consequently increase the contrasts ot
the negative. When, on the other hand, the negative is under-exposed,
the proportion of alkali is increased, the proportion of bromide is-
reduced, and sometimes the developer is diluted ; but all these modifica-
tions tend towards the production of fog and a consequent reduction of
the contrasts of the negative. It is scarcely necessary to point out that
so long as fog remains slight there is a tendency to continue development,
{ind thus, as pointed out at the beginning, to increase the ratios ot the
opacities, that is, to increase the contrasts by increasing the absolute
values of the densities. When, however, fog makes its appearance, there
is a tendency to stop development at a stage when the absolute values ot
the densities are comparatively low, the ratios of the opacities are low,
and the negative is " soft " in its gradations.
To sum up, it would seem that, so far as present experimental evidence
goes, the photographer cannot by modifications in development alter the
ratios of the densities of the silver deposit at different points ; these are
determined by the amount of light action. He can, however, and does,
alter the ratios of the opacities, or, in other words, the printing qualities;
(1) by stopping development at a particular stage, (2) by making such
modifications in the mode of development as tend either to reduce th»
general fog and thus increase the contrasts, or to increase the amoant of
fog and thus lessen the contrasts. The two kinds of modifications are-
designed respectively to meet over-exposure and under-exposure.
A discussion followed.
i^-etos anti i^otcs.
Manchestkr PHOTOGBArHic SOCIETY. — July 15, Rowsley (ramble).
Northern PHOTOaBAPmc and Sciextific Association. — July 15, Batterse*
Park.
Hackney Photoobaphic Society.— July IS,' Meld- Hauff.
Photographic Club. — July 19, The Permanency of Gelatine Prints. 26,
CoUodio-chhride Printing.
Chanqe of Address. — Mr. Redmond Barrett has changed his address to
129, The Grove, Hammersmith, W.
Gosport Photookaphic Society. — July 15, Chichester, leaves Portsmouth
Harbour at fifty minutes past one, p.m.
BiRMlN-GHAM PHOTOOBAPHIC SOCIETY.— July 15, Last day for sending i»
photographs for the Meriden Excursion Comi>etition. 18, Social evening.
44C
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[July 14, 1893
Rrbatcm — Tn Mr. HuRh Blackwood's letter last week, "F. Darlot & Co.'
aliouW reaa"" F Darton I Co.," the firm's address being 142, St. John-street,
ClerkenweU, E.C.
-THE PHOTOGRAPHIC TlME3."-We understand that Mr. W. E. Woodbury
is now Editor of the Photographic Tinies (New York). That journal is to be
-increased in size, and prize competitions are to be instituted.
The Japan Photographic Exhibition.— It was arranged that Her Imperial
Maiestythe Empress was to visit on June 23 the Exhibition being held m
Tokyo, by the Photograpliic Society of Japan. To the Exhibition a separate
exhibit of Japanese photographs has been added.
New Premises for the PHOToaBAPHio Society ok Great Britain.— We
understand that the Photographic Society of Great Britain will shortly remove
from their present premises at 50, Great Rassell-street, to more convenient and
less loftily situated rooms at the house of the Institute of Chemistry in
Bloomsbury-stpiare.
"Fair Holidats."— We understand that, by an arrangement among the
principal photographers in Greenock, most of the studios in that town were
closed for one week, from Mondav last, July 10, thus enabling both emplot/es
and assistants to have a week's holiday. Some such arrangement may commend
itself to professional photographers in other large towns.
Metol-Andresen.— The following new formula is recommended for the use
of metol-Andresen :— Dissolve in 8 ounces of water, Andresen's metol. 10
grains; then add, carbonate of potash, 60 grains ; sulphite of soda, 30 grains;
bromide of potassium, 2 grains. For over-exposure add a few drops of a ten
per cent, solution of acetic acid. For under-exposure add a few drops of a ten
per cent, solution of carbonate of potash.
Photographic Exhibition .\t Hove. — In connexion with the sixteenth
annual Exhibition of the Hove Industrial and Horticultural Society, to be held
at the Town Hall, Hove, on September 20 and 21, 1893, there will be a
photographic section under the auspices of the Hove Camera Club. Particulars
.and entry forms can be obtained of the Hon, Secretary of the Industrial Society,
H. Emery, 142, Church-road, Hove, Brighton.
An Ootino. — Messrs. Adams & Co., of Charing Cross-road and Aldersgate
•street, inform us that the whole of their factories as well as their retail
establishments will be closed on Saturday next, July 15, the occasion being
the outing of the staff numbering forty-eight persons. Messrs. Adams say :
'.' In order to cope with a very heavy season the majority have been working
from eight a.m. till nine p.m. since Christmas last, and deserve a little relaxa-
tion." We trust an enjoyable day will be spent.
SoniH London Photographic Society's Exhibition. — The South London
Photographic Society will hold their fifth annual exhibition at the Peokliam
Public Hall, llye-laue, Peckham, S.E., on November 7, 8, 9, 10, and 11 next.
In addition to the members' classes there will be open classes for the following ;
Medalled pictures ; medalled lantern slides ; pictures that have not received
any award ; lantern slides that have not received any award. It is under-
stood that the number of pictures and slides which any exhibitor may send in
will be limited.
Ashton-under-Lyne Photographic Society.— July 15, to Chew Brook'
Leader, Mr. C. E. Redfern. Waggonettes will leave the Society's Rooms, Henry-
square, at 1.30 pr'ompt. Tickets, Is. 6d. each, to be had at the rooms, or from
the Secretary, up to Weilnesday evening, July 12. Mr. Carrodus, from the
Technical School, has promised to accompany the party and give the members
any assistance he can in the choice of pictures, &c. 29, Ramble to Liverpool,
&c. Leader, Charles Lord, Esq. Further particulars later. Robert T.
Marsland, Hon. Secretary, 74, Blandford-street, Ashton-under-Lyne.
How TO avoid Blisters. — Mr. Williams R. Kenuan, of Dame-street, Dublin,
•writes ; " The following I find the best way to avoid blisters in albumenised
paper. After toning in the usual way, mix some liquor ammoniae with hypo
bath and fix prints as customary ; but when fixed leave the prints in the hypo
■bath with some of the hypo, and dilute very gradually with water, keeping
•the prints moving. The secret is in not making a sudden change from the hypo
to the plain wa.shing water, givingplenty of time to eliminate the hypo. When
this is done, blisters are a thing of the past. I send you this, as it may prove
useful to some of my brother professionals who like myself believe still in
albumenised paper, -
Photographing at Raglan Casti.k.— " View Finder " writes : " Last
week I went to Raglan, in Alonmouthshire, for the purpose of photographing
■the fine old ruined castle. On arriving at the castle enclosure, I found that,
in addition to an entrance fee of sixpence, half-a-crown extra for the privilege
of photographing was demanded of me. I told the person in charge that it
was an exorbitant amount to pay ; but he denied this, stating that, having
^photographs himself for disposal, he had lost the sale of them (so he said)
through so many amateurs coming to the place, and remarked, 'people,
instead of buying my photographs, now take them for themselves.' This
seemed so absurd that I pointed out to him that, on an average, not one person
in a hundred was a photographer, taking the population of the country ; but
all argument was useless, as he only referred me to a notice board, ou which
was painted : ' Amateur photographers wishing to take photographs of the
Castle can do so upon payment of2s. 6d. ; professional photographers, 21s.'
Although I had undergone a hot and tedious journey — the light was perfect —
and I nad come specially to photograph, I determined not to do so, and I
hope my example will be followed by others."
*»* IVUh the iovmiM, of Fridayiiext, July 21, will lie presented a group
of inembera of the Photographic Convention of the United Kingdom, taken at
Plymouth on July b last. Tlie picture is revroduced in coHotype by Messrs.
Morgan <fc Kidd, of Richmond, Surrey, S. W., ike negative being by Mr. R, L.
Kidd. and including portraits of 107 members.
©ur IBlJitorial STatlt.
Tbaite Pratique dk Photo-lithogbaphie.
By Leon Vidal. Paris : Gauthier-Villars k Son.
M. Vidal's book ia an exhaustive treatise on the subject. It deals
successively with the various methods of preparitig negatives for
photo-lithographic purposes, the nature and properties of bitumen,
bichromated gelatine, &c., photo-lithographic transfers, collotypfe,
photo-zincography, and cognate processes. Due justice is done to the
writings of the principal experimentalists, and the -work is freely
illustrated.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 12,991.— "Improvements in or relating to the transfer of Photographic
Pictures." Communicated by C. F. Joze. A. J. Boult.— Zteteti July 3,
1893.
No. 13,06-3.- "Improvements in Magazine Cameras." Complete specifica-
tion. Communicated by E. R. Andrews. A. J. Boult.— jD^^ed July 4, 1893.
No. 13,288.— "An improved Shutter for Photographic Purposes." A.
PH1LB0RN. — Dated July 8, 1893.
SPECIFICATION PUBLISHED.
1892.
No. 23,378.— "Photographic Lenses." GoEEZ & VoN Hoegh.
Improvements in or i n connexion with Photographic Changing Boxes
No. 1385. Arthur Samckl Newman and Julio Guardia, trading as
"Newman & Guardia," 71, Farringdon-road, London, KC.—Jmie 2, 1893.
This invention relates to photographic changing boxes — i.e., to apparatus such
as that for which the said Arthur Samuel Newman received the grant of British
Letters Patent, No. 8329, of 1886, and similar changing boxes (whether same be
formed as separate detachable boxes from the camera or whether same be
formed integrally with the camera)— our present improvements being specially
applicable to those changing boxes in which the sensitised surface (such as a
glass plate or film) is held in a carrier or sheath, and such plates or sensitised
surfaces passed round successively from front to back or back to front, as the
case may be, without lessening the number of jilates or sensitised surfaces in
such pack.
Hitherto, in " changing boxes " of such character, a spring or springs has
usually been .arranged on the inside of the back of the changing box or
chamber containing the plates, &c., so as to constantly push forward the
whole series or pack of plates, &c., towiirds the front of the chamber, and
thus bring the front plate up to tlie register, or, as it is termed, " up to focus."
This arrangement has many drawbacks which need not be here detailed ;
but, according to our present invention, we obtJiin all the spring pressure that
is ■wiessary by arranging and mounting a spring or springs on a partition or
dummy carrier, or sheath, or it may be an ordinary sheath sufficiently
strengthened, and its partition, &c., carrying the springs thereon is placed
either ou the back or front, or in any desired position, in the pack or series of
plates to be exposed, and passes round just the same as each of the sensitised
jJates, &c.
The springs on this partition or dummy sheath press forward those plates in
front of it, so as to cause the front plate to come up to the focus while the
plates behind this dummy sheath .are pressed backwards against the back of
the chamber, and this condition obtains whatever may be the position of this
dummy sheath, save when this .sheath is at the front position, it will then
press backwards on the plates only when it is placed in the rearmost x)osition,
it will then press forward the whole series of sensitised plates, &c.
The springs on this dummy sheath or partition may be arranged and
mounted in any suitable manner, subject to the following conditions : —
(1.) The spring or springs must be so arranged as to permit the dummy
sheath being raised at the back and placed into the " pack" again at the front
or vice versd.
(2.) The spring or springs must be of such a form and so arriinged and
mounted .as not to injure or cause any injury to the sensitised surfaces.
« • , * * « » ♦
The form of the sheath alone forms no part of our present invention, and
may be of any suitable shape and construction to suit our purpose ; l)ut, for the
purpose of carrying our present invention into practice, we may mention that
we find it advantageous to use all tlie sheaths (both those for holding the
sensitised surfaces and the dummy) constructed according to Newman's Patent,
No. 20,299, of 1890 ; but we do not, of course, wish to limit ourselves to this
particular construction.
It will thus readily be seen that by placing one of these dummy sheaths
amongst a pack or series of plates arranged in a chamber, and capable of being
changed in the manner described iu Newman's said Patent, No. 8329, of 1886,
all shake in the chamber will be taken up ; and, while the front plate will be
always brought up to register {i.e., come up to focus), this arrangement will
also ensure the rearmost plate always coming exactly over the lifting device by
which each plate is raised into the light-tight bag to be changed from back to
front or vice versd, as the case may be.
Having now particularly described and ascertained the nature of our said
invention and iu what manner the same is to be performed, we declare that
what we claim is : — A partition, or dummy sheath, or carrier, having springs
of any suitable description mounted thereon and arranged to act iu and iu
July 14, 1893]
TflE BRiriSH JOURNAL OF PHOTOGRAPHY.
44?-
coiiibination with a photographir chunglng l>ox of the character such as herein-
before desoribed, iu which a pack or series of plates or sensitised sheets are
successively passed round from front to back or bark to front, substantially in
the nianiicr and for the purjioses hercinbeforo deseribeil, and illustrated by way
of example iu the drawings hereunto annexed.
Mutino^ of JboctetteiS.
MEETINGS OF SOCIETIES FOR NEXT WEEK.
DatooIUMting.
NHme of 3oci«t7.
Place of Meeting.
July 17
Asao. Stndio, Nethemte, Dundee.
„ 17
UaftiDRs and St. Leoua'rds
„ 17
17
Oreyhound Hotel.
Hanover Hall, Hanover.nark, S.K.
Club Eoom, Colonnade HoteL
„ 17
18
Birmiusham Photo. Society ...
, 18
„ 18
206, Mare-Btrect, Hackney.
Canonbury Tower, Islington, N.
18
„ 18
Paisley
18
„ 19
Club Rooms, 13, Apvr-strect, Bnry.
The Assembly Rooms, Hiirh-road.
Anderton'3Hotel,Fleot-stre8t,K.O.
The Studio, 15, C.ambi-idge-aroade,
3, King's-road, Southsea.
Clnb Eoom, Colonnade Hotel.
71, Prospect-street, Hull.
Champion Hotel, 15, Aldersgate-st.
The Lyceum. Uuion-st., Oldham.
Society's Rooms, 136, High-street,
Public Hall, George-street, Croydon
„ 19
„ 19
„ 19
19
„ 20
Birmingham Photo. Society ...
„ 20
„ 20
„ 20
„ 20
Hull
London and Provincial
„ 20
„ 21
Oslonl Photo. Society
„ 21
„ 21
„ 21
Trinity Church Room, Morton-st.
„ 21
„ 22
Hnll
71 Prospect-street, Hnll.
North London Photographic Society. — July 4, Technical Meeting, Mr.
J. R. Williams in the cliair. — Consequent on the demonstration given at the
last meeting, a discu.ssion took place on amidol and nietol as developers. Mr.
A. E. Smith showed prints from duplicate negatives, one develoj)ed with amidol
by Mr. Morgan in the course of his demonstration, and the otlier developed
with pyro by Mr. Smith. The prints from the latter were far superior. Mr.
Spiller obtained better results with amidol than pyro in developing instan
taneous exposures, especially when the light had not been very strong. Mr.
Brewer showed some excellent cloud negtitives developed with amidol. When
required, he had no ditficidty in obtaining density, using plenty of bromide.
The negatives were on isoohromatic plates, one or two yellow screens being
used as occasion required. He had had a special lens flange made, with a slot
in it to take the screen, a band passing over the slot to keep out light. Mr.
Groundwater had used metol for negative work, and, diluting the normal
formula with an equal amount of water, obtained satisfactory results. There
was a good show of hand cameras, mostly of well-known brands, but Mr. A. E.
Smith showed one of liis own nuvke with a verj' ingeniously contrived shutter.
Two wooden drop pieces, actuated by springs, work in a rebate ; they are
released by a lever attachment in succession, and more or less quickly according
to the length of a toothed catch adjusted to the lever. Mr. Douglas had one
made by Turnbull, of Edinburgh, which had focussing screen, and would rack
out far enough to allow the use of one combination only of the rapid
symmetrical lens with which it was fitted. It was considered a matter of great
regret that the word "detective " should ever have been applied to the hand
camera. It had given the dog a bad name, and the public now looked upon
any one carrying a hand camera with suspicion, which, moreover, recent
advertisements iu the photographic press had tended to accentuate.
North Middlesex Photographic Society.— July 10.— The subject of Cresco-
Fijbim Knlariiing w.is dealt with by the Secretary. He fully explainep
the negatives, which were most suitable for treatment by this process, and how
to go about the actual work of enlarging, and showed numerous examples of
successful work, both negatives and positives, opals, transpjirencies, sc. A
discussion followed, which was sustained by most of the members present.
The result of the outing to Scwardstone was that Mr. A. J. Golding was first,
the I'rcsident (Mr. J. W. Marchant) second.
Hackney Photographic Society.- July 4, Mr. Puttock in the chair.—
Messi's. Uita, Low, Kort, and Dr. Harris were duly elected members. Tlie
popularity of the Society was truly demonstrated, as application for member-
ship was made from Burmah. Messrs. T. H. Smith, Dear, Gosling, Hudson,
Koofe, showed work. The Hon. Secretary then showed Spratt Brothers' new
camera stand. It was easily set up, the principal advant;ige being that in place
of screws at the first joint it automatically locked and fixed itself. Mr. Gosling
showed a view finder which he had fixed in a small black box. The image
could be seen iu any light clearly. Mr. Rooke asked. Could halation be
reduced in any way ': Mr. Beckbtt thought methylated spirit nibbed on the
negative with wash-leather would do it tolerably. Mr. Cross showed a negative
which he had intensified, but which was much stained. The general opinion
w.as that it was not thoroughly fixed. Mr. NuNir asked if halation was not
sometimes caused by stopping down. Mr. Beckett suggested that halation
was not showu so much with a large stop because "camera fog" was more
evenly difi'used. From the question-box: "How to obtain brown tones on
lantern plates 1 " Various replies were given, such as using printing-out lantern
plates. Alphas, using carbonate of ammonia. A good reducer wa% asked for,,
and that given by Howard Farmer was recommended. Mr. Iloofe asked what
to do to avoid metallic de]>osit on plates '! Tlie Ho!«. Skcrktaky uitl
methylated spirits woulil reduce it and advocated for old plates fall exposoiv
and less alkali than usual.
South London Photographic Society.— .July 3, the President, Mr. F. W.
Edwards, in the chair.— Mr. W. J. BEf.TON gave a demonstration of the
manipulation of the Paget print-out lantern plates and opals. He eipkioed
the various stages in a very lucid and able manner. For printing the opaU in
ordinary printing frames he showed a simple cardboard mask and frame which
the Paget Company were |>lacing iu the market for sale for a few pence. He
also showed a frame specially constructed for printing the opals, and gave the
formulie of the toning and fixing bath (both combined and separate) which he
used. At the conclusion of the demonstration the results were passed round,
and the lantern slides shown iu the Society's lantern. During the course of the
evening tlie President, on behalf of the Koyal Humane Society, presented Mr.
Charles Farrant, one of the members, witti a testimonial for saving life. It
appeared that on May 25 last Mr. Farrant, in company with another memljer,
were photographing along the banks of the Thames at Greenwich, and noticed
some children playing on one of the landing-stages. Thinking they would with
but little aiTangenient make a good picture, Mr. Farrant and his friend pro-
ceeded to get his camera ready, when all of a sudden a cry for help was raised,
and it was seen that a lad was fast being carried out into mid-stream. Without
stopping to divest himself of any of his apparel, Mr. Farrant swam to the
rescue, and succeeded in bringing the boy safe to land. Attendance, forty-
eight.
Brixton and Clapham Camera Club,— Tuesday, July 4 (Dr. J. Reynolds,
F. R. G. S. , in the chair). — It was decided to afford members systematic assistance
in the more elementary principles of photography. With this object in view
the Club elected a Committee of Instruction, consisting of six members, each-
member of which will give the first half-hour of each general meeting for the
purpcse of answering any questions on elementary photography that may be
submitted to him. A Committee was also formed for the criticism of negatives
and prints produced by the less experienced members. Anyone will now have
an opportunity of submitting his work to the Committee, who will report as-
to the composition, development, and exposure of the negatives, also on the-
development, printing, toning, and mounting of the prints. In the event of
lanteni slides being submitted for criticism, it will be nscessary in every case
for the niember to furnish a description of the scene, the nature of the process-
by which the slide was produced, i.e., collodion, gelatine, &c., exposure,
development, and mode of toniug ; also to submit the negative from which
the slide was produced. As soon as the usual business of the Club had been
transacted the President gave a short but interesting description of some of the-
extinct monsters that inhabited the earth iu the pre-historic period. The
description was illustrated by some beautiful lantern slides which were very
kindly lent for the occasion by the Rev. H. N. Hutchinson, B.A., F.G.S., some-
of whose PaliBontological and geological researches are embodied in his works
on Extinct Monsters, The Autobiography of t)ie Earth, kc.
Birmingham Photographic Society.— July 4, Mr. J. H. Pickard in the
chair. — A number of negatives taken on the recent whole-day excursion of the
Society to Dovedale were staged on racks on the table. These negatives were
inspected with great interest, not only by those gentlemen present, who had'
gone the excursion, but also by the general body of members, and the display
aflorded convenient means of comparison of results and notes as to the obtaining
of those results. A full and useful discussion was evoked by this means, about
fifty negatives and prints being shown.
Bournemouth Scientific and Antiquarian Society.- July^, Excursion to
Beaulieu Abbey. — Theparty, consisting of about thirty of the members and their
friends, including the President and one of the Vice-Presidents of the section,
also several ladies, took train to Brockenhurst, and, after a delightful drive by
way of Lady Cross Lodge, and Hatchet Gate, reached the picturesque village -
of Beaulieu. The old Abbey (founded in 1'204 by King John), the village aiid.
the scenery by the river proved of great interest to the photographers, the
weather being most suitable for securmg excellent pictures.
Photographic Society of Japan.— A regular Monthly Meeting of the above-
mentioned Society was held at the Rooms of the Geographical Society of
Japan, Nishikonyacho, Kiobashi, Tokyo, on Friday, June 2, Mr. Edmund R.
Holmes in the chair. — Messrs. Bnulfish and Pierce had sent in some ready-
sensitised paper of two difi'erent kinds. One had a polished surface, aud-
appeareil to be a gelatino-chloride paper, the other had a matt surface. Mr.
K. Arito was able to state that the paper was in no way discoloured, so that
there was evidence of its good keeping qualities, and that it printed brightly
and clearly. He had not, however, had time yet to tone any proofs. Mr. I..
Tanaka was instructed to experiment with the paper, and to report his resulte
to the next meeting. Work done by the anastigmatic lens of Carl Zeiss, of
Jena, was shown. The examples showed a most remarkable uniformity of
definition from the centre to the extreme comers of the prints. Mr. W. K.
Burton explained that these lenses were of large angular aperture, of tlat field,
and, at the same time, without astigmatism. There were various lenses that
combined any two of these qualities ; but, so far as he knew, this was the first
that combined the three. The form of the Zeiss anastigmatics, even of large
angular aperture, was such— being mounted in a short tube— that they could
be used as wide-angle lenses if stopped down. He would, however, be in, a
position to report more fully to the Society on these lenses in a month or two.
There was a discussion as to the manner of dispo.-sal of the iloaation maile to
the Society by H.I.M. the Empress on the event of her visit to the Exhibition,
there beingageneralfeelingthat this money should not go into the ordinary funds
of the Society, but should be used to provide some permanent memorial of the
visit. It was eventually decided that the money should be used to pay for the
striking of a small silver medal to conmiemorate the event, and to be presented
to each member of the Society. After the regular meeting there was an extra-
onlinary meeting to consider the matter of the Secretaryship. It was pro-
posed, seconded, and carried that Mr. W. K. Burton be elected " Corresponding-,
448
THE BKiTlSH JOURNAL OF PHOTOGRAPHY.
[July 14, 1893
Secretary " in addition to Mr. I. Ishikawa and Dr. Augustus Wood, ordinary
Secretaries.
May 20.— Annual Meeting. Professor D. Kikuchi, M.A., in the chair.— Mr.
\V. K. Burton was elected Viee-Chairman, and Dr. Augustus Wood, Foreign
Secretary. Prince A. Tokugawa, Dr. Professor J. Scriba, Professor John
Milne, F.R.S., Mr. 0. Keil, and Marquis T. Konoye were elected Vice-
Presidents.
♦
FORTHCOMING EXHIBITIONS.
1893
August *. Welsh National Eisteddfod. The General Secretary,
Pontypridd.
Sept. 25-Nov. 15 ... Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. Assistant Secretary, B. Child-Bay ley,
50, Great Russell-street, W.C.
October 1-31 Hamburg. Das Ausstellungs Committe des Amateur
Photographen Verein, Schwanenwik, 33, Hamburg.
„ 9-Nov. ... Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesbury-avenue, W.C.
December Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
«
iEK!)angc atolumn.
ExchaKge cabinet ^portrait leas hj Laverne, cost 67. 68., for hand camera, or pair
of stereoscopic lenses.— Address, W. H. Gbddes & Son, Applegate, Arbroath.
Wanted a 15x12 camera slide and lens, if out of repair would do; will excbanfre
Harrison's head ami body rest, Fallowfield oold rolling press, and Dallmeyer's
aluminium No. 3 portrait lena. — Address, J. Mullens, Geneva-road, Winsford.
Ens(tDet0 to (jrorresponHentg.
*,* All matters intended for tht text portion of this Journal, including
mieriea and Exchanges, must be addressed to " Thk Editor, Thb British
Journal op Photography," 2, York-street, Covent Garden, London. In-
attention to this ensures delay.
*,* Correspondents are informed that we cannot undertake to ansioer com-
munications through the post.
",* Communications relating to Advertisements and general bicsiness affairs
should be addressed to Messrs. Hbnby Greenwood & Co., 2 York-street,
Covent Garden, London.
*,* It would be convenient if friends desiring advice respecting apparatus,
^aitures in practice, or other information, would call at the Editorial Office
either on Wednesdays from 4 to 6, or Thursdays from 9 to 12 noon, when
some one of the Editorial staff will be present.
E. J. Cab. —The book has not yet been published.
W. T. M. Davidson. — Wilkinson's book, or Burton's Printing Processes
Marion &, Co.
E. R. C. — The term is quite misleading. The prints 'are simply collotypes
printed in colours after the manner of chromo-lithography, separate plates
being used for the various colours.
T. Biggs.— If upon testing the gelatine with litmus paper it strikes a red colour
at once, it should not be used for mounting silver Sprints in optical contact
■with glass, as, sooner or later, it will have a deleterious action on the
picture.
G. Edwards.— Tlie fault is what you were told, the pictures are much out of
focus. As the camera is a " fixed focus " one it is clear that the lens is not
at the right distance from the plates. The one who supplied the instrument
will see that the fault is remedied.
A. J. — We have found no such tendency. If the prints are properly manipu-
lated they should not change colour in the way mentioned. As no details of
the method of working or the toning baths employed are given, we are
unable to say what is the cause of the trouble.
Novice. — We do not make a practice of recommending any particular maker's
goods. Consult the advertisement pages of the " Lantern Record," or pro-
cure the catalogues there advertised. By indicating your requirements to
any one of those firm.s, you will easily get what you desire.
D. Lloyd. — 1. Use a small stop, and give a full exposure— say, six seconds,
with/-32. 2. Possibly forced development of ammonia-prepared plates, but
it is difficult to say with certainty. 3. About 18°, we believe. 4. It would
be lusloss to attempt to obviate " movement " of the head by the aid of
retouching.
C. Hearley asks how long black varnish ought to take to dry on a negative, as
he has some, obtained from a first-class oilman, that does not dry in less than
three days. — A photographic black varnish dries in, comparatively,! a few
minutes. Procure a bottle of Bates' black. It may be had at any photo-
graphic wareliouse.
T. H. VVHarton complains that the surface of opal glass is verv different from
what it was some years ago, and is not nearly so nice to work upon with
colour. He asks the reason.— Most of the opal glass at the present time is
grained by the sand-blast method, formerly it used to be hand ground. It
is that which makes the difference in the surface.
C. Granville Wood. — Precisely in tlie same way as prints on albumen paper
are washed. The size makes no more difference in one case than in the other.
S. Blake. — To make a thin solution of indiarubber, take masticated rubber
which may be obtained at such houses as Hancock's or Macintosh's, and
dissolve it in benzole. Perhaps the simplest way is to buy a small tin of
solution and thin it down, to tlie consistence desired, with benzole. This is
less trouble than dissolving the rubber itself
T. W. — In publishing photographs like two or three of those forwarded, it
would be sailing very close to Lord Campbell's Act. Such works could
never be classed as "Artists' studies." They are too coarse and vulgar for
that. "Artists' studies," if indecent, will render the producer and venders
liable to prosecution. Prints returned as desired.
R. T. F.— We know nothing of the people referred to. Carry out your threat
to communicate with the local Superintendent of Police. If you habitually
read this Journal, you would have seen that we have, time after time,
cautioned assistants against sending original testimonials, and have strongly
advised them to write their names and addresses ;icro3s their specimens.
S. A. G.— The cause of the prints on P.O.P. paper sticking to the glass is that
it was not sufficiently chalked, or that the French chalk was not rightly
applied. It is not stated whether the prints were aluined or not. But
during the very hot weather it is advisable to do so as this treatment, acts as
a great preventative of sticking. If the prints are alumed, and the glass
rightly treated with the chalk, there will be no further trouble.
X. Y. Z.— If the Postal authorities repudiate liability for the injured photo-
graphs, on the ground that they were insecurely packed, we fear you have
no remedy. 'Two thicknesses of stout brown paper is not sufticient protection
for 10x8 prints on plate paper. Such pictures should always be pro-
tected with thin packing boards or stout millboards. Possibly the photo-
graphs can be soated off and then remounted. This would, to an extent,
mitigate the loss.
A. Sayers.— It is impossible to say if gelatino-chloride prints are more per-
manent than those on albumen paper, as time has not been long enough to
test them. There are many prints on albumen that were produced thirty
years and upwards ago, that are as good now as when they were first made.
Of course gelatine lias only been on its trial for a tenth of that time. Some
albumen prints show a yellowne-ss in a year or two, and so have some on
gelatine. Time is the only reliable test.
H. SroDE. — Several formuhTJ for carbon tissue have from time to time been
published, all of which will yield good results, but they require a certain
amount of judgment in applying them. As a beginner, we should recommend
you to abandon the idea of making your own tissue, or at least until you
iiave gained some experience in working the process. It will save you a lot
of trouble and facilitate your mastering the process. The advice proifered
will apply equally well to the idea of making transfer paper.
Druid says : " A friend of mine has a lens bearing the name of a London firm,
bearing also the word ' Caloscopic,' but no one can tell us what it is for. The
front lens is about two and a half inches in diameter, and like a single land-
scape lens, or the front glass of a portrait lens, while the back is much
smaller — less than an inch. Tliis is composed of two lenses, but seems to
have no focus, yet the thing seems complete as it is. Can you enlighten us
on the subject ? "—The lens is simply the old orthoscopic lens under another
name— that adopted by its maker.
Knowledge is Power writes : " I should be very mucli obliged if you would
inform me the best thing to put the card backs on opalines with. It must
be free from anything that would act on the prints as the glue I used did,
but it wants to set as hard and quickly, so as to hold the back in position
without being weighted separately. Gelatine is not tenacious quickly
enough." — Gelatine is quite as tenacious as glue, and sets quite as quickly —
some kinds much quicker. Evidently our correspondent has tried an
unsuitable sample. Nothing will answer so well as good gelatine.
A. Z. , who encloses a cutting from an advertisement they are issuing, offering to
make "splendid likenesses" from inferior pictures, writes as follows : "As you
will see by enclosed, we are making rather a speciality of copying and
enlarging. Of course we should not knowingly meddle with anything copy-
right, but, as we often receive commissions by post from strangers to us, we
might without knowing it happen to get hold of something in this way that
was copyright. Should such occur, could you inform us whether we should
be liable for the infringement, or the party that employed us ? Everything
we send out not from our own photographs bears our name and address, aud
is stamped ' Copy.' If you will kindly give us your opiuion on this point,
you will greatly oblige." — If our correspondents reproiluoe a copyright
picture, they must take the consequences of their act ; the mere stamping
of a piracy "Copy" does not relieve them in any way. The only way to
protect themselves is to have a proper agreement for indemnity from those
for whom they execute the commissions.
OONTSNTB,
Paob
RATIO OF OUADATION 483
vignetting by artificial light 434
PHOTOGRAPHIC CONVENTION OF
THE UNITED KINGDOM 486
THE convention EXHIBITION . . 487
RECENT DEVELOPERS. By E. J.
WALL 487
LANTERN-SLIDE MAKING. By C. L.
MITCHELL. M.D 489
ARTISTIC EXPRESSION WITH THE
HAND CAMElt.V. By J. OUARDIA 440
Paoi
MULTIPLE FILMS. By S. HERBERT
FRY 44a
SOME POINTS IN CONNEXION WITH
DEVELOPMENT. ByC. H. BOTHAM-
LEY. F.I.C., F.C.S 444
NEWS AND NOTES 415
OUR EDITORIAL TABLE 448
RECENT PATENTS 440
MEETINGS OF SOCIETIES 447
EXCHANGE COLUMN 44S
ANSTTEBS TO C0RBESP0MDENT8 448
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1733. Vol. XL.— JULY 21, 1893.
PALLACIES CONCERNING PHOTOGRAPHY IN THE
PAST.
TiK idess so freely expressed in the paper read at the meeting
of the Photojr^phio Convention by Mr. J. Guardia, with regard
to the alleged shortcomings of photography anterior to the
introduction of dry plates and hand cameras, are but a
reflex of those entertained by many others who have only en-
listed in the ranks of photography during the last few years
The new recruits are too often given to referring to what they
glibly term the dark ages of the art, without knowing anything
at all of what used to be done in them, and wliat is still
possible with what are now classed primitive means.
On former occiwions we have found it recinisite to direct
attention to the fact that long prior — say, twenty or five-and-
twenty years, or even longer ago — to the bnlb-squeezing and
button-jiressing era, results, both as regards artistic merits and
instantaneous effects, were obtained that have not yet been sur-
passed. But the recent paper by Mr. Guardia, reiterating that
all the present excellence of photography is due to modern
appliances, coupled with the prominence given it through its
being read at the Convention, where, of course, the discussion
upon it was brief, and even that not reported in full, renders it
once more requisite to point out what was actually the case,
and what was done, daily, long before their introduction. In
doing 60 the prevalent idea with many will, to an extent at
least, be dispelled, that all the good work now produced is
only possible with modern resources.
The author of the paper, referring to the aspects of nature
i\a recorded by photography before hand cameras were invented,
says it was a " dead maze of trees, and fields, and buildings.
The rivers and lakes showed no ripple, they were merely a
mass of glaring white. The streets were deserted, and tenant-
less houses were but a mockery without reason. The beauty
of clouds and atmosphere was unknown — was represented by
acres of white paper. Here and there a group of soulless
caricatures of human beings were, indeed, to be seen, all stuck
up in constrained attitudes ; not breathing, and moving, and
])alpitating with life and energy; but either blurred out of all
.recognition, or fixed in unnatural poses, like wax dolls glaring
.It nothing, puppets without muscles, and silhouettes without
subbtance." This is how photography is described as depicting
the world before the introduction of the hand camera. Now, it
is perfectly true that hundreds of bad photographs were taken
before the advent of the hand camera, and it is equally as true
.that thousands, nay, tens of thousands, of bad ones have been
taken since ; also that some of the early workers, like many
later ones, were ill advised enough to show their inferior work,
and even, like many at the present time, to send it to public
exhibitions.
Most of our older readers will remember the excellent sea
and cloud studies of Le Gray, taken something like forty years
ago, and those by Colonel Stuart Wortley at a later date.
The waves in these were not a mass of glaring white, neither
were they devoid of cloud and atmosphere. These ])ictures
were not of hand-camera sizes, but fifteen by twelve, or larger,
and what is more, if we remember rightly, the former were
from paper negatives. Sky and atmosphere, even at that
remote period, were not necessarily represented by "acres of
white paper." Clouds were frequently printed in, and usually
with discretion. It was seldom then that a landscape was seen
lighted from one direction, while the clouds were illumined
from another. Clouds were then, as now, obtainable in the
negative with the subject.
Apropos of this point, and the neighbourhood in which the
paper was read, we have now before us a couple of stereoscopic
negatives of Saltash Bridge, each of which contains excellent
natural clouds. The bridge is not here depicted, as it is
familiar to the members of the Convention, but is shown with
one tube in situ, and the other about midway between th^
ground and its final resting-place, while the piers of the viaduct
portion of the structure are seen in course of erection. There-
fore the negatives must have been taken in the late fifties.
But examples like these were common enough even at that
period.
Old apparatus is condemned wholesale, and is charged with
being designed by incompetent persons such as carpenters and
cabinet-makers, and credited with many of the shortcomings (i)
of photography before the hand camera. However, many will
remember the instantaneous stereoscopic pictures of breaking
waves by the late Mr. G. W. Wilson, which have not yet been
excelled. The " instantaneous " shutter Mr. Wilson employed
was nothing more than his Scotch bonnet deftly used. We
have in our mind, while on this topic, a fully exposed 12 x 10
instantaneous view of Regent-street, taken about 18.''>8, which
showed the wheels of vehicles, and the feet of pedestrians
crossing the road sharply defined. The exposure, we were
told, was made by one person uncapping the lens while another
immediately thrust a black cloth over it.
Those who have seen Mr. Frank Haes' photographs of the
animals at the " Zoo," taken something like thirty years ago,
and those of Mr. York, of a somewhat later date, are fully
4J0
r.THE BRITISH JOURNAL OF PHOTOGRAPHY.
[July 21, 189S
aware that they will hold their own against any of the modem
work With regard to street scenes, and the like, we have the
instantaneous views of Paris by .Mr. William England, and
those of London by Mr. Blanchard, and others, produced a
quarter of a century ago, that still have to be excelled. These
workers, it is true, had not the advantage of more or less com-
plicated arrangements for making their exposure^, a.id they
worked the "messy" wet-collodion process. The earlier photo-
graphs of Muy bridge, and which obtained for him his reputation
were also by this, by modern workers, much-decried process.
Li whatever direction one may look, it is difficult to see, in
modern work, anything that has not its equal in what was done
years ago. It must, however, bo admitted that, to accomjilish
that, much greater skill was necessary than is the case now ;
consequently the greater credit should be accorded to those
who were successful.
There is no gainsaying the fact that modern dry plates,
with their extreme sensitiveness, have conferred a great boon
upon photography by enabling it to be worked with greater
ease and comfort than was possible with any previous process.
They have also permitted the use of more convenient appliances.
But for this it must be conceded that the majority of those
who now produce excellent work would not have taken up
photography at all.
This article is not intended in any way, even for an instant,
to dispai-age the ability of modern workers, but simply to
dispel some of the fallacies that are constantly being promul-
gated by many, that the quality of the present work is entirely
due to the introduction of modern processes and appliances,
and that, prior to their introduction, good pictures were an
impossibility.
♦
EXPOSURE, DEVELOPMENT, AND FOG.
There can be little reason, after the most recent contributions
to the discussion of the question of ratio of gradation, to doubt
the correctness of the views held on either side when considered
from their respective standpoints, the apparent discrepancies
being rather those of expression than of fact. In other words,
while Messrs. Hurter & Driffield are, there can be little doubt,
correct in their contention that the gradation in a negative is
produced by the action of light alone, regardless of the compo-
sition of the developer — so far at least as normal conditions
prevail — still the practical man is equally accurate in his claim
that he can modify the character of his negatives in develop-
ment by departing from those normal conditions.
The extreme care with which the researches of those gentle-
men have been carried out is not more strongly evidenced than
by the fact of their recognising the necessity for making due
allowance for the effect of the fog, or abnormal reduction in-
variably present under even the most favourable circumstances.
Such fog, unless varying in the same ratio as the image itself
— in which case it can scarcely be abnormal reduction — must
necessarily alter the gradation, and Messrs. Hurter &, Driffield
in all their experiments have made allowance for the fog in-
herent in the film as measured from an unexposed portion of
the plate.
In making this allowance, they have necessarily looked upon
the fog as equally pervading every portion of the film,
irrespective of the additional effect of light ; but, as was
pointed out by Mr. G. Watmough Webster in the discussion
following Mr. Bothamley's jiaper at the Convention, it is
questionable whether that view is the correct one. Mr.
Webster's contention, as a practical man, is that fog is morc'
likely to show itself iu an unexposed plate or in the unexposed
portions of a plate than where light has partially acted, while-
Mr. A. Cowan, an equally practical man, dissents from this
view. Possibly even here, as we shall endeavour to show, both
gentlemen are in a measure accurate from the particular stand--
point each takes.
It is now some twelve or fourteen years since we first saw an
example of this in connexion with a gelatine plate. In the
dark room of a well-known professional pliotographer — after-
wards a plate-maker — we witnessed the development of ai
whole-plate upon which two cabinet exposures were supposed
to liave been made ; but by some accident one half of the plate
had received no exposure at all. For a considerable time uo'
sign of any reduction whatever was visible upon the unexpostd
portion of the plate, but towards the close of the development
when the solution was finally strengthened for the production
of detail and density, the blank half of the plate began to veil,.,
and, by the time the negative on the other portion was com-
plete, dense fog had obscured the otherwise clear glass. At
the same time, the shadows of the negative and the rebate of
the dark slide on that portion of the plate were perfectly clear,
or as near it as the best negatives usually are.
It was at firat assumed that the one half of the plate had
been fogged by the admission of light into the camera by some-
means but that was negatived by the fact of its remaining clear
for so long a time, and also by the portion protected by the-
rebate of the slide being equally veiled, no less than by the
impossibility of such an occurrence on one half only of the plate.
Upon due consideration there seemed no possibility of escaping
the conviction that the unexposed portion of the plate had suc-
cumbed under a greater strain tlian the other half was
subjected to.
Collodion workers will,nodoubt, remember similar effects, more
especially with dry plates and silver development. The latter
form of development, iu fact, was particularly liable to abnor-
mal action under the least suspicion of under-exposure, since-
the soluble silver salt it contained would only remain in that
condition for a limited period dependent on the restrainer
present ; and when it was deposited, if the exposed portions of"
the plate did not exert a sutliciently powerful attractive force
to draw the metal to themselves, it had to deposit itself uni-
formly over the surface of the negative, whether exposed or not
This was notably the case with negatives exposed in a bad light,
or with subjects possessing biit little contrast, for if the reverse
conditions prevailed, although the plate might have been insuf-
ficiently exposed to make a good negative, the brilliantly
illuminated portions of the image attracted to themselves more
than their due portion of eilver, and thus kept the shadows free •
from fog, at the same time producing the eft'ect of harshness.
It has occasionally been our misfortune iu these days, when
working with a binocular camera, to find on development that'
one half of the stereogram had not been exposed, and in such
cases the unexposed portion was invariably more or lees fogged,,
as in the case quoted above, although the shadows of the other
half might be perfectly dear.
It seems clear, then, that there is a tendency for fog to
appear in inverse ratio to the action of light that has touched
the ])late — that is to say, if there be any inherent tendency
in the film to produce fog, for it is here where we think Messrs. -
Webster and Cowan differ. If the plate be a good one, and
quite free from latent fog, and the development be carried on.
in a " safe" light, there appears to be no reason. why it shouldi
July n, 189a]
THE BRIIISH JODKNAL OF PHOTOOBAPHY.
4«I
not stand the application of a developing solution of reason-
able strength for an uulimitcd^time. But the case is different
where a tendency to fo^r exists, for the application of a develop-
ing solution of any strength is bound to brin^ it out if allonred
sufficient time. That the fog may not make its appearance
in the case of a fully exposed negative may depend on differ-
«nt circumstances, it may be that the ncgiitive image is
•complete before the fog has had time to develop, or it may be
held in check by the bromine given off by the reduction of the
adjacent portion of the image. At any rate, a foggy plate will
undoubtedly often give a clear negative, when it will not
remain clear when entirely unexposed.
To test the matter, a plate of a brand known to work in a
remarkably- clean fashion was exposed in the camera, one half
'being covered with a sheet of opaque paper. The exposure
-was such that a developer of full strength iiad to be applied
for a rather prolonged period ; ia fact, it may be said to have
been under-exposed. After Bxing, however, there was no more
sign of veil on the covered portion of the plate than in the
shadows of the exjxjsed parts, and the same result was obtained
on repeating the experiment with variations.
Another plate, of a different make, which usually requires
very careful treatment, was submitted to the same test, but in
this case the unexposed half of the film was unmistakably and
liadly fogged. With tliis make of plate the experiment was
varied by exposing one half of a cut plate fully — that is to say,
•sufficiently to ensure that it was not under-exposed — and the
-other for half the time. The two were then developed in the
same dish, and for the same period, being removed when the
longer exposed half was sufficiently developed. After fixing,
while the latter was perfectly clear in the shadows, the other
half, although not showing any great lack of exposure, was
distinctly veiled, although submitted to exactly similar treat-
ment.
In another experiment one of the cleaner, workingjplates was
■ intentionally fogged by a brief exposure to artificial light with
<i view of testing whether light fog pure and simple was amen-
able to the same law. Upon exposing a part of the plate in
the camera, and developing in the same manner as before, the
•exposed portion came out with slightly less veil than the other,
though we were unable to so accurately time the preliminary
Mjxposure as to produce a really clear negative.
From these experiments, and for other reasons that might
^ adduced did space permit, we think it is quite possible, as
Mr. Webster suggests, that it is a mistake to reckon fog reduc-
tion as a constant, though, perhaps, in actual practice, the
-difference it makes is not of very high importance.
The Fhotogrraphlc Society's Sxhibition. — In view of
the near approach of the Kzhtbitioa season, it may be opportune to
■remind our readerj that the Exhibition of the Photographic Society
•of Great Britain opens in the Gallery of the Royal Society of
Painters in Water Colours, oa, Pall Mall East, on Monday, Sep-
tember 'Jo next, "and will remain open until November 2'>. The
•Exhibition will be inaugurated by the usual conterfozione and recep-
•tion by the President (Captain W. de W. Abney,C.B., F.K.S.) at the
- Gallery on Saturday, September 23. Forms of entry and all necessary
.particulars are obtainable from Mr. R. Child-Bayley, Assistant Secre-
' tary, .jO, Great Russell-street, W.C.
Volatility of Silver. — We recently referred to the experience
of one of our correspondents who believed ha lost a large quantity of
•■alver by volatilisation when reduing residues, and in connexion with
this subject, in a recent number of Compttt Remlwi, M. Moisaan give*
an account of some remarkable^ezperimenti in the melting of metaU
by the aid of electricity. Whether our correnpondent was right ot
not in his belief in the manner of bia loss, it has long been known that
silver is volatile, and some of theae experiment* we refer to oooaiated
in bringing the silver to a state of ebullition, which was done in • few
momenta, diatiHing the vapour, if we may use the expression, and then
condensing it in the form of small globules, varying in nze Imn amall
shot to microscopically small spherules. Gold also was distilled, the
condensed product being in the form of powder exhibiting a beantif nl
purple sheen.
Hefractory BXetals for FhotOKraphic Use.— M. Moi^
sen's paper contained also accounts of experiments with other metala
which were pregnant with interest Taking, for example, molyl^
denum, by the electric furnace he obtained an easily detachable regains
of the metal combined with carbon which was of extreme hardneat.
This molybdenum carbide is so hard that it scratched glass and steel,
and it was not attacked by moist air. If it were posaibie to face the
steel plate of a rolling press and burnisher by some such material as
this, the plate would be invaluable, for there can be no doubt that
many an imperfectly glazed or surfaced print can be traced to the use
of a steel plate, which, through long use or accident, has lost its original
burnished surface. Possibly, also, ziroonia cylinders for the optical
lantern might be obtained by means of the electrical furnace; for M.
Moissan was able to reduce this earth to vapour, and condense it into
a fine white powder, the individnal particles of wbidi were hard
enough to scratch glass.
Action of Ziierlit on Cobalt.— Messrs. Augnste & Lotus
Lumiere are continuing their experiments in this direction, and, in
the journal above quoted, describe a process founded on their
previous discovery that cobaltic oxide is rapidly reduced to a cobaltoos
salt when exposed, in presence of organic matter, to the action of
light. They impregnate paper with a cobaltic compound, expose to
light undtT a negative, and by means of certain reagents — preferably
potassium ferrocyanide — bring out an image.
AuiattUitsaiidTlieir Specimens. — Numerous complaints
of the detention, by photographers advertising for assistants, of the
specimens and testimonials submitted to them by applicants are
again reaching us. We should scarcely have been surprL-«d at this
had we not previously dealt with the matter on several occaaons,
denouncing the dishonesty shown on the one hand, and the stapiditv
and carelessness on the other. W^e again strongly advise operators
or assistants when submitting specimens to write their names and
addresses on some prominent part of the photographs. This will
prevent improper use of them by unscrupulous persons. Again,
copies of testimonials only, and not the originals, should be sent. In
neglecting these precautions assistants are largely to blame in not
securing the return of their specimens and testimonials. As for
those photographers who male a practice of wilfully not returning
specimem, &c., submitted to them, we may remind them that we
have a black list in which their names are entered, and which we
use in the interests of defenceless assistants.
Pbotogrraphle Stvdy of Sources of &irht. — M.
Janssen first made a special study of this subject bv photographing
the solar surface with exposures of gradually diminishing length. M.
Crova has applied the same method to the standard Carcel light and
the electric arc. The true proportion of the constituent parts of the
flame to one another is only seen when reduced exposures are given,
four such photographs having lately been shown at a meeting of the
French Academy. The flame was shown thus to be divided into
several zones, separated by distinct lines of demarcation, and «inn»1«T
photographs of flames of a candle, an amyl-scetate burner, and a
batswing jet exhibited similar phenomena. Most interesting phe-
nomena were observed when the image of the electric arc was examined
on the groimd glass of the camera. The positive carbon showed a
452
THE BRITISH JOOKNAL OF PHOTOGRAPHY.
[July 21, 183.3
surface riddled with dark spots, and granulated like the surface of
the sun in M. Janssen's photographs, the granulations being distinctly
ob,served in a state of violent motion on the ground glass. The
important deduction is drawn that, in estimating the potency of these
light surfaces, it is not admissible to screen off all but a very small
portion of the luminous source in order to reduce the amount of light
in the same proportion as the area of the luminous surface. With
very small surface elements, both the amount of light and the
temperature, and hence, alao, the tint of the light, may be constantly
changing.
Kew Focussing' Arrang-ement.— The advances made in
the construction of the camera proper and the mechanical motions
in connexion with its working have apparently entirely displaced
the rack and pinion in lenses of very long focus. Few photo-
graphers of the present day have ever seen, for example, the
once-used Hook's Universal handle for turning the pinion of
the lens when the latter was placed at a considerable distance
from the ground glass. It was a very useful addition, the pinion
projecting through the milled head to form a square head on
which the handle fitted, and the joint itself was a most ingenious
piece of mechanism, which might with advantage be utilised for
modern work. There has, however, been recently invented a
focussing device which is capable of advantageous practical appli-
cation to the huge portrait cameras so much to the fore of late years.
The first practical application of the device has been to the eye-
piece of a five-inch trletcope belonging to Mr. Beach, one of the
proprietors of the Scientific American, and it has been found to
answer its purpose most admirably. Briefly, it consists of an
attachment to be applied to the sleeve of the rack and pinion of
the lens, to be moved to and fro for focussing, and when not in use
does not interfere with focussing in the ordinary way. An ingenious
and not too complicated mechanical arrangement works two levers,
which are actuated by a pneumatic pear, and the motion is so com-
municated as to work the pinion in a forward or backward direction
as required. We have not yet heard of the device being applied to
photographic lenses : but, as it appears to possess such advantages
over ordinary means for large instruments, there seems every proba-
bility of the adaptation taking place.
»
CONVENTION NOTES.— I.
It was feared by some that, owing to the geographical i-ituation of
Plymouth, the Convention would be but sparsely attended this year ;
but, although its distance certainly prevented some hitherto regular
frequenters of its meetings from being present, yet, all things con-
sidered, it was well attended, several having come from Belfast,
Dublin, Glasgow, Liverpool, Manchester, Chester, Derby, and
localities not less distant, not to speak of London.
The kindness of Plymouth, in which we include Stonehouse and
Davonport, could not possibly be surpassed, and the attention be-
stowed upon the visitors by the brethren there will not readily be
forgotten.
Plymouth and its environs team with delightful subjects for the
camera, but tliose who go there for pictures alone have not the same
chance of obtaining them during a busy Convention week that thev
would have were a quieter time selected, when they could go where-
ever they pleased and stay as long as they preferred.
There is much of historical interest that centres in Plymouth.
None now need to be told that it was in this port— at that time the
chief naval arsenal of the kingdom— the English fleet lay in waiting
for the appearance of the Spanish Armada ; that it was from Plyt
mouth the great colonising expeditions set out, one of which annexed
Newfoundland ; that from here, over 270 years since, sailed the
Mayflower with the Pilgrim Fathers who founded the American
Republic ; much less do t'ley require to be told that in the Ilamoaze,
an important estuary in the immediate vicinity, lie peacefully
slumbering at anchor a mighty navy, replete in every respect with
everything that can conduce to destruction — formidable ramming
warships of the latest construction, numerous torpedo vessels — all
reposing side by side with specimens of the " wooden walls of Eng-
land"— the once formidable Timeraire among them — spending the
evening of their existence as training ships.
The town of Plymouth is neat and clean and its streets are busy.
In several druggists' shop windows are sjen the inevitable camera,
mainly of the ''hand" genus, with announcements as to pliotographers,
requirements being procurable within. The windows and interiors of
two photographic establishments in George-street, those of Mr. Heath
and Mr. Hawke, are wortliy of examination on account of the real ex-
cellence of the numerous portraits — largely of members of the Koyal
Family — there exhibited. Mr. Yeo, too, who lately obtained a medal
at the Pall Mall Exhibition, has a fine exhibit at his gallery. Indeed,
all through the town the works exhibited by photographers are equal
to any we have elsewliere seen and are superior to those in many
large towns.
The group which we issue with the present number was taken by
Mr. K. L. Kidd. Mr. Kidd deserves special commendation for the
enterprise displayed by him on that occasion, for after developing and
drying the negative it was despatched by him to his works at Kich-
mond, where it could not possibly have arrived till the forenoon of the
day following (Thursday), and yet on the morning of the succeeding
day (Friday) numerous copies, printed on bromide paper and mounted
with a sunk plate mark, were on exhibition in Plymouth ere the
memljers of the Convention had breakfasted. The print we give,
however, is not a bromide one, but is printed by the firms' collotype
process.
Apropos, the members of the Convention portrayed in the group
do not by any means represent all who were present at the meetings,
nor, for that matter, all who were present when the group was taken,
for the temptation to have a "shot " at their fellow-members proved
too great for resistance by several who had their cameras, and who
" blazed away " regardless of the fact that they themselves would
inevitably be left out in the cold. At the Convention dinner oni
Friday, a largo, and what may be designated the official, group, taken
by Mr. W. Heath, was placed on exhibition. We had only a hurriedi
look at it, but it seemed to us as being absolutely faultless.
Is it not a mistake in the Cjunsil to receive sucli a large number of
papers to be read ? It is altogether impossible that every one of
these can be brought before the notice of the meeting. Imagine
three or four, or even half that number, of long papers on topics-
more or less important being brought before a stance, which can last
at most but an hour or an hour and a half; and this, too, after a day
pretty actively spent in other Convention duties ! A I'resident.
would be something more than human if he could curtail discussion
on any one of these to, say, half an hour, and then what is to become-
of the other papers yet in store, and down on the programme for that
evening's proceedings? The system usually adopted is, doubtles-", the
best, viz., when the usual hour of separation has come, to tike those
papers as read the authors of which are not themselves present. In
our last issue we gave all those that were really read ; in
present and succeeding numb^Ts we shall give all thosj whic''.
having been actually read, were taken as such.
th»
, not
GELATINO-CHLORIDE NOTES.
Much doubt and difficulty appears to exist in connexion with the
mounting of gelatino-chloride prints, though why it should be so, if
the instructions were carefully followed, is not clear. The new paper,.
July 21, 1893]
THE BRITISH JOURNAL OP PHOTOaRAPHY.
4ra
of course, requires some little different treatment^from that given to
albumonised, but those who have become accustomed to the latter
refuse to changre their habits.
The most important jx)int is, of course, the use of the alum bath,
which should never be omitted, however little tendency to softening
the film miiy show, but it sliould always be used last thing after fix-
ing and well washing. When so applied it forms, in addition to
hardening the gelatine, a safeguard to the permanency of the print,
and the trouble involved is not worth counting. It should never be
used before toning, as recommended in some of the instructions, for it
not only leads to irregularity of tone, as mentioned in a recent leading
article, but, to my idea, spoils the tone, or, at least, renders it difficult
to get the rich tones otherwise obtainable.
But I would go further than merely insist on the use of alum,
and would make a point of invariably drying the prints before pro-
ceeding to mount them. This completes the hardening process, and
removes any last traces of "stickiness" their surfaces may have, and
even when rewetted they are no more difficult to handle than
albumen. Instead of mounting the prints direct from the last
washing water, blot them off and lay them out to dry in a warm
room, which will not take very long at this time of year, and they
may be finished off at the fire. If they are properly alumed, there is
not the least danger of their sticking to the blotting-paper or of
" fluff " adhering to them. Then, before mountii^, soak them in
water again to soften and swell them, and proceed.
Tlie drying before mounting is, of course, a necessity if the prints
are not trimmed to size before toning, and even in the case of cut
sheets the operation of trimming has to be performed at some stage
It puzzles me to know why the manufacturers send out cut sheets
the e.xact size of the negative instead of a quarter of an inch smaller
each way. The margin has to be trimmed off in any case, unless the
finislied prints are to be improved by being mounted with a black
margin, representing the rebut of the dark slide. There is, however,
one advantage, namely, that the edges of the print are cleaner after
trimming before mounting than would be the case if cut sheets the
exact size of the final prints were used, for then the handling in the
course of manipulation is liable to loosen the gelatine and cause
ragged edges.
As to the style of mounting, let those who like the "bon-bon-box
glaze continue to use plate glass, and allow the mounted prints to dry
before stripping. But, for oidinary purposes, ebonite or ferrotype
plates will be found better. The latter, indeed, if of the best quality,
have a surface little inferior to glass. Some of the papers on the
market now, however, require no squeegeeing on to glass or anything
else, but dry with a surface equal to superior albumen prints when
mounted in the same manner, though they are improved by burnishing,
which is an operation beyond the reach of most amateurs.
Celluloid, however, is my favourite where a squeegee support is
used, and either sort of surface— matt or polished— can be got, ac-
cording to the side of the celluloid used, the prints stripping as easily
from the smoothed or grained side as from the polished. The trans-
parency of the celluloid is aL-o an advantage, especially when the
plan of mounting to be described is adopted, and it is one I have found
very convenient.
I have sheets of celluloid cut to the exact size of the prints when
ready for mounting, and the damped prints are squeegeed on to these.
ITie celluloid sheets may, in fact, be utilised as trimming shapes, the
untrimmed print being squeegeed in contact, and then cut to the
exact size with a pair of s/iarp scissors ; in fiict, this is the more con-
venient plan. This having been done, the back of the print is
starched or gelatined, and together with the ceUuloid placed on the
mount and left to dry. There is no danger of the prints sticking
together if placed in a film under pressure ; indeed, thev are all the
better for such treatment. When quite dry, the celluloid' comes away
easUy, and is ready for another batch of prints after polishing with
talc or wax.
If I might make a suggestion to the dealers in photographic
goods. It IS that they should send out cut sheets of celluloid prepared
for thU purpose with rounded comers. If put up in packets of a
dozen, I should think they would be opprtciatcd.
VV. B. Bolton.
MY FIRST DAOUERUEOTVPE.*
In process of time my lessons came to an end and I was supposed
to be ready for operations on my own account. I had done a great
amoimt of buffing and had seen the rest of the operations verjr
frequently, but had actually never completed a picture without
assistance. I had not money enough to build a studio, but my friend
assured me that the Americans preferred a large window to tke top
light of a glass roof, and he bad been fortunate enough to secure a
large room with a few windows, and in this ready-made studio he
produced portraits the lighting of which could not be surpassed even
now.
I searched far and wide for a suitable locality, but found not one
with the much-desired bow windows, and finally had to be content
with a large upper room over a shop. There were two windows, but
by darkening one I thought I might be able to manage with the
other. I had a north light, and that was at any rate .something in
the right direction.
For many days I was busily emploved in fitting up my dark room,
and in other ways getting ready for the serious operation of admitting
the public, who would without doubt rush in with the money in their
hand eager to pay in order to be practised upon, and this eager
anticipation and active work made time go like lightning. At length
I deemed the place ready for work, and proceeded to try my apparatus.
I had no trouble with the buffing, and the faultless plat"?, with its
black polish, was first put over the iodine vapour, and then !>]ld on
— when the right change of colour had been obtained — to the bromine
compartment. Apparently all went well, and the plate had success-
fully passed through the various changes of colour then deemed
necessary for the highest state of sensitiveness, and I exposed my first
plate on a plaster copy of the " Greek Slave," for in her I had a
model I could trust not to move. I gave what I judged to be the
right exposure, and with great eagerness watched the dawn of my
first picture. Alas, there was no dawn for all remained night, and
the fair slave was still captive, hopelessly imprisoned within the fair
film of the sensitive plate. Surely, thought I, a white subject must
make some impression if every operation had been correctly carried
out, and I proceeded to prepare another plate. I felt certain I had
removed the cap of the lens, but doubtless I was in error on that
point and must therefore be more particular next time.
Needless to say that, at the next experiment, every possible pre-
caution was taken to ensure success ; but, alas ! it did not come.
The plate was lifted from the mercury bath more times than I can
count, but still no trace of an image whatever. In my lessons I had
been taught that something dreadful would happen if I exceeded the
regulation time in the bath. I became desperate, and dared every-
thing. The time was doubled, and again doubled, but still no picture.
I had been told that something equally dreadful would result if I
increased the temperature beyond the fixed limit. As desperation
increased, 1 recklessly pulled up the wick of the spirit lamp, and
ended by bursting the thermometer. It was not made for very
exalted temperature, so what could it do when the mercury filled the
tube to extreme limit but crack its sides? Clearly there was nothing
more to be done that day but rush off to my tutor and cry out for
help. He could offer no explanation, but promised to come over at
the close of the day and examine matters for himself. I rushed off
to buy a new thermometer, but found I could get none of the pattern
needed that would record very high degrees of heat. When I ex-
plained ray difficulty, the assistant assured me that the instrument
was more than sufficient for my requirements. When I reached
home — for my studio was " kitchen, and parlour, and all '' — I made
the patient slave submit to three more exposures, varying in duration,
and this she did with stony indifference.
In due time my friend appeared, and, after a careful examination
of all my arrangements, he proceeded to develop the exposed plate.
Failure attended his first and second efforts, and then he declared
that it was absolutely impossible that I could have exposed the plates.
I might have taken off the cap of the lens, but I had failed to pull up
the slide. I assured him that I had pulled the slide entirely out, and
shut down the lid of the camera, and had held the metal slide in my
hand as well as the cup of the lens, in order to be perfectly sure of
my proceedings. lie scratched his head at this, and then an idea
struck him. The mercury was oxidised, and wanted filtering. Had
I a piece of chamois leather ? I rushed out, and in a few minutes
had procured a piece, and then the mercury was duly filtered and
replaced in the bath. The last plate was tried with the mercury, as
recorded by the thermometer, far above the extreme regulation limit,
but with the same negative result, so my instructor in turn wa!% hope-
lesfly beaten, and was compelled to admit he could offer no explana-
tion of the mystery.
* Oonclnded from page 424
454
THE BEITISH JOURNAL OF PHOTOGRAPHY.
[July 21, 189a
He departed, and I was left alone with my own gloom}* thoughts
Was this, then, to be the end of all my efforts — ignoble failure ?
Were all the bright anticipations that had buoyed me during all my
exertions to be submerged in this "Slough of Despond?" Surely
this was a fitting reward for my overweening conceit; for, like many
other beginneis, I never fur a moment doubted myself, and though I
had not been furnished with as much practical work as fairly
belonged to me during my period of tuition, I felt that, once started
and left entirely to my own resources, I should find no difficulty
whatever. The veil was removed from my eyes — indeed, torn from
them bj' this utter collapse. The next morning I was at work before
breakfast, hoping against hope that my luck would change. The
Greek Slave once more endured the audacious gaze of the lens, but
the plate remained proof against her charms, I left it in thc^ mercury
bath, and tried to drown my trouble in a cup of tea. I could not
eat, but tried to forget my troubles for a moment by reading. The
subject of the book caught hold of my mind, and held it for how long
I cannot say ; but all at once the remembrance of the plate in the
bath came back, and I rushed eagerly into the dark closet. The lamp
had flared up unusually high, and the thermometer was again broken.
With fear I lifted up the plate, but, oh, joy ! there was my first
Daguerreotype. There was the fair Greek delineated with a purity
and beauty I had never seen before. Surely such a Daguerreotype
had never before been offered to the gaze of man, for to my gladdened
eyes it was indeed beautiful.
The key to the enigma was at length furnished. The mercury
baths of American manufacture were wonderful examples of fine iron
casting. Mine was a clumsy imitation, and almost a furnace was
needed to get up the necessary heat to properly vapourise the mercury ;
the bottom of the bath was cut down to the necessary thinness, and
my first great photographic trouble was at an end.
Valkntine Blanchahd.
JOTTINGS.
1 SKE that the next meeting of the Convention will be held in Dublin.
Writing on the subject twelve months ago, I suggested that, in the
event of the Home Rule Bill being carried, the title, " Pliotographic
Convention of the United Kingdom " would stand in need of altera-
tion. The Bill seems to be in a fair way of becoming law before
long, and I therefore hope the Convention Committee are prepared
with a new title.
lieading through several accounts of the Royal Wedding and its
incidents, as published in the daily papers, I came across the now
stereotyped references to the " inevitable " photographer, the " ubiqui-
tous " Kodaker, and other sneers of a similar nature. Why the
photographer should be singled out for reference in this manner on
«11 festive occasions passes my comprehension. To my thinking,
photographers taking views of great historical gatherings, cfcc, are
placing posterity under an obligation to them, and be the results never
so poor, it is to be hoped that, in the interests of historical accuracy,
■as many of them as possible will go down intact to future centuries.
Ridiculous writers in daily papers, however, do not think of this : in
trying to be funny or smart in their references to photography, they
too often only succeed in being foolish, as witness their sempiternal
denunciation of process reproductions of artists' drawings, process
illustrations in magazines, &c. On that point I am glad to notice that
Mr. Henry Blackburn emphasises the fact that the faults so loudly
complained of by the daily press critics are not those of photography,
but of the artists themselves in not preparing their work according to
the requirements of photo-mechanical workers.
It is singular that topics such as those headed " Depression in
Photography," and " Amateurs and Professionals," which are just
now in course of discussion in your pages, should crop up at a period
of the year when one would imagine professional photographers
wanted all the time they could get for looking after their businesses.
Apparently, however, a great many of them have no business to speak
of to attend to, so that they take advantage of your kindly columns to
proclaim that fact to the world, to assign causes therefor, and to
discuss more or less plausible remedies for bettering their condition.
CMef among the causes generally assumed for the undoubted
depression in professional circles is the growth and influence of
amateur photography. There is, I fear, no denying the fact that there [
are thousands of amateurs who do landscapes, groups, architecture,
copying, printing, toning and fixing, mounting, &c., quite as well as
the average professional, and whose work, being gratuitously dis-
tributed, is bound to act as a deterrent on the general public
patronising professionals. Do we not all prefer something for nothing
instead of paying for it ?
Then as to portraiture, the professionals' chief buttress and
support. It is all very well to sneer at the portrait productions of
amateurs as being crude and poor, but this does not apply in nearly
all cases, for in this branch of work there are undoubtedly large
numbers of men who, in posing and lighting, provoke and justify
comparison with an average professional, and whose productions, be
they good or bad, please and satisfy their friends, and so prevent the
latter from going to a professional. All this, and more, tells against
the professional, who, I am bound to say, in a great many cases is
either too ignorant, too careless, or too poor t; keep himself abreast of
the times in taste, novelties, new processes, and all reasonable means
for attracting and retaining public patronage. What wonder, then,
as one of your correspondents neatly puts it, that he should " suffer
through the laws of political economy ? ' The struggle for the sur-
vival of the fittest is going on iu photography as in everything else,
and at present it looks as if the lower grade professional, the man of
limited capital and limited knowledge, will have to go under. The
" tin-type " man and the " large direct man " seem to flourish well
enough ; the middle-class man is apparently being squeezed out of
existence.
All the talk about licensing and boycotting amateurs, making them
pay more for material, &c., is simple waste and nonsense, and to think
that any considerable number of them will refrain from photographing
their friends, their o.xen, their m lidservants, and their other belong-
ings because it might injure some professional unknown is nearly as
bad. I take too pessimistic a view of the matter to suggest any
remedies. Professionals might combine — but they won't ; they might
abstain from cutting each other's throats in the matter of prices — but
they don't ; they might, as a rule, turn out better work — but they
won't. They will not help themselves, so how can anybody else help
them ? The only hope that I can give them is a poor one, and that
is time ! Time rights all things^or some of them. In course of
time the great amateur craze may die down, and then tlie poor pro-
fessional will come to his own again. But pigs might fly if they had
wings. In the meantime I should like to say that I and many of my
friends and thousands of others have for years grown our own
potatoes, our peas, our lettuces, and other succulent vegetables, and
still the greengrocer's remains a flourishing trade. The greengrocer
usually is a good man of business, and — must I say it ? — your photo-
grapher usually is not.
It is a pleasure to note from time to time, among the lengthy
commonplace records of the commonplace doings of the photographic
societies, little items of news indicating the existence of a desire to
impart to their members objective photographic knowledge. The
Birmingham Society, for instance, set an example at its last reported
meeting which merits imitation on account of its undoubted practical
value to photographers, especially amateurs of limited experience. A
series of negatives taken by the members on an excursion were staged
for examination, and appear to have had instructive effects on those
present. If particulars of plate, exposure, stop, developer, &c., are
given, no better method of imparting a lesson in development could
be given, and it is in the hope that the Birmingham Society's lead
will be followed that I venture to applaud it. Different methods of
intensification, reduction, and other processes might also be demon-
strated in the same way. Cosmos.
STEREOSCOPIC PHOTOGRAPHY.
X Replv to " Tkchni;jUB."
[Road at tho Stereosoopio Club, July 5, 1893.1
SiNCK the last meeting of this Club there have been many things
done and published on photograpliic matters that might well occupy
our attention as fit subjects for discussion. At tie present time I
July 21, 189a]
THE BKITISH JOUKNAL OF PnOTOGRA-PHY.
wish to call your attention to an article on " Stereoscopic Photo-
graphy" pubhsliiHl in the April number of I'Aotoyrn/thic Scraju over
the name of " Technique." As most photopfrnpherf arn aware, PAofo-
(fraphic 5<,/y(/w is a private journal, published monthly, under the
control of the Rritanuia Works Company, and " Technique" is their
editorial contributor. No doubt many of our members liave read the
article in question, but by this time may liave forgotten nuich of tlie
particular statements it contained.
First of all, " Technique " is of opinion that the headinjr of his
article — " Stereoscopic I'liotography — would have eiven " greater
gratification " to readers of photographic literature thirty years ago
than to readers of the present day. If he infers, as I presume he
does, that there were more amateur photographers interested in the
stereoscope, or more stereoscopic cameras in the Held, at that time,
then I must bog to differ, since I believe there are more stereoscopic
photographers (amateurs) to-day than tliere ever were, and I shall
be prepared to submit some particulars and to argue my own case
before a committee of three gentlemen, and to back my opinion to
the extent of a very good dinner for the committee, " Technique,"
and myself.
Next we are told that the stereoscope did give a great impetus to
photography at the period alluded to (thirty years ago), and that
"there were abundant reasons for this; not the least was the
apparently wonderful character of the pictures, which it was imagined
were only possible as photographs, whereas in reality very good
stereoscopic picture-? can be made by pen or pencil by any one
understanding the principle of the stereoscope and of perspective
drawing."
Now, if a tyro in photography had made such a statement, it would
have been excusable, from the fact that he had not studied the sub-
ject : but when a professional scribe, one who writes on scientific
matters for the guidance of others, and who sets liimself up as an
authority, displays such total ignorance of the subject, then 1 say
there is not much room for excuse.
As a matter of fact, there has never been an artist clever enough to
maice " a good stereoscopic picture by pen or pencil," and nobody
who understands the principles of the stereoscope would be so foolish
as to try. It is quite true tliere are outline designs — geometrical
figures in white lines on a black ground — made for the stereoscope,
but to call these "good stereoscopic pictures, drawn by the pen or
pencil," would be a deliberate intention to mislead. If we leave out
of the question the absolute impossibility of making two pictures
stereoscopically dissimilar, and therefore ignore the whole principles
of binocular vision, I say again there has never been a man born who
could make two pictures so near alike as not to have their differences
detected by the stereoscope.
The stereoscope is used as a test for suspected forgeries in bank-
notes, a photograph of a g<)nuine note being placed in the instrument
along with another photograph of the suspected note, and a difference
in the engraving so slight as not to be detected in any other way is at
once made manifest by the stereoscope.
Next we are treated to some historical matter which is equally in-
correct ; and, as " Technique " would have been a very little boy at the
time alluded to, I must remind him that dry plates were not intro-
duced commercially at '2s. '2d. per dozen for half-plates, I remember
paying 12s. per dozen ; so that the price of commercial dry plates had
nothing whatever to do with either the popularity or the decline of
the stereoscope.
Next we are told that " one great complaint that always clung to
stereoscopic pictures was the smallness of the view and the extreme
minuteness of the object, not all subjects being alike suitable subjects
for the stereoscope."
With respect to size, it has been demonstrated in this Club that
when these small pictures are viewed by properly constructed instru-
ments we get the apparent natural size of the object, and there were
properly constructed instruments even so far back as twenty-five
years ago.
I admit that thousands of improperly mounted pictures have been
placed upon the market, and long-focus stereoscopes were intro-
duced with a view of meeting the defects in the slides ; but because
this was done for commercial gain, or by those who do not under-
stand the principles, is no sound argument against the stereo-
scope. To say that " all subjects are not alike suitable for the
stereoscope " just amounts to saying that all subjects are not suitable
for binocular vision, or that, to look at certain subjects in nature,
we should close one eye, wliich everybody will admit to be
ridiculous.
A comparison is then drawn in favour of the " pleasure of turning
over the leaves of an album and the efforts and the trouble of twisting
about to peer into a stereoscope."
This is rather funny, for, as a rule, amongst my photographic tnewU
I don't often find many albums worth looking at ; but I have taken
some trouble to produce a decent one, and I have tried the experiment
scores of times by giving my friends first the album, whicii they
usually finish with in about ten minutes. After this I give them
the very same pictures by the stereoscope, and these excite their
admiration for an hour.
But, continuing, we have another comparison between the " selflsb
stereoscope" and the "popular lantern sUde." Well, as regards
selfishness, the same argument might be used against the microscope,
but it would not detract from the merits of the instrument. I re-
member reading somewhere that a stereoscopic slide was always in
season, daytime or night, winter and summer, in company or alone,
and we cannot say so much for a lantern slide ; besides, I wonder it
it ever occurred to "Technique" that from stereoscopic negatives
lantern slides were just as easily made as from quarter-plate negatives,
and very much easier than from half-plate or larger-size negatives, or
did it ever occur to him that a stereoscope could be passed round
amongst a few friends, or that two or three stereoscopes were possible
to be in use at one time when friends were present ?
Next we are told that " the majority of stereo slides are printed on
paper and mounted on cards," and another comparison unfavourable
to such stereoscopic slides is given bv showing the rapidity and con-
veniences of printmg lantern slides. Now, here again, " Technique" has
overshot the mark, for, so far as amateurs are concerned, only a very
few make paper slides, because stereo transparencies on glass are so
much easier to produce. Quite recently I had the honour to adjudi-
cate upon a stereoscopic slide competition organized by the editor of
the Amateur P.'totor/rapher, and out of twenty-three competitors
only four sent paper slides. The other nineteen sent glass trans-
parencies ; but, apart from that competition, I happen to be in perhaps
the very best position to know what amateur photographers are doing
in stereoscopic photography, and I do not think that more than five or
six per cent, of them make paper slides.
But now we come to some personal e.vperieyice of " Technique," who
tells us that he has made stereo pictures by a quarter-plate camera at
two operations, " the camera being placed upon a simple arrangement
known as Latimer Clark's parallel bars, which permitted a side-to-
side motion of the camera in order to obtain the requisite angle for
stereoscopic effect." In reply to this, it must be said that Latimer
Clark's " parallel bars " do not permit any angle at all, they keep the
a.xis parallel; some modifications of this arrangement were made in
years gone by, and these did permit an anijle, but they were wrong in
principle and in practice too, and the difiiculty complained of, by the
two halves of the negative being unequal, is just what might have
been expected by anybody who had studied the subject. But
" Technique " concludes his " personal experience" by his observance
of these and some other defects in a number of slides published in
the Stereoscopic Magazine of 1862.
The next paragraph treats of " the number of people who cannot see
pictures stereoscopically because there is something wrong with their
eyes."
This is a tale I have heard hundreds of times, and in at least ninety
per cent, or more I have had the pleasure of proving that it was not
their eyes that were wrong, but the badly mounted slides or the
defective stereoscopes that caused all the trouble. Here is a case in
point. Just a little time before this article from the pen of
" Technique " was published, Mr. John Howson, the managing
director of the Britannia "Works Company, called upon me, and, in
the course of a very pleasant chat on general photographic matters,
he told me that he had never in his life been able to see a stereoscopic
slide stereoscopically by a stereoscope because there was something
wrong with bis eyes. " They are not of equal foci," he said. " Oh,
is that all?" I replied, and I examined his eye-glasses. Seeing they
were about like my own, I picked up a stereoscope from the table, and
the first stereoscopic slide I could put my hands upon. After adjusting
the instrument to my own sight, I handed it to Mr. Howson, saying,
" You ought to see that; " and " I do," he replied, " I never saw any-
thing more beautiful; show me another," &c. In conclusion. Air.
Howson paid me a very pretty compliment.
But " Technique " has a most wonderful control over his optic axis
that leaves both Mr. Howson and myself in the shade, for he states
that he can not only see slides stereoscopically without a stereoscope,
but that he can " look at them from top to bottom of a window in
Cheapside or Regent-street, and see every one stereoscopically at six
inches to ten feet distant."
I admit there are a few people who can see slides stereoscopically
without a stereoscope, but, out of a good many people who stat« that
they can do this, at least ninety per cent, are mistaken. Inste.id of
seeing the right-hand picture with the right eye, and the left-hand
THE BRITISH JOUEXAL OF mOTOGRAPHY.
r.)ulv21,1803
picture with the left eye— which, with slides mounted at three inches
centre would entail a considerable divergence of the otitic axis— they
really see the right-hand picture by the left eye, and the left picture
by the right eye ; this is done by converging the optic axis (squinting),
lius they see" the very opposite to stereoscopic, \\z,,pseudoscopic.
But, in either case, stereoscopic or pseudoscopic, pictures viewed in
this wav— without a stereoscope— look very much smaller than they
really are, and by the stereoscope they look larger than they really
are. But to be able to see slides stereoscopically at six inches or
ten feet distance, as " Technique " says he can, is a most extra-
ordinary performance ; and, it the proposed comraitt»'e and the dinner
be arranged, I should like to have something extra on that.
Finally. " Technique " sums up the " essence of his remarks " by
advising his readers to put their money in monocular cameras, and get
as much solidity and relief as they can.
Now, allow me to sum up the essence of his remarks. I could do it
best in two words, but will manage it in one word — Pbkjudtck
W. I. Chadwick.
SOME POINTS IN CONNEXION WITH DEVELOPMENT.
Thr tables given by Mr. Bothamley (page 445, .fuly 14) are well
calculated to show the power of control in development, but are mis-
leading when the effect of fog is considered.
From the following paragraph it seems to be assumed that, because
in the second case an alteration in column 1 has produced an alteration
in column 4, that therefore any other alteration will produce a similar
result. " Since to add a constant quantity to the terms of a ratio
diminishes the ratio, it is clear that the fog will lessen the ratios of
the opacities." •
Now, it is quite possible to alter column 1 without making any
difference whatever in 4, but this can only be done by adding equal
amounts to column 1, e.'cactly what is done by adding fog, and the
ratios of light transmitted remain unaltered.
Tables 1 and 2 are as given by Mr. Bothamley (correcting the mis-
prints in column 4), and 3 and 4 are the same with fog added.
1.
2.
Thick-
netw of
the
silTer
layer.
Ratios of
the
densities.
Light
trans-
mitted.
Ratios of
the Ught
trans-
mitted.
Thickness
of the
silver
layer.
Ratios of
tho
densities.
Ratios of
the light
trans-
mitted.
1
1
i
8
2
1-0
i
8
2
2
i
4
8
1-5
h
4
3
3
i
2
4
20
iV
2
4
4
iV
1
6
2o
A
1
8.
4
.
2
1
i
64
3
10
i
64
4
2
A
16
5
1-66
aV
16
6
8
A
4
7
2-33
iU
4
8
4
^
1
9
3 00
zh
1
From the above we see that the only effect of fog is to reduce the
amount of light transmitted in a given time, the gradation remaining
unaltered. J. Stebhy.
♦
PHOTOGRAPHIC CONVENTION OF THE
UNITED KINGDOM.*
The following papers were taken as read : —
LATITUDE IN EXPOSUBE AND SPEED OF PLATES.
By F. Hurtek, Ph.D., and V. C. Deiffield.
It is generally assumed, because onr researches have led us to pronounce
exposure and not development to be the determining factor in photo-
graphy, that therefore the production of similar prints from a series of
negatives which have received widely varying exposures, and have been
Bubmitted to widely different treatment in development, totally upsets
ibe whole of our conclusions.
Onr attention has been called from time to time to Buoh series of
negatives, and, in all the instances which have come to our notice, there
bae been no difficulty whatever in arranging the negatives in the order of
* Continued from last number.
their exposures, nor has it been much more difficult, by mere inspection,
to so arrange the prints. If, however, such negatives be measured, and
their density ratios ascertained, the order of the negatives, with respect
to duration of exposure, is readily decided beyond all possibility of error.
As an instance of such a series of negatives we give our measurements
of four plates, sent to us two years ago by a gentleman in Ireland, as an
illustration of the latitude in exposure obtained by appropriate treatment
during the operation of development. The subject was the same in all
four plates, and consisted of a field bordered by trees. In the middle
distance was a grey house, one side of which was illuminated by the
diffuse lij^ht of tlie sky, and the other side by the sun. We measured the
densities of the sky, the two sides of the house, the most transparent
shadows in the trees, and a spot in the grass. In order to ensure the
measurement of precisely the same spots in all four plates, masks with
circular openings were fixed on each negative, so that the circles coincided
when the subjects coincided. The four plates respectively received ex-
posures of 1, 10, 30, and 60 seconds, and the resulting negatives yielded
prints differing so little in quality that they were deemed to have com-
pletely demolished our contentions. The following table gives the results
of the measurements : —
Densities.
Exposures.
Dsrkcst shadow in trees ,
House (shadow side) ...
Grass
House (sunlit side)
Sky
1"
10"
30"
•378
•558
-973
■833
•750
1-371
•930
1005
1-706
1-721
1-571
2 121
2-598
2-236
2-578
1-028
1-315
1-581
1-921
2-308
A glance at the densities of these negatives, particularly those indi-
cating the extreme range (darkest shadow and sky), shows how widely
they differ from each other ; whilst a glance at the negatives themselves
surprises one by revealing the inability of the eye to readily appreciate
these differences. The eye is still less capable of appreciating the great
alteration in the density ratios given in the next table.
Density Batios.
Exposures.
1'
10"
30'
80"
Darkest shadow in trees ...
House (shadow side)
Grass
1
2-2
2-46
4-55
6-87
1
1-35
1-81
2-84
4-04
1
1-40
1-75
2-17
2-65
1
1-28
1-53
1-86
Sky
■24
These ratios decrease with increased exposure in perfect accordanoe
with all our experiments. The negatives are very different indeed in this
respect, and fully bear out our contention that the density ratios are a
function of (he exposure, and not of modifications in development. We
have no hesitation in asserting that such negatives may always be
arranged in the order of their exposures by any one acquainted with the
subject. In printing quality, as regards time, these negatives also differ
considerably.
It is clear, therefore, that these negatives do not illustrate in a very
striking manner what they were intended to illustrate, namely, the great
latitude in exposure. They do, however, illustrate another point,
namely, the great latitude there is in the quality of prints accept-
able to the eye, and the carious iuabiUty of the eye to judge numerical
values of density differences. In this faulty perceptive power of the
generality of eyes lies a great deal of the latitude of exposure.
Various authorities give wholly different limits for this latitude in ex-
posures. Professor Burton has given it as 1 : 30, but states that he has
succeeded with some plates with exposures ranging from 1 : 80. We
ourselves stated in our original paper that the plates which we used in
our experiment! (Nos. 21 and 22) would have given good pictures of sub-
jects with contrasts varying from 1 : 80, though the exposures had varied
from 1:2; that is, the plates were capable of recording truly contrastB
ranging from 1 : 60.
Latitude in exposure depends —
(1^ Upon the quality of the plate.
(2) Upon the range of contrasts in the subject.
(3) Upon the degree of truth with which the contrasts are to be pre-
sented in the positive print.
July 21. IW).^
THE BRITISH JODKNAL OF PHOTOGRAPH V.
457
The quality of the plate is the most important qnostion. There are
«ome plates which have no latitude of exposure at all, or which are, at
any rate, incapable of rendering any range of contrasts in this subject
with any degree of truth, whatovor exposure may be given. There are
other plates capabte of recording truthfully a comparatively wide range
of contrasts, though exposures may vary from 1 : 5 or 1 : 6, and, if troth-
fulness of the intermediate tones be not absolutely demanded, such plates
Are capable of yielding useful negatives within such ranges as 1 : 20 or
1 : 30.
These different qualities of photographic plates are best represented
^aphically by the curve which we have termed the " characteristic
carve " of the plate. The method of obtaining this curve will be
presently described. Diagram No. 1 presents two characteristic curves
of two well-known brands of plates wliich we will call A and B. We at
once perceive a characteristic diflference between these two plates. While
the carve belonging to plate A is nearly straight from exposure 0-(>25
<;m. to exposure 80 cm. , plate B yields a curve which has hardly any
straight part in it. Now, we have shown that, if a plate must truly
represent the contrasts of the subject, it can only do so if it possesses a
perfectly straight portion within its characteristic curve. The longer
this straight part is, the greater is the latitude of exposure for that plate.
Plate A woald represent a subject with contrasts varying from 1 : 20
«with a high degree of truth, though the exposures varied from 0-625 : 4,
from 1:6. If several exposures were made upon several plates, the
•exposures ranging from 1 : 6, they would yield negatives of very difierent
appearance, giving, however, identical prints, though the negatives were
all simultaneously developed in the same dish for the same length of
time. But, though all these negatives yielded identical prints, the pro-
fessional photographer would discard them all but one, which to him, at
all events, would be the only really good negative. There is one exposure,
^lnd only one, which yields a true representation with minimum density.
Plate B, on the other hand, would never give a correct representation
of any subject. Such plates could not be sold or used if the eye were
<:apable of readily detecting photographic untruth in prints. It is owing
to this defect that such a plate can be used at all. But the unsatis-
factory nature of the plate, as revealed by the characteristic curve, makes
•itself evident in practice by the very limited range of exposures which
•will yield satisfactory negatives. With such plates Professor Burton
-would have tried his art of altering density ratios in vain.
Next in importance to the quality of the plate is the question of range
■of light intensities, which have to be recorded truly. Plate A is capable
of representing light intensities lying between 1 and 70. If intensities
bad to be photographed embracing a greater limit than 1 : 70, it could
only be done by sacrificing truth or proportionality to truth altogether.
In the case of plate B, the limit would lie between 1 and 2. The ques-
tion arises, What are the usual variations in light intensities which have
to be considered in photographic practice ? Many photographers appear
to have highly exaggerated ideas upon this subject. We do not exactly
know what Professor Burton's opinion is ; but it would appear, from his
remarks, that the power of altering density ratios by variations in the
developers can only be exercised in the case of plates which have received
light intensities varying from one to at least several hundreds. From
this we are led to assume that he supposed that the two prints he has
recently published represent light intensities varying from one to at least
several hundreds.
Now, it is an easy matter to a^icertain the limits of light intensitiex
which have to be dealt with in any given subject, and the following is the
outline of the method we adopt in «noh an investigation. We cut •
plate into two parts. Upon one part we make a series of exposare* to
the standard candles so as to determine the characteristic curve, the
other part of the plate is exposed in the camera to the object of which it
is desired to ascertain the range of light intensities. We give such an
exposure as will produce a correct negative, but it is not necessary to hit
this very accurately. The two parts of the plate are then developed
together for the same length of time, and with the same developer, and
the highest and lowest densities of the negative, and such others as are
of interest are measured, as are also the densities resulting from the
candle exposures. It will be evident that this graded plate, produced by
exposure to the candle, serves as the scale wherewith to measure the
light intensities actually at work in the camera, and which produced the
densities of the negative. For such experiments it is, of course, desirable
to select subjects which present sufficient areas of uniform density in the
negative. A useful subject, because it comprises the entire range of
tone which a paper print admits of rendering truly, is an ordinary folding
screen, upon each of two folds of which are fixed a sheet of white card-
board and a sheet of matt black paper. The screen is so placed that one
fold is illuminated by directsun light, and the other by the diffused light of
the sky, and so that the sky itself is included in the picture. This sub-
ject gives us five densities on the resulting negative, namely : —
Sky.
White, illuminated by the sun.
White, ,, „ diffused light.
Black, „ „ the sun.
Black, „ „ diffused light.
The following are the details of such an experiment, and diagram
No. 2 illustrates graphically the method of ascertaining the equivalent of
the light intensities in candle-meter seconds. A plate was cut into four
parts ; three of them were exposed in the camera to a subject as just de-
scribed, and the fourth was exposed to the standard candle, the exposures
ranging from 0-312 cm. to 160 cm. The three exposures given in the
camera were 08, 4, and 24 seconds respectively, and all four plates were
developed together in one dish for the same length of time. The
densities of the negatives and of the graded plate were found to be —
Densities of Negatives.
ExpoBnre.
0 8"
4"
2*"
Sky
Wiaite in sunlight
White in shade
Black in sunlight
Black in shade
0-940
0-940
0-620
0120
0060
1-695
1-735
1-360
0-530
0-320
2-260
2-280
2-080
1-290
1-025
Densities op Gradep Plate.
Eiposnre.
cm.
Density.
Exposure,
cm.
Density.
0-312
0-625
1-25
2-5
5-0
0-150
0-275
0-440
0-700
1-040
1
10
20
40
80
160
1-360
1-665
1-935
2-160
2-295
The densities of the gradations obtained by these ten exposures were
plotted as a curve, the logarithms of the exposures as abscisses, and the
densities as ordinates. Parallels corresponding to the densities of the
three negatives were then drawn, and where they intersect the charac-
teristic curve perpendiculars were drawn through the points of inter-
section. These perpendiculars indicate at one the equivalent exposures
in centimetres which produced the corresponding densities. In diagram
No. 2 the densities of the negative which received an exposure of four
seconds are thus plotted, and it will be seen that the respective equivalent
exposures are —
!Sky 20-80 cm.
White in sun 22-50 „
shade 1020 „
Black in sun 1-62 „
Black in shade 077 „
a
458
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[July 21, 1893
It ?riU thus be aeen that the whole range of light intensities, from matt
black in the shade to the sky or white cardboard illuminated by the sun,
is as 0^77 : 22-5, or as 1 : 29. Similar results were obtained with the
other two negatives, and the following table gives their equivalents, the
highest light being put = 30.
RelatiTe intensities of light
As shown by neg:atives
exposed.
emitted by
0^8".
4".
24".
Sky
White in sun
30
30
15
1-83
1-16
27-7
30
13-6
2 1
102
29
30
13 0
1^78
1-01
28-9
30
„ shade
Black in sun
13-8
190
„ shade
1^06
We learn from this experiment that an object illuminated by direct
sunlight is about twice as bright as the same object in the shade ; and
that the whole range between a matt black object in the shade and a
briMiantly illuminated sky is about as 1 : 30. It will also be aeen that
the exposures given in the camera vary as 1 : 30, and yet the same rela-
tion as to light intensities is revealed by the shortest, as by the longest,
exposure.
If we now examine Professor Burton's statements in the light of this,
to him, evidently new knowledge, we have to point out that, according to
his own confession, he cannot alter density ratios between limits of ex-
posures 1 : 10 ; and he would not, we presume, undertake to seriously
alter density ratios between such narrow limits as 1 : 30, since he says
that " it is necessary to have ranges of exposures of at least several
hundreds to one to be able readily to vary the density ratios."
Now, assuming certain conditions, actiially never present in photographic
practice, it seems, according to Professor Burton, true that it is possible
to vary density ratios when the exposures vary between at least several
hundred to one. Such variations do not occur in ordinary subjects ; the
light intensities vary between limits of 30 : 1 at most. Professor Burton's
faculty of producing negatives which yield similar prints is not due to his
mode of development ; it lies wholly in the latitude of the plate and in
the narrowness of the range of light intensities in his subject. He could
have obtained identically the same result, and possibly a better, by means
of one developer, and by simply varying the time of development for the
shortest exposures.
Two negatives are alike in their printing quality when the density
differences are alike throughout, whatever the density ratios may be.
Two negatives may have totally different density ratios, and yet be
equally true to nature and yield identical prints, whatever printing pro-
cess may be employed, so long as it is the same in both eases. Thus, so
long as the light intensities of a given subject lie within a certain limited
range, and the time of exposure is such that the densities produced fall
within the straight part of the characteristic curve, so long will the
density differences for the same subject be independent of exposure, and
alike.
Suppose the length of the straight part of the curve cover a range of
exposures 1 : E ; and the light intensities to be photographed lie between
■p
the limits 1 : 1, the latitude of the exposure would then be 1 : -v ; and
within these two Umits any exposure wocld prodiuoe negatives which,,
developed in the same developer for the same length of time, would yield
negatives giving identical prints. Take the case of plate A. The straight
part of its characteristic curve may be taken as extending from exposure
1 cm. to exposure 80 cm., i.e., 1 : 80. If a subject had to be photo-
graphed which was illuminated by diffused light only, and in which the
light intensities varied from matt black to white or even more, say a range
of 1 : 20, the plate would yield negatives, with exposures varying from
1 : 4, almost identical in printing quality, though' they were all developed
together. If a little deviation from truth is permissible, and the portion
of the characteristic curve lying between exposures 0-312 cm. and
160 cm. (a range of 1 : 512) be considered as sufficiently accurate, the
same subject would permit a latitude of exposure of \V = 25, and there
would still be very little differences in the negatives, particularly if
development be prolonged in this case of the shorter exposures. For a
sunlit landscape the latitude would be %\^ = 17.
The experiment we have described was made on a plate, the straight
part of which only extended from an exposure of about 1^5 cm. to one of
50 cm. For an ordinary sunlit landscape its latitude of exposure is,
50
therefore, small, namely, r^—5jr = 1-1; and consequently, if a correct
negative be required on such a plate, the latitude of exposure would have
to Ue within ten par cent, of its own value. The negative which was
exposed for four seconds is the truest of the three ; the one which received
one-fifth of this exposure renders the high lights correctly, but not the
shadows ; and the one which received six times the exposure of the first-
named negative renders the gradations as far as white in diffuse light
correctly, but not the highest lights. The following table shows the
density differences for the various parts of the negatives, which would
have to be all alike if the negatives must yield identical prints ;—
Exposure ...
0-8"
4"
24"
Density of clearest spot ...
-060
•320
1^025
Density difference — Black in shade and black
-060
-500
•320
•880
•21ft
•830
•375
1-415
•265-
„ „ Black in sun and white in
shade
•790i
_j „ White in shade and white
•200'
Total range of negative— Black in shade and
white in sun
1^255.
It will be seen that the negative which received four seconds, the correct
exposure, gives for all parts of the subject, with the exception of the
highest lights, practically the same density differences as the one which
received twenty-four seconds' exposure. In prints from these two nega-
tives all gradations lying between black in shade and white in shade
would be exactly alike, though the exposure was, in the case of one
negative, six times as much as in the other. The negative which received'
one-fifth the correct exposure only renders the high lights with equal
truth. If, however, this negative had been developed for a longer time
than the other two, its range could have been considerably improved ;
the ratios remaining the same, the density differences would have altered,,
and it could easily have been brought to the following :—
Exposure
0^8"
4" 24"
Density of clearest spots
•100
•320 1 1^025
i
Density difference— Black in shade and black in sun ...
^_ „ Black in sun and white in shade ...
White in shade and white in sun ...
Total range of negative— Black in shade and white in sun
•100
•830
•.530
1^460
■210
-830
•375
1^415
■265
•79o
-2Qo.
1-255
In this case the resulting prints would have differed little from each,
other, since all the main gradations lying between black in shade and
white in shade would have been represented by the differences -. —
0-8"
0^930
1-040
2i"
1-055
which are so nearly alike that the eye could not detect the difference:.
July 21, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
460
Only in the highest lights, beyond white in shade, would the difference
be at all apparent. The three negatives differ, however, very materially
in the time they require to yield prints of equal depth in the shadows.
The last of the series (twenty-four seconds exposure) requires six times,
and the second (correct exposure) nearly twice (J the time which is
needed for the first to print to the same depth.)
From these experiments it is clear that latitude in exposure is not
inherent in modifications of the developer, but in the plate itself, and in
the comparatively narrow range of intensities which are ordinarily met
with, combined with the inability of the eye to judge of the more or less
truthful rendering of the various gradations.
As already pointed out, among the many negatives which may be pro-
duced by mere variations in exposure, there is only one which combines
truthful rendering of tone with minimum density ; and it is this onn
which the practical photographer aims to secure. For the more accurate
and certain production of this particular negative, it is necessary to
ascertain the speed of the plate with tolerable accuracy ; and we now
propose to give a short practical description of the method we have
adopted for this purpose. We believe that many amateur photographers
would be glad to be in a position to determine speeds for themselves, and
to obtain that knowledge of the properties of their plates which can
only be derived from a study of the characteristic curve.
The course we pursued in our original investigations was to expose
portions of the sar^e plate consecutively to the light of a standard candle,
doubling each successive exposure as we proceeded, and we naturally
adopted this course when we came to make our first determinations of
speed. The errors to which we found the candle liable, however, when
we had not the experience in its use which we have since gained, showed
that much was to be desired in order to secure a constant ratio of
illumination between the different exposures, and, in order to secure
this, we adopted the plan of making our exposures which we are about
to describe, and which we believe to be the most satisfactory. By this
method the whole of the exposures are made simultaneously, so that
any fluctuations taking place in the light of the candle proportionally
affect all the exposures, and the determination is consequently more
decisive and less liable to error than if fluctuations in the light were to
take place during one or more of the individual exposures. Moreover,
the possibility of error arising from the difficulty of accurately timing very
short exposures is wholly eliminated.
We will, in the first place, make a few remarks upon the standard
candle as a unit of light. While we candidly admit that the candle is
by no means an ideal standard, we must say that we are not at present
aware of any satisfactory substitute. We adopted it, in the first
instance, because it was ready to our hand, well known and recognised
as a standard, and easily obtained. And we may perhaps be forgiven
for entertaining a somewhat higher opinion of it than some of our friends,
inasmuch as it was, at any rate, reliable enough to lead to the discoveries
we have made. It is asserted that the amyl-acetate lamp is a better stan -
dord than the candle, but the practical difficulties in its use are such that we
can only say it has not proved itself so in our hands. Altogether, we know
of nothing, as yet, better as a standard than the candle, and, if the suggestions
for its use which we are about to make be adopted, we do not think it will
lead to serious errors. Two determinations of the inertia of tliis same plate
which we have just had occasion to moke, on two different evenings,
differed only by 0-04 cm., a discrepancy of absolutely no practical
moment. We have unquestionably found that the standard candles of
different makers do vary, and for this reason we think it well to say that
the candles we have used throughout our investigations were supplied by
Messrs. Sugg & Co., Vincent Works, Westminster. The normal height
of the flame of these candles, measured from the lowest point at which
the wick blackens, is about forty-five millimetres.
Our method of using the candle for the purpose of speed determination
is as follows. We will assume that the candle we are about to use has
been used before. We light it, and then, with scissors, snip off the
hardened tip of the wick ; the flame of the candle will now be found to
grow steadily in height, and as soon as the distance from the tip of the
flame to the lowest point at which the wick blackens has reached forty-
five millimetres the exposure may commence. The candle flame may
now be relied upon to remain sufliciently constant for about ten minutes,
and tliis is amply long for our purpose. If after this time, for any other
purpose, the light is required, it will be well to again trim the wick, and
start de novo. The height of the flame may be measured by a strip of
cardboard, upon which two marks are made at a distance of forty-five
millimetres apart. It is, of course, obvious that these experiments should
be made in a room free from draught, and it is often a wise precaution to
pitkce the candle in a tall box, open on one side and well blackened inside.
We are strongly in favour of keeping the candle well in view during tho
entire exposure, lo that, should any fluctuation in light take place, we may
be aware of it. If the candle be used in the open room, all white or
bright surfaces capable of reflecting light should be removed.
If a plate be examined by placing it between the eye and the red lamp,
it will be found that the opacity of the film falls off at the edges. The
edges should, therefore, be scrupulously avoided, and the strip should be
cut from the centre of the plate, or, at any rate, well away from the
margin. The operation of cutting the plate should be conducted as
quickly as possible, and as far away as possible from the red Ught, so as
to avoid all fogging action of the Ught upon the plate. The width of the
strip may conveniently be made about one inch. When the plate is
securely placed in the dark sUde, the latter is placed in its position behind
the disc. The distance from the candle to the place occupied by the
plate is carefully adjusted, and the candle is lighted and trimmed. When
the flame has reached the requisite height. tHe exposure may commence.
The disc is caused to revolve, and, at a given moment, the slide protecting
the plate is drawn, and the exposure continued for the requisite length
of time.
Now, as to the best range of exposures to decide upon in the case of a
plate of the speed of which we know nothing, we should advise a series
commencing with 80 cm. down to 0 312 cm. This range will be fonod
to include as much of the characteristic curve of the majority of c<>m-
morcial plates as is required for a speed determination. A little con-
tideratioa of the revolving disc, however, will show that, in order to give
460
THE BRITISH JOUKNAL OF PHOTOGKAPHY.
[July 21, IdW
an actual maximum exposure of 80 cm., it wUl be necessary to continue
the exposure for twice 80, or 160 seconds, the candle being placed at a
distance of one metre from the plate. The reason of this is that the
actual maximum exposure only proceeds during half the revolution of
the disc, the light only reaching the plate during the passage across it of
180° out of the 360°. Though we prefer to work with the candle at a
distance of one metre from the plate, it may be brought nearer to it if it
be desired to curtail the exposure. At a distance of 0707 metre, the
light of the candle is equal to 2 cm., and at a distance of half a metre it
is equal to 4 cm.
Having exposed the strip, we next proceed to develop it ; and here we
must say a word or two upon the subject of the developer. We do this
knowing perfectly well that we shall meet with considerable opposition ;
but we, nevertheless, again assert that, for all ordinary photographic
worli, there is no developer superior to ferrous oxalate. We prefer it
because of the uniformity of the colour of the silver deposited by it, a
point of very great importance when we come to the operations of
printing and enlarging by developing processes, in which the exposure is
arrived at by calculation : we prefer it because we never yet found a
plate with which it disagreed, and this is more than can be said of other
developers. It will also develop an old plate which may have been care-
lessly laid by for years ; whUe, with another developer, it would be
hopeless to obtain a passable result. We prefer ferrous oxalate because,
of all developers, it is least liable to attack silver salts, which have not
been acted upon by the light, and because it will not lend itself to the
production of foggy messes. We do not wish for a moment to imply
that other developers may not have their special uses ; on the contrary,
for example, we have found rodinal of the greatest value in the case of
certain plates, when dealing with extremely short-shutter exposures, and
also in flash light work.
However, to proceed with the operation of development. It is advisable
that this operation be conducted at a fixed temperature, and we find
65° Fahr. the best to adopt, as it is easily obtainable both in summer
and winter. The developer itself should be brought to this temperature,
and maintained at it by placing the developing dish in a water bath of
the same temperature. The constituents of the developer are intimately
mixed by stirring, and, at the moment of pouring on to the plate, the
time is noted. The dish should only be rocked for a few moments, in
order to expel any air bubbles from the surface of the plate, and should
then be covered up, so as to expose the plate no more to the red light
than is absolutely necessary. Examination of the plate during develop-
ment should be avoided as far as possible, as no red light whatever is
safe in the case of even a fairly sensitive plate ; and we believe that too
frequent exammation, prompted by curiosity or impatience, is to some
extent responsible for alleged alterations in density ratios. About five or
six minutes will, as a rule, be found the best length of time to continue
development, in order to obtain that range of gradation most suitable
for subaequent measurement. But, however long development may be
continued, the time occupied should be carefully noted. The object of
the fixed temperature, and the exact time a given plate takes to reach a
certain development factor, is of the utmost importance, if we afterwards
desire, upon a similar plate, to produce another negative having a different
range of density gradations.
After development, the strip is fixed and washed in the ordinary way,
and, after wasliing, it is well to wipe the surface of the film gently with a
plug of wetted cotton-wool. The plate may be treated with alum if de-
sirable, and both the alum and fixing baths should be fresh and perfectly
clean. As the films of some plates are liable to loosen from the glass
when submitted to the heat of the lamp in the photometer, it is some-
times well to soak the plates for a few moments in a weak solution of
glycerine after washing and before drying. When the plate is dry — and
this may be hastened by means of alcohol if desired — the back of it
ihonld be thoroughly cleansed, and the film wiped with a silk handker-
chief. It will now be found advantageous to define the dividing lines
of the smaller densities with a pen and ink on the film. This will
materially assist when we come to measure the plate, which operation
may now be carried out. We do not here propose to enter into any
description of our photometer and the method of using it ; this will
be found in our original paper in the Journal of the Society of Chemical
Industry.
The nine different densities and the " fog strip " having been measured,
and having deducted from each exposure density the density of the in-
cipient fog of the plate and that due to the glass and film as given by
the " fog strip," we proceed to plot the characteristic curve on one of the
skeleton diagrams supplied for the purpose by Messrs. Marion & Co.
Assuming that our actual maximum exposure was 80 cm., we mark on
the ordinate corresponding with this exposure this density, minus fog,
due to the 80 cm. exposures; and so on till we reach the ordinate
corresponding with exposure 0-312 cm. Having thus plotted all the
nine densities, we take a piece of black thread and stretch it along that
part of the curve which practically forms a straight line, and which
indicates the position and extent of the correct period. This enables us
to decide upon the position of the straight line before we actually draw
it on the diagram. We now draw the line, and continue it till it inter-
sects the inertia scale at the bottom of the diagram. The point at which
the intersection takes place gives the inertia of the plate, which is then
converted into the speed by dividing it into the constant 34. For ex-
ample, inertia 1 = speed 84. We may now join up to either end of the
correct-period curves passing through the remaining points of the deter-
mination. The curve at the upper end will represent a portion of the
period of over-exposure, and that at the lower end of the period of under-
exposure, the whole representing tlie most important features of the
characteristic curve. The details just described will be better understood
by a reference to diagram No. 1.
We should here like to express the importance we attach to obtaining,
in every speed determination, distinct evidence of all three periods. It is
only by so doing that we can be quite certain as to the position of the
correct period. It would be quite possible for the higher densities in a
series of under-exposure gradations to be mistaken for a portion of the
correct period in the case of a high development factor — in fact, we have
known this mistake to be made when, had there been evidence of the
three periods, mistake would have been rendered impossible.
We generally have some idea whether the plate we are about to'examine
is a rapid or a slow one, and after a little experience it is easy to decide
upon that range of exposures which will most probably yield evidence of
the three periods ; but should we, in the case of a plate, of the speed of
which we have no idea whatever, find that the exposures we have chosen
yield a series of densities which leave room for doubt as to the position
of the correct period, it will be necessary to make another determination,
a more suitable range of exposures being chosen. The first determination
will indicate whether a longer or a shorter exposure be desirable.
We must here call attention to a diiBculty which may possibly arise ;
but its occurrence is fortunately so rare as to speak well for the perfection
of the machinery used for coating the plates. If, on plotting the densities,
they are found to lie irregularly, so as to preclude the possibility of
drawing through them a regular curve, there is serious reason to suspect
an unevenly coated plate. In such a case as this, the best thing to do is
to cut another strip from the plate from which the first was taken, and
running in the same direction of the plate as the first strip. The second
strip should now be uniformly exposed to the candle and developed the
exposure and development being so timed as to produce an easily
measurable density of, say, 10. If the plate have been unevenly coated,
the density of the second strip, when measured in different places, will
be found to vary. As an example, we have been able to lay our hands
upon the record of a case which occurred in our own experience. The
irregular series of densities obtained in the first instance led us to make
a second exposure as described, when we found that the density measured
in different parts of the strip varied from 1-335 to 0-820. When we
remember that this means that one part of the strip transmitted more
than three times as much light as another, the serious nature of such a
fault as inequality in the thickness of the film will be apparent.
Reference has been made several times to the development factor. It
is beyond the scope of this paper, however, to enter fully into this sub-
ject ; but, as the numerical value of this factor is one of the data to be
derived from every speed determination, we will state how it is graphically
ascertained. From the point 100 on the inertia scale of the skeleton
diagram, aline, parallel to the straight portion of the charasteristic curve,
is projected till it intersects the development factor scale. The point of
intersection gives the factor which expresses the extent to which the
development of this psirticular plate was carried. It is best for the pur-
pose of speed determination to aim at reaching a development factor of
I'O, or a little more. It will be seen, on referring to diagram No. 1, that
the development factors of the two plates A and B are 1-18 and 1'52
respectively.
We believe we have now explained the method of making a speed
determination in sufficient detail to enable an amateur to carry out the
operation We trust, however, that any amateurs who take the matter
up will not content themselves with plotting the characteristic curve of a
plate for the sole purpose of ascertaining its speed, but will take an
interest in tracing, in the conformation of the curve, the results which
they obtain in their photographic practice. It is a knowledge of this curve
alone which can give the photographer complete control of the materials
July 21, 1803]
the: BRITISH JOURNAL OF PHOTOORAPHy.
461
he employs. On some other occasion we hope to show more fully than
heretofore the part which the characteristic curve plays in the calculation
of the exposure for transparencies and printing processes generally, as
also in the production of negatives and positives having a special range
of gradation.
ON THE POWER OF COMPENSATING IN DEVELOPMENT FOR
VARIATION IN EXPOSURE.
By W. K. Borton.
The experiments I am ahont to describe were certainly suggested by
opinions expressed by, or at any rate commonly attributed to. Dr. F.
Harter and Mr. V. C. Driffield some three years or so ago, but I wish to
make it amply plain that I do not intend this paper to be taken as a
refutation of any opinion that they hold — at the present time at any rate.
In the first place, I admire so much the method of investigation that
these gentlemen have pursued, that I should be very sorry to write any-
thing that might tend to lower the estimation in which these investiga-
tions are held, even if, as may be the case, the conclusions arrived at are
not exactly in accordance with fact ; and in the second place, because, if
there is any refutation to be done, there are plenty of people on the spot
much more able to undertake it than I am.
As far as I have followed them, Messrs. Hnrter & Driffield at first
stated that it was impossible, by development, to alter either the density
or the opacity ratios in a negative. In other words, that were the thing
represented graphically, with light as abscissae, and one of them having
density and the other having opacity as ordinates, then, the abscissae
remaining constant, the ordinates might be altered by variation in the
developer, but that their ratio to each other could not be altered. It is,
however, as a matter of fact, very easy to so alter the ratio by variation
in development that two curves, representing either density or opacity,
would intersect each other, in which case the ordinates would, of course,
not be proportionate. I understand, however, that Messrs. Hurler &
Driffield have considerably modified their views since their first statement
was made, and it may be that I do not here represent fairly even the first
position that they took up.
Be all this as it may, it is undoubtedly the fact that, some year or two
ago, it was the general impression that it had gone out on high authority
— with a sound of trumpets almost — that it was impossible to compensate
for variation in exposure at the time of development, and that with the
same exposure it was impossible to control in any way the result, except
in so far as density was concerned.
Now, I hope to be able to demonstrate that we have power, by variation
in development, to compensate for enormous differences in exposure,
and that with the same exposure we have enormous control over the
results.
The experiments that are to be described were begun some two years
or so before the time that this paper is likely to be read, but were inter-
rupted by work of one kind and another that seemed more important, the
truth being that I felt no great enthusiasm to prove a thing that was a
matter of every-day experience.
It was like proving, by the aid of a shokojimeter, that if you got no
dinner you were likely to be hungry, if you had enough to eat your
appetite would be appeased.
When I got thoroughly into the experiments, however, I found them of
the greatest interest, because I began to find that our power of compen-
sation is even greater than I had ever supposed, and I found it possible
to work out at least an approximate rule for the variation in development
that had to be made for a given variation in exposure.
I wish to state my very strong opinion that experiments on gradations
of density (or of opacity) are not of any real value, as throwing light on
the probable result of exposure in the camera, unless they include such a
range of gradation as is commonly met with in actual camera work. I
find this range to be generally, at least in ordinary cases, as several
hundreds to one, often as a thousand to one, and sometimes as several
thousands to one. What I mean is, that the plate has received at the
time of exposure several hundred, or a thousand, or several thousand,
times as much light at one point as it has at another.
In this connexion it is to be noted that the range of light reflected by
the object photographed is always greater than the range of light that
reaches the plate ; that it is often much greater. Thus it is practically
possible to have the nearest possible approach to absolute black in the
object photographed, otherwise an approach to zero of light, in which
<:a8e the range approaches infinity. In the case of the light actually
reaching the plate this cannot be the case, on account of the unavoidable
(liffused light in the camera.
For the preliminary experiments a sensitometer on the principle d
that of Messrs. Mucklow & Spurge was made. The areaa of the apertures
varied in the ratio of 1, 2, 4, 8, 16, 32, CA, 128, 256, 612, 1024, and 2048.
The holes were bored by a watchmaker, the largest being one inch in
diameter, and, as far as I can make out, the diameteri are very nearly
what they ought to be. The instrument it a convenient one, using
quarter-plates, and many experiments were made with it. It was, how-
ever, considered that these could not be taken as conclusive, becanae
plates could be exposed only in succession, and no standard light was
available. Moreover, it was found that a gradation varying from 1 to
2048 was not sufficient for a thorough investigation of the subject.
It was, therefore, decided to construct a sensitometer in which plates
could be directly exposed to hght, each half having the same exposure.
The plates were then to be cut in two, and the two halves were to be
developed in any two developers, the effects of which it was desirable to
compare.
This sensitometer is shown in the two photographs, L and II. It is of
very simple construction. Photograph II. shows a back view of the
sensitometer. It has a door A, which is shown open. Through this
door a plate 12 x 2} (one quarter of a 12 x 10 plate), B can be introduced.
The plate is held in a brass frame or carrier, D, that can be raised or lowered
by the bar E, having a toothed or serrated edge. This bar is pressed by a
spring in the direction of these teeth so that it will remain at any ol
fourteen different heights, holding, of course, the plate vrith it. The
spring, F, presses the film side of the plate very nearly into contact with
the front of the sensitometer. In fig. 1 will be seen a slit, G, two inches
in length and a quarter inch wide. This slit is covered by the flap, H,
unless the same is held open by hand, as seen in the photograph. The
apparatus is designed to give exposures to different transverse strips of
the plate of the size of the slit, G, in the'ratios of 1, 2, 4, 8, 16, 32, 64,
128, 256, 512, 1024, 2048, 4096, and 8192. Many of the results of experi-
ments will show that this range is not at all too long for investigating the
effects of different developers on the two halves of the same plate, though
the range is far greater than can be registered correctly. With any plate
so exposed and developed, the strip having the shortest exposure is
visible.
It was found by experiment that the shortest exposure that could be
given with the flap varied very little, and was nearly exactly one-quarter
second. A half-second could be guessed with some approach to correct-
ness, one second with more, and two seconds could be measured roughly
with a stop watch, four seconds with but a small percentage of error —
all this after some practice, of course. It was, therefore, decided to
make the exposures begin with a quarter- second, and work up doubling.
It needs, however, only a very little arithmetic to discover that, even
beginning at this short length of time, the last exposure must be con-
siderably over half an hour, and to make hundreds of exposures of plates,
in which the last item alone came to more than half an hour, was not to
be thought of. For this reason the first exposures were all made a
quarter-second each, but the distance of the plate at the time of the first
exposure, 10 feet, was made 7 feet for the second, 5 feet for the third,
3 feet 6 inches for the fourth, 2 feet 6 inches for the fifth, and 1 foot
9 inches for the sixth and all others. These distances vary very nearly
as 1. fJh, sJi, s/h< s/i\, and Js\. That is to say, the quantity of light
was doubled at each approach of the sensitometer to the source of
illumination, all the exposures at 1 foot 9 inches from the light needed
only Jj of the time they would have needed at 10 feet, and the longest
exposure was reduced to 64 seconds.
It is not pretended that the successions were really actually those
mentioned above, and it is of no consequence that they should be.
Whatever irregularity there might be was bound to effect one half of the
plate exactly as the other ; and, as the after-process consisted in cutting
the plate in half longitudinally, and developing the two halves in
different developers, the only thing essential is that the two halves of
the plate should have exactly the same exposures.
Nevertheless, I venture to state that the exposures of all those strips
that were exposed at different distances gave very nearly the ratios
mentioned, as the rapidest possible opening of the flap was found to
remain very uniform, and a dead black screen was placed behind the
light to prevent reflection, which would considerably modify the law of
the quantity of light varying inversely as the square of the distance, at
any rate considering our light as the centre of illumination. The ex-
posures i and 1 second are, of course, the most uncertain. From two
seconds on, it may be considered that the acceleration is that stated
within very narrow limits of error. In no case did the light vary more
than about ten per cent, during the making of one set of exposures. The
result of one set of exposures might thus be roughly compared with eaefa
462
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[July 21, 1893
other, even comparing different slipa, but the necessity for this has been
avoided by always developing together, in a developer that will be
stated, one half of each slip, so that any difference in exposure can be
I have signed my name across each slip, before it was cut in two, that
there should be no mixing up, and lest any should doubt the genuineness
of the results. These plates would form a condrmation, were any needed,
of the recent statement by an expert in handwriting, that no one can
sign his name exactly the same twice, and that, if two supposititious sig-
natures that exactly superpose each other are discovered, it may be
concluded that one is a forgery.
To return to the plates, however, as the vendors of various sauces and
other goods remark, " Without this signature none is genuine."
As a light an oil lamp was used. I have found a common oil lamp,
with burner in good condition, well trimmed, with a fairly large reservoir,
and with a good quality of mineral oil, to be much more constant for
several hours than any candle that I have been able to find, if it is first
allowed to burn till all parts that heat have become hot. Of course it is
not so good for making comparisons on different days, because the light
of a lamp is very liable to vary from day to day. I wish, however, here
to remind you again that the results of my experiments are in no way
dependent on either the intensity or the uniformity of the light.
It was found that, using a well-known brand of commercial plate, sold
ai " ordinary," a small lamp of five to six candle power was just capable
of giving a developable image with an exposure of one quarter of a second
at a distance of ten feet.
I have certainly at times worked exceptionally rapid plates that needed
only one-fifth to a sixth of the exposures of these. We may, therefore,
deduce the fact — by no means bearing on these experiments, but of some
interest — that the most sensitive plates made will be visibly affected by
an exposure of a mere fraction of a second at ten feet from a candle.
The greater number of the exposures were made with such a lamp as
this ; but, in some cases, where it was considered advisable that the first
figure in the sensitometer, in the sense of the first exposed, should
develop ont quite markedly, the exposure was made to a lamp with a
burner giving a nearly spherical flame (called, I think, a " rose burner ")
having a power of some twenty to twenty-five candles.
Where numbers of strips exposed are stated, it is to be understood that
No. 1 is the strip that was first exposed, and that had the shortest ex-
posure. The "first four strips," or Nos. 1, 2, 3, and 4 means, for
example, these strips that received each quarter-second exposure at
distances of ten feet, seven feet, five feet, and three feet six inches from
the lamp.
I wish to state here that nearly all development was done by my
assistant, Mr. K. Arito, from written instructions given to him by me.
without comment. I had distinct reasons for this. In the first place
Mr. Arito is a very careful operator, much more careful than I am —
though that may not be saying much. In the second place, although, o^
course, he knew the general drift of the experiments, he knew nothing Oj
what had given rise to them, or of the exact lines that I was working on
He was, therefore, much less liable to be carried into the inaccuracies
that I distinctly state most of us are liable to be carried into un-
consciously, or nearly so, when we wish experimentally to prove a
particular fact. Still farther, it enabled me to make sure that the
experiments could be repeated by any intelligent operator from briefly
written descriptions.
Wherever " normal pyro and soda" developer is referred to, it is to be
taken as referring to the developer that the writer has most commonly
need for several years past, that is to say, one compounded as follows : —
To each ounce of developer —
Pyro (either dry or freshly mixed, without pre-
servative) 2 grains.
Sodium carbonate (crystalline) 12 „
Sulphite of soda 12 „
This generally works without fogging, but sometimes, not always.
When a new batch of plates is bought, a sample is tried, and the quantity
of bromide needed to prevent any hurtful amount of fog is determined
This never exceeds half a grain to the ounce of bromide of potassium
with any plate that would generally be pronounced workable. In all
these experiments a quarter of a grain of bromide of potassium was used
to each ounce of " standard pyro and soda developer."
I do not wish to reopen the old discussion as to ammonia against other
alkalies for development with pyro, but shall merely say that I have, for
some time, considered that it was possible to get more out of a short
exposure with soda, considering not detail only, but the whole of the
negative, than with ammonia, and that the present experiments confirm
this ; that, moreover, I thought till recently that there was greater latitude
of exposure with soda than with ammonia, but that these experiments
have made me change my mind in this respect, as I have been able to
get greater latitude with ammonia than with any other alkali that I have
tried.
Here it may be mentioned that a set of experiments incidental to the
main experiments was made to discover the relative quantities of bromide
of potassium and of bromide of ammonium that were necessary to h^ve
the same retarding effect. It was found that, for unit quantity of
bromide of ammonium, it was necessary to use that quantity multiplied
by between IJ and 2 of bromide of potassium. Probably, the exact
multiplier lies very nearly half way between these two — perhaps 1-875.
It is near enough for all practical purposes to state that it takes nearly
twice as much bromide of potassium to do the same restraining work as
any given quantity of bromide of ammonium. It will be seen that the
difference is much greater than the different weights of actual bromide
contained in the same weights of bromide of ammonium and bromide of
potassium.
After a somewhat random set of experiments, conducted to decide on
the best line? to work on, more systematic experiments were undertaken^
I here give the results of the most interesting of these, not by any means
necessarily in the order in which they were carried out.
In all cases the temperature of the developer was kept at as nearly
65° Fahr.
A.
The instructions were : —
" All plates to be developed with a developer containing two grains
pyro, twelve grains carbonate of soda, and twelve grains sulphite o
soda."
" One-half of each plate, to be marked 'A,' to be developed withoat
bromide, till the last figure is distinctly visible, till there is fair density,
but development to be stopped before there is distinct fog."
" No. 1. Develop the B half with a developer containing one-half grain
of bromide of ammonium per ounce, but stop when strip 2 only is of the
same density as strip 1 in the A half."
" No. 3. One grain of bromide of ammonium to the ounce, stop-
development when No. i only is of the same density as No. 1 in the B-
half."
" No. 6. Eight grains of bromide of ammonium to the ounce, stop
development when No. 7 only is of the same density as No. 1 in the A.
half."
There were intermediate numbers, and also numbers np to and inolnding
No. 8. I select, however, and send you the results of these three only, as
being typical.
These were exposed to the large lamp, and the results must be taken
as illustrating those of over-exposure. In the case of all other results
sent, exposures were to the small lamp.
It will be seen that, in the case of No. 1, the density of the first few
strips is, to all intents and purposes, the same in A and B, but that the
density rises, after a little, more rapidly in B than in A. Farther than
this, tlie opacity reaches a maximum at about the ninth or tenth strip in
the case of the half A, whereas it keeps increasing till nearly the end of
strip B. At the end the opacity of B is much greater than that of A at
any part.
It will be seen that the compensation for over-exposure here has been
considerable, and that the curves, both of density and of opacity, cross
each other, so that the density ratios are changed.
In No. 3 the same thing is to be remarked, and, besides that, the first
strip or two of B are less opaque than the corresponding strips of A.
Here there is greater compensation for over-exposure, and the curves of
both density and of opacity cross each other, so that the density ratios
are changed.
In No. 6 the same thing is to be noticed, with the complete suppression
of the first four, and nearly the complete suppression of the next two
strips of the B side. It must, however, be explained here that intensifi-
cation was resorted to. The reason for this was that, with the large
quantity of bromide here mentioned, corresponding, say, to fifteen grains
of bromide of potassium to the ounce, the image was white by transmitted
light. I mean the deposit. It had no printing value at all, and I had
not time to discover even if it was of silver. At any rate, it blackened, or
rather browned, under intensification. It will be seen here that, at any
rate, the curves of opacity cross, and that the opacity ratios are very
much changed. This is, however, by the use of an intensifier. The next
plate, with double the quantity of bromide in the developer, showed the
same peculiarities even more strongly than the last, and it was found im-
possible even to " brown " the image.
July 21, 1893]
THE BRITISH JOURNAL OF PflOTOORAPHY,
468^
A great number ot expertmenta here intervened, having for their object
the invcHtigntion of the effects of varying the quantity of pyro as well as
that of the restraining bromide, and also to discover to what extent com-
pensation tor variation in development can be carried by combined varia-
tion in the developer with the after-application in the intensifiers. The
results of all these experiments being summed up in those got with
ammonia as an alkali (the experiments just referred to were all carried
on with carbonate of soda), I therefore prefer to leave them out, as the
recounting of them would be tedious, the more especially as I found the
results, in the matter of compensation for variation in exposure, much
better in the case of ammonia than with soda, in great measure on
account of the whiteness of the deposit with soda, when much bromide
was used, that has been already mentioned.
A set of experiments was now made to compare what I have called the
" normal pyro and soda developer," in its results, with those of pyro and
various proportions of bromide and ammonia. As I have said, I came to
the conclusion that, vary the ammonia developer as I would, I could not
get out as much witli it as with soda without fog, and it is to be observed
that the advent of fog is the limiting line of the action of any developer.
The developer that is the most powerful reducer is not by any means of
necessity the most efficient developer. It is that developer that can
differentiate the most between bromide of silver that has, and that has
not, been affected by light that is the most efficient.
B.
This series of experiments is intended to show the power of varying
the effects of a uniform exposure, in a manner that would correspond to
compensating for variations in exposure, with the ammonia developer,
varying the quantities of each of the three constituents, and intensifying
in certain cases. I think these experiments are conclusive as to the
enormous control that we have over ouc results by variation in develop-
ment.
The instructions wore : —
" Develop aU halves A with a developer containing half a grain of pyro,
half a grain of bromide of ammonium, and two and a half minims of
ammonia to each ounce. Develop either till slight fog shows itself or till
all action has, for some time, ceased."
" Develop all halves B with a developer containing four grains of pyro,
[four grains of bromide of ammonium, and four minims of ammonia to
[each ounce."
(It is to be observed that these quantities had been determined on from
[the results of previous experiments. )
" No. 168B, restrain one figure (i.e., stop development when the density
t No. 2B is the same as that of No. lA)."
" No. 169B, restrain two figures {i.e. , stop development when the density
' No. 3B is the same as No. lA)."
"Noa. 170, 171, and 172B, restrain three figures."
" Nob. 173, 174, and 175B, restrain four figures."
" Nos. 176, 177, and 178B, restrain five figures."
" Nos. 179, 180, and 181B, restrain six figures.",
" Nos. 182, 183, and 184B, restrain seven figures."
"Intensify Nos. 171, 174, 177, 180, and 183 with bichloride of mercury
KoUowed with ammonia."
" Intensify Nos. 172, 175, 178, 181, and 184 with bichloride of mercury,
ollowed by sulphite of soda."
Prints from the whole of this series are sent. It should be remarked
bat, in making all prints from these long sensitometer-exposed plates,
he effect of fog is, so far as possible, eliminated where it is present, by
hading the unfogged half of the plate during development, so that the
DOst transparent part of each half is, as nearly as possible, represented
' the same tint.
It will be seen that, except in the case of No. 182, the curves of opacity
Bore or less distinctly cross. Tlie meaning of this, in the particular
ase referred to, is that, whereas the first strips of the A halves show
ater opacity (and consequently print lighter) than the corresponding
rips of the B halves, the last strips of the A halves show less opacity
land consequently print darker) than the corresponding strips of the B
halves. In many cases the first strips of the B halves are not visible at
all, whilst they are even printable in the A halves ; nevertheless, the
opacity of the last strips of the A halves is greater than that of the B
halves.
It will be evident that, even in the case of No. 182, the curves of
opacity would cross were the gradation of light longer. On account,
however, of the fact that seven strips have been restrained in the case of
B, the gradation of light capable of giving a developable result is only
1 to 128 in B, as compared with 1 to 8192 in the case of A.
Certain irregularities will be readily noticeable in these results. They
arise from the difficulty in following exactly laoh instmotions as ■• re-
strain 4, 5, or 6 strips." On this account (he whole system of compen-
sation in development, for variation of exposure, and of varying the
results with constant exposure, may be condemned by some. I shall
only remind those who incline to do so that it is always a diffionlt matter
in photography for even the most skilled to get the exact result they
wish.
I considered that the last set of experiments described indicated powers
to compensate, in development, for exposures varying as one to con-
siderably more than 100 without resort to intensification, as one to
several hundreds having resort to intensification, hence experiments to
be described presently.
C.
These experiments were undertaken as introductory to a set of experi-
ments witli the ferrous-oxalate developer. The instructions were as
follows : —
" Prepare a saturated solution of oxalate of potash, and another of
ferrous sulphate (each at a temperature of 05° Fahr.), and make each acid
enough, with sulphuric acid, to turn litmus paper quickly red."
" Develop all A halves with normal pyro and soda developer."
"Plate No. 17B, develop with one part iron solution to three parts
oxalate solution."
" Plate No. 18, one part iron solution to four of oxalate."
" Plate No. 19, one part iron solution to six parts oxalate."
"Plate No. 20, one part iron solution to ten parts oxalate."
" All plates, both A and B, to be developed either till slight fog appears,
or till all action seems to have ceased for some time."
One result of these experiments is to show the very slight difference in
the action of this developer, by variation in the ingredients, except in so-
far as time of development is concerned. As the developer becomes
more diluted, the opacity throughout is slightly increased ; but this is
really because the fog point came comparatively earlier with the concen-
trated than with the dilute developers, and in each case development with
oxalate had to be stopped because the fog point was reached.
Another thing it shows most strikingly is the inferiority of ferrous
oxalate, at any rate without the addition of bromide, in the rendering of
gradation. A print from plate No. 18 is sent to illustrate this. It will
be seen that, in the half B, the greatest opacity is reached at about the
eighth strip, after which reversal takes place, whereas in the case of the
half A (pyro-developed) opacity increases nearly to the end of the line.
Here both the opacity and the density curves cross, and the density ratios
are not the same.
D-
" Develop all halves A with ' normal pyro and soda developer.'"
" AU oxalate developers to be made up of one part of the iron solution
already mentioned to four parts of oxalate of potash solution."
" No. 87B to be developed with the above normal ferrous oxalate solu-
tion, without bromide, till slight fog appears, or till all action appears to
have ceased for some time."
" No. 88B to be developed with ferrous-oxalate developer having one
grain of bromide of potassium per ounce. "
" No. 89B to be developed with ferrous-oxalate developer having two
grains of bromide of potassium per ounce."
" No. 90B to be developed with ferrous-oxalate developer having four
grains of bromide of potassium per ounce."
" No. 91B to be developed with ferrous-oxalate developer having eight
grains of bromide of potassium per ounce."
" No. 88B to have one strip restrained."
" No. 89B to have two strips restrained."
" No. 90B to have three strips restrained."
" No. 91B to have four strips restrained."
Prints are sent of the results of all these exposures. It will be seen i
that, by stopping development before it is complete, in cases where
bromide has been added, we have the power of compensation for varia-
tion in developing, or of varying the results of constant development, as
in the case of the pyrogallol developer, though I am not prepared to say
that the curves of either opacity or density actually cross in the cases
ander consideration.
E.
So far all experiments described have had for their object the alteration
of the results with fixed exposure. The next experiments were intended -
to investigate to what extent it was possible to get identical results witii
varying exposures. It was decided to rely on exposures In the cameri
for this, although some preliminary experiments were made with the.-
sensitometer, using the long plates of glass.
464
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[July 21,1893
It was soon found possible to produce, with exposures varying as much
as ten to one, or even twenty to one, negatives so nearly identical that
■they were both pronounced, by experienced photographers, good negatives,
neither over nor under-exposed, and that, moreover, were of such a nature
that these photographers would not undertake to state which of the two
negatives had had the longer exposure.
This was not enough, however. The experiments already described
indicated the possibility of compensating for a variation of at least one to
100, and an attempt was made to systematically investigate the variation
in the developer that was necessary to compensate for a given variation
in exposure.
In the first place exposures were made on a well-lighted landscape
•varying in the ratios of 1, 2, 4, 8, 16, 32, 64, and 128, and attempts were^
made to discover the variation in the constituents of the developer that
would give similar results with all these exposures.
For various reasons it was decided to keep the quantity of alkali— for
reasons already stated ammonia was preferred — constant, whilst the
quantities of pyro and of bromide were varied.
The first thing to do was to find the best relative quantities of pyro
ammonia, and bromide for the production of a normal negative by a
normal exposure. A normal negative I can only define as the kind of
negative that an experienced photographer wishes to get. This, I con-
sider, must remain a matter of opinion or even of taste. A negative with
-opacities directly proportional to the light reflected by the different parts
■of the subject would be a perfect negative (apart from the rendering of
■colour values) if all printing processes were such that different parts of
prints made by them reflected quantities of light proportionate to the
■opacity of the negative. This is not, so far as I know, the case for any
printing process through any great range, and is far from being so in the
■case of many of them.
There is a still farther objection to the above definition of a perfect
negative, namely, that no plate that is made has the power of producing
such a negative with ranges of light nearly as great as are common in
landscape work. We must of necessity make up our minds to sacrifice
something either of the shadows or of the high lights, and it is purely a
matter of taste which we prefer to sacrifice. A close examination of the
photographic pictures recently sent from the Camera Club to Japan, for
-exhibition in the latter place, and representative of the most artistic work
done in the Occident, seems to show me that workers of the most
advanced school tend to turn out work that would have been spoken of as
■" under-exposed" some few years ago. That is to say, they see fit to
abandon that so-called " golden rule " — in any way supremely idiotic —
■" take care of the shadows and let the high lights take care of themselves,'
and often, at least, prefer to sacrifice something in the shadows for the
'.sake of the high lights.
Normal exposure I shall define as the shortest exposure that will give
the negative that the photographer wants to get. Normal developer
might perhaps be defined as the best developer for producing this normal
negative with normal exposure, but it looks rather like giving definitions
in a circle.
Let me state here, parenthetically, that the prints you are to see just
now are not by any means from negatives of the kind that I like to get.
The negatives are altogether too hard. This was because I assumed that
^be developer that was " normal " for certain quarter-plates that I had
>been using would also be normal for 12 x 10 plates of the same brand, but
A different number. This was not so, however. Of course I ought to
have repeated the experiments, but I had already exposed over a gross of
12 X 10 plates, besides innumerable quarter-platea, and the time was
getting short for putting my material in form, so I let the negatives slide
as illustrating my point quite well enough.
To return, however, to the plates exposed in the ratios mentioned above,
the ammonia was kept constant, and various multipliers of bromide and
ammonia were tried for each doubling of the exposure.
My first impression was that the bromide ought to be increased in a
rapider ratio than the pyro, but this seemed to be a mistake. It appeared
'that better results — that is to say more uniform— were to be got by
increasing the pyro and the bromide in the same ratios.
At first I tried using half as much again more pyro and bromide for
■each doubling of the exposure, that is to say, multiplying the quantity
■of pyro and of bromide each by f for each doubling of the exposure. It
was found that with this increase of the quantities of chemicals mentioned
rthe contrast increased greatly with the increased exposures, and the
negatives from those that had had the longest exposures appeared actually
>nnder-exposed as compared with those that had had the shorter
exposures.
Next was tried using one -third as much again more pyro and bromide
for each doubling of the exposure, that is to say. multiplying by |. The
result was the same as in the last case, but to a less marked degree.
This entirely knocked on the head a theory I had formed that the proper
multiplier was probably ^2.
Next was tried using one-fourth again more pyro and bromide for each
doubling of the exposure, that is to say, multiplying f . It was found
that tliis multiplier was somewhat too small. That is to say, the nega-
tives that had had the longest exposures were thinner than those that had
had the shorter. The falling oft in density was not, however, perceptible
through the first five negatives.
It is evident that the proper multipliers, if a constant multiplier is
what is correct, and it is evident that such is very nearly being the case,
must lie somewhere between J and J, or IJ and IJ ; between, that is, 1'2
and 1-25. Let us say it is 1-3, the thing might be put in the form of an
equation, as follows : —
Let C = quantity of pyro (or of bromide) used for right exposure.
Then, if exposure = 1 Pyro = C
= 2 •,, = C X 123
r, „ = 4 „ = C X (l-23)»
„ = 8 „ = C X (1 23)3
„ = 16 ■... „ = C X (1-23)*
„ = 32 , = C X (l-23)»
. r„ „ = B „ = C X (l-23)»
■ ■ I When 2n = E
Therefore, n = ;=|^f
logJE
.-. Pyro = C(l-23)i»K.a
1
Then, since (1-23) '"s- ^ = 2
Finally, pyro = C x (2)1''8-e
From which equation a curve, or a table, might be made for practical
use. •
This law is, at least, approximately true for several brands of plates,
for sundry initial variations of developers, at least, within limits of the
normal exposure, and this multiplied by 100 or so.
Your attention is now asked for a set of prints from negatives that have
had exposures varying as 1, 2, 4, 8, 16, 32, 64, and 128, the same brand
of plate being used, and the exposures being made about mid-day — as a
matter of fact, from a litUe before till a little after, as quickly one after
another as was possible, the weather brilliantly clear.
I should like to know if any one, seeing these prints, will undertake to
place them in the order of their exposures. I cannot myself. I cannot,
in their present form, even tell which is the first and which the last.
They are, however, cut from 12 x 10 prints, and it was pointed out to me
by a very " cute " friend — he ia from the United States of America— that
it was possible, in the original condition of the prints, to tell the two that
had had the longest exposures, on account of the effect of the motion of
the overhanging branches of a tree that gave a little beauty to the other-
wise very uninteresting little bit of landscape — uninteresting, unless it
may interest some old friend to know that the vehicle in the foreground
(put there to get a bit of really dark shadow, to help the judgment in
development) is that in which his humble servant is ignominiously
trundled about the streets of Tokyo by a blue-coated, bare-legged oooUe !
I cannot tell the first six negatives one from the other by inspection,
but the last two I can tell from the others, and from each other, on
account, not only of the yellowness of the image, but on account also of
a yellow deposit (I do not know what else to call it) in the shadows, or
rather, all over the plate, including those parts of the plate protected by
the rebate of the printing frames. This discolouration is one of the only
two reasons that I know of why compensation for variation in exposure
should not be indefinite. It makes the time taken for printing very long.
I have, in experiments with quarter-plates, got results without this stain
and objectionable colour of image, with exposures varying more than
those mentioned, and thought, at one time, that I had got to the bottom
of the matter. I find, however, that I have not. Its appearance is un-
certain. Perhaps it is due to impurity in some one or more of my
chemicals acting for a long time. I somewhat suspect the sulphite I am
using.
Another reason why compensation must be limited in practice is the
outrageous length of time that development takes when the exposure is
much above normal, and is compensated for by variation in the developer.
The plate of the eight, from which the prints that are shown were made,
that took the longest exposure, took two hours to develop.
It may be urged that the prints are not identical ; it is quite true that
they are not. I only point out that there is no uniform variation, and
remind you how very diflicult it is to make even two really identical
July 21, 1803]
THE BUITISII JOUUNAL OF PHOTOORAI'IIY.
466
negntives (assnmini; that the conditions are such that it in possible), if
■only one factor varies, say, the rapidity of the plate. I should like to see
any one malie eight identical Degatives on eight plates, varying in sensi-
-tivenesB as 1 to 128 at the first attempt, and it must be borne in mind
that this vas the first experiment made after I had concluded that tite
formula given above represented approximately the variation in developer
necessary, that the brand of plate used was somewhat dilTerent from any
we had been using before, and that the only instructions Mr. Arito had
were, " Use these developers for the different plates, and make eight
negatives as like each other as you can." I am sure it would have been
possible, by several trials, to get negatives practically identical.*
As to the actual developers used, I must confess that to avoid the
trouble of multiplying the quantity of pyro and of bromide by a much
awkward fraction, 1-23, which I had not then arrived at, for each incre-
ment in exposure, or of integrating from the initial quantities, by the use
of a table of logarithms, I multiplied in the first three cases by four-
thirds, in the last four by five-fourths, the result being not much different
from what would be got working by the actual formula.
The nearest quarter grain and, towards the end, the nearest half grain
■was taken in every case.
The following were the actual developers used : —
r
L
16
32
64
128
Pyro, 3 grains,
Bromide of ammonium, J grain,
f Pyro, 4 grains.
I Bromide ammonium, 1 grain,
f Pyro, 5 grains.
X Bromide ammonium, 1^ grains.
I Pyro, 6 grains.
) Bromide ammonium, IJ grains,
j Pyro, 8 grains.
\ Bromide ammonium, 2 grains.
!Pyro, 11 grains.
Bromide ammonium, 2} grains.
fPyro, 14 grains.
Bromide ammoniam, 3^ grains.
j Pyro, 19 grains,
j Bromide ammonium, 5 grains.
>
B
a
o
P
to
3
a'
i'
The sulphite used was only five grains per ounce in the first six cases,
ten in the last two. The reason the quantity was kept so low was that,
with the long times of development necessary in the case of the longest
•«xposure8, the plates were found to partly fix out before development was
■over if the sulphite were kept at four or five times the quantity of the
pyro. I do not yet know whether this was due to impurity of the sulphite
I -or not.
The exposures actually given were as follows : —
ins.
Sees.
14
3
6
13
2i
48
1
36
3
12
They were made by myself, by the aid of a stop watch, with such care
I Tis I am capable of. There may be an error of a fifth, or even perhaps a
quarter of a second, in any one of them, but I think not of more. It is
\ "true that this amounts to a considerable percentage in the case of the
-shorter exposures ; but the error is as likely to be in one direction as in
I the other, and, is any case, it leaves the range of exposures as one to fully
I « hundred.
In a sealed envelope, wliich I hope will not be opened till any who have
{ liad patience enough to listen to this paper as far as this point have tried
I to put the prints in their proper order, are given numbers corresponding
to letteis on the backs of the prints. It is to be understood that No. 1
orresponds with the shortest exposure, and so on.
Conclusion.
1 hope I have proved by these experiments thai we have power both
I to vary in development the results of uniform exposures, and to com-
* The print marked ** 9 " on the back was from a neKative that had an exposure the
j same as the longest of those mentioned, and that was developed with the first of the
I •developers ^ven. It was removed from the developio}? dish ns sooa as marked fog
I Mt in. Another plate was exposed for the same length of time, and was developed iu
> the same developer, bnt was given the same time in the solution that hjid beea
[ veoeesar; for the plate that bad an exposnre of one and a half seconds— namely,
J fire minates. The resnlt is almost complete blackness, but with some reversal. If
I ^here were a week to spare, and certainty of sunfbine all day long on everj day, I
^ «hoald make a print from this negative too.
pcnsate for difTcrences of exposure. I should not have thought it right
to trouble you with so long a paper on the matter, but that the possible
variations, and the possible compensations, have proved so much greater
than I imagined them to be, and so much greater thin they are, I think,
commonly supimscd to be.
It will be seen that throughout these resalts, in bo far as they consti-
tute change in ratio of gradation, are brought about only by stopping
development at certain stages before it has gone as far as it would go. I
doubt if it is possible to change gradation of density or of capacity at all,
if development be carried as far as it will go. At any rate, the change
that can be effected is but slight. This is leaving out of the ({uestion the
reaching of, or approaching to, a maximum possible density.
When some twelve or thirteen years ago I stated that " bromides
restrain both the increase of density, and the increase of detail, bat the
former to a less degree than the latter," I believe I stated, in somewhat
crude language, the reason why it is that bromides in the developer give
us the power both of varying our results with constant exposures, or of
compensating for varying exposures.
Before that time, if I remember rightly, I had found, to my own
surprise, that it was possible, if only time were given, to bring out the
same figure on plates exposed under the Wamerke sensitometer, however
great the quantity of the bromide added to the developer, within pretty
wide limits. The results of these experiments were communicated to
The British Journal of Photographv in one, or I think more than one,
article that I have not access to here, and were, I remember, discussed
at the rooms of the Society of Arts, probably before the South London
Photographic Society.
After that, a more elaborate set of experiments was made, investigating
the results of varying each of the three ingredients of the alkaline
developer, the results being communicated again to The British Journal
OF Photoqraphv, aad the actual plates being handed to the Camera
Club, after that institution had been founded.
The results of these experiments are referred to by Mr. H. J. Channon,
in a very interesting paper in the International Annual for 1891, p. 25.5.
I also received much information from this gentleman, and various
papers, all of which courtesy has, I fear, passed unacknowledged, for which
omission I crave forgiveness.
I have given the results of only a fraction of the experiments that
intended to describe. These include the comparisons of the effects of
hydroquinone, eikonogen, rodinal, amidol, and "cristalos," using various
alkalies, or, in some cases, none, with what I have called the " standard
pyro and soda developer ; " but this paper has grown to such an uncon-
scionable length, that I must leave the results of these experiments to
some other communication, or to limbo.
I wished to say something about Messrs. Hurter & Driffield's method
of determining the sensitiveness of plates, but shall merely now say that
it seems to me by far the nearest approach that.has yet been made to a
perfect means of determining the sensitiveness of plates, taking into
account, as it does, the useful densities, instead of the faintest detail, as
heretofore — yet not perfect. The reason why I consider it not perfect
will be understood from the objection that I have to any definition of a
perfect negative that has yet been given, other than that negative thAt
appears perfect to the man who makes it, the assumption being that he is
a man of skill, and of something more, and knows what he wants
eventually to produce, to wit, a picture.
I wish, finally, to express my gratitude to my colleague, Mr. C. D.
West, M.A., Mr. K. Arito, and Mr. 0. Kondo, for their invaluable as-
sistance in all the experiments described.
I'.S. — Just a word about there-reversal that we read of as arising from
very prolonged exposures. I have tried to get this often enough without
success, and determined to make a supreme effort this time. The long
sensitometer was used, and plates were exposed to the full blaze of
sunshine Ifor times from quarter- second to 34 mins. 8 sees. There was
not a trace of reversal, developing either with pyro or with ferrous
oxalate. This correspouds to an exposure in the camera, to a brilliantly
lighted landscape for many days, with the conditions as they common^
are. I think that, if it is possible to prove a negative, these experiments
prove the non-existence of reversal in the ease of gelatine dry plates. I
should like to know of any one who has had actual experience of re-
reversal in the case of gelatine dry plate.', or of any other plates, for the
matter of that.
Bhiurks on Professor Burton's Paper dt Mb. H. M. Bldeb.
A ORKAT many of Professor Burton's earlier remarks seem to be due to
the unfortunate confusion caused by the special meaning given to the
word " density " by Messrs, Uurter & Driffield. His opinion as to the
range of gradation commonly met with in camera work differs very
4C6
THE BKlllttH JOURNAL OF PHOTOQRA.PHY.
[July 21, 1893
largely from that of Captain Abney, who, at a meeting lately held at the
Camera Club, said that as a rule this range did not much exceed inten-
sities of light in the ratio of about thirty-three to one. In the example
quoted at the time, it was asked what was the ratio of the light reflected
by the white and black in the case of a figure draped in black velvet with
a white shawl. t, .
Passing on. however, to the main object of his paper. Professor Burton
has abundantly proved in a qualitative manner that the ratio of gradation
in a negative is dependent on the time and method of development,
and his numerical formulic for the strength of pyro developer to
compensate for increased exposure is a very interesting one. It
seems, however, that a mere qualitative proof of this fact is not of
very great importance, except in so far that it will tend to reassure
those photographic weaklings who have been frightened by Messrs. Hurter
& Driffield's much-misunderstood paper into disbelieving the evidence of
their own experience. What would seem now to be wanted is a complete
quantitative investigation of the whole problem. It is, of course, a long
and laborious task, but it may be lightened by working systematically at
it. I would point out, that from Professor Burton's paper it is almost
impossible to really repeat his experiments, since certain important
factors are left almost unnoticed. The prints themselves, as the author
has pointed out, show many irregularities, and this was inevitable from
the method of work. It is easy to see that in the feeble light of the
developing room it is a sheer impossibility to carry out such instructions
as were given to Professor Burton's assistant with any certainty, and I
think that it speaks very highly for Mr. Arito's care and ability that the
irregularities are not more marked than they are. Then, again, it is
impossible to draw any very definite conclusions from mere inspec-
tions of negatives and prints. It is an absolute necessity, in
carrying out such work as this, to make actual measurements
of the transparencies of the resulting negatives. No doubt, if
Professor Burton had done this, the irregularities would have been
more marked than they are, for it has been pointed out again
and again, by Captain Abney and others, that the eye is utterly untrust-
worthy as a measuring instrument by which to judge of the density of a
deposit on a photographic plate. If there is any truth in a formula
which I put forward at the Camera Club Conference of the present year,
to represent the action of light and development upon a photographic
plate, it ought to be capable of accounting for such results as those of
Professor Burton's ; and, if any one will take the trouble to examine
the effect of varying the two constants that depend on development in
this formula, I think it will be easily seen that it will account in a large
measure, and, I believe myself, entirely, for these results, and that even
the complete formula of 'Messrs. Hurter & Driffield fails to do so.
Professor Burton's paper is an interesting and very valuable one, and
would have been far more so if he had not trusted so much to human
judgment, both in making his experiments and in interpreting the
results. By this I mean, what is wanted is a series, and a long one,
of definite experiments on plates definitely exposed, developed in deve-
lopers of known constitution for known times (not until a certain appear-
ance most difficult to seize is shown), and then measured carefully, so
that the results can all be numerically expressed.
OUR PICTOEIAL FAILUBES.
By the Ekv. F. C. Lambert.
Let me commence my remarks by a confession. In a moment of
vanity I was induced by the irresistible suavity of the Hon. Secretary
to promise a paper for this meeting on some art topic. Little did I
then think how difficult it would be to find a suitable subject. Thns
once more the old saw is illustrated, " Pride goeth before a fall.' At
the moment of my rash promise I had failed to realise the numerous
conditions of the case ; and thus more time than I care to tell has been
consumed in search of a subject — in a way, too, that has made me feel
the force of one who describes his fruitless chase after a certain all-too-
familiar, but unmentionable, insect. " No sooner you put your finger on
him, but he isn't there at all, and the reason of that same is directly you
catch him you miss him." Thus, again and again have I thought I had
hit upon something new, only to find it not true ; or again on something
old and true, but so very conventional that it could no longer be held to
interest a conventional gathering. Or again, if a subject presented con-
ventional and convivial features — for the two are in our case somewhat
closely akin, if not interchangeable terms— then I grasped it, only to find
it was neither new nor true. Hence I reach the crux of my apology. In
our " failures," we each may hope to find some conventional, i.e., extenu-
ating or mitigating, circumstances. Our failures are, alas ! only too true ;
their truth is only too deeply driven home by their painful frequency.
And yet the cloud has a silver lining. Our failures are ever new ; their
newness and freshness has all the doubtful charm of being very much
" up to date."
I shall presume that most of us when visiting a photographic exhibition
have at least two objects in view : Firstly, to see and as faras possible
enjoy the work of others ; secondly, to gather hints and information from
the work which has most favourably impressed us. The second of these
only concerns us for the present moment.
I venture to think that I am speaking for many others as well as myself ^
when I say the general impression, after visiting an ordinary photographic
exhibition, is one of failure rather than success. To put the matter in
other words, the number of pictures that one thinks about afterwards, or
would care to possess for constant companionship on the walls of our living
rooms, is exceedingly small. Would half a dozen out of every hundred
exhibits under or over-state the mark ? Leaving a liberal margin for per-
sonal taste, the nett result is that the majority — a saddening majority —
are, if not failures, certainly not definite successes. There must be some
grave reason for so significant a conclusion. Nor should the inquiry fail
to interest, stimulate, and add to the value of the discussions of this
gathering. On this point I would suggest the following points as being
contributory in varying degrees to the general product of non-successes.
The free discussion of the topic, whether leading to rejection or aeeeptanoe,
cannot fail to draw some attention to the subject, and hence tend to
diminish the number of failures. But I am not without hope that the
results may be distinctly positive and fruitful in producing a greater
number of distinct successes.
Some suggested reasons of our pictorial failure : —
1. The Commonplace. — I venture to put this first because it seems to
include — in somewhat free-and-easy terms, I admit — the majority of the
nnremembered. This includes the characterless many, who neither please-
nor pain — everything about them, selection (save the mark! ), exposure,
printing, mount and frame, are simply " middling." Hence we are utterly
indifferent as to their future fate. Why are they entirely lacking in
interest, in the general absence of any positive conspicuous defect, you
ask ? I reply, the worker in his so-called selection has exactly failed to
select. He has taken things as they are. Selection surely implies rejec-
tion as well as acceptance. In the cases before us it has been all ac-
ceptance and no rejection. Nay rather, may we not say that the general
tendency, where it shows any thought at all, points to over-crowding
rather than selection ? Perhaps collection would be a better word. The
" art of leaving out " in many cases, if known, is sternly ignored.
A large element in the commonplace is the presence of so much which
is utterly unessential, immaterial, uninteresting, and hence discursive and
generally weakening. It acts like a diluent. A teaspoonful of the best
and ' purest and strongest whisky would have but a poor chance in a
gallon of the purest agua-puminhus, negative and innocent as that diluent
might be.
2. Next oomes Indefiniteness. — By this I do not refer in any way to the
method of producing the out-of-focus or so-called fuzzygraph method of
working. The indefiniteness here indicated is that due to lack of definite
aim or intention. This is the man who " aims at nothing and hits it."
We are assisted to recognise this class of work when it appears with
such delightfully bewildering and vague titles as " a study," " a nocturne,"
" an effect." The only, if any, effect generally produced is that of bewil-
dered inquiry, or perhaps a reminder of some recent puzzle picture sub-
scribed, "Find the dog, the policeman, and the baby."
Impressionism may be all very well in its proper place, provided always
that the artist has an impression and some reasonable power of express-
ing it. But if the would-be-impressionist desires to snatch applause by
feeble imitation, or shelter his incompetence under vague titles, then he
is in no way a true friend to the progress of photographic art.
The third place maybe assigned to the defects duetoimifafwH. The old
saw which says that "imitation is thesincerest form of flattery " requires-
its "teeth setting" more in a line with actual fact. Experience seems to
show that it is only those seeking spurious greatness in the cloud of dust
they raise who find any acceptable flattery in the mimicry of a tail of
followers, who, in turn, having no ideas of their own, arc ready and
willing to accept such ideas of their leaders as require the least, if any,
effort to assimilate or digest.
It may well be doubted if any one who has thoughts, methods, or ideas,
of his own of any real value would accept on any terms the fulsome-
flattery of brainless imitation.
Would Shakespeare, Milton, or Tennyson, Reynolds, Constable, or
Turner, have turned aside one hair's breadth to win a following of those
who at best could only accentuate the defects of their leaders, and dilute
beyond recognition their choicest merits. We may look, and look in vain
for any great artist in form, colour, song, or stone, who has wrought hit
way to lasting greatness by imitation, sueh as is not altogether unknown
by those who are eager to be dubbed photographic artists. Earnest, con-
scientious, and laborious study and analysis of the greatest works of the
greatest men is no doubt of inestimable service to those who aspire to be
July 21, 18)3]
THE BRITISH JOUKNAL OF VriOTOGRAPHY.
407
tlieir compeers, but true atudy points to principles rather than rales,
results rather timn methods. The student will be as anxious to avoid
the semblance of imitation as he is desirous of reaching, if not outstrip-
ping, the triumphs of the masters who inspire him, at the same time
there will be an equal anxiety to make his work his own beyond the
chance of merit it may possess being suspected of having been filched, or
even borrowed, from the work of another. Much has been said, some-
times with truth and sense, and sometimes otherwise, on the subject of
schools in photography. Tlie pages of the history of painting teach us
that " fchooU " are not to be manufactured at the whim and fancy of in-
dividuals. The causes at work were deeper-seated and more fruitful than
■the passing popularity of an eccentricity or novelty. Furthermore, this
difference tietween painters and photographers seems to lie on the surface,
■whereas among the schools of painters each and all profess (and practise
with varying degrees of truth) to study in and appeal to nature — each
school professing itself to be a more faithful exponent of nature than
the others, and in that sense all are impressionists — while, on the other
t^and, photographers with an equally charming candour, one and all pro-
fess to study in and appeal to the same great school, nature ; yet it would
seem as though not a few were content to have their seeing and thinking
•second-hand, since by their productions, their efforts show an industrious
Rand not always unsuccessful effort at imitating the productions of each
Pother.
4. An inversion of the means and tlie end must be held in part respon-
sible for some misspent energy. An all-consuming anxiety to display to
pts utmost limits the possibilities of some instrument, the capabilities of
Dme process, is a terrible temptation to many. Microscopic definition,
biting sharpness, topographical precision are phrases that have had their
May and due regard. Tlie transitional phase of differential focus is pass-
Jong into further development of astigmatic distortion, or the suppression
lof definition by diffraction.
In those of an independent or experimental turn of mind, their means
■ may, and do, at times, produce results which are not only extremely in-
teresting, but also have a value as being expressions of a personality, but
the counter- balancing disadvantages come pari passu. No sooner does
one see a success snatched by some pioneer, but it is quickly imitated
and diluted ta such an extent that its virtues, even though few, are
■ignored, while its defects, no matter how many, are each and all repeated
until the unfortunate founder, or leader, of the school is saddened by
" ading that the world only sees his excellencies or his multiplied detects.
The " fatal facility " of production tempts the great unthinking crowd to
nsh headlong down the course of destruction, leaving in their trail
i" wrecks and ruins " of wasted material. Kow do they rush for the
(iotorial crown through /-61 of a highly corrected symmetrical doublet,
now through a pinhole, now it is a spectacle lens, now an astigmatic lens,
laving tried and found wanting any and every lens, and finally no lens
fct all, inspiration whispers, " Try a new printing process." Tnus, from
tiocolate-boxlid polish and gloss to roaghest sand-paper is but a step
I each and every case an anxiety to display the means, rather than use
be means according to the end desired, meets us again and again, and
cconnts for gome proportion of the pictorial failures.
5. Lastly, some small place must be found for the failures due to mis-
Urected rivalry. That a certain picture obtains a measure of notice is
aongh to set some at work to outstrip this picture by some slight advance
lither in subject, pose, lighting, or other method or means employed.
The results of such rivalry must of necessity be unhealthy, as being the
l^ro juct of jealousy and imitation. All thinking art workers are agreed
at the first quality of success is that the work attempted shall be felt
worthy of the effort expended on it for its own sake. In other words, if
man's heart is not in his work, there will be very little art in it.
)bviou3ly, then, where one attempts to imitate and rival the productions
of another, if is not a case of trua affsotion, bat the green-eyed monster
•that is secretly at work.
To sura up briefly, our inquiry seems to point to a handful of causes
lending to produce work which, if not distinctly and definitely failures,
are undoubtedly not successes. Let us go, In imagination, five times
sound the walls of a photographic exhibition. On each journey we shall
weed out such pictures (or rather prints) as show the following short-
•eomings : —
1. The commonplace, due either to overcrowding of entirely extraneous,
■uninteresting, unessential elements. For the most part, if they are not
positively offensive, they are absolutely uninteresting, dull, and character-
less. They are " tlw jeU^-jith order."
2. The indefinite or meaaingleas, that have nothing to say, and say it
■a silent elo-iuenoe. Their result, if any, is ooly to irritate. These are
' tlie pennt/ piizik-card orUnr,"
S. The feeble imitation class, wherein what little excellence (often
dinicult to find) has been obtained by other than honest, straightforward,
individual, and personal work. These we may dub the "petty larceny
ctann. "
4. Means v. end, where the worker is anxious to display bis dexterity
in the use of his tools, perhaps with the hope that, as " fine feathers make
apparently fine birds," so, possibly, artfulness may pass current for art.
Let us call these " llic conjurimi-lrick clann."
5. Rivalry, where one worker endeavours to build a fame upon the
head of another worker ; not because he cares about the subject, but
because he is anxious to try and make himself the larger by ungenerously
belittling another probably more modest worker. As it is not easy to
find a name for these, perhaps we may best pass them over as the
" nameless unirorthies."
Having removed, gently but firmly, the foregoing five siftings, it may
be reasonably hoped that whatever, if any, are now left will have suffered
no loss, but gain rather, by having passed into " Standard Six."
PHOTOGRAPHy AND THE GREAT£BAREIER BEEF.'
Mb. Saville-Kent's work is the outcome of an eight years' residence in
the Australian colonies in the capacity of Inspector and Commissioner
of Fisheries, and he has been fortunate in securing much valuable assist-
ance from scientific and oflicial persons. The scope ofjthe book " is to
render an account, in clear and popular language, of the most highly
attractive subjects, from a commercial and biological standpoint, that
are associated with the Barrier region, and in the former connexion
more especially to indicate the lines on which, through the application of
scientific methods, more remunerative returns than heretofore are to be
realised." It may be explained that the Great Barrier Beef of Australia
is an enormous coral region between Torres Straits and Queensland,
" built up by the direct and indirect agency of soft-fieshed polyps of
multitudinous form and colour, and teeming with animal organisms of
myriad form and hue representative of every marine zoological group."
Necessarily the book is largely, although not exclusively, of scientific
interest, the general reader being here and there kept in mind in some of
the descriptive sections of the volume, while, when Mr. Saville-Kent
comes to discuss the potentialities of the fascinating region he has so
ably laid bare for us, the commercial spirit of the age will find plenty of
food upon which to feed and thrive. After discussing the various theories
as to the formation of the Great Reef, Mr. Saville-Kent proceeds to treat
of and describe its corals, coral animals, and allied organisms ; the pearl
and pearl-shell fishery ; the BCche-de-mer or Trepang fisheries ; com-
mercial oysters of the Barrier district ; turtles and the turtle and tortoise-
shell fishery ; the Dugong fishery ; commercial sponges ; food and other
fishes, &c.
That which imparts photographic interest to the work is a series of
forty-eight large coUographic plates illustrating the text. It is safe to
say that few, if any, recently issued books are more indebted to photo-
graphy for the beauty and technical charm of their illustrations than
Mr. Saville-Kent's splendid volume. The pictures are from Mr. Saville-
Kent's negatives, which have been coUotyped by the London Stereoscopic
Company and Messrs. Waterlow ; and, while paying every tribute to the
undoubted excellence of the originals, we are free to declare that seldom
have we met with such delicacy, fidelity, finish, and studied carefulness
of printing as in the work of the firms named. Views are given of coral
structures of various kinds under natural conditions, of the pearl and
pearl-shell fisheries, the Trepang fishery, anemones, oysters, the fishing
industries generally, marine fauna, Ac. Of many of these illustrations
it is claimed that they represent the first occasion on which the camera
has been employed for the systematic delineation of such subjects. It is
only at rare and uncertain intervals that the reefs are uncovered to the
extent in which in many instances they are here depicted. Two of the
illustrations show Mr. Saville-Kent with his camera, the lens of which is
pointed to the object contained either m a small pool or in an improvised
aquarium in a bucket, with other objects of interest scattered about. To
employ the camera in this manner, it is fitted in a frame to which the
stand is attached. In addition to the collotype, sixteen chromo pictures
of fishes, i&c, from Mr. Saville-Kent's own water-colotir drawings are
given, these being by Messrs. Riddle & Couchman.
We have no doubt Mr. Saville-Kent's finely got-np work will take
• Th4 Gnat Borrin- S«f of AiutraUa : \l» Produci* and Pi)(«t>al>(MS. By W.
SarlUe-Kent, F.L.S F.Z.S. London: W. U. Alleo k Co. Limited 13f Waterloo-
plaoo, 8.W.
468
THE BRITISH JOURNAL OF PHOTOGRAPHY,
[July 21, 1893
high rank in the library of the biologist, and in contributing to this result
it is pleasant to note that, both in his own camera work and in the re-
productions from his negatives, the part played by photography is con-
spicuously paramount.
i^etos anlJ Botes.
NORTHEBN PHOTOOBAPHIC AND SCIENTIFIC ASSOCIATION. — July 22, Eich-
mond.
Hackney Photographic Socistt.— July 25, Exposvre Meters and Tables,
by Mr. W. F. Feiiton-Jones.
GosronT PHOTOiiHAPHic Sociktv.— July 22, Bishopstoke; leave Gosport at
twenty-four minutes past two, p.m.
Mr. C. Crescknt, of 20, Paternoster-square, E.G., has sent us a small
sample of the "Crescent " sensitised paper, which we have found to be of good
quality.
Photographic Club.— July 2G, CoUndin-chlaride Printing. August 2,
Report of the Convention Delegates. 7 (Bank Holiday), Outing to High
Wycombe.
Mfs.srs. Percy Lund & Co., St. John's-street, Bradfonl, have sent us a
sample of gelatine, which retails at Is. 6rf. p»r pound, which is intended for
collotype work. It appears to be suitable for the purpose.
East London Photographic Society. — August 8, On the Desirahility of
Suitinij the Printinij Process to ihe Negative, with illustrations, by Mr. Bennett.
22, Demonstration upon chloride Printing and Toning, by Mr. Copping.
"Thk Pbinck of Wale's Smilr."— Mr. F. G. Smith, photogrrapher, of the
Quadrant, Richmond, S.W., sends us a cabinet size portrait of the piiiice of
Wales, in which H.R.H. is lifting his hat and smiling heartily in acknowledg-
ment of a salute. The picture is evidently .an enlargement from a small
negative.
Birmingham Photographic Society.— July 2'i, Social Evening. Members
are invited to bring prints and negatives to all the Tuesday evening meetings
when no special paper is announced. 26, Lajt day for sending in photographs
for the Charlecote Excursion Competition.
Photogeaphic Society ok Great Britain.— On July 25 there will be a
Technical Meeting at No. 50, Great Russell-street, when a discu.ssion will take
place on The Use of Uncorrected Microscopic Objectives v'ith Coloitr-correctcd
Plates, Mr. Piingie will introduce the subject, and show specimens.
Messrs. J. Bishop & Co., of 19, Princess-road, Regent's Park, N.W., were
recently honoured with a letter from Princess Victoria Mary of Teck, accepting
a picture, a platinotype enlargement of the Royal Family in Windsor Park,
framed complete, as a wedding gift, and they have just received from the
Duchess of York a letter thanking them for it and saying that it gave Her
Royal Highness great pleasure to receive it.
Mr. W. T. Whitehead, of 7, St. Paul's-churchyard, formerly with Mes.srs.
Downey, Mr. Van der Weyde, &c., is making a speciality of designs for the
backs of card mounts, headings, initial letters, &i'., of which we have .seen many
artistic and tasteful examples. Photographers who may desire to have designs
specially prepared for them could not do better than communicate with Mr.
Whitehead, who also undertakes the working up of bromide enlargements, and
tuition of the Air-brush, in the use of which he possesses a very high degree of
skill.
London and Provincial Photographic Association. — The following are
the arrangements of the London and Provincial Photographic Association
during .Tnly and August :— July 20, Members' Open Night. 22, Outing to
Totteridge Station, three o'clock ; over Mill Hill to Hendon. 22, Less Cvsto-
mnry Ortlwchromatic Photor/rophy. August 3, Members' Open Night 7,
Bank Holiday Outing to High Wycombe. 10, Film Working, hy Mr. W. M.
Barnes. 12, Outing, the Zoo. 17, Delegate's Repoit of the Convention, by
Mr. W. D. Welford. <= i , i
Midland Camera Club.— The first Annual Exhibition of the Club will be
held at the Botanical Gardens and College Grounds, Moseley, Birmingham,
to open on .Monday, October 2, 1893, and close on Saturday, October 14, 1893.
It will be under the patronage of Bight Hon. Joseph Chamberlain, M.P.,
Sir John Jaffray, Bart., Sir Walter Fo.ster, M.P., Sir James Sawver, Right
Hon. Jefte Ceilings, M.P., Austen Chamberlain, Esq., M.P., &c. There
will be clas.ses optn to professionals, amateurs, and manufacturers. Particulars
and entry forms may be obtained of the Hon. Secretary, 4, Woodstock-road,
Moseley, Binninghaui.
"Many people," says Dry Plates for July, "are greatly in doubt as to the
coirictness of the U. end D. methcd of speed readings through a series of
densitits, instead of the last faint indications of deposit in the feebly exposed
liortions of the plate. To them we would ask : Why did speed-testing with
thcWaintrkcsensitometer fail to give even an appioximate indication unless
the last few faint numbers visible were not taken into account? Yet such was
the cafe, and this point generally agreed on. Negatives, as a rule, consist of
a series of densities extending over a considerable range ; surely, then, a
system which rtads through the whole extent of that range must, as a matter
of con.mcn Einse, be the right one, and to the point."
The Convention Exhibition. — In our notice of this Exhibition last week,
the enlargements from negatives by Messrs. Byrne, Richmond, and Messrs.
Cox & Durrant, Torquay, should liave been included among the exhibits of
Messrs. M. & T. Scott, Edinburgli, instead of those of Messrs. 0. Sichel k Co.
A Prize Medal for Beb Slides. — At the Royal Agricultural Society's Show-
at Chester, in Class 345, " The most interesting and instructive exhibit of any
kind connected with bee-culture," a sUver medal was awarded to Messrs.
Newton & Co., of 3, Fleet-street, for an exhibit of lantern slides of bees and
bee-culture, made from negatives by Mr. T. E. Freshwater. We have before
referred to this series of slides as being of great interest, especially to bee-
keepers, &c.
The Imperial Dry Plate Company announce the following awards in the
competitiou for negatives on Imperial plates, which closed June 30 : — First
prize of 4?. 4s. to Mr. F. Cherry, Vice-President North Middlesex Photographic
Society ; second prize of 3/. 3.s. to Mr. P. H. Lamberts, Amsterdam ; third and
fourth prizes are divided between Messrs. .*.. H. Duncan, Glasgow, and F. G.
Heseldine, Leeds. A series of competitions, closing October 30, will be an-
nounced during the month.
Mr. J. Hubert, the well-known photographer, of Mare-street, Hackney, ha
become the editor of the Hackney Jiecord, a small local sheet from which we
extract the following unique obituary notice : — "On Monday, July 3, Mr. ■
was solemnly conducted to his last resting-place, accompanied by thirty-five
carriages, whose occupants ought to feel deeply grateful to the departeil for
having been permitted to don their best holiday attire, and pass in state
through an admiring multitude."
The "Talmer" H.vnd C.\meba.— Messrs. Talmer & Earner, of Blackburn,
have issued an illustrated price list of the various forms of the "Talmer"
cameras which they are now manufacturing. These include hand, stereo-
scopic, field, .and studio cameras. An eight-page pamphlet supplies a clearly
written guide to the use of the "Talmer" hand camera, from which we make
the following extract relative to the means employed to avoid the omnipresent
enemy, dust: — "In most hand cameras the plates are contained in roughly
blackened tin or zinc sheaths, which, during the operation of changing, are
shot up or down, or fall from the vertical to the horizontal, rubbing against
each other, raising an incredible amount of dust, and filling the interstices of
the camera, and finally settling on the jilate. Nor is the amount of dirt
reduced by the continual scraping of tke sheaths against the bare wood of tlfce-
interior, nor by the wear and friction of other working parts inside the body
of the camera. Comprehending these drawbacks, and following the adage that
prevention is better than cure, we have adopted sheaths of thin pen steel of
smooth and dull surface. Being made by special tools, they are absolutely
uniform in size, iind hold plates of any thickness up to register. Tlie inside of
the chamber in which the sheaths are contained is faced with brass plates, the
sheaths and other metal parts work metal agains 'metal, ensuring absolute
freedom from dust and uniformity and certainty in action."
©ur IBlittorial Cai)lt.
Snap-shots at the Convbntion.
J. A. SlNCLAIfi.
The har.d-camera yiews token by Mr. Sinckir at tlio Convention at
once indicate the hand and head of a master — the head to select and
the hand to manipulate. Tliese chefs ctoeuvre of hand-camera ■nork
are printed in platinum. The first to claim attention is a small group,
taken on board the boat the Princess Royal, in which, on the memor-
able rainy Tuesday's excursion, such a large number of members
availed themselves of the kind invitation of the local camera clubs
to visit the Yealm and Tamar rivers. The scene represents the Presi-
dent of the Convention with a surrounding of ladies, to whom he has
been engaged in telling one of his ever-ready, genially funny stories.
The amusement depicted on the ladies "faces shows that the humour of
the story is beirg well appreciated. This, we venture to predict,
will turn out to be one of the most popular of all the pictures taken
during the Convention week. Others represent Holes Hole, a landing-
stage on the Tamar. In this picture the steamer is seen made fast
to the pier to afford the members an opportunity of visiting Cothele-
House, a venerable ivy-clad mansion dating from 148.'), and its very
beautiful grounds. This is the most perfect example extant of the-
Tudor fortified mansion. Sir. Sinclair's collection includes a charming
view of this mansion, which is buried in oak, ash, and chestnut-trees.
Other pictures — for they are pictures rather than mere snap-shot;
photographs — represent Saltash and its famous Bridge, the Pool,
Plymouth, and its shipping. These were all taken with an " Ideal,'^
with a five and a half incli lens capable of focussing.
Walter D. Welfoed.
Mb. Wklfobd is well known ai en expsrt snapshotist, ani hi ha.?-
employed h's hand camera with evcel'ent effect in carryirg away
reminiscences of many humorois ■;r.upings. Ileie we haveagroip of
five members listening to the e'o ^uenc* of Mr. Bir.' Acres, who, witb I
July 21, 1893]
THE BRITISH JOUBNAL OF PHOTOGRAPHY.
469
animation, is adducing reason:) why this scene rather than that other
should be selected for ii short walk out. There is a fine view of
the steam launch and the little flotilla by which the members were
conveyed from Totnes down the Dart to Dartmouth. Another shows
one of the most modern men-of-war at anchor in the Ilamoaze.
Here we have a great concourst; of people assembling on the IIoo to
secure pood places from which to witness the fireworks that are to
be let oft after dark, and there we have individual specimens of the
genu* homo armed with camera and stand, or of ladies with hand
cameras. These are all in Mr. Welford's usual excellent style.
USttHino^ of Sboctette)e$*
MEETINGS OF SOCIETIES FOR NEXT WEEK.
I>»t« of MraUnll.
Name of Society.
Place of Meeting.
July 2*
Abso. Stndio, Nether^te, Dundee.
Jubilee House, Homsey-road. N.
Greyhound Hot«I, Richmond.
Club Room, Colonnade Hotel.
50, Great Russell-st., Bloomabury.
206, Mare-stroet, Hackney.
21
„ 24
„ 25
„ 25
25
Binuintrham Photo. Society ...
Groat Britain (Tochnical)
„ 25
„ 25
Springfield Barracks, Lancaster,
165, Constitution-street, Leith.
» 25 ..
Leith ....
25
„ 25
„ 26 .
Bath
Roy.Ltt.&Sc. Inat., Terrace-walks,
„ 28
Bank Chambers, Hai^reaves-street.
The A.S9eml>ly Room.s, Hipb-road.
Anderton's Hotel, Fleet-street,E.C.
K 26
„ 26 . .
„ 26
.. 27
;: 27 : ;
Halifax Photo. Club
Mechanics' Hall, Halifax.
„ 27
Hall
71, Prospect-street, Hull.
Rooms, 15. Dawson-street, Dublin.
Percy -build ins: s, Klwrle-street.
Champion Hotel, 15, Aldorsirate-st.
The Lyceum, Uaion-street.Oldham.
« 27
„ 27
Ireland
„ 27
„ 27
„ 28
Cardiff
„ 28
Public Hall,George'Street,Croydon,
„ 28
„ 28
"••The Palace," Maidstone.
„ 28
Tenby Hotel, Swansea.
Ohiswick School of Art. Chiswiok.
„ 28
West liOndou
„ 29
Hull
71, Prospect-street, Hull.
i LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
JOLY 13,— Mr. J. S. Teape in the chair.
The Chairman showed results of a recent onting to Fobbing, Essex.
GETTixa Rid ok Halation in a Negative.
Mr. T. E. Fkkshwater asked the best way of getting rid of lialation in a
negative of an interior with a large window.
Sir. P. Everitt would vignette the window in the frame. He had found
the use of methylated spirit unsatisfactory for reducing purposes.
Mr. G. W. Atkins had used emery powder in oil with satisfactory results.
Mr. Fueshwatbr asked whetlier it was essential that the halation should be
got rid of. In the photograph to which he referred he got the window just as
looked in the subject.
The CHAIB.MAN suggested the reduction of halated negatives and workiag
them up with a pencil. He had trietl the ii.se of a knife for scraping away
parts of a negative, and said that it seemed to make tho.se parts much
denser.
Mr. W. E. Debrnhah remarked that varnish restored the parts to their
onlinary density.
The meeting was largely occupied in the .irraugements for outings and
subjects for discu.ssiou.
Hackney PhotogrrapMc Society.— July 11, Mr. R. Beckett in the chair. —
A question was asked, "What is the best way to restore old negatives stained
yellow!" Mr. HuDSONadvised the use of a weak hydrochloric acid bath. Mr.
MooBK thought bleaching with mercuric chloride and redeveloping with ferrous
oxalate better. The Chairman said often stains were caused by insufficient
fixation. A cjuestion was asked as to the approximate exposure for enlarging
on slow bromide. The Hon. Secretarv said there were many things to con-
sider, such as stop, rapidity of paper, &c. If for lantern enlarging with slow
Eastman paper, aperture /■4 for a fairly developed negative, enlarging from a
quarter to 10 x 8. he would give about two minutes as a standard from which
to work. Mr. Harversox had (by daylight) on rapid paper given one minute
witli/-16, enlarging from a half plate to la x 12. Mr. Grant advised testing
by using one piece of paper and giving varying exposures. Mr. NuNN then
read a paper on Rcducliun of Lantern Slides. He preferred always to reduce
his sliiles as grain was lost, and to do them by daylight, as they could be done
much quicker. In developing always be rJean — have clean dishes, fingers, and
filter the develojicr ; dust your plates. He then showed a long tunnel-shaped
apparatus which he used for reduction. When using daylight a white reflector
was placed so as to reflect evenly on negative. Aim at full exposure and full
density ; forciug was a mistake. Clearing was advisable. Mr. Gosling asked
if much advantage was gained by reduction rather than contact, and was
informed that every defect was reduced correspondingly. Mr. I'KNBV asked
whether thin negatives were better tlian dense ones. Hr. NuftR said he had
found them so. The Chair.man saiil copying always sharpened np more than
when in contact. The Hon. Secretary thought Mr. Nunn's ap)>aratus too
cumbemonie, and ailvised a bellows, as it could lie shut up and take lens room.
Aahton-under-Lyne PhotOKrapbic Society.— On Saturday last, July 15, th»
above Society's ramble was to Chew Brook, near Greenfield, with Mr. C. K.
Redfern, .I.P., as lea<ler. The iiarty, consisting of twenty-five ladies and
fentlemen, left the Society's rooms, Henr)'-S(|iuire, a little before two o'dock.
'he day was not very promising, but a good number of plates were expoead,
and the party enjoyed the outing very much.
Leicester and Leic stershira Pbotographlo Society.— July 13.— A nnmber
of the members of this Society went, by siwcial train, to Warwick, where
special permission hail been obtained, through the kind permission of the Earl
of Warwick, to photograph the Castle grounds ; as, however, the party arrived
rather late, the Castle itself was left out of the programme, and the interesting
bits in the immediate vicinity occupied the attention of the members, and
olfered ([uite suHicient work in the quaint buildings and streets, and the river,
and its ancient associations. In spite of the dull weather, some good work wa*
done by time exposures, snap work being out of the question. After the
members had expo.sed their jdates, an adjournment was made to the Dale
Temperance Hotel, the memliers being in fine trim for a substantial tea, after
which they took the train for Melverton station, about a mile from Warwick
proper, and, there fciking the train, were soon at home again, after an enjoyable
outing and a promise to revisit the i)lace and Castle at an early date. The
President, Mr. J. Porritt, was leader of the party, and the next meeting was.
arranged for Belvoir Castle on Saturday, July 29, and the President cordially
invited any members of the sister Societies, who may wish to join the excursion,
to this historic mansion.
FORTHCOMING EXHIBITIONS.
1893.
August * Welsh National Eisteddfod. The General Secretary,
Pontypridd.
Septembers *Royal Cornwall Polytechnic Society, Falmouth. W,
Brooks, Laurel Villa, Wray-park, Reigate.
,, 20-21 •Hove Camera Club. Hon. .Secretary, H. Emery,
142, Church-road, Hove, Brighton.
,, 25-Nov. 15... *Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. A.ssistant Secretary, R. Child-Bayley,
50, Great Russell-street, W.C.
October 1-31 "Hamburg. Das Ausstellungs Committe des Amateur
Photographen Verein, Schwanenwik, 33, Hamburg.
„ 9-Nov. ... 'Photographic Salon, Dudley Gallery, Piccaililly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesbury-avenue, W.C.
November 7-11 *South London Photographic Society. Hon. Secretary
C. H. Oakden, 53, Melbourne-grove, Dulwich, .S.E.
„ 10-12 *Leytonstone Camera Club. Hon. Secretary, A. '&
Bailey, Rose Bank, South-west-road, Leytonstone.
December *Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
* Signifies that there are open classes.
♦
©orreiSiJonlrence.
' CorrespondCTits sTioidd never vriU on both tides of the paper. No notice is tajcm^
of commtmicatiims wnless the names and addresses of the vriters ar« givm.
LIGHT INTENSITY AND CHEMICAL AOfflON.
To the Editor.
Sir, — After reading in your periodical of last week the law of photo-
graphy stated by Captain Abney, " that, when the products of the intensily
of the light acting and of the time of exposure aire equal, equal amounts
of chemical action will be produced," it appeared to me this supposed
law was directly opposed to the universal law propounded by our best
physicists, " that there is a preliminary resistance to be overcome before
chemical change of any kind can take place." The experiments of Captain.
Ahney give another illustration of this universal law, and there can hardly
he a doubt the lutniniferous energy could be so dealt with, that no effect
whatever would be produced on the most sensitive recipient surface,
however often the interrupted exposures were repeated in tlie manner
gnggested by hira.
The luminiferous energy is now supposed to be an electro-magnetio
vibration, and the rapidity of the vibration which influences the sensitised
surface of the bromide of silver is calculated to be five hnndred billion
times in one second. Thus, in Captain Abney's experiment, where be
employed time exposures of one-tbirty-thousandth part of a second, there
still remained over sixteen thousand million vibrations which were
received at every exposnre ; so it is not to be wondered at that bis experi-
ments are still far removed from that exposure which would not suffice to
overcome the prelinunary resistance to chemical action, although they
470
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[July 21, 1893
appear to have been sufficient to indicate the faUure of the supposed law
of photoftraphy. . , , • . - i
The wonderful achievement of Professor Boys in obtaining an image of
the shadow of a bullet in its flight was rendered possible by this enormous
number of vibrations contained in one second, because, althougli the
•time element was even reduced to the millionth part of a second, there
still remained the energy from five hundred million vibrations. Pco-
iessor Boys used the shadow produced from an intense light ; if, instead,
ihe had used the light passing through the objective of an ordinary
camera, it may so have turned out that, however often the shot was bred,
■no image would be produced. .
Another instance of the influence of the five hundred billion vibrations
in a second is shown by stellar photography. The intensity of the vibra-
tion often is too feeble to influence the optic nerve, and yet the uninter-
rupted continuance of the vibration is capable of producing the chemical
change on a sensitised recipient surface. It probably would be quite
different if the exposures were interrupted in the manner adopted by
Captain Abney's revolving sensitised drum.
An element of uncertainty is introduced by Captain Abney using slits
and small holes for the introduction of the light to his revolving drum,
because the luminiterous energy is changed in a very remarkable manner
when so confined, and up to the present time the real nature of the
change remains shrouded in mystery; but this much can be safely
asserted, luminiferous energy passing through narrow slits and small
holes will come under the universal law of a preliminary resistance to the
change which is produced. From my own observations upon the lumini-
ferous energy through small holes which give photographic images in
■cameras, it is perfectly evident there is a wonderful change produced;
•otherwise how are we to account for the difference of the effects of the
■energy through these holes, and those so large that no object is delineated
in the camera ? v ii.
A little investigation will indicate that the great difference between the
•holes is owing to the action of the edge of the small hole upon the axes
of the luminiferous vibrations. These vibrations do not pass into the
■camera upon the same axes as is the case with large holes, but the axes
in some way become transferred to new centres ranged round the edge of
the hole ; but whether this is owing to the molecules on the edge taking
up the electro-magnetic vibrations of the ethereal medium, and trans-
mitting them to the recipient sensitised surface inside the camera, yet
remains to be proved.
The fact of the change in the axes of vibration is most apparent by the
•change which takes place in the illumination of the field. Suppose the
hole be -^j-, of an inch in diameter, and the focus of the camera two
inches, and the angle of the field 120°, and the object a large sheet of
white blotting-paper equally illuminated — then it can be demonstrated
that the quantity of light from each point ot the object which could |
enter the hole becomes less and less as the points in the object become ;
further removed from the axis passing through the hole at right angles i
to the metal plate to the central point of the object. This arises from j
the plate in which the hole is drilled, and the axes of these cones ot light
between points of the object and the hole presenting a front at right j
angles to only one point in the object, that is its central point.
If the quantity of light from the central point be called ten for the
maximum, then the points on the extreme edge of the object at an 1
equal distance from the central point only admit tour parts of light
instead of ten, where the field embraces an angle of 120°. The image of
the sheet ot blotting-paper with the axes of vibration passing through the
hole unchanged would be| a circle, white in the centre, and gradually
shaded off to more than half between black and white at the margin ; but,
because all the axes of vibration are changed, the image barely shows a
trace of gradation at the edge. No doubt, if the hole be made very much
smaller than j'^ of an inch in diameter, then gradation becomes more
and more apparent as the hole is reduced in size ; but this arises from
the hole becoming more and more a cylindrical tube rather than from
any other circumstance, and, if it were possible to reduce the thickness of
the metal plate in the same proportion as the hole became reduced in
diameter, there does not appear to be any reason why the field of
illumination should be altered with holes even ot 3^, of an inch in
diameter.
The conclusion is thus forced upon the mind that the edge of the hole
is the dominant factor, and that this edge has produced an enormous
•change in the distribution of the luminiferous energy inside the camera,
& change so vast that these edges can be so formed as to produce photo-
graphs of objects of any degree of texture which may be desired. From
these considerations the success ot Captain Abney's experiments is
owing to the preliminary resistance to change produced on the lumini-
ferous vibrations by the edge of the hole, or the edges of the slits be
employed, as well as to the preliminary resistance to chemical change on
the sensitised recipient surface. — I am yours, &a,,
Parkatoiie, Dorset, July 10, 1893. AsCBD. C. Ponton.
Allow me to put a question which is a great puzzle to me : What is the
percentage of professional photographers, who are only professionals and
not amateurs in other business lines, in London or any other given town ?
Search through your list of photographers, and you will find photography
combined with picture-dealing, hair-dressing, teaching, painting, picture-
frame making, or newsagent, dealer in antiquities, fancy warehouse, cigar
and sweet shop, stamp-dealer, dancing-master, music-teacher, lodging-
house keeper, and other more or less artistic or sweet by-oooupations ; in
fact, amateur in any other business beside his own.
I will now give you an idea ot how the best-known professional photo-
grapher in a town I could mention is carrying on his business. Those
persons who can afford to pay, such as members of Parliament, clergy,
doctors, &«., are invited for free sittings and presented with one dozen
cabinet copies free of charge. Well, it a man like the above-named gets,
say, six free sittings a year in this way, what would you call him if he
spent his money on it ? Outdoor groups 12 x 10 are supplied at 2s. 6d.
per copy, or at a push they are taken free rather than let another photo-
grapher do the work ; the same business charges 30x. per dozen cabinets
in the front of the shop, and in the back 8«., or perhaps not even that
— all in all, a way of busineas which is killing not only opposition, but
also himself. — I am, yours, (fee, AcD.vcions Operator.
To the Editor.
Sir, — About ten years ago it was required to keep a record of certain
subjects by means of photography. A professional photographer was
employed to do the work at his own studio, but the result was unsatis-
factory ; the subjects were badly displayed, and the prints, on albumenised
paper, showed evidence of early decay. The person employed would be
rated as a good second-class professional, he was renumerated according
to his own estimate, no bargain -nas struck. It was suggested that the
platinotype process should be substituted for the evanescent silver method,
a proposal which was declared to be not practicable, to the request that
negatives might be supplied instead of prints a flat refusal was given.
The employer then determined to obtain the necessary material and know-
ledge to do the work himself. About fifteen hundred negatives have been
produced, the work is still in progress, the results are being permanently
recorded in platinotype ; the cost so far has been under forty pounds, the
professional's charges would have amounted to over three hundred and
fifty pounds. — I am, yours, &c., F. B. C. S.
PROFESSIONALS AND AMATEUES.
To the Editor.
Sin, — A lively controversy has been started in your columns under the
■above heading, especially the first-named being angry with the second.
To (/le Editor.
Sir,— Hurrah for No. 1730 ot The British Journ.Uj ob' Photography!
That is what we call in French " une levee de boucliers." At last the
professionals say something iu retaliation to the lofty presumptions ot
amateurs. Let us hope they will keep it up some, and maybe the
amateurs will get a little more modest, and not always think that they
are the almighties to whom all is due, even the free use ot the pro-
fessional photographer's dark room, which they think they own too.
Why, with their knowledge and (superior to all) ingenuity, can they not
make up' anything portable to change their plates in, etc.? Of course,
there are some already made, but they are not above saving expenses
and trouble, being satisfied with troubling the professionals they so much
despise ; otherwise, however, not slow to ask their advice when they are
cornered by some trouble.
Some of this sometimes insufferable overbearing of amateurism, you will
probably admit, is due to the modesty of some photographers, and not
only with the six best professionals in every large city, but also to some
ot the smaller ones, beginning -with the seventh, &a. When speaking of
some very fine results obtained, very often the professional will say,
" Yes, I am using Mr. So-and-So's plates," and then, " Mr. So-and-So's
lens, and Mr. So-and-So's paper," &a., so that he really admits that he
is no more than a mere tool, using plates, lenses, and paper, leaving
only to him the posing or choice of subject. Not so with ^Ir. Amateur.
If you praise him for some chance good work a professional would
probably be ashamed of, nine times out of ten you can see his high
satisfaction, but he never mentions the article he uses as having
anything to do with it, except perhaps the cheapness of them. To the
contrary, he takes not only credit for the pictures he takes, but also it is
on his sole account that all improvements up to date are due. Photography
has been made by him alone what it is to-day. And to think that the
amateur as he is to-day, with his button-pressing, does not exist since
ten years. I well remember that, before that time and even well into.
that time, amateurs used a tripod and ordinary camera, even £or
instantaneous work.
Time is money, and I advise every professional that is asked to lend
his dark room, convenient or not, to charge a fee, and do the same for
his advice, and am sure the amateur will have more respect in the
future, and find it quite as natural to pay as he does when he uses a
wash room or asks the advice of a doctor or lawyer.
By the way, I have read of a certain Club allowing free use of dark
room, Ac, in Chicago to all visitors. This is very kind of them indeed ;
but how about the grand generosity of not allowing any amateur, witli
hia little square Ikji, 00 the Exhibition grounds ? Then, what is the uae
July 21, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
471
of dark room, as the principal views to be taken in the windy city are
«moko and black buildings, and may bo an endless perspective of flat
lands on one side and a lake on the other. Perhaps next winter an
exhibition <if all views taken by amateurs will be interesting, especially
those of Chicago, which, if superposed, as is sometimes done with
portraits to get a family type, will probably be very successful to show
Chicago as it is week days, with so much smoke and dirt that going out
fiesli and clean ot eight a.m. you can return at six p.m. to play minstrel
without cork, and linen to match. — I am, yours &c., A. Levy.
July 3, 1893.
To the EnrroB.
Sir, — I am greatly at a loss to account for the recent outburst of vitu-
peration on the part of a portion of the professional photographers
against the amateurs of photography. It is natural, in envious natures,
to hate a man who either does better work than theirs, or who has gained
a success which they begrudge him ; but a little sense of justice would
show them that what they complain of is only a proof of their own in-
feriority in some respect, and that it is the amateur who has always led
the way to the improvements in photography, and who has made by far
the greater part of the discoveries which have brought it, from the black
art it wag once — so diflicult and \incertain that the masters of it in any
city could be counted on the fingers of one hand— to be a process so
simple than anybody can practise it ; so that probably three-fourths of
the professionals, and most of the grumblers, who are the least success-
ful of them, could not have gained a bare living at it if the amateurs had
not made the sailing smooth for them. Will any of the grumblers give
us a list of the processes, dry or wet, perfected by all the professionals in
Europe and America ? Did one of them discover photography ? Did one
of tliem, before becoming a professional, discover wet collodion ? Are
not all the dry processes known by the names of amateurs? Did a pro-
fessional discover the bromide process, the use of tannin, and other pre-
servatives, the collodio-bromide emulsion, the washed emulsion, the
gelatine process ? Did the professional invent the camera which made
outdoor photography a practical affair ? I remember well a clever pro-
fessional, in the days when I was groping about for the perfecting of
dry collodion, thirty years ago, and, though not in easy circumstances by
any means, spending from 50/. to lOO;. a year in experiments and
material to attain this purpose, replying to my question why he did not
take up the processes, that "he was not going to waste his time in ex-
periments, but should stick to what he knew ; " and he did, but in the
course of time, marrying a wife with money, he forgot that he had ever
been a professional, and took to working dry plates, not even then making
improvements, but, as he could then afford it, buying his plates. I should
like to see the brave list of the contributions to the present state of photo-
graphy which have been made by professional photographers — not those
who having been successful amateurs for a time, or artists, finally decided
to adopt photography as a business, being unable to spend any more on
it with nothing coming back, and being fascinated by it, but those who,
having taken it up as a business, had set themselves to perfecting it for
the good of the profession. I do not say there have been none, and in
the discovery of chemical agents, developers, etc., there have been some
I know, but how many ? This uproar of indignation at the amateur,
because he is supposed, by taking the portraits of his friends for nothing,
to be keeping a hypothetical piece of bread out of the mouth of a profes-
sional, or because he brings home from his travels some collections ot
negatives which are absurdly supposed to interfere with the sales of the
views of some needy landscape photographer of some quite other views of
quite other lands, is not only supremely ridiculous and silly, but it is un-
grateful, tor what the photographer does in this way to injure the interests
of trade is purely opnjectural, and, even if actual, is so little that no evidence
of it can be found. I can speak with intelligence on this subject, for
1 have been one of the worst offenders, if offence there has been. I went
to Greece some years ago, and amused my idle days with photography
instead of sticking to my painting as I ought ; but, finding that there
was not to be got in all Athens a photograph of the ruined temples there
which was taken with the most elementary knowledge of what was needed
for the archaeologist and architect, I set to work and made a complete set
of the rnins on the Acropolis, and presented them to the Hellenic Society.
The same I did in Sicily. Now, if I had so interfered with any pro-
fessional gaining money, it must be on one of two grounds — either I have
done better work than any professional had done before me, or I had found
a field no one had cared to occupy. In the former case I only interfered
with a man who did not know the business, and, in the second, I
found a field which interfered with that of no photographer. If my
fancy were to photograph my friends, I should come into collision
with the local photographer in one of two ways— I should make a
better photograph of my friend than he would, or I should prevent
him from having the work done by the local by doing it more
cheaply. In the former case, again, I should benefit the profession
liv liowing them how to do better work, and should only interfere with
; II by becoming a professional hke the sculptor Salomon, which would
ijij till worse for them. In the second case I should only interfere
materially by h.iving a large circle of friends and spending a great deal
more on" them than they could get the portraits done for by the pro-
fessionaU, for this kind of amateur work costs more than it comes to, and
helps the apparatus-makers and dealers more than it injuren the photo-
grapher. But, in fact, the friends ot a man who can afford to waste his
time and money in taking their photographs are not likely to be so poor
as to go to him to save money, or is he likely to spend a crown for them
to save them two-and-sixpence? To compete with a tolerable professional,
one must have a good studio and lenses adapted, and there are very
few amateurs in this position — not enough to talk about.
No, friend professional, business is dull because it is an easy one to
follow, and, if the amateur has done you any harm, it is precisely in
making photography easy for yon as well as for the others, and this has
led too many men into it. Baising your prices will only draw more
competitors. If you really love it as an occupation, be content with the
sacrifice it demands ; if you don't, then drop it, and go to a business
where there is less competition. I3ut don't make a fool of yourself by
talking about the amateur taking the business away from you, for all he
can do is not a drop in the bucket, and my own experience is that I have
made twenty times the work for the printer that I have taken from the
maker of the negatives. — I am, yours, Ac, W. J. Siillman.
Rome, July 4, 1803.
To the Enrron.
StB, — It has amused me to notice, in the recent correspondence on
photographic depression, how many despondent professionals trace their
troubles to that /oh? et irrigo mali, the much-abused amateur.
" Find us some process which the amateur cannot imitate.'' " Pot
an annual tax of ten pounds on the owner of every twelve-and sixpenny-
hand camera." " Let no professional worthy of the name supply either
chemicals, apparatus, or advice to one of the hated tribe." " Let all
photographers plying for hire be numbered and licensed like so many
hackney cabmen.' These are some of the more practical suggestions
made by those of your correspondents who abstain from mere ill-tempered'
and inaccurate diatribes against amateurs in general.
May I, as an amateur who has never poached on professional preserves ,
and whose productions merely serve, prove — if proof were necessary — the
immeasurable inferiority of amateur as compared with professional,
photographs, offer one or two suggestions.
When your house is on fire, do not begin to abuse the man over the
way because his building interferes with your ancient lights. On the
contrary, take off your coat and look around for a bucket.
Take the first of the proposals quoted above, the wail for a process
beyond the skill of the amateur. I hare heard that the carbon process
ot printing is very cheap, very permanent, very artistic, but not very easy,
and only suitable for good negatives such as amateur negatives seldom
are. Yet look through any photographic album and how many carbon
prints do we find? and when we do find them in how many cases were
they produced by the man whose name appears on the mount ? In nine
cases out of ten they are the work of some firm ot trade printers, done to
the order of some sitter possessed of discrimination in matters photo-
graphic.
Here, then, is a process ready to the hand of the photographer who-
wishes to distinguish his work from that of the run of amateurs. But
unfortunately it is a process which requires skill and judgment, and
printing cannot be delegated to boys and girls of tender years.
On the other bond, there is a process which the professional would in
ninety-nine cases out of a hundred be far better without. How many young :
girls who could not draw a ball in a saucer well enough to satisfy the
assistant master at the Stoke Poges School ot Art, are allowed to work
their sweet wills with the lineaments of Tom, Dick, and Horry to themi
unknown. Your photographic retoucher will not hesitate to rush in
where Sir John Millais or Mr. Shannon would fear to tread, and with a
light heart destroys all trace ot character and likeness, at so much per
square inch.
Let the professional photographer no longer confine himself to the
simplest and most mechanical operations, but take advantage ot many
beautiful though difficult processes which will lend distinction and
character to his work. Let him do away with ignorant and tasteless
retouching and hackneyed and unmeaning accessories. Let him adhere
less rigidly to accepted canons of posing and lighting, and become a little
more unfaithful to the gospel of " sharpness." In short, let his least,
considered production show evidence ot individual thought and taste, and
we are likely to hear less about " bad times " and " shammateurs," in the
we are likely I
future. — 1 am, yours, &o.,
54 Loftus.road/W., July 17, 1893.
L. C.
To the Editob.
Sib, — There has been lately a rather long and altogether one-sided
correspondence on this subject.
The dark side has appeared long enough ; let ns look at the bright
side. What good has the amateur done for us ? Let oar memories go
back eighteen years or so, when there were no amateurs of the sort we
get now, and see what the state of things was. There was pyro, 4». per
ounce ; half-plates (dry), 6s. 6<Z. per dozen ; 10 x 8 dry plates, 23«. per
dozen nett, and many other things in proportion. There were only two
473
THE BRITISH JOURNAL OF PHOTOGRA.PHY.
[July 21, 1893
(or three) dry-plate makers altogether ! How times are changed now—
how, every reader knows— and I am fully of opinion that we have only
to thank the much-abused amateur for all these changes. It is quite
true that our prices rule somewhat lower, but when the cost of production
is reduced to about one-third of what it used to be we must naturally
«xp;ct prices to drop. ...
It is desirable, with so many at work, to strike out in some special line
as a Bpeeialist, and not mix too deep in the general crowd.— I am, yours,
^j_ SiLEX (Pbofessional).
London, July 17, 1893. ^
aTi0toer0 to CorrcsponUents.
*,* Several Answers are held ucer through hwk of space.
Specimens. — We have written to the man.
F. G. Smith.— No directory of London and provincial photographers is pub-
lished.
B. 0. (Burton-on-Trent).- 1. Yes, quite safe, if you can get an even coating.
2. It is better to have the sitter's consent.
R. MiCHBLL.— Heliotype is simply collotype under another name. This pro-
cess has probably more names than any other process that is worked.
Novice.— A simple way of "matting" the gelatine-chloride prints is to
squeegee them on to ground glass, or the matt side of a sheet of celluloid.
Faibplav.— So far as we can see, you will have to do the necessary repairs as
you have the premises on a lease, and, presumably, it is a repairmg lease,
like most leases.
Pdzzled. — The markings are not flare spots, and, indeed, do not seem as if
due to lenticular agency. Possibly there is a minute liole in some part of
the camera which has escaped observation.
West.- If the practice of photography is prohibited in the grounds without a
special permit, of course a hand camera will not be allowed. Is not a hand
camera for taking photographs the same as any other camera ?
T, A. W. —So far as photography is concerned, we believe the labour market
in America is quite as much overstocked as it is here. There is really less
opening for mediocre work in the States than there is here.
A. H. WiLLOTT asks : "Should I incur any pains or penalties by publishing
photographs of Tlie Light of the Worhl, as I have seen them on sale in
stationers' windows ?" — Yes, you would render yourself liable to be sued.
C A. Kay.- A lens with an aperture equal to/-16 will do for a hand camera,
but it can only be used with very rapid plates, or when the light is excep-
tionally good. A lens with an opening of /-8 will be far more generally
useful.
G. R. A.— We should think the print was washed for an excessively long time,
and that may have sometliing to do with the yellowness, although we are
inclined to think, as the markings chietly show in the backgrounds, that the
mounts may be at fault.
Devon. — The two groups are decidedly good, and the price charged is very
j_ low ; indeed, very much lower than would be charged by second or third-
rate houses in London. We should say you would have no difficulty in re-
covering the amount in the County Court.
.Glass. — Your customer is under a misapprehension. The bill, though
printed, did not become law. It was crowded out at the end of the session,
like many others that are introduced. But is it wise, from a business point
of view, to say nothing of the morality of the thing, to exhibit a portrait for
which you have been paid for taking against the sitter's protest !
IG. S. R.^ — Surely, as you have supplied the portraits of the clergy, and those
taking an active part in the cnurch, as well as local views, to the bazaar,
and Uken payment for them, although you have only charged a little more
than half what the local photographer would have done, you can no longer
honestly style yourself an amateur. You are a professional in disguise, and
are underselling the established local photographer.
A. McAndrkw writes : " Please tell me why many of my vignettes are stained
in the whites like those enclosed. The stains do not show in the unmounted
prints, and only show after they are mounted and dried. The mounting is
done with the best starch .Tiade fresh every morning." — The stains are pro-
duced by the mounts. The colouring matter on the surface of the card is
soluble in water, consequeutly when moistened with the starch it stains the
paper.
T. BiGOi says : " I have two lenses — the largest stop of each is/-8. One is by
a London maker, and for which a hi"h price was pai<l ; the other is a cheaper
one, has no name, and is, presum.-.bly, of foreign make. On working them
under the same conditions, I find that, to get the same amount of exposure
in the negative, the latter requires quite fifty per cent, more time than the
former. Why is this the case ? "—Many cheap foreign lenses we have seen,
although the largest stop has been marked /-8 has really been /-9 or /-lO,
and we surmise that is the case in the present instance.
Alexis writes as follows : " A few months back I bought some mounts from
another pliotographer here, who was giving up business. They have his
name and address printed at the back in gold, and over this I have mounted
my pictures. In nearly every case, after the pictures hare been mounted
"two or three months, the imprint shows through in the form of fading ; also
the prints become very spotty. Why is this, and how can it be avoided, as
I have a large quantity of these mbunts, and, of course, they are no use to
me unless 1 mount the prints over the other man's name ? " — 'Tlie cause is
that the imprint is not in gold but in bronze powder. If it were in real
gold it would be inert. The only remedy we can suggest is to paste a piece
of thick paper over the imprint, and then mount the print on that. But
then this would probably involve more trouble than the cards are worth.
T. A. Cole says: "On adding sulphate of iron to a large quantity of old
toning baths (acetate) I can only get a very small quantity of gold, far less
than I ought to get, considering the paper I use is said to tone with half a
grain of gold to the sheet, and I never get more than a sheet and a half toned
with a grain of gold. Is there anything that will throw down more gold
than sulphate of iron ? "—Sulphate of iron will precipitate any gold there
may be in the solution. As one and a half sheets of paper have been toned
per grain of chloride of gold, we should say there is no gold left to precipi-
tate. Anyhow, the iron will throw down all there is, that may be relied
upon.
H. W. L. writes : " Some two months ago I sent you up a print covered'with
spots, same as enclosed two, to see if you could give me any reason for
them, but then you were not able to account for it. We have not had them
so bad since theu till this day, when nearly every print is so marked. I
have trieil everything I could think of, such as fixing longer or shorter time,
hypo weakest and stronger, new toning bath, and fresh dishes. I thought
perhaps the water running on them all night might be something to do with
it, so used to turn it off, but all to no good purpose. You will see also the
backs are yellow as welL Any suggestion you can make I shall be glad of,
as it is a great hindrance to business."— Whatever may have been the fault
with the previous prints sent, though we do not remember them, there is no
question as to the cause of the defects in the.se. It is imperfect fixation.
Either the bath was too weak, or the prints were allowed to stick together
while in the solution. The spots are due to air bells being allowed to
adhere to the paper while in the fixing bath. More care will avoid the
trouble in future.
OUR CONVENTION.
And so the time has come and gone,
Our " eighth " is now a finished story.
There only rests when all is done
The recollection of its glory.
This to us all will surely prove
One of the brightest recollections.
And give us, as apart we move.
Food for the pleasantest reflections.
The kindness of our Southern friends,
Our happy trips by road and river,
Heightened by charms that distance lends,
Will dwell within our mem'ry ever.
And thoughts of friendly faces near.
Now severed by a dreary distance,
Be with us through the coming year.
And haunt us with a sweet persistence.
Though " art" is still its highest aim,
Photography its first intention,
I think not least in " friendship's " name
We greet with pleasure our Convention.
■While we who loN-ing Scottish skies.
Breathe native air 'neath smiling heaven.
Remember still with pensive sighs
Your leafy lanes, sweet, sunny Devon.
Good-bye ; accept from Northern parts,
Kind English friends, this hearty greeting.
We look with hopeful, trusting hearts
To such another pleasant meeting.
Lassie.
THE CONVENTION GROUP.
With this week's JOURNAL we present a colkitype reproduction bu Messrs.
Morgan «0 KiM, Riclnnond, S. tV., of tlie group of memhers of the PM.n-
graphic Convention of tlie Vniled Kintjdom., assembled at Plymouth on July 5,
1893. r/ie negative mis taken by Mr. R. L. Kidd.
We also give a key with names of members. In the cases where we have lieen
unable to identify members, ira should be glad if niir friends would supply the
omissions, for mention in tlif ne.i:l number of the Jouunal.
By an unfortunate error we are tiuule, on the picture of th» group, to describ*
tlie I'll/mouth Convention as the "seventh" that has been held, whereas, as
will be seen by dating from the Derby meeting of 1886, it should have been the
"eighth."
OONTIiHTS.
fallacies concebnino photo-
gkapht in the past (48
exposure, devblopment.and foo «0
convention notes.— 1 452
OELATlNO- chloride NOTES. By
W. B. HOLTOS «>
MY PIRST DAOIERREOTYPE. By
VALENTINE BLANCHABD 468
JOTTINGS. By COSMOS 4i4
STEREOSCOPIC PHOTOGRAPHY. By
W. I. CHADWICK 4M
SOME POINTS IN CONNEXION WITH
DEVKI.OPMEST. By .1. STKBBY .... 456
PHOTOGHAPHIC CONVENTION OF
THE INITED KINGDOM 455
W LATITUDE IN EXPOSURE AND
SPEED OF PLATES. By F. HUW-
LZoK^TEB, PU.D., ASU V. C, DKIFFIELD 4G6
Paoi
CONVENTION—rnnliinKJ.
ON THE POWER OF COJIPE»-
8ATISO IN DEVELOPMENT FOR
VARIATION IN EXPOSURE. By
W. K. BURTON 4<il
OIB PICTOBIAI. FAILURES. By THE
REV. F. C. LAMBERT If"
PHOTOGRAPHY AND THE GREAT
BARRIER REEF 467
NEWS AND NOTES 4m
OUR EDITORIAL TABLE ««<
HEETINOS OF SOCIETIES 4«'
FORTHCOMING EXHIBITIONS ««
CORBESPONDENCB - "'"
ANSWERS TO C0RRKSP0NDEHT8 .... 471
OUU CONVENTION 472
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I
THE BEITISH
JOURNAL OF PHOTOGRAPHY.
No. 1734. Vol. XL.— JULY 28, 1893.
CORRECTING MICROSCOPIC OBJECTIVES FOR
PHOTOGRAPHY.
The American Journal of tlie Medical Sciences for this month
•contains a paper by Professor Henry G. Piffard, ALA., "On a
Suggested Improvement in the Correction of Lenses for Photo-
micrography, Photography, and Photo-aatrography," a copy of
■which he has kindly sent to us.
Twenty-five years ago, while microscopic object-glasses are
admitted by the learned author to have been of excellent con-
struction and well adapted to the revelation of the structure of
minute objects to the eye, yet he says the photographs made
by them were greatly inferior in clearness and sharpness to the
virtual image appreciated by the retina, this being due to the
lack of coincidence of the visual with the actinic focus. Dr.
Pift'ard reminds us that, at the period mentioned, the art of
photography was almost exclusively practised on iodised
collodion plates, which, while very sensitive to the blue, violet,
and ultra-violet rays, were but feebly so to the rays of less
refrangibility. But, as these latter are more luminous, they
impress the eye so forcibly, that the effect of the more
refrangible rays is almost obscured when mingled with the
others as in ordinary white light. It follows that, in order to
obtain a sharp photographic image, it was necessary to either
shorten the anterior conjugate focus or move the plate to a
point nearer the lens where the actinic rays came to their
posterior conjugate focus.
Dr. Piffard, who is an expert photo-micrographer, is doubtless
well aware of the system that was — nay, still is — practised
by some in this country to utilise their objectives so as to
ensure their acting both visually and photographically ; but, as
he does not mention it, we shall, pending the publication of his
excellent paper in externa on an early occasion, take occasion
here to describe it, in the interests of those who are entering
this fascinating branch of photography for the first t)ime.
For reasons deduced from the foregoing, microscopic object-
glasses must be slightly over-corrected for colour. AVe are now
referring to such as are constructed of ordinary flint and crown
glass, and in which category is to be found the majority of
those in use at the present time. But under-correction for
•colour is a condition for obtaining the sharpest photographic
image.
It is just forty years since the subject of photo-micrography
was brought before the Society of Arts by the Rev. W. Towler
Kingsley, and he met the then acknowledged difficulty of the
non-coincidence of foci by recommending that a new front lens
be made for the objective, so that it might be employed visually
with the original one, and photographically with the new
under-corrected one. This system is, however, very costly as
compared with one which was suggested several years after-
wards by Mr. F. H. Wenham, if wo remember aright. By it
the object-glass itself is not altered ; but from its upper end,
in which is usually screwed a diaphragm to prevent reflections
from the interior of the brass mount of the objective, this dia-
phragm is unscrewed, and its place taken by another cell, con-
taining a simple convex lens, usually cut out from the centre
of a spectacle glass.
By having a few of these of different focal power it is then
easy to select one which, when screwed in, shall, by its non-
correction, impart to the objective the requisite amount of
under-correction to ensure the coincidence of the chemical
with the visual focus. When once the correcting glass has by
trial been found, it is marked, and is always afterwards used
when the special object-glass for which it was selected is
employed for photo-micrography. The angular aperture of the
latter is very slightly increased by this adaptation, but no one
will consider this as a disadvantage.
The system here described for securing the desired coinci-
dence of the foci is, in oar opinion, greatly superior to that for
attaining the same end by displacing either the anterior or
posterior conjugates. Any working optician will, at a moderate
cost, supply such a cell as we have described, and adapt to it
a variety of uncorrected lensis of sucii variety of focus as will
serve to correct, photographically, one's whole stock of objectives.
Dr. Piffard says that tlie photographs of microscopic objects
made twenty-five years ago " were crude and unsatisfactory,
and were all made with what we would call low-power objec-
tives." In justice to an eminent worker on this side of the
Atlantic, Dr. R. L. Maddox, we must point out that this
gentleman had, considerably anterior to that period, achieved
great success in photographing, with a one-fifth of an inch
objective, Polycystina from Barbadoes, together with several
diatomaceous forms which accompany them ; several frustules
of the Triceratium favus ; front views of the Surirella bi/roiis ;
various specimens of Coscinodiscus, and other objects. We
mention this ilpi-opos of Dr. Piffard's remark as quoted above,
for we feel assured that this American scientist would be the
last to withhold credit to an equally eminent English brother
for what he has achieved in the early days of our art-science.
474
THE BEITISH JOUHNAL OF PHOTOGRAPHY.
[July 28, 189
COMPARATIVE DEVELOPER EXPERIMENTS.
A LARGE number of earnest workers in the field of photography
find a pleasure in the class of work indicated by the title of
this article ; but iu too many cases the results are either worth-
less or too indefinite to be placed on record as serious results.
Some hope of remedying sucli a state of affairs is the motive
for the remarks that follow. The causes are mainly to be
placed in two categories. First and foremost must be placed
that most detestable — no other word is so suitable — method
adopted by so many platemakers and writers of instructions
and formula;, of giving the proportions of the ingredients in a
manner that renders comparison of one with another most difii-
cultj and wasteful of time to a degree that is most irritating.
This is, of course, no new complaint ; but, if constant iteration
will lead to its destruction, then "Delenda est Carthago" should
be the watchword of all who would put an end to its incon-
sistencies and its annoyances. We have lately set ourselves to
try a series of experiments with one of the later developers —
metol — and a good share of half an hour was wasted in arrang-
ing for ready comparison the various instructions published,
either by the makers themselves or in other ways. Percentage
formula; were useful ; but, until the metric system is more
commonly employed by the public generally, we think that
grains per ounce will be understood and felt to be most
practical by a larger number of working photographers. The
manner in which every formula is set down should show at a
glance how many grains per ounce, or per pint, or half-pint if
preferred, of the various constituents are contained in the given
quantity of developer when mixed ready for use. What a boon
this would be, if all makers and formula-producers would adopt
it, those only who are in the habit of making comparative
experiments can say. To all such it is a familiar experience to
find a couple of rival formulas being argued about which, upon
being reduced to a standard, are found to be practically
identical.
The second of these two main causes is the hasty and in-
complete manner in which conclusions are drawn, or rather
jumped at, from the briefest of premisses. An experimenter
tries, say, a new developer side by side with the one he usually
employs ; the new solution flashes out the image at once, the
Conclusion is rushed at and published that it is a " find,"
excellent for under-exposed pictures. Another is tried, and
the image is only beginning to appear when the plate by its
side is finished. The new solution is worthless, requires too
long exposure, &c. Yet in each case the ultimate developing
power may turn out to be the same, and no more exposure
value can be got from one than the other.
Then, again, it must be remembered that the ex-
perience of many years has so narrowed down the range of
fOrmuUc for pyro that the working limits are well known-
strength of pyro, proportion of alkali to same, as also the value
of alterations in the amount of bromide permissible. But to
obtain such ready command of proportions of the various
ingredients and their effect on results when an entirely new
substance is used would require many trials, and it is the
absence of trials of these variations that may make or mar
for a time, at least — the future of any newly introduced
developing agent. Before any decision can be fairly made as
to the merits of such new substance, it should be tried in
various strengths, with varying proportions of alkali and of
bromide, and notes made as to the rapidity or slowness with
■which the image appears, and of all phenomena varying from
ordinary experience. Let us now refer to one of the latest
developers, metol. Any one trying it for the first time would
be very apt at the outset to think that exposure could be
reduced when it is used, for the image will flash out, and the
surface of the plate present an appearance to that given by a
fully developed pyro negative, while a companion pyro-
developed plate has scarcely begun to show the high lights.
How very needful to avoid rash conclusions here. Then, taking
the published formula, we have been at the trouble to extract
the data and reduce to an ounce standard (avoiding complex
fractions by giving the nearest small one) the formula sent out
by tlie maker, and those given in the reports of eminent
experimenters.
Pringle.
Water .
Metol
Carbonate of potash .
Sulphite of soda . .
Bromide of potassium.
FormnljB by
j Agents.
Agents.*
Sexton.
Eder.
New.
Old.
1 oz.
1 oz.
1 oz.
1 oz.
ligr.
aiKr-
Sfgr.
Sigr.
^5 ,.
l'5i „
11 »
11 „
3i „
10* „
33 „ .
31 „
¥ »
None.
i „
None.
1
3^
11
31
1
oz.
By this means a glance shows the peculiarity of each. In
the first formukc published, the metol is to be used at a little over
three grains per ounce, but now the agent recommends only
one-third that strength. Messrs. Eder, Pringle, and Sextort
give formulas almost exactly alike, save in the use of bromide.
The first-named uses none, the second one grain per ounce, and
the third a third of a grain. The new formula; of the agents
in this country give six times as much potash as metol, the
others only three times as much. There are two conclusions-
that might be drawn from these fluctuating and varied for-
muliB : First, that metol is so valuable that it can be worked
almost hap-hazard; second, that its actual value is not yet
ascertained, as the proportions of the given ingredients for a.
particular purpose would not have such wide limits as above
shown. Let pyro and ammonia be taken, for example ; if the
ammonia of some formula; were doubled, hopeless fog would
result ; if it were halved, the utmost value would not be ob-
tained.
We conclude by saying these remarks are neither for nor
against metol ; they are made to show the necessity for care
in forming judgments, and for varying the modes of using or
mixing the developer before a logical conclusion can be justly
formed.
City and G-uUds of Xiondon Institute. — Uur attention
has been called to several alterations that have been introduced in the
programme of examinations for the session 1893-4, and other arrange-
ments. Some new subjects are added, and others divided into two'
sections. The honours examination in photography is one of them r
(1) pure photography, and (2) photo-mechanical processes. And the
practical examinations wiU be held in connexion with the honour*
grade only. There are several other alterations with regard to th»
examinations and regulations. For example, the practice of returning,
or giving credit for, half-fees is to be discontinued. Some fees have
been reduced while others have been revised. Furthermore, the list
of teachers has been revised and rearranged. The Institute is making
strenuous eflforts with regard to technical education, and it is to be
anticipated that the new regulations will strengthen them particularly
with reference to the really practical side of subjects taught.
* For ordinary use ; variations are given for hard or soft negatives.
July 28, 1893]
THE BRITISH JOURNAL OB PHOTOGRAPHY,
Art in Business Centres.— Since Sir John Gilbert gave
wwral of his line works to the Guildhall Art Gallery, several
other projeiits of pictures have been received. Now Mr. W. A.
Murphy-Grimshaw has given his picture of the Haunted Mill,
At present in the Royal Academy, to increase the collection. The
Birmingham Art Gallery has also lately been enriclied by the
acquisition of some fine examples of art metal and wood work, not
in this ca.se by donation, but by purchase at the late Spitzer sale.
Miinchester, as is well known, owns a large collection of fine works of
nrt. While on the topic of art, The Academy says that the famous
collection of drawings and sketches by old Masters, formed by the
late Mr. John Malcolm, lias been deposited on loan by his son in the
British Museum, whore it will soon be made accessible to students.
A present of a colossal cartoon by Michael Angelo has also been
made by Mr. Malcolm's son. If good photographs of such works as
these were forthcoming, they would be of inestimable value to
students ; many are, it is true, but they are usually issued at such a
price as to be prohibitive to the ordinary struggling art student.
Discoloured Glass Positives. — Amongst the odd work
that photographers are frequently called upon to do is to produce
•copies or enlargements from old glass positive portraits, If the picture
happens to be in a good state of preservation, nothing is easier to copy
in camera than a glass positive : but, in the majority of instances, it is
not. These pictures, from being carelessly produced, and seldom or
never being Tarnished, after a time become discoloured unevenly by
a highly non-actinic tint, which causes camera copying to be very
unsatisfactory. Most old hands know, though the new ones evidently
do not, that, if the black varnish be cleaned from the back of the
glass, the stains show but little, if at all, by transmitted light. There-
fore they then use the positive as a negative, though a weak one, to
print a transparency by contact on a dry plate, and from that make a
negative for the end desired. The other day we were consulted as to
the best way to produce an enlargement from a badly stained positive.
On removing the black varnish, we found, as we expected, that the
stains scarcely showed in the centre of the picture when it was
looked tlirough. At our suggestion the positive was placed in the
enlarging camera, and an enlargement made direct from it, as a
vignette, on bromide paper. The result was a picture quite as good
as if it had been made from an average ordinary negative. So good
was it, that the method deserves a passing note for the benefit of
novices.
metric WeigrlitB and Measures.— The vexed question of
weights and measures as regards photographic formula; seems to be
as far off a settlement as ever. Whenever any new formula appears
from the Continent, whence, by the way, the majority come, it is
given in grammes and cubic centimetres, while English ones are
written in grains and ounces. Now, notwithstanding that tables are
given in the Alman-ac-s of the equivalents in one system to those in
the other, we, and perhaps other journals also, are being csntinually
asked bj- correspondents to convert a formula according to one system
into that of the other. A few years ago the Photographic Club went
to some considerable trouble to get other photographic societies to
adopt the metric system entirely ; but this has not l)een generally
followed. We were recently shown a set of gramme weights stamped
"with their equivalents in English grains, but we were told by the
owner of them that he had to do it himself. Of course, beyond the
gramme weight, for photographic purposes, the nearest whole number
is near enough. Fluid measures are to be had at some shops graduated
on one side with ounces and drachms, and on the other with cubic
centimetres. Thermometers are regular articles of commerce with
the Fahrenheit scale on one side and the Centigrade, or Koaumur, as
the case may be, on the other. Why, then, should not weights and
measures marked with the two systems be universal ? The additional
cost, particularly with the weights, would be merely nominal, and
that would be repaid to many photographers by the general con-
Fhotosraphs of the ZMEUky "Way.— Professor E. E.
Oarnard, who has recently been on a visit to Europe, has brought
with him some wonderful photographs of the Milky Way, which are
simply a revelation to man}* of us. Ihese photographs (says the
Obtervato)-y) were taken at the Lick Observatory with a lens made by
Mr. Willard, of New York, in IS."*!), which ia one of large aperturn
(six inches) and short focus (thirty-one inches). Such a lens tends t>
compress, as well as intensify, the characteristic features of these
stellar clouds, the large field allowing one to embrace any of thewj
forms as a whole, and not in detail, as ifl the case when they are viewed
with a telescope. The first photographs, showing the cloud form.i,
were taken in August of 1 890, the portion of the sky being that
situated in Sagittarius, and the exposure three hours fifteen minutes.
A most interesting picture is that of a section of the constellation of
Cygnus, near y Cygni ; this photograph shows some of those curious
and almost weird dark spots and dark lanes the origins of which are
very doubtful. Mr. Ranyard supposes them to be due to an obscuring
medium between us and that part of the Milky Way, but Professor
Barnard's opinion is that they are real holes in the cloud structures
themselves. Two photographs, with different lengths of exposures
(two hours forty-five minutes, and four hours thirty minutes), of the
region about M. 11 in the constellation of Sobeski, raises an important
point as regards the different structure of the Milky Way. The
second picture exhibits details which considerably altered the con-
figuration, not at all brought out in the first one. Not only in these
photographs, but in several others of the Milky Way, this fact ha-s
been noticed, and Professor Barnard suggests that there may be
different orders or kinds of cloud structure implying distance or near-
ness, or possibly an entirely different order of stars in point of actual
size.
Chicagro ZSxbibition. — A recent telegram informs us that the
jurors in the Fine Arts Department have elected an Englishman, Mr.
W. B. Davis, as president, and Signor Delnero, of Italy, and Signor
Delcampio as first and second vice-presidents, with Mr. Dielman, an
American artist. Mr. Thacher's plan of awards has been rejected
in toto, and the following adopted : — A member of the jury will pro-
pose a medal to a certain artist. Then this motion must be seconded
and supported by a majority of the jurors before the medal can be
awarded. As, however, the French, Danish, Russian, and Norwegian
Commissioners were not present when the President of the Committee
on awards made these concessions, it is understood that the countries
named have decided not to enter their fine art exhibits for the
jury's examination. This decision wUl, of course, to an extent,
rob the competition of its international character. This " big
thing" among international exhibitions seems to have been a
more or less unfortunate affair from the very beginning. There
have been the strikes and accidents during its building throughout,
its chaotic state at the time of opening, and the allegations of
"jobbery." Then there was the irritating monopoly with regard
to photography, and the unpleasant friction about the awards.
Next, the late lamentable fire. Lastly, and that will weigh
heavily with our American cousins, the prospect of a financial
failure in proportion to the magnitude of the undertaking. Bv the
way, we learn that the American liner companies are not reaping
the harvest they expected from British visitors to the West.
Last year, in almost every family circle, some one was going to
Chief go; now, it is surprising how many, for some reason or
other, have abandoned the idea.
RATIO OF GRADATION ON POSITIVE PAPEltS.
The invaluable researches of Messrs. Hnrter & Driffield in connexion
with the exposure and development of negatives should stiidulate
photographers to inquire more closely into the character of the various
descriptions of films employed in the production of their prints or
positives. Not only do these, as is well known, vary in actual sensi-
tiveness, but also in the way in which they render the gradations of
negatives of different densities, some giving the best rendering of
generally dense images, others again behaving better with thin or
delicate negatives. *
With no printing surfaces with which I am acquainted does this
difference exist to so great an extent as wi th ge latino-chloride paper
TC
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[July 28, 1893
which can be made by varying the formula to work to perfection with
either hard or delicate negatives, though generally it may be accepted
that the commercial papers work better with a rather thin negative,
and give a good result with negatives too thin to print satisfactorily
upon albumen paper. The latter of late years, since the introduction
of ready-sensitised papers, has materially changed its character, being
both more sensitive and more generally applicable to thin negatives
than was the case when the home-sensitised article was in use, the
alteration being, no doubt, due to the introduction of new organic salts
of silver.
But, though the poative papers are known to thus vary, little or no
attempt has ever been made to adapt the paper to the character of
the negative. In days gone by, if a man had to print from very thin
negatives that were worth the trouble, he would use a stronger sen-
sitising bath than usual, perhaps also employing a more heavily salted
paper if obtainable. Tliat was about the only direction in which the
chemical treatment was varied, except perhaps in carbon printing,
where exactly the reverse means were adopted to produce the same
result ; in other words, for thin negatives a weaker bichromate solution
is employed in sensitising. Beyond this, there were various methods of
.shading the negatives with tissue paper, or matt, or coloured varnish,
when the image was too thin to print satisfactorily; but, though
many, myself among the number, believe that improvement results
from such treatment, others strenuously deny any advantage.
It is many years since the idea first struck me to apply direct
measurements to the printing gradations of various papers, but the
more I thought about the matter the more I became impressed with
the magnitude of the task and the inutility of only half doing the
thing. The accounts of Messrs. Hurter & Driffield's researches, and
even of the experiments reported in his paper before the Convention
by Mr. W. K. Burton, only prove that I was right, though, what a
single individual ma}' not do, photographers collectively might very
well undertake, especially as in the case of positive paper the require-
ments in the matter of apparatus are not so great as for the more
sensitive negative films, nor is the task one of such intricacy. In the
case of all print-out films, for instance, we are spared the complications
surrounding development as distinguished from exposure, while, with
developed prints, in all probability the same laws established by
Messrs. Hurter & Driffield would be found to hold. In fact, the
work might be confined entirely to a study of the relative gradations pro-
duced upon papers of different kinds, and by light of varying strength.
For this purpose it would be necessary to establish a scale of grada-
tions representing those of a " perfect " negative — if there be such a
thing — but at any rate a scale of some sort by which to compare
results ; and here again Messrs. Hurter & Driffield have already
supplied us with the necessary data upon which to proceed in
constructing such a scale, as well as the details of its construction, for
which I would refer to the two diagrams given in connexion with
their Convention article in last issue. Although no detailed descrip-
tion is given, the diagrams, T think, sufficiently explain the principle,
which may, of course, be modified in a variety of ways to suit cir-
cumstances.
The apparatus there figured is intended for the exposure of plates
to the light of the standard candle, but for use in connexion with
paper, and almost necessarily to daylight, a different and much
simpler arrangement will suffice. Such a one I constructed some
years ago consists of a printing frame or dark slide, with closed front,
in which a revolving disc, similar to that in Messrs. Hurter &
Driffield's diagram, is fitted, the motive power being a driving wheel
and band, attached to the instrument after the manner of a chromo-
trope slide. The disc is arranged to carry movable masks, having
openings representing different series of gradation, so that either the
general sensitiveness of the sensitive film may be tested or its capa-
bility of rendering gradations, either coarse or delicate. The im-
portance of this power of varying the character of the gradation is
more important in the case of paper than of films.
With such an arrangement it is only necessary to place strips of
the papers to be tested or compared side by side in the prmting-frame
portion of the apparatus, and to cause the disc to revolve for a given
time, orjuntil a given depth of tint is obtained, as the case may be,
when not only the relative sensitiveness but also the relative power of
rendering gradations will be shown at a glance. Absolute sensitive-
ness is of no importance in such an experiment ; if it be required, of
course a standard light will have to be chosen, and this is rather more-
difficult for slow exposures on paper than for negative work.
Such an apparatus might be constructed and put on the market at
a very small cost, and would prove useful in a variety of wavs in
connexion not only with papers but with negatives, but more especi-
ally would it assist the amateur in selecting the best paper to suit his
general style of negative. \V. B. Bolton,
CONVENTION NOTES.— II.
What a blessing it is that Plymouth is not nearer to London
than 216 miles ! If it were, we tremble to think of the inunda-
tion of its streets and surroundings by the metropolitan photo-
grapher, who would invade the place in shoals. In the history of
Convention outings, there is no one place which can offer, in its
immediate vicinity, so many delightful scenes for camera work as
can Plymouth.
Contrasted with Edinburgh, the town of Plymouth has so few-
objects of quaint historical interest as to be nowhere in affordino-
food for the camera of the archxologist ; but, unlike Edinburgh,
one has only to take a comparatively short walk to reach Sutton
Pool— the whilom harbour of Plymouth. This Creek of the Catte-
water was formerly protected by having a chain stretched every
night across its entrance. In this vicinity the Barbican, with its
innumerable fishing boats and other shipping, affords excellent
themes on which to practise with either the stand or the hand
camera, and during Convention week it was difficult to walk many
paces in this locality without running agwnst one or the other of
these.
It is, however, outside of the town wherein lies the great value of
Plymouth to the photographic tourist. It would be difficult to find
a more enchanting place for an excursion than the river Yealm (pro-
nounced indifferently Yem or Yam). On the second day of the Con-
vention the kindness of the local Clubs in providing a steamer enabled
some seventy or eighty members to visit this river, the entrance to-
which is two or three miles outside of the Breakwater, an artificial,
strongly built erection which stretches well across Plymouth Sound
for more than a thousand feet, and protects its shipping inside from
the heavy ocean waves. No sooner, however, had the steamer got
inside the Yealm, and realised the placidity of its waters compared
with the turbulence of those outside, than rain began to fall, and,
although soon this was accompanied by lightning and thunder, it
failed to damp the spirits of the excursionists, who, well sheltered
from the storm, beheld with admiration the beautiful stream with its
romantic turnings and richly wooded banks. Had there come a
gUmpse of sunshine, if but for a minute, many mementoes of that
visit would have been carried away, for there were over sixty cameras
on board, and their owners were only too anxious to have a shot at
such scenery, but the Fates did not so will it. Having cast anchor,
advantage was taken of a stay of over an hour to have a lunch, of
which it is enough to say that, in excellence and variety, it surpassed
all that could have been expected at any well-appointed hotel on
shore. We do not know what local arrangements exist for visiting
the Yealm, but our advice to all artistic tourists who find themselves
in Plymouth is not to return without seeing this river, and selecting
for their visit a day on which there are neither rain nor thunder-
storms.
Returning to Plymouth via the Mount Edgcumbe end of the
Breakwater, and being thus afforded an opportunity of seeing the
grounds of thi.-i far-famed place, which we may remark, par parent /lese,
are generously thrown open to the public by the Earl of Mount
Edgcumbe, we picked up a few who could not, either from business
arrangements or anticipated mal-de-mer, take part in the forenoon
excursion, and proceeded up the Tamar, the mouth of which is con-
tiguous to the town. Here let us pause for a moment to say how
July 28, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
477
much the excursionists owe to Colonel Birrington Baker for hi4
assiduous attention throusjhout the day. His intimate acquaintance
•with the Royal Navy, witli which he is officially connected, enabled
him to impart valuable and interesting information respecting the
numerous war ships through which we threaded our way up tlie
Hamoaze. A temporary cessation of the rain permitted of several
exposures being made at some of these ships, and of Brunei's master-
piece, the Royal Albert Bridge, wliich at Saltash connects Devon
with Cornwall. Much rain fell during the passage up the Tamar
but towards evening, after tea, the weather cleared, although too
late for much good work.
If tb.e weather was unpropitious on the occasion of the Tuesday's
excursion, ample amends were made on that of Thursday. At a
moderately early hour a very large party left Plymouth bv" train for
Totnes. The town was en fife, and the sun shone brightly. After
witnessing local processions in honour of tfie marriage, we embarked
on a steam launch in waiting on the Dart to convoy the party to the
pretty town of Dartmouth at the mouth of the river. The launch
proving totally inadequate for the accommodation of the lai-ga party,
a second boat of like dimensions was provided and also filled the
surplus finding accommodation in a third boat. These were taken in
tow by the launch, and a merrier party was never seen on the Dart.
When a few miles down still another boat, with a small contini'ent
■which had preceded the main party, was seen waiting for us in the
middle of the river, and it, too, was taken in tow to swell the goodly pro-
cession, wliich, when we reached Dartmouth, must have presented a
singular, if not a semi-formidable, appearance. What numerous pic-
tures may be obtained here ! But to secure them one must go alone
or, at any rate, with a much less numerous party than constitutes a
Convention outing. On the boat nothing but hand cameras could be
used for sheer lack of room in which to erect a stand, but on shore
and with stand cameras, pictures will be found everywhere, lyin" as
thick as the proverbial blackberries.
Plymouth and the adjacent towns have given many good men to
the world. Mention has already been made of Robert Hunt. He
was one of the early investigators into the photographic properties of
several substances. We owe to him the knowledge, inter alia of the
developing powers of ferrous sulphate. He was the earliest and most
competent historian of things photographic that we have had. His
Hfsearc/ies on Light is a classical work ; so, for that matter is his
Poetry of Science, together with other equally charming works. His
memory will always be green in the recollection of all photographers
•worthy of the name. To Plymouth also we owe such early Fellows
of the Royal Society as Joseph Glanville and Dr. Yoiige ; such
painters as Sir Joshua Reynolds, Sir Charles Eastlake, James North-
cote, Benjamin Robert Haydon, Samuel Prout, Samuel Cook, and
others. In fine, in mathematics, surgery, horology, electricity
engineering, and literature, Plymouth, -with its immediate surround-
ings, has produced many gifted and eminent men.
In naming some men of mark belonging to Plymouth, we must not
omit special mention of J. T. Towson, subsequently Marine Examiner
at the Sailors' Home at Liverpool, and the discoverer of Great Circle
sailing. He was early engaged in prosecuting photographic experi-
ments, and in 18 j8-1», along with Robert Hunt, 11. Fox Talbot, and
Sir John Ilerschel, was probably the only one so engaged. Dissatisfied
•with the slowness of the achromatic lenses of that period, he wrote a
paper, •which appeared in the London mid Edinburgh Philosophical
Magazine for November, 18:jO, on the proper way to focus for
Daguerreotyping witli simple lenses, in •ft-hich he pointed out the
difficulty of using the common achromatic lens, the luminous focus
being different from the chemical. Towson was also instrumental in
preventing the success of Talbot's application for a patent for photo-
graphing on glass: for, in 1838, he (Towson) had produced a photo-
graph on glass which, with the k-nowledge of Hunt, he had sent to
Ilerschel at the time. This was referred to by both as a proof that
Mr. Talbot had no claim to an exclusive enjoyment of the privilege of
producing photographs on glass.
TELE-PHOTOGRAPHIC SYSTEMS OF MODERATE
AMPLinCATIONS.
If the positive element of a tele-photographic system have a large
angular aperture or a high intensity, say /-."i or/-4, it i» possible to
produce a combination of considerable magnification (in a short
compass), maintaining at the same time sufficient rapidity for all
ordinary purposes. With such a positive element, however, it
becomes necessary to introduce a means of correction for spherical
aberration when the compound system is used for any but one exten-
sion of camera and one particular distance of object. The advantages
of this type of lens have already been described, as also the manner
in which the necessary corrections referred to have been carried out.
Now, if the positive element have only a moderate intensity, say
/-8 or less, and the magnification required be not great — in other
words, if the focus of the negative element combined with it to form
the tele-photographic system is not too small a fractional part of the
focus of the positive element — the compactness of the tele-photo-
graphic system i.< maintained ; and, further, the amount of spherical
aberration introduced for planes other than that for which it is con-
structed Ijecouies a negligible quantity. Again, with a comparatively
weak negative, the latter can be made of considerable diameter, so
that there is the compensating advantage of a greater angle than it is
possible to include as against the loss of magnification.
I was at first inclined to think that a special construction involving
comparatively weak magnification in ordinary lenses of the rapid
rectilinear type was unnecessary, as most cameras, for a given size of
plate, will permit of sufficient extension to utilise one combination
only of the doublet designed to coyer that plate, and so obtain an
image of double the linear dimensions. Further consideration, how-
ever, has led me to think that there are advantages of sufficient weight
to merit a special construction. The chief disadvantage of using one-
half of a doublet is that it requires stopping down in order to cover
tlie plate properly, and, a^ain, there are, of course, only the two
definite focal lengths possible with the one lens, i.e., both combina-
tions or one alone.
By the use of a negative attachment to the doublet lens the full
aperture can be maintained, and a wide range of foci can be obtained
by the employment of one negative lens only, in conjunction with it.
controlled only by the separation of the nodal planes of the two
elements (but in practice by the camera extension). Moreover,
the one positive lens, used in conjunction •with a battery of several
negative lenses each of different foci, can be made to give any focus
one chooses longer than that of the positive used alone, and to include
any less amount of angle that one may choose.
After careful investigation I recommend that the rapid rectilinear
type of lens (/-8, or even f-7) should be combined with a negative
lens of half its focus, to form a really useful tele-photographic system.
(If the negative is less than half the focus of the positive, there is
danger of introducing outstanding aberration for any but one exten-
sion of camera, and for other than parallel rays ; this aberration is
only removed by stopping down the positive lens, reducing both angle
included and rapidity.) Negative lenses, in this proportion of foci,
can be made of larger diameter than lenses of the positive element,
and a considerable angle can be included, and necessarily greater
equality of illumination is attained than when the negative lens is of
smaller diameter than the positive. With the proportion of foci
recommended, the attachment to the positive lens is not inconveniently
bulky. Weaker negative lenses can also safely be employed, or, in
other words, the focus of the negative lens may be more than half
that of the positive ; in this case the attachment is shorter, the magni-
fication less, but the angle included greater.
The figure illustrates the combination of a six-inch focus rapid
rectilinear combined with a three-inch focus n^ative combination.
When the foci are known, it is only necessary to know, or set the
separation of the nodal planes N, K, to completely determine the
equivalent focus and back focus {i.e., tlie distance of negative lens to
screen).
If / and f^ represent the foci of the positive and negative lenses
respectively, a the separation, F the equivalent focus, and £F the
back focus, then the following simple numerical formula) give the
required information : —
for the case in the illustration ;
6x3
18
24
3J + 3-6 }
3(6-3?) _6j
*^=3| + 3-6 J "''
4-
478
THE BKITISH JOURNAL OF PHOTOGRAPHY.
[July 28, 1893
Kule I.— To FIND THR Equivat-knt Focus of the combination :
Multipli/ the foci of the two elements together and divide the result by
the sum of the focus of the negative lens and the separatioti, after
Imoing fubtracted the focus of the positive lens from this sum.
Kule II.— To FIND THE liACK Focus : Multiply the focus of the
neqatiie lens by the difference between the focus of the positive lens and
the separation, and divide the result (as in the last case) by the sum of
the fvcits of the negative lens and the separation, after having sub-
tracted the focus of the positive lens from this mm.
[Note the importance of the separation as affecting the equivalent
and back foci. If, instead of makinf? the separation 3|", we had
chosen J of an inch more— t.e.,4"— the equivalent focus of the lens
would be 18", and the back focus 0" only ; and if, on the other hand,
we had made the separation ^ of an inch less, or 3|", the equivalent
focus becomes 36", and the back focus 15". If the sum of the focus
of the negative lens and the separation is equal to or less than the
focus of the positive lens, then no focus is formed.]
It is interesting to examine the capabilities of combinations by the
above rules, and thereby to determine for one's self the suitability of
the ratio that must exist between the foci of positive and negative
lenses for any particular purpose. The separation between the nodal
planes of the two elements is easily written for this purpose, but in
practice is more difficultly measured.
The object of this paper is to place the matter in the simplest light
focus for a given extension of camera, the next step is to find the in-
tensity of the tele-photographic combination. This is measured by
the clear aperture of the positive element divided by the equivalent
focus, as in all cases. The intensity values or their equivalents are
now always marked upon the diaphragm notation of positive lenses,
so that the intensity of the compound system is most readily deter-
mined by reference to the intensity of the positive system and the
magnification. It is expressed thus : — Calling /the intensity of posi-
tive lens and M the magnification as before.
Intensity of system = —
in the particular type of case illustrated;
I 1
Intensity = = _-
In the actual example illustrated, the intensity of the rapid rectili-
near is /-7, and the intensity of the tele-photographic system /-28,
for the particular extension.
[Note. — With less magnification and less camera extension, the in-
tensity increases.]
Rule v.— To FIND THE INTENSITY for a given extension of camera
when magnification is known : Divide the intensity of positive lens by
the magnification.
I TIlBiUmeyer
fqurvALEH
Qe^sJI^EQENTfTQa jlj^NGE To^CTEEM \2 k
ijrucus. of
LoNs 2+ "(
(E)
pofl^bk, And happily there is a simple means of setting to work with-
out any fear of mistake as to the conditions under which the instru-
ment is used.
It rests on the determination of the magnification of the image as
compared to the positive lens ttsed alone.
Calling M the magnification, v the back focus, wai/^ the focus of
the negative lens : —
M = l + v_
in the particular case
M--
-I-
So that, calling F the equivalent focus and / the focus of positive
lens as before,
F=fM
= 4x0"
=2i"
as illustrated in the diagram.
Rule lit.— To Find thr Magnification for any chosen extension
of camera : Divide the distance from negative lens to screen by the
focus of the negative lens, and add one.
Rule IV.— to Find the Equivalent Focus of the combination
for any chosen extension of camera : Multiply the focus of the positive
lens by the mngnification.
Having readily determined the magnification, as also equivalent
Simple rules camiot, unfortunately, be given for the remaining two
data that should be known to fully determine the capacity of the lens
system — viz., the plate that can be covered and the extreme angle in-
cluded— but the formulae to obtain them are readilv used.
I give them applied to the case illustrated.
(1) To DKTKBMINE THE DIAMETEB OP THE PLATE COVERED : —
Calling D the diameter of the plate,
a the full aperture of positive lens 5",
"^ „ „ negative lens }",
and V, as before, the back focus, 9 ',
p-C,4./-i-)'"'/''<"'.^(''x./'')
/'[K/-/')xjf']
= (6 X 3)5x0x3x1x6x12
^ 3[y X 3 X 6 X 3]
113*
= 13x t±^
3x4.5
900
00
= 10-1"
Thus it appears that with an extension of 9" from negative lens to
screen, a circle of 10" is covered at full aperture — nearly sufficient to
cover a " whole plate." In the diagram I have indicated the lens as
covering only the diagonal of a 5x4 plate, but it will be seen that
half of the whole pencil incident upon the front of the positive lens
is received by the extreme margin of this plate. To find the covering
power for any smaller stop inserted in the positive lens, it is only
necessary to measure its diameter and substitute its value in place of
a in the formula given.
July 28, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
479
(2) ThK EXTRRMK ANOr.R INCLUDED BY THS COMBINATION is
given by the following formula: —
Calling a the angle, and F the equivalent focus, as before,
rt = 2tan-'^
= 2 tan-' ^V- = 2 tan'l -210416
48
From the table of natural tangents we find tan 11° 63" = •21043,
and hence the extreme angle that can be included is 24° nearly.
When the lens is used to its utmost limits, it will be found that
the angle included is approximately a constant for any extension of
camera, i.e., with a fixed aperture of the positive element.
It may be well to point out, in reference to the diagram, that a
back focus (measured from the negative lens to screen) of only 5* is
really necessary to cover the plate indicated (viz., 5x4) if full
aperture be used.
To work the matter out practically, we have for this a back focus
of 5i". The magnification itf = 1 + ^ =2-8, and the equivalent focus
JP=ilfx/=2-8x6=17".
,.. .nJxVx3+4xex(V+3)
= (^ ^^> 3[yx3 + 18] ■
12.51 _ 139
"'^'^ 24x69"^ ^^8x23
= -— ^ =6*4, the diagonal of a 6 x 4 plate.
ooo
Further the angle taken in is —
2 tan-i^i,2 tan-i-|^ = 2 tan-i -1882.
ixF 34
And, from table of natural tangents, tanJO° 40' = -1883, and thus the
angle included is 21° nearly.
I have given a formula for the distance from ihejkmge to focussing
screen in ray paper before the Society of Arts (published March 3rd
of this year), but have not given it here, as the "back focus" ismost
readily measured, and this measurement, as already pointed out, is the
simplest cue to all further information that is desired or necessary.
1 hope that the very unpopular " formulae" contained in this paper
may not detract from its interest to the ordinary reader, for the
formulae are readily inter^rreted by any one with a knowledge of
arithmetic.
In conclusion, I may add that the effect of the form of negative
lens adopted is one that tends, by its moderate power, to flatten the
field of ordinary aplanatic lenses without introducing '_' reverse "
curvature ; it minimises tlie tendency, in tele-photographic systems
generally, to introduce pincushion distortion, it eliminates the violent
chromatic fringes brought about by negative lenses of the double
concave type, and diminishes the astigmatic aberration in the
eccentrical pencils. T. R. Dallmuykb, F.R.A.S.
• ♦
CONTINENTAL NOTES AND NEWS.
Clearlngr ITeg-atives Developed in Impure T^ater. —
M. E. Forestier, in L' Amateur Photographe, says that the quality of
the water used in making up developing solutions is not always irre-
proachable, which causes the lights and half-tones of a negative to
have their transparency degraded. In order to remove this veil, he
recommends that the plate, after fixing and washing, should be im-
mersed in a solution of —
Water 1000 c.c.
Oxalate of iron 20 grammes.
Alum 80 „
Thia clears the negative, which should then be well washed.
The Fluorides of Sodium and FotasBlum for Strip-
ping' Purposes. — These two salts, which are prepared by saturat-
ing commercial hydrofluoric acid with sodium or potassium carbonate,
take the form of white crystals, easily soluble in water, and present
no danger in bandUng them, while they form excellent substitutes
for hydrofluoric acid, which requires to be used with ccnsiderable
precaution. The alkaline fluorides in the presence of an energetic
acid, such as sulphuric acid, set free hydrofluoric acid, the alkaline
sulphate being formed at the same time. Taking advantage of this
reaction to produce a trace of hydrofluoric in a film of gelatine
attached to a glass plate, the gelatine will be found to leave ita
support with as gieat facility as if hydrofluoric acid were employed.
To produce the minute quantity of hydrofluoric acid necessary for the
operation, M. L. Mathet says he first places the plate in a solution of
alkaline fluoride, leaving it therein for three or four minutes, then,
without washing, immerses it in a ten per cent, sulphuric acid solu-
tion, when the film will soon commence to regularly detach. He
suggests that the plan would be available for cleaning off old
negatives. In order to prevent the film, when detached, from expand-
ing, the negative, before being stripped, should be soaked for about an
hour in a five or six per cent, solution of chrome alum, being afterwards
washed in several changes of water before the application of the
fluoride and sulphuric acid.
The Bollingr Water Seducer.— A writer iil a contem-
porary advises the immersion of over-toned prints [presumably
albumen, although it is not stated] in boiling water until they
have toned back sufiiciently. The prints are then placed in cold
water.
Toluol IlXatt Varnish. — Toluol is a product of the distilla-
tion of coal, from which it is obtained at a temperature of between
100° and 130° C. It is analogous to benzine. According to Lainer
the foUowing formula with toluol gives a good matt varnish : —
Ether 100 c.c,
Sandarac 100 gr.
Toluol • • 3.50 to 400 c.
The powdered sandarac is dissolved by agitation in the ether, and,
after filtration, the toluol is added. The varnish is employed in the
usual manner.
Photog-raphy without lilgrht.— Captain Colson states that
in a picture on albumen paper of a bronze object, such as a coin, can be
obtained by moistening the paper and placing the coin in contact
with the surface, a reduction of silver takes place, and in a few
minutes an impression similar to that producible by light is obtained,
which may be toned and fixed.
Flexible CHass.— The following is the formula given by Science
lUustrie for a flexible substance as transparent as glass. DIssqIvo
four to eight parts of pyroxyline in alcohol and ether in the propor-
tion of a one per cent, solution. Then add two to four per cent, of
oil of rice or any other non-siccative oil, and four to ten per cent, of
resin or Canada balsam. Coat a plate of glass, and dry in a warm
current of air at 60° C. This will give a sheet of a durable, unbreak-
able, transparent substance, impervious to acids and alkalies, and less
inflammable than ordinary collodion, and of any desired thickness or
colour. With zinc oxide it has the appearance of artificial ivory.
A "Very Rapid Collodion Process. — Having experi-
mented with Dr. Hill Norris's process, which was patented some
four years ago, without obtaining satisfactory results, M. P. David,
of the Service d'Identification de la Prefecture de Police, Paris, has
introduced some modifications of his own, and gives the following
method of preparing a dry-collodion plate of a sensitiveness about
22° or 2.3° Warnerke. He coats a plate, 180 x 240 cm., with 2-5 ex.
of collodion, containing eighteen grammes of silver nitrate and seven
to eight grains of pyroxyline per litre. The film being set, the nitrate
is bromised in a bath of
Potassium bromide 80 to 120 grammes.
„ iodide 0 01 „
Gelatine 2 „
Distilled water 1000 c.c
480
THE BlilllSH JOURNAL OF PHOTOGRAPHY.
[July 28, 1893
Sensitiveness is obtained by immersing the plate for a greater or less
time in a solution of
Potassium bromide 18 to 25 grammes.
Gelatine 1 „
Distilled water 1000 c.c.
The sensitiveness increases ■with the temperature of the bath. At
70-75° the plate is left in for about two hours, at 90-95° for one
hour. The figures are, however, approximate. The plate is then
washed and dried. Contrary to what might have been supposed,
says M. David, the collodion film does not show any tendency to
leave the support even at a temperature of 100° C, provided that the
surface of the glass has been carefully prepared.
mo more Double Exposures. — For the modest sum of three
francs a Bavarian gentleman undertakes to impart particulars of a
method whereby the amateur may discover whether a plate has been
exposed or not, and this without impairing the original quality of the
plate. They should render impossible the oft-aceomplished feat of
" securing thirteen pictures on a -dozen plates." The catchpenny
trade is always with us, it seems, even in photography.
■ Black tones in X*erro-prussiate prints. — A contempo-
rary says that ferro-prussiate prints acquire black tones by treatment
with a solution of silver nitrate followed by development with iron
oxSilate. The print fixed and washed as usual is placed in a solution
(if silver nitrate, in which it is left until it has bleached, when it is
placed in the developing solution. If, after development, it is placed
in a solution of hypo, the black tone will tend to disappear, passing
back to the blue stage. Thus, with a little care, a print may be
obtained, in which the deep shadows are black, while the half-tones
are blue.
PHOTOGRAPHIC INDUSTRIES.
The Lastehn-sude Pactort or F. York & SoK.
It was our privilege, on returning home from the Photographic Conven-
tion at Plymouth, to be permitted to break the journey to visit a very
important photographic industry, of which a brief account will interest
our readers.
Very few there are who are not more or less intimately acquainted with
the lantern slides, either individually or in series, so well and so long
associated with the name of P. York & Son, of Netting Hill, London ; but
it is not equally well known that these slides are produced in the town of
Bridgwater, Somersetshire, for here is situated that factory from which
emanate in hundreds of thousands those little gems of art whose function
j[t isto delight, instruct, and amuse.
^ It is no figure of speech to say that more slides are issued from the
offices and distributing centre of this firm at 67, Lancaster-road, London,
than from any other centre of operations in the world ; and even several
years ago, when writing some notes of a visit to this distributing centre of
the firm, we spoke of their negatives and output as being measurable by
the ton weight ; but since that time these have been very greatly in-
creased. Some years have now elapsed since, with a sentimental regard
for his native town, Mr. P. York decided upon selecting it as his place of
manufacture.
Under the guidance of the veteran chief, whose wonted energy does not
seem in the slightest degree to be impaired, and his resident local manager,
we have been privileged to inspect the whole of the Bridgwater factory and
witness the various operations there carried on. Mr. York himself was,
nay, still is, a great traveller, and, when he visits scenes or towns either at
home or abroad, he rarely terminates his visit without carrying away with
him negatives representing every salient feature of the locality thus visited,
whether such be in the West India Islands, Monte Carlo, and other Italian
towns, or even places of equal or greater merit, although of less distinction
at home, such as those selected for Convention meetings. His camera
and his aim are true ; he selects his subjects by instinct, and, whUe having
a pardonable love for the civic palaces now to be found in every town of
any pretensions, still he is not averse to
" Loiter by the peasant's cot,
And pot it with unerring shot."
The Bridgwater factory occupies two houses in a quiei street, with
out-honses erected in their gardens behind.
We first visited the negative room. This is a fireproof structure,
strongly built and slightly isolated from the other buildings. Humanly
speaking, there seems no chance of the valuable contents sustaining
damage from fire. These are arranged in boxes on shelves around the
walls, the numbers on each corresponding with those in the catalogue of
negatives in the possession of Mr. King, the manager ; so that, when an
order from any subject is received by letter or telegram from headquarters,
he can, by referring to his negative catalogue, lay his band at once upon
the package in which the required negative is contained, and to which it
is immediately returned when done with.
The only kind of glass used is Chance's Crown, which York & Son find to
possess certain advantages over others in respect of brilliance of surface,
flatness and freedom from certain defects, which, although small to the
eye, are visible in a marked manner when the picture is shown on a scale
of great magnification on a fifteen or twenty foot screen.
Tlie negatives in most cases are taken on 5x4 plates and, as we have
said, there are many thousands of these in stock, for during the twenty-
five years that this busmess has been carried on the number has been ever
constantly increasing. The process of reproduction is wet collodion,
which is supplied mainly by two makers if we judge of this by the
enormous number of large labelled bottles we saw in a repository of
" dead men." The transparencies are all taken on plates seven and a half
inches square, this being of the best quality supplied by Chance Brothers,
of Soho, Birmingham, and already alluded to. Of this glass thirty gross
per month are regularly supplied. There are four transparencies printed
on each plate.
There are three dark rooms in which the plates are coated and
developed. These, when coated, are sent by a lift into the room above,
where they are exposed in cameras which point upwards to the sky. But,
as even Somerset skies often vary in their brightness, the exposers above
are in verbal communication with the developers below, who occasionally
call out to give so many seconds less or more exposure to the next lot
according as the light gets brighter or grows more dull. In the exposing
room are four cameras with repeating backs, which slide both vertically
and horizontally, and they are adjusted so as not to necessitate focussing.
After exposure the plates are sent down for development and subsequent
treatment.
When the rush of work or the darkness of the weather necessitates it
recourse is had to artificial light. This consists of a kerosene lamp as a
source of illumination, the light from which is concentrated upon the
negative by a five-inch compound condenser, and is then transmitted
through an objective to the sensitive plate, an average exposure of twenty
seconds being given. As there are quite a number of these copying
lanterns, the firm is rendered independent of the weather, seeing that
work may be carried on by night as well as by day.
The developer employed is a ferrous-sulphate one, so prepared as to
give the utmost clearness and gradation with purity of the whites. After
being fixed in hyposulphite of soda, the transparencies— of which, as
stated, there are four on the plate— are toned. It is no secret that a
solution of a salt of platinum is the toning agent employed by York & Son.
Seeing that platinum behaves in a whimsical and unreliable manner in
the hands of many, bleaching in some cases and giving an exceedingly
heavy and black image in others, investigations were long ago gone
into by the firm, the result of which is that the platinum toning
bath now and for some years employed is stable and reliable, its erratic
tendencies being eliminated. In this lies the chief secret of the uniform
tone, which is such a characteristic of York's slides that they can be
distinguished from most others at a glance. The platinum toning also
confers such stability, that we are not aware of any case of fading of the
image ever having been known to occur with these slides. Varnishing
follows toning, the varnish being a colourless spirit one.
The system adopted in severing the plate, which is seven and a half
inches square, ensures identity in the four transparencies impressed
thereon. After a considerable pUe has been prepared, the examiner then
takes them in hand, and unceremoniously rejects every transparency on
which there is the shghtest blemish, or which in any respect falls short
of what in his estimation a transpareilcy Ought to be. Owing to the
experience of the workpeople and the card taken throughout, the number
rejected is but few, and these, after having had the films stripped off and
being cleaned, are employed as cover glasses.
Concerning the mounting, it is not necessary we should describe it
further than to say that starch paste is invariably used as the monntant.
When gum is employed, it is found that, sooner or later, it ceases to
adhere to the glass and leaves it. Each picture has its title printed in
small type on a slip of paper, wliich is pasted on the edge of tjie finished
elide. This is convenient fer reference when a quantity are packed in
July i8, 1893]
THE BRITISH JO&KNAL OF PHOTOGRAPHY.
481
grooved boxes, as the subjects are thus known without the necessity of
withdrawing them for inspection being experienced. It is also useful
in selecting and arranging subjects for lectures or miscellaneous
entertainments.
Some of the rooms are devoted to silver printing, and there is also a
largo carpenter's shop on the premises, for, a^i may be readily sapposed,
the packing and sending away of goods forms uo inconsiderable item in
the day's work of a busy establishment like this.
We have said that the factory is in Bridgwater, and may incidentally
observe that the river on which this toy/a is situated is the only one
which supplies the material out of which " Bath " bricks (so called from
the name of the oriRinator of the industry of that well-known domestic
article) are formed. Kach tide deposits a larije quantity of the sand
suitable for the purpose for a mile above and a mile below the town.
Beyond these extremes the deposit is either too (inc or two granular for
tills industry. The liner deposits are, however, utilised in America and
elsewhere in the manufacture of sapolio and iiudred soaps.
Keturning for a moment to York's lantern-slido factory, there were
twenty-six hands employed at the time of our visit.
PHOTOGRAPHIC CONVENTION OF THE
UNITED KINGDOM.*
The following paper was taken as read: —
AXASTIGMATIC APLANATISM AND THE ZEISS ANASTIGMATIC
LENSES.
By Dr. Paul Eudolph (Jena).
[Translated from the Gerniau MS, 1
TirE anastigmatic lenses of Zeiss made their first appearance scarcely
two years ago ; nevertheless, they have attracted the general attention of
the photographic world, and, despite considerable adverse criticism,
proved a great success. It would, therefore, be interesting to examine
the special features to which these new objectives owe their popularity.
Over 7000 lenses have now been sold, and though there are still many
professional photographers and amateurs who have not had an opportuity
of testing the powers of the anastigmatic lenses from personal experience,
it may be assumed that nearly every one has heard of them or has seen
photographs produced by them. The Zeiss anastigmatic lenses are well
adapted for portraits and groups, for copying aud enlarging, for interiors
and flashhght exposures, and for outdoor instantaaeous photography, for
architecture, landscape, and photogrammetric work.
Experts unanimously pronounce the Zeiss anastigmatic lenses to be
superior to the older objectives, and praise their extensive range of
applicability. We may refer to the respective writing.^ of Koster, Faber,
Wallon, Eder, Vogel, and others.
The following remarks are based upon the criticism of these experts,
and, in particular, upon a paper read by me in March, 1892, in the Free
Photographic Association of Berlin.*
The Zeiss anastigmatic lenses are dissymetrical doublets, consisting of
an achromatic anterior part whose ./?fn« has the higher refractive index,
and an achromatic posterior part in whicli the crown has the higher
refractive index. These two cemented parts of tlie doublet possess, there-
fore, opposite differences of refractiveness in the crown and flint glasses
employed for achromatisation.r This embodies the important principle
by wiich it became possible to effect anastigmatic aplauatism of a system
of lenses corrected spherically and chromatically for large apertures.
The series of new glasses produced about six years ago by the glass
works of Messrs. Schott & Co. , of Jena, rendered it possible to practically
realise this principle in the construction of the Zeiss anastigmatic lenses.
Let Jij, He, «j be the refractive indices of a certain glass corresponding
to Frauuhofer'8 lines, F, C, and D, then the ratio ~'^° represents the
«j 1
relative dispersion for the interval C-F. With the older series of glasses
this value increased in a measure as the refractive index increased, e.ij.,
Crown of na = l-5166 had -"'■^ = 001643.
... . ."d - 1
Flint of /Id = 1-6129 had ^""^ = 002708.
fid - 1
In order that the anastigmats may be constructed, it is, however
• Photca/-. Wochenhlatt, Berlin, 1892, Nos. 18 to 21.
t "Crown '■ and " Flint " are here placed in opiwitiou. not with reiipeot to their
chemical composition, bnt are considered with respect to their optical ■provtrtkt.
The same ?las3 may, therefore, appear in two different achromatic combinationi as
lenses, either as " Crown " or " Flint " (oide Eder's Jal.rl,., 1891, p. 221., Eem ). In
the following remarks " Crown g\ass" is always nnderatood to 'rotor to .that ghiss ot
a binary lens, which is less in ralattce dispersion, while the term " Flint glass" referii
to that glass which has the greater rdatite dispersire power. EelativB dispersion is
the value represented by the expression ^, ^in being the diflorenca of the refractive
J. • m-l
ndioes for two lines of the spectrum, as a refraotire fedex wiUua thea* limits.
necessary a range of glasses in which any given refractive index may be
coupled with any desired dispersion. This postulate is realised, e.g.,
by the following glasses made by Messrs. Schott <t Co.
The sodium lead glass, flint njl = 1.5205 of relative dispersion, 0-01056.
The barium-silicate glass, crown nd=: 1-6112 of relative dispersion
0-01 7 17.
The refractive index of the former, viz., 1-5205, would, in the older
series ot glasses, necessarily imply a relative dispersion of 0-01700, while
to obtain a refractive index of 1-6112 with the other glasses the relative
dispersion would have to be about 002700, i.e., sixty per cent, higher.*
• All photographic lenses preceding the anastigmats had either a very
much curved fleld, or, if flat, an astigmatic field. In the latter case the
image was perfect in the centre, but the quality of the image declined
towards the edge.
It may be useful here to define what is meant by a onrred, flat, and
astigmatic image.
Let the object be placed in a plane which is accurately vertical to the
axis of the objective, or let all the object be at so great a distance from
the objective as compared with the focal length of the objective, that the
difference of the distances of the different objects may be neglected.
Then the field of an objective is considered to be curved if different
positions of the focussing screen are required for sharply focnssmg an
object point in the axis (centre of the image), and an object point lying
outside the centre of the image.
The whole of the older photographic lens types exhibit curs-atures of
the image, such as to necessitate the distance of the focussing screen
being shorter for marginal points of the image than for axial points.
The points of distinct delineation are,
therefore, situated upon a curved sur-
face, whose concave side is presented
to the objective. Fig. 1 represents a
section of the image surface, and a plane
passing the axis of the objective. The
Jotted line a represents the ideal image
plane, which intersects the axis in the
axial image point, and is at right angles
to the axis of the objective, while curve h
represents the actual surface of the
Fig. 1. image.
The field is flat if the position of
the focussinr) screen is the same for central and extra-axial points, i.e., if
the sharply focussed points are ajfl contained in a plane which is at right
angles to the axis of the objective, or if these points lie in the ideal plane
of the image.
The image is astigmatic if sharp images of lateral, i.e., extra-axial,
points may be obtained by two different positions of the focussing
screen. The two images are not exactly similar to the object ; one
of them shows distortions in the direction radiating from the axis (radial
distortion), while the other exhibits distortions in the directions at right
angles to the radii (tangential distortion). This fact may easily be demon-
strated by means of an " aplanatic " lens, say, by using a small circular
disc having a diameter of only a few millimetres situated outside the
axis and attempting to sharply focus it. With the nearer position of the
focussing screen, the image of the disc appears as a radial line of a
breadth proportional to the diameter of the disc. With the longer
distance of the screen, the image is an arc of a circle concentric to the
axis of the objective (tangential distortion). The lengths of the radial
and tangential portions of a line are essentially dependent upon the
difference of the two positions of the screen, and increase continuously
from centre to margin in the case of Ihe " aplanatic " lens. With
objectives yielding astigmatic images, there are thus two image surfaces
conjugate to one and the same object plane. These two image surfaces
touch each other in the axial image point, and the distance between them
increases continuously from centre to margin. "Mean curvaturj" may
be defined as that surface which represents the arithmetical mean of the
deviations of the two image surfaces from the ideal surface. The
dissimilarity between the details in the two image surfaces inter se, and
the original increases from the centre to the margin. The following is
an interesting experiment : —
* Refractive and dispersiTe power was, with the older glasses, dependent npon each
other in a certain maimer. If n and s » = !> +n were respectively made to repre-
sent ab'^cisso^ and ordinates, the points so represented formed a fairly straight line
inclined to the axis (trid« Dr. J. Czapski, "Optical Lenses," ZdUchrijl f'ur Imtrtt.
mcntenliiiuit'. Berlin, 1886, pp. 344 and 315) ; n was, therefore, a lineikr fnnction of
n = o-l-C A n
4
482
THE BRITISH JOORNAL OF PHOTOGRAPHy.
[July 28, 1893
Arrange in one plane (6g. 2), along the radii of concentric circles,
bright discs. The angles between the radii should be chosen according to
the astigmatic aberrations and the focus of the objective. Direct the
axis of the objective at right angles towards the centre of the system of
radially grouped discs, and focus one of extra-axial discs. The image
obtained at the shorter distance of the focussing screen from the objective
is, as fig. 3 shows, a portion of a radial line which, in proportion to the
curvature of the image plane, becomes more and more indistinct towards
either side, and is more or less interrupted r»diaUy in proportion to the
degree of astigmatic deviation. Fig. 4 is an image obtained by focuseing
a disc on a circle, situated midway between the axis and.the outside circle.
It will be seen that images of all the discs grouped along the same curcle
are of the same degree of distinctness or indistinctness, and also ex-
hibit the same amount of distortion.
Focussing at the greater distance of the screen shows the object (fig. 2)
tangentially distorted. The image becomes thus composed of a series of
circles concentric to the centre of the image, which are more or less
f IG. 2.
Fia. 3.
Fia. 4.
interrupted, or perfectly nnintermpted. The discs grouped along another
circle, which had not been sharply focussed, are similarly distorted,
though in a less marked degree.
If, now, a screen having drawn upon it concentric to the axis of the
objective circles and radii be substituted for the system of discs, the
astigmatic objective would reproduce the original with partial similarity,
but both systems of lines could not simultaneously be delineated with the
same position of the screen. The shorter distance would yield sharpness
of the radial elements, the circles at the same time being badly defined ;
the longer distance would show the circles sharply, and at the same time
the radial elements badly defined.
A sufficiently large screen bearing the two systems of lines, radial and
concentric circular lines, appears thus to form the most natural test for
astigmatism. Such a screen would, however, be too uniform and too
little adapted for exhaustive tests.
The screen of 2 x 2 metre area, as it is used in the photographic
laboratory of Carl Zeiss of Jena, is for this reason arranged somewhat
differently, and it may not be uninteresting to here give a short descrip-
tion of it. Upon strips of paper of 18 x 21 in area two systems crossing
each other at right angles of parallel lines of varying thickness, and
placed at varying distances from each other, and the strips themselves
are fixed to the screen with one of their ends at the centre of the screen,
and their sides parallel to the sides of the screen in such a manner that
in each strip the radial and tangential lines alternate. The middle of
the screen contains a field consisting of rectangular cross lines, which is
intended for testing sharpness of definition. The tangential parallels
form substitutes for the system of concentric circles, while the ratlial
parallel lines take the place of the radii proceeding from the centre.
The difference between the two positions of the focussing screen for
sharp delineation of the marginal portions of the systems of straight lines
represents the astigmatic difference. For the purpose of demonstrating
the incorrectness of the image caused by astigmatism, the screen has
square fields of more or less fine rectangular cross lines diagonally
attached to it in such a manner that in one case the system of lines is
parallel and at right angles respectively to the diagonal, while in the
other cifse they are inclined at 45° to the diagonal. Tlie screen has also
samples of writing and printing attached to it.
When focussing square cross lines at the edge of the image, the astig-
matic objective produced in the two characteristic cases furnished by the
test screen the following deformations : —
1. The straight lines composing the net at the edge of the image are
parallel and at right angles respectively to the direction of the radial
lines.
In this case— represented by fig. 5, in which A is the point of inter-
section of the axis of the objective and the plane of the object. A' that of
the axis and the plane of the image— sharp focussing of the tangential
lines causes the lines which are at right angles to the radius to appear
nearly sharp, while the lines which are parallel to the radius are almost
entirely invisible (image a). Focussing of the radial lines produces the
converse of the last test. The lines parallel to the radius appear sharp,
the lines at light angles to it disappear (image t). Mean focussing re-
sults in a totally ill-defined image, and eventually in more or less marked
reversion of the cross lines, »sfich as a black net in a white field.
2. The straight lines of the net are inclined at 4.5° to the radial direc-
tion. In fig. (J let A and A' again be the point of intersection of the ob-
jective axis with the plane of the object and image respectively. Tan-
gential focussing causes the rectangular cross lines to be distorted so as
to present the appearance of tangentially elongated hexagons, and, in the
Tib. 5.
Fig. 6.
ease of great astigmatic difference, it may result in almost precise com-
mutation of the cross lines into a single system of tangential line*
(image a, fig. 0).
It we focus between these two limits, the net may, similarly as above,
eventually be reversed so as to appear as black points in a white field ^
the same effect may also be produced in anastigmatic images by unsharp
focussing. Similar results of a more or less marked character may be
obtained by replacing the quadratic net by one formed of oblongs,
rhombi, circles, &c.
In order that these relations might be objectively fixed, photographs
were taken in the photographic laboratory of the optical works of Carl
Zeiss of the test screen, and the photographs so obtained were reproduced
by photo-lithography. There are four plates, of which we show
the two most characteristic ones, Nos. I. and IV. (shown). Here an
" aplanat " and "anastigmat" are subjected to direct comparison
Plate I. has been taken with an " aplanat," made by a renowned
firm. The objective had a focal distance of 14 cm. and a relative aper-
ture of 1-G, and was stopped down to /-12-5. Image and object are
in the ratio of 75 to 1000, and the angle subtended by the object is
about 67°.
The centre of the screen is sharply focussed. In this part the
delineation is extremely good, a sufficient proof that the objective, per se,
was a good specimen of its kind. As the margin is approached, the
definition, however, loses more and more in distinctness, and astigmatic
distortion increases more and more. While the tangential lines are
fairly sharp up to the edge, the radial lines rapidly decrease in definition
past the third field. In the diagonal squares, the bounding lines of
which are at right angles and parallel respectively to the radius, it will
be noticed that the tangential lines are markedly sharper than the radial
lines, the latter being almost invisible, and in the squares, whose sides
are incUned at 45° to the radial direction, the distortion at the margin of
the tangential lines may readUy be observed. The squares appear, in fact,
as hexagons.
Plate IV. has been taken with a Zeiss anastigmat, viz, anastigmat
1-6-3, 14 cm. focus, all other conditions being the same as those existing in
the former case. There, too, the centre was accurately focussed ; but barely
any traces of those details which point to astigmatic imperfections of the
margin of the image will be noticed.
Plates II. and III., which are not shown here, were taken with the
July 2?, 189S]
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
483
!iame " aplanat " as that nsed for Plate I. Id the first case tbe taaRential
marginal lines were focussed, in the second case the marKiiial radial linea
formed the critical part of the object. While in the former caae the
centre appeared to be fairly sharp, in the latter case it was totally i
worthless. The characteristics of astigmatism, as above explainedi
become apparent in botli plates. ■
The older types of lenses (aplanatic, antiplanats, portrait lenses, single
lenses, Ac), admitted of astigmatic correction, but they could not at the
same time be corrected for Hatness of field. The Zeiss " anastigmat "
■was the first lens in which, as we pointed out, anastigmatic aplanatiam I
was combined with the realisation of other requisites of a good photo-
graphic lens.
A lens having anastigmatic curvature yields sharply defined points from
centre to margin. These cannot, however, simultaneously be filed upon
the plane negative plate of the photographic apparatus whenever the
points constituting the object are nearly in one plane at right angles to
the axis, or when they are at a relatively great distance from the objective. ,
If it be desired to simultaneously fix these shari) points upon the plate,
it would be necessary to use a curved sensitive surface corresponding to
the curvature of the image. Clearly the use of such curved sensitive
strata is impossible, for it must not be forgotten that for each lens type,
each focal length, and even each degree of magnification or reduction,
there is a distinct corresponding curvature, to say nothing of the practical
inconvenience attaching to curved photographic plates. At present we
are, at any rate, limited to flat negative plates. From an optical point
of view, this is an undesirable limitation, which seriously affects definition
and depth of the curved image.
The flat plate must be covered nearly uniformly sharply from centre to
edge, unless the objects are grouped ob a curved surface corresponding to
the curvature of the image. With portrait groups photographers had a
means of compensating the anomaly by arranging the persons in a semi-
circle, in the centre of which the objective is placed. With landscape
and instantaneous photographs, however, such an expedient is only
rarely, if at all, applicable. In order to obtain tolerable distinctness in
the image from centre to edge, it would be necessary to work with narrow
angles or to stop the lenses down considerably.
In working in this manner, it must be borne in mind that both in the
centre and at the edge near and far objects are to be depicted simul-
taneously ; the objective yielding a curved image causes, however, on the
photographic plate distinct objects to appear indistinct, and sufliciently
near objects sharp at the edge when the focussing is sharp for the centre.
On the oblong flat negative plate, ABCD (fig. 7), let near objects be
depicted at AB, distant objects at CD; then, if the centre, M, be accurately
focussed, the points of sharp delineation are situated upon a curve, and
are represented by E, which intersects AB in two points, and is sym-
metrical with respect to AB. By stopping the lens down we obtain, as
is well known, greater depth for distant objects than when focussing
for near objects. In the present case the depth nesessarily diminishes,
therefore, from the centre to the margin. The limits may be graphically
represented by curves, Ti and T„, which, being symmetrical with respect
to E, have their greatest distance apart at M. The depth of focus is
represented by the area contained between T, and T,. By this area the
imperfections of the marginal image may readily be ascertained. When
it is important to improve the distinctness at the edge, it would be
necessary to sharply focus a point situated at a distance from the centre,
and to sacrifice the distinctness at the centre.
The deficient depth of focus of lens yielding a curved image does, nnder
certain conditions, not become apparent in street scenes. In such cases
it may happen that the position of the camera is such that the rows of
houses are delineated simultaneously on both sides, of the street, the
distant houses being thus shown in the centre, the near ones at the edges
of the plate. In such a case the curvature of the image may even
become the very cause of greater marginal distinotnesg than is obtainable
with the flat field. With all other, and nearly always existing, cases
distant objects have to be shown simultaneously at centre and edge, and
in such cases it is absolutely necessary to have a flat field.
It is possible to partly flatten the field of the aplanat. This is moat
conveniently done with those points of the image which are dne to the
meridional rays, i.e., for the tangential directions in the image. Under
these circumstances, one would, however, have to abandon the anastig-
matic correction of the image, and to rest content with partial distinct-
ness. Those points of the image which are due to rays contained in a
sagittal section yield another image surface (image points of radial direc-
tions), which touches the former surface in the axis of the objective, and
deviates from it with continuous curvature towards the edge, as already
explained.
With angloi o( 50' this deviation amounts to one-fifteenth ; with 70",
to one-sixth ; and to 0O\ even nearly one-third of the focal length of tbe
lens. The section o( these image surfaces by a plane passing through
the axis of the lens would present the appearance shown in fig. ». Curve
a appertains to tbe image points in the meridional section (tangential
di.Htortion), b to those of the sagittal section (radial distortion). Ho re-
presentu the axis of the lens U„ a principal ray.
This result may te obtained with aplanatic lenses if their halves be
sufliciently widely separated. The marginal distinctness is then very
Fiu. 9.
defective, and the stopping down has to be carried very far if it is at all
desired to obtain sharp definition at the edge or fair definition extending
over a considerable field.
An objective having an anastigmatically flat field, such as the
'• anastigmat " produces, however, a sharp image upon the flat plate,
which, as fig. 9 shows, is bounded by lines T,, T,., the latter being
parallel to the focussing line E. This objective delineates near and
distant objects with the desired uniform sharpness and centre at edge.
The Zeiss anastigmats yield, therefore, a uniform depth of focus from
centre to margin without necessitating the same amount of stopping down
that is imperative with the " aplanats." The anastigmats have in propor-
tion to their covering power a considerably relative rapidity.
A paper read by the author in the Free Photographic Association at
Berlin was accompanied by two instantaneous photographs reproduced
by the lithographic process, which served for comparing the "anastigmat"
with a normally corrected " aplanat." The two lenses used in the tests
had the same maximum aperture, and were stopped down to 1-9. The
anastigmat 1-6-3, /=21 cm., gave a circle of 25i cm. diameter of fair
definition (624°), while with the aplanat 1-6 of 20 cm. focus stopped
down to -1-9 the same circle of 11 cm. at most (31°). The aplanat,*
which was the make of a renowned firm, was in itself a good specimen,
the definition being excellent in the centre.
In order to obtain with the aplanat a sharp image of the same extension
it would have been necessary to stop the lens down to about /-36, and
thus to seriously diminish its rapidity.
Professor Roster, of Florence, who, in his own interest, subjected the
anastigmats to exhaustive practical tests, found that the anastigmats,
vrith a given angle, admit of five to eight times more rapid exposures than
aplanats and antiplanats of best make.
Dr. ChiusoU, of Ravenna, speaks equally favourably of the anastigmats,
and Professor Fabre, of Toulouse, writes, in his Aide-memoire of 1891,
" The anastigmat is eleven times more rapid than the comparable objec-
tives of older types."
The author himself compared an anastigmat 1-6 -3/= 170 mm., with
an excellent specimen of the aplanat 1-9,/^ 145 mm., and found that the
anastigmat covered the test screen of Zeiss with almost the same depree
of definition that could be obtained with the aplanat working at/-32, i.e.,
the anastigmat working at 1-0-3 with a ticelre times greater rapidity than
the aplanat 1-9 was found to do the same as the latter. Owing to the
better concentration of light in the anastigmatic flat image, as compared
with the anastigmatic curved or astigmatic flat image, with an objective
of the former type, the intensity necessarily diminishes lessirom centre
to edge than a lens belonging to either of the last-named types. This
advantage of the Zeiss anastigmats cannot be overrated, as the oblique
incidence of rays at the edge of the image is, in itself, productive of a
continuous diminution of intensity towards the edge. The anastigmats
yield a negative which is uniformly exposed from centre to margin. The
advantages resulting from the anastigmatic flatness of field greatly ex-
tend the range of applicability of these lenses.
The advantage of being permitted to use a large stop when a certain
size of plate is piescribed, and the advantage of the uniformly bright
• By " aplanat" we understand the wollknown type of symmetrical doobleU of
four len-^es introduced by Steinheil. Prerioua to the invention of the anartigmats, it
was the best t^-pe, and afpeared in the market under many names, such as apUant.
enryaeope, rectilinear, symmetrical, lynceinoacope, paraptanat, *c.
484
THE BRITISH JOURNAL OF PHOTOGRAPHY.
fJuly 28, 1893
field, assists in the solution of the problem of nsing short focus lenses for
relatively large plates; i.e., with a given rapidity of the objective, essen-
tially shorter foci may be used in the case of anastigmatic lenses than is
admissible with other types, e.f/., anastigmat l-0'3 (Series II.), of a focus
of 105 to 120 mm. is quite sufficient for sharply covering a plate 9 x 12
cm. (3J X 5 inches) at /-9 ; with the older types, the focus would have
to be 120 mm. (7i inches) at least. In order to cover 13 x 18 cm. (5x7
inches) at /-9, it was necessary to employ a lens of, say, 350 mm. (14
inches) focus, whereas, with the anastigmats, this result may be obtained
with a focus of .210 mm. (SJiaches), and even with 170 mm. (7 inches).
Short foci give; ho'Weve;^,.,-j^':6(juaiidistancea-oi the object,. a.better depth
than long foci ; they yield a'sbjutjger image of objects situated atdiffp-ent
distances^ from' the position- crf'''TOe apparatus. The anastigmatic lenses
have, therefore, in Vanother sen^e, greater depth of focus than the older
lenses. '■''■'.'■ ,
These advantages- become, particularly apparent in instantaneous and
wide-angle lenses,' and in' the photography of architecture and interiors,
and in copying. De,tectiye cameras may be made of smaller dimensions,
as they may be fitted with short-focus lenses. Photographs of architec-
ture and interiors, and reproductions of maps and paintings, may be
taken by means of rapid lenses, i.e., at short exposures.
The tables published by the author in Edcr's Jahrbuclt, of 1893, in his
paper on " The Astigmatism of Photographic Lenses," which are based
upon calculation, show the extent to which anastigmatic flatness has been
obtained with the various series of the anastigmats.
Table I.
Mean Deviations of Image Curvature for Objectives at 100 mm. Focus.
Objectives.
Deviations for Inclinations o£ a
Principal Ray of—
10%
15-.
20".
2*'.
30-.
•
35'.
40'.
Anastigm 1-18
mm.
mm.
mm.
mm.
mm.
mm.
(Long foci) ...
-0-2
-0-4
-0-5
-0-2
•fO-3
—
Anastigm 1-9
-0-5
-0-9
-1-2
-1-0
-0-6
-fO-4
-1-2-4
-Anastigm l-6'3 ...
-0-3
-0-5
-0-6
-0-3
-(-0-8
-f2-4
Anastigm 1-12-5 ...
-0-G
-11
-1-4
-1-4
-1-0
-fO-2
Anastigm 1-4-5 ...
-0-5
-1-0
-M
-1-5
-0-6
-(-1-3
Anastigm 1-7-2 ...
-0-7
-1-2
-1-8
-1-2
-0-2
+ 30
Anastigm 1-18
(Short foci) ...
-0-9
-1-4
-1-9
-2-2
-2-2
-1-4
-fO-4
Aplanat 1-7
-0-2
-0-6
-0-9
-0-8
+ 0.2
-I-30 —
TaiSle IL
Astigmatic Differences for Objectives at 100 mm. Focns.
Objectives.
Deviations for Inclinations of a Principal Kay of
- .
10%
15'.
20°.
25'.
mm.
30".
35'.
40'.
mm.
mm.
mm.
mm.
mm.
Anastigm 1-18 ...
-0-1
-0-1
-0-2
-hO-1
+ 0-6
+ 1-0
-fS-O
Anastigm 1-9
0-
-hO-05
-fO-o
-fO-3
+ 0-6
- 0-0
-4-0
Anastigm 1-12-5 ...
-fO-1
-fO-2
-fO-4
•fl-3
+ 2-2
-^ 3-0
Anastigm 1-6-3 ...
-fO-1
-hO-4
-fl-2
-f2-2
+ 3-6
+ 4-2
Anastigm 1-4-5 ...
-i-0-2
-i-0-6
-)-l-5
-f3-0
+ 5-3
-f 9-0
Anastigm 1-7-2 ...
-fO-2
-t-O-5
-I-1-4
+ 2-S
+ 5-5
-i-n-0
_
Aplanat 1-7... ■..-.
-t-o-s-
■i-2-0
-^4•o
+ 7-0
■)-12-2
-I-19-4
—
Table I. shows the deviations of the mean curvature of the various
anastigmats for every interval of 5\ The table gives also the correspond-
ing value for an aplanat of relative aperture 1-7, as it may be interesting
to directly compare the correction of this hitherto best type of lenses
with the Zeiss anastigmats.
Table II. gives the astigmatic deviations. The figures are reduced to
a focus of 100 mm.
These two tables suffice to give an adequate idea of the correction of
the anastigmats. Studying them more closely, we find that the long-
focus lenses at the series 1-18, the typical copying lenses, are at the head
of the t&ble. In computing these lenses, the greatest possible pains were
taken to render anastigmatic flatness as perfectly as possible without in
the least neglecting accurate spherical correction.
The greatest deviation of tjie mere curvature in an objective of I'OO mm.
focus of this type, with an inclination of a principal ray of 30°, i.e., with
a field of 60° is 05 mm., and the astigmatism 06 mm., amounts which
may be practically neglected.
Next to this type comes the anastigmat 1-9, which, up to 70° of field
(35° inclination of ,1 a principal ray), has a maximum deviation of curva-
ture of 1-2 mm. and a maximum astigmatic differerence of 0-5 mm.
After these come the shorter focus lenses of anastigmat 1-18, ana-
stigmats 1-6-3, 1-12-5, 1-4-5, and 1-72.
The aplanat 1-7 has up to 30° a deviation of curvature of about 1 mm.,
while with the' more rapid anastigmat, 1-6-3, it is only 0-6 mm. The
former has 12-2 mm. astigmatic difference, the latter only 36 mm., i.e.,
less than one-third of that amount. The difference is still greater with
wider angles.
In conclusion, the other advantages which the Zeiss anastigmats com-
bine with anastigmatic flatness may be shortly enumerated. They are
the following : —
1. The reflection images have a most favourable position.
2. They admit of the most colourless glasses being used, and
3. The two parts of the doublet are in close proximity.
The images formed by jeflection at the boundary surfaces between glass
and air are all at a considerable distance from the plane of the image.
By this means the appearance of fogged images, which generally in-
creases with the number of isolated lenses, is reduced to a minimum, and
thereby the image rendered exceedingly brilliant.
The existence of this property is amply proved by photographs taken
with the anastigmatic lenses.
None of the anastigmatic lenses can be shown to have a fiare-spct,-
even when dazzling light enters the objective.
The use of colourless glasses is an advantage which cannot be over-
rated. Apart from sensitive plates, this is the only means of satisfying the
universal postulate, depth of drjinition u-ith short exposures. ■
With objectives of the same type, a certain desired amount of depth
can, with a given focal length, only be obtained by corresponding stop-
ping down of the lens. The further, however, this stopping down is
carried, the less becomes the light which can pass through the lens.
If, in addition to this, the scanty light thus admitted is further impaired
by detrimental colouring in the glasses, as was the case with the glasses
formerly used in the construction of aplanats, it becomes naturally im-
possible to work at short exposures.
The anastigmats, when applied to outdoor photography at /-18 give
fully exposed negatives, the usual commercial instantaneous dry plates
being used. Before the application of the Sehott baryta glasses to the
construction of photographic lenses, this belonged to the province of
impossibilities. Even with Btops/-25 and/-36 instantaneous photographs
are still obtainable.
The short structure of the anastigmats favours the diminution of the
rapidity with ichich the intcnsii;/ dccreasei from centn to edije. It
diminishes that part of the decrease of the intensity wliich is caused by
partial stopping of these obliij-ae pencils by the edges of the lenses.
Let Ly and L„ (tig. 10) be the lenses forming a doublet of a diameter
2'D, let B be the plane of the diaphragm, and let the diaphragm be
Fia. 10.
situated midway between L, and L„. Let a he the distance of the
diaphragm from the apex of the anterior surface, and let 2 (i be the diameter
of the aperture of the diaphragm.
If for the sake of simplification the collective effect of the parts of the-
doublet be neglected, i.e., if it be assumed that the diameter of the pencil
passmg through tlie diaphragm 2 d is also 2 d previous to the passage
through the lens, and also if we disregard the curvature of the external
surfaces and the thicknesses of the lenses, then the oblique pencil pass-
ing through 2 d is stopped in that particular moment when the principal
ray, H, is of that degree of obliquity which is represented by a straight
line contained in a plane passing through the axis of the objective, and
connecting the edge of the lens with the diaphragm edge on the same
July 28, 18»3]
THE imiTISII JOURNAL OF PriOTOGRAPHY.
4*5
, ' side of the axis. Let tbe angle between this principal ray, H, and the
lis be <i. then it will easily be seen that tga- — ^-. This limit ii in-
a
reased in a measure as tbe difference It-il increases, i.e.. In a measure
IS the aperture of the diaphragm d becomes leas.
When D - 1/ is constant, then <i increases in a measure as n decreases.
From this we infer : The thorter the distance of the diaphragm Jrom
the exirenu apicet 0/ the lenses, the later is the monunt of the stoppage
ft^obligne pcnciU by the edge of the lenses.
The following table contains a few results' derived by actual measure-
liinent of some of the best known lenses : —
When D - d = 4 D.
Or d = i D.
Jthe double limiting scale, i.e. the field illuminated without stop, has the
ollowing values in the cases of the lenses so measured : —
Let d = J D.
1
Qreatett relative
Field witlioat
ObjeotiTe.
aperture of the
stoppage of pencils
objective.
by edge of lens.
Busch Aplanat (No. 4)
1.8-5
31° 2'
Goerz Reotiplanat (Rap. Lync.)
1-6-5
33° 2-2'
Zeiss Anastigmat 1 -4 -5
1-4-5
36° 40'
Enrvscope IV. von Yoightlander
1-G
38° 18'
Group Antiplanat von Steinheil
1.7 bis 1-6-5
40° 6'
Zeiss Anastigmat 1-6-3
1-6-3
41° —
Goer/. Landschafts Aplanat ...
1-8-5 bis 1-H
44° 14'
Zeiss Anastigmat 1-7-2
1.7-2
45° 15' .
Zeiss .\na8tigmat l-'.t
1-9
50° 6'
Zeiss Anastigmat 1-12-5 ...
1-12-5
58° —
Zeiss Anastigmat 1-18
1-18
58° —
According to this table, Busch's aplanat is last in the order of excellence.
It has, with relative aperture of 1-8-5, an unstopped field of 31° 2' only,
the anastigmat 1-4-5, which is four times as rapid, having an angle of
36" 40', or 5" 38' more, while anastigmat 1-9, which is about equally
rapid, has 50" 6', i.e. 19" 4' more. Better results are obtainable with
the rcctiplanat of 1-6-5 aperture ; still it falls short of the doubly rapid
anastigmat 1-4-5. None of the above-named aplanats, and even the
group antiplanat, which is noted for its shortness, possess the same
angles as anastigmats of corresponding apertures.
It must again be stated that the figures here shown are not quite
correct, inasmuch as the refractive power and the tliickness of the com-
bined lens, and the curvature of the esternal surfaces of the lenses, have
not been considered. This does, however, not materially affect the
ri'lativc position of the lenses as compared with each other.
The short structure of lenses has also the advantage of permitting of
instantaneous shutters being adopted before or behind the objective,
without the risk of thereby causing detrimental stopping of the incident
rays when no shutter is being used. The localisation of the shutter
between the lenses of the anastigmat is not, therefore, of the same
importance as with long-bodied aplanats.
^eU)S anti ^otcs.
ManchestKR PHOToaHAPHlc SooiETT.— July 29, Southport (Hand Camera).
60SPORT Photographic SocrETY. — July 29, Shankliii, Ventnor. Leaves
Port.'imouth Harbour twenty minutes pa.9t one p.m.
Hacksev Photographic Society.— July 29, E-iccursion, Belvedere Park
.\ngust 1, Open Night Members are requested to bring up questions, &c.
We have received the trade price list of Mr. J. Ftirnell, New Maiden, S.W.,
who undertakes silver, carbon, platinotype, and bromide printing, enlarging,
i-opying. and lantern-slide making.
Mr. ('. J. Whittaker, of Station-road, Penrith, informs us that he will be
happy to grant the use of his dark room for purposes of changing and develop-
ing to amateurs (tourists, &c.). The studio is ne.\t the station entrance.
BiBMisoHAM Photographic Society.— July '29, Half-day E,xcursion to'
■^.ilford Priors and Cleeve Priors. Leatler, Mr. William Rooke. Train leaves
N'ew-street at fifteen minutes past two. Returning from Salford Priors at five
minutes p.ist nine.
Will Louis William Green, Photographer, formerly of 18 or 22, Dennets-
roal, S.E., and also a member of the 3rd Middlesex Artillery (2nd Division),
! 1 M^" send his present address to Mr. H. M. C. Spnint, 192, New Cros.'<-road,
s.K. , as his father is anxious to hear from him (
Ox Thursday, August 3, before the L,ondon and Provincial Photographic
Association, Messrs. F. B. Grundy an<I A. Haddon will read a p«I*r "» the
Ain/iHMts oj Silver ami Ifimn left in AUmmi-nisetl Pvper n' hiffereni Sta/jet 0/
Washing. We understau'f that the paper is the outcome of much experimental
work.
Thr IsTERSATiojiAr. Ukio!» (w Photoobaphv.— The iiecond session of tbe
International f'uion of Photography will be held from August 21 to '28 next,
in the Klertoral Palace, Geneva, the session being opene<i at ten o'clock on tlu
morning of the -Jlst. Several important communications are expected. The
address of the Secretary is 33 Hue Rembrandt, Antwerii.
A CATALOGUE of tile library and museum of the Photograjihic Society of
Great Britain has just been issued. It extends to thirty-two pages, and is well
arranged. The library of the Soi-iety, considering the short time that has
elapsed since its formation, appears to be in a creditably forward state ol com-
pletion, and, as it includes most of the standard text books and sets of
periodicals, should be of great interest to members of the Society.
O.N .Saturday evening last, and on the ncca^ion of a garden party given by
the Canonbury Constitutional Club, the novel experiment was tried of ha\-ing
a lantern entertainment out of doors. This was under the auspices of the
Nortli London fhotographic Society, which meets in the premises of the Con-
stitutional t;iuli (Canonbury 'I'ower). The exhibition was highly successful,
the lantern being worked by Mr. B. J. Grover. .Vlthough the " (Constitutional "
is a political Club, the North London has nothing to ilo with party politics.
The results of Messrs. Wormald's third " Photomnibus " Prize Competition
are as follows : — First prize (two guineas and bronze medal), awarded to Mr.
Frank W. Kobinson (age fourteen), HO, High-street, Lewes, Sussex, for bis
jihotograph of A Sussex Faniihoune, 1570. Second prize (one guinea 1 awarded
to Miss A. L. Walker, 38, Soutli-parade, Southsea, for hei- photograph of
Corner of a Drawingraom. Third prize ^half-.vguinea) awarded to Mr. Charles
Hunter. 30, Clifton-street, Margate, for his photograph of John SaTiger's Toinb,
Margate Cemetery. Three extra awards were m^e. A fourth competition is
announced.
Assi.sTANTS AND THEIR SPKCLMEXs. — A correspondent writes : "Lately you
have written about tlie annoyances that assistants are put to by the detention
of their specimens and references, &c. Tlirough your columns, lately, I have
engaged, first, a retoucher, and, secondly, a printer ; but, on or about the day
they should have commenced work, 1 have received a letter, coolly saying they
had made other arrangements. On both occasions I had w-ritten to the un-
6ucce.ssful applicant.s saying that X had engaged one, and that their services
were not required. Among these rejected ones .several would have suited my
requirements : but, having destroyed their letters, I was unable to write to them.
The last one T engaged sent me the enclosed letter, saying that the writer had
made fresh arrangements with his employer and would stay on. I had paid
Is. 6tl. for advertisement, about '2s. Gil. in telegrams and postage, and he has
the impudence to send 2rf. for his specimens to be returned. I have written,
asking him who is to reconp me the expense I have been put to."
What the Photogkaphebs are Duing ix New Zeaijind re Free Portrait
System. — The following draft petition, which is being circulated amongst the
photograiihers in New Zealand, sliorild be of peculiar interest in connexion
with the correspondence on " Depression in Photography " now appearing in our
pages :^"To the Honourable the Members of the House of Representatives of
New Zealand in Parliament assembled. The humble petition of the undersigned
photographers, resident and practising in New Zealand, sheweth:—l. That your
[letitioners approach your Honour.ible House with a .sincere desire to maintain
and advance the character and excellence of photographic art in New Zealand.
2. That your petitioners are discour.iged, and in many instances ruinously
alfected, by the competition of travelling pretenders to the .irt, and by the
unrestricteil sale of foreign photographs by the agents of foreign companie.s,
whose pictures and enlargements are introduced and sold in the colony at prices
or remuneration ruinously competitive with the work of your petitioners. 3.
That your ]>etitioners would resjieotively submit to your Honourable House
that the existing New Zealand Customs Taritfis not calculated to foster colonial
excrflence in photography, or to prevent the introduction and sale by itinerants
of cheaply produced articles, to the discouragement of the investment of capital
in improved photographic apparatus and materials by qualified members ot the
profession permanently resident in the colony. 4. Your petitioners would
therefore pray your Honourable House to abolish the ad valorem duty on im-
ported photographic materials ; to permit bromide, chloride, and platinum
papers the same privilege of free entry granted to albumen papers ; to enact
that persons practising photography in New Zealand as a profession, and
particularly all itinerants engaged in the art or in the sale of photographic
pictures, should be subject to registration and a licence fee, and all imported
photographic pictures of New Zealand scenery and photographic enlargements
be subject to a protective duty of not less than twenty-five per cent. And
your petitioners will ever pray," &c.
RECENT PATENTS.
PATENTS COMPLETED.
Improvements is or cosinbctbd wpth Doublet Lesises fob Photographic-
P(.-RP0SE.S.
No. 23,378. Cabl Paul Goerz, 7a, Haupstrasse, Schijneberg, and Emil Von
HoEHH, 60, Prinzregentstrasse, Wilmersdorf, Berlin, Germany. — June ft,
1893.
Cub invention relates to doublet lenses for photographic purposes, and is
illustrated in the sectional views (figs. 1, 2, and 3 of the accompanying
drawing).
Within the last few years, as the result of the labours of the scientific glass-
486
THE BKITISH JOURNAL OF PHOTOGRAPHY.
[July 28, 1893
laboratory in Jena, there have been made available for optical industries new
kinds of glass, which by reason of their optical properties, differing from those
of the kinds of glass which alone were previously to be obtained, have given
rise to improvements in optical instruments, and especially in photographic
objectives. Tlie conditions of the elimination of tlie astigmatic errors of pencils
of rays entering oblii^uely require that the crown glass should be of a refractive
power higher than that of the flint glass combined with it. Varieties of glass
which render combinations of this kind possible have been regularly manu-
factured since 1886, and since that time attempts have been made in various
quarters to utilise the new kinds of glass for the elimination of the astigmatic
error in photographic objectives. Thus, for instance, amongst others, the
" anastigmat " of Hartnack, calculated by Dr. Miethe, was introduced in the
year 1887. This objective is free from astigmatism when the image is approxi-
mately plane ; but, like all other objectives manufactured by various opticians
upon the same principle, it has tlie disadvantage that the spherical error cannot
be eliminated, and hence the system has an illuminating power too feeble for
most of the needs of practical photography, and is especially ill adapted for
instantaneous exposures.
The reason for this fact is that in order that, the spherical error may be com-
pensated for, the refractive power of the crown glass must of necessity be
lower than that of the flint glass which is combined with it. The construction
of an "anastigmat" of good illuminating power, with the spherical error
■corrected, that is to say, without injury to the sharpness of the image, thus
appears to be prevented by the interposition of two incompatible conditions,
standing in opposition to each other, and, as a matter of fact, it has been
customary in the best-informed scientific circles for a long time to consider it
impracticable to devise a method of construction which should combine the two
properties above referred to.
Dr. P. Rudolph, of Jena, the inventor of the recently introduced "an-
astigmat" of Zeiss, forming the subject of a German patent, No. 56,109, was
the first who succeeded in bringing forward proof of the possibility of
constructing " anastigmats " of good illuminating power.
We have endeavoured to gain greater approximation to the ideal form by a
method difl'ering essentially from that adopted by Dr. Rudolph.
For this purpose we have made extensive calculations, directed at first to the
single object of determining whether, as a fundamental principle of a new
objective, the astigmatic error could be reduced as far as possible, in the
expectation, which appeared, humanly considered, to be justifiable, that,
even if it should prove to be impossible to eliminate the astigmatic error
absolutely, it might yet be hoped to effect important improvements in the
direction indicated.
Starting from the above-mentioned facts, well established theoretically, in
accordance with wkich a crown glass of lower refractive power than that of the
flint glass combined with it must be used to eliminate the spherical error,
and a crown glass of higlier refractive power than the flint glass component
for the elimination of the astigmatic error, it was sought to determine, by strict
calculation, how far a doublet, each half of which was built up of three lenses,
would be able to fulfil the conditions required for the elimination of the two
aberrations, the spherical and the astigmatic. The separate components of
such a system might, with reference to the result, be conceived to be so made
up that they should consist either of a negative flint glass {b, fig. 1), enclosed
ny./.
between two positive crown glasses, a and a\ in such a way that one of the
two latter, say a, should have a higher refractive index, and the other, say ai,
a lower refractive index, than that of the enclosed flint glass, b, or be made
up of two negative flint glasses, b, Ji (fig. 2), enclosing a crown glass, a,
17^.2.
in which case one of the two flint glasses, say b, should have a refractive
index higher, and the other, say 6', lower than that of the enclosed positive
crown glass, a. r ■ ■ ■ ^
It was found to be possible in both metliods of construction, whilst compen-
sating for the spherical and chromatic aberrations, not only to reduce tlie
astigmatism, but to eliminate this last in a manner theoretically perfect. Of
the two methods of construction under consideration, the latter (crown glass
between two flint glasses) is found to involve unfavourable forms for the
separate components, and the employment of such kinds of glass as have theii'
practical applicability limited by disadvantageous peculiarities, so that the
former combination (flint glass between two crown glasses) was exclusively
adopted in the further working out of the problem, and the determination of
the constants of an objective capable of being carried out in practice. As an
example, there is depicted in fig. 3 of the appended drawing an objective of
Fi^,3.
the kind described, of an equivalent focal length of 240 mm., and a free
aperture of 36 mm., of the natural size, and in axial section.
The maximum efi'ective aperture is 30 mm., corresponding to one-eighth of
the focal length.
The constants required for the construction of the objective are as follows :—
Thickness of Lenses,
dl = d6 = 7-334
d2 = d5 = 1-833
d3 = d4 = 4-584
A (distance apart) = 11-00.
nD nG
Kind of Glass.
Li = L« 1-61310 1-6-3B83
V = L-' 1-56804 1-58182
\? = L* 1-51497 1-5-2663
Radii of Curvature.
Rl = - R8 = 45-835
R2 = - R7 = 54-324
R3 = - R6 = 19-853
R4 = - R5 = 49 088
All measurements, radii, thickness, distance, &o., are expressed in milli-
metres ; the kinds of glass are designated by their exponents of refraction for
the line D (uD) of the solar spectrum, and for the line Hg (NG') of the spectrum
of hydrogen.
If a principal ray, inclined at an angle of 30° to the axis, be calculated
through the system, and the position upon it of the image point of the
sagittal rays, and those of the meridional rays, be determined, a measure of
the residual astigmatism is found in the distance of the two points. This
distance amounts, in the case of the objective chosen as a specimen, to 1 -2 mm.
when the image formed by the meridional rays is flat, and this residual
amount of astigmatism has no greater unfavourable effect upon the sharpness
of the image formed by the marginal rays than that caused by the secondary
spherical aberration in the axis.
The lens just referred to as an example, based upon strict calculation, is
symmetrically constructed, but the combination of two absolutely identical
halves is not to be regarded as a special characteristic of the objective system
under consideration. The only characteristic mark of objectives of the new
kind is rather the combination of separate systems independently corrected
for spherical, chromatic, and astigmatic error, each made up of tliree lenses,
the glass of these last having refractive indices properly graduated in the
manner described ; indeed, one system of the objective might have an external
foyn difl'ering from that of the other, or in the same objective one system
might be built up as in fig. 1 and the other as in fig. 2. Any such modifica-
tions may be undertaken by a calculating optician without difficulty ; but,
from a practical standpoint, they are to be regarded as purposeless, since
the more simple symmetrical form satisfies all the conditions herein taken
into account to a suflicient extent. Furthemnre, since each of the two
separate systems constitutes in itself an objective corrected for spherical,
chromatic, and astigmatic errors, each may be employed alone as a simple
photographic objective.
Having now particularly described and ascertained the nature of our said
invention, and iu what manner tlie same is to be performed, we declare that
what we claim is : —
1. A photographic doublet, the two component systems of which are each
corrected for spherical, chromatic, and astigmatic errors, being to this end
made up of three lenses, as follows : — either
(a) of a negative lens enclosed between two positive lenses, one of which ha.s
a higher, and the other a lower, refractive index than the enclosed nega-
tive lens, or
(b) of a positive lens, enclosed between two negative lenses, of which one
has a higher, and the other a lower, refractive index than that of the
enclosed positive lens.
2. The employment of a single system of the kind described in chain I
as an independent photographic objective, substantially as hereinbefore
described.
July -28, 1893]
THE BRITISH JOURNAL OF PHOTOORArilV.
487
APPLICATIONS FOR PATENTS.
Na 13,354.— "An Improved Frame or HoMer for Photographic Kilms and
platea." S. D. Williams.— On(«fi yuiy 10, 1893.
No. 13,373.— "Improved Mrans for regulating the Rays of Littht )uv>sing
tlirouRh Pho'osraphic Lenses." Complete specification. J. W. Fawobtt.—
/Mffrf yi(7y 10,' 1893. ^
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date o( Meeting.
Nam© oi Society.
Pljice of Meeting.
July 31
Asso. Studio. Nethergate, Dundet.
BirminKham Photo. Society ...
Club Room, Colonna<ie Hotel
, 1 .. .
City Chiimberri, Gjmdv-st., Exeter.
206, Mare-street. Hackney.
1
1
„ 1
Fitzrov Library, Hiijh-st., Lerres,
„ 1
tf 1
Oxford Ptioto Socifitv
Society's Koomg, 136, High-street.
9, Gauze-street, Paisley.
» 1 ".
Paisley
„ 1
1
Uochestcr »
Mathematical School, Ilochester.
1
Masonic Hall, Surrey-street.
Victoria Hall, Goodrampate, York.
The Assembly Ilooms, High-road.
„ 1
York
„ 2
„ 2
2
The Stndio, 15, Cambridge-arcade.
3, Kinc's-road, Soiithsea.
" 3 ::: :
„ 2
Kcremont Institnte, Egremont.
Clnb Room, Colonnade Hotel.
71, Pro?pect-.«treet, Hnll.
3
„ 3
ft 'J
Birmingham Photo. Society ...
Olossop Dale
Htill
» 3
Leeds Photo Society
„ s
Champion Hotel, 15, Aldersgate-st.
„ 3
„ 3
„ 4
Cardiff
„ 4
Public HaU, George-street, Croydon
„ i
., 4,
Trinity Church Room, Morton*8t.
+
„ 5
Hull
71 Prospect-street, Hull.
PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN.
•JfLY 25, Technical Meeting, Mr. W. E. Debenhani in the chair.
Mr. A. S. C. Forbes, of the Blair Camera Company, exhibited the " Bull's-
eye " hand camera, which takes films. It can be loaded in daylight with a
cartridge of film for twelve exposures. Mr. Forbes also showed the " Hawk-
eye " No. 3 Columbus camera, for taking a 5 x 4 roll-holder.
A New Photometer.
Mr. A. Cowan exhibited the photometer of Messrs. Franz Schmidt &
Haensch, the principle of which is based upon reflection from an opaque
surface of jda.ster of Pari.<. In his experience it was a great deal better than
the grease-spot photometer. It was specially good for weak lights.
Mr. T. BoLAS said Jlr. A. P. Trotter, who first introduced a photometer of
that form, claimed that its great advantage was in being used with a weak
light.
Tble-photookaphy.
sir. T. R. Dallmever exhibited a rapid rectilinear lens, with negative
attachment, and said that, by remembering the following formula, all tele-
iihoto calculations would become easy : —
M = :.;^
m = magnification.
V = distance of negative lens from screen.
/ = focus of negative.
Knowing the intensity of the positive lens, and the magnification being deter-
mined by the formula , the intensity' of the tele-photo lens under the given circum-
I Intensitv.
stances = n = y, r^ — '-■ —
M Magnidcation.
He said that, when a negative was used with the r,ipid rectilinear, the ratio
cottld exceed two to one without introducing spherical aberration. In such a
construction the diameter of the circle of illumination was always as large i\s
the back focus of the tele-photo combination.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
July 20,— Mr. W. E. Debenham in the chair.
The Adams' New Hasd Camera.
Mr. .J. .■V. Sinclair exhibited the new Adams' hand camera of Messrs. Adams
& Co., Charing Cross-road, W.C. It has a swing back and rising front, and
rack-and-pinion focussing movement, the shutter having a range of speed of
from one-hundredth of a second to one second. There was an arrangement for
enabling the finders to be cleaned, they being hinged ami lifting out of the
front. The rising front moved both vertically and horizontally, and the swing
back was brought into use by loosening clamping screws at the top and bottom
of the camera. The changing back differed from all others in tnat it would
take twelve plates or twenty-four films, or some of both. An indicator stop
jirevented more than the proper number of exponrea being made, so that ui
exposed plate could not be exposed a second time. The lifting was done by
pulling up the lifter at the back, the plate coming up at the front, and being
then carried to the back instead of a plate being lifted from the back to the
front, as in some changing back.s.
Tlie Chairman remarked that he thought a swing back objectionable, and
preferred a high rising front.
Mlscellanea.
Mr. T. E. Freshwater (Hon. Secretary) showed photographs of Fleet-itreet
and Temple Bar on the day of the Royal Wedding.
Apropos tele-photo lenses, Mr. R. P. Draqe said that a few ilays previons be
was out photographing witli a friend who had a I>allmeyer tele-photo lena witfc
bim, and, after waiting an hour and a half, found that the state of the atmo-
sphere prevented him from using it.
Mr. Fre.shwater a.sked if there was any advantage in usini; pink or maave
albumenised sensitised paper over white ; He also in<iuired how it wa» that
the pink colour washed out more in some instances than others in print* takeo
from the same sheet of paper ?
The Chairman thought the latter might be due to the tbickneas of th«
coating of albumen, the thick coating retaining more colour.
Mr. FHE.SHWATER had seen it stated that pink and mauve papers retained
their colours better than white paper.
Several members thought the contrary was the case.
Uranium Tosino of Platinum Prists.
Mr. J. S. Teape said that Mr. Haddonhal, at a previous meeting, stated ho
was unable to tone platinum prints with uranium on paper made ijy himself,
and suggested that, as he (Mr. Teape) had toned .some of the Platinotype Com-
pany's cold-bath paper in this manner, there might be some silver in the paper
which accounted for the toning action. To test the point, he had placed
platinum prints in a saturated solution of bichloride of mercury, acidified with
hydrochloric acid ,for eighty minutes, w,tshed them for two hours, and then put
them in a hypo bath (four ounces to the pint) for twenty-five minutes. They
were again w.ished for two hours, and then toned for thirty-five minutes in a
uranium bath. He showed the prints, some of which were of a fuU sepia
colour. It had been said that uranium-toned prints faded ; he showed prints
toned eighteen months ago to show that tliey had not undergone any alteration.
Toned prints which had the uranium removed by washing took a much longer
time to tone a second time.
Mr. A. Mackib inquired if Farmer's reducer would reduce platinum prints f
Mr. Drage said that he had tried it, and found that it did not reduce the
prints, which, however, turned mealy.
After other discussion the meeting closed.
♦
FORTHCOMING EXHIBITIONS.
1893.
August *\Velsh National Eisteddfod. The General Secretary,
Pontypridd.
Septembers *Royal Cornwall Polytechnic Society, Falmonth. W.
Brooks, Laurel Villa, Wray-park, Reigate.
,, 20-21 *Hove Camera Club. Hon. Secretary, H. Emery,
142, Church-road, Hove, Brighton.
,, 25-Nov. 15... 'Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. Assistant Secretary, R. Child-Bayley,
50, Great Russell-street, W.C.
October 1-Sl 'Hamburg. Das Ausstellungs Committe des Amateur
Photographen Verein, Schwanenwik, 33, Hamburg.
„ 9-Nov. ... 'Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesbury-avenue, W.C.
November 7-11 'South London Photographic Society. Hon. Secretary
C. H. Oakden, 63, Melbourne-grove, Dulwich, S.E.
„ 10-12 'Leytonstone Camera Club. Hon. Secretary, A. E.
Bailey, Rose Bank, South-west-road, Leytonstone.
December 'Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
' Signifies that there are open classes.
♦
THE CONVENTION GBOUP.
To the EuiTon.
Sir, — In your issue of July 21 you refer to the collotype copy of the
Convention group " from a negative taken by Mr. B. L. Kidd." Permit
U8 to state the following facts : —
1. The group waa entirely arranged by our operator, and is a factimiU
of our official IB x 15 group taken at the request of the Committee.
2. It was exposed by the writer, Mr. Kidd being in the group.
3. It was developed in our dark room by our operator, Mr. Kidd being
present.
4. It was dried, packed, and sent off by as.
We presume that Mr. Kidd was unaware that he would be honoured
with your commendations of " his " negative, or he would doubtless have
suitably acknowledged our connexion with the picture. We heartily
agree with you in commending the promptitude of Mr. Kidd's firm in
producing the bromide prints, and in admiring the excellence of the
collotype prints. — We are, yours, Ac, W. Heatb * Co.
24, George-street, Plymouth, July 24, 1893.
488
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[July 28, 1893
THE QUEEN AND "PBOFESSIONAL" PHOTOGEAPHY.
2'o the Ediioe.
Sib —For the information of other professionals, I think it only right
to draw attention to the follomng: An operator and retoucher who haa
recently left my employment, having possessed himself of a copy ol my
photograph of their Eoyal Highnesses Prince and Prmcess Henry of
Battenburg, taken at Windsor Castle for Her Majesty the Queen, writes,
apparently in their behalf, to a lady holding a responsible position in Her
Majesty's household, forwarding a coloured copy of the photograph, ask-
ing that it may please Her Majesty graciously to accept the same, and,
should Her Majesty desire to have it enlarged or obtain additional copies,
he would deem it an honour to execute Her Majesty's commands m this
respect, or as regards any similar work.
I need hardly say that Her Majesty the Queen refused to accept it, and
ordered that the photograph and the letter should be handed to me, to
take any action that I thought proper in the matter.
I feel sure that the profession will be glad to know of, and will appre-
ciate, the action taken in the matter by Her Majesty the Queen.— I am,
yours, etc., G- P- Cartland.
yVindsor, July 19, 1893.
ansftoerjs to CorresponHents.
PHOTOGaAPHS Registered : —
Frederick Argall, Truro.— Si* photographs of J. Paasmore Edwards.
Richard Keene, Barton-ou-Trent.— Si.c photographs of Charles Frtda-ich Claverhouse
Graham.
Thomas Maitland Laws, Darlington.— Diree pIioto9raj)7is of the Ifollicrfiampfon
Wanderers Football Team, Kith Enjlis?! and Birminaliaiii Clips.
H, J. Chanson. — Received.
C'H.ARLES Johnson. — We are inquiring into the matter.
Yachtsman. — The picture bears the appearance of a snap-shot.
Shapoor N. Bhedwae. — The negatives were dispatched-about a month ago.
W. AND F. Vernon. — We cannot well publish your complaint ; it borders on
libel.
M. F. B. — The address is Mr. H. N. King, 4, Avenue-road-villas, Goldhawk-
road, W.
G. TuMLV (Battersea). — Unless putty or white lead, or a mixture of the two,
will answer, we do not know what will.
W. M'Dougall, — Although of local interest, it possesses none for photo-
graphers in general. Thanks, notwithstanding.
G. Beauchamp. — Ordinaiy lithographic ink answers every purpose. In some
cases it will be desirable to thin it with litho-varnish.
J. Yates. — Communicate with Mr. Fallowfield, Charing Cross-road, who may
be able to supply you with one of the automatic machines.
J. Lkach and F. Arney. — Our publishers will register the photograph for you
if yon will send them three copies of it and Is. Id.
Phantom asks: "Is there a book published on Accessory Making ? If so,
where obtainable.' Answer in this week's, if possible." — We know of no
such work.
Light. — We are unable to add any explan.ation to that given you by the
Company, unless it be that possibly the water is contaminated with iron or
some other deleterious substance.
KiCHOLSON. — If another really holds a copyright in the picture, it will be illegal
for yon to copy it. As to whether the copyright is valid or not, depends
upon circumstances. On this point, better consult a solicitor who makes a
speciality of copyright law.
Countryman. — Powdering the face of sitters to obliterate freckles is not much,
if at all, practised by London photographers at the present time ; they
mostly rely upon retouching to effect the object. Of course, as you say, this
takes up a lot of time in the case of some sitters.
T. Colmane. — The lens in question is not verj' well known in this country.
It is well adapted for the purpose for which it is designed, and gives excellent
results with a large aperture ; but it is very bulky and heavy, and, for this
reason, for landscape work, it is not often employed.
M. HouKSLOW. — Burton's Printing Procetses, or Wilkinson's book, will give
you a good idea of the process. Of course, that, like any other process, is
not to be learnt by merely reading a description of it. If you really des*e
to learn to work it commercially, the best way is to apprentice yourself to a
good house.
Thomas Gates .asks : " Could you state what power of electric light is required
to take sitters ?" — It all depends upon the exposures required to be given.
You may calculate the power of the light from the fact that 1000 candle
power necessitates an exposure of about ten secomls. Possibly a power of
6000 to 6000 caudle power would be the most convenient to employ.
J. Page.— Enamelled iron dishes may be used with safety for washing prints
on P.O. P. paper. Common brown-ware baking dishes can ba also used, but
the former are preferable as they are not liable to breakage.
G. Forbes.— Possibly a solution made up in the following strength per dr.ichni
would suit :— Hydroquiuoue, one part ; sodium sulphite, two parts ; sodium
carbonate, ten parts ; water, sixty-seven parts. Dilute each drachm of con-
centrated solution with four times its volume of water. Many other hydro-
quinone formula; are given in the current Almanac, to which we refer you.
S. T. S.— Although the picture has been largely used as a "poster " for adver-
tising purposes, it would be illegal to copy it, whether leaving out the
advertisement portion or not. The advertisers paid a very high price for the
painting, to use it in the way they do, .and it is not at all probable that they
would permit any one to copy the picture itself to be sold without the
advertisement.
G. Nbghio.— The negative was delivered to us in about a score of fragments
and innumerable particles. So far as one is able to judge under such circum-
stances, the spots are due to air bubbles adhering to the film while in the
developer. The plate was certainly old, as proved by the appearance round
the edge. Evidently there was no fault with the plate when issued by the
maker.
J. Hkthrington. — The article from which you quote is the one that contains
the fullest description of that method of photo-engraving. You are not
the only one that has failed to work it successfully, Init that may be due to
inexperience. However, as the inventor works the process commercially, it
is scarcely likely that he has published the details of it with the greatest
minuteness.
R. Blane.— Bichromate of soda can be obtained from any operative chemist or
dealer in electrical appliances. But it is not so good as the bichromate of
potash as a sensitiser in carbon printing, neither is the bichromate of
ammonia for general purposes. The tissue should be dried within eight to
twelve hours, according to the temperature. The cooler it is, the longer the
time it may take to dry without injury.
R T. says : " I have an old oil painting to copy, and I am told that to get the
best e'ffects I should rub the picture over with glycerine and water to im-
prove it for copying. Is this so ;"— Glycerine is employed by some, at
times, as it shows up detail in old paintings nearly as well as a fresh coat of
varnisli ; but it is what the owner of a valuable painting would not allow to
be applied if he knew it. However, if the varnish is not cracked, we doubt
if much harm will accrue to the picture if the glycerine is completely removed
directly the copy is obtained.
R. Sm.art. — The work is only published in German. Its price is, we fancy,
about three marks— equal to three shillings. If it is only the formuhe that
are really required, we should advise you to obtain the work ; for, although
you are unable to reiid German, you will doubtless be able to understand
them, as the names of the majority of the things mentioned are the same, or
nearly so, in German as they are in English, and the proportions are quoted
in grammes and cubic centimetres. Liesegang, Diisseldorf, Germany, will
supply the book, if it is not published by him ; or it may be obtained
through any of the foreign booksellei's in London.
A. R. (Berks) says : " I have, during the two years I have practised photo-
graphy, taken 'some dozens of very pretty views of country scenery, much I
should like to turn into money. I am an amateur, but do not care if I
sacrifice my title to be considered as such if 1 can sell my negatives, as I find
photography, though agreeable, an expensive hobby. Can you suggest a
market, as the photographs are really "ood ?" — The only thing we cau suggest
is to advertise the negatives, with a description of their character, for sale,
or to communicate with one or other of the large publishing houses. Unless
the views possess some interest beyond ' ' country scenery, " we fear they will
not find a ready sale.
W. T. puts the following queries : "1. In using ferrotype pl.ates to enamel
P.O. P. paper, I find that the paper sticks occasionally in .spots, and will
not leave the plate without spoiling the print. How is this to be remedied ?
2. How can I bring ray silver bath to its senses ? It has got dirty, and leaves
dirty water marks on the albumen paper. I h.ave used kaolin, too. 3. I
am stationed on the high roadside in the country for the purpose of t.aking
groups of pleasure parties. Can any one interfere with me if I don't
obstruct? I have not been interfered with, but should like to know if they
can." — 1. If the plate be clean and is treated with French chalk, the prints
will not stick. 2. Kaolin will decolourise the bath. Probably the " w.ater
marks " are due to scum on the surface of the solution at the time of Hoating :
skim it with a strip of blotting-paper. 3. If the thoroughfare is not
obstructed, we imagine no one will interfere. Better obtain the bye-laws of
the highways authorities of the district.
*,* Editorlil Table, many letters, and other conmiunications, unavoidably
crowded out this week.
OONTBNTS,
cohrecting microscopic objec
TIVES FOE photography 173
comparative developer experi-
ments 4V«
ratio of gradation on positive
PAPERS. ByW. B. BOLTOS 475
CONVENTION NOTES.-II 476
TELE-PHOTOGRAPHIC SYSTEMS OP
MODERATE AMPLIFICATIONS. By
T. E. DALLMEYEE, F.B.A.S 477
CONTINENT.AL NOTES AND NEWS 47»
PHOTOGRAPHIC INDUSTRIES:
THE LANTERN-SLIDE FACTORY OF
YORK A- SON 489
PaoI
PHOTOGRAPHIC COKVENIION OF
THE UNITED KINGDOM 431
ANASTIGMATIC APLANATISM AND
THE ZEISS ANASTIGMATIC
LENSES. By DR. PAUL RUDOLF
iJksa) 481
NEWS AND NOTES 4S6
RECENT PATENTS 4S3
MEETINGS OP SOCIETIES 487
FORTHCOMING EXHIBITIONS 487
CORRESPONDENCE 487
ANSWERS 10 CORRESPONDENTS .... *8
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1735. Vol. XL.— AUGUST 4, 1893.
THE FUNCTION OF SULPHITE OF SODA
IN DEVELOPMENT.
From the time that sulphite of soda was introduced into the
alkaline developer some twelve years ago by the late Mr.
Herbert B. Berkeley, it has been the custom to regard it mainly,
if not entirely, as a preservative of the pyro and preventive of
staining ; but since the advent of numerous new developing
agents which exhibit no tendency to stain the negative, and
which may be, if desired, used as pyro formerly was, without
any preservative, the retention of sulphite of soda in the
■developing formula; seems to argue that it possesses other
functions besides those mentioned.
By very many of those who have used it in conjunction with
pjTo, sodium sulphite has been regarded as a restrainer or re-
tarder of developing action, though it has over and over again
been pretty conclusively shown that any such action is really
due to the presence of sulphate, produced by the oxidation of
the sulphite, which, in its pure state, has not been proved to
possess any slowing action. On the other hand, from the value
of the sulphites as reducing agents, quite the opposite tendency
anight be anticipated, and indeed, so far back as 1872, and later
again by Mr. Sammann in 1877, a modification of the pyro
developer was proposed, in which, by the action of zinc upon the
acid sulphite, a new substance was formed which, in combina-
tion with pyro, possessed powerful developing action.
It was noticed at that period that both the so-called " neu-
tral " sulphite of sodium as well as the acid salt frequently
exhibited developing powers when mixed with pyro, without
the action of zinc, though in the former case the effect was
most probably due rather to the presence of free alkali in the
sulphite. With the bisulphite, however, this was out of the
question, and it became evident that chemical development in
the acid condition was a possibility, as, indeed, was foreshadowed
by Mr. M. Carey Lea about the same time.
All this, however, was in connexion with collodion films,
which, as is well known, behave somewhat differently from
gelatine. For instance, old dry-collodion plate workers were
wont to commence development with plain jjyro solution, and,
when detail had been thus obtained, to proceed to obtain density
by the addition of acid silver. Frequently, in cases of over-
exposure, an image would be produced with acid pyro alone,
without the addition of any soluble silver salt, but this might
probably be set down to the presence of minute traces of
nitrate of silver remaining on the film after sensitising. Similar
results were also obtained with collodion emulsions prepared
with excess of silver. With gelatine films, however, no such
development had been known to occur until Captain Abney,
Mr. G. W. Webster, and others, showed that pyro and sulphite
in the neutral, or even the acid, condition were capable of
developing an image, and, quite recently, the researches of
MM. Lumiere prove that acid development is possible, and even
practical.
Up to the present, however, the matter can scarcely be said
to have got beyond the experimental stage, so far at least as
acid development is concerned, though in one case, that of
amidol, we have a developing agent which acts in conjunction
with sulphite in the neutral, or even, it is said, in the acid
condition. But in this instance the necessity for the addition
of sulphite to the amidol is recognised, which is not so with
others of the newer developers, and in conjunction with which
it is usual to employ alkali in much the same proportions as
with pyro.
Seeing that the addition of sulphite is not rendered necessary
for the prevention of stains, and that some of the newer agents
are sufficiently soluble in water to be dissolved at the time of
use, the question arises, of what utility is the sulphite ? It xxa-
doubtedly adds very materially to the cost of development,
besides increasing the trouble of preparation, and if merely an
ornamental addition, serving no really useful purpose, it seems
to us desirable to dispense with it if possible.
To put the matter to a practical test, a plain three-grain
solution of metol was made, this being the developer that came
first to hand, and this was applied to a plate that had received
a rapid exposure in the camera — that is to say, a fraction of a
second — an exposure that under the circumstances would have
required the full strength of a pyro developer though without
any forcing. The metol solution, without either sulphite or
alkali, was applied to the plate for ten minutes without the
least trace of an image appearing, when an addition of ammonia
and bromide was made equal to three minims of the former
and one-third of a grain of the latter to the ounce of developer.
In about three minutes the image began to appear, but pro-
ceeded so slowly, that at the end of twenty minutes — half an
hour altogether from the commencement — it was still not half
out, and very thin. It was then placed in a dish of water and
covei'ed, to protect it from light.
Another plate was similarly exposed and treated with a
solution containing three grains of metol and thirty grains of
400
THE BRITISH JOURNAL OF PHOTOGRAPHY,
[August 4, 1893
sulphite of soda to each ounce of water. In a trifle over two
minutes tlie image began to appear, and at six minutes it
appeared to be fairly dense, though too clear in the shadows to
be fully developed. At ten minutes it had apparently pro-
gressed no further, and was evidently finished, so it was washed
and transferred to the fixing bath. The previously developed
plate was then treated with the same solution, containing
metol and sulphite, when in about three minutes the detail
and density that had been wanting were obtained, and, on fixing
and comparing with the second plate, there was no difference to
be detected except in the colour of the image and a greater
clearness in the one developed without alkali.
This experiment quite upsets the theory that sulphite of
soda is a useless addition to metol, at any rate ; on the con-
trary, it proves it to be a far more important adjunct of the
developer than the alkali, for, while the latter in half an hour
failed to more than half perform the duty required of it, the
sulphite in one-third of that time, or probably less, had com-
pleted its work. Compared with the time occupied in
developing with the usual metol formula, the action of the
neutral solution is decidedly slow ; but, judging it alongside an
ordinary pyro development, we question whether there would
be found any great difference.
The quality of the image, too, was very satisfactory; for,
although before fixing it conveyed the idea of being either
under-exposed or under-developed, that proved to be the result
of the unusual clearness of the shadows even for metol. The
colour was less black than that produced with the aid of
alkali, and the gradations, especially in the higher lights,
decidedly softer ; on the whole, indeed, a better negative.
Development without alkali where time is not an object, and
especially in case of over-exposure or with subjects presenting
strong contrasts, would seem to be worth trying.
The first experiment was made as much to test whether
metol without sulphite showed any tendency to stain the film
as to try the developing power of the former alone. In this
respect the film proved as free from stain as if sulphite had
been used, but the solution after use had become nearly as
dark as pyro would have been under the circumstances, although
clear and free from sediment. Where the developer is to be
used repeatedly, then the necessity for sulphite is indicated.
Turning now to amidol, a plain five-grain solution was made
and applied to a plate exposed similarly to the others for ten
minutes, without the symptoms of development. A similar
quantity of ammonia and bromide solution to that previously
employed was then added, and development then proceeded very
slowly, and after another quarter of an hour appeared complete.
A second plate was treated for ten minutes with a fresh plain
solution with no result. A crystal of sulphite of soda —
perhaps five or six grains — was then thrown into the develop-
ing cup, and the solution poured backwards and forwards from
the dish to the cup. In just two minutes the image began to
appear, and in five minutes was strong, and vigorous, and full
of detail, presenting an appearance of greater " pluck " than we
are accustomed to with amidol. Here, again, the absolute
necessity for sulphite seems evident, and the conclusion is
forced upon us that it exercises an important and specific
function in development altogether independent of any free
alkali it may contain.
Whether the proportions of sulphite recommended in the
different formulas are the best or not remains yet to be seen ■
but, judging from the last experiment, and especially the
character of the image produced, we are inclined to think that I
the proportions of 10 : 1 are far too high. Used in those pro-
portions, we find amidol absolutely requires restraining bromide ;
whereas, if the proportion of sulphite were reduced, it seems
likely that, in addition to the saving thus effected, the bromide
might be altogether dispensed with.
DEPRESSION IN PHOTOGRAPHY.
The article relating to photography as a business that ap-
peared a few weeks ago has given rise to a large amount of
correspondence, and, as all sides have now been fully heard,,
it is necessary to bring it to a close. During the discussion
professionals have soundly rated amateurs for being the prin-
cipal cause of the present unfortunate depression. This posi-
tion certainly cannot be maintained, though, there is no gain-
saying it, they have directly and indirectly conduced to bring:
some not inconsiderable proportion of it about.
From the correspondence it must be admitted that photo-
graphers themselves have greatly injured portraiture as a busi-
ness by their own actions. They have, it is proved, been for
years past competing with each other, not in the healthy direc-
tion, with quality of work, but in the suicidal policy of reduced
prices, free sittings, speculative enlargements, and the like.
To such an extent is the free-sitting phase now carried that
many popular men, such as clergymen, doctors, and others,
.who used to be good customers to photographers, get what
portraits they require by obliging different photographers with
sittings from time to time, and accepting a few copies in way
of compliment.
It has been pointed out that the introduction of gelatine-
plates has not been an unmixed blessing to the profession.
Before their advent a certain amount of skill, only to be ac-
quired by long practice, was undoubtedly necessary to work
the collodion process under the ever-varying condition of the
chemicals. Therefore the number of really good workers had
always been limited. The difference between the productions-
of the skilful worker with collodion and the unskilful one was
wide indeed, and, so long as this continued, ability counted for
much. But w^ith plates purchased ready for putting into the
camera, and, as now, of uniform quality, the conditions are
altered. A degree of proficiency that would be utterly inade-
quate to produce even a passable negative with collodion will
now suffice to secure a really good one with a commercial plate.
It was remarked to us during this controversy that greater
ability is required in the " beach operator," who still has to-
prepare his own plates, than the present-day studio operator.
Under these circumstances it is not surprising that there has
been a great influx into the ranks of the profession, so that
for some years past the supply has much exceeded the demand,
and, as a result, competition has increased in all directions.
It may be taken as a rule that any craft that is quickly and
easily learnt does not, permanently, continue a very profitable
one.
In the controversy amateurs have not been backward in
retaliating on professionals. They say that the profession
have done little or nothing for the advancement of the art, and
that all the great improvements have been made by amateurs,
and they have always freely given their discoveries to the
world. There is undoubtedly a great deal of truth in this ; but
the replv is, that there is a wide difference between the amateur
of the past, who was generally a good friend to the professional'
even as a customer, and the amateur of the present of whom
he so loudly complains. The former took up photography as
Xufniit 4, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
491
a scieutifio pursuit, and was prepared to spend time and money
in acquiring the necessary knowledge, and tiieir number was
limited. TJ>e latter, in tlie majority of instances, takes up the
art as a fashionable pastime, and his name is legion. Some
conespondents have said, in some instances, he is proud to give
Jiis work away ; in others, to charge the cost of material, and
often to make a profit for himself. In any case, the professional
must sutler to some extent.
We can quite imagine that, in many cases, amateurs of the
present day, unlike those of old, have an idea of the £ .«. d.
■element, and do not give any improvements they may make so
freely to the world as did their elder brethren. We find, on
going through the specifications of patents in connexion with
photography for the last few years, that by far the larger pro-
portion of them are taken out, presumably, by amateurs, for it
is rarely that the trade or profession of the applicant is
described as " photographer." The patentees are of all manner
<rf callings, most of them totally unconnected with photography,
*nd not a few are entered as "gentlemen." Therefore the
complaint that the modern amateur is of a different type from
him of the past seems to be not altogether ill-founded, and
tlicrefore he is not entitled to trade on his predecessors'
■reputation.
Nothing is to be gained by professionals and amateurs
■decrying each other. That great depression does exist in the
portrait business is undeniable, be the cause what it may, and
the immediate question is how is it to be remedied. During
the discussion various ways have been suggested, but whether
any of them would be successful, or whether some of them are
practicable, is very problematical. The idea of legislation on
the subject, such as granting of licences to professionals or
lieavily taxing amateurs, as some have proposed, is of course out
■of the question ; with this most business men will agree. It
has been suggested that, if diplomas were conferred, it would
raise the status of photographers, but that would not prevent
the general public from going where they could get the work
done cheaper if it were equally as satisfactory to their ideas, for
it must be confessed that a portrait is by many better appreciated
as a likeness than it is as a work of art or excellent example
-of photography.
Among the suggestions made, is that a union should be
formed to regulate prices and other matters, including employing
only certificated assistants and the like. But have we not
the National Association of Professional Photographers, that was
formed to carry out practically these objects 1 Of course any
rules such a union might frame would not lie on those who are
not menabers of it. Unfortunately many only consider them-
selves. If they want an employe the first consideration with
them is, ' Can he do the work required and at the wages?' further
accomplishments are too often reckoned as nothing. One of the
suggestions made was at least worthy of attention, but the
opportunity of putting it into practice has passed for a time.
It was that the whole subject should be taken into consideration
at the meeting of the Convention at Plymouth. At the
Convention meetings, which are held but annually, are gathered
together representative professional photographers, amateurs,
manufacturers, and dealers from all pirts of the kingdom; and
one might have surmised that a subject of such vital importance
to all concerned might have received some attention.
Ml, New Ziig'bt-BenBltlve Salt.— A considerable number of
salts of sulpho-phosphoric acid, obtained in a pure state by Dr.
Glatzel, of Breslau, are recently described by him in a foreign chemical
journal, aiuljjamonfi; tliem is a new compound ihown to be sensitive to
light. This ia the mercury sulpho-phosphate, which is ecid, and very
sensitive to light. ^^^^^^^^^^^^^^^
Detection of Xalogrens. — Still another method — this time
a comparatively simple one — is described by Ilerr L. F. Kebler.
A few drops of nitric acid, sg. 1'42, are added to the solution to be
tested, and a few drops of bisulphide of carbon addt-d. If iodine
be present, tlie bisulphide will bs coloured purple. .V brownish
yellow tint indicates bromine and no iodine. If iodine be fonnd,
more acid is added, the liquid heated for a few moments, and again
tested with bisulphide. If the iodine has been all removed, the
bromine colour, if any, will alone be seen. If bromine be present
more acid is added, and the solution bailed till all tlie bromine is
volatilised. Nitrate of silver solution is next added, and the pre-
sence of chlorine shown by the usual precipitate so well known to
photographers.
The nxanufaotnre of Oxyg'en on a Commercial
Scale. — At a recent sitting of the I'aris Academy of Sciences, the
dissociation of calcic plumbate was discussed by M. H. Le Chatellier.
This operation, it may be remembered, is the foundation of Kassner's
process for procuring oxygen, described on a previous occasion in these
columns, the reaction as follows: rb0.j2CaO = PbO-H2CaO-<-0.
Comparative experiments were made with this and the peroxide of
barium method. It was found that with the new method there was
the drawback that a temperature of 000° had to be reached as against
700° for the older method, for the dissociation of the oxygen at O'l
atmosphere. On the other hand, the plumbate had an advantage in
that, being fusible, it absorbed the oxygen more rapidly and com-
pletely, and, further, the air needed no special desiccation and
decarbonation.
The Preservation of Pictures.— One of the conclusions of
the Commission appointed to examine and report on the effect of
light on water-colour paintings, was that every pigment is permanent
when exposed to light in vacuo, and this indicates the direction in
which experiments should be made for the preservation of water-
colour drawings. Mr. W. S. Simpson has devised an apparatus for
making use of this suggestion. He places the picture face down on a
sort of glass trough, and then covers it at the back ; all, of course,
we presume, being hermetically tight. He then extracts the air by a
Spreagel mercury pump, and completely seals the whole against air.
The expectation is that, apart from accidents, the picture would then
last for ever. The apparatus has connected with it a small manometer,
somewhat like an aneroid, which, if there is any leakage, will exhibit
the fact in a moment.
Vranlum Toning: of Platinum Prints.— An interesting
discussion on tliis subject has recently taken place at the London
and Provincial Photographic Association. Mr. J. S. Toape suc-
ceeded in toning some platinum prints with the ordinary ferridcyanid«
of potassium and nitrate of uranium intensifier, from which Mr. A.
Iladdon inferred that, as platinum has no reducing action on the
ferridcyanide, silver must be present in the platinum paper, the more
especially as he had failed to tone platinum paper of his own pre-
paration. Upon treating the paper for the presence of silver with
mercuric chloride and hypo, as well as with bichromate of potash
and hydrochloric acid, Mr. Teape still succeeded in toning the pure
platinum image ; so that the silver theory falls to the ground, and we
are led to believe that, after all, platinum does reduce potassium
ferridcyanide to the state of ferrocyanide. The mysterious part of
the matter is Mr. Haddon's failure to tone platinum paper of his own
preparation.
Pbotogrraphy of the Shortest mtra-violet TLajb of
the Spectrum. — Professor Schumann, in one of the reports of the
Session of the Imperial Academy of Sciences in Vienna, discusses this
subject at length, describes the present position of our knowledge on
the subject, and while detaiUng]the resultsof a portion of his inves
492
THE BRITISH JOORNAL OF PHOTOGRAPHY.
[August 4, 189S
ligations, states that years may probably elapse before he completes
his investigations. He describes how the earliest important results
•were dependent upon an examination of fluorescent effects, a method
-which has lost ground as sensitive plates have increased in efficacy.
Becquerel's vrere the first investigations, but, being made on a basis of
a spectrum-formed glass, they did not extend very far. Stokes, by
using quartz, obtained a spectrum which, measured from Frauenhofer s
H., was, in the ultra-violet, twice as long as the total visible
spectrum. With the electric light it was from six to eight times as
long. His results were given to the Royal Society on June 19, 1862,
and on the same day was read a paper from Miller on " The Photo-
graphic Transparency of Various Bodies," both papers treating of the
same subject in substance. Stokes, however, used the fluorescence,
and Miller the photo-chemical power of the rays, the former being
able to examine much shorter rays than the latter. Other physicists
used fluorescence, and it would seem as though photography was in-
sufficient to do the work. This, however, was shown not to be so,
as Carnn, in 1879, pubhshed an account of what he could do with
photographic aid. He used wet plates, but dipped them in distilled
water to avoid stains through the long exposure, and so obtained at
once photographic results superior to any. Schumann, aware of all
th.ese difficulties, and cognisant of the advance in dry plates, deter-
mined to investigate, or '' open up to photographic study," the re-
maining ultra-violet as far as 18.5'2 mm. (that is as far as Stokes
had gone with fluorescent methods) by means of a more suitable
process than those hitherto applied, and at the same time to consider
the extension of this region of observation as the direction of greater
deviation. The report we are giving in brief discusses the former
portion of the plan, and also the preliminaries of the second.
THE INFLUENCE OF DEVELOPMENT ON GRADATION.
The papers read at the recent meeting of the Photographic Conven-
tion should be carefully studied by all who are interested in the
matter of the influence of development on gradation. The questions
at issue appear to be becoming clearer, and light is gradually being
shed on some doubtful points. Mr. Bothamley, indeed, suggested
that it might possibly prove that there was, after all, no real difference
of opinion on the question among photographers, and that, when we
came to properly understand each other, it might turn out that all
thought alike ; but I think that view of the matter will hardly bear
examination. Between the opinions maintained by Messrs. Hurter
& Driffield and those held by the majority of photographers a wide
gulf seems still to exist. It is true that all agree that the ratios of
the opacities of a negative may be modified in development, and Mr.
Bothamley's diagrams showed how that follows from Messrs. Hurter
& Driffield's principles. His explanation, put simply, merely means
that a negative wUl print differently accordingly as greater or less
density is given to it, by carrying on the development for a longer or
shorter time. That the photographer has such control as results from
that is a matter of course, but Messrs. Hurter & Driffield will admit
the existence of no other. They deny that any practical alteration
or improvement in gradation can ever be made by altering the com-
position of the developer, while nearly all photographers believe, on
the contrary, that great and often valuable variations in results are to
be obtained by that means. Mr. Bothamley touched on that point,
and thought the different opinions might, perhaps, be reconciled by
taking into consideration the greater or less amount of fog produced
by the various developers ; but here he appears to have fallen into a
pitfall against which he has warned others, viz., that of confounding
density with opacity (using both terms in Messrs. Hurter & Driffield's
sense). The effect of general fog is to spread a certain proportion of
reduced silver evenly over the film, and it therefore adds equal
amounts to the densities at all parts, and so alters their ratios; but
these densities are the logarithms of the opacities, and it is, of course,
unnecessary to point out to Mr. Bothamley that equal additions to a
series of logarithms make no difference in the ratios to each other of
the numbers which they represent. The effect of the fog is, in fact,
as Mr. Cowan suggested, just equal to placing a piece of thin paper
over the negative. I see Mr. J. Sterry has already drawn attention to
the matter.
Messrs. Hurter &: Driffield's present position is becoming more
clearly understood ; they certainly do not now maintain all that a
reader of their original paper would be likely to gather from it-
Taken literally, it appeared to be there asserted, in several places, that
the ratios between the densities were altogether unalterable in develop-
ment, and that the only sort of control left to the photographer wa&
to give a greater or less value to the development factor y, according
to the length of time employed in the process. This view has now
quite broken down, and every one of the many sensitometer experi-
ments of Professor Barton (as described in the valuable paper read at
the Convention), in which the opacity curves (and therefore the
density curves also) crossed, has given sufficient proof of its unsound-
ness. Messrs. Hurter & Driffield, however, are now themselves con-
vinced that extreme alterations in the composition of the developer
may bring about somewhat greater alterations in the density ratios
than they at first thought was the case. This they candidly admit in
their preface to the reprint in Dry Plates of their original article.
The opinion they now hold appears to be that, in picture-making, no-
advantage can, in any case, be gained by varying the method of
development, because, the difference in gradation to be so obtained,
will be too small to be appreciable in the small range of intensities of
light which they believe to exist in ordinary photographic subjects.
Now, supposing this to be so, it is still important to know that the
simple principles laid down in the original paper are not accurates
and especially that there is so serious a weakness in the formulae, a'
other uses, besides mere picture-making, are every day being found
for photography, and there are probably many cases in which a know-
ledge of such principles, if true, might have been most valuable. But
even in ordinary photographic work I do not think Messrs. Hurter Sc
Driffield's opinions regarding development are likely to be yet
accepted. Mr. E. J. Wall's Convention paper and the discussion on
it show how little impression has yet been made on the majority of
photographers, not one of the members present having expressed any
doubt as to the great influence which the choice and composition of
the developer may have on the resulting negative. And even their
most enthusiastic supporters are unable to fully agree with them on
that point. I have previously referred to an advertisement of Messrs.
Marion k Co. as evidence of that, and Mr. Ashley Cowan, who repre-
sents that firm, and has made a very large number of photometrical
experiments, has since shown, in a discussion at the London and
Provincial Photographic Society (April 20), that he considers that
variation in the composition or temperature of the developer will
seriously affect results. But the experience of Messrs. Cadett &
Neall is a still more strikinif |fact (see Dry Plates, No. 9, page 52) ;
having now adopted the Hurter & Driffield system, they mix the
developer used in testing their plates according to the standard for-
mula agreed upon by those platemakers who use the actinograph
speed numbers, while, in their instructions to the users of the plates,
another formula is recommended. " The result (they write) is a
general complaint of over-exposure" (of course, from users of the
actinograph), and, since their attention has been called to the matter,
Messrs. Cadett & Neall have undertaken a series of experiments, and
now find that these two species of developers, neither probably dif-
fering extremely in constitution from normal proportions, yet differ
so greatly in their action that the correct exposure is found to be
twice as long when one mixture is used as it would be if the other
were employed. These experiments, it should be remembered, were
made strictly on Messrs. Hurter & Driffield's principles.
The every-day experiences of -(vorking photographers, including
users of the actinograph, are apparently confirmed by the evidence
of systematic experiments, such as those described by Professor
Burton; but Messrs. Hurter & Driffield oppose the latter by the
argument that, in ordinary photography, the range of intensities of
light to be dealt with is far less extensive than is usually supposed,
and that erroneous conclusions have been formed in consequence of
a want of knowledge of that fact. That the range is confined to
such narrow limits as they described will, they suspect, be news to
Professor Burton. No doubt it will, and to others also ; but the
matter, I think, requires clearer proof than we yet have before
these views can be generally accepted. The experiment described
(in the paper which they sent to the Convention) by Messrs. Hurter
& Driffield, in order to show the correctness of their opinion, seems
scarcely satisfactory. To represent the range of illumination likely
to be found in a landscape, they attached sheets of white card and
black paper to each side of a folding screen, and, having placed it so
that one side was in full sunlight and the other in shade, a negative
was taken of the screen and the densities measured. By this means
they arrived at the, no doubt, correct conclusion that the intensities
of light reflected from the various parts only varied as much as
1 : 30. The questionable matter is whether that screen could fairly
be considered to represent the differences of illumination existing
in even an average landscape, for the shaded side was fully exposed
to all the light coming from one half of the sky — equal in intensity,
as the experiment showed, to direct sunlight itself — while in every
August 4, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
49ST,
landscapo there are places which receive light from only a small fraction
of the sky, or often from no part directly. This is a matter likely
to enormously extend tho scale.
Messr:?. llurter & Driffield have previously expressed this opinion
as to the shortness of the range in their article in Tub Hbitish
JornsAL or 1'uotogbapht of April 21 last, and I was much sur-
prised on reading it. Since then, I have tried a few experiments to
test the matter, but my results, being only negative, have been rather
unsatisfactory : still, they appear to be very inconsistent with Messrs.
Hurler & Driffield's conclusions. Opposite my dark-room window is
a house, which I frequently use as a test subject for trying plates,
&c. A nursery business is carried on there, and there are several
outhouse and stable doors which are frequently open, showing spaces
which furnish the darkest parts of the view, and in the foreground is
a summer-house, the interior of which is nearly as dark. By taking
negatives, and comparing on them the images of these dark spots with
those of the sky, 1 found reason to suppose that there had been far
greater differences in the intensities of the light during exposure than
1 : 8, which Messrs. llurter & Driffield had given as the average, or
1 : 30, which they considered an extreme case ; but, as the darkest
parts covered too small a part of the negative to be measurable in the
photometer, I afterwards took a negative of the summer-house from
a few yards' distance, so that the interior covered a considerable
space. That, however, was not quite the darkest part of the view,
an open doorway in the opposite house being still darker. The
experiment for which this negative was taken was my last and most
satisfactory one, and L will therefore give fuller details of it. A
backed " Ilford ordinary " half-plate was cut in two, and one half
eipased, as mentioned, on the summer-house (eight seconds with
/-45). To the other piece, cut into strips, a series of carefully timed
exposures, to a standard candle, was given, varying from 1 to 64
C.Sl.S., and another series of from one to five minutes at a metre's
distance, and all were developed together in a well-restrained solution.
On examining the results in the photometer, I found that the sky
part of the negative was slightly denser than the patch representing
the live minutes' candle exposure. The means of several readings
were : —
Exposure
180 C.M.S.
240 C.M.S.
300 C. M.S.
Sky in Negative.
Density
267
■
2-71
272
2-81
As these densities were all in the "period of over-exposure," the
difference shown of '00 may represent a large excess of exposure over
300 C.M.S. The densities shown by the summer-house interior, with
those nearest to it, are given below : — ■
Exposure
1C.M.S.
2C.M.3.
4 C.M.S.
Summer-faonse
in Negative.
Density
•14
•35
•C8
•51
300, the intensities in the subject appeared to have varied from 3*2 to
300, or in the ratio of 1 : 130, and the only conclusion I could arrive
at was that the difference was certainlv no less than that ; but, con-
sidering that the light of tho skv and the scattered light had both
been under-estimated, it was probably considerably greater, and the
subject U by no means an exceptionally strongly contrasted one. I
intended to have made another experiment, in which 1 should have
given different exposures to sky and foreground, so as to bring both
within the " period of correct exposure," but have not been able to
find an opportunity when the light could be depended on to remain
tly constant
sufficiently constant.
These densities, except as regards the 1 C.M.S. patch, were found
to be included in the " period of correct exposure," and the value of
the exposure of the summer-house interior could therefore be easily
calculated, and was found to be equal to 28 C.M.S. That exposure,
however, was the result of the action of all the light which fell on
that part of the plate, but a considerable proportion of the deposit in
the shadows of a negative (especially when, as in this case, bright
sky covers a large part of the view) is generally produced by light
scattered by the lens or reflected in the camera, which must be
allowed for when judging in this way of the actual brightness of a
dark part of the subject. I endeavoured to estimate tho amount of
the scattered light by comparing two negatives, which I exposed
immediately after that of the summer-house, and developed with it.
The parts compared represented the interior of a black box, which
appeared in the foreground of each of them, a bright skv being in-
cluded in one negative, but entirely cut off in the other, by hanging a
black card in front of the lens.
It is, perhaps, unnecessary to give fuller details, so I wiU merely
state that I concluded that the action of the scattered light, during
eight seconds of exposure, might be taken as equal to -0 C.M.S.; but,
unfortunately, 1 found that I had included a mucli smaller amount of
sky in the view in this experiment than appeared in the negative of
the summer-house. Taking, then, 28 less -6 as the proportion of light
leflected from the deepest shadows when that of the sky was equal to
H. J. Channok.
AMERICAN NOTES AND NEWS,
Dp. Goddard's Portrait.— Photographers are indebted to
Mr. Julius F. Sachse for providing them with a portrait of Dr.
Paul Beck Goddard in the American Journal of Photography. It is
an enlargement from one of the first Daguerreotypes made with the
use of bromine in December, 1839. We have already spoken of Dr.
Goddard's researches in these notes, and have now merely to add, on
the authority of Mr. Sachse, that the proofs for the assertions formerly
made relative to Dr. Goddard's discovery are to be found in the
minutes of the American Philosophical Society of the period.
A Palatial BuBlnesa Bstabllaliinent. — In its business
! relations pliotography appears to be looking up in New York. Mr.
I G. Genert has just completed a new business structure in the up-tovoi
I part of the city which has a frontage of fifty feet, a depth of ninety
I feet, and contains six stories and a basement. It is of handsome and
artistic exterior, formed of light buff brick and terra-cotta trimmings,
with polished granite pillars up to the first floor. It is said that in
solidity of construction and perfection of lighting it surpasses all
buildings of its class in New York.
Sympatby with Dr. Ehrmann. — The American papers
record the death of the wife of Dr. Charles Ehrmann, teacher of photo-
graphy at Chatauqua, and one of the editorial staff of the Photographic
Times, We tender sincere sympathy to our talented confrere.
Bo^ardus on Photographic Posaibilitlea.— There is
always to be found a rare mi.xture of genuine fun and philosophy in
the ever-welcome contributions of Abraham Bogardus to the St. Louit
and Canadian Photographer. He hits foibles and fads with amazing
hardness, and yet so manages it as to avoid giving pain to any single
individual. Before he retired from the profession, he was probably
one of the ablest and best known of professional photographers in the
United States, from the Daguerreotype onwards. The amount of
money he made in the palmiest days of photography was prodigious.
Speaking of the photographs at the World's Exposition being
sprinkled all round, Mr. Bogardus is of opinion that, if pliotography
continues to grow as it has done, it will, in a hundred years, be able
to hold a World's Exposition for itself, and rule the art matters of the
world. In the advance of photography it is wise to receive assistance
from all directions. Too much self-reliance has ruined many a man and
many an enterprise. Never refuse assistance because the party offer-
in" it may look insignificant ; he may develop unexpected qualities.
You cannot tell how far a toad may jump by looking at his tail. A
good hornet, if he feels well, can break up a whole camp meeting.
Who is so rash as to limit photography's future .'
Still Another Tele-photo liens. — "All tele-photographic
objectives w liich are brought to America are copies or infringements
of Krogman's Patent Lens System, which reference to part fifteen of
specifications forming part of Letters Patent No. 409,981, dated
August 27, 1889, will prove." This is an extract from a letter in the
St. Louii Photographer, signed The Cincinnati I'hoto-optical Company.
Having access to Mr. Krogman's patent of the date above given,
we have carefully examined it, and find that he has not the right
to make any such claim as he does. Ilis invention consists of an
494
THE BRITISH JOURNAL OF PHOTOGRA-PHY.
[August 4, 1893
almost plano-convex achromatic lens, the flattest side of which is
placed at the back or inner end of the mount; a concavo-convex,
or negative meniscus, formed of crown glass alone being placed at
the other, or outer end of the tube, the concave surface being to
the outt-ide. This is of the same diameter as the achromatised
hack lens. A second figure in the drawing shows an alternative
form. In this, a plano-concave lens of crown glass, and of smaller
diameter than the achromatic, forms the front lens, the flat side
being to the outside. If any one will be at the trouble to draw
on paper the lenses from this description, or examine the patentee's
own drawings, he will see that such a combination cannot, in the
nature of things, form a tele-photo lens at all. The special claim
in Mr. Krogman's patent is summed up in two unequal lenses, the
front being a single concave with negative focus, and the back an
achromatic, with positive focus. Had he first reversed the position
of the achromatic lens, and then reversed the relative positions of
the two lenses, so as to have the positive to the outer end of the
tube, he might have had an approximation to a tele-photo lens,
although one can only guess at this, for the specification, which is
very brief, contains no other information than we have here given.
American Estimate of tlie Iiondon Camera Club.—
Jteferring to the falling away of interest in the Camera Club, and to
members declining to contribute papers which are withheld from the
public, the Beacon says : " It should never be forgotten that no photo-
graphic society can be healthy, or remain long so, that seeks to confine
its benefits to its own members, and it may he taken as a rule that
1 he prosperity of a society will always be in proportion to the publicity
given to its proceedings."
Blackening' Brass. — Here are some details of the blacken-
ng of metal diaphragms, given by H. H. Euckwalter, in the
Pacific Coast Photographer. He dissolves an ounce of copper nitrate
in three or four ounces of water. The diaphragms are then heated
in the flame of a spirit lamp, and dipped in the copper solution.
AVithout drying, they are again heated in the alcoholic flame until
the metal ets a red colour, which instantly changes to black on
withdrawal from the flame. It is sometimes necessary to repeat
he dipping. When cool, clean the metal with a damp cloth.
Tlie Bthoxycon — Mr. T. II. M'Allister, of New York, who
occupies a foremost place in the New World in respect of optical
lanterns, has, in the World's Fair, a specially fine exhibit of these,
many being new in design. Especially interesting and convenient
is said to be the ethoxycon, a compact pieoe of apparatus, which
makes the gases necessary for combustion during tlie working of
the lantern. This, we know, has been done some years ago in this
country, by Birrell and others. Meantime, no publication has yet
been made of the American device.
Xtestrictions at Chicagro. — Loud outcries are being raised
against Mr. Arnold, who holds the rights for photographing at the
World's Fair, and who seems to be interposing what is alleged to be
difficulties in the way of others. Br. Nicol says (in his Beacon) there
is now an impression that he is a concessionaire, and one who, in
partnership with a son of one of the Executive, got the concession
without competition, and with no thought of fitness. " Is it too late
to make an Augean clean out of the whole business and start on a
new and different footing ? The Stereoscopic Concession may be
allowed to stand, it is in good hands ; but, surely, the most wonderful
photographic possibilities that the world has ever seen should not be
continued to be sacrificed through the incompetence of an employe or
concessionaire, even if he has as a partner a son of one of those in
power." It is suggested that a staff of competent artistic photo-
graphers should be employed so as to make negatives of exteriors and
interiors, and supply first-class prints at reasonable prices, which we
infer has not hitherto been done.
PHOTOGRAPHIC METASTASIS.
Those of us who are in the habit of taking crepuscular effects,
whether at dawn or sunset, have doubtless, at one time or another,
encountered on some developed film a black circular dot situated in
the midst of a series of concentric halos, alternately light and dark.
When this grotesque pictorial sun presents itself to our notice, we
know that the cloud veil was too diaphanous to conceal the shape of
his face, and that, though we did not, perhaps, observe it, the disc
must have been visible.
Fictitious " suns " behaving in much the same way may be pro-
duced by interposing a large sheet of brown paper or cardboard,
having a circular hole cut in the centre, between the camera and a
pane of ground glass illuminated by daylight, gaslight, lamplight,
candlelight, &c.
Again, if a cylindrical aperture over a centimetre in diameter be
cut in a lapdy of such opacity that we consider that though light may
penetrate it superficially it cannot pass through, and a dry-plate film
be exposed directly behind this orifice, and be protected everywhere
else, we can readily develop the well-known dark fuzz or halation
around the edge of the circle.
If polygonal, bluntly elUptical, or square apertures be substituted
for the circular one, but little difference is noticeable in the shape
assumed by the halation, and this is also the case where the hole
is an equilateral triangle, or, in short, of any form whatsoever pro-
vided it be approximately as broad as it is long. Under these last-
named conditions there is no series of light and dark halos, but only
the dark prototype.
But, if we replace orifices of these forms by those which have some
such shape as a very obtuse-angled triangle, a right-angled triangle
having one side much shorter than the others, an isosceles triangle, in
which the two equal sides, or a scalene triangle, in which the two
sides are very much longer than the third, we observe at once that
the halation "falls away or disappears at the more acute angles, although
present everywhere else.
This modification of our former experiments furnishes the clue,
hitherto wanting, to the possible reconciliation of our camera and
printing-frame experiences, and instantly suggests the means to be
adopted in testing the validity of our explanation as to why, in the
first instance, a series of concentric rings were produced, which, in the
second case, were absent.
If, therefore, we once again revert to our printing-frame circles,
ellipses, polygons, squares, or equilateral triangles, but diminish their
size till they are only one or milHmetres in diameter, we see that ex-
posures which would have produced halation as usually observed, had
the apertures been larger, have now no longer this effect, for instead
of a dark circle, &c., with a dark halo, whose deepest edge is in com-
plete contact, at least, with the periphery, we have a dark circle with
a clear halo immediately beyond the limiting circumference.
Let us, for simplicity's sake, confine our attention to the distribution
of the developed deposit in or near a circular area of the film which
has been exposed to the action of light through a cylindrical aperture
of about a millimetre and a half in diameter, drilled in a screen of ebony.
One shade of " half-tone," but one alone, is secured by causing the
beam of light to impinge obliquely upon the plate in such a manner
as to cast a narrow crescent-shaped shadow on the otherwise un-
protected portion of the film. The depth of tint of the shadow as it
appears to the eye is not, strictly speaking, an absolute mean
between the brightest and darkest parts of the film. Consequently,
the number expressing the exposure, which allows the part of the
film on which this shadow falls to develop into the densest bit of the
film, is not a geometric mean between the numbers expressing re-
spectively the exposures that cause the brightest and darkest parts
to develop to the same maximum of density when all three are
simultaneously immersed and remain equally long in the same liquid
multiplier. It therefore follows that waxing and waning half densi-
ties will not be reached at the same moment, and hence, as a matter
of course, that, when the two densities are equal, it will be at a
period earlier or later than the geometric mean of the exposures
which produce the extremes according to the amount by which the
brightness of the real shadow is greater or less than half-tone. The
actual brightness of the shadow will naturally depend upon the
quantity of reflected light which reaches it either from the illu-
minated side of the cylinder or from some other effectively lustrous
body. I mention this in order to show the futility of expecting that
such phases or sub-phases should correspond to, or present themselves
contemporaneously with, the production of the neutral phase proper
(see diagram on "page 185 of Thk British JounNAL op Photo-
RRAPHY for .March 24, 1803;. At another time I will prove, prove
beyond all question, that, contrary to Messrs, Hurler iS: Driffield'a
August 4, 1893]
THE BRITISH JOURNAL OP PHOTOORAPilY,
406
assertion, there are no " periods " of "under-exposure" and "correct
representation " obeying separate laws. The law that the densitiet
are proportional to the loi/arithms of the e.rpomrea is the natural
corollary, the primary inference, to be deduced from, and implied by,
my law as given in these pages in 1888 ; and, generally speaking, this
is the closest approximation to the absolute truth which we have as
yet been able to formulate. But, as 1 shall shortly show, the state-
ment which I have put in italics is not quite sufficient, even in
its arbitrarily restricted application to a supposed ' period of correct
representation,' and to be precisely accurate must be somewhat
modified. The amount of silver reduced by the conjoint action of
light and a developer is never directly proportional to the exposure.
The " inertia," or, as I prefer to term it, the resistance, is an ever-
present, constantly shifting influence, essentially diabatic, and to
study its transference from point to point in the film is in the highest
degree instructive.
But, to realise the facts upon which these affirmations are based, it
will be necessary to describe the more striking or salient forms which
the image of a small circular aperture can assume, the word " image ''
being extended so as to embrace the various excrescential halos which
under certain circumstances invariably accompany and react upon
the more definitely limited disc-image. It will also be advisable, I
think, to regard this latter area as a tube — a short tube of force — so
as to be able to get an idea of the state in which the film may be
supposed to be in bef-jre the developer is applied. Eightlv or wrongly,
I insist upon regarding the phenomena which characterise the small
image as typical of the manner in which its constituent ultimate
particles or molecules are affected.
The following extracts, taken as they stand from one of a host of
note-books on the one subject, may now be seen to have some bearing
on the question at is.'ue. The exposure values are omitted as tending
to distract the attention, and it is to be understood that several of the
consecutively described peculiarities may he simultaneously displayed,
e.g., the aperture-image reaches greatest density, and the aperture-
image begins to reverse.
(ft) The aperture-image acquires density at first slowly, then with
an accelerated rapidity, next with a retarded acceleration, and, finally,
with a retardation corresponding to the initial acceleration.
(6) The shadow-image only becomes visible under development
after the aperture-image has made its appearance and has acquired a
density proportionate to the difference in the intensity of the light at
the two places. When the exposures have been very short, and the
developer is of normal strength, or weaker, prolonged immersion does
not appreciably alter the difference between the two densities.
(c) When the shadow density is as far beyond the clear film, when
fixed, as the shadow itself was brighter than " absolute darkness," the
exposure is correct as referred to the developer employed and the
duration of the immersion. These factors remaining constants, this
13 the only instant which produces a true representation of the subject
as far as the relative proportion of the greatest, intermediate, and
least densities may be looked upon as the (inverted) equivalents of
most light, less light, and no light in the subject portrayed. Let this
be reasoned out. Take, for instance, the case of a star of the first
magnitude in the midst of a nebulous unresolved cluster set in a sky
" as black as Erebus."
{d) A clear halo now seems to surround the dark aperture-image,
and yet neither the naked eye, nor the eye when furnished with a
microscope, can detect the faintest sign of the dark annulus or ring
which, in some shape or form, is present at all subsequent stages.
The film beyond the clear halo is, or seems to be, uniformly dsgraded,
possibly fogged by the light employed during development.
(e) A faint ring, soft although narrow, darker than the marginal
portion of the film, now surrounds and emphasises the clear halo,
which, probably by an optical illusion, appears still clearer. For
some time to come this dark ring will grow more and more opaque,
and will widen, fading very gradually externally, somewhat more
abruptly internally, encroaching upon, and diminishing the territory
occupied by the clear halo.
(/) The aperture-imago has now reached its greatest density.
The shadow image, although very deiise also, maintains nearly the
same intensity compared to the strength of the aperture-image, but
is much too dense _/(';■ a shadow (vide c).
{(/) The aperture-image now begins to clear. This, however,
cannot be noticed by the naked eye, and requires for its detection nice
photometric testing.
(/() The shadow-image vanishes. This is due to the fact that it,
ascending, has reached the same density as the aperture-image
descending. As this effect, among others, can be materially hastened
by the substitution of a developer strong in alkali, or accelerator, for
that which we have been employing hitherto, it secDiR idle, from out
point of view, to deny that the ratios are not altered by the developer
employed.
(i) Halation, as generally understood— that u, a fading fu7z, with
its darkest edge in contact with the periphery of the aperture-image
— now shows itself. If the screen, eoony or otherwise, is not
perfectly flat and smooth, the halation will take th# form of dark
irregularly radiating brushes.
(k) The contrast between the clear halo and dark ring is great. The
clear halo now presents the aspect of a vortex motion or smoke ring,
owing to the double invasion.
(/) The clearing aperture-image is now of the same density as the
darkening " clear " halo.
(m) The clearing shadow-image is now of the same density as the
darkening clear halo.
(n) The clearing centre of the aperture-image is contrasted by the
darkening " clear " halo. The general aspect of the entire image is
that of a weak reversal.
(o) A dark line is now observed just within the periphery of the
aperture-image. The cause is found in a fact to which I formerly
drew attention, namely, that it is the central part of the aperture
image which first begins to clear. As this centrifugal action gofs on,
the inner edge of the circle seems gradually to accumulate all the
density at one time spread over the entire disc, and as the centre
clears the dark margin becomes narrowed down till it is little more
than an outline.
(;») Reversal is complete. Hugh Buebnbb.
ON THINGS IN GENERAL.
Wanted, a word ! If it were not that our Editor was too great
a man, and our Jouiinal too great a journal, what a boom they could
create by a new word competition, or tournament it might be called !
Wanted, a WORD to describe the particular sort of person who takes
a photograph without the sUghtest intention of bettering any one else
with little or no knowledge of art or science — amiably, indifferently
or malignantly careless of the labours of past workers who have mad^
latter-day photography possible I A big prize might be offered, as I
am afraid the language is not expressive enough, for we see even the
painter-artists are not in possession of a word stronger than " sign-
painter" when they wish to refer to one not possessed of the divine
afflatus spread over the gods of Burlington House. " Amateur " will
not sufiice. It is the lack of a suitable term that has caused the
amateur and professional controversy to be as wanting in conciseness
as it is fertile in expletive and declamation. • Is there is a single pro-
fessional of ability who does not honour the memory or the work of
those on the long roll of fame who have advanced photography to its
present high pitch of technical excellence ? Almost every one is, or
was, what is ordinarily understood as an amateur, and the present
professional owes his means of livelihood to their labours. It is as
dishonourable as dishonouring to hold up to photographic scorn these
pioneers and apostles of progress in our science. We must look things-
fairly in the face. The professional photographer is earning a living by
doing work which, in a way, can bs done by any one who chooses to
invest a five-pound note in buying the necessary materials. What
is the logical result ? He must attain to the utmost skilfulness
possible to him, and must then hope to attract clients by the
character of his work. I assert that, if he only produces work
of a character that a tyro can soon equal, he stands on an
inferior level to a so-called working man, i.e., a handicraft.sman,
and cannot logically expect more pay or as much, unless he can
become a master handicraftsman, and make money by employing
others and reaping the profit of subdivision of labour. A really
good photographer is less readily found than a really clever doctor ;
the others will, I am afraid, go to the wall. Some of the former also
are unfortunately doing so ; but, unfortunately also, photography is not
alone in that respect. However, it is idle repining to talk of amateurs
and the harm they are doing — this U a free-trade country. I should
like to contribute my quota to the discussion of the cause of bad trade.
From inquiries I have made, there seems scarcely an exception to the
cry that enlarged work is falling off everywliere. It has been
pointed out to me that a possible explanation may be found in the
firms of enlargers supplying the public as well as professions
496
THE BRITISH JOURNAL OF PHOTOGRAPHY.
"[August 4, 1893
photographers. Here, again, free trade comes in. They have a perfect
right to do so ; but also photographers have an equal right to decline
to deal with any firm that supplies the public. It would bo the
height of folly to buy from a man who offers his wares to the next-
door neighbour.
The present has been decidedly an optical season ; the air is big
with lenses, new and old, and discussions on their merits. The
tillman-Burton controversy is very amusing, but it is apt to lead to
a neglect of the value of the lens in question, which possesses incon-
testably high merits. I wonder how many photographers there are
at this minute who possess a lens that defines with such a stop as is
of common use, say f-32., equally well in middle and margin of a
plate about the same size as (or even larger than) the focus of the
lens, as the concentric fairly does. Then we have the double anastig-
mat controversy, where a lens, evidently of great value, is concerned,
as the published diagrammatic photographs prove. Unfortunately
for the manufacturer, the sheet of photographs showing the per-
formances of the various lenses loses almost all its scientific value
from the fact that the lenses employed were either eccentrically
placed as regards the diagrams, or the latter were not properly
" squared up," a condition of affairs fatal to the value of the reproduc-
tions as scientific evidence. This condition, which instantly struck
me when I saw the diagram, is explained by saying that the rails
upon which the diagram -holder was placed, "though accurately
directed upon the centre of the trial plates, were placed not
completely vertical to the plates." This explanation is meaningless as
it stands, for the words are self-contradictory.
The editor is again to the fore with some valuable remarks upon
the equivalent focus of lenses, and explains in the simplest of manners
how, and how easy it is, to find this focus of any lens. But pay ex-
perience is that few will go to the trouble of doing even such an ele-
mentary piece of work as this ; they will prefer to guess at it. Now, I
am about to propose a still simpler method, which will give the focus
quite near enough for practical purposes. Fix the camera at one end
of the room, and at the other, and right opposite the lens, place a
penny or other tape measure. Focus this measure on the ground glass,
and cut a strip of paper, just the same length as the tape appears to be.
As it will be small, we will take it in sixteenths of an inch. Then, as
the yard tape will contain .576 sixteenths, that number must be divided
by the size of the image (expressed in sixteenths of an inch). All that
is then needed is to measure the distance that separates yard tape from
ground glass, and divide it by the number we shall obtain when we add
2 to the figures resulting from the yard tape as above. The result will
be the focus, not mathematically exact, but quite near enough ; and
any one can perform the operation in a minute. Fbbe Lanck.
DODGES.*
Distortion.
It may sometimes happen that, notwithstanding the use of a swing
back, distortion occurs, through the camera being pointed too much
towards the sky. This can be cured as follows : — First make a trans-
parency in the enlarging camera, tilting the negative and plate for
transparency until the picture appears as it should do. Develop the
transparency, then make a negative from the corrected transparency ; or,
if the transparency is not quite right, the negative can be further corrected
in the same manner, ai)d with care the result should be satisfactory.
A Shiftino-back Pkintinq Fkame.
This frame I bring under your notice was some time ago broken and
repaired in such a manner as to be useless, owing to the back so easily
shifting. For a time it was discarded, but, since, it has been found useful
in placing prints on the negatives again in cases of under-printing.
Place the negative in the frame and secure it, to prevent it shifting ; then
place the print to be corrected as nearly as possible in its proper position,
fasten up as usual, and it will be found that the back and print will shift
about together, so that, by looking at, the front can be accurately ad-
justed to the negative with very little trouble. I find it useful when
letting inexperienced persons do printing, as I can quickly correct a dozen
prints, and find it a useful contrivance.
ExrosuRK,
There is often a great discrepancy in the calculation of exposure by
• Concluded from e 425.
different persons, in my experience as much as six to eleven. The
pulse-beat in middle-aged persons is nearly correct for seconds. A dodge
is also recommended of repeating as rapidly as possible 1, 2, 3, 4 ; 2, 2, 3, 4;
3, 2, 3, 4 ; 4, 2, 3, 4, and so on ; each four figures will so nearly re-
present seconds that the difference may be disregarded. It is also
recommended to hang from under the tripod-head a small weight on a
cord forty inches long — thirty-nine inches I believe to be correct. This
will give seconds each sway of the weight. A much shorter cord is un-
doubtedly more convenient, such as is used on an exposure meter in the
market. This, to give half-seconds, should be nine and three-quarters of
an inch long. The swing and return will be one second. Considering
the inventive genius shown in ijhotographic matters, I am surprised that
no one has yet placed in the market a small simple, seconds-ticking in-
strument, so that by giving a few turns the instrument would tick seconds
when required. It seems to me to be a want in the dark room when
enlarging.
TON'ISG.
When I first tried gelatino-chloride printing-out paper I found great
irregularity in toning ; the first prints toned all right, but the last of the
batch hardly got any gold, owing to the greediness of those first deals
with. This diificulty can be overcome in tlie following manner :
Suppose there are eighteen prints to tone; make up the toning bath,
pour half of it into the toning dish and place six prints in it, when
they are toned take them out and add half of the remaining bath to that
already in the dish, and tone six more, take them out and add the
remainder of the bath, and tone the remainder ; all the prints will by this
arrangement be toned in a regular manner. I mention this, as I have
heard of this difficulty twice within the last few days.
Eeoistekinq Clouds.
This is a subject which I think deserves some consideration. Clouds
too often look very funny in our landscapes, printed without much regard
to lighting, and my object in mentioning this matter is to suggest a
method of knowing what clouds will fit a landscape. In one of the
journals some time ago there was a paper on the subject, and it was re-
commended to take various particulars — time of day, point of compass,
(fee, and a diagram — rather a complicated proceeding, and I confess I did
not get quite to the bottom of it. My plan is a simpler one, and is
this : Paste on the top of camera a small piece of cardboard or paper
marked like the face of a watch, with the XII. pointing the same direc-
tion as the lens. When a plate is exposed, draw an imaginary line from
centre of cardboard to the sun, and mark the plate in your exposure plate
the number the line intersects — say it is 8, No. 8 cloud and No. 8 land-
scape will always fit ; No. 8 cloud reversed will fit a No. 2 landscape, and
so on. The number need not be very exact — a No. 5 or No. 7 cloud may
do for No. 6 landscape. I don't say the cloud will suit, I only say the
lighting will be the same. The altitude of the sun should perhaps be
taken into consideration, but this can be readily discovered by referring to
your note-book for the time of day the negative was taken. This system
is easy of adoption ; it is not necessary even to have a diagram on your
camera, for your watch on the top after each exposure, a note of the
number can be obtained.
Pbintisjo Clouds.
I have very little time for cloud-printing, and am obliged to adopt the
following rough-and-ready dodge to print clouds quickly. For this
method you must have a tliin negative. I do not use a frame but paste
brown paper to the bottom and top, place tlie print on the negative, and
turn the brown paper at the top and bottom over the print. I then place
the back of a printing frame in the usual way, and clamp one side to the
negative, holding the other between finger and thumb of left hand. I
shade the front portion with brown paper or anything that comes handy,
roughly follow the outhne with wool, and print in direct sunlight. Should
there be a tower or high building with sharp outline print it on a separate
piece of sensitised paper, cut it out correctly, and stick it on the print,
and proceed to print from the cloud negative. Nearly all my clouds are
done in this manner, and only take a very short time each.
One other contrivance I will mention, and that is, a convenient way of
drying sensitised plates. You may attempt to develop a plate not ex-
posed, don't throw it away, well wash and dry. There may be other
occasions when you may be puzzled for the want of a drying cupboard.
'For a few plates it is not necessary to have a cupboard, use your old
plate boxes. The shape I show you is excellent (a sliding box) when you
have a plate to dry. Let it drain, wipe the back, place in the empty box
Sim side up, and close. You will find it quite dry in the morning, pre-
iuming the box had previously been kept in a dry place.
C. 0. Gregoey.
August 4, 1803]
THE DUITI3II JOURNAL OF PHOTOGRArilY.
497
SEASONABLE NOVELTIES.
Fallowfield's New Hjind Camer.vs.
Premier Hand Canuni. — This neat hand camera is «o designed that all
the adjustments can be made from the top o! the apparatus, all the scales
licing in full view when in use. While compact, it is light, and strongly
made. The drawiug conveys an idea of its
appearance. It is equally suitable for hand
or stand. The one we examined carries
twelve plates, or twenty-four (Urns. The lens
is Wray's well-known rapid rectilinear
hand-camera lens of jj in. focus, fitted with
four stops which are changed from outside
by the milled head and indicator, and the
lens can be instantly taken out for cleaning
purposes. The self cap works automatically, so that the lens is always
covered except at the actual moment of exposure, and for time exposures
can be held open by a turn of the small knob in front. Two finders with
metal hoods are provided, giving the identioil view on plate, for either
landscape or upright picture. The shutter works between the lenses,
and being provided with Newman's pneumatic regulation, can be set for
exposures of any duration from ^l^ to one second by the milled head on
top of camera. It is set by pulling up the small ebonite knob, and re-
leased by pressing the small button below. It is absolutely accurate in
working. Focussing is done instantly by central rack and pinion sunk
tlnsh below. A scale of accurate distances, 6, 9, 12, 18, 2-5, 3.5 feet and
infinity, is fitted on top. For use on tripod a light celluloid screen
(carried behind changing box) is provided.
The Focussing Facile. — With the assistance of the cut and the following
description, a good idea of this, the latest " Facile," will be had. Focuss-
ing is done by adjusting the indicator from six feet to infinity, or at any
fixed focus desired. The shutter is
fitted with a spring release, giving
exposures of any duration, and it is
always set. The finders are deeply
sunk and thus shielded from the light,
and give the identical views as the
lens. The plate changing is effected
by simply pointing the arm of the
indicator to any number of plate
on the scale. The finder, focussing
scale, and shutter are on the top just
under the eye, so that each can be rapidly manipulated. It is finished
in dull grain black and has a good although non-pretentious appearance.
Marion's Neoative Holder.s.
This is a safe and simple means of storing negatives for easy inspection
and exhibition. Any
negative may be in-
spected and removed
without disturbing
the others. The nega-
tives are held in in-
dependent grooves,
and they cannot in-
jure each other. The
negative holders, as
shown in the cut, are
neat metal grooved
frames, hinged to-
gether with flexible
[joints, and so arran-
ged that any nega-
tive contained therein
may be easily inspected and withdrawn. They are folded and enclosed
in a japanned metal case, with hinged lid. (See cut.)
They are mnch more
portable and compact
than ordinary grooved
boxes, and their use ob-
viates the necessity of
lif tingout of their grooves
a number of negatives
in looking for those
desired. They are de-
stined to become popular,
especially as they sell at
a very low price.
©ur Bliitorial EabU.
The Eastman Companv's Pi-blicatios8.
115, Oxford Street, London.
Thksk includi' pamphlets relatini? to the Kodak, Solio printing*
out paper, the new Nikko paper, with a comprehensive list of the
manufactures of yoods sold by the Company. From a note we have
received concerning the Kodak, we learn that Kodak.s and films are
very much to the fore in all scientific expeditions and espectally
in the recent expeditions fitted out to " catch " the North Pole.
" Lieut. Peary has taken with iiim to Greenland, on this last trip of his,
no less than five Kodaks and 2500 extra film exposures. You are no
doubt aware that he brought back with him about 2000 good nega-
tives, taken on his last trip. Mr. Johnson, another explorer, has also
taken to Labrador a No. 2 Kodak and Scio extra exposures. Also
Dr. Nansen has taken with him on the Fratn to the Pole (but
whether he will hrincf them back or not is very doubtful in the
opinion of experienced scientiBc men in this country) a No. 4
Junior Kodak, and a half-plate roll holder, and over 1-500 extra ex-
posures." The tractates received include How to Make Glotty Prints
without a Burnisher, the directions applying both to Solio and Nikko
paper : also The Hijjm Toning Bath for Nikko and Bromide Papers.
It is enough to say here that we have followed the directions with
great success. Meantime, as we are preparing an article on the hypo •
toning bath as applied to these papers, we shall defer special notice
of it till then.
Enlahokd Convkxtion Ghoup.
This enlargement, by Morgan & Kidd, Richmond, is one of the
sharpest and finest of which the art seems capable. The degree of
magnification will be ascertained when we say that the Convention
group which so recently appeared in these pages has been enlarged to
i'2 X 16 inches without the slightest blemish or blur.
Fallowfikld's p. 0. P. Mountant.
Among the various mountants now in the field, this of Fallowfield's
will hold a good place. It is white, very adhesive, and contains some
antiseptic by which it is prevented from ever going bad. We have
proved its good properties.
Mb. C. C. Vevf.bs, Leeds, has issued a price-list of second-hand
photographic and lantern apparatus, shop-soiled stock and job lots,
from which selections may be advantageously made.
ifletos anil iBtotcs.
Messrs. R. W. Thomas k Co. will shortly place the "Sandell" multiple-
coated film on the market.
Northern Photographic and SciehTific AssoCTATloy. — August 7, Bum-
ham Beeches and Stoke Poges.
GospoRT Photographic Society. -
Harbour at fifty minutes past nine.
-August 7, Arundel. Leaves Portsmouth
We are informed that Messrs. Brown, Barnes, & Bell, of Manchester and
Liverpool, have reopened their studio at 12, Baker-street, London, W.
Photographic Club.— July 9, Members' Open Night. Bank Holiday
Outing to High Wycombe. Leader, Mr. A. Broad. Imn from Paddingtou
at eleven o'clock.
Hacknev Photographic Society. — August T>, Excursion to Kadlet
Leaves Moorgate-street, Midland Railway, by the nineteen minutes past two
train for Raulett. 8, Composition.
In the Liverpool District Registry of the Chancery Division, High Court of
Justice, on the 8th ult., Messrs. Brown, Barnes, & Bell, photographers,
of Liverpool, obtained a perpetual iiy unction restraining Mr. John Ashley, of
87, Bola-street, Liverpool, and Ormskirk, from .carrying on the business of a
photographer under the style of Brown, Barnes, k. Bell, and from representing
that the business he is now carrying on at Liverpool and Ormskirk is the
business of the plaintiff, or in any other way a part or connected with it.
408
THE BEUTI3H JOURNAL OF PHOTOGRAPHY.
[August 4, 189
Bristol In-termational Photographic Exhibition.— The Council of the
Bristol and West of England Amateur Photographic Association announces the
Triennial International Exhibition of photographs, apparatus, appliances, and
processes to Ik held in the galleries of the Academy of Arts, Queen s-road,
C ifton Bristol will be opened on Monday, December 18, 1893, contmuing open
till Monday January 22, 1894. Apart from photographs for competition, the
Council will 'esteem it a favour if those who have any interesting examples of the
history and progress of photography will kindly lend them for exhibition.
All pictures apparatus, and contributions of any kind will be insured at the
expense of the Association. Especial care will be bestowed on the hanging,
so that all pictures shall, as far as possible, be done justice to, to facilitate
which the whole of the extensive galleries above referred to have been retained.
Thirty-six medals, including one gold and twenty-one silver, are to be given.
A fee of five and ten shillings, according to space, will be charged each
exhibitor.
Photooraphic Survey op Warwickshire.— On Monday there was opened
to the public at the Birmingham Museum and Art Gallery an exceedingly
valuable and interesting collection of photographs of Warwickshire landmarks
and scenery. The exhioition is the result of the second year's work of the
members undertaking the photographic survey now being systematically carried
on under the auspices of the Birmingham Photographic Society. La5t year, it
may be remembered, something like 700 pictures of old and famous buildings
—some of them since swept away by the ruthless hand of the present-day
"restorer" and speculative builder — were hung in the Art Gallery: and at the
close of the exhibition, by a happy idea, they were presented to the Corpora-
tion for preservation on behalf of the public. The present exhibition consists
of nearly 500 photographs, and, at its close, these also will be presented to the
Corporation. The survey, it may be explained, is being carried oq voluntarily
by the members of the Birmingham Photographic Society, who at their own
expense defray all the costs involved in the taking and preparation of the
views. The cost of mounting, preparation of catalogue, &c., which is very
considerable, is defrayed by the Warwickshire Survey Council (who also pro-
vide the oak frames in which the photogi-aphs are publicly exhibited) by the
help of subscriptions and donations.
Leytosstone Camera Club. — August 5, Open Social Evening at Head-
quarters, eight o'clock. 7 (Bank Holiday), Burnham-on-the-Crouch. Leader,
Mr. A. E. Bailey. The Club will proceed by the train leaving Liverpool-street,
G.E.R., twelve minutes past eight, calling at Stratford twenty-eight niinutes
past eight, arriving at Burnham fifty-six minutes past nine The Club will
also attend the Firemen's Fete and Competition on the Essex County Ground,
Leyton (open all day).
Ashton-under-L yne Photographic Society. -Excursion to Liverpool, 29th
July, 189.3. — Considering a dark and drizzly morning, a goodly number
attended, led by Mr. Chas. Lord, who had secured a permit to photograph on
the docks, also a permit from the White Star Line to view and photograph the
R.M.S. Majestic The ship had just been beautified, and those who had
cameras soon had them in position, and secured rare and good pictures. After
this a number of plates were exposed on ships, &c., amongst them being a good
picture of one of H.M. Troopships. Over sixty plates were exposed.
RECENT PATENTS.
No. 13,808.—
July 17, 1893,
No. 14,604. — "Improvements in Frames for Photographs, Opalines, and
other Pictures." P. Campbell.— Z)a(ec( Jubj 29, 1893.
PATENTS COMPLETED.
A New or I.mprovkd Proces.s and Combination of Materials kor the
Treatment of Photographs previous to Colouring.
APPLICATIONS FOR PATENTS.
"An Improvement in Camera Cases." F. K Bussell.— Da/e<i
No. 13,820. — "A New Apparatus for the Connexion of the Fronts and
Backs of Cameras, Stereoscopes, Graphoscopes, and the like." J. Day. —
Dated July 17, 1893.
No. 13,940.— '; An Improved Gauge for Centering and Monnting Photo-
graphic Prints and the like." C. F. GOOCH.— Dated July 18, 1893.
No. 14,024.— "Improvements in or Relating to Colours for .and Colouring
Photographs and other articles." F. C. D. Beacham.— Dailed July 20, 1893.
No. 14,036. — " Improvements in Magazine or Detective Hand Cameras "
A. J. BuNCHER.— /)a(ed J%dy 20, 1893.
No. 14,045. — " Improvements in Hand Cameras for Photographic Purposes."
Communicated by A. Delug. W. P. Thomi-son.- i>aterf July 20, 1893.
No. 14,074.— "Improvements in Apparatus for Taking Photographs on
Sensitive Films or Plates." B. J. Edwards.— i/aied/u^y 20, 1893.
No. 14,112.— "Improvements in Optical Lanterns." S. J. Levi and A J
Jones.— Zioierf ./jtij/ 21, 1393.
No. 14,163.— "An Automatic Changing Box for Photographic Films." W
R. Baker,— IJaterf/itiy 22, 1893.
No. 14,364. — "Improvements in Instruments for calculating Photographic
Exposures.' Complete .specification. A. VfATKiss.— Dated July ^, 1893.
No. 14,432.— "An Improved Focussing Appliance for Photographic Camera.'!."
F. T. Y. TUmVETt.— Dated July 26, 1893.
No. 6906.
fi. M. Williams, 1, Camden-place, Bath, Somersetshire.
July 1, 1893.
My invention relates to a new or improved process in the treatment of photo-
graphic prints, for iiii]iartiiig thereto a perfectly translucent enamelled or ivory
surface, sufficiently brilliant to constitute a finislied picture, and which may,
if desired, be tinted or coloured in an elaborate and most artistic manner by
the application of suitable oil colours upon the back surface thereof, whereby
the lighter or more delicate tints, as well as the heavier or more pronounced
colours, appear with added brilliancy upon the face of the picture, and I intend
that my said process shall be commercially known as " Mrs. L. M. Williams's
Enamel Process."
In carrying my invention into effect, I procure a sheet of perfectly clear
glass, whicli I cleau with white wax, and edge the same with mucilage, gum,
or other, preferably, transparent adhesive substance, the waxed portion or
which may then be coated with collodion, and permitted to stand aside until
perfectly dry, which, under ordinary conditions of temperature, will generally
occupy about six hours, when a well-mixed solution of gelatine and glycerine,
in equal jiarts or thereabouts, may be poured over the plate, and again placed
aside until quite dry and hard.
The surface of the glass thus prepared is then well wetted, and upon this is
carefully placed (also wetted) the photographic print, with the albumenised
side downwards, which, after being treated with the squeegee, is put aside
and allowed to stand for about twelve hours, more or less, according to
atmospheric conditions, at the expiration of which time, or any reisonable
subsequent period, the whole is then immersed in a bath of hot molten wax,
with a photographic j.rint uttermost, and allowed to there remain until the
print becomes perfectly transp.arent, when it may be removed from the bath
and placed aside until quite cold. I then remove the picture from the glass
by carefully cutting around the gummed edges thereof with a sharp knife, and
by the means of the same instrument I remove the glaze from the print,
thereby leaving upon the picture a clean, bright ivory surface, of suflicient
brilliancy to constitute a finished picture, which may then, if desired, be
mounted and framed in the usual way.
If the picture is to be tinted or coloured, I place this face downwards upon
a sheet of perfectly dean glass, and retain it smoothly thereon by the ap-
plication of mucilage, or its equivalent, at each corner, when, by reason of
the perfect transparency of the picture (rendered so by the process through
which it has passed) every detail of the print will be clearly read upon
the back surface, and may then be painted in oil colours to any degree of
artistic finish desired, and when quite dry the picture may be removed from
the glass, when it will be found that the front of the print has a most beauti-
fully enamelled ivory surface, and showing every detail of colour and tint that
has been given upon the back surface, and with a brilliancy not attained by
any system hitherto employed. The picture may then be mounted and framed
in any m.anner desired.
The claim is :— The herein-described process, and combination of materials,
in the treatment of photographic prints, for imparting thereto a perfectly
transparent enamelled ivory surface, which may or may not be afterwards
coloured or tinted by the application of suitable oil colours to the back surface
of same, substantially as herein described.
HreettnsjS of SboctetiejEJ,
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of Meeting.
Name of Society.
Auffust 8 ' Biriuinghaiii Photo. Society
I, 8 Derby
„ 8 (jreat Britain
„ 8 Hackney
„ 8 Mancheeter Amateur ^..
,> 8 PaitOey
,t 8 Stockton
I, 9 \ Leicester and Leicestershire
„ i) ' Lt'ytonKtone
M 9 1 Munster
„ 9 ■■ Photographic Club
II 9 , Houthport
9 Stockport
Place of Meeting.
10 ,
10 .
10 ,
10 .
10 .
10 .
10 .
11 .
11 .
11 .
11 .
11 .
11 .
11 .
12 .
Birkenhead Photo. Asso
(ilossop Dale
Hnll
London and Provincial
Mancheeter Photo. Society .
North Kent
Oldham
Oarditf
(Iroydon Microscopical
Halifax Camera Club
Ilolborn
Ireland —
Maidstone
West London
HuU
Clnb Room, Colonnade Hotel.
Smith's Restaurant, Victoria-st.
50, Great Rusaell-st. Kloomsbury.
206, Mare-street, Hackney.
' Lecture Hall, Athemeum,
! 9, Gauze-street, Paisley.
' Mason's Court, Hicrh-strcet.
Mayor's Parlour, Old Town Hall.
The Assembly Rooms, Hig-h-road.
! Scho')l of Art, NcUon-place, Cork.
Anderton's Hotal, Fleet-street, K.C.
' The Studio, 15, Cambridg-e-arcade.
I Mechanics' Institute, Stockport.
j Y.M.C. A., Grango-rd., BirkenheaA
; 71, Prospect -street, HuU.
Champion Hotel, 15, Aldersc|Ute.8t.
36, Geonre-stroet, Manchester.
Graves end.
The Lyceum, Union-street, Oldham.
PublicHall,George-street,Croydon,
Rooms, 15, Dawson-street, Dublin.
"The Palace," Maidstone.
Ohiswick School of A'*t. Chiswicfc.
71, Proapact-street, Hull, , . _.
August 4, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPH Y.
400
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
July 27, — Mr. A. Cowan in the clinir.
Mr. J. CoLB said he was nuking a hand camera with o front which would
ii: nv the len.i to be used ut the extreme edge of the plate. He promised to
show the camera at a future meeting.
Uranum Toning of Platinum Printh.
Mr. J. S. Tb.m'E, in reference to his experiments in the uranium toning of
jilatinura prints, referred to those in wliicli silver, if any present, had been
removed, and said it hud been suggested that mercury might have remained,
which wou d hive ncoountcd for the toning action. In a more recent experi-
ment he had useil bichromate of potassium and hydrochloric acid as a means
of reducing the silver, if there were any in the paper, to a state of chloride.
The print was then washed and put in hypo, us tiefore, for twenty-five
minutes. The print was cut in halves, and one half treated in the manner
described ; then both halves were placed in the urauiiau toning solution for
!ialf an hour, and the two halves toned to precisely tlie same colour.
Mr. H. Haddon, on chemical grounds, could not understand the reducing
action of platinum on potassium ferridcyanide.
Less Cdstcmary Usks of Orthochromatism.
Mr. W. Fi. Debenham showed two photographs of a violin. In one the
inlaid brown wood was not visible, and neither he nor the possessor of the
violin was satisfied with the result. He then prepared a dipped plate, which
iie used with a deep yellow glass, with the result that a much better result was
obtained, the detail being clearly visible. He used an ordinary Britannia
plate, dipped in a bath of erythrosine, 1 : 10,000, tnr two minutes, and not
washed before being allowed to dry. Ammonia was not necessary. He found
that with purchased orthochromatic plates he could not get clearness.
Mr. C. H. CoOKK agreed with Mr. Debenhaiu that dipped plates gave
superior results. He always used a dipped plate when copying old silver
prints.
In reply to a question,
Mr. Debknham said that with the dipped plate the exposure was very much
jrrolonged, though he had forgotten to what extent. He used the coloured
glass placed in an extemporised stop in front of the lens. He always used the
stop in front of his portrait lenses.
Mr. J. S. Teape said he could not get clear results on commercial ortho-
chromatic plates. When using them he found a material sold by Christy &. Co.
far superior to cherry or golden fabric, to answer well for dark-room illu-
mination. He asked how long dipped plates would kee[).
Several members thought they would keep for at least a fortnight. After
farther discussion on orthochromatic plates, the meeting terminated.
Amateur Photogriphic Aaaociation.— A Council Keeling, to award the
prizes, was held .July 11, at 5S, Pall Mall, the RijUt Hon. the Lord de Ros
in the chair.— The minutes of the last meeting having been read and
confirmed, the following members were elected :—R. Oarlington, Esq.,
F.R.G.S., Lady Agnes Daltou Fitzgerald, Newton W. Eniraens, E^q.,
and James Gale, Esq., LL.D. Tlie following resolution was proposed
by Mr. Milne, seconded by Mr. Howard, and passe<l by the Council : —
"That, in the event of exhibitors sending in their own prints for com-
petition, members be allowed in future to print clouds into their pictures,
It being understood that the clouds ailded are from negatives taken by them-
selves, and that a notification to this effect be stited on the exhibit." The
Skcketaky (Mr. A. J. Melhuish) stated, in reference to the ' ' British Museum
of Portraits," that, in accordance with the wish of the authorities at South
Kensington Museum, he proposed in future to send, affixed ai the back of each
portrait, the place and date of birth, and such other partii ulars as each person
chooses to send, with their autograph at the foot. This wa'. ajiprovod by the
meeting, and it was considered that it would greatly enhance the value of the
collection. The Secretary then laid before the Council the pictures for the
current year, which had been arranged and classified by Mr. (ilaisher. Class I.
consisted of 160 pictures (the largest number of first - class pictures yet
contributed). Class II. comprised 130 pictures, and tlie remainder were
contained in Classes III., IV., and V. The pictures in Class I. were
contributed as follows :— C. Stephens, 4 ; Lord de Rof, 1 ; P.. Mnrray, 6 ;
F. E. Currev, 1 ; W. S. Hobson, 4 ; F. S. Schwalie, 4 ; Major Board, 4 :
General Sladen, 2; R. 0. Milne, 17: R. Leventhorpe, II; the Earl of
Rosse, 2; J. T. Black, 3; M. de IKchy, 8; Colonel Foster, 3; F. G.
Smart, 8 ; Arthur Dresser, 12 ; H. Emmons, 6 ; Mrs. Wrigley, 12 ; E. F.
Scongal, 1 : E. Kennard, 5 ; Viscount Maitland, 6 ; Jerome Harrison, 31 ;
and Lady Agnes Fitzgerald, 1. Besides these, some very fine bromide
enlargements were exhibited by Mr. Milne, which, were greatly admired.
Tlie following jirizes were awarded :— First prize to R. O. Milne, a large silver
goblet, for Nos. 49, 51, and 52 ; second prize, a silver goblet, to R. Leventhorpe,
for Nos. 235, 237, and 238 ; third prize, to Jerome Harri.son, a .silver goblet,
for Nos. 5, 8, 117, and 123 ; to Arthur Dresser, a silver medal, for Nos. 29 and
S9 ; to H. Enmions, a silver medal, for Nos. 1, 2, and 3 ; to F. G. Smart, a
large landscape album, for Nos. 54, 53, and 57 ; to M. de Dechy, a portrait
album, for Nos. 1 and 77 ; to R. Murray, a portrait album, for Nos. 292, 298,
and 299 ; to Mrs. Wrigley, a silver nie<lal, for Nos. 20, 21, and 23 ; to Major
Board, a medal, for Nos. 13 and 14 ; to Lady Agnes Fitzgerald, a medal,
for No. 5 ; to E. Kennard, a medal, for No. 6 ; and to Colonel Foster, a medal,
for No. 13. It was proposed by Mr. Glaisher that a special medal l)e given to
Mr. Milne for his magnificent enlargements. This was seconded by Mr.
Howard and jiassed. Sir. Dresser's pictures of the M'ild fVest were specially
noticed as being of exceptional interest A vote of thanks was jiroposed by
Mr. Milne to Mr. Glaisher for the time and care spent by him m arranging
and classifying the pictures. This was seconded by the Earl of Rosse and
pas.sed.
North Middlesex Photographic Society. — Tlie first of the new series of
Instruction Evenings was successfully brought off on July 19. The subject
was Development Modified to So/ten Harsh Contrasts or Under-exponire. As
the lecture and clemonstration were for the benefit of tyros, an elen '
•tatement of the generally accepted views aa to the action of light u;
sensitive plate was gtven, and the properties of the reducing aseot, i,.t, .,
strainer, and the accelerator explaineil. The reosona for and ■gainiit the use
of sulphite of so<la as a presenative were stated, and beginners were advised
either not to use it at all, or in smaller quantities than generally given.
Messrs. Hurter k Drirtield's views of the impossibility of altering density
ratios by dsvelopment were briefly stated, and Mr. C H. Bothamley was
quoted as showing that, while the density ratios might be unalterable, the
printing qualities of the negative and their mollification were well within the
hands of the worker. For the purposes in view, the developer recommended
was: — I'yro, j grain; bromide of potassium, J grain; carbonate of soda, up
to 12 grains ; water, 1 ounce. vVhen the shadow detail was ont, tUi
developer must be tlirown off and a fresh one substituted, containing pjrro,
2 grains; water, 1 ounce; no bromide or soda. Plates expose<l at, the
special outing to Kingsbary, on .Tuly 15, were then developed, and ap-
peared to be satisfactory. Prints from them were to be shown at the meeting
on July 21. The next In.stniction Evening will be on Augu.st 23, the subject
being development Modified to Improve Flat Subjects or Over-exposure.
Visitors are welcome.
July 24, Mr. C. C. Gill read a paper, entitled Notes cm Printing. —
He confined himself solely to the practical side, ignoring the historical
and theoretical. He dealt with the ordinary silver albumenised print,
which, lie .saiil, was being ousted by the gelatino-chloride, which gave
finer and more permanent results and was equally economical. He ad-
vised that Solio paper, notwithstanding the directions of the Company,
should not be printed in direct sun : he found the sun shining on to a blind
was a capital light to print by, and, where printing was done in the open, to t>e
done in the shaJe in a north light. He .•Lhowed a great number of specimens,
principally of portraiture, on this paper, which gave splendid results. For
portraits be recommended the mauve shade. Dealing with platinum, be de-
monstrated the development of the cold-bath process, the ea«e of working
which was generally acknowledged. He gave hints as to vignetting, showing
masks made of zinc with serrated openings, which, he said, were more useful
than those made from any other material, it being very pliable, and thus
allowed the opening to be enlarged or otherwise with the greatest facility. An
interesting discussion followed. Mr. H. Smith took first place for pictures at
the London Colney outing.
Northern Photographic and Scientific Association.— July 20, Mr. Robins
(President) in the chair. — Mr. Coulter delivered a lecture on The Chemistry
of the Dry /'tale. A considerable amount of discussion took place after the
lecture was over, and eventually a hearty vote of thanks was accorded to Mr.
Coulter, to which the latter gentleman made a suitable reply. Mr. CoOHiLL
reported the result of the excursion to South Kensington Museum, and spoke
in high terms of the kindness and courtesy extended to the members of the
party by llr. George Murray, one of the Curators of the Botanical Section of
the Museum. Mr. GooDHEW reported the result of the excursion to Battersea
Park, and handed round some photographs he had taken in the subtropical
gardens, which were very beautiful. He referred to the courtesy of those in
charge of the park, who assisted the party in every possible way. At the
excursion to White Webbs P.ark and Enfield no photographs were taken, as the
weather was unpropitious. Dr. Atkinson and Mr. W. V. Haylett were elected
auditors for the ensuing year. Five new members were enrolled. A class for
beginners is in course of preparation, and those wishing to join are requested
to send in their names at once to the Secretary, 32, Park-avenue, Wood-
green, N.
Hackney Photographic Society.— July 18, the President (Mr. Houghton) in
the chair. — Various books were added to the library. Mr. Poli.akd showed and
explained his reduction camera. Mr. Hexsler asked how to intensifya film
which had had retouching medium on ? Mr. R. Beckett advised use of
turps first to remove retouching medium, and proceeding in the adopted
manner. Mr. Barnes asked the best way to develop an old plate ? The
Hon. Secuktarv said, " Use less alkalL" Mr. T. H. S.M1TH asked what pro-
portions of amidol should be used to develop- a much over-exposed Cadett
plate.' Mr. Bkckett said, "Reduce the quantity of sulphite solution to
quarter the quantity, four grains bromide, and double the amidol." The Hos.
Secretary (Mr. W. Fentou Jones) then read a paper on exposure Tables anil
Meters. He advised, before actual practice, overhauling camera, backs, dark
room, to see if white light was perfectly excluded, and, when using lens, to
cover up diaphragm slot. The sun's position had a great deal to do with time
of exposure. Use as large a stop as possible consistent with good defining
powers. Rain cleared the air, and many a good picture could be taken when
raining. Would not advise judging by amount of light through diaphragm
stops. Experience and judgiiient are best, but a talile or meter to start with is
advisable. Exposure of bromide plates and papers are best tested by giving
varying test exposures, and then according for future use. Plates wer« not
always the speed they purported to be. Mr. Penny asked, " Was it best to
use one table .and plate?" Mr. Hensler had used Watkin's, but not success-
fully. Mr. MUXN h.id u.sed Hurter k Driffield's, saving himself a lot of plates.
Mr. Hawkins asked about Cadett's developer being a quickener up of plates.
Mr. W. Fknton Jones said he did not study the developer when exposing,
and thought it erroneous. Would advise one plate and one table, and that
of a simple kind. Mr. Avknt had used nearly every table in the market,
and said that, whilst he had found them right around London, in the country
they had given him wrong exposures. He was of the opinion, too, that a
table .should be as much simplified as possible.
JPLY 25, Mr. W. Houghton presiding. — Members' work vros shown
from Messrs. Beckett, Guest, Nunn, and Roofe — Question by Mr.
Fort: "What is the best varnish for films?" Reply: "Messrs, B.
J. Edwards & Co. supply a good one, use cold." Mr. Hensler asked,
"Should one aim at softness or contrast in statuary?" Reply: "Softness.
Study the lighting. A dark background is generally used because it will per-
mit of more contrast. The range of tone should show relief." Mr. Selfe showed
a print in which the sun was sdarised , and a second reflection, due to one of the
500
THE BimiSH JOUKNAL OF PHOTOGRAPHY.
[August 4, 1893
surfaces of the lens, appeared over the foreground of the print which was weak
enough to escape reversal. Mr. Morgan then read a paper on Messrs. Hauffs
metol and glycin. He said the class of work which suits amidol will also suit
metol. The chief ditl'erence is that amidol requires no alkali, metol will tole-
rate almost any amount— preferably potash carbonate. For bromide papers
metol with three parts of their " A " developer to one of "B" will gives as good
results as the best ferrous-oxalate ones in half the time and with half the ex-
posure. Esperiments were mide under same circumstances. Thirty seconds
proved correct for ferrous oxalate whilst only fifteen seconds for metol. After-
wards seven half-plate negatives were developed in the same two ounces of
metol developer and no difference in density could be detected amongst them.
Metol will keep indefinitely. But only half the exposure necessary for pyro is
sufficient lor metol ; this is essential. A plate was developed with metol, in
eight seconds the image Hashed up strongly at once, but development was con-
tmued till dense enough without fear of fog. Over-exposure gives flatness.
Negatives and prints were shown, one three seconds with pyro, against one
and a half seconds with metol ; the pyro one was hard and the metol one soft.
The peculiar speciality for glycin is for black and white line subjects, it jnust
be used on very dilute form, and its action is nearly automatic, as time will
bring varied exposures to full density without its going beyond. For hand-
caniera work either time or stop can be reduced to half. Generally develop
a little deeper than that for pyro, as it prints quicker, because there is no stain
and it loses little in fixing. Warm tones can be obtained by development, but
it takes too long. Either amidol, metol, or glycin, developed plates can be
toned, iutensihed, or reduced as others. Amidol will stand forcing better
than metol.
Brixton and Clapbam Camera Club. —July 18, the President (Dr. J.
Reynolds, F.R.G.S. ) in the chair.— .4. member of the newly formed Committee
of Instruction was present for the purpose of assisting less-experienced
members in the more elementary principles of photography and answering
questions relating thereto. The attendance of members showed the necessity
lor forming such a committee, and it is believed that the result of such a step
will be to strengthen the number of members of the Club to a considerable
extent. This was the first attempt in the history of the Club to form such a
committee, and at the meeting two nominations for membership and promises
of others were given in. Mr. Baldwin-, of the Eastman Company, gave a very
mteresting demonstration on Solio Paper, and toned several prints by the
separate and combined baths with great success. Members were invited to
comply with the request of the Photographic Society of Great Britain for a
representative set of lantern slides and results of modifications of the several
printing processes, and the meeting was then closed. The next meeting will
be held on August 1, when Messrs. Fuerst Brothers will demonstrate the
working of Amidol.
South London Photoffrapliio Society.— .July 17, the President (-Mr. F. W.
ijdwards) m tlie chair.— Messrs. Dicker and Tredray were elected members.
1 he evening was devoted to the discussion of methods of combination printing.
1 he following were suggested :— Draw round the outline of the object to be
printed with a thick pen filled with Indian ink. When the ink is dry, block
out the remainder of the negative with black varnish, .ind, when dry, print.
1 he printed image can now be covered with gambose or other non-actinic
medium (which can be removed durincr washing), and the balance or such por-
tion ot the picture as is required obtained from a second negative. Care
must be taken to print both portions equally. If any white lines appear
round any portion of the finished picture, these must be" filled in with colour
care being taken to match the tint of the picture. Alternatively the second
negative may have blocked out a portion of equal shape and size to that
printed by the hrst negative. To print skies in pictures where there is not a
large quantity of fine foliage against the sky, a print is made on silver paper,
and the landscape portion is carefully cut off from the sky with a sharp pen-
knife or scissors, and the two portions of the print allowed to discolour, and
usea as masks, one being used to cover the landscape negative when the sky is
being printed trom, the sky negative and the sky portion used when the land-
scape portion is being printed. This must not be printed too deeply, or they
will h.T,ve the appearance of being in advance of the landscape. The Piiesidbnt
suggested stripping the negatives with cresco-fylma, and cutting out portions of
tne stiipped hlms, and combining them on an old negative glass. By this
method prints are obtainable by one printing, and a considerable saving of time
eflected where a large number of prints are required.
Liverpool Amateur Photographic Association.- July 27, Mr. William
Tomkinson in the chair --The following gentlemen were elected members "f
the Association :-Mr. Thomas A. Collinson, Rev. J. F. Anderson, and Mr
SiT" ^•?":'T- ^^'- J' A- «'"'='»"• (Messrs. .Adams & Co., Charing Cros-
Ind;dinrth?'m7"'Al''' ^'''''' ^^°'°r^'^^<' tP'"«l"i«« and nfvelti^s,
Tde, ./ ,^^r •^'^'"°', '=''^n'e''». w'tl» swing back and rising front, the
Ideal cameras (ordinary and twin lens). "Lightning" stand, pantosconeT
aluSuS,ir ""''''' '•*'^J"^"""«" ^""'t^'-^. -^'"^ camera^ in brass S
• ♦
jg^g FORTHCOMIXG EXHIBITIONS.
Septembers *Roya! Cornwall Polytechnic Society, Falmouth. W.
Brooks, Laurel Villa, Wray-park, Reigate.
" -"-21 'Hove Camera Club. Hon. Secretary, H. Emery,
142, Church-road, Hove, Brighton.
„ 25-NoT. 15... •Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. Assistant Secretary, R. CMld-Bayley
50, Great Russell-street, W.C.
October 1-31 *Hamburg. Das Ausstellungs Committe dcs Amateur
Photographen Verein, Schwanenwik, 33, Hamburg.
•I 9-Nov. ... *Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesbury-avenue, W.C.
November 7-11 '"SoutV London Photographic Society. Hon. Secretary
C. H. Odkden, 53, Melbourne-grove, Dulwich, S.E.
,, 20-25 »Leytonstone Camera Club. Hon. Secretary, A. El.
Bailey, Rose Bank, South-west-road, Leytonstone.
December *Madra8. The Hon. Secretary Amateur Photographic
Society, Madras. -
' Signifies that there are open classes.
C&rre^j^on'i^ntR RhonlH never :rrite on both sidp-s of the paper. No notice is tfUcen
of comiriwiiicaUons unless the names and addresses of the writers are given.
TELE-PHOTOGEAPHIC SYSTEMS FOE MODERATE
AMPLIFICATIONS.
To the Editor.
SiK, — The appearance of an article on the above interesting subject,
from the authority to whom we owe its introduction to the photographie
public, leads me to think that you may perhaps find a corner in your
Journal for the following items bearing on the matter. The methods
here described for ascertaining the positions of lenses and screen, though
differing from those in the article referred to, have the merit of being
most sinaple, requiring no complicated calculation, and are likely there-
fore, to commend themselves to those for whom equations have never
I had much charm. Tliese methods are the result of studies of my own,
I and I would not trouble you with them were it not for the fact that
nothing similar to them has, to iny knowledge, yet appeared in any of
the journals. f |»i ""Tl
The first is a diagram, from which the operation of these systems of
i lenses appears to me to be very clearly shown. In the accompanying
figure, a h is the axis of the combination extended away towards the
focussing screen. The positive lens at A has its focal plane at A; (I
have taken for these examples lenses of the same focal length as those
referred to in Mr. Dallmeyers paper, though, naturally, the system is
applicable to any others that may be thought of, and set down the
drawing to a quarter-inch scale). The negative element, B, of three-
inches focus, is placed anywhere between A and A,, so that its focal
plane, B,, may not cross that of A. In this example, the distance of B
from \ is three and three-ijaarter inches. In speaking of the distance
between the lenses, it i-> understood that the distance referred to is that
between their nodal planes. Perpendiculars are drawn through the
nodal point of B and through the focal plane of A at A,. At any dis-
tance from A, a part A,C is taken in this fooil plane, representing the
size A,C of an image formed by the positive lens alone. This measure-
ment is purely an arbitrary one. but for convenience sake it should be
small. From B,, through C, draw B,GD. me-iting BD in the point D.
The distance BI> will now bear that proportion to A,C which the focal
length of the combination bears to that of the positive lens alone — in
this case twenty-foar to six, or an amplitication of four times. The
position of the focus screen will be now showu by drawing a line, DE.
through D and parallel to n h, and a line from B through C to meet it at
a point E, which will then mark the distance from B at which the focus
of the cambination will be found, in this case nins inches. It will be seen
that, while the focal plane of A is stationary at A,, that ot B at B, follows
every alteration of the position of E, and that a line through BjC will
meet BD at a greater distance from the axis of the combination as B
moves towards A, and at a nearer point to the axis as B is further re-
moved from A. Therefore, if B be i)laced at any distance from A, with
its focal plane always behind that of A,, by means of the lines drawn
through C, its enlarging etiect upon an image produced by A alone, and
from this the equivalent focus of the whole (that ot A being known), and
the distance of the screen from the back lens can always be found. In
any case the drawings should be carefully made to as large a scale as-
possible.
The method above described can be worked out for any combination of
lenses, using, of course, the corresponding measurements, and result.-*
arrived at in a ridiculously short time, once the simple plan is learnt, and
the elYects of greater and less separation become so much clearer in a
diagram than is possible in the case ot a mathematical calculation.
August 4, 1895]
THE BRITISH JOUHNAL OF PHOTOGRAPHY.
«01
la the second method of calculation I take the focal lengths of the two
elements, positive and negative, and multiply them together, placing the
result as expressing a fraction, of which the focal length I desire to obtain
is the divisor. This result, although apparently of no great value to the
process as it representsthe distance between the focal planes A, and B„ in
the diagram above ; but, as Mr. Dallmeyer points out, this factor is by no
means an unimportant one, as it affects the rcsultti to as great an extent
as the very foci of the lenses themselves. Having found this, the distance
of separation of the positive and negative lenses is the difference between
tlieir foci plus this fraction aforesaid. Then follows the last calculation
which gives the focus inherent in the elements in their respective positions,
and, by subtraction from the focal length required, tlio back focus or dis-
tance from the back lens to the screen. Although apparently compli-
cated, the last calculation is simply this : — The separation of the lenses is
multiplied by the focus of the negative lens and divided by the fraction
representing the separation of the focal planes, giving as a result the sum
which is to be deducted from the equivalent focus decided upon to give
the back focus or distance to the screen.
Let ns calculate the combination referred to by Mr. Dallmeyer on this
basis : —
(1) 6" Pos. x3" Xeg. = 18-^24 equivalent focus required— J{ or J
separation of focal planes.
(2) 6" Pos. — 3 Neg. = 3 -I- J as above = 3J" separation nodal planes.
(3) 3 J or ' - + ; (3 being the focus of negative lens) = " ^ | (separation
of focal planes) = " + J = 15 deducted from 24" equivalent focus
required gives 9 inches back focus.
As the degree of enlargement and intensity of aperture can be so easily
ascertained when the equivalent focus of the combination and its relation
to the focus and aperture of the positive lens are known, these detailed
are not referred to.
It occurs to me that with a working intensity of /-Sin the positive lens,
and four degrees of enlargement or /-32 in the combination, no great
degree of rapidity can be expected, and that, when circumstances might
demand it, a greater separation of the lenses and reduce! amplification
would be desirable, conducing as they would to enlarging the available
aperture, and gaining in rapidity — or are we to take it that definition is
likely to be unsatisfactory if a larger aperture than /-32 be used.
In the matter of the portability of several negative lenses of various foci to
use with a single positive lens or combination, and give various degrees of
enlargement, I fancy that, seeing that, in the case of a positive lens of six
inches focus, these would recjuire to be all of a power higher than this, and
necessarily, if of large diameter, as recommended, of appreciable weight,
that the advantage will not be great enough to compensate for these dis-
advantages, apart from the expense of such a battery of perfectly con-
structed lenses, and the fact that the beauty of the tele-photographic
combination is its power of giving pictures of any size at any distance
from an object, subject only to conditions of actinic intensity and avail-
able camera extension. Combinations of two negative lenses of dissimi-
lar focus might be made so that they would give three ranges of power,
or why not have interchangeable positive lenses with their correspond-
ingly and necessarily modified lengths of tubing, for this latter condition
would probably be required in the case of a variety of negative lenses.
The same tube length would rarely do for two different lenses. I
think that, rather than increase the already necessarily portly size of
this useful adjunct to photography, the aim should be to reduce its size
as much as possible. As the normal focus of a lens for parallel rays
becomes so much increased when used for near objects, I do not recom-
mend a great difference between the power of the positive and negative
lenses, as this practically puts it out of the field when used under these
circumstances. Where the distance between the nodal planes is small for
distant objects, the lens is available for nearer ones without necessarily
looking like an astronomical telescope, and every half-inch gained in
portability is worth having. — I am, yours, &a.,
CardiiT, July 31, 1893. Chas. E. Hancock.
EXPOSURE, DEVELOPMENT, A5D FOG.
To the Editor.
Sib, — I have just been reading your leader on the above subject, and,
curiously enough, an experience which appears to me to bear directly on
the phenomenon in question has just occurred to myself.
Being out with a hand camera and a dozen special rapid plates, I
exposed some half-dozen, and, knowing I should not expose any more for
a time, I closed the safety shutter of my camera and walked on. After a
time another opportunity occurred, and I exposed, as I thought at the
time, two more plates, forgetting that the safety shutter was down, so
that, in reality, these two plates received no exposure at all.
t)u reaching home, I proceeded to develop my plates, and all went
well, good negatives resulting, until I came to the two unexposed plates,
which were treated exactly the same as the others, as I had not then
found out the mistake I had made.
The solution, pyro-soda, was poured on, the dish mstantly covered
and set rocking; but, on looking to see how development was proceeding.
I wa» surprised to find that, instead of the picture being just appewing,.
the whole plate, rebate and all, was fogged all over, and thi« in » mncn
less time than the first appearance of the image on a properly exposed
plate. The second plate yielded precisely similar results. I was, of
course, pu/.zled at first to account for this, but I soon recollected that I
had forgotten to raise the safety shutter.
The question still remained why the plates should have focrged all over
w hen they bad never been exposed at all, and the probable solution
seems to be as stated in your article, though in my case the plate seems
to have broken down in less time than in the case referred to by you.
It may probably be taken for granted that, the more rapid a plate is,
the greater tendency it will have towards this particular result, aJtbongb
undoubtedly some makes of plates may be more prone to it than others.
I enclose for your inspection a film taken from one of the plates above
referred to, also a print from a plate exposed on the same day and oat of
the same box, from which you will-see that, whatever the true explana-
tion may be, there is no manner of doubt whatever as to the facts. — I am,
yours, *c., J, H. Baujock, F.C.S.
Croydon,
m
amateobs and pbofessionals.
To the Editob,
Sib, — You have had letters from time to time complaining of the want
of unity amongst professional photographers, also hinting at the alleged
inactivity of the National Association of Professional Photographers of
Great Britain and Ireland in not bringing about the said unity, and,
curiously enough, chiefly from writers who have taken no visible part in.
the work. I am writing to inform your correspondents and the profession
generally that a meeting will be held at Anderton's Hotel, Fleet-street,
on November 10, and beg that all who are interested in the future of
professional photography will attend. The two photographic exhibitions
will be open at that date. The time of meeting will be advertised. — I
am, yours, *c., Thomas Fall.
Jubj 19, 1893, 9, Baker-street, W.
To the Editor.
Sir, — " Pioneer's " reasoning in his latest effusion applies with as much
force to the " mob " of amateurs who, according to him, are invading the
profession. By the way, the Princess of Wales is a member of the
" mob" of amateur photographers ; we will, therefore, use his own words
to strengthen the said " mob's" position.
Amateurs, " show to your fcUow-mcn that this great art science of
photography, of which you are, or ought to be, so justly proud, and
which you, as the ' amateur ' exponents of, have brought its varied works
to such a high state of perfection," shall not be the sole monopoly of a
limited number of professionals, but be free to all men, whether for in-
struction, pleasure, or profit.
As regards his other argument, that the retailing of intoxicating
liquors is required to be done under Government licence, it is so appointed
to prevent the injurious social results which would spring from its un-
restricted sale, and there is not the remotest connexion between that and
the art of photography.
We will now further quote from his letter, using it as an amateur
weapon ready forged to hand :—
" Another point is almost entirely overlooked in connexion " with the
proposed suppression of the amateur, " and that is, the vast army of
persons who are employed, directly or indirectly, in the various manufac-
tures and kindred trades " required to supply his wants, Ac "It
behoves us to do all that lies in our power to protect this gigantic in-
dustry, and not let its vitality be choked," as it certainly would be, if
amateurs were wiped out with " a tax of ten or twelve guineas a year."
I really did not intend to write again to you on this subject, as it looks
like seeking notice for myself ; but really, as we are on the subject at all,
it is as well, if possible, to discuss it thoroughly, and put an end, for a
considerable time, to the chronic abuse which the poor amateur receives,
and deserves to but a limited extent.
The amateur is here, and he means to stay ; professionals must make
the best of it, and adapt themselves to the changed conditions of their
employment.
If .\cts of Parliament were so potent as some think, no trade would
suffer from depression, and we would only require a special Act of Parlia-
ment for each trade to ensure all-round prosperity. I would recommend
certain of your correspondents to study some elementary book on the
laws of political economy ; also I would recommend to their attention
that, if tliey want due respect to be given to them, they should show it to
others, and not look down upon them as members of " a mob," or as a
low class of society, for
" 'I1ie rank is but the guinea's stamp.
The man's the gow'd for a' that." — Buriu.
—1 am, yonrs, 4c., Wm. Jas. Fabmsb.
68, Blackburn-street, London-road, Blackburn, July 7, I89S.
502
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[August 4, 1893
To the Editor.
SiK,— In the previous paper under this heading great stress was laid
on this fact, that the amateur problem is a very difficult one to deal
with and not the slightest suggestion was intended to be conveyed
against the class of amateurs as referred to by one of the correspondents
of The Bkitish Jocrnal of Photography in the issue of the 23rd mst. It
is possibly a moot point as to whether a man who makes scientific and
experimental photography his hobby and delight is really an amateur at
all True, he may only work for love and not money, but in any way he
is not the man who injures the professional photographer, and it was
clearly indicated that those who usurped the trade and the benefits apper-
taining thereto must, for the relief of the professional photographer, be
dealt with in some way so as to make the line of demarcation between the
two stronger in the future than in the present. It the "miserable work"
of some professionals referred to by " Amateur " is the cause of bad
•trade, then he makes a strong argument for the utter eradication of such
men by the examination test as advocated already in "Darkest Photo-
graphy." If there are too many in the profession, and, as instanced by
him, of there being tour establishments to a population of 1500 persons
in one country town which he knew of, he makes a still further and
atronger argument in support of the plan suggested above, and yet he
winds up by saying that photography could sustain no greater blow to its
•development and progress if " Pioneer's " wishes sliould be realised. The
entire pith of the ideas suggested by " Pioneer" is to raise the profes-
sional status and weed out the bad from the good, and the substance of
■" Another Pros.' " letter is strongly in support of the system advocated
in " Darkest Photography," more especially in that portion that relates
to the examination test. This was originally proposed in the scheme of
" A National School of Photography," but when that was first mentioned
it was considered too premature (then there was no vast army of
amateurs). Now we are told that we are too late. Why? " It is never
too late to mend," and, if the aid of the legislature has to be invoked for
the benefit of the profession, it only shows to what an amount of
importance modern photography has attained. Although we may invent
as many new styles of portraits as we may choose, we can never expect
any material or lasting benefit till such a time as the whole basiii of
commercial and professional photography is reconstructed. There are no
honours at present to be conferred on the professional photographer,
however worthy he may be of them, as is the case in the sister arts of
painting, sculpture, architecture, engineering, Ac. ; but, because they do
not exist now, it is no valid reason why they should not be en evidence in
the near future. With regard to amateurs being received into the ranks
of professionalism, any one who follows photography as an additional
Bonrce of bread-winning can scarcely be designated an amateur, and we
only desire to place him on the same level as the professional, and we
consider that he should be obliged to satisfy the proper authorities that
be intends following it up as a business, and after he passes the test
■examination he can receive his licence or permit to carry on the business
of a professional photographer. Amateurs will then remain within their
own sphere, and not clash with the pro. while the latter is earning his
means of subsistence, and what the amateurs may elect to do among
themselves at their own Society's meetings no one wishes or desires to
interfere with, we only want them not to interfere with us. Should, as
previously mentioned, any amateur desire to enter the ranks of profes-
sionalism, no more obstacles would be placed in his way than any one
•else's, and therefore they cannot possibly sustain tlie slightest injury,
should the scheme be carried out in its entirety as suggested in "Darkest
Photography." — I am yours, &c., Pioneee.
To the Editor.
Sir,— Mr. A. Levy, of Paris, I notice has contributed a letter on the
good old amateur question to the last number of The British Jocrnal
OF Photography. In it he says (speaking of the amateur), " Why, with
their knowledge and (superior to all) ingenuity, can they not make up
anything portable to change their plates in, lic. ?" I should not like to
accuse this gentleman of ignorance, but I should certainly say that at the
time he wrote it he must jiuve been labouring under a condition of tem-
porary absent-mindedness, or he would most certainly have known what '
most beginners know, viz., that there are at the present moment plenty
of portable changing bags on the maiket, most of them the inventions of
amateurs. So much for the first paragraph of his letter. The next
paragraph I havenodoulit lie con-iJers unanswerable, and he is perfectly
correct. Vituperation, however fals>; .and acrid, is never worth any one's
while to answer, and the chief aigament(?), namely, that in former years
amateurs used to use tripnds for instantaneous work, and now do not, and
hence they are unworthy of all con«ideration, is altogether puerile. There
is a certain amount of reason in the next paragraph about amateurs
paying for the use of dark rooms (by the way, I have never used one yet
that I not been charged for), hut even here our friend makes another
great mistake. He siys that he (the amateur) " will find it as natural
to pay for it as he does when he uses a wash room, or asks the advice of
a doctor or lawyer." Perhaps it is natural in America to pay the above-
mentioned people (and I conclude from his letter that your correspondent
is an American), but in England things are different. In England a
doctor, even if he has saved your life, is never considered to have an ab-
solute right to any fee, certainly not as much as the grocer, or baker, or
chimneysweep. The last paragraph of this effusion does not, as far as I
can see, concern the amateur question at all. — I am, yours, *c.,
London, July 25, 1893. " " "
KOREKT J. HiLLIEE.
To the Editor.
Sir, — I take it that none of my fellow-workers have any desire to say
a word against the painstaking man who carefully works out methods, pro-
cesses, etc., and freely gives the renults of his labours to al! and sundry who
care to avail themselves of them. Tnis man is only too pleased and gratified
to find that his endeavours have prov d successful, and looks for im further
reward than that his process should prove cf s-ervice and of prHCtical
value. The " Amateur Photographer," as »<■ know him, is noi related
in any degree to this gentleman, wliom we are glad to meet, and tind
many of his ideas happily corresponding with our own, and from whom
we can generally learn something of great value relating to our own
every-day work, and in clearing away many difhculties we have had no
opportunity to ferret out for ourselves. His ideas are always put before
us concisely and clearly, and we easily learn what be means. He is in
no wise pedantic, and, as we might fay, is "clear, plucky, and ciisp, or
free from fog," &c. We can get along well enough with him, and are
happy in his company.
But it is when the very d himself, armed with some slides and
negatives, comes into your place, and you have to brace on your armour
and in every way stand on the defensive, that your gorge rises, and you feel
like murder in its most " lingering and boiling oil" form. He is& nuissnce,
and our experience prompts us to inform him that we cannot undertake
the work he proposes we shall do on his own terms, Ac. This probably
loses us the custom of some of his friends, but that we must try to con-
veniently foiget.
I must say this amateur sails under false colours, and actually does
injure my business in issuing photographs at a low rate, which he can
easily do when he has an income derived from his legitimate business.
Did your correspondent, " F. E. C. S.," take into account the value of
the " employer's " services in producing those fifteen hundred negatives —
say, three months' proportion of a salary of one or two thousand a year ?
The professional employed seems to have been a very unbusinesslike
person.
" Audacious Operator " comes nearer the source of our trouble when
he touches on the idiotic policy of men supplying free sittings, and
throwing their work about as though no value whatever should or could
possibly be attached to it. As he says, this underselling is killing the
trade, and compelling men to combine a more lucrative business with
their own, which really is one that should be considered as respectable as
the profes^ons of medicine, law, &c., instead of which our " social
status " ranks somewhere with the local billposter and chimneysweep.
Not that their occupations are unworthy ones ; honest labour is no
degradation. It was only last week one of our boatmen, earning about
18s. a week, said, commenting on our work, " Ah, well, there's some
funny trades, but anything does for an honest living ! "
Who is to blame for this condition of things but ourselves ? Why
should the average photographer be so abjectly servile that he shall
admit his work is unworthy the praise he knows it should attain ? Why
is he in such a hurry to advertise " One splendid cabinet and three cartes
for one shilling ?" At this rate he must "use up " 2000 sitters before he
turns over 100/. This at, say, ten sitters a day (which he won't get), and
counting Sundays in, would take him 200 days, during which time his
rent, wages, &c., would be considerably in excess of his takings. Of
course I know he looks for re-orders, but they won't amount to more than
ten per cent, on the gross takings, and it doesn't pay, but merely keeps
a certain class of sitters out of another man's hands who could get orders
amounting to, say, from probably five to twenty shillings from each
sitter.
"Silex" says that, because materials are cheaper (he refers to pyro
dry plates, Ac), we should drop our prices. How many negatives could
we, in those days to which he refers, produce from our Winchester of
collodion, our pound of silver, or our glass ? And, even with cheapened
dry plates, how large do the amounts of our invoices seem for what goes
so short a way ? 'The amateur cannot be credited with the lower prices
"Silex" mentions; it is merely caused by the law of demand and
supply, and where an amateur may use a dozen plates a professional
may use hundreds.
Nor do I think " L. C.'s " proposal that we shall adopt, say, the carbon,
or any other process, will help us ; the amateur would as easily have his
prints made by one process as another; he need not print them himself.
The carbon is certainly a beautiful and permanent method of printing,
but it is not at all difficult to work, and even here the tissue can be pro-
cured sensitised ready for printing.
Our only chance seems to be to form a union, or association, which
shall insist on no photographer working below a certain rate, and I am
sure the man getting three shillings for his cartes would only be too
pleased to be compelled to receive six shillings for the same, for in every
way would he be benefited ; not only would he be better able to pay
Vogust 4, 1803]
THE BRITISH JOURNAL OF PilOTOORAPHY.
60.'{
his exppnaes (for he would lose no" CTiBtom where prices were
raised all ronnd). but he would soon be able to buy better acces-
sories, backgrounds, Ac, and have better skilled assiatance. The
union should be able to grant licenoes, and determine the ratio ot
prices in each town, and this each photographer would be com-
pelled to abide by, and it would also license all assistants who could
pass a certain standard in technical and practkul proficiency. It is re-
markable what a number of untrained young fellows are now in the
profession, many even unequal to the task of varnishing a negative ;
slovenly and dirty in their manipulations generally ; and what you, sir,
about the time "Silex" writes of, used to call " sloppy photographers."
In those days youths were trained to be scrupulously clean in many
ways— plate-cleaning, collodionising, sensitising, Ac. Of this the modern
assistant knows nothing, and seems to believe cleanliness unnecessary.
The National Cyclists' Union has served a very useful purpose for
cyclists, and why should not the National Photographers' Union serve
the same for photographers? In the case of the Cyclists' Union, the
licensing scheme was by many considered impracticable ; but, against
endless troubles, they have done fairly well, and, to a certain extent, their
scheme has done the service expected of it. The method of working, of
course, is another story.
The auctioneer keeps his business fairly to himself with his licence,
and I think we might manage to do likewise. — I am, yours, Ac,
Another Professional.
To the Editor.
Sir,— Recently a great deal has been said and written as to whether
the amateur does, or does not, injure the professional photographer in his
business.
Most men are amateurs hanging on to the tail of some profession,
which profession they usurp, either in its lower or middle ranks, ac-
cording to their ability and the light of principle in which they regard
what they do.
It is a well-wom saying that " a man who knows nothing is sure to
tell it the first chance he gets." The more ignorant they are, the more
vain. They »i«.»( have an audience to show all their friends how wonder-
fully clever they are. Amateur photographers will take you under any
conditions, passable or impassable ; only, for goodness sake, let them
take you. Their portrait work is mostly of a vile character ; but theur
friends will tell you, " So and-So takes them beautiful." Whether the
pictures are so or not, the price is " beautiful," being, in most cases,
exactly nothing. Some would object to our claim to being injured in
such cases, because we ought to produce better pictures than the amateur,
and there can be no question that we do take better pictures ; but we cannot
compete with the price, and when a thing costs nothing— well, people
don't look a gift-horse in the mouth.
Nowadays there is scarcely an institution but has its amateur photo-
grapher, who does whatphotogiaphic work he is suffered to do for nothing,
or for the good of the cause, he will tell you.
Amateurs are a pestilence upon every profession.
The amateur musician will play your organ for nothing, when some
poor professional is down at heels and threadbai-e for lack of the salary
that ought to be paid. He will assure you he does the work for the good
of the Church, but that is not true; the fact is, Mr. Editor, he likes to
have his sickening vanity tickled. The singer is the same, if not worse.
He will scream at you till he nearly drives you mad, if you will only
pretend to listen ; and you must use all your tact, and sometimes rude-
ness, to induce him to stop.
All these people only want an audience, and they will perform. They
will assure you that they do no harm to the profession, and they do not
—to those who are at the "top of the tree "—but they are depriving
the more obscure of theii- livelihood, when time and money have been
expended on acquiring the means thereof. — I am, yours, itc.
JoHS Eayjie.
To the Editor.
Sir, — Having read with considerable interest the various letters which
have been published in your columns relating to the depression in the
photographic profession, perhaps I may be allowed to make one or two
remarks. Some ot your correspondents have not learned tD differentiate
between photography as a science and photographic work practised for
business purposes. Hence, when replying to the remark often heard that
amateurs have done professionals harm, they sagely remiirk that all or
nearly all the improvements and inventions in connexion with photo-
graphy are the result of the labours of amateurs ; and Mr. Stillman even
goes so far as to ask, speaking of the professionals, " Did one of them
discover photography ? " Now, I do not think the average intelligent pro-
fessional photographer who knows anything of photographic history will
for one moment refuse to give the amateur his due in this respect. The
fact is, and always has been, the professional has to make his living out
of the thing, and has not time for the elaborate experiments to which the
moneyed amateur devotes his attention. We are most of us glad to use
what our scientific investigators give us, and our practice and experience
•soon enable us to use it successfully. AH thanks, then, to the genuine
amateur photogiapher (not the dilettante), who does his work con amore,
and gives to the world me result of his labours.
Bat the qnestion m originally started is, Hm tbe amateur craze, faaa
the vast army of amateur photographers injured the bimineif of photo-
graphy? Is the present depression attributable to tbe amateur'/ To
these questions it is impossible to give a definite answer. Undoubtedly
the work of the amateur in many cases supplants that of the professional,
not necessarily because it is better, though it sometimes may be, bat
because it is good enough ; because, too frequently, the public taste is so
bad that a mediocre result for nothing or for cost of materials is pre-
ferred to a good photograph at a good price. Ho lar, then, harm has
been done, but to what extent? The damage tbe professional has re-
ceived in this way is a mere bagatelle to tbe harm he has done himself
and his brothers. The self-inflicted wounds have been ofttimes enume-
rated — price-cutting, indiscriminate gratuitous sittings, turning out of
inferior and fugitive work, and lack of enterprise. It was natural that
prices should rule somewhat lower as materials and labour became
cheaper, but, for some of the starvation prices now asked, photograpben
have only to thank their own cut-throat policy. No, we may blame the
amateur, or the public taste, or anything else we like; but, as Casca says
in Shakespeare's Julius Cwsar,
" It is not in our stars but in ourselves
That we are underlings. "
But this is no consolation to the "poor professional." It does a
starving man little good to preach him a sermon on his past follies. We
want to alter the present state of affairs as speedily as may be.
The letter of "L. C." in your last week's issue appears to me a»
practical and to the point as anything I have seen. One of his remarks
I take the liberty of quoting, " When your house is on fire do not begin
to abuse the man over the way because his building interferes with your
ancient lights. On the contrary, take off your coat and look around for
a bucket." This is the principle which, acted upon, will lift professional
photography out of the mire. Taxation won't do it, boycotting the
amateur won't do it, licensing the professional won't do it. Those of ns
whose hearts are in our work must strive to obtain better technical and
artistic results (and, in spite of Mr. Guardia's sneer, many portraits pro-
fessionally produced now are works of art, although not of tbe hand
camera), we must show more business ability, energy, and enterprise,
we must be willing to sacrifice a little for the present in order to educate
the public taste so that they may appreciate a higher quality of work
and buy it ; and we must remember that, as photography as a business
has n'.t been depressed in one year or two, we can't raise it again in so
short a time. — I am, yours, Arc, Charles Henry Hewitt.
King's Lynn, July 22, 1893.
To the Editor,
Sir,— I have followed with interest the discussion now going on in
your Journal, "Depression in Photography." Now, as an assistant wLo
has had fourteen years' experience, I think there is another matter of
more vital importance to the profession — that is, how to find a good
assistant and how to find a good master. In applying for a situation, I
always find the place is described as first class or the best in the town,
and the situation will be permanent.
Speaking from my own experience and that of other assistants I have
met, in very few cases has that description been justified.
To a man who has been educated in a good house it is, to say the least,
just a little depressing to find the best house in the town to be a wooden
shanty studio 18 ft. by 12 ft. Now, how are we to know what class of
place we are going to ? On the other hand, a photographer requires an-
assistant. He gets lots of applications ; three parts are well recom-
mended, and send good references from the best in the town. But how
is the master to be better informed than the poor assistant ? Generally
the man with the most cheek gets the place, and I think I am safe in
saying they are the most ignorant, will go for a moderate salary, and
perhaps have only a couple of years' experience, yet they are able to keep
a good man out until he is starving and has to take any poor place he
can get.
I think this is demoralising, conducive to bad work, changing of hands,
and low salaries. Could we not have a stiff examination that would
clear the market ot duffers ? Let it be like doctors, lawyers, and masters
ot vessels, liable to have their diploma or certificate taken away ; then
there would be none but good assistants, and, as a consequence, good
photographers.
Hoping that some abler pen will take the matter up, — I am, yours, Ac,
July 2, 1893. Assistant.
[Correspondence on this subject must now close. — Ed.]
Swljanse Column.
\* Ifo charge is made Jar inserting Exchanges of Apparatus in this column ;
but none mil be inserted unless the article wanted is definitely stated. Those
who specify their requirements as "ani/thing useful" will therefore understand
the reason of their non-appearance. The full nam^ of the advertiser must
in all cases be given for publication, otherwise the Exchanges will not be
inserted,
Will esckangre Dallmeyer 2c lens (cast W. \5».) tot good hand camera.— Addrws,
Dbukt Stows, Bedford.
504
THE BRITISH JOURNAL OF PHOTOGRAPH 1'.
[August 4, 1893.
TVUl exchang^e Merveilleus half-plate set for hand camera, magic lantern, or quarter
plate rectilinear lens.— Address, G. Mooee, Bnckfastleigh.
Will ezchacffe ratchet safety bicycle, ball bearings all over, for good hand camera
(quarter-plate or 5x4).— Address, G. M. Miller, IS, Cambridge-terrace, Belgravia,
London.
Harrison's head rest, Knox burnisher, ten-inch bar, brass plate lettered " Photo-
graphic studio," in exchange for hand camera.— Address, S. E. Daties, Broughty
Ferry, >'.B.
Wanted, good lens for hand camera ; will exchange Dallmeyer's whole-plate tele-
scope, new meter, only used a few times, cost 30s.— Address, J. Allkx, 2, Pyrmout,
Barber-road, Sheffield.
I will give in exchange a Mawson's cabinet lens, in good condition (but no cap), for a
camera and set of Gem fcnses in good condition.— Address, J. Barber, 6i, High-
street, Loftus, R.S.O.
Will exchange 5x4 camera, with carrier for carte-de-visit portrait lens and rapid
rectilinear to fit same, for 10x8 or 12x10 camera; difference in cash. —Address,
Kd. Aetis, 40, Wesley-avenne, Mutley, Plymouth.
Wanted, 5x4 rapid rectilinear iris diaphragms, in good condition, in exchange for
silver Geneva watch, in good condition and working order; approval.- Address,
J. K. Smith, Little London, Rawdou, near Leeds, Yorkshire.
Will exchange Knight's Pictorial Gallery of Arts, in two splendid voltimes, 4000 wood-
cuts and steel engravings, in first-class condition, for half-plate camera, without
lens or tripod.— Address, C. Tatloe, 15, Bradford- road, Batley, Yorkshire.
Will exchange new strong oak 12x10 printing frame, Fallowfield's make, for two
strong oak whole-plate printing frames, or one whole-plate and one half-plate.
Will pay difference. — Address, G. F. Jessett, 7, Batoum -gardens. West Kensing-
ton, W.
:Splendid portrait lens, takine up 15x12. Also folding tricycle by Singer &; Co.,
electroplated throughout. Wanted, modern portable outdoor outfit, for groups
12x10 or 15x12; also whole-plate studio universal camera, and 3c lens.- Address,
XoNSDALE & Co., 46, Stroud Grefln-road, London, N.
ainstDcrsf to Corresponticnta.
*,* All matters intended for the text portion of this Jouenal, including
queries and Exchanges, must be addressed to " Thk Editor, Thk British
JouRyAL OF Photography," 2, York-street, Covent Garden, London. In-
attention to this ensures delay.
■*»• Correspondents are informed that we cannot undertake to answer com-
munications through the post.
*»* Communications relating to Advertisements and general business affairs
should be addressed to Messrs. Henry Grkknwood & Co., 2 York-street,
Covent Garden, London.
"*,* It would be convenient if friends desiring advice respecting apparatus,
faihires in practice, or other information, would call at tlie Editorial Office
either on Wednesdays from i to 6, or Thursdays from 9 to 12 noon, when
som£ one of the Editorial staff will be present.
Photographs Registered :—
William Bond, Norwich.— P;io(ojra])h 0/ Ji'oi-u.-ich /rom tht JforfK.
Jolin Arthur Draycott, Birmingham.— Sii Pliotoqrajihs of Kr. M. P. ManAeld.
Kate Alice King, Notting Hill, Vf.— Three Photographs of the Rev. Arthur Tf' iiliom-
son. D.D.
Blackburn-.— Would "E25" please send our publishers Ms name and
address.
M. C. K. — The print seems to be over-printed and over-toned, and also appears
to have been exposed too much to light during the toning.
William Berry asks: "Do you consider the worlc done by the electric
retouching pencil superior to the ordinary retouching pencil ?" — No.
Wasp. — As the coloured supplements to the Graphic and similar periodicals
are constantly framed and sold by picture-frame makers, we take it that you
can do the same without " becoming liable to prosecution."
•C. TiLY. — 1. Dr. Miethe's address is Potsdam. 2. We cannot say whether his
teleo-objective is patented in tlie United States, but believe it is. 3. See
the Journals from October 30 to December 4, 1891, inclusive.
R. Churchwell. —The action is not due to the tissue acquiring insolubility.
That idea was fully discussed twenty or more years ago. If you make the
experiments you propose, you will be satisfied on the other points.
Arthur Clayton.— The copyright is vested in the author of the work— that
is, the one who takes the picture. The other question rests upon the terms
arranged and the conditions under which the picture was taken.
ALE.^CANDER Maointyre.— When prints have been weS toned with gold, we
have known ink stains quite removed by treating tftem with hydrochloric
acid. It will be advisable to try it at iirst on a print that is of no value.
Rubens.— If the picture is copyright in Germany, there is little doubt, under
the International Copyright Act, that it is also copyright here, as that law
confers equal copyright in all nations within the Union, and Germany is.
S. Bellow. — The formula is impracticable. Twenty grains of gallic acid are
not soluble in an ounce of cold water. Its solubility can be increased very
materially by the addition of glycerine or of alcohol. Neither of these
additions would be harmful.
P. Daley. — A good article may be relied upon from any of the houses
mentioned.
S. .1. (Berks). — The chalky appearance of the lights and the blackness of the
shadows in the photograph of the interior of the building, are due to very
inuch under-exposure. In the next attempt, if another is made, give five or
six times as long, actinometer readings notwithstanding.
A._ B. Z. (Bristol). — Any elementary work on photography would supply the
information. A formula is given on page 792 of the Almanac. The bath
must be tested from time to time with the argentometer, and its original
strength made up either with crystals of nitrate of silver or a stronger
solution.
Buckinghamshire. — If you wish to become, as you appear to do, a pot
hiinter, and acquire a lot of medals, make it a point to show at all the
minor exhibitions, such as little local societies that admit outsiders. By
following this course, if you send good work, you will soon acquire plenty
of medals.
R. A. C. — It is doubtful if you can legally demand, as a right, though a rate-
payer, to enter the church at any time to photograph the interior. How-
ever, a polite request to the clergj-nian will, no doulit, secure the necessary
permission, and tliis will, we imagine, prove more agreeable to all parties
than asserting rights, real or imaginary,.
Aug. Whkeler.— There is little doubt, as you have told your friend, that the
spots are due to minute blisters caused by the hot climate. We should
recommend alum before fixing, w-itb a pretty thorough washing between the
operations. Slower plates would certainly be better for your friend for
general work during the hottest weather.
Mr. W. C. Hemmons asks : " Will you inform me, for the purposes of our
proposed exhibition, where I can obtain the addresses of the chief English
and foreign papers and magazines relating to photography, and the cost of
such a hand-book, if there be one .' " — We believe that such a list is published
at the cost of a few pence.
B. R. A. — Tlie only way by which the spots or markings can be removed from
the negatives is by carefully scraping them out with a penknife. If you are
not pu fait with that kind of work, the negatives should be phaced in the
hands of a skilful retoucher. The emulsion with which the plates were coated
seems to have been defective, and the fault is not due to the operator. The
sample negative sent has been destroyed as requested.
Corrector. — .Although we have' had but little experience with the corrector
mentioned, it will certainly be quite possible to use it in conjunction with a
focal plane shutter. The nearer it is to the plate the better it ought to
work, but this will depend upon tlie curvature of the concave surface and
the thickness of the glass. We know of no one who makes such correctors,
but we have no doubt that any lens-grinder would undertake the work.
T. Bradley. — There are several causes that will account for the ink adhering
all over the paper, and refusing to leave the parts protected from liglit in
photo-lithograjihic transfers. A very prolific cause lies in the bichromated
gelatine becoming partially or wholly insoluble, or non-,absorptive of water.
This may be due to its being kept too long, or from it having been exposed
to the light, &c. Another very common cause is the unsuitability of the
negative — the dark parts not dense enough, and the lines not transparent.
There are other causes, but these are the more general ones with novices.
J. C. T. complains that all the formula; published for photographic transfer
inks seem complicated and troublesome to work, and asks if we can suggest
something simpler and more suitable for a beginner. We can, and that is
to purchase the ink ready-made from any of the dealers. The beginner can
thus ensure having an article suitable for the purpose, and that is more than
can be relied upon with a novice's first few attempts at ink making. All
who have had any experience in transfer-ink making know quite well that it
is not only a troublesome but a very unpleasant operation without special
appliances.
D. Davey writes : " Wishing to produce some prints on a very rough drawing —
or rather tinted crayon — paper of a warm grey tone, I sensitised some, accord
ing to several formuhs, and it was a failure in every case. As soon as the
paper was dry the original colour was quite changed, and it had become a
yellowish brown with innumerable dark brown and nearly black spots. As
different formula; were tried, and all with nearly the same result, I conclude
the paper is at fault. As the tint and surface is exactly what I want, is there
anything 1 can treat the paper with to purify it '! " — We fear not. Paper of
this kind is made specially for artists use without regard for any other.
However, these papers vary considerably in theircomposition, according to dif-
ferent makers, therefore it is quite possible that a different make will answer
the purpose better. If it is possible to obtain the same tint of foreign make,
we snould recommend a trial of that.
OOKTENTS.
Paoi
the function of si'lphite of
soda in development 189
depression IX PHOTOGRAPHY 480
THE INFLUENCE OF DEVELOPMENT
ON GRADATION. By H. J. CHANNOX JIH
AMERICAN NOTES AND NEWS 193
PHOTOGRAPHIC METASTASIS. By
HUGH BREBNER *M
ON THINGS IN GENERAL. By FREE
LANCE 485
DODGES. By C. O. GREGORY 490
PlOB
SEASON.IBLE NOVELTIES 407
OUR EDITOBUi TABLE 497
NEWS .\ND NOTES 4»7
RECENT PATENTS 4»
MEETINGS OF SOCIETIES -.... 496
FORTHCOMING EXHIBITIONS 6»
CORRESPONDENCE !^
EXCHANGE OOIUMN 603
ANSWERS 10 C0BRESF0NDENI8
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1736. Vol. XL.— AUGUST 11, 1893.
HALATION, AND METHODS OF PREVENTING IT.
A LETTER which we have received from Mr. C. E. Pettit, and
•which will be found on another page, reminds us of the fact
that of late considerable attention has been bestowed upon the
subject of the preparation of plates which shall give freedom
from halation.
Very soon after Mr. G. Marlow had directed the notice of
the public to the nature of halation — now over thirty years
ago — Major Russell tried numerous experiments with a view to
■cure the evil, and wrote much concerning it His first sugges-
tion was to employ orange-coloured glass as the support of
■the sensitive film. After being developed and fixed, the
negative pellicle had then to be stripped from ofif the glass in
■order to its being printed from. This was found to prove
an effectual remedy ; but the trouble and risk of removing the
film was recognised, and he overcame this by giving to the
plate, of ordinary glass, a coating of non-actinic colour ; and
this, when dried, was found to answer the intended purpose
quite well. This was for dry plates; but, when the wet-collodion
process was employed, the same end was attained by pressing
a sheet of wet red blotting-paper on the back of the plate.
Things remained in this condition for many years (as they
do with the majority of workers up to the present time), when
a remedy was proposed by Mr. Carey Lea, and others, in the
imparting of a yellow stain to the emulsion by which the plate
was coated, a stain which should be capable of being removed
in course of the subsequent treatment to which the plate had
to be subjected. This stain, in the form of an inert substance,
was afterwards discontinued on accoimt of the allegation that
it impaired the sensitiveness of the bromised film, and both
Carey Lea and Col. Stuart AVortley subsequently gave pre-
ference to the iodide which, while believed to be not quite
inert when used along with bromide, undoubtedly diminished
halation by imparting greater density to the film.
Before proceeding further, we pause for a moment to describe,
for the benefit of our younger readers, a method by which they
•can see for themselves the precise effect produced by placing
blotting-paper in optical contact with the back of the plate.
Hold an ordinary clean plate of glass obliquely so as to reflect
the image of a gas flame from its surface. Examine this atten-
tively, and it will be found that, between the eye and the
primarily reflected flame, there are several others, each fainter
in succession. If a sheet of the red blotting-paper is pressed
against the back of the plate, no alteration whatever in the
number of reflected images is produced ;] but apply a wet
sponge to the paper while still in position, so as to wet it
thoroughly, and thus establish optical contact between it and
the glass, and instantly all these minor reflected images dis-
appear as if by magic, the primary image alone now being
visible. This demonstrates in a very simple and efifective
manner the advantage of backing the plate as a means of
preventing halation. This same kind of reflection occurs when
the plate is coated with a sensitive film, and it is the stronger
in proportion to the translucence or thinness of the coating.
If the plate be very thickly coated with any light-absorbing
medium, then will there be no halation of the nature now being
described. The experiments described should be made at night.
The imparting of opacity to the film whilst at the same
time securing maximum sensitiveness was suggested by us
seventeen years ago, the meaus being double films. Writing
on the subject two years later (in 1878), a contributor to our
pages, Dr. Nicol, suggested a strongly coloured substratum,
which, interposed between the glass and the sensitive coating,
should act as an anti-halative until the exposure had been
made, when, by a subsequent operation, the colour should be
discharged. Curcumine, the colouring matter of turmeric, was
believed by him to be the best, or amongst the best, sub-
stances to employ. Writing concerning this at the time, wo
t spoke of its superiority to methods of staining the sensitive
emulsion then known, but which, for reasons given, had re-
ceived no great amount of recognition. But, whereas Dr.
Nicol had spoken of albumen then employed as the popular
substratum, we suggested gelatine as a more suitable one,
seeing it would so readily part with the colouring matter when
its function had been completed.
Just subsequent to this, the Rev. H. J. Palmer wrote to us
saying that, at the last meeting of the Liverpool Amateur
Photographic Association, he h;wl stated that the freedom from
halation which he had experienced had been proved to be due
to the shghtly yellowish tinge of the glass plates on which he
had spread his emulsion. He says he coated his plates with
gelatine emulsions of two kinds, viz., one which gave a very
slow but dense film, and one made from Keunett's pellicle,
which was moderately rapid. He exposed to the inside and
east window of a church under conditions of light and atmo-
sphere which are invariably provocative of blurring in its
worst form. The sun was shining brightly, but the wind was
in the east and the air filled with haze. In every case the
test proved entirely satisfactory.
coo
THE BRITISH JOURNAL OF rHOTOGBAPHY.
[August 11, 1893
From the few notes here given, Mr. Pettitt will find that he
may experience difficulty in maintaining his patent, excellent
although the thing is in itself. We have of late received much
correspondence relative to the subject generally, and trust that
even such a brief reca])itnl>ition as we have given may tend to
throw some light upon it. Those who wish to inquire more
thoroughly into the matter should read the writings relating
thereto of the late H. B. Berkeley and others.
FIXING AND WASHINCi SILVER PRINTS:
MESSUS. GRUNDY AND HADDON'S EXPERIMENTS.
Tjie paper On the Amounts of Silvfr and Hypo Ufl in Alhumen-
ued Paper at Different HUiges of Washing, read by Messrs.
F. B. Grundy and A. Haddon before the London and Pro-
vincial Photographic Association on Thursday week, and which
will be found in another i)art of tlie tloLRXAi., is a valuable
contribution to our knowledge of a subject which, notwith-
standing its extreme importance, has never yet been fully
investigated, and consequently not understood. The paper,
brief as it is, concentrates within its small space the essence of
a series of laborious experiments to determine the influence
and .action of the fixing and washing solutions upon alburaeno-
chlo o-nitrate of silver, and although undoubtedly of great
inte.-est to the chemist and the investigator, will, we do not
hesitate to say, have more value for the practical photographer
than any pajjer read before any society in recent times. We
endorse the commendatory remarks made in the course of the
exceedingly interesting discussion which followed it, and trust
that it will stimulate other investigators to take up the study
of many vexed or doubtful points met with in practical
phonography, and strip them of their obscurity.
Messrs. Grundy and Haddon's objects in carrying out their
researches were, to quote their own words, " to determine the
time the print should be washed," and to " endeavour to deter-
mine the cause of the fading of the finished print." The
results of their experiments — the methods and accurate applica-
tions of which it would be difficult to take exception to — un-
doubtedly indicate that they have not been unsuccessful in those
objects. Summarising the conclusions arrived at, and taking
the experimental data as typical of what actually occurs in the
fixation and washing of silver prints, it appears that the fixing
bath leaves behind a residuum of silver and sulphur compounds,
which, although presumably soluble in water, are irremovable
by washing within the limits of from five minutes to nineteen
hours. This, according to general photographic practice, we may
accept as marking the minimum and extreme periods of wash-
ing adopted. While there is, of course, nothing new in this, it
is possibly the first time that the power of the fixing bath on
the sulphur and silver salts left in a " fixed " print have been
accurately gauged. ' '" • '
The principal outcome of these experiments, from the point
of view of every-day practice, however, lies in the fact of the
ivscertained limitati<in of the power of washing prints, as
proved by Messrs. Grundy and Haddon. It will be observed
that, after ten minutes, the quantities, small though they are,
of sulphur and silver compounds left are virtually irremovable
by any length of the washing, two hours and nineteen hours
respectively being impotent to subtract more than a washing for
ten minutes. Hence, accepting Messrs. (irundy and Haddon's
figures as correct and confirmaUe, we have a much-debated point
clearly settled, which in itself is a feature so valuable that the
experiments might have rested a claim to enduring interest on
that fact alone. Before now, we and others have pointed out
that long washing was not only unnecessary, but was provoca-
tive of danger to the purity and stability of the print, and it is
gratifying to find that view substantiated, while to photo-
graphers it should be of the highest significance and assistance.
Arising out of Messrs. Grundy and Haddon's paper are a
number of problems which we trust they and (jther experi-
menters will take up and endeavour to solve. In the first
place, such a thing as perfect fixation of silver prints seems
as yet unattainable, and the removal of the presumably soluble
compounds left 'm also by no means thorough, so that the
hypotheses of the causes of fading are rendered more obvious
than hitherto. Starting from this point, a fresh series of in-
vestigations, having for their object the providing of a perfect
method of fixation and washing, seems desirable. The precise
nature of the compounds left behind, and whether they are re-
tained by the paper or the albumen, singly or in collusion, has also
yet to be determined. Here are no (juestions of mere theory
to be debated, but matters of the greatest practical import,
which we trust will receive attention now that Messrs. Grundy
and Haddon have so ably opened up the subject.
In conclusion, we should like to add our tribute of praise to
these gentlemen for the great labour and jtains involved in the
experiments, which, it appears, extended over several months,
and the measure of which cannot be taken by the brief recora
of the results arrived at. We understand that Messrs. Grundy
and Haddon intend not only pursuing this subject, but also
that of fixing and washing in connexion with the increasingly
popular gelatino-chloride paper. Both for what they have done
and for what they intend to do the thanks of photographers
are due to them.
INTENSIFICATION.
Although more than one of the newer developers must be
acknowledged as having obtained an established footing in
practice, it can scarcely yet be claimed that their use is as
fully and completely understood under all circumstances as is
the case with pyro. It is not our intention to argue the
question as to whether pyro owes its continued popularity,
notwithstanding its faults, to any inherent superiority over its
newer rivals, or whether it is not rather due to the more perfect
knowledge of its capabilities that long years of use have given
us. It is too often assumed that, because a new develojier
does not at once establish its undoubted superiority over pyro,
therefore the latter must retain its supreme position, whereas
it seems more than probable that a wider experience with the
newer agents may eventually remove certain irregularities and
uncertainties that at present surround their use.
That amidol, metol, and other of the recent additions to our
list of developers possess certain advantages o^•er pyro is un-
deniable, but it is equally certain that there are at present
counterbalancing features which, to some extent, restrain their
general adoption. Chief of these is the uncertainty, and some-
times difficulty, in securing sufficient printing density, as well
as the deceptive character of the unfixed image, which very
often leads to serious errors of judgment in the matter of
density. But, while we recognise this fact, we must also point
out another, namely, that many photographers are misled by
the extraordinary clearness and delicacy of the images pro-
duced by metol and amidol into a false idea of their being too
thin for printing purposes, when such is not the case. We
August 11,1893]
THE BRITISH JOURNAL Of PHOTOGRAPHY,
G07
have known several instances in which negatives have been
thrown aside as too hopelessly thin to he of any practical use,
but which, on trial, liave proved to give very beautiful results.
In fact, the general character of these negatives is that which
is well described by Messrs. Hurtet it Drittield as combining
" truthful rendering of tone with minimum density."
At any rate, we have heard far more lately about the
necessity for intensification than for a number of years past —
that is to say, of systematic intensification. In wet-collodion
days it was the custom to develop with iron, and then to
intensify or " redevelop" with a different solution of iron or of
pyro, with the addition of silver, though it was generally
recognised that, where it was possible, a better result wag
obtained where the end was arrived at in a single operation.
On the advent of gelatine plates, many operators followed a
similar practice, as, owing to a want of familiarity with alkaline
development, density and gradation were difficult to combine
by its means alone, and intensification after printing had to
be resorted to. The necessity for this gradually disappeared
with practice, but seems to be temporarily cropping up again
in connexion with amidol, metol, and similar agents.
No doubt there are many users of these new agents who will
be ready to declare that there is no difViculty whatever in gain-
ing any degree of useful density, and we are quite prepared to
agree with them up to a certain point. But that result can
only be ensured by using a solution of such strength as to make
it rather expensive. What we want to ai-rive at is a combi-
nation of the ingredients of the developer, which while of
moderate strength, suffice to give printing density under all ordi-
nary circumstances with tolerable certainty. So far as our own ex-
perience goes, the nearest approach to these conditions is secured
with carbonate of potash in preference to any other alkali,
carbonate of soda, as generally used, being the worst in respect
of vigour of image. The omission of bromide from the developer
is another prolific source of their images, since the great energy
of the unrestrained solution causes it to veil the shadows of the
picture before the lights have acquired sufficient strength.
Both amidol and metol exhibit extraordinary power in
searching out feeble effects of illumination, and the reflected
light in the camera, even with extremely short exposures,
suffices, with unrestrained metol, to produce a veil which would
not be apparent under other circumstances. That the result is
not due to abnormal reduction, or to over-exposure, is proved
by the edge of the plate remaining clear where protected by
the rebate and by the veil, where the exposure has been barely
sufficient to impress the more feeble details. Where such a
veil is produced, it, of course, goes on intensifying with the
rest of the image, and so limits the duration of development,
and, conse(|uently, of intensity ; but, where a moderate addi-
tion of bromide is made to the developer, the plate remains
clear for a long period without to any material extent pro-
longing either exposure or development.
AVhat we desire to impress upon our readers is, that, where
it is at all possible, it is preferable to obtain density in one
operation by the judicious modification of the solution ; but
there are, of course, circumstances — errora in exposure or acci-
dental variations in the character of the films — that may
render subsequent intensification necessary, and then the deli-
cacy and clearness already referred to render this class of
image more particularly suited to intensification than even the
cleanest pyro image. And, moreover, owing to that clearness,
the degree of intensification it is necessary to give is so slight
for ordinary subjects, that methods which would b« of little
use under other conditions are quite available here. Among
such methods we may mention ns an instance chloride of
mercury, followed by sodium 8ul|)hite, which, as a rule, adds
too little to the strength of the image to be of much practical
use, although its freedom from tendency to stain recommend*
it in preference to most of the mercurial methods.
The first necessity before proceeding to intensification is, of
course, perfect fixation and thorough washing. The latter is of
no avail without the former, indeed it is only when intensifica-
tion is attemjited that we discover how prone we are to be
negligent in the matter of fixing. The practice of passiDg the
negative through two separate baths is one that adds little to
the trouble of production and adds considerably to the chance
of completeness of action as well as to cleanness and clearness
of result ; for, if the negative be left in the first bath until '//<-
parentis fixed, and then after a slight rinse transferred to the
second, the latter will retain its energy and effectiveness for a
far longer period than if it were allowed to become decomjtosed
and discoloured by continual additions of minute traces of the
developer. A further safeguard against imperfect fixation will
be found in the method of treatment with iodide of potassium
mentioned in these colunms a few weeks back. This only re-
quires the plate to be immersed for a minute or two in a solu-
tion of iodide of potassium after fixing and washing when if any
silver remain in the film it will be converted into iodide, and
thus rendered visible and show the necessity for further immer-
sion in the hypo bath.
For very slight increase of density there is no more con-
venient intensifier than the one we have just mentioned,
namely, chloride of mercury, followed by sodium sulphite.
This does not necessitate the careful and prolonged washing
after bleaching that is required when other darkening agents,
such as ammonia, are used, although the latter gives a much
more vigorous result, and perhaps for general purposes is to be
preferred. In this case, however, the washing must be very
carefully performed, preferably in a running stream of water,
for at least an hour ; and the final result will be better as
regards clearness if the first stage of the washing be performed
with soft water, or, at any rate, water as free from carbonate as
possible. If these precautions be observed, the intensified image
will be as clear and free from veil as before treatment with
mercury, and will, moreover, retain that clearness or trans-
lucency that adds so much to the delicacy of gradation of a
negative. If the washing be inefficiently performed, there is
pretty certain to be a certain amount of veil in the shadows of
the negative, as well as a want of transparency in the half-
tones.
Where a still greater increase of density is desirable, one
of the best methods we have tried is chloride of mercury,
followed by the usual amidol developer, containing sodium
sulphite. This is as clean iu its action as the sulphite alone,
but gives a much greater increase of strength, and a peculiar
non-actinic colour is given to the image by the addition of a
few drops of solution of iodide of potassium in place of bfomide
as a restrainer. By this means, in fact, a very considerable
control over the result is obtained.
We have personally always had a preference for silver in-
tensification, which, although it [jcrhaps requires a considerable
amount of care, gives, we think, a better result than is to be
obtained by any other means. The requisites are, a very
careful washing after fixing, as already mentioned ; then the
application of a solution of pyro or hydroquinone, acidified
with citric and nitric acids, and supplemented by the addition
508
THE BPaXISH JOUKNAL OF PHOTOGRAPHY.
[August 11, 189:i
of a few drops of solution of .nitrate of silver. Under this
treatment the image gains density with great regularity and
evenness, and it can be carried to almost any extent, as, unlike
the mercury methods, it is a progressive building-up process ;
or, if only a very slight increase is required, it is equally easily
effected. One thing has to be borne in mind, namely, that the
density increases on drying.
After intensification, in order to destroy'any possible action of
the soluble silver salt on the gelatine film, which might ulti-
mately result in the discolouration of the negative, let the
latter be immersed for a short time in a dish of water slightly
acidified with hydrochloric acid, and afterwards in a strong
solution of sulphite of soda, and finish off with a careful
washing.
While the present article has been suggested to us by
numerous complaints as to the necessity for intensification
with the new developers, we miy conclude by expressing the
opinion that, as these become better known in practice, the
difficulties in respect of density will disappear.
A Sug-g'estion. — A lock of hair, particularly of deceased friends
is highly treasured by many. A correspondent suggests as a new
style of portraiture, which is so often being asked for, that a piece of
the sitter's hair should be mounted upon the portrait and arranged as
worn at the time of sitting. Such pictures, he says, would be novel,
and also greatly prized, especially after the prototype had departed this
life, and adds, would, no doubt, take with the public, as they would
be entirely new. We give the suggestion for what it is worth. With
regard to the novelty, we had an idea on reading the letter that the
thing would not be new, as it had been done before. On referring
hack, we find that a provisional protection was granted for precisely
the same thing more than thirty years ago — namely 18.59. This is
another exemplification of the ol5 adage, " Nothing new under the
Bun."
The Photographic Trade.— Although we have, for the
present at lesist, closed the controversy on the depression of business,
and amateurs vrsuji professionals, letters are still being received on the
subjects. One writer, adverting to a remark of ours that the intro-
duction of dry' plates had not been an "unmixed blessing" to the
profession, says that it must have been little less than one to the
manufacturers of them and to the sellers of them, also to the makers
of cameras and lenses, as well as the manufacturers and dealers in all
goods connected, either directly or indirectly, with photographic
material and appliances. Of that there is little question. When
photography, as a business, was at its zenith, the consumption of
material, the demand for lenses and cameras, and other apphances
connected with the art, was nothing in comparison with what it has
been during the pa?t few year,s. " It is an ill wind that blows no-
body good." Fortunes in connexion with photography have drifted
from one direction into that of another. Lonff live photography .'
less in the matter. They must take the landscape as it appears or
not take it at all. The latter is the course photographers are com-
pelled to adopt, and, as a consequence, many excellent pictures have
to be foregone.
German Prints. — Apropos of trade marks, a question of con-
siderable importance was put in the House of Commons, on Friday
last, to the President of the 15oard of Trade. We say the question is
important, inasmuch as it has been, and still is, under the considera-
tion of tlie law officers of the Crown, though many, no doubt, were
under the impression there was no question in the matter at all. It
was this, " Whether the law officers of the Crown had yet given
tbeir opinion as to the legality of the admission into this country of
masses of birthday and other anniversary cards, pictures, and rehgious
tokens, printed in Germanj-, without any notification of such fact,
save on the outside band of a large packet ? " The reply was, the opinion
had not yet been received. From the large number of this class or
prints now in the market, bearing the imprint that they were printed
abroad, one would have surmised that even the spirit of the law was
being fully complied with. We know of instances where collotypes
and costly photogravures have been arrested at the Customs, entailing
considerable loss both to the producers and the importers, because
each individual print did not bear the imprint " printed in Germany."
Is there now a doubt as to the legality of this proceeding ? The
parcels were duly marked as in the cases giving rise to the question.
Slsfigrured Ziandscapes. — During the past few weeks a con-
siderable number of letters have appeared in a daily contemporary
protesting against the disfigurement of many of the most interesting
places in the country by hideous advertisements, and not without
reason, as every one who admires nature will agree. A Society
has been formed for its suppression, and all must wish it success,
and we are even promised legislation on the subject. It is exceed-
ingly annoying to be often unable to take a photograph of a charming
bit of landscape without including a repulsive advertisement of some
quack medicine or other. When travelling on the Great Western,
t be fields at the sides of which are greatly disfigured by these ob-
noxious advertisements, with a well-known R.A., he, while bewailing
the defacements of nature, remarked that painters could always
ignore them in their pictures, wliile photographers were often help-
Trade - marks Prosecutions. — At the Mansion House
Police Court last week, two well-known city firms, Messrs. Dollond &
Co. and Messrs. Leslie & Co., were summoned for applying a false
trade description to clinical thermometers, implying that they were
of English manufacture, whereas they were made in Germany. The
prosecution was undertaken by the Board of Trade, but was insti-
gated, we believe, by the MasterBarometer Tube-blowers" Association.
The prosecuting Counsel stated that the words " Made in Germany"
would appear on the instruments when they passed the Customs, but
thev were only in lampblack, and were easily rubbed out. The
defence, in each case, was that the thermometers were purchased
for English-made goods. In both cases fines of 10/. and costs were
imposed. Clinical thermomet9rs are not the only scientific instru-
ments sold in this country that bear no indication that they were
made abroad. Thousands of photographic lenses, for example, are
imported every year that bear no indication that they are of foreign
manufacture, and, what is more, they are often afterwards engraved
with the names of English vendors. There is no reason why foreign
scientilic instruments should not be equally as good as those of home
manufacture, and many are, if not superior; but the law says they
shall bfai- the name of the couatry of origin. If they do not, it is
clear the lavv is being infringed, and it often is ; of that there is na
question.
SUPPLEMENTARY LIGHTING.
I RKFKii to this matter, having recently had brought to my notice some
effects of this method of working. Like most other neglected photo-
graphic processes, supplementary lighting is resuscitated from time to
time. A quarter of a century ago the matter was threshed out and
dropped ; whether it was discontinued because it was of no advantage,
or because the advantages were somewhat uncertain, I am unable to
say ; but at first some of our leading men, both here and on the Con-
tinent, took it up, and, for a time, believed great things of it. Ex-
posure was to be reduced by half, and marvellously short studio
exposures for those days could be made to give excellent restdts, im-
possible without the extra light. Coloured glass caps were put on
the market, by which the exposed plate could be flooded with light
of any degree of actinism at the will of the operator. Small windows
were cut in cameras, and glazed with coloured glass, for the same
purpose.
Most portraitists gave it a trial, for anything that would shorten
exposure was a boon and a blessing when about fifteen seconds was
considered an instantaneous exposure. However, it dropped through,
and in a couple of years I question if anybody used it except for
experiment. The theory was excellent. Why didn't it answer?
Au(fust 11, 189S]
THE BRITISH JOUKNAl.
r'flOTOGRAxHY.
609
.Surely, if tlie prelimiimry pffects of light, up to the time when it
beyan to luakf a faitit impression on tlie sensitive surfnce, could be
giip])lied, ill addition to that passing' throuj^h tiie len?, so much time
woul<i be sa\ed, and the iiua^;e cast by the lens would begin to make
a liiefiil impression from its first contact.
I went into the matter at the time, and tried it in a variety of
ways, but the results were not encouraKinff. If a plate was under-
xpos<Hl, there was no more detail impressed, but a ,«lifrht veil, tliat
ive n />etter printing yiei/atite,''Kha developed. Printing an under-
xposed negative under white paper seemed to have quite as good an
iTect, and, as /^ropec exposures were always aimed at, the advantage of
>xtra light was not very palpable, anyway, whatever the reason the
jirocess was dropped.
Supplementary lighting seems to have another effect, which does
not show itiwlf by the production of more detail, but density instead.
A very small modicum of diffused light, such as is reflected from the
t:side of a camera that bas become somewhat shiny from use, or
from the lens mount, seems not to t'oar the plate, but to give rather ah
increase of density to the negative. The line between fog and density
is rather diflicult to draw ; so many conditions may interfere, espe-
i i;iliy length of exposure, it would be interesting to know for certain
low raucli light can be u.sed with advantage. Of course, with wet
1 ollodion the mere matter of density was not thought of, as most
negatives underwent redevelopment either by adding silver solution
to the first lot of developer, or by ))yro and silver solution after the
development proper had taken place. Sufficient density with the
first application of the developer was scarcely e.xpcted : so, under
these circumstances, if extreme density wat conferred by supplementary
lighting, it was neglected.
Now we work under different conditions, and it might be worth
while to go over the process again. I would suggest to any one
owning a stereoscopic camera that a little light colour inside the
camera or lens mount, for one half the slide, would show if any
advantage is to l)e expected in the matter of density by the supple-
mentary light thus introduced. It stands to reason that, with our
rapid pktes, it must be very little, or it will result in fog instead of
density. Anyway, I suggest the idea of trying it to those who have
more time and opportunity than I have myself.
Edw.\rd Dunmork.
ON THE CONSTRUCTION 0¥ INTERCHANGEABLE LENS
SCREW FITTINGS,
[Photograpliio Society of Great Britain.]
Thebk is being established among you a system of standard inter-
changeable fittings for the attachment of lenses to cameras ; a system
which will presently enable you not merel3' to covet your neighbour's
lens and to screw it without difficulty in your own camera, but will
entirely simplify the attachment of your own lenses, so that you may
have on each camera one flange to suit the largest lens you use, and
every other instrument will either fit this flange direct or be carried in
it by a standard adapter. Moreover, the lens will not, as of old, screw
and arrive home with utter disregard to your wishes. One will not
have its diaphragm index set up where you need a mirror to read it,
nor another down where you cannot see it, and all where you have to
hunt for them. They will arrive home in one place which may be of
your own choosing.
And, in attaching a lens to its flange, you will not have to seek, in
patience or in despair, the suggestion of a tendency toward engage-
ment of the screws. You will place them with their zero marks
together, knowing that they will immediately engage on being turned,
and that you cannot cross the threads. You will know that exactly
three turns complete the engagement, and in removing the lens your
mental anguish will be neither protracted nor acute, for you will know
precisely when to expect the instrument to fall upon the floor.
The old want of system and uniformity in these things is being
gradually dispelled, and one by one lens-niiikers are realising the im-
portance of adopting the Society's Standards for the benefit of their
customers.
Such a change, involving so many personal interests, cannot be
suddenly accomplished everywhere ; but, to those who view the great
inconvemeiices which will lie removed by the general adoption of the
one standard, there is no doubt that in the course of time, and with
constantly accelerating speed, this change will be accompUshed.
I speak to-night on the technical side of the subject, of methods of
making and measuring such screws as are applied to photographic
lenses for this purpirse. and in bringing tlii.', part of the subject
before the I'liotograpbic Society, 1 venture to think it may prove interest-
ing even to those who are not mechanics. Besides its intrinsic interest.
however, the subject is of considerable practical importance to photo-
graphers at the present time, because, while tliey are asking and will
continue to ask, for standard interchangeable screws, it is a fact, which
I have no hesitation in stating, that the methods of screw-making
generally employed by opticians are quite inadequate to secnre that
degree of accuracy on which true interchangeability depends. Before
photographers can attain the full advantages of i^tanuards for their
lens screws, the mechanical practice of opticians must rise to a much
higher level of culture than it has reached at present,
Jlv work in connexion with the Opticians' Conference appointed by
the Convention Committee, and as a member of the recent Standard's
Committee of thi.s Society, has enabled me to judge of thi! regard
which opticians generally pay to the technical work of "screw-making,
and I see there has existed among us in the past a certain disregard,
sometimes even bordering on contempt, for over-much mechanical
accuracy.
It is quite natural that the optician, whose .study and .skill are de-
voted principally toward de.signing and fashioning beautiful glas.s
work, should regard too slightinsrly the constructiveVork and the skill
of the mechanic, the worker in metals, and in the pa.st the need of
critical accuracy in screw making ha* not been widely felt as soon it
will be, for the need has arisen with the present cry for interchange-
ability : and, if we are to secure for photographers and for photography
the great advantages for which that cry Ls raised, our neglect of
accuracy must be banished and scrupulous care must take its place.
AVe must all learn the use of true standards of length, and of fine
measuring appliances, so that the work of the optician may be supple-
mented by the work of the skilled mechanic,
I am a young man, and I want to see these standard fittings every-
where adopted and properly made before I am old. For several years
in the course of my work 1 have been deeply interested in improving
methods of making and measuring such screws as we contemplate, and
I have resolved to publish some of the results of my own work, in
order, if possible, to make the way easier for others.
Intebchangbability.
There is an important difference which I ask you to observe between
such interchangeability as we need with photographic lenses and such
as is commonly secured among bolts and nuts and among gas fittings ;
it is this, that bolts, and nuts, and gas fittinss may be forced together
with wrenches and tongs, while our lenses must never be subjected to
such treatment, they must go together freely and without strain ;
and we may conveniently distinguish this by calling it a condition of
free interchangeability.
Now, I should like you to realise what this condition means and
involves. Let us suppose that we have fifty lenses, each with a stan-
dard two-inch male or external screw, and fifty flanges with corre-
sponding two-inch female screws. These are freely interchangeable,
when any lens will screw into any flange without difficulty.
There will be 2500 distinct combinations formed in trying all these
screws together. Now, if one of the male screws be large, even to the
small extent of only one-thousandth of an inch on its diameter, this
will effectually prevent its entering every one of the fifty flanges which
are of normal size. It is thus evident that every male screw must be
at least as small as the normal or standard screw. In the same way it
may be shown that every female screw must be at least as large as the
normal. These are the conditions of free interchangeability amouir
screws, and I ask you to note them carefully. The small amount of
one-thousandth of an inch is sufficient to prevent the screws going
together at all. Errors much smaller than this are still sufficient to
prevent free interchangeability ; and it is thus evident that extreme caie
and accuracy should be observed in measuring such screws, and in
making and measuring the gauges with which they are tested. Pai-
ticularly is this evident when we remember that it is sought to make
the lenses, not merely of one maker but of all makers, freely inter-
changeable, and that the various makers cannot readily compare their
work or their gauges, but must rely upon the accuracy of the standards
of length with reference to which their took are constructed and
periodically tested.
Thk Mkasumng op Screws,
A screw such as you see in the diagram (fig. 1) has three principal
elements : —
(j)) The pitch of a screw, which in general terms we speak of as
coarse and tine, is the distance between two successive threads, or
turns of the thread, measured in a direction parallel to the axis of
the screw. At present we are not concerned with method.3 of
measuring the pitch of a screw,
(d) The nominal diameter of a screw is usually the measure of
the full outer diameter of the male screw. Thus, the two-inch
standard male screw measures two inches over all, and it is a simple
510
THE BRITISH JODRNAL OF PHOTOGRAPHY.
[August 11, 1893
thing to measure this diameter accurately hy placing the screw
between the plain measuring faces of a micrometer gauge or measuring
machine.
In order to fulfil our condition of free interchangeability, it is
necessary not merely that this full outer diameter of a male screw
be at least as small as the normal ; it is also necessary that upon the
sloping sides of its threads and at their base or root, the screw should
be everywhere sufBciently small. Equally important then with the
full outer diameter in securing free interchangeability of screws is the
thread form, which determines the size of the screw on the sloping
fides and at the bottom or root of the threads. The form of thread is
taken as its cross section in a plane containing the axis of the .screw.
The diagram shows the form adopted in the Society's Standards, and
which is known everywhere as the Whitworth thread. It is a form
beautifully adapted to the purpose for which it is chosen. It is planned
in this way (see fig. 1) : A base line is divided into sections, each
of a length equal to the pitch of the desired screw. Upon these
sections of the base line, isosceles triangles are formed by drawing
lines inclined to each other at fifty-five degrees. A line parallel to
the base line and touching the apices of the triangles will stand above
the base line 96 of the screw pitch, and will include another series of
triangles between the first and similar to them but inverted as at (A).
By means of equal circular arcs, one-sixth of the height of every
triangle is rounded off its apex, as at (B), leaving the form of thread
as at (C). The depth of the Whitworth thread is -64 of its pitch.
Suppose tliat we have a screw already made, and we wish to
•^
f I
Fig. 1.
%
measure its thread form. The full outer diameter of the screw is
easily measured by placing it between the plain jaws of the measur-
ing machine, as shown at A in fig. 2. This fiill diameter of the
screw is represented by the height of the first thick black line to the
right. Tlie depth of thread in any place may be measured by pro-
viding the little test piece shown at D, and on a larger scale "below
in the diagram. This little hardened steel bar of triangular section
has its lower edge very slightly rounded, and its measurement, C,
accurately determined. When placed along and between the threads
v:
i-_
Fig. 2.
of a screw in the direction shown at D, it touches the screw only'at
the root of the threads, and, by measuring the diameter of the screw,
including the test-piece, in the manner shown by the figure, it is
easy to determine the depth of thread ; for, if we subtract from
the measurement so obtained the constant measure, C, of the test-
piece, we get a result, indicated by the shorter thick black line, which
is less than the full diameter of the screw by exactly the depth of
the thread. With due care, and with simple appliances, these
measurements may be made correctly within about one five-thou-
sandth part of an inch, which is sufficiently accurate for practical
purposes.
The diameter of a screw, as measured on t^e sloping ades of its
threads, may be determined by the aid of a simple application of
trigonometry. One easy method, applicable under certain conditions
when the angle of thread is known, is to use a small cylindrical gauge
placed along and between the screw-threads, so that it bears only
against the sides of the threads in the manner shown in fig. ;i.
The question to be solved by using this little gauge is this — Are the
threads of the screw, so to speak, too fat, as at F, or too thin as
atT?
You will see that, if the threads are fat, the little gauge will
stand too high aboTe their tops. If the threads are thin, the little
gauge will sink too low between them. It is a simple matter to dis-
cover just where the gauge should stand in relation to the thread-
tops, and it is simpler still, and just as useful, to find where it should
stand in relation to the base or root of the threads. If the sloping
sides of the threads had been continued downwards to form a thread
not rounded at its root, but sharp, it would have been of the form
shown in fig. 4 ; and, knowing both the diameter of our little
cylindrical gauge and the angle between the sides of the threads, it
needs only a simple application of trigonometry to decide where the
gauge should stand in relation to the point P. We know, by the
construction of the Whitworth thread, that an amount equal to 'It)
of the screw pitch is rounded off the sharp angle to form the rounded
Fig. 4.
root of the thread. Knowing, then, how far the cylindrical gauge
should stand above the point P, we can easily find how far it should
stand above the base or root of the threads, and how far above their
crests.
For practical purposes, the necessary calculations may be made once
for all, and I prefer to construct for each pitch of screw to be dealt
with a small cylindrical gauge, of such diameter that it .shall stand,
when in use, one or two-thousandths of an inch, or some such simple
recorded distance above the crests of a perfect or normal thread.
The radius of such a gauge for this purpose may be found by the
formula : —
12-5d-p
3'16.56 '
where d is the depth of thread, and p the desired convenient pro-
jection of gauge above the crests of the thread. The main features
of this problem are shown in the diagram (fig. 4).
If it be necessary to measure the angle between the sloping sides
of a screw thread, it- may be done by using a second gauge, small
enough to lie between the threads close down at their root.*
W. Tatloh.
* The use of trigonometry for this purpose is naturally not new. It is em-
ployed in a very different way in the measurement of the Sellers form of thread
by Messrs. Pratt & Whitney, of Hartford, Conn., in whose works I have had
the pleasure of seeing it applied. The use of small cylindrical gauges such as
I have described was first suggested to nie by Mr. Barber, the superintendent
of Messrs. Whitworth & C'o.'s gauge department ; but, so far as I am aware,
the application in the w,ay I have explained is novel.
(To he continued.')
August 11,1893]
THE BRITISH JOURNAL OF PHOTOGRAPH Y.
«11
DOUBLE TONES IN QELATINO-CIILOKIDE PAPERS.
Onr of the mo't freq\ient imperfections which I meet in gelatino-
chloridi' printing-out papers' is tliat tliero is a marked double tone. This
defect is nioft apparent in the lialf-tones of the print, and especially
noticeable at the edges of vignettes, and, in fact, in all portions of the
picture where there is a transition in gradation from half-tone to a
lighter tint.
I frequently hear this defect attributed to the use of sulpbocyanide
of ammonium as a toning adjunct,and I have myself found, at various
times, that a sulpbocyanide toning bath would give it. As a matter
of fact. I am inclined to believe that the use of sulpbocyanide does
predispose to this defect, and mainly because it is infrequently
used with a small enough proportion of the salt to the water,
and with an insutticiency of chloride of gold to do the toning work with
facility. This is a point which it ought hardly to be necessary to
emphasise, as the makers of P.O.P. have frequently drawn attention
to the necessity of not overdoing the quantity of sulpbocyanide per
ounce of water.
It need not be inferred from this that a sulpbocyanide bath, properly
constituted, will not make good, even, and single-tuned prints in
ptflatino-cbloride ; on the contrary. Nor, on the other band, are other
toning baths free from the trouble. Generally speaking, it may be
taken that a double tone in a printing-out paper indicates one of three
things: —
1. Insufficient gold.
!i. Too large a proportion of the tonincj adjunct.
3. The use of a partially exhausted batii.
Turning attention for the moment to the first cause, it is tolerably
certain that an emulsion paper requires more gold to tone a given
number of square inches of surface than does ordinary albumenised
paper. This, instead of being a weakness, may well be claimed a
strong point for gelatino-chloride, for a strongly substituted gold image
is likely to be more stable and permanent than a half-toned one.
The question of the cost of production is hardly one which should
enter into the question at all, although it is, cceferis paribus, a factor.
A.S a basis for estimating, we may assume that, under the best con-
ditions, a sheet of albumenised paper will require one grain of
chloride of gold to tone it to a warm colour. I don't think we can
e.^pect to tone a sheet of gelatino-chloride paper with less than three
grains, but the extra cost spread over the prints is of no importance,
compared with the advantages of the emulsion paper, such as the
keeping qualities and evenness of coating. This latter is a point of
great importance when we remember that every sheet of our old friend
albumen bad a thick end, and a corresponding thin one, due to the
draining of the salted albun-.en during the drying process.
Not only must there be a sufficiency of gold, and not an excess of
sulpbocyanide, but the solution must be sufficiently concentrated to
change the colour of the prints in a reasonable time. A prolonged
toning with gelatino-chloride papers generally means that double
colours are obtained.
I have recently seen some very quick toning baths worked with
bicarbonate of soda, chloride of gold, and water only. The formula
stands about —
Chloride of gold 1 part.
Bicarbonate of soda 20 parts.
"Water 480 „
In such a bath the prints, previously well washed, tone in a
phenomenally short time — under two minutes. But the tones thus
obtained are, to my mind, not very attractive, ranging towards cold-
ness and greyne.«s. There is also the added disadvantage that, with
so rapid a change in colour, it is to a large extent impossible to
secure other than one tone, viz., the limit to which the bath will go.
Moreover, there is an inclination to over-tone, or to eat away the
lines of demarcation between the lighter tones, or at the edges of
vignettes.
This trouble with the edges of vignettes and of the lighter tones is
not by any means restricted to printing-out papers, in which it might
be supposed to be caused by a possible mixture of sensitive ealts in
the emulsion such, as, say, the chlorides and citrates. It might be
plausibly argited that the discolouration of the finer edges is due to a
slight separation or imperfect admixture of these salts, and not to the
toning action at .all : in other words, that such an emulsion is but a
mechanical mixture and not a chemical compound. It is quite pos-
sible and even likely, that an irregularlv constructed emulsion would
suffer from such a defect; but it must also be borne in mind that all
photographic images first show signs of deterioration in this same
part, viz., in the lines of demarcation between the finer tones. This
is only another way of stating that chemical action commences in
these portions of the picture, and the defect has probably come within
the observation of many of my readers when reducin;? a negative
with hypo and ferrideyanide of potassium. The action, if too pro
longed, or caused by too energetic (stronp;) aolution*, takes tffdct
unduly, and often disastrously, at the junction of the tiner tones.
We are therefore justified in concluding that this defect, for
I do most certaiuly view it as a defect both from the technical
and artistic point of view, is not inherent in the paper or in any par-
ticular toning bath, but only indicates an unsuitable strength of the
chemicals used, and this excess is most probably of the toninr/ ncctfory.
I m»an the sulpbocyanide, or acetate, or bicarbonate, or whatever be
used.
This conclusion is emphasised by the action of the c>mbined toning
and fixing bath. For instance, a combined bath, coLtxining, say,
Water 5 ounces,
Hypo IJ ounces,
Acetate of lead IzO grains,
Sulpbocyanide of ammonium 30 grains.
Gold chloride 2 grains,
wiU work in a very satisfactory manner for the first time, but after-
wards toning will only take place in a perfunctory manner, the
half-tones and less tones changing whilst the deep shades remain about
their original colour. The gold having been exhausted to a
large extent leaves for the second essay an excess of the toning
adjuncts, which are, with the remaining gold, only able to attack
those portions of the print where chemical action takes place moat
easily.
Seeing that a combined bath deposits the gold in so facile a manner,
I am surprised to hear it maligned now and again. Used only once,
so as never to permit the possibility of the intricate chemical inter-action
between the hyposulphite and the acid products of the double decom-
position resulting from the toning, I do not see any greater risk of
impermanency than with separate baths.
It has never been shown that the proportion of faded prints was
greater, with the old toning and fixing combined, in the days of plain
salted paper, than in later days with what is claimed 'to be the
more scientific method. For my part, I should be inclined to expect
greater permanenr^y from gold toning deposited upon the fixed image
— for that is what a combined toning bath amounts to— than from a
gold-toned image afterwards fixed. In neither case can the hyposul-
phite dissolve away more than a small part of the reduced silver in
the image: but, whilst in the separate baths, the fixing solution may
take away what may be described as part of the foundation of the
image, viz., that upon which the gold has been deposited ; in the
cornbined bath, the fixer robs the image of all the reduced silver
which it has the power to do, before the gold is deposited in exchange
for the remaining metal, viz., that which the nypj has failed to
dissolve.
In addition to this, as the prints have to be carried to a further
depth in printing for the combined bath, there is an added chance of
a greater deposit of metal which may be considered a further
guarantee of standing powers. With a "combined bath used but once,
and not exhausted by excessive work, I have found no tendency to
double colours in gelatino-chloride papers. To economise, only
sufficient solution need be used to produce the desired effects.
S. ILbbbebt Fay.
♦
ON THE AMOUNTS OF SILVER AND HYPO LEFT IN
ALBUMENISED PAPER AT DIFFERENT STAGES
OF WASHING.
[London and Prorincial Photographic A3«}ciation.]
Axv one studying the literature of photography must be struck
with the diversity of opi;iion expressed by different workers on the
important points of fixing and washing prints, some recommending
neutral and others alkaUne hypo, and the strength of the fixing solu-
tion varying from five to thirty percent., the length of timj the print
should bo washed varying from one to twenty-four hours.
The danger of an acid fixing bath and its tendency to yellow the
whites of a print, and in addition its doubtful fixing power, whs fir^t
pointed out by Mr. J. .Spiller in a paper he read before the I'hoto-
graphic Society of Great Britain on January 14, 18tx5. Mr. Spiller
in hi.-i paper says that "a hint was thrown out by Messrs. Davanne &
Glrard to the effect that the so-called 'pure whites' of the albu-
men prints still retained a small proportion of silver in an insoluble
condition, and most probably in the form of sulphide."
Further on, the author says: " My experiments went to prove that
the metal was retained in the whites of the albumen print, and indeed
ei2
THE BKITISH JOURNAL OF PHOTOGRA-PHY.
[August 11, 1893
in all parts of the coating, in the form of an argentic organic compound,
colourless, unalterable by light, and comparatively insoluble in hypo-
sulphites and other fixing agents. It could not be a simple sulphide,
for the test by which I discovered its existence in the paper was the
production of a brown stain upon moistening the white surface with
f-ulphide of ammonium." In a paper in the I'hotograpMc News for
October, 1862, Mr. Spiller recommended the addition of carbonate of
ammonia to the ordinary hyposulphite fixing solution, for the double
purpose of preventing by its alkalinity any chemical change or de-
composition of the double hyposulphite ; and, secondly, of directly
aiding by its special solvent properties in the removal of this organic
compound of silver.
In carrying out this research, we had two objects in view : firstly,
to determine the time the print should be washed ; and, secondly, to
endeavour to determine the cause of the fading of the finished print.
Three sheets of albumenised paper from the 'same quire were
sensitised on a fifty-grain neutral solution of nitrate of silver and
allowed to dry in the dark. These were then cut into pieces
Si in. X 8i in. The pieces from one sheet were marked A, from the
next B, and from the third C.
The paper thus cut up and marked was washed for ten minutes in
running water till all free silver had been removed.
Two of these pieces, taken from different sheets, which could be
easily recognised from the letters on the back, were placed on one side,
in order to determine the amount of sulphur originally present in the
paper and also the amount of silver that had to be removed by the
fixing agent.
The remainder of the paper was placed in a pint and a half of a
twenty per cent, hypo bath ; and, as this gave a little more than two
ounces of hypo per sheet of paper, we consider we were on the safe
side, as Captain Abney says that one ounce of hypo will fix three
sheets of paper.
The hypo bath was tested before and after use, and was found to
be slightly alkaline to litmus. The temperature was 22'4° C.
The prints were kept in the bath with constant changing for fifteen
minutes. Two pieces (again from different sheets) were then taken
and allowed to drain for five minutes, and the total sulphur- and the
remaining silver to be removed by washing determined.
The remaining pieces were then placed in a large vessel filled with
water and into which water was constantly flowing. The temperature
of the water was 13° C. During the first hour the pieces of paper in
the water were constantly turned over in order to prevent them
sticking.
Two pieces were removed at the end of o, 10, 15, 2.5, 40, CO, 90, and
120 minutes, and 19 hours, and the amounts of silver and sulphur
remaining in them determined.
The estimation of the sulphur and silver in the papers was carried
out as follows : — In each case the two pieces of paper were allowed
to drain for five minutes, and then torn up into small pieces and
placed in a large beaker, with a mixture of 100 c.c. of nitric acid and
200 c.c. of strong hydrochloric acid (free from sulphur), covered with
a dark glass, and heated on a sand bath till the paper was completely
destroyed. The solution was then taken down to dryness, and
2.50 c.c. of pure distilled water and three drops of hydrochloric acid
added, and the whole heated to boiling, allowed to cool and filtered,
and the filter paper and beaker washed with boiling water. The
filtrate was heated to boiling, and chloride of barium added, which
precipitated all the sulphate present as barium sulphate. This was
then collected on a filter, dried, and weighed in the usual way, and
from this the amount of sulphur present in the paper calculated.
The chloride of silver on the filter was then dissolved out with
ammonia, and precipitated by means of nitric acid, filtered off and
treated in the usual manner.
The figures obtained are as follows : —
1. Weight of sulphur in original paper 0050 grammes.
2. „ in water adhering to paper ■0000.32 „
3. „ in paperfixedbut not washed -2243 „
4- „ after 6 minutes' washing . . 0063 „
5. „ 10 „ .. -0045 „
6- „ II » .•• '0048 „
"• ,. 26 „ .. -0044 „
^ » 40 » .. -0043
,^- » 60 „ .. 0046 „
^0- » 90 „ .. -0047 „
"• " 120 „ .. -0045 „
12. „ 19 hours „ .. -0047
The amount of sulphur in original paper has been subtracted from
results 4 to 12 inclusive.
1 Weight of silver in paper unfixed. . . . •0734 grammes.
2 „ „ fixed but not washed . . '0086 „
3 „ ,, after 5 mts. washing '0051 „
4 „ „ „ 10 „ 0035 „
■5 „ „ „ 15 „ •00^^7
« .- „ „ 5:5 „ -0037
7 „ „ „ 40 „ -0033
8 „ „ „ 60 „ -0036 „
'' ■ „ „ „ 00 „ -0038 „
10 „ „ „ 120 „ 0040 „
11 „ „ ,, 19 hours „ -00.39 „
From these figures it will be seen that after five minutes' washing
97-2 per cent, of the sulphur originally present has been removed,
after ten minutes 98 per cent., and that, however long-continued the
washing, no more of the sulphur can be eliminated. Turning to the
silver, we find that as the paper comes from the fixing bath it has lost
88-3 per cent, of its silver ; after washing for five minutes, 93-1 per
cent. ; and, after 10 minutes, 95-3 per cent. After ten minutes' wash-
ing the amounts of silver and sulphur remain constant.
It is evident from the*e figures that the permanency of a print does
not depend so much on the washing it receives as "on its tliorough
fixing ; and we ai-e strongly of opinion that the best way of removing
all the silver is not by using two baths of hypo in succession, but by
•washing for about five minutes after the first bath, and then soaking
in a second fresh bath of hypo.
In what form the silver occurs in the paper, whether as the in-
soluble AgXaS„0,j, _ or the soluble Ag„Naj3 S.p^, held in a sort of
" loose combination " with the films of the paper, we are unable to
state. However, the fact remains that, after a more thorough washing
and fixing than prints generally get, -246 of a grain of silver remains
in each 22 x 17 in. sheet of paper ; and this, which is probably in the
form of hyposulphite in the presence of light and organic matter, is
reduced to silver sulphide, and will easily account for the yellowing
of the whites of prints after a time.
We had hoped to determine the silver and sulphur in gelatino-
chloride paper, and the silver in paper that has been treated to several
baths of different composition ; but, owing to the length of time
required to carry out these experiments, -we have been obliged to
defer the investigation of those points for a future occasion.
F. B. Gbundy and a. Hadbon.
PRACTICAL REMARKS ON PHOTOGRAPHING DIFFICULT
INTERIORS.
III.
In previous articles I referred to various classes of interiors, the
photographing of whicb was possible by means of daylight. In
numerous cases, however, a worker has to undertake subjects in situa-
tions where not a ray of daylight enters, such as dark vaults or
underground workings, bonded stores, and many similar places
frequently to be met with in all large cities. When such have to be
dealt with, some system of artificial lighting has to be resorted to,
and, with proper arrangements, made beforehand, and the adoption
of a suitable method of illumination, most excellent results are obtained
in situations where darkness alone prevails.
Somewhat recently it has fallen to my lot to photograph a good
many of these subjects by means of artificial light, and I hit upon a
plan or system of working that has yielded most satisfactory results.
What is known as the modern system of llashlight photography
or mode of lighting is not so -svell adapted for photographing large
spaces, such as caverns, bonded -warehouses, vaults, &c., as for such
subjects as small rooms, or objects situated somewhat near the camera ;
but when interiors, such as those having a great depth, as many of
the bonded warehouses and other similar classes of subjects often
have (for frequently as much as hundreds of yards in length have to
be dealt with), then recourse has to be had to a different method of
lighting.
In undertaking dark interiors of any great extent, one of the chief
factors towards success is ventilation, or the obtaining of good
currents of air. When such exists, a worker is at once master of the
situation; without such, considerable difficulty is liable to ensue.
The question of ventilation is most important, and whenever such
can be improved, or aided even to the slightest extent, a worker
should never neglect to do his utmost to assist in getting up a good
current of air.
I have known instances, when the atmosphere was dull and heavy
outside and no wind blowing, that it was quite impossible to under-
take such work in difiicult situations, and a postponement had to be
made until not only a windy day, but a day when the wind came
August 11,1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
613
from the dosirod quarter, for not ouly rauat the air curreots be
sufficiently pronounced, but they muac be pa«Ned in the proper
direction. A very useful little instrument, whicli iu uiv liandM has
proved of great value in this work, is the anemomoter. With its aid
the faintest current of air can be detected.
The reason for so much attention to currents being necessary
will become at once obvious to those who understand the necessity of
jfuardinff against the overlapping of smoke generated by tlie burning
of the illuminating agent or powder. And when it is considered that at
times prolonged expos\ires are required even with artificial light, to
get which considerable quantities of powder have to be consumed,
very large volumes of smoke are thrown off, and, were such to get
wafted forward or in front of the lens, the result would be failure.
Hence the impoitance of carefully studying the air currents, so that
all smoke caused by the burning of the illuminating powder be carried
backwards, and thereby not interrupt the vi«w.
I have said in some cases prolonged exposures require to be given.
By this I mean long exposures when compared with modern ideas of
flashlight. In some instances, where deep penetration into dark
recesses had to be dealt with, I have burned large quantities of
powder in varying situations, the time occupied in the combustion
being several minutes. This mean.s largo volumes of smoke being
given off, but wlien such was carried outside the field of view no
harm resulted.
A worker who undertakes this clasa of work should provide himself
with several well-formed metal saucers, not too high at the sides ;
they are most useful for burning the illuminating powder in, and
prevent all possibility of danger from the ignition of the powder.
They are very necessary, for in this kind of photography it is a great
comfort to be able to feel that, no matter how much slow-burning
powder has to be used, or what extent of tiare or blaze takes place,
that there is absolutely no cause for anxiety during the time such is
blazing merrily awaj'. When all has been carefully arranged before-
hand, and an operator knows for certain that there is no danger from
fire, the work is done with comfort. On the other hand, if gone about
with makeshift arrangements and apparatus, such as burning the
powder on a plate or piece of wood, it is just about ten to one, long
before the powder has burned itselif out, the worker will have seen
something to set up a proper fright, notonly as far as he is himself
concerned, but all others who might happen to be near. With proper
metal saucers, securely situated, there is no need for fear.
I have said that the magnesium flashlight is no use for these dark
interiors. After a good many trials I am convinced there is no mixture
better suited for prolonged exposures than what Messrs. G. Mason &
Co., of Sauchieh all-street, Glasgow, specially supply for this purpose.
Of what it is composed I am not aware. All I know is, Mr. Car-
michael, so long connected with the chemical department of this
firm, has the formulse, and will at any time prepare freshly made up
samples for those desirous of photographing by its means. The light
yielded is most brilliant, second only to the magnesium : its great
fault is the large quantity of smoke thrown off ; but, as I have re-
ferred to the manner of driving this outside the field of view, this
obi'ection can be set aside.
Let me now describe somewhat briefly the iiwdus operandi of
photographing a dark vault with the aid of the powder referred to.
In the event of the vault being of any great depth, a considerable
quantity of powder will be required ; possibly one and a half pounds,
divided into three portions of half a pound in each saucer, will not
be too much to employ. At the outset it is well to understand that a
liberal supply of ammunition is always advisable, and, if it seema that
the quantity employed is burning too long, the error is on the safe
side, and can be easily remedied by capping tiie lens when the time
is judged sufficient. Therefore never stint the supply of powder ; it
does no barm, and can lie allowed to burn itaelf out.
As a rule, three lights will not be found too much, and, when
such are used, the utmost care must be ob.served that they are placed
behind the camera, or, rather, in no way in advance of the lens. Very
good results are obtained when two side lights are burned at equal
•distances apart from each side of the camera a few feet behind the
line of the lens, whilst a third is placed on a higher level — say, several
feet above the camera, and, of course, somewhat behind it. An
ingenious worker will have but little difficulty in rigging up con-
venient supports to hold the saucers containing the illuminating
powder. A very convenient article to use for the rear centre light is
« set of house steps, whilst a few old boxes piled one on top of the
other serve admirably for the side lights. It sometimes happens
that advantage can be taken of certain situations where lights are
capable of being burned in advance of the camera at some distance
forward. Care, however, must be taken that such are well screened
from the lens, and the light from such only projected forward or on
to the side ; in all ca«ea, however, the jmoke must be carefully thought
of, guarded against, and currents of air arranged to waft it swmy
from the view of the lens.
All these arrangements should be judiciou«ly gone about with the
aid of lamps or other suitable lights, and, when the camera La brought
into play, the focussing should be carefully done with the aid
of a lamp, the flame of which makes a capital object to focus on.
The lamp can then be moved about, and the amount of view included
in the picture easily seen on the ground glass when the lamp is placed
on both sides of the view. In all interior work wide-angle lenses are
most u.seful, and I hare found that, when using such in conjunc-
tion with artificial lighting, a more open aperture in the lens is
required than would be the case when operating in daylight ; even
with/-16 or/-22, it is almost impossible to over-expose a dark interior
when using artificial light. In all cases my best results have been
got with the lens working with the fullest possible aperture ; with such
a quantity of powder as I have stated, viz., one and a half pounds
divided into three portions, the illumination will be very brilliant,
and a most actinic light produced from this excellent mixture ; the
duration of time which each separate quantity will take to bum
varies very little, each portion, if carefully built up in a cone shape
in the saucer, will most likely take from forty-five to sixty seconds
to burn itself out, and such should yield a fully exposed negative on
most dark interiors.
Now as to plates. I have recently made a series of tests on
ordinary and isochromatic plates, and was .surprised at the difference
in results obtained. To get at the best plate to employ I made several
exposures with two cameras, under precisely similar conditions as to
aperture of lenses; in all cases both kinds of plates were exposed
simultaneously to the same light, and the cameras were placed almost
side by side. The best results were obtained on fast Lsochromatic
plates, backed with asphaltum. The brand I used was Ilford,
although it is quite possible other isochromatics would have shown
the same result. The difference, however, in favour of the isochro-
raatic plate over the ordinary bromide was most marked, and really,
in some instances, astounding. In all cases, however, the best results
were got when nearly the full aparture of the lens was used. This
being the case, the focussing requires especial care ; but, when drawn
well forward and the lamp is used to focus by, excellent results are
obtained when using a lens that well covers the plate.
When all is in readiness for the lights to be burned, it is well to call
in the assistance of a couple of friends, and, with the lens uncapped
and the shutter of the slide drawn, proceed to deliberately instruct
the assistants what to do. I know of no better way of setting liaht
to the powder than by the means of the good old fusee; any tobacco-
nist will supply a box for a copper. Hand one each (I mean a box
full) to each of the assistants, and proceed to say, " Take fusee."
They reply, " Yes." Then give the order, " Light fusee." They
reply, " Yes.'' Then give the order, " Place fusee in powder," and
they reply, " Yes,'' at the same time dropping it neatly on the top of
the powder in the centre of the cone. When this is systematically
gone about, the three lights will blaze up at the same moment, and
second after second irain in intensity, until the vault is lit up in a
most wondrous manner, the lights continuing to bum with great
brightness for about a minute, according to the quantity of the
powder used. And now, at this stage, a worker will appreciate the
need of giving some thought beforehand to the ventilation and air
currents. Dense volumes of smoke will be thrown off from each light;
but, if the currents waft the smoke to the rear, all will go well, and all
in front of the camera will be one blaze of brilliant light : but, should
by any oversight a door or window be left open whereby the air cur-
rents are interfered with and the smoke overlaps forward, all your
labour is lost, and the work must be done over again.
Some little thought should be given to the position of the lights so
as not to cast too dark shadows, but carefully worked out. Negatives
quite equal to daylight e.xposures will be obtained.
The main points to give need to are first the air currents. Secondly,
a liberal supply of powder burned in suitable positions slightly in the
rear of the camera. Thirdly, use a liberal supply, and light the
diffeient saucers simultaneously. The cone shape of the powder is
easily obtained by pressing on the top of powder a cup or basin.
T. N. Abmstronq.
THE PLYMOUTH COVENTION : BEPOBT OF THE DELEGATES
OF THE PHOTOGKAPHIC CLUB.
[Read at the Club, Au«iut 2, 1393. J
The Photographic Convention of 1893 has come and gone. To sam op
its results in a few words, we may say : Socially it hM been a success ; from
a photographer's point of view, a failure.
514
THE BKIIISH JOURNAL OF PHOTOQRAl'HY.
[August 11, 1893
"WithoDt preciee instructions from the Club as lo our duties, we have
conclnded to state our personal opinions for what they are worth, and to
give you a brief diary.
The actual programme has, doubtless, come before you, the press bavmg
given full publicity to it, as also to the ConvenlioD papers. Our part we
conceive to be to give yon a personal report.
To us the most noticeable feature was a poor attendance. This is a
matter for regret. That a gathering which promises and supplies such
exceptional opportunities for recreation and intercourse should not be able,
out of the thousands of amateur and professional photographers, dealers,
Ac, to attract more members, is a matter which merits the serious con-
»Bideralion of the Committee of the Convention. We are inclined to
attribute much to the date of meeting, and to hold it a cardinal error to
have fixed upon one of the busiest weeks of the year, the week of half-
yearly accounts, when a majority of business men are intent upon the
adjustment of their books. An inconvenient date is not only un-
fortunate for those unable to go at such a time, but it is even more so for
others who, intending to meet old friends, attend, and are disappointed.
There is still another grumble to which, as Englishmen and your dele-
gates, we feel entitled. It is the continued folly of attempting to do too
much in one week — too much on each day. The Committee should have
experience enough by this time to know that photographers do not want
a week of hurry-scurry, but a holiday, and also that most photographers
like leisure and opportunity to take pictures when they take their
pleasures, even if they take them sadly — the pleasures, not the pictures,
which, by the bye, is not characteristic of Conventioners. This year the
opportunities were too few, and this was the more tantalising because
the pictures were there in abundance, and only leisure was required to
work. In fact, an 1893 Conventioner's diary might read as follows : —
Monday. — Journey down. Pleasant day in train. Gloated over a
large supply of plates.
Tuesday. — Eoat excursion. Eain saved plates.
Wednesday. — Listened to Convention papers. No exposures, bat ex-
ercised changing box in the bedroom at night.
TAursdai/.— Excursion through fine country. No stops, so SBved
plates.
Friday. — Good boat excursion. Keaction too much. Shot plates at
everything and anything.
Saturday. — Rail home with, unexposed plates.
Result — Severe economy in plates.
And now, abandoning this sad hypothetical case, we descend to the
Conventional — one week's work.
Monday. — We arrived just in time to dress and rusli to the open meet-
ing and reception. This function, honoured by the presence of the
Mayor of Plymouth, was held in the Art Gallery, the rooms of which,
though small, are suitable and convenient. Here was contained the
Exhibition, without which — but for some reason which to your delegates
is inscrutable— no Convention is complete. About fifteen firms were
represented, and enlargements predominated. There were no noticeable
novelties, and it would not have been a matter of any difficulty to select
the best exhibit. The Mayor welcomed ns in a hearty speech. Then the
general President of the Convention, Mr. George Mason, followed with
his address — practical, lucid, and Scotch. Afterwards lantern slides were
shown upon the screen. Amongst the exhibitors were Major Lysaght,
Messrs. York, Cembrano, Hindley, Welford, &c. , and many of the slides
were exceptionally good. After the formal meeting was closed, an
informal adjournment of the male Conventioners was made to one of the
local hotels. The fragrant weed and social glass, the merry quip, jovial
song, and the tall (and still growing) yarn made all present forget
that time was flying, and that the pleasant labours of the morrow called
for refreshing sleep.
Tuesday was to have been the day of days, when, as the guests of the
local clubs, who treated us most hospitably, we were to have enjoyed the
pleasure of a steamer trip in the waters in and about Plymouth. Unfor-
tunately, rain interfered, and somewhat marred the excursion. Still, we
adhered to the programme, and it is high testimony to the eiforts of Mr.
Hansford Worth, the local Secretary— to the beauty of the surroundings
and to the jolly dispositions of Conventioners— that, the rain notwith-
standing, we enjoyed the trip.
)Vednfsday was devoted to business meetings, photographing the group
of members— always an important function witli Conventioners— and the
reading of papers. Threatening at first, the weather became finer as the
day wore on, and, with its change in mood, Conventioners were drawn
away from serious considerations to enjoy the sunshine and the surround-
ings. The photographing of the group concluded, and lunch discussed,
papers at the Art Gallery became tLe order of the day ; but the Gallery
was sultry and oppressively hot, and the attendance of members — never
large — became smaller by degrees and beautifully less, whilst the tem-
perature rose by tens of degrees.
We think that, it the Convention is to remain anything more than a
social and photographic outing, the arrangements for the reading, dis-
cussion, and reporting of papers at the Convention will have to be revised.
Except so far as the publicity of the press is concerned, the meeting for
the reading of tlic papers was a fiasco. Too many were attempted ; con-
sequently it was a rush against time. The discussions were inadequate,
and the reports of the discussions, to our mind, verj- incomplete. Wliy
cannot the Convention issue an official report of its own, after the manner
of the Photographic Club?
On the Wedni-aday evening there was another reception — at Devonport
this time— another lantern show, and more papers. The first discussed,
a la tea and cofTcc, the papers taken as read, and the lantern show, a
lucid interval.
Thursday. —Ihe Royal Wedding-day. The favourite excursion was
that to Totnes by rail, thence by steam launch down the Dart to
Dartmouth, thence by rail to Plymouth. As a ttip to see the country,
charming ; but, for photographic purposes, the excursion was disap-
pointing. There was no opportunity, save a brief one in Dartmouth
after lunch, for taking pictures. Like the restless spirits of which we
read in Dante, we were driven at high speed from place to place ; no
photographic opportunity was ours.
In the evening theie was a meeting for papers, but the Wedding
festivities on the Hoe and in the Sound prevailed. Like truth, which
is also said to prevail, they were great. The view from Plymouth Hoe
is a lovely one at all times, but on this special occasion, with the ships
illuminated, bonfires on the surrounding hills, search-lights from the
men-of-war in the bay, and jollity all round, the siglit was most
impressive.
Friday. — Three escnrsions divided the Conventioners. Those who with
your delegates decided to visit the Cuttewater Hooe Lake and the Sound
had the most pleasant excursion of the whole Convention. Tlie steamer
at our disposal was commodious and convenient, and we had ample
opportunity of making exposures to our hearts' content ; we thoroughly
enjoyed ourselves.
In the evening the Convention dinner was successfully carried out.
Afterwards music and recitations completed a very pleasant and enjoy-
able day and practically brought to a close the 1893 Convention.
Saturday. — All excursions were abandoned for this day. This gave
us the opportunity to roam about the quaint streets and quays of Ply-
mouth as we liked, and we. obtained some of the best pictures on this
last day.
In brmging our report to a close, we hope to see the Convention
strengthened by certain alterations in the arrangements.
Besides, the points to which we have already alluded as requiring atten-
tion, viz., a more convenient date, an official or authorised report, we
think there is still too much attempted in the time at the Convention's
disposal, too many items of interest crammed into the week. As
regards the excursions, the general Committee might make suggestions
to the local Committee embodying the general experience of previous
meetings and the requirements of the members. A local Convention
Committee must always, and of necessity, be inexperienced as far as the
requirements of Convemtioners is concerned, for we meet but once and
then pass on. But in the general Committee wisdom must have accumu-
lated by now ! In addition, we believe it would be to the general advan-
tage of the business portion of the Convention — by which we mean the
papers and discussions — were taken all together, de die in diem,
instead of being sandwiched, as now obtains, between distracting enter-
tainments.
And now, in conclusion, let it not be said that we are not grateful for
the eiforls made to please us. The energetic Local Secretary, Mr.
Hansford Worth, and the local societies whom he represented, are to be
congratulated on having beaten record for hearty and well-directed hos-
pitality. Towards our Plymouth hosts and friends, if they will permit
us the familiarity, we can only have sentiments of gratitude for the suc-
cessful efforts which they made to entertain us, and their kindness will
ever be one of our most pleasant recollections.
We have but one word to add — a member of this Club is the Hon.
Secretary of the Convention. Mr. Cembrano is the right man in the
right place, and to him the success of the Convention is largely due. We
find it a pleasure to be allowed to express what we believe is the universal
sentiment amongst Conventioners, hearty thanks for his energetic work
in the past, and the hope that he may long ttage-manage our photo-
giaphic holiday.
August 11, 18a3]
THE DUITISU JOUKNAL OF I'ilOTOGKAPHY.
filfi
We trust, gentlemen, that we have carried out our delegation to yonr
eatisfaction, and we hope that next year you will lie able to dinpeiiBe with
such services by attending the Dublin Conventiou tn bloc.
(Signed) J. Ooaboia,
S. HEHiiKnT Fbt.
CONFERENCE OF JUDGES OF PHOTOaUiPHlC KXHIBITIONS.
The following is an official report of the late meetinR of Judges : —
It having been decided by the Committee of Delegates of AfiiliateJ
Societies that it was advisable to hold a conference of Judges of photo-
graphic exhibitions to agree upon certain linea of action to be followed in
judging, and to offer suggestions for the guidance of societies with regard
to exhibitions, a committee was appointed to cany out the necessary
steps for calling the same together, and a circular letter was forwarded to
thirty-eight gentlemen whose names were well known as Judges, and an
invitation to attend the meeting was addressed through the columns of
the photographic journals to anyone who had acted in that capacity at
least four times at open photographic exhibitions.
Permission having been obtained from the Council of the Photographic
Society of Great Britain, the meeting was duly held on Tuesday, June
20, 1893, at the Society's rooms. No. 50, Great Russellstreot, W.C.
Captain W. de W. Abney, C.B., R.E., D.C.L , F.R.S., I'.R.A.S., in the
chair.
It was at the outset agreed that the decisions should take two forms :
(a) Rules which those present should consider as binding upon them-
selves, and without the observance of which tliey should refuse to
judge; {!/) suggestions, which should take the form of recommendations
to committees or other bodies who may have iu their hands the organisa-
tion of exhibitions.
Both the rules and suggestions were carried in most cases unanimously ;
in no case did the minority against any rule exaeod two.
(a) Rules.
1. The Judges' decision shall be final.
2. The Judges shall have full power to withhold any award.
3. The Judges shall have power to exclude all persons from the room
while judging.
4. The Judges' expenses shall be paid.
5. It shall be stated in the prospectus that the awards are placed in
the hands of the Judges, or (It the discretion of the Jwljies.
6. The Judges shall not adjudicate upon pictures exhibited as pro-
duced with wares of special trading firms.
7. Pictures which have previously taken awards at open exhibitions
shall be classed by themselves.
8. Each picture of a set which has been collectively medalled shall be
considered for competitive purposes to have received an award.
9. An award shall be made to one picture only except where, from
the nature of the subject, the picture bears an obvious relationship to one
another.
10. There shall be no distinction between amateur and professional.
11. No production of any kind whatever from tho sime nega(i<e shall
receive more than one award, except as defined in Rule 7. This includes
lantern slides, enlargements, Ac.
12. No award shall be made to a lantern slide until it has been pro-
jected on the screen.
(h) Recommendations.
13. When Judges have to spend the night away on account of distance,
they should not be lodged at the house of a competitor.
14. The Judges should have power to give extra awards whore they
may think fit.
1.5. In order to enhance the value of awards their number should be
limited.
16. The Exhibition Committee should not accept offers of awards from
trading firms.
17. The number of classes should be kept as small as possible.
18. No award should take the form of a money prize.
19. No exhibit at the same exhibition should receive more than one
award.
*■ — ■ •
NOTES ON A TOUR IN THE HIMALAYAS AND ON THE
NORTH-WEST FRONTIER.
I.
Haviko just returned from a seven months' tour in the Himalayas and on
the Affghan frontier, in which photography was my main object, perhaps
a few notes on my experiences may not be uninteresting to others who
are thinking of taking their cameras with them to distant countries.
The first consideration must always be the size of the plate to be taken.
The more certain a man is in bis results, the larger the plate ho can take,
naturally will give him the finest picture. It is worth while, for instance,
for Signer Sella, whose most exquisite Alpine photographs so far surpass
all others, to take with him to the Caucasus 120 15 x 12 plates, for he
knows he will bring back 120 good negatives, and tlio extra weight and
difficulty of carriage involved in asing these large platei ia amply repaid
by the perfection of the result. I would, then, always advise aoy one
aiming at high results to take with him the largest plates that be can,
and the size of his plates will depend then, first upon his confidence in
himself to produce good results, and secondly in the equally important
question of carriage. In journeys ofT the beaten track one's means of
transport always consists of either mule carriage or coolies, and the loads
have often to be made up so that they are capable of being carried either
by one or the other as they may otTcr. A mule in the Himalayas will
carrj- ItiOlbs., and a coolie 50 lbs., the former costing 12 annas a day (say
Ix.), while the latter get 4, 3, or ti annas a day according to the length of
the mnrch. Mules, consequently, are rather cheaper, and, being hired for
a fixed period, the use of them avoids the daily bother of engaging coolies.
Against these advantages you have the facts that the mule can only go
where there is a mule road ; secondly, that you carry many more of the
precious eggs in one basket ; and, thirdly, that on the rough hill paths coolie
carriage ia much safer than mule carriage. Never once did I see any of
the wild hill men ever falter or stumble on the worst of paths, and his
load on his back was as carefully carried as himself ; whereas the fretiuent
sight of the string of mules staggering down a steep hillside, bumping
their loads against overhanging rooks, plunging over the slippery boulders
as they forded the stream and scrambling in rushes up the stony opposite
bank, was a picture that often made one tremble for the fate of one's plates.
Many will say. Why not avoid all this by carrying celluloid films
instead of glass plates ? and I must confess that, after my own experience,
I find it extremely difficult to give any definite reason, except that I fancy,
and it may be only a fancy, that on the whole there is less liability to
error in working with glass plates. My experience in this trip was confined
to six dozen whole-plate films and eighteen dozen whole-plates. The
weight of the former is 4 lbs., the weight of six dozen of the latter 27 lbs.
The films require no packing, they are most easily taken out of their
envelopes, one by one, as required, exposed, and put back with the same
ease, whereas the hours spent by night in one's tent after a long day's
march, taking plates out of the slides, numbering, packing away in their
paper wrapping and boxes, unpacking the fresh plates (which are
always required in broken numbers), and filling the slides, will never be
forgotten. It used to take me two hours to get this properly done, and
yet, in spite of all this, when it comes to developing the negative in the
dark room, I am always hopeful of better results from a plate than fmm
a film. The chief practical difficulty with a film is the want of a really
good film-carrier, which, while simple and easy to use, will keep ilie film
absolutely flat. After searching in vain for this in London, I went with-
out any carrier, simply trusting to the dryness of the Indian air to keep
the emulsion side of the film concave, while a thin sheet of wood backing
(such as used formerly in Eastman paper negative carriers) nipped the
edges of the film against the rebates of the slide and pressed it fiat. A
detail must, however, here be noted, that the single spring, as fitted to
most metal dividing fiaps of the dark slides, must be removed, as its
pressure will bulge out the thin wood backing and the film in the centre,
and springs on each edge, to press against the rebate of the slide, must be
substituted.
This arrangement will answer in a dry climate, with sizes up to whotc-
plate, though, in spite of special care being given to putting the films in
quite flat, two or three of my film negatives were much spoilt owing to
tiie buckling of the film throwing certain portions of tlie emulsion out of
focus. I used glass plates as a rule for the most difficult and delicate
scenes, and the films (which were more rapid) for strong and close subjects ;
and, though I fancied that the films were less successful in the difhcult
subjects, yet I must admit that many of them are quite as beautiful in
detail and delicacy as those on glass, and, given a good film carrier, there
ought to be no reason why a well-coated film should not equal a well-
coated glass plate.
The size of the plates that X took was whole-plate ; perhaps the most
suitable all-round size, though, as I said before, I regret someti'mes, in
view of the negatives that I brought back, that I did not take a larger
one. (ro je concluded.) ^- ^i- J- G°be, B. A.
©ur ISHitorial Cable.
AbAUS & Cos'. View Meter.
This view meter is so eonstructed as to show any rensonabld widtii
of angle of nature set in a square frame. The lense.* (a convex eye-
piece and a concave lield glass) are so adjusted as to show the scene
with sharpness, the amount shown being determined by the drawia
516
THE BRITISH JOURNAL OP PHOTOGRAPHS.
[August 11, 1893
out of the sliding tube containing the lenses. It is adaptable for
rarious lenses. The directions for usinp it are to unscrew tlie larger
ring, when the eliding tube can be easily withdrawn to distance
required. Then focus a view on the focussing screen of camera, noting
exactly how much the lens takes in : then look at the same object
through the view meter, and slide the tube until it shows the same
amount of view as aiipears on the camera screen ; then scratch a mark
on the tube, and mate a note of the lens it refers to. Each lens can
be registered on the tube in this manner. The sliding tube is fixed
by screwing up the larger ring. The above is, of course, only neces-
sary in order to register the user's various lenses ; as, when once done,
it is merely necessary to use the view meter by s-etting it at the various
marks to see which lens is the most suitable.
This view meter shows at a glance, and without necessitating the
setting up of the camera, precisely how much of a scene will be
included in the picture to be produced by any given lens, and it forms
a handy pocket appliance for seeing pictures in natural scenery, even
wlien one has no camera with him at the time.
The Eastman Company's Mouxtixg Mediums.
Thebe are two classes of this admirable mountant. One of these is
in a semi-pasty condition, and when applied to a print secures it to the
mount with extreme tenacity. The otlier is of a more gelatinous
character, and the directions for its use are to place the bottle contain-
ing it into hot water until the medium is quite liquid, then apply to
the back of the prints, which must be quite dry, with a stiff brush.
They are put up in wide-mouth bottles with screw-cap metallic
covers.
i^ctos anil ^otcs.
Manchester Photoorafhic Societt.— August 12, Alderley (Eamble)
Northern Photographic and Scientific Association.— August 12,
Chigwell.
Photographic Clue. —August 16, Jlome PoHrailure. 19, Outinc to
Ongar. °
Hackney Photographic Society.— August 15, My Toning Bath, by
Mr. W. D. Welford.
GOSPORT Photographic Society.— August 19, Carisbrooke. Leave Ports-
mouth Harbour at twenty minutes past one.
The London and Provincial Photographic Association has printed and issued
a list of member.?, the number of the latter being about 150.
London and Provincial Photographic Association.— August 17, Dele-
gate's Report of the Photographic Convention of the United Kingdom.
Messrs. Percy Lund & Co., of Memorial Hall. B.C., have issued a catalogue
of apparatus and materials for process work. It is fairly complete, and should
prove useful to process workers.
Manchester Amateur Photographic Society.— August 12, Warbnrton
and Ship Canal. Leader, Mr. Drinkwater. Train, O.Kford-road Station «ve
minutes past two. (Book return to Heatley.)
We have received the new edition of the TraiU EUmenlain de Photonravhic
by M. G. de Raymond (Paris : Albert Aivas, 39, Rue Vivienne). It is a clearly
written and concise guide for the beginner, who should find it extremely
Nbwcastle-on-Tyne and Northern Counties Photographic Associa-
TiON.— Ne.\-t Out-door Meeting to Alnwick on Thursday, August 17 under the
leadership of Mr. M. Auty. Train leaves Newca-stle at twenty-fiie minutes
l>ast nine a.m., for Alnwick.
Leytonstone Camera Club.— August 12, Richmond Park. Leader Mr
Aubrey Thomp.son. The Club will proceed by the train leaving Waterloo'
L.&S.W.R., at three o'clock, arriving at Richmond twenty-one minutes oast
three. Open Social Evenhig at headquarters, eight o'clock. '
Mr. Willia.ms R. Kehnan has taken larger i)remises at No. 41, Graftoa
street, opposite Chatham-street, Dublin.
Mock Suns. — Mr. M. lilover, of 124, Stepheu's-green, Dublin, writes to.
Knowledge, enclosing two photographs of a mock sun which he observed at
Dublin on the evening of JuneSOlast. The phenomenon was first noticed about
half-past seven p.m., and remained visible for about twenty minutes. The
photographs were made with very short exposures, and show the sun's disc seen
through cirro-stratus cloud, with a spurious image of the sun also seen through
clouds at a distance of about 25° from the sun, aud at about the same altitude
above the horizon. A similar image was seen by Mr. Glover ou the left hand
of the BUD, but it had faded away before the photographs were taken.
"Photographic ENui.iaH 'as She is wrote.'" — The following cu-cular
refers to a new French print-oat paper recently put on the market. It is con-
ceivable that some French instructions compiled by English writers may read
just as quaintly. "With this sensibilised paper, whose manipulation is easy
and speedy, you obtain prools giving vigour, depuess. and fineness. Warm
hot-pressing, the proofs are more beautiful than those made with albuminized
paper. Dry on an ebonite or ferrotype plate, it gives aa enamelled surface.
Dry on a depolish glass it gives a dead surface as nice as the jdatina. Every
way of virago in use for aristotypique paper can be utilised, nevertheless we>
recoiumand the combined virago. You caa preserve it several months iu
taking care to keep it off from bgth and dampness, and carefully put it agaiik
in the pocket like we deliver it. Do not care of the slight yellow colour that
can get the paper, because that desappear to the fi.xage."
Messrs. Taylor, Taylor, ftHoBSON write: "Frequently within the last few
months we have received complaints of in.struments being sold as of our manu-
facture when they proved to be otherwise. In some cases the goods were mis-
leading copies of our instrumeifts, and in others they had been represented ati
ours through misunderstamling and want of care. It is our unvarying practice
to engrave upon every lens we issue our name and address and a registered
number, and no lena is genuine unless so marked. Upon such small instru-
ments as our circuLir spirit levels, however, on which it is not convenient to
do this, we now impress oar newly registered trade mark, of which we enclose
an example. This contains the firm's initial, 'T. T. & H.,' upon one heart
with a finely engine-turned ground, significant of the precision in mechanical
practice which we study to observe. The whole is surrounded by a circle,
that which is without beginning or end, a symbol of perfection, which ia our
aim. "
Sec'retariek of Societies may derive a hint as to subjects for discussion from
the following list, which recently constituted the " Question-box " Meeting of
the Manchester Amattui' Photographic Society : — 1. In developing a plate,
how is it known when the proper density has beeu obtained ? 2. Why should
prints from stereoscopic negatives require to be transposed^/. e., left to right
■iiii vice oersd ! 'i. Which is the best backing to prevent halation? 4. How
can halation be avoided in interiors and woodland views without backing, and
should the plates be over or under-exposed < 5. Does halation ever occur iu
films ? 6. 'What quantity of water should be added to a saturated solution of
hypo for fixiug («) plates aud [h] prints ' 7. Can any member show how to
mount prints without the mountant appearing either upou the surface of the
print or upon the margin of the mount / 8. What is a practical way of bin<l-
ing a lantern slide '? It sometimes takes me twenty minutes to bind a single
slide. Will one of our lantern-slide makers say a word on the subject, and
show how it is done ? 9. Has any member used the new " printing-out
lantem-])lates," and witli what result .' 10. Why is it recommended to add
ammonia to the fixing bath for prints ; 11. Wanted a simpte toning formula.
12. Which is the best suiip-shot developer — pyro, eikouogen, amidol, ormetol ?
13. What is the best developer for bromide enlargements'? 14. What is the
best method of drying a negative quickly ? 15. How are over-exposed jirints
on P.O. P. to be dealt with before toning'/ IB. I sometimes perpetrate au
alleged "portrait," hut find that the "sitter" is disturbed either by the
removal of a lens cap cr the i:iici; of a Thornton time shutter. Is there any
simple method of working a t'Ju;ap and /loiseless arrangement behind the lens
and inside the camera ? I shoald be glad if those of our members who devise
"home-made" apparat.is from time to time would turn their attention to this,
and give the results of their labours !
KECENT PATENTS.
No. 11,175.
PATENTS COMPLETED.
Improvements in Photography.
Henry 'Van der Weyde, 182, Regent-street, Middlesex.
May 13, 1893.
My invention relates to an improvement in photography, particularly portrait
photography, and has for its object to enable the photographer to idealise, to
a certain extent, the subject without sacrificing the fidelity of the portrait,
and so remove the artistic reproach under which photography has always
Huffereii,'that it is incapable of foreshortening without exaggeration (e.g., a
hand or foot extended toivards the camera) and cannot give that "appearance of
dignity to a figure v/hich a master in portrait-painting is able to impart by
slightly enlarging, reducing, or otherwise modifying, certain portions of the
figure.
My improvement, therefore, has for its object not only to enable the pro-
portions of certain parts of the subject to be varied, for instance, to reduce the
size of a lady's head, or increase tbe lesgtli of her neck or waist, or of the
August 11,1893]
THE BRITISH JOUKXAL OF PSOTOQEATHY.
r,17
skirt of her dress, or to lengthen a gentleman's legs, for the purpose of impart-
ing greater dignity to the figure, but also to correct the distortion due to the
effect of foreshortening, or to produce other eflect', whether artistic or
grotesque — such, for furtlicr example, as to cause the apparent rotundity of an
obese tigure or face to be diminished, instead of being exaggerated, as is
usually tlu' case in a photograph, or the size of the hands to be diminished, or
the tingeis to be lengthened or tapered, or the eyes to be enlarged and the size
of the mouth to be reductnl, without necessarily altering the shape, size, or
expression, or changing the character of the other feat\ii'es, or sacrilicing the
likeness of the portrait, all these artistic modifications being (piickly ertecte<l
and visible to tne manipulator, so that their efi'ect can be readily appreciated,
the degree of modification obtainable being almost infinite.
It is ireterable to apply my invention in the copying or enlarging of an
ordinary transparency, negative, or iihotograpli, with which comparison of
eflect may be readily made with a view to avoid undue ilistortion, but the
invention is eiinally applicable while photographing the original subject.
For the purposes of caricature, the image can be so distorted as to produce
the most coniii al efl'ects, such as exaggerating the head, diminishing the lower
member or lenethecing or broadening the whole figure, or contorting it into
eccentric attitudes.
In landscape photography a great variety of artistic effects may be obtained
acconling to the direction in which the distortion is effected ; for instance, a
picture of ordinary landscape proportions can be photographically distorted or
altered in its proportions to tit any frame, even an elongated upright panel,
without losing any of the details.
The method whereby these modifications or distortions are effected consists
in interposing between the subject (whether it be a person, landscape, picture,
photnsrraph, or negative, to be copied or enlarged) and the photographic lens,
or between the lens and the sensitive plate, of a transparent meilium having
lens-like proiierties, so as to vary the direction of the whole or any portion of
the rays of light according to the effect to be produced.
The curvature of the lens-like medium would, of course, depend upon the
effect it is desired to produce ; for instance, for the purpose of varying the
relativH proportions of the whole or jiart of the image, .say, the lower half, in
one direction only, the curvature of the lens would be in one direction, but for
altering the proportions, or changing the shape of the isolated details, lens-like
surfaces of spherical, oval, regular, or eccentric curvature would be used, and,
to prevent any shadows or lines of demarcation being visible on the picture,
the curvatures of the lens like surfaces would be reversed or otherwise
gradually merge with a plane surface, so as to allow the distortion or modifi-
cation produced by the interposition of the lens-like surface to melt or flow
into the surroundings.
For the purpose of varying in a more or less conventional or general way
the braider proportions of the subject, I would employ lens-like media formed
partly with plane and partly with curved surfaces, such media being formed
beforehand and kept in stock for general use.
For this purpo.se glass plates having curved or partly curved surfaces or
lenses cemented to glass plates, or independent lenses supported in any suit-
able manner, would be used, but for artistically varying the smaller details of
the subject it is necessary to prepare a special lens-like medium for each
particular subject, and my invention comprises the novel method of artistically
preparing such a medium, and the novel application of the material employed
for the purpose.
For the purposes of this part of the invention, it is necessary to have a clear
transparent crystalline material, whose surface is capable of being easily
scraped, engi'aved, or fashioned by melting at the ordinary, or at a very
moderate, temperature, without necessitating recourse to the troublesome
operation of polishing.
Amongst other substances available for this purjiose, I especially claim the
employment of ice in the form, say, of a plane slab of moderate thickness,
upon the surface of which I operate by means of tools of suitable curvatures,
it being sufficient to apply the tool to the surface of the ice in order to cause
the latter to be locally melted by the conduction of heat from the tool itself.
For the purpose of operating on the surface of the ice, the slab would be
placed in tne same position with regard to the subject and to the eye of the
operator as it will occupy in regard to the photographic lens in the operation
of photographing, the subject being clearly visible through the slab, so that
the necessary modifications of surface may be effected in correct local position
to produce the effects desired.
In order to preserve the ice during the operations of working on, and photo-
graphing through it, the ice slab would be enclosed in a sort of frame con-
taining a freezmg mixture, by which to cool the surrounding atmosphere
sufficiently to prevent the melting away of the ice.
My invention further has for its object to impart to a photograph the effect
of a line or other engraving, in which the modelled effect is produced by
deviations and variations of breadth and spacing of the lines.
For this purpose I prepare, as last-above described, a lens-like surface in
correct relation with regard to the outlines and details of the subject of the
picture ; but, instead of photographing the picture through such lens-like
surface, I photograph a surface upon which an engraved line or stipple tint
has been printed, the effect being to produce a negative in which the wavy
line effects are produced by the local distortion of the lines to correspond to
the outlines and contours of the picture, so that, by stripping such negative
and superposing it upon the negative of the picture, a compound negative will
be formed, in which the engraving effect will be superposed in the form of
white lines ujion the soft gradations of the photographic modelling, or in black
lines by the process of double printing.
Claims : — 1. The herein-describetl process of locally modifying the dimen-
sions of the image in the operation of photographing, copying, or enlarging, by
causing the light rays transmitted from a portion or portions of the original
subject, negative, or picture, to be refracted through a lens-like medium, inter-
posed in the )>encil of rays either before or after transmission through the
camera lens, substantially as specified. '2. In the herein-described process, the
•mployinent, in combination with a photographic camera, of a refracting
plate, having a local lens-like portion, whose curvilinear surface flows or
graduates into the plane iurfac« or surfaces of the plate, the plate belog inter-
posed in the pencil of rays before or after transmiMJoa through the cam«r»
lens, whereby to cause certain of the rays to \w so dertected as to pro.Iace local
modification of the image photographed In the camera, snlwUntially M ipecl-
fled. 3. In the herein-described process, the employment, in combination
with a plane plate of glass, of planoconvex lenses, whose corvatnrss aT»
reversed so as to gra<lually flow into, or merge with, the plane surface of the
plate to which they are cau-sed to adhere, a< and for the purpose specified, i.
In and for the purposes of the herein-descrilwl processes, the method of
fashioning a refracting medium so as to produce therein a local plaDO-coacave
lens, which consists in suiierflcially and locally melting the plate, substantially
as specified.
J^cettngS of aocietieiS,
MEETINGS OF SOCIETIES FOR NEXT WEEK.
ItaU ot SfMUni.
Nftm« of Society.
August U 1
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Darlington
Dundee Amatenr
North Middlesex
Richmond
Biruiingham Photo. Societj
Brixton and Claph&m
Hackney ,
North London
Paisley
Rochester
Bnry
Iieytonfctone
Photographic Club
Sonthport
Southfrea
Birmingham Photo. Society
Glodsop Dale
Hull
London and Provinoial
Oldham
Oxford Photo. Society
Cardiff
Croydon Micro^opical
Holbom
Leamineton „
Kaidstone
HuU
Pla«« of If MClng.
Trerelyan Hotel, Darlington.
Also. Stndio, Nethergate, Dundee
Jubilee House, Homsey-road, N.
Oreyhonnd Hotel.
Clnb Room, Colonnade HoteL
376, Coldharbonr-lane. Brixton.
a06. Mare-street, Haeloiey.
Canonbnry Tower, IsUagton, 5.
9, Qanze-street, Faislev.
Mathematical School. Rochester.
Clab Rooms, 13, Agar-street, Bury.
The As.-«emhly Uooms, High-nMuL
Anderton' a Hotel,Fleet-<treet,B.O.
The Stndio, 15, (^mbridge-arcade.
3, King's-road, Soothsea.
Clnb Room, Colonnade Hotel.
71, Prospect-street, Hull.
Champion Hotel, 15, Aldersgate-st*
The Lycenm, Union-st., Oldhjun.
Society's Rooms, 136, High-street.
Public HaU,G«orge-8treet, CroydoD
Trinity Chnrch Room, Morton-st,
" The Palace," Maidstone.
71 Prospect-street, HulL
LONDON' AXD PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
August 3, — Mr. T. Bolas in the chair.
Mr. H. M. Steinmetz was elected a member.
Mr. E. H. Bayston showed an example of outdoor photography taken
against a plain background, an umbrella being used to cat off some of the top
light
" AMOtnrrs op Silver asd Hypo left ix Albu.\[f.niseo Papbb at Diffbbent
Stages ok Washing."
A paper on this subject, by Messrs. F. B. GbCNDT and A. Haddo», wa»
read by Mr. Orujjdy [see page 511],
The C'HAIR.MAX .said thivt members must feel much Indebted to Messrs.
Grundy and Haddon for their interesting paper, and, as a chemist, he sug-
gested that one could not measure the work involved in the paper by the
length of time taken to read it. It threw light on one of those matters which
had been in darkness for the last fifty years, as to whether there was a gain by
long washing or not. In fact, there was no point iu photographic chemistry
which had been so badly treated as thi.s. We found people vaguely stating
that long washing was supposed to be unfavourable, others that it was favour-
able. Now we had some real light thrown on the subject. The outcome, as
far as the elimination of silver and sulphur was concerned, was that it made
practically no dift'erence whether one washed for ten minutes or nineteen
hours. He would like to ask how far the pieces of paper had been agitated
and pressed in the washing.
Mr. A. Haddon said the water was kept running from the tap, and the
paper changed over. At the end only six pieces of paper were left in. There
was no danger of sticking together.
■The Chairman said that seemed satisfactory from an experimental point of
view. In some systems of washing, pressure was applied, and it would be
interesting to know if that would shorten the washing process.
Mr. Haddon had no doubt that, by the use of lukewarm water, five minutes'
washing would suffice.
Mi;. W. E. Debenham said that the first thing that struck him was that this
was the sort of paper which did credit to the Society it was brought before,
and it was one that was really wanted in photography. If investigations of
this kind had been made earlier, the complaints of the fading of photographs
might have not have been so frequent. Short washing was suggested to him
(Mr. Debenham) by the fact that his Monday prints did not look so bright as
others because they had been left in over Sunday. The long washing seemed
to weaken them, and decomposition presumably set in. He then triwi shorter
and shorter washing, and finally, though he did not come down to ten minates,
he considered that half an hour with occasional changing and squeegeeing
would wash a print as well as it could be washed. Much depended on the
number of prints, and the size of the vessel, and the amount of movement
given to the prints during the time. In Messrs. Grundy and Haddon's case
we understood that the movement was thorough. It would be particularly
interesting to hear how ammonium carbonate affected the washing — whether
518
THE BKITISH JOURNAL OF PHOTOGRAPHY.
[August 11, 1893
we had salts of silver and sulphur left in tlie paper after it. He would also
Join sulphocyauide to the question as to how far that treatment assisted in re-
moving the residuum which, so far, they always got. Now that gelatino-
chloride paper was very much taking the place of albumen, to make sure some
fresh experiments would have to be made with that ; so far, their similarity
was very great, and we could take it that what covered one would go a long
way with regard to the other.
Mr. A. Cowan thought that the discrepancies shown in Messrs. Haddon and
Grundy's tables might be due to the difl'erent thicknesses of albumen on the
paper. ,
Mr. Debenha.\[ inquired as to the effect of linie in the water. It was said
to have a preservative effect, and yet, judging from what had been saiil as to
the effect of traces of sulphate of lime, he would like to know how that came
in. Was it capable of decomposition '-.
The Chairman did not think the small quantity of sulphate of lime formed
svould iiractically aff'ect a photograph.
Mr. Debenham had found that prints treated with lime did last better.
Mr. Haddon observed that, in the cases of Solio and P.O. P., there was a
substratum of sulphate of barytes, and that was a very insoluble salt.
The Chairman" said that sulphate of lime was readily reduced by organic
matter to sulphide of calcium, which he did not think held good with barytes
sulphate. He had known cases where it had not been reiluced when in contact
with organic matter. Ordinary water when kept in a closed bottle would soon
:^mell of sulphuretted hydrogen from the reduction of sulphate of lime.
Mr. Haddon said it would be useful to submit a certain portion of the
j>iper to a lime bath before toning and tixiug, and observe the effect.
Mr. H. M. Smith said that he knew of one large firm of portrait photo-
graphers who always washed their gelatino-chloride prints in warm water, and
their prints had stood for a long time in show cases without showing signs of
deterioration.
Mr. A. M. Levy said Messrs. Haddou and Grundy's paper seemed to be
entirely satisfactory and conclusive, and bore out the statement of Stas that a
•great number of silver salts seemed to arrive at a period when you add a
quantity of precipitant to the silver salts and no precipitation took place.
The only exception was bromide of potassium. Taking the mean of the
figures given in the first table, it was ■00-37, and thus we might arrive at the
conclusion tliat we had left '0037 of silver in a piece of paper after washing it.
There was a strong tendency of some kinds of salts to adhere to paper, and it
was difficult to remove the last traces of them ; some alkalies were impossible
to remove, cupric oxide precipitated as hydroxide for instance. Silver and
sulphur were left iu the paper to react on each otiier. The "action of mass "
was favourable to the removal of silv:r, but they arrived at Stas' point that a
-soluble compound was not formed, which was probably due to the interfering
action of the paper itself. He "thought :i;ost salts couhl be removed by pro-
longed washing. Hyposulphite of silver was really soluble, and should not
have more tendency to adhere to the paper than; other salts. He shouhl think
that if it were really formed they should be able by washing to remove it.
Mr. F. B. Grundy thought the "action of mass" might come into play;
but possibly the amount of silver was not ajipreciable enough for that action.
Mr. Levy replied that there was a mass of hypo compared with the little
silver left. A soluble salt was formed which they did not succeed in removing
by washing. Was the silver really present as hyposulphite ?
Mr. Grundy asked, What else it could be !■
Mr. Levy replied. Why not metalloidic silver, formed in the pores of the
paper itself ' Hyposulphite of silverin contact with a porous substance
and with air haying every chance of access to it, would most likely
decompose, and possibly metalloidic silver and some insoluble compound of
silver be formed.
The Chairman suggested that it might be possible to ascertain whether the
.silver could be dissolved out. Bisidphide of carbon wonid not do for the
purpose, as traces of sulphur would be formed by its own decomposition.
Mr. Levy said there might be silver in an allotropic form, when it would not
be dissolved.
Mr. Debenham asked if it would complete the experiment if paper without
an inorganic substance were sensitised, and, after fixing with hypo, what was
left ascertained ?
Mr. Grundy said it was not certain whether the alljumen held the silver,
and he had thought of coating plates of glass with it to ascertain whether it
was so or not.
The Chairman suggested the separation of the paper and albumen and the
determination of the quantity of silver left in each and the ratios between the
two as a rough method. It would be interesting to repeat the experiments on
plain paper.
Mr. Haddon said he and Sir. Grundy had that in view, as well as with glass
coated with albumen.
After further discussion, a vote of thanks was passed to Messrs. Haddon and
Grundy for their paper, the latter gentleman incidentally remarking that the
experiments had extended over six months, and that several Winchesters of
nitric and hydrochloric acids had been used in them. The experiments, if
continuously worked at, would have taken at least a fortnight.
Northern Photographic and Scientific Association.— August 1, the Presi-
dent (Mr. Robins) in the chair.— Mr. F. W. Tevkrsham read a paper entitled
the Bacteria found in Water. The lecturer limited his remarks to tlie
morphological characteristics of non-pathagenic or innocuous germs, as he
believed that Professor McFadyean would, at a later date, deliver a lecture on
pathagenic or disease-producing germs. In his concluding remarks, Mr.
Teversham paid a high tribute to the excellent arrangements made by the
London water companies, who did all that was in their power to supply the
metropolis with pure and wholesome water. The Chairman deprecated the
practice of passing a vote of thanks to a member of the Association, because,
he said, in the first place, it was too formal to be sincere ; and, in the second
place, it would tend to convert the Association into a mutual complimentary
Society. Nevertheles.s, he felt sure that Mr. Teversham had spoken to a very
appreciative audience, who would profit by the lesson they had learnt that
evening. Mr. Teversham said he quite agreed with what the Chairman had
said, and went on to say that he hoped, at a later date, he would be able to
let the Association have thi benefit of any further bacteriological experiments
which he had undertaken. An ingenious little instrument, the ellipsogr.ii)!',
was exhibited and explained by the inventor, Mr. J. R. Hicks. A patent
cat^h for tripods, the invention of Messrs. Spratt Brothers, was also exhibited.
It was announced that the next ordinary meeting will be on Thursday,
August 17, when some views in Devonshire will be shown.
Hackney Photographic Society.— .\ugust 1, Mr. W. J. Hensler presiding.
— Members' work was shown from Messrs. Birnes, Cross, Fort. Haukius
Hensler, Xunu. Puttock, and Roofe. Mr. Barnes showed a negative, a
portrait, which was spotted all over the face. A member suggested tnat it
was some incipient skin disease, but it was negatived by having the same
spots over the eyes. Mr. Nunn slioweil a bromide paper print develofed with
amidol, and asked what caused it to have a yellow tint in places (not stains).
No satisfactory reply could be given. Question Box: ■■ What action takes
place when an exposed plate is first placed in the alkaline solution on'y,
previous to pyio?" Reply: "A mechanical action only, by which the alkali
penetrates deeper into the film, so that when pyro is added more detail is en-
sured." A case lined with ruby clotli from Messrs. Doublet was shown for
storing uutoned prints. Mr. Hensler showed a lantern plate, of which he hail
many similar, which, on developing, was veiled over, and which a clearing
bath would not remove. It was a special, bought over twelve months
ago. Messrs. Cross, Haukius, and Hudson had had the same experience ;
no doubt they came from the same batch. A discussion then took place as
to in what way our Saturday outings might be improved. Some practical
suggestions were made.
Brixton and Clapham Camera Club.— August 1, Dr. J. Reynolds,
F.R.G.S. (Pi-esident), in the chair.— Mr. Morgan attended on behalf of Alessrs.
Fuerst Bros., and gave a demonstration upon the methods of using the new-
developers, amidol and metol. He advised amateurs to use the separate developer
mixed as stated on the instructions issued by the Company. For bromide work
the concentrated solution should be used atnearly its full strength if a black
image is required, further dilution giving a cold, grey image. The exposure
for plates, &c., should be reduced to half of what would be given were pyro
used as developer. Very much over-exposed plates tend to produce fog, but it
will be entirely ab.seiit if the exposure is not excessive. In using th"se
developers to develop plates, bromide paper, and lantern slides, the members
of the Club were pleasantly surprised at the entire absence of veiling and
stains. Mr. Morgan stated that the hands will not be stained unless the dry
chemical is touched. The solutions may be used over and over again, Mr. S.
H. Fry having developed as many as twenty half-plates in two ounces. At
the conclusion of the demonstration, a vote of thanks was passed unanimously
for Mr. Morgan's thorough explanations of the methods of working these
developers, and several members promised to take up amidol and report the
result in due course. The next meeting of the Club will be held on August l."i,
when the Paget Plate Company will give a demonstration before the members
of the Club. Photographers residing in the locality are cordially invited.
One of the Committee of Instruction, Mr. Edwards, will be present to answer
any questions upon photographic subjects which may be put by any members
requiring elementary information, and it is hoped that all beginners will fully
avail themselves of the opportunity thus afforded.
Botherham Photographic Society.— August 1, Dr. Baldwin (Pi-esident) in
the chair. — Good attendance of members. The business included the compe-
tition arrangements for present year. It was agreed that there should be
classes for excursion work, untouched negatives, prints, lantern slides, most
artistic photograph, and hand-camera views. It was announced that the room
in the Rotherham Public Museum, placed at the disposal of the Society for
exhibition purposes, had been ojiened. The work dis])layed, although some-
what hurriedly prepared, had been very favourably spoken of.
Sheffield Photographic Society.— August 1, Mr. E. J. Chesterman in the
chair. — Mr. B. .1. Taylor and Jlr. E. Beck were appointed delegates to repre-
sent the Society on the Council of the Affiliated Societies of Great Britain,
after which the prints of the photographic exchange were submitted to a severe
but good-humoured criticism, which will, no doubt, lead to good results, aud
be for the benefit of the Society generally.
FORTHCOMING E.XHIBITIONS.
1893.
Septembers "Royal Cornwall Polytechnic Society, Falmouth. W.
Brooks, Laurel Villa, Wray-park, Reigate.
„ 20-21 *Hove Camera Club. Hon. Secretary, H. Emery,
142, Church-road, Hove, Brighton.
„ 25-Nov. 15... ♦Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. Assistant Secx-etary, R. Child-Baylev,
50, Great Russell-street, W.C.
October 1-31 "Hamburg. Das Ausstellungs Coramitt^ des Amateur
Photogiaphen Verein, Schwanenwik, 33, Hamburg.
„ 9-Nov. ... "Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretarj- of Organizing Committee, .A. Maskell,
215, Shaftesbiiry-avenue, W.C.
Novemlier 7-11 "South London Photographic Society. Hon. Secretary
C. H. Oakden, 53, Melbourne-grove, Dulwich, S.E.
„ 20-25 "Leytonstone Camera Club. Hon. Secretary, A. E.
Bailey, Rose Bank, South-west-road, Leytonstone.
Decem'ber "Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
* Signifies that there are open classes.
August U, 1803]
THE BRITISH JOURNAL OF rHOTOORAPHY.
019
CotttjEipontrencr.
4V C^yrreapond^nts should n*i'cr iprit* on both »\de9 of tha yiaver, Ho noiict is taktn
of communication* unless Che names and addresses 0/ the writers are giwn,
TELE.PHOTOGBAPHIC SYSTEMS FOB MODERATE
AMPLTFICATIONS.
To the Editor.
Sib, — It is gratifying to find a communication from another student
of tele-photographic systems in your last issue. No one could welcome
more cordially than myself suggestions for simplifying technical expres-
sions or interpretations of formulip into clear language. My thanks are
due to Mr. Hancock for this intention.
This eentleman's diagrammatic interpretation of Rule I. given in my
paper will serve to impress it upon the minds of all who may interest
themselves in the position of nodal points and planes in lens systems. It
is needless to say that there are two such points in both positive and
negative lenses ; but, as we are concerned with only one in each, for
purposes of calculation or the construction of the diagram, the second
may be ignored, but their jiositions must be very accurately known and
set for practical use.
It has already been shown how very powerfully a smnll difference in
the separation of the nodal planes affects the equivalent and back foci.
Now, if these positions were very accurately marked upon the mountings,
and callipers used to set the separation — after which the calculation or
diagram were to be made — I venture to think the labour involved in
ordinary practice would be considerably greater than the simple measure-
ment (i.e., back focus) required in Kules III. and IV. already given.
Since writing the paper, I have tried to still further simplify the matter
for the average photographic worker who may not have time to devote
specially to the study of optics, but who, nevertheless, knows the appear-
ance of an image on the focussing screen, and is famihar with the
meaning of ''equivalent focus ' and "intensity ' as applied to a lens.
In the first place, the foci of the positive and negative lenses, or their
ratio, only need be known. In the construction recommended the
poeitive is twice the focus of tlie negative.
Now screw the lens on to the camera, place the screen at a distance
from the back (or negative lens) at least the measurement of the diagonal
of the plate used (this in order that the plate may be covered), but as
much further away as one chooses. The focus for the chosen position of
the plate, wherever it be, |is then always made by the raek-andpinion
movement on the mounting. In this manner a choice of the amount of
subjects included and its size can be made. \Then this is decided upon,
lift aside the focussing screen and measure the distance between its
(focussed) position to the cell of the negative lens that projects a short
way inside the camera.
Multiply this distance by two (as the ratio between the foci is 2 : 1) and
add the focus of the positive lens. This is the measurement of the
■' equivalent focus."
General Rule to find the Kijuivalent Focua of any Tele-pbotographic
I.cns. — Multiply the back focus (chosen) by the ratio the focus of the
positive lens bears to that of the negative lens, and add the focus of the
positive.
We have seen that, when the "ejuivalent focus " is known, the magni-
fication and " intensity" of the system are also forthwith expressed. In
the case cited in the illustration, back focus = '.)", twice this = 18'; add
the focus of positive, G" = 24'' equivalent lens. Thus the magnification is
four times, the intensity of the positive lens alone=f-8, and hence, for
the chosen extension of camera, the intensity of the teI»ph3tographic
system =/-32.
Mr. Hinoock makes a slip in the last paragraph but one of his letter
anent the intensity of the system. It is true, as stated, that with n
magnification of four times a positive element, whose initial intensity is
/•8 mii.it become i-3'i ; but Mr. Hancock must certainly not "take it that
definition is likely to be unsatisfactory if a larger aperture than f-Si be
used," for any shorter extension of camera or back focus can be used,
giving greater intensity but less magnification. Again, there is no
reason at all that, in the case cited, the positive lens of six inches focus
should not have an initial intensity of /-3 ory'-12 for the combination !
The object of the construction of moderate amplification was to make
the system applicable to lenses of weaker initial intensity (say,/-S) than
portrait lenses, but portable at the same time, as Mr. Hancock readily per-
cei-es in the last paragraph of his letter. A lens, however, of high
intensity and short focus may have great or weak amplifying negative
lenses without unduly adding to their bulk or " necessarily looking like an
astronomical telescope ;" and, lor this reason, a " battery " of negatives
ini'iht be useful.
yuite outside the question of bulk, I have already given theoretical and
practical reasons for not employing high magnification to positive lenses
of a permanently fixed spherical correction. I think, however, that many
will prefer, as Mr. Hancock agrees, to employ one negative with different j
extensions of camera, sacrificing magnification to rapidity when necessary, j
but making use of a greater degree of magnification when rapidity is not i
of such great moment.— I am, yours. Arc., T. R. Dallmkyer.
2-3, ycumfin-$treet, Oxj'o'd street, ))'. '
PHOTO-MICROORArHY.
To the Editor.
Sin,— In the article in the JounNAT, of July 28, oommentiog on rrofemor
Piffard's paper, it is suggested that the obUuning of sharp negative* oi
microscopic objects with the objectives in nta twenty-five years ago wa»
difficult, in consequence of the want of coincidence of the visnaJ and
actinic foci.
It is nearly thirty years since I " took up " photography. My first
negative was of a microscopic object, and having produced some handredii
of negatives of very varied subjects, including objects under polarised
light, I found no difficulty arising from the above cause.
I worked " in the open," having my lantern at one end of a bench, and
the carrier for the plates sliding along it according to the amplification
required. The objectives used were cheap French triplets, no eyepiece,
but sometimes double concave glasses in front, to increase the nize. The
light was " oxyhydrogen," and I got fairly sharp definition up to, say,
400 diameters.— I am, yours, <Sc., Joseph H. Woodwobtb.
Iloottnlown, Dublin.
A NEW PLATE.
To the Editor.
Sib,— I venture to hope that a short description of a plate which settles
the much-vexed question of hulation will be of interest to you and your
numerous readers. I briefiy describe the method which I have recently
patented.
The plate is first coated with a gelatine substratum containing non-
actinic colour, and upon this, when dry, is coated the ordinary eo-ulsion.
Durmg exposure the colour absolutely prevents the passage of the actinic
rays of light to and from the surfaces of the class, hence there is no
reflex action of light and no halation. The colouring matter (a harmless
compound of carbon) readily disappears during the ordinary manipula-
tions of development, fixation, and washing, so that the printing quality
of the negative is as asual.
I think this simple discovery, besides opening a wide field for discns-
aioD, really places a new power in the hands of the photographer. Three
things can with confidence be stated— first, halation is impossible; second,
greater latitude of exposure is obtained ; thurd, the scale of gradation is
materially improved.
This, sir, is a short description without an attempt to deal with the
scientific aspect of the question. I shall willingly supplement it with any
further details you may wish to have. Enclosing lor your inspection
the first results from the new plate, — I am, yours, Ac,
46 Fleet-street, Torquay, Auyust 7. Chables E. Pettjti.
PHOTOGRAPHY IN SOUTH AFRICA.
To the Editor.
Sir, — I think of going to one of the South African colonies as a profes-
sional photographer. As the climate of Cape Colony and Natal is not
unbearably hot, it is very likely I shall select one of these as a starting
point. Can any of your readers kindly favour me with their professional
experience of these colonies, and say what prospects there are of success ?
Further, what stock of materials it would be advisable to take with me for
working in the silver process ? Pyro, I understand, is fifty per cent, dearer
in the coastal towns than in England, and still dearer in the interior. 1
have been advised to take a tent as a studio. Same of your correspondents
may be able to kindly inform me as to the best method of preserving
the tent from the attack of flies, and also the most effective method of
preserving the leather of the camera from their attack.— I am, yours *c.,
Geo. F. Jessett.
7, Batoum-ffardem, We t Kensington, If'., Augiut 7.
THE CONVENTION GROUP.
To the Editor.
Sib,— Will yon allow me to reply to Messrs. Heath & Co.'s letter in
your last issue, in reference to the Convention group at Plymouth. I
would be specially sorry to take any credit that is due to them for the
grouping, iVc, and 1 think, if they read again your commendations, they
will find it was more lor the promptitude displayed by my firm in getting
proofs down to Plymouth with despatch. 1 will give the plain unvar-
nished facts as regards the taking of the negative, and leave your readers
to judge what credit is due to me, and what is due to Messrs. Heath ct Co.
I had prepared myself to take a group of the Convention members, by
taking down a 12 x 10 camera with stripping films, with a view to stripping
for collotype work, so that they could be done from the original negative.
It was suggested by a member of your staff that I should expose on the
official group, and I agreed with him that was the proper thing to do.
I saw Messrs. Heath, and arranged that they should allow me to fix and
locus my camera, and that they would get their assistant to take the cap
off the lens (and this accounts for my beiug in the group). Three plates
were exposed, and to my chagrin twj ou: of the three were useless on
■TJO
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[August 11, isgy
account of the camera being shaken in uncapping the lens ; otlierwisa
the whole three would have been Ipertect, and we should have had the
advantage of being able to print from two or three negatives in the press
at the same time instead of only one.
With regard to the development, this was strictly done under my
supervision in Messrs. Heath & Co.'s dark room, their assistant mixing the
developer because I could not grasp the formula they were using, no
donbt due to my denseness and not to any complication of their formula.
I rocked the dish and decided when the plate was developed sufficiently ;
at my request they dried the negative, packed and dispatched it to my
firm atEichmond. lam extremely obliged for Messrs. Heath & Co.'s
■courteous help, but I do not agree that credit is due to them entirely for
the Journal group, but I leave your readers to judge.
Apologising for troubling you over such a stupid matter.
Yours faithfully, K. L. Kidd.
iSxctangc Ololumn.
"Will exchange new whole-plate extra special camera and three slides, whole-plate
burnisher and canvas case, for half-plate Acme camera and slide? and whole-plate
rolling' press. Address, S. Baetlett, Colportenr, Stnitford-on-Avou.
"Wanted 12x10 and half-plate camera and slides, iu exchange for 10x8 camera and
three doable sUde?, seTeral wet-plate dipping baths, and cash adjustment.— Address,
A. W. DuRaELL, Photographer, 4-4, Birk beck-place. West Dulwich, S.E.
anstoet0 to ©orresponHents.
*,* All matters intended for the text portion of this Joubxal, including
queries and Exchanges, must he addressed to " The Editor, The British
Journal of Photography," 2, York-street, Coverd Garden, London. In-
attention to this ensures delay.
■*,* Correspondents are informed that we cannot undertake to answer com-
munications through tlie post.
*,* Communications relating to Advertisements and general business affairs
should be addressed to Messrs. Henry Greenwood it, Co. , 2 York-street,
Covent Garden, London.
Photooeapbs Ekoistkred : —
J. Whyte, Glasgow.— Piiotograplis of Sir MicliaeX Corsnal.
Debenham & Co., York.— Pfcotojrajihs of His Grace the Archbishop of Yorle.
Ivy.— The address is Messrs. Frith, Reigate, Surrey.
■G. P. Cartland. —The letter in its original form was possibly libellous.
A. Levy.— Thanks. Yes ; English lawyers can, and do, sue for money owin"
to them. •' °
•R. SiMCOE.— There is no objection to the use of xylonite dishes for the H.tin<'
solution for P.O. P., neither is there for the toning bath. °
H. L. M.— As the opinions offered are not to vour satisfaction, vou had better
lay the case, with the lease, before a solicitor, get his advice' and act upon
that. '
W. M.— Sue the husband in the County Court if the wife has not a separate
estate. You would not, we tliink, be justified in adopting the other course
you propose to take.
■Robert J. Hillier.— As there are two gentlemen of the same name in the
photographic world, the alteration was necessary. It in no wav destroys the
sense of your remarks. " ■'
R. H. Thomas —1. The firm named bears a high reputation. Possibly vou
were rather hasty ; the delay may have arisen from legitimate causes. 2
J. he plate would be prepared from the negative.
"W. P. WEARijE.-The delay at, possibly, a busy season is scarcely uncom-
mon We believe the hrm named to be respectable. As you have threatened
to place the matter in the hands of a solicitor, our advice would be useless
*^^tf^~T.!'* j'''f°'?^''^!*i °I^^'' 'S,t«"0'-s of the conservatories are very good
but for the defects alluded to. They are caused ky halation or reflection of
ight from the back of the plates. Had the plates been backed, it would
have been avoided. , •!. »uuiu
H. C.J. —What are termed " ordinary plates " are not, as a rule sensitive
enough for general work with a very rapid shutter and a lens with al
aperture of/-ll. They may, however, answer for some subjects when the
hght is exceptionally good. ■^
D UOYD.-I Use the largest stop that will secure sharpness all over the
fir J- * ii ^'}- '^"^If^ "P°? V'^ ^"^ "f *" ^'OP "«ed and the quality of
the light at the tune. No useful information can be given on tL point.
-Better expose a trial plate. 3. Starch paste.
W. T. Pine.— The fading of the print has been greatly accelerated by noxious
vapours gaming access to it through the defective backboard of the frame
buch eiceedmgly common cardboard is very unsuitable for mounting photo-
graphs upon. This may as well have conduced to the fading.
ClLAsa.- Some of the wheel glass-cutters answer very well, but they quicklv
rf'fmn"! w'i ^''''^tf.?' r- , When, they were first introduced?he^y were
of a much better quality than the majority that are now sold, but they were
up°dry'plates!"* '' "" ^'"''' ""^ '' '° ^°°^ =" " diamond for c^,t!L|
B. 0. — Send us particular* of your method of albumenisLng, and we may be
able to assist you.
W. Blake. — It is so. The price of the specifications of some patents have
been raised, while others are lowered. Those which used to be only four-
pence are now eightpeuce, but those wliich were formerly several shillings,
or pounds, are now the same price. The price of specifications is made
uniform — eightpeuce each all round.
A Prufessional. — This correspondent complains that, when ordering his
goods by "parcels post," the firm from whom he buys puts him to extra
expense by sending the package by ''rail." Such a case would, doubtless,
only occur through .in oversight. In these times competition is too keen to
admit of photographic houses wilfully ignoring their customers' instractiois.
J. W. Beattie (Hobart). — We have often experienced the same kind of
fogging. It arises from the collodion not being sufficiently ripe. This may
be cured by either adding au alcoliolic solution of iodine, or dissolving in it
a crystal of iodine until it assumes a port-wine colour. Try the experiment
witli only one or two ounces of the collodion at first, and note the results
obtained.
Z.A.Y. — You are quite under a misapprehension as to collotype printiug by
machines being an impossibility. As a matter of fact, the larger proportion
of the collotypes now produced, both here and abroad, are printed by
power press. Some of the best work is now done by machine printing, but it
must be confessed tliat much of it is inferior to what is possible with
hand presses.
J. RiNGKOSE.^For permission to photograph on open spaces under the control
of the Corporation, apply to Sir J. "B. Monckton, T-^wn Clerk, Guildhall,
E.C. ; for the County Council sjiaces and parks, to H. De la Hooke, Esq.,
Londou County Council, Spring-gardens : and for the royal parks, to H.
W. Primrose, Esq., Office of Works, Whitehall, S.W., ofcour.se in each case
enclosing a stamped envelope.
D. McSkim.ming writes : " I am troubled with a flare spot when using my
single achromatic view lens with a small stop. Can I remedy this by altering
the position of the diaphragm ; if so, must it go nearer or further away from
the lens .' Am I likely to introduce any other defect ' " — This may be cured
by altering the position of the diaphragm. Try the effect of withdrawing it
about a quarter of an inch. No defect will be introduced.
E. Paine.— There is no copyright now in many of the fine old engravings, such
as those of Hogarth, Bartolozzi, and others • but there would be in all those
recently issued, notwithstanding that they were produced by photogravure
abroad, and from the works of foreign artists. They would have been made
copyright under the new International Copyright Act. It is very unlikely
that the owners of the copyright would permit of the copying for lantern
slides.
J. J. Wilson asks : " Will you kindly inform me if chemically pure paper
pulp is obtainable in small quantities ; and, if not, by what means can the
ordinary paper pulp be made chemically pure when used for photographic
purposes ? " — Tliis is certainly not an article of commerce, but it is quite
possible that some paper-maker will oblige witli a small quantity for experi-
mental i>urposes, though it would not be chemically pure. The nearest
approach to chemical purity would probably be obtained by converting some
Swedish tillering paper into pulp.
London, E., says : " When I develop lantern slides with hydroqainone I get
a perfectly clear and bright image without any veiling of the lights, but
when I use ferrous oxalate, which 1 very much prefer, the lights are^slightly
fogged with a kind of white deposit, which seems to be more on the surfacef
than in the film. I have used tlie developer with different proportions o
iron and oxalate, and also more or less diluted with water. I know it must
be the fault of the developer because the same plates are all ri»ht with the
hydroquinone. Can you assist me i" The veiling is caused by a deposit
of oxalate of lime from lime in the water. If the pictures be Hooded with
very dilute hydrochloric acid , it will be removed. One part of acid to twenty
or tliirty of water will suffice.
E. J. D. writes: "Will you please give me the necessary process to reduce
eighteen carat gold in substance to chloride for photographic purposes.
Also would the process be different for twenty-two carat gold. I re-
member reading some time since in one of your notes that photographers
have been known to reduce sovereigns for the purpose, but mine is in small
particles?" — Dissolve the metal, in a glass flasl:, in a mixture of one
part of nitric acid, live of hydrochloric acid, and three of water with
the aid of heat. When dissolved, precipitate the gold with a solu-
tion of protosulphate of iron. Wa.sh the i)reoipitate well and then re-
dissohe it with the acid as at first, using no more than is necessary. Then
dilute with water, so that one drachm of the solution contains hrdf a grain
of gold to the drachm. This will form a stock solution or a strength .about
equivalent to one grain of chloride to the drachm.
OONTBKT8.
h.vlation. and methods of pre.
VENTINO it Wo
fixing and washing silver
prints : messrs. gkundy and
HADDONS EXPERIMENTS rm
INTENSIFICATION WO
SUPPLEMENTARY LIGHTING. By
EDWARD DUNMORE 508
ON THE CONSTRUCTION OP INTER-
CHANOEAULE LENS SCREW FIT-
TINGS. Br W. TAYLOR o09
DOUBLE TONES IN GELATINO-OHLO-
RIDE PAPERS. By S. HERBERT FRY 511
ON THE AMOUNTS OF SILVER AND
HYPO LEFT IN ALBUMENISED
PAPER AT DIFFERENT STAOES OF
WASHING. By F. B. GRUNDY and
A. HADCON 511
Pas*
PRACTICAL REMARKS ON PHOTO-
GRAPHING DIFFICULT INTERIOF.S.
IIL Bv T. N. ARMSTRONG 512
THE PLYMOUTH CONVENTION : RE-
PORT OF THE DELEGATES OF THE
PHOTOGRAPHIC CLUB. J.OUARDIA
*»D HERBERT FRY 313
CONFERENCE OF JUDGES OF PHOTO.
GRAPHIC EXHIBITIONS 515
NOTES OS A TOUR IN THE HIMA-
LAYAS AND ON THE NORTH-WEST
FRONTIER. I. By F.ST. J. GORE, aA. 515
OUR EDITORIAL TABLE 515
NEWS AND NOTES 618
RECENT PATENTS 516
MEETINGS or SOCIETIES 617
FORTHCOMING EXHIBITIONS MS
COBBSSFOh'D£NCG , i.9
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1737. Vol. XL.— AUGUST 18, 1893.
THE KEEPING PROPERTIES OF GELATINO-
CHLORIDE POSITIVE PAPER.
How long will gelatino-chloride paper keep good, and what
are the influences bj which it becomes deLeriorated?
It has not yet been sufficiently long before the public to
warrant much to be brought to bear upon its keeping proper-
ties, but from our own observation, extending to a period
considerably over a year, it keeps quite as well as the best
ready-sensitised albumen paper, and much better than most of
what is procurable. A sample sheet that has been sent to us
from the Antipodes, as having gone yellow, has induced us to
institute inquiries as to the conditions most likely to promote
such discolouration.
First of all, we have opened and examined a packet of this
paper which was placed in a flat envelope and sealed with
ordinary paste, at the time mentioned. This packet has, since
its receipt, been kept in a dry room free, in an average way,
from gaseous or other deleterious emanations. When examined,
every one of the cut sheets which it contained was found to be
without spot or blemish, not the slightest discolouration being
apparent. From this it is, we think, a fair inference that
gelatino-chloride paper does not necessarily become disco-
loured for a considerable period when kept with reasonable
precautions.
By what we must regard as a singular coincidence, a packet
■of ready-sensitised albumenised paper, '■' warranted to keep,"
was put away at the same time as the other, and with the
same precautious as regards preservation. We also opened it,
only to find that its contents, six 5x4 sheets, had become
hopelessly bad, having passed considerably beyond " the colour
of cheese " stage, and hence, quite useless.
Exposing gelatino-chloride paper to a damp atmosphere will,
we should think, speedily ensure its discolouring, and this
with the more certainty if continued for any length of time in
a hot climate, or in such hot weather as jjrevails at the present
time. This has long been known in connexion with albumen-
ised and other paper, and led to the introduction of Marion's
preservative case three decades since. This consisted of a
cylindrical case with an air-tight cover in which was a small
chamber containing dried calcium chloride, which absorbed the
last traces of moisture left in the case, and thus ensured the
■dryness of the paper contained therein. We are aware of the
discolouration from damp of at least one sheet of gelatine
paper which was received in that state on being opened in
New Zealand ; but, as other sheets in the same packing-case
were good, wo conclude that the initial seeds of decay had
been sown on the shelves of the merchant by whom it had l)een
packed and shipped.
It may not be generally known that the oft-times offensive
etfluvium given oflf by albumenised paper conduces to the
deterioration of both gelatine paper and plates. Some dealers,
from motives of economy of space, or even from orderliness,
keep printing papers of various kinds stored in close cupboards,
gelatine paper being in immediate contact with albumen paper
of foul-smelliug quality. Can it be wondered at if gelatino-
chloride paper, redolent of such an atmosphere and taken out
to be closely packed up for a voyage of considerable duration
to the other side of the tropics, shows indications of discolour-
ation when received by the consignees? The wonder would be
if it were otherwise. We have been made aware of well-certi-
fied instances in which this has occurred. Each one can test
this for himself by interpo.sing a piece of non-sensitised albumen
paper between two sheets of gelatino-chloride and keeping them
pressed in a warm moist atmosphere for some time.
Although negative plates ai-e liable to the same action from
this cause, it happens that, in virtue of the perfect packing of
each dozen, they are but little amenable to injurious conse-
quences arising from vaporous emanations by which they may
be surrounded. We know, however, that such plates, when
they are removed from the packages in which they are sent out
and are transferred to a grooved plate- box, have in a very brief
period shown signs of having undergone deterioration, more
especially so if the plate-box were a new one. Even the emana-
tions from the flexible leather hinge, which some time ago used
to be so commonly applied to the draw shutter of the dark
slide, were well recognised as producing an insensitive strip
across any plate which had been left standing in the slide for a
length of time.
We might expand upon this, but enough has been said to
prove that as between sensitive aburaen paper and sensitive
gelatine paper the latter has immensely the advantage as re-
gards keeping when both are treated alike ; and that, when
reasonable precautions are taken for its protection from mois-
ture, deleterious atmospheric influences, and injurious vapours,
there is no reason why gelatino-chloride or gelatino-bromide
paper should not remain qnito good for a time infinitely longer
than even its makers would care to assign to it.
Gelatino-chloride paper is of only comparatively recent in-
troduction, but we possess valuable pictures on gelatino-
bromide paper which were exposed and developed between six
and seven years after we had received it from the manufacturer.
But it had been well preserved from such destructive influences
as those here hinted at.
.522
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[August 18, 1893
MIXED DEVELOPERS AGAIN.
As the result of experiments in connexion with the functions of
sulphite of soda and alkalies respectively, in conjunction with
metol and amidol, some of which were recorded in a leading
article a fortnight ago, we have been induced to revert once
more to a subject that was treated, though from a somewhat
different poiat of view, a few months back. In our issue of March
of the present year (page 161) will be found an article ou "Mixed
Developers," that is to say, developers in which two or more of
the various developing agents are employed in conjunction.
This is a practice which has found some favour both in this
country and in America, and has for its object the combination
of different characteristics not possessed by any one single sub-
stance. For instance, hydroquinone is known to act with great
clearness and vigour, and to give images of considerable density
under favourable circumstances, but it is extremely slow in
action, and, with some plates, has an inclination to produce
harsh gradations. Eikonogen, on the other hand, is rapid and
searching in its astioa, and is remarkable for the delicacy and
fine gradation of the images it gives, its fault being that this
latter tendency is apt to degenerate into excessive thinness or
want of printing strength. By using the two agents in com-
bination, however, it has been found that a highly satisfactory
compromise is made, and, while the cleanness of working of the
two, when used singly, is not interfered with, the density-
giving power of hydroquinone is combined with the energy and
rapidity of action of eikonogen.
At the time our previous article was written we had not
made any very extended trials of metol in any form, and with
amidol had scarcely attained any marked success in any com-
bination, but more recently have been led to take up the sub-
ject again, and, we may say, with a degree of success that we
had never before experienced. There are, in fact, some special
features in the character of the newer developers that seem
more espejially to fit them for use in conjunction with hydro-
quinone, and our previous failure to derive any apparent benefit
from the mixture of that agent with amidol can only be set
down to our not having gone the right way about it.
The general peculiarities of hydroquinone, as all who have
used it are well aware, are its slowness of action and the ex-
treme vigour of image it gives. These characteristics are
greatly modified, if not altogether removed, if a caustic alkali
be substituted fir the fixed carbonates usually employed, while
they are greatly intensified by the use of either sulphite of
soda or restraining bromide. The extremely powerful modify-
ing action of these two substances is, in fact, one of the pecu-
liarities of hydroquinone, and, while it is impracticable to alto-
gether dispense with them, hydroquinone has come to be re-
garded as too slow for ordinary purposes, and more especially
useful in cases of over-exposure or for positive work.
Amidol and metol, on the other hand, are extremely rapid in
their action, and, especially the former, will work without any
alkali at all, the soluble alkaline sulphites, as we showed a
fortnight ago, playing the same part in conjunction with them
that alkali does with pyro and hydroquinone. Moreover
although it is possible to employ them without bromide, itjis
found, in practice, that the addition of some sort of restrainer
is almost absolutely necessary if images of printing density and
free from fog are to be obtained.
Arguing from these facts, it seemed to us more than likely
that if properly used greater advantage would accrue from the
mixture of metol and amidol with hydroquinone than those we
mentioned in connexion with eikonogen, aad on putting the
matter to a practical test we were not disappointed. The way
in which we looked at the question was this : — If, as appeared
from our previous experiments, hydroquinone would act as the
necessary restrainer, then bromide might be altogether dispensed
with ; and while the sulphite necessary to confer keeping quali-
ties, as the stock solution, would also supply the necessary-
developing stimulus to the metol or amidol, as the case may be,
any slowins; actiou it might have upon the hydroquinone could
be counteracted by the addition of a small proportion of alkali.
In ftict, it seemed possible to compound a developer without
restraining bromide and with a minimumof alkali, which should
be rapid in action even with quick exposures, and at the same
time give vigorous images.
The merely physical advantages of such a developer, especially
in hot weather, are too obvious to nee i mentioning here ; but as
we pointed out in our article on " Intensification " last week, it
is preferable to get the needful density in one operation; if at all
possible there is a palpable gain in that direction. Beyond
that, if we consider that users of amidol and metol have hither-
to, in order to get density, been using solution containing from
sixteen grains of these comparatively expensive salts to each
ounce, further heavily loaded down with sulphite, it must be
obvious that a great pecuniary saving is effected when the pro-
portions are reduced to about one-fourth, and a cheaper sub-
stance partly substituted. Such, however, is the not least
important fact of the case.
As a first experiment, plates were submitted to the action of
mixtures of amidol and metol with hydroquinone, without sul-
phite, but in the full anticipation of a negative result, as it
turned out, the two former requiring the sulphite, and the latter
alkali, before development could be set up. An addition was
then made of sodium sulphite, and when dissolved this was
again applied to the plates, which had been in the meanwhile
covered up in a dish of clean water. After five minutes' action,
neither mixture had produced a trace of an image, so we con-
cluded that for practical purposes the alkali is a sine-qud-non,
the hydroquinone, as we had expected, acting as a restrainer.
The quantity actually necessary to set up development is, how-
ever, extremely small, a single drop from a glass rod in two
ounces of solution sufficing to set matters in motion, though
naturally rather slowly. When the quantity was increased, in
equivalent to two minims of strong ammonia to the ounce, the
image at once began to aoq^iire strength and detail, proceeding
almost as rapidly as either metol or amidol alone, but without
the slight veil that with most plates would then accompany the
non-use of bromide. As the plates had received a full exposure,
we accepted this as evidence of the restraining power of
hydroquinone.
After fixing, the image ■ produced by metol and hydro-
quinone possessed all the printing density that could be desired,
and more might have been obtained by continuing the develop-
ment further ; but amidol left something to be desired in this
respect. The plates used were specially chosen as being
somewhat diflicult to work up to printing density with either ^
metol or amidol. After several trials with different proper- I
tions of amidol, hydroquinone, and alkali, it was found that,
as in our earlier experiments, no advantage was gained by the
addition of hydroquinone until the quantity of that, as well as
of amidol, was increased to five or six grains to the ounce. If
the former was increased without the latter, density was
obtained, but at the expense of gradation, while amidol with iu
less proportion of the other substance failed to give any increase
of vigour.
Aupfust Irt, I8»yj
THE BRITISH JOOKNAL OF PaOTOQRAPHY.
tA 3
It has been said that a trace of acid acts with amidol or
nietol i\3 a better restrainer than bromide, so the effect of an
addition of half a grain of citric acid to the amidol solution was
tried. The result was a very decided slowing of the action,
scarcely, we think, from the slight decrease in the quantity
of free alkali present, but evidently the well-known restraining
action of the alkaline citrates accompanied by a very remarkable
iucreaae of density. With metol, neither the slowing action nor
the increase of density was so noticeable, though they were
present, not sufficiently, however, to be of any benefit or the
reverse.
The question next arose as to the most convenient form in
which to employ the mixed developer. Many persons favour
the "one-solution" form, in which, however, it is obvious that
the only control there is — and it is very limited — is in the
greater or less degree of dilution. This may answer, perhaps,
with one particular brand of plate, and with tolerably accurate
exposure, but not otherwise. If the developing and accelerating
solutions are kept separate, so that the proportions may be
raised at will, there is, of course, much more scope for modify-
ing the action ; but the full power of the mixed developer is
only attained when all three solutions are kept separate — that
is to say, metol, hydroquinone, and alkali. In that case, it is
possible at the moment of use to mix the two former in such
proportions as will suit the particular kind of plate, or the
class of subject imder treatment, and degree of density desired,
while the alkali is added to suit the exposure. The power, in
fact, gained in thus varying the proportions of the developing
agents is one of the most important points in this method.
After a large number of experiments, while we are personally
inclined to give preference to the separate solutions, we are
quite aware that under circumstances the other methods may
be more convenient and equally efficient. For instance, in
ordinary studio work, where a known plate is constantly used,
the successive exposures are all practically uniform, a one-
solution developer is perhaps the best, for at all times there
can be kept at hand small quantities of alkali or restrainer for
use in emergency. The trouble of constantly mixing up fresh
solutions is thus avoided ; but, for the run of amateur work,
we think the practice of keeping the developer in at any rate
two solutions is to be preferred — the developer proper and the
alkali — and to use these as circumstances may dictate.
Space does not permit ua here to do so, but we hope next
week to give briefly formulae of each kind that seem to answer
best with different types of plates, naturally thin plates, of
course, necessitating different treatment from those which
readily run to density.
DR. EDER ON THE ACTION OF BROMIDE WITH
VARIOUS DEVELOPERS.
Dk. Edbr has lately been studying the action of bromide of
potassium with various developers, and the results of his in-
vestigations are decidedly interesting. Bromide, the most
commonly employed of the restrainers, he finds varies in the
nature of its effects according to the developer with which it is
used.
Some developers he points out, are particularly sensitive to
the influence of bromide of potassium, iron oxalate, for instance,
the bromide used as 1:10, and a few drops of that strength
being added to every 100 c.c. of solution, having an energetic
restraining action on normally exposed plates. For over-exposed
platei it is only necessary to slightly exceed the proportion of
restrainer mentioned.
Pyro-soda behaves in a similar manner to iron, the bromide
acting as a simple retarder ; if, however, pyro nmmonia be
used, the bromide acts as a preventive of fog, to the detriment
of its powers as a restrainer of development, and it is necessary,
therefore, to increase its proportion. For normally exposed
plates, Dr. Eder finds, for each 100 c.c. of pyro-ammonia
solution, thirty dsops cf bromide solution, 1 : lO, desirable,
while for over-exposure it should be added in doses of from
5 to 10 c.c. for each 100 c.c. of developing solution.
Hydroquinone-soda (sold in the ready-made form) is less
sensitive to the retarding action of bromide than pyro. De-
velopment may be restrained therewith by using comparatively
large quantities, it is true, but the developer, even with pro-
longed use, does not yield such good negatives as pyro or iron.
Hydroquinone itself, says Dr. Eder, acts as a species of re-
strainer, for it not only develops slowly, but gives vigorous
results, not on account of the bromide that may be used with it,
but in consequence of its own decomposition by oxidation, the
oxidation retarding the growth of the image without tending to
impair the vigour of the resulting negative.
With eikonogen and metol, notably the latter, bromide acts
in the double capacity of preventing fog and restraining deve-
lopment, but the retarding eS'ect is less noticeable than with
the developers previously named. Very fully exposed plates
can be held back by the iise of bromide, but over-exposed
pictures, says Dr. Eder, when developed with metol or amidol,
are not so well controlled, even with large quantities of
bromide, which is unable to check the energy of metol. An
old solution of metol — one that has been used several times — -
retards development, but does not yield vigorous negatives.
Dr. Eder concludes his interesting notes by saying that to
metol-soda or metol-potash a slight addition of bromide (I'lOOO)
has such little restraining power that the manufacturers them-
selves often add bromide to the ready-made solutions, without
the user noticing any retarding effect of these developers.
The only effect produced is that negatives so developed have
no fog.
Comet Mamber Two of 1893.— This comet has boon
photographed by M. F. Quenisset, and the result communicated to the
Paris Academy. It was obtained by means of a Hermagia lens of
sixteen cm. (about .'six and a half inches) apertuie and an exposure
of forty minutes. The comet shows two tails — one a degrree, and
the other half a degree long.
Eclipse Photograplis. — In the Ohtervatory Mr. Turner
makes some remarks about the August, 1896, eclipse and reviews the
photographic results of the late eclipse. He informs ua of one point
which appears to us the least satisfactory, namely, that the photo-
graphs taken of the corona are in the hands of an astronomer who
will make drawings of them. Far better publish the photographs and
let them illustrate their ovra story. Mr. Turner heartily congratulates
the observers on their performances. Professor Pickering employed
one of Dr. Common's twenty-inch reflectors of forty-five inch focus,
and used slow plates, the result being that he has got more detail in
the inner corona than is shown in the English photographs. Regard-
ing the 1896 ecUpse, Mr. Turner points out the importance of making
preparations long beforehaod. He says it is not a bit too early to
begin at once, for, owing to the position of the central line of totality
being so favourable, it is probable that a host of observers, both pro-
fessional and aoiateur, will be able to co-operste in the obeervauioBs.
524
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[August 18, 1893
Vltra-violet Pliotog'raphs.— VVith regard to these investi-
gations by Victor Schumann, before referred to by us, he states that
he uses gelatine plates of his own manufacture, as commercial plates
are less suitable. " When it is important to support rs far as possible
the optical power of photographic spectral apparatus, -where the
sharpness of the image is a main condition, also where a strong con-
trast in the intensity of the lines is needed, the commercial plate is
inadequate. It does not work intensely enough to assist spectroscopy
to the extent of the modern dry plate. The gelatine plate of my own
preparation gives an intense and finely granular image on a ground
clear as glass. The emulsion is relatively rich in silver iodide contain-
ing, -with to 100 parts by weight of silver bromide, four to five parts of
silver iodide. Its preparation is effected exclusively on Eder's method,
silver-oxide ammonia (J. M. Eder, Ausf. Hand. d. Photor/raphie,
part iii., pp. 208-211, fourth edition, Halle, 1890), which I have
used for more than ten years. For developing the plates I use the
aoda-pyrogallic developer, and for fixation sodium thiosulphate."
Central Photographic Club.— We gather that the principal
reason why the Central Photographic Club has not ere this opened
its doors to the several hundreds of members who have joined it is
the difficulty which the Committee have experienced in engaging
suitable premises. We understand that a considerable number of
suites of rooms have been inspected, and in two cases the Committee
had come to a decision, only to be disappointed over matters of
detail, which rendered it necessary to seek elsewhere. The Committee
have now resolved to seek accommodation at a first-class hotel in
central London. Negotiations with that object are afoot, and we
expect that in a few days the Committee will announce the opening
of the Club at some suitable rendezvous, where arrangements can be
made for use of meeting-room, dark-rooms, smoke-room, library, i&c,
as well as the supply of refreshments and hotel accommodation, with
beds for country members. It appears to us that, with such advan-
tages, the ultimate possibilities in the way of membership are very
great indeed.
SKtremely Rapid Sxposures. — Some little while ago we
described the marvellous photographs of flying bullets and other
. rapidly moving objects taken by Professor Boys; Messrs. E. & L.
Mach have been working in the same direction, and have recently
communicated a resiimi of their results to the Vienna Academy.
Some 1500 negatives were reviewed, and evidenced marvellous results.
Images of the Mannlicher bullets, quite sharp and 3J cm. (nearly an
inch and a half) diameter, were obtained. Instead of electric contacts
made by the flying projectiles which were liable to introduce a dis-
turbing element, these experimenters were able to make the bullet
itself close the electric circuit mechanically by means of the sound
wave it produced. After a number of trials they obtained homogene-
ous plane parallel glass plates large enough to produce an interfer-
ence field 8 cm. in diameter for use in Ludwig Mach's refractometer.
When one portion of such a field is occupied by a flying bullet, an air
jet or a sound wave passing an interfering pencil, the interference
bands, usually rectilinear, appear bent in such a manner as to indicate
a change of density of air at any point. For the purpose of instanta-
neous illumination the electric spark was usually employed, but some-
times, especially when longer exposures could be made, sunlight
rendered monochromatic blue was used.
Proposed Photographic Astronomical Telescope
for Cambridge University— The authorities of this University
have made a public appeal for funds to enable them to construct a
new telescope for celestial photography. They require about two
thousand guineas in addition to what can be advanced from other
available funds, the instrument itself and its fittings, dome, &c., being
estimated would cost about £3200. They say, " It will bejallowed that
the Cambridge University ought to bo completely eqiupped for
carrying on the most advanced work in modern astronomy. As
celestial photography is the branch of astronomy in which the most
important advance \i now being made, it has been decided that a-
photographic telescope shall be obtained if the necessary funds be
forthcoming. It is the opinion of those most competent to form a
judgment that a photographic refractor of about eighteen inches itt
diameter is necessiry to render it possible to obtain results of the highest
excellence. The new objective would be corrected for the photographic
rays, and the present Northumberland telescope would serve as the-
guide when attached to the new tube." That such an instrument
would be invaluable for the purpose we are quite certain, and the
best hopes of all scientific photographers will go witli the Senate of
the University. For those who would desire to convert their wishes
into current coin of the realm, we may note that subscriptions will be
received by Sir Robert Ball, or by any of the following members of
the observatory syndicate: — J no. Peile (vice-chancellor), Ct. (J,
Stokes, G. D. Liveing, G. H. Darwin, H. M. Taylor, and SV. W.
Rouse Ball.
ON THE CONSTRUCTION OF INTERCHANGEABLE LENS
SCREW FITTINGS.*
Common Method of Gauging Screws.
It is customary, in making screws, for opticians to provide them-
selves with certain gauges or standards with which to compare their
work. Such gauges generally take the form of those shown (not
illustrated). Let us suppose that a lens-maker, wishing to do the-
thiug -well, seeks the aid of s(jme expert to construct for him a set of
standard screw-gauges in pairs, male and female, for each size of
screw.
He may lieep a duplicate set if he likes, and can afford the
luxury. Such gauges may be made of steel ; but, as they would
warp in hardening, they must be left soft, and are thus specially
liable to become worn. They are put into the hands of the work-
man, -who uses them to test his work. When, for example, a male-
screw has been formed, he scre-ws upon it the ring gauge. If tha
gauge fit stiffly, he reduces the screw until the gauge passes on freely.
In this way he tests one screw after another as he makes them,
screwing the gauge upon each, and iuevitablj' wearing it away. It
is only a question of time, and generally of a very short time, for
such a gauge to be -worn large. Suppose it wear only one-thousandth
of an inch large on its diameter at the root, or crests, or sides of the
threads ; it then becomes possible to pass freely thi-ough that gauge
a male screw which may be one-thousandth of an inch too large;
But such a screw does not fulfil our conditions of free interchange-
ability, and such a gauge, worn even so little, is not capable of en-
suring such accuracy as is indispensable. " But," says the workman,
" I always make my screws fit the gauge loosely." "How loose?"
•we ask. " Oh, so that they shake a bit ! " he replies.
This is the common method of gauging screws; only it is rarely
the gauges are themselves accurately formed at first. But, even if the
gauges are correct, a method like this, which depends for its success
upon tlie workman's fancy of the right amount of shake, and which
makes things loose to .secure their being interchangeable, cannot be
considered an exact and satisfactory method, nor should it be tolerated
when we know any better way.
Common Mkthods of Ccjttixg Screws.
The common methods of cutting screws a-e very simple.
Let us take the case of a male screw. The piece to be screwed ia
held and made to revolve in a lathe, and its outer surface is turned
truly to the form of a cylinder approaching the full outer diameter of
the desired screw. Then what is called a comb or chaser is brought
into use. This instrument, which may be bought at the shops, is a>
cutting tool roughly in the form a common chisel, the working end
of which is serrated, the series of alternate indentations and projec-
tions presenting exact counterparts of the thread form and pitch of
screw which it is desired to cut. This chaser is presented to the re-
volving piece of work, and, sometimes by hand, sometimes by machine,
it is moved in a direction parallel to the axis of the lathe, so that it
cuts a spiral groove along the cylinder and forms it into a screw.
The form of the screw thread is determined by the form of the teeth
on the chaser.
We know that it is of great importance in .securing free inter-
changeabilitv that the form of thread be correct, but it is a fact that
screws cut by thiscommon method seldom, or perhapsnever, are correctly
formed in this respect. A famous navy captain, being asked why, or>
a certain occasion, he had not fired a salute, gave thirty-nine distinct
• Cenduded from page 510.
August IS, 1893]
THE BRITISH JOORNAL Of PHOTOGRAPHY.
ii2r,
and substantial reasons for his neglect. The first reason was that ho
had no powder. In thi! same way, fevernl reasons might be given
why opticians fail to cut screw.f correctly witli these common chasers;
but thi! one sufficient reason Ls that there is not such a tool in the
maricet correctly formed. At least I have, never found one, though
I tried hard to do so before giving it up and making my own. All
the bought chasers I have seen form threads of wrong angle and in-
sufficiently deep. Since the prominent points of the chaser teeth
come into operation first in cuttin^: a screw, and are tlius most worn
away, and since the chasers are themselves cut and formed by tools
1>
•Fia. G.
liable to similar wear of their prominent edges, we cannot expect
very much of the ordinary shop tools, wbicli cost only eighteen-
pence j)er pair. And, since everything the workman may do in
grinding the tool to sharpen it, in altering the angle of the inclination
of its upper face, either by grinding it or by the manner of applying
it to its work, tends to alter the form of the screw thread and make it
shallow, it comes to pass that the screw threads which are found on
scientific instruments generally, and which are nomiimlly of Whit-
worth form, vary from a, in fig. 5, which is correct, to b, and even
worse than that, which is prepared from measurements of screws
furnished to the recent Conference of Opticians by the opticians them-
selves.
A.v Impb()\ed Fobm of Chaser fob ScBEw-crTTiNO.
I have .shown the two principal weaknesses of the common methods
6f screw-making — the possibility of error arising from the inevitable
wear of the ordinary solid screw gauges, and the certainty of error
ari.sing from the use of chasers which in the ordinary way are faulty.
It is now several years ago since I designed a cliaser, shown in fig. 6,
which possesses important advantages over the ordinary form. The
chasing tool, a, is itself a portion of a screw, with only two turns of
the thread, and ia produced in a screw-cutting lathe, a quadrant
being afterwards removed to form two cutting edges, one for male
and the other for female screws. The figure at b shows also the
chaser attached by a bolt to its holder, and in position for cutting a
male screw. This chaser has the following important advantages : —
The form of its thread is easily measured by means of the test-pieces
which I have described. This is practically impossible vrith the ordi-
nary form of tool. The circular chaser is ea.9ily made, and the tools
used in making it are not subject to that incurable deterioration of
form which is inevitable with the tools used in forming an ordinary
chaser. The circular chaser is easily sharpened by threading it on a
fixed pin or stud, S, as shown in the figure at C,'ao that the chaser
may near on the face of an emery wheel always in the same way to
preserve the radial position of its cutting faces. It thus retains its
original cutting angle until entirely worn away, and, with ordinary
care, it is practically impossible to set it wrongly in relation to its
work. It may be removed for sharpening by loosening the bolt,
without displacing the holder, and in replacing it the only thing
necessary is to set the cutting edge at the level of a fixed lino upon
the holder. With such a chaser, so easily removed and replaced, there
is little temptation for the workman to neglect the sharpening o( the
tool, while with the ordinary form this temptation \.-> very great.
For want of time I cannot now desorib<! my methods of originating
the thread form on these chasers. With suitable appliancvs ue work
is quite simple.
When properly constructed and arranged, such a chaser as I have
described will form screw threads accurately, and for a considerable
length of time before appreciable error arises from the wearing of
the tool. For practical purposes it is possible so to rely upon the
constancy of the thread form which it produces, that to measure the
diameter of a screw on the tops of its threads sufficiently indicates to
the workman the gauge of the entire screw.
Thb Chasixo Lathk.
I show you a view of part of a chasing lathe as used for cutting
screws with this chaser. The usual slide rest is removed to abow
the screw-cutting gear without confusion. The spindle which sup-
jwrt.s the work, ana revolves with it, carries at its other end a guide
.screw of the same pitch as the one we wish to cut. Engaging witli
this guide scirw is a nut attached rigidly to a bar capable of sliding
along and behind the lathe bed, which bar serves to support and move
the cliasing tool. As the spindle revolves, its guide screw, acting on
the nut, causes the bar to slide and so to move the chaser along at
the necessary rate. For convenience the chaser commences its work
at the .shoulder of the screw, and moves away from it in performing
its worlc. Then, by raising a handle, the guide nut and the chaser
are lifted from their engagements, and the bar is moved back so as to
repeat the movement of the chaser from the shoulder and along its
work. At each turn, by means of a screw and hand wheel, the chaser
is moved a little further into cut, until it lias at last produced a full
thread on a screw of right diameter, and further advance of the chaser
is then prevented b}' a stop on the hand wheel.
By these means we have accomplished our screw-cutting at
Leicester for some time with a remarkable degree of accuracy. We
have been able not only to ensure that every male screw shall be at
least as small as the normal, in order that it may be freely interchange-
able with its fellows, but we limit its error in the other direction also, •
that it shall not be more than one-thousandth of an inch smaller than
the normal — that Is, that it shall not be loose nor shake in its fellow
more than one-thousandth of an inch on its diameter.
Limit Gauqbs.
For practical purpo.ses in gauging such male screws, and not for
purposes of strict examination, though, indeed, with due care it is a
practically complete test, we use a hardened steel gauge such as you
see on the screen (not illustrated).
Thi.s is the two-inch standard male screw gauge. It is appUed to
the screw as a calliper to gauge its full outer diameter onh-. The
gauge has two sides, the gap between its jaws on the side marked F
being exactly two inches across. On the second side, marked S, the
gap measures exactly one-thousandth of an incli less. In using the
gauge, the screw is cut so that it passes through the two-inch gap
without any jamming, but it is not allowed to pass through the gap,
which is only one-thousandth of an incli smaller. Thus the screws
are at least as small as the normal, and are freely interchangeable,
vet they are not loose and shaky. For- gauging female screws we
employ a pair of disc gauges, one being of the correct core diameter
of the screw, and the other one-thousandth of an incli larger. These
are used in a similar way to that I have described for male screws —
to limit the error in the size of female screws.
This is not a laboratory experiment. It is a process daily and
hourly employed at Leicester, where such screws are made more
cheaply than less accurate screws were ever made before. So reliable
are the methods, that I could produce from stock at any time a suffi-
cient number of screws of one size to form a million distinct combina-
tions, every one of which would present a sweet, smooth fit without
any need of forcing.
It should be understood that our brass work is prepared by special
machine tools in order to form it accurately and uniformly as it never
can be done by hand. It is in this process of preparing that the
accuracy in the cutting of screws is observed. In the subsequent
processes of finishing, slight errors are inevitably introduced thr.iugh
the wearing of the parts, but such errors are very small indeed, and
do not lead to any sacrifice of free interchangeability, but rather in
the other direction.
In order to cover every reasonable risk of our work not being
freely interchangeable with that of any other maker who adopts
accurate method^ for his work of screw-cutting, it is our practice to
make every female screw, such as those in flanges and adapters, one-
626
THE BKITISH JOURNAL OF PHOTOGRAPHY.
[August 18, 1893
thousandth of an inch larger than the standard. Flange screws are
thus made to lit loosely to this finall extent.
It is also our practice, which, to save confusion, I have not
previously mentioned, to make the pro-
minent points of the threads upon our
screw chasers abnormally prominent,
so that the threads which are formed
upon the lens fittings are ahnormally
deep, though t hey are correctly formed
on their crests and on the sloping sides.
This has the effect of making the threads
\ / \ bear only upon their sides when they
Vy V/ '"•'■8 P''^ together, us shown in Fig. 7, at
rt, an arrangement which has two prin-
*" cipal advantages : one, that there is
F'o- 7- much less risk of tlie screws sticking fast
together, a common defect with ordinary
screws, which often fit only in the crests and hollows of their threads
and not fully upon their sides. The otlier advantage is that the
prominent edges or crests of the screw thread, which are the parts
most liable to damage by bruising or by other accident, may even be
bruised to a considerable extent before the damage will extend to the
eloping sides of the threads and affect the fit or the free interchange-
ability of the screw. With the American form of screw, wliich has
a flat and not a rounded crest, as shown at b and c, any sliglit
bruising of the prominent edge of tlie thread is certain to affect also
the sides, and thus to impair the fit of the screw. For this reason
the Whitworth form of thread is better adapted than the Sellers
thread for such screws as those on the fittings of our lenses, which
we are frequently screwing and unscrewing, and sometimes leaving
exposed and liable to damage.
Finding the Zero of a Screw.
I should like now to refer to another matter of mechanical practice.
Several years ago it occurred to me that it would be possible to pro-
vide a system by which all our lenees might be made to arrive home
with their diaphragm indexes or other fittings in one position, con-
Tonient for use. The principle involved is that we should make the
screw threads terminate at the shoulders of all the male screws at a
point around the lenses having a fixed relation to the position of their
diagram indexes or fittings. For example : — The screw thread of a
lens with iris diaphragm might terminate at the shoulder of the screw
at a point coinciding with the position around the leui of the iris
index zero. If it did this in one lens, it might be made to do so witli
any number, and in this way all those lenses when screwed in turn
into one flange would arrive home with their diaphragm indexes in
one position. This system has been adopted as part of the Society's
Standards, and it is a matter of considerable importance that opticians
should be provided with some easy means of maKing their lens fittings
uniform in this respect. When a male screw with a shoulder is
screwed home in a female screw or ring so that the shoulder bears
against the face of the ring and stays further advance of the screw,
one side of the male screw thread is caused to bear hard against the
corresponding side of the female screw thread. One side only of the
thread is thus employed, and on the male screw it is the side which
faces the shoulder of the screw. The position of rotation at which
any lens screws home in its flange is determined by the relation of
that active or working side of the thread to the screw shoulder. If
we take a number of such male screws and try to discover just where
the thread faces lead up to their shoulders, we shall have no easy task
if it is to be accurately performed, and, unless we take into account
the diameters of the screws as measured on the working sides of their
threads, the lenses will not all screw home in the same flange to the
positions our calculations would lead us to expect. But there is a
(dimple way of accurately finding that point, which we may call the
zero, of any such male screw with a shoulder. It is to have a corre-
sponding female screw ring with the zero marked upon it, and after
screwing home the male screw in this ring, to place the zero mark of
the male in agreement with that of the female gauge.
The most convenient point to choose as the zero of a screw, is that
point around the female screw where the tip of a tool cutting the
screw would lie in the plane of the ring face. In other words, it is
where the thread becomes complete at the face of the ring ; but, if
we were to locate the zero by watching where the cutting tool came
into this position, or by looking for the commencement of the thread
at the face of the ring, we might easily get into considerable error.
If, however, we make the tnickness of the ring-gauge an exact
multiple of the pitch of the screw, and if we put zero marks upon
both sides or faces of the gauge, the two zeros will be together at one
point on the circumference of the gauge. It is easy to determine
the true position of these zeros, for, if any wrong point be chosen for
the mark, a male screw would not arrive home in either side of the
gauge in the same relation to the zero marks. The true zero is at
that point to which a male screw arrives home on both sides alike.
This method is very simple and accurate, providrjd always that the
screw of the gauge be of true size and form. Such a gauge should
be made of steel, or it will not long withstand the wearing effect of
forcing screws home in it.
Facilitatino thk Enoagemknt op Screws.
This system of providing that all lenses may screw home in their
tlanges in one position depends, as I have said, upon tlie principle of
making all the male screw threads terminate at the shoulders in one
uniform position in relation to the diaphragm indexes or other fittings
of the lenses.
This leads nie to mention the improvement which I designed a year
go for facilitating the engagement of screws.
When a pair of screws accurately formed are merely chamfered at
their ends in the usual way, it is astonishing to any one who has not
tried it how very diflicult it is to get the screws to ensage. They
work together like a ball and socket joint, and, particularly with
screws of large diameter, it is sometimes impossible to find at what
part of their revolution the screws first engage. This difficulty is
only lessened in common experience because such screws usually fit
very loosely. The same kind of difficulty always occurs, if in less
degree, with such screws, and we commonly experience the trouble of
holding a lens to its flange in the right direction axially, and of finding
at what part of their revolution the screws first engage.
The method I devised to overcome these difficulties by removing
the usually incomplete portions of both male and female screw thread
so that they commence abruptly of full section near the point w hich
I have named the zero of the screw is perhaps familiar to you all.
There is one point only in this to which I wish to call attention in
closing. It is that screws so formed cannot be damaged by crossing
the threads; and, while this construction renders the engaging of
such screws beautifully simple and certain, it removes a source of
danger and helps to ensure the permanence of that accuracy of work-
manship which is essential to the effective establishing everywhere
of standard interchangeable lens fittings, W. Taylob.
JOTTINGS.
I OFTEN ^met with the double tones in gelatine prints, to which Mr.
S. Herbert Fry alludes, some months ago, but latterly I have got rid
of them in a very simple way. Tlie bath I used then, and still use, is a
combined one, containing sulphocyanide, At first I was inclined to
think that the double tone was wholly due to the presence and action
of the latter salt, and although possibly it does predispose towards
the defect, for defect it assuttedly is, I am not persuaded that it is
altogether to blame. When I first took up gelatine paper, I printed
little, if any, deeper than I wished the finished prints to be, and 1
invariably met with the tone effect that Mr. Fry speaks of. Latterly,
however, I have found that by printing more deeply tiian hitherto, so
as to allow of a very considerable reduction in the combined bath, the
tone scale of my prints is remarkably improved ; so much so, that I
seldom now meet with double tones. All the same, the character cf
the negative is not without influence on this point, I fancy.-
I have an idea for the commercial preparation of thickly coated
plates, which, if carried into execution, would entail no extra ex-
pense, and very little additional trouble in the method of manu-
facture. Thickly coated plates are said to reduce the effects of
halation and to enable one to obtain richly deposited images, with
possibly a better range of gradation than with other plates, so that it is
worth the while of the makers to secure such advantages on the
terms I am specifying. Good though it is, 1 shall not patent the idea.
No, the only reward I ask is the gratitude of platemakers and plate-
users alike ; that will satisfy me. But to the formula. Any plate
may be converted into a thickly coated one, by the simple expedient of
adding*to the coated side the quantity of emukion which is usually to
be found on the backs of the plates, in which position it takes no part
in the formation of the image. During this season I have used gela-
tine plates of nearly every commercial brand, and I have been
August 18, 1693]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
627
astonished at the fjimntity of emulsion whioh is wasted on the backs
of the plates. It is matter in the wrong place, but, unlike dirt, it has
a right place in which it would be exceedingly welcome.
Once or twice lately the question of individual amateur photo
graphers obtaining from the railway companies concessions in the
matter of their fare?, such as those enjoyed by anglers, has been
mooted. Knowing something of the tricks and manners of railway
magnates, I have little expectation that the movement will end in a
favourable result. Obviously, the cases of the angler and the photo-
grapher are not panillel, and I fear that, if the companies did make a
concession to the knights of the camera, the door would be opened
pretty wide for the admission of abuses. By the way, amateur
photographers on their outings should not forget the fact that to
parties of ten and upwards the railway companies, or rather many of
them, grant a reduction of fares. Some of the canny Midland and
Northern secretaries are alive to the fact, as your pages testify
wliereas, judging from the silence of London secretaries on the point
advantage does not appear to be taken of the fact in the Big Village.
Or is it that you Londoners are less enthusiastic in the matter of
outings than we dwellers up north ?
Heading through a scientific journal the other day, I happened
upon a short paragraph in which expression was given to the difficulty
of coping with the now voluminous periodical literature of science
with the view of collating that which would be worth preservation
for future reference and infoniiation. It seems to me that the
literature of photography must present just about the same
difficulty. Tlie number of publications is increasing to such an
extent as to quite justify Mr. Mason's remarks, in his presidential
address to the Convention, that "the journalism devoted to the
profession seems to be out of all proportion to the extent of the
trade it caters for." Side by side with this, moreover, has arisen
such diffuseness and verbosity among individuals studying photo-
graphy in its scientific aspects that it is next to impossible for any
one person to keep pace with the appalling torrents of talk that are
poured out as contributions to our knowledge of pliotographic science.
Camera Club conferences and Photographic Conventions seem to be
largely used as pegs upon which to hang long and weary screeds that
probably few but their authors ever peruse, and now we have the
parent Society cold-bloodedly proposing to infiict a two days'
" Congress " of talk upon us. There is too much talkee-talkee in
photography. Messrs. Guardia and Fry, the Photographic Club
delegates to the Convention, bluntly say : " Except so far as the
publicitj' of the press is concerned, the meeting" (i.e., the Convention)
" for the reading of the papei-s was a fiasco ! " But fancy if all those
terrible papers had been read I Why, they would have driven
the Conventioners mad. I don't for a moment suppose that anybody
outside a newspaper office has read thera in their entirety. To do so
would, in my humble opinion, entitle a man to receive the Albert
Medal of the First Class from the hands of Her Gracious Majesty.
Talking of the north, it is singular to note that " diffused treat-
ment " does not prevail so largely here as it does down scuth. Photo-
graphers, both amateur and professional, have no sympathy with the
extraordinary abortions in the way of focussing that prevail in some
quarters. They take their pictures as the human eye sees them,
sharply, and as the optical analogue of the human eye, the photo-
graphic lens, also sees them, sharply. What's that? The human
eye cannot see the different planes of a subject sharply at one and the
same time ? Granted ; but the brain is conscious that when the eye
is moved from plane to plane the subject will be seen sharply then ;
and while this consciousness remains sharp photographs will appeal to
the perception of the multitude with greater force than the impres-
sionistic blurs and smudges which are being run by slavish adulators
of Whistler and his artistic toadies. With Captain Abney, 1 say I
am a mappist. In my part of the world we are all mappists. And I
venture to think mappism will prevail long after the confused dream
of fuzzism simply lives in history as food for amused wonder.
The hot weather maken us all uncomfortuble, " dem'd m'list and
unpleasant," as .Mr. Mantalini would aay, but it brings corretiponding
advantages in its train. The increased warmth of the aolutiooi
certainly hastens development, fixing and wa«hiog. The average
teraperatureof the water with which I have been working lately haa
been nearer 70° than 00°, and, on the score of time saving, I bay*
ctTtainly found that no drawback. Fortunately, we live in dayi
when frilling is comparatively unknown. Apropot of warm solu-
tions, there is much wisdom in the remark of Mr. Iladdon, made at
the meeting of the London and Provincial Photographic Association,
and reported on p. ■'517 : He " had no doubt that, by the uso of luke-
warm water, five minutes' washing (of albumen prints) would suffice."
I have long used water slightly warmed for the purpose, and can
testify to the excellence of the idea. What a valuable paper that is
of Messrs. Grundy and Haddon, by the way. Their experiments, I
venture to say, are destined to become classical. Besides that, they
will not improbably be instrumental in teaching photographers more
than they laitherto knew as to the manipulation of albumen paper,
and thus indefinitely stave off the extinction of a printing process
the death of which, to say the least of it, has been prematurely
prophesied. Than good silver prints nothing are finer, leaving
surface effects to individual tastes, of course. As to their per-
manency, I have some in my possession nearly forty years old,
perfect in preservation, and bad to beat from any modem point of
view.
How is the Central Photographic Club getting on? I hope it hai
not fizzled out. Months ago, when the ides of it was mooted, I
ventured to doubt the prob.ibility of its success, if the promoters in
any way reckoned on the support of profes.sional photographers.
I fear they have been disappointed. The profession, in the main, is
sadly deficient in esprit-de-corpn and public - spiritedness. The
National Society of Professional Photographers is doomed to per-
petual impotence, by reason of its paucity of members ; the Photo-
graphers' Benevolent Association is chiefly supported by amateurs
and the trade. The Photographic Convention of the United Kingdom
attracts le.ss than a handful of profe.ssionals to its gatherings. A nice
picture, certainly. Cosmos.
THE ELECTRICAL ACTION OF LIGHT UPOM SILVER
At the meeting of the Asiatic Society of Bengal in May last, Colonel
'Waterhouse read a paper desctibing some observations of the elec-
trical action of light upon silver and its haloid compounds he bad
lately been making. The subject is of interest in connexion with the
formation of the invisible photographic image as well as with electro-
actinometry, and an abstract of the paper wUl, no doubt, be acceptable
to our readers.
The paper commences with a short summary of the previous observa-
tions of Becquerel, Hunt, Grove, Facinotti, Hankel, Dewar, Egoroff,
Moser, Minchin, and Griveanx on the electrical action of lii;ht on silver
and its haloids, and on other metals in various solutions. The apparatus
used is next described. This consists of two kinds of cells similar to
those used by Becquerel — one being vertical, the other horizontal. The
former consists of a glass cell in which the plates forming the electrodes
can be coupled face to face or back to back, one being screened from
light by the other and by one or two interposed screens of ruby or yellow
glass, the cell being closed all round except at an opening on one side.
This glass cell is enclosed in a wooden box, with a shutter on one side
sliding in front of an opening corresponding to the one in the glass cell.
In front of this shutter there are grooves in which coloured glasses can
be placed in front of the opening. The upper part of the wooden case is
open, but can be closed by a lid, through which, if necessary, a funnel
may be passed to admit of solution being poured into the cell without
letting in light. In this way sensitive plates can be put into the celU
in the dark room and the solutions added at the time of observation.
The silver plates used with this cell were 4x1^ inches, other plates, such
as photograpliic dry plates or celluloid films, being about the same size ot
smaller.
The horizontal cell consists of a wooden trough divided into two com-
partments by a double wooden screen, which allows the free circulation
of the electrolytic fluid, while completely shutting off light from the
unexposed compartment. This trough is covered with a lid, with two
large openings fitted with hinged shutters, to the under sides of which
mirrors are attached for the purpose of reflecting light at will on to one
or other of the sensitive surfaces in the compartments below. By tbii
arrangement the whole of the sensitive plate cin be exposed to light.
628
THE BlUnsH JOURNAL OF PHOTOGRA.PHY.
[August 18, 1893
while the unexposed plate is more perfectly protected from strong light
than it is in the vertical cell. The horizontal trough is constructed to
take two plates 3^ x 4^ inches, or smaller.
In most cases, even under favourable conditions, the light currents
observed are very weak, and, consequently, an exceedingly sensitive gal-
vanometer is necessary. The one used in these experiments is the latest
modification of the Bosenthal micro-galvanometer, made by Edelmann,
in Munich. It is said to be sensitive to currents of a billionth of an
ampfere, with a resistance in the coils of only 1000 ohms. It can be set
up in any position, is simple in construction, exceedingly sensitive, con-
venient in use, and easy to observe with fair precision, even in a town on
a bad foundation like Calcutta. By using the directing magnet, the
normal sensitiveness can be greatly increased ; but in most of the experi-
ments this magnet was not used, and when it was used the increase of
sensitiveness was limited to about five times. The galvanometer is fitted
with a small telescope, by which direct readings are made off the mirror
from a millimetre scale placed at one metre from it.
As it was found that work with the spectrum required entirely special
arrangements for obtaining a sufficiently large amount of light to make
the action of the different rays of the spectrum distinctly visible in the
telescope of the galvanometer, and as the weather was also unfavourable,
the action of coloured light has only been observed through the ordinary
coloured glasses as found in the bazaar. In all cases sunshine was re-
flected on to the sensitive surfaces by means of a mirror, as it was not
convenient to use the direct rays of the sun.
Several difficulties are noticed as occurring in the course of the observa-
tions ; among them, polarisation, or other currents generated in the cells
independently of the action of light, but sometimes brought about by it ;
apparent reversals of current, due to decreases in the strength of the
light. The unusually cloudy and changeable state of the weather during
the course of the experiments, and the want of steady, clear sunshine
made it difficult to compare the results of observations on different days.
The observations detailed in the paper are confined to pure silver
plates in water, dilute acids, dilute alkaline solutions, and on pure silver
plates in a dry state, the observations on the haloids being reserved for a
future paper. The silver plates used were nearly pure, being about -OO.S
touch (not •974, as stated in the paper). They were 4 x IJ inches, and
immersed in the various solutions from 2 to 2J inches, and about bal
an inch apart.
I. — Silver Plates in Water.
Distilled Water. — The current observed in distilled water between the
exposed and unexposed silver plates was exceedingly small, and conld only
be clearly seen with strong sunshine. In nearly all cases the exposed
plate was positive to the unexposed, as zinc to copper, and formed the
anode or dissolving plate of the couple.
Tap Water. — The ordinary water from the town supply was used ; and
at the time of observation there would be a fair proportion of chlorine in
it amounting to 1 to 1-2 parts per 100,000. In most of the cases observed
the exposed plate was distinctly positive to the unexposed, as with dis-
tilled water. The plates were rather more sensitive than in distilled
water, and were easily affected by changes in the strength of the light.
In some cases, when fresh plates were exposed to daylight, the exposed
plates were negative to the unexposed ; but on subsequent expose to sun-
shine they were positive, and remained so on further exposures. Hankel
found that, of two silver plates immersed in water, the plate exposed to
white clouds, or to the setting sun, was negative.
II. — Silver Platbs in Dilute Acids.
Becqnerel found that with plates of gold or platinum, immersed in acid
solutions, the plate exposed to the light was always positive. The same
rule seems to apply to silver plates in most cases, but not in all.
Dilute Sulphuric Acid — The action of dilute sulphuric acid upon silver
plates under the influence of light seemed to be rather irregular, the ex-
posed plate being sometimes negative on first exposure and positive in
subsequent exposures, or vice vend, but the general tendency seemed to
be for the exposed plate to be positive.
In distilled water acidified with one drop of ordinary sulphuric acid in
sixty c.c. of water, the exposed plate was generally positive when exposed
to bright sunshine, but on two occasions it was observed to be negative.
In tap water similarly acidified, the plates appeared to be negative on
first exposure, under white or coloured glasses, and on being exposed
again later were also negative, but became positive and more sensitive
both to white and coloured light. The plates were very sensitive to
changes in the strength of the light.
With plates immersed in distilled water containing one per cent, of
acid, it was found that, if the plates were exposed to sunshine a very
short time after being |immersed in the dilute acid, they were at first
negative and fairly sensitive to light ; but, in a case when the plates had
been kept in the cell for twenty-four hours to reduce polarisation, they
were positive and much less sensitive than the plates which were nega-
tive. After being exposed a few times they lost all sensitiveness.
In tap water containing the same proportion of acid, the exposed plates
were generally positive on first exposure, but the current quickly de-
creased on subsequent expoBores, and in some cases the exposed plate
became negative.
With plates immersed in distilled water containing two per cent, of
acid the deflections were usually positive, and the plates became less
sensitive by repeated exposure and by keeping.
With plates immersed in freshly mixed dilute acid at five per cent., the
exposed plates were positive on first and subsequent exposures, but with
plates kept in the acid for twenty-four hours the first plate of the pair
was negative when exposed ; but, when the unexposed plate was also
exposed, it remained positive. The increase of acid lowered the sensitive-
ness of the plates.
Dilute Nitric Acid. — With nitric acid the exposed plates are nearly
always positive, and the action is more uniform than with sulphuric
acid, especially when dilute solutions containing one per cent, or more
of acid were used. Becquerel also found the exposed silver plate positive
in dilute nitric acid.
Dilute Phosphoric Acid. — With dilute phosphoric acid the exposed
plates were almost always positive. On first exposure they showed fair
sensitiveness, but it rapidly decreased on further exposure.
Dilute Hijdrochlnric Acid. — With one per cent, of hydrochloric acid,
s.g. 1-150, in distilled water, the exposed plates were uniformly positive,
and, owing to the formation of a deposit of chloride, they were much more
sensitive to light than plates immersed in acids which do not form a
sensitive compound with the silver. The sensitiveness was greater
according to the time the plates had been kept, but was reduced by
increase in the strength of the acid. Coloured glasses all gave positive
deflections, the red being the smallest, and then the green.
Dilute Hydrohromic Acid. — With dilute hydrobromic acid the exposed
plates were uniformly negative and very sensitive to light. Coloured
glasses gave fairly large negative deflections, the red being the smallest,
and then the yellow. The plates were coated with a grey greenish-
yellow deposit of bromide, which turned dark on exposure.
Dilute Hydriodic Acid. — A dilute solution of the acidwas roughly made
up by precipitating a solution of barium iodide with sulphuric acid.
There was, however, a quantity of free iodine present, the solution being
of a light sherry colour. The exposed plate was strongly negative in
sunshine, but comparatively very insensitive to weak daylight. Coloured
glasses gave negative deflections, the red and green being the weakest.
The plates became less sensitive by keeping. They were covered with a
strong loose deposit of iodide, under which the silver surface was dark-
ened. A faint image of the exposed part of the plate was visible.
Dilute Glacial Acetic Acid. — In dilute glacial acetic acid at^one per cent,
the exposed plates were positive, but became less sensitive by keeping.
In a five per cent, solution the exposed plate was also positive, but less
sensitive than in the weaker acid.
Dilute Formic Acid. — In dilute formic acid at one per cent, the exposed
plate was positive, but after being kept in the cell for twenty-four hours
became much less sensitive.
III. — Silver Pi„vtes in Alkaline Solutions.
Becqnerel found that, when platinum or gold plates were immersed in
alkaline solutions, the plate exposed to light was negative. This rule
does not appear to hold good with silver, the exposed plate being almost
always positive.
Solution of Caustic Potash. — In a solution of caustic potash at one per
cent, the exposed plate was positive and fairly sensitive. Coloured
glasses gave position deflections, the red and yellow being the smallest.
Solution of Potassium Carbonate. — In a solution of anhydrous potassium
carbonate at one per cent, the exposed plate was positive and fairly sensi-
tive to diffused daylight as well as to sunshine, more so than in the solu-
tion of caustic potash.
In tap water with a few drops of 10 per cent, solution added to 60 c.c
of water, the exposed plates were also positive and very sensitive on first
exposure, but the sensitiveness decreased with the further action of light,
and also by keeping the plates in the cell.
Solutions of Sodium Carbonate. — In a one percent, solntion of anhydrous
sodium carbonate in distilled water the exposed plates were positive, but
much less sensitive than with the potash salt, and further lost sensitive-
ness by subsequent exposures. With a stronger solution at five per cent,
the results were similar, but the plate appeared somewhat more
sensitive.
Solutions of Lithium Carbonate. — With plates exposed shortly after
immersion in a one per cent, solution of lithium carbonate in distilled
water, the plate exposed to sunshine was positive. The plates lost
sensitiveness after the first exposure, as well as by keeping, but remained
positive.
Dilute Solution.^ of Ammonui. — With a solution of four c.c. of strong
liquid ammonia in 100 c.c. distilled water, the cell having been left
standing fourteen or fifteen hours, the exposed plate was found to be
positive, but exceedingly insensitive.
In a freshly mixed solution of half the above strength, the exposed
plate was rather more sensitive, but the sensitiveness decreased on
further exposure, and after a short time the plate became quite insensi-
tive.
Potassium Cyanide. — With solutions of potassium cyanide at one per
cent, there is a strong polarisation current which takes several hours to
subside. When freshly immersed, the exposed plate was negative, but
not very sensitive. On subsequent exposures the plates were first nega-
August 18, 1898]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
639
tive and tbon positive, and graduall; lost sensitiveness. Some peculiar
reversals and polarisation currents were observed, wliich roijuiro further
«iaminatioii. The plates wore coated with a dark grey deposit, thicker
at the upper part of the plate than at the lower. About the immersion
line there was a yellowish white deposit, and the plates were deeply
corroded, but no sign of an image of the exposed part was visible.
rUin Silter Phtle.i Dry. — When a silver plate about 5x4 inches, not
immersed in any solution, but with its ends connected by silver bands to
the terminals of the galvanometer, the directing magnet being placed so
as to increase the sensitiveness of the galvanometer about thirteen times,
was exposed to light, so that one-half remained unexposed, it was found
possible to detect a slight current between the exposed and unexposed
halves of the plate, the exposed half being positive to the unexposed.
With a plate that had been lying by for some time, and was not cleaned
before exposure, the dellection in bright clear sunshine was fairly large,
amounting to about ton divisions or rather more than the dellection
caused by the contact of dry zinc and copper. When the plate had been
cleaned with cyanide of potassium, followed by rnbbing with emery cloth,
the deflection on exposure was still positive, but much smaller, and
became less by subsequent exposures.
Some other very pure silver plates, about y9i)%5 touch, also gave positive
deflections on first exposure, but very small, but sometimes the deflec-
tions were negative, or became so by prolonged exposure. With silver
deposited on glass the deflections were sometimes negative and sometimes
positive, but always very small. These effects did not seem to be due to
heat, because with the plate first observed, and with the purest silver
plates, the action of heat applied at the exposed end of the plate was to
cause a positive deflection, but with other silver plates not quite so pure,
and with some largely alloyed with copper, the heated end of the plate
was always negative to the cool end. The deflection invariably increased
with the continuance of the heating and was always in the same direction
on repetition of it. The light currents, on the other hand, showed a
decrease of deflection from repeated exposures, and sometimes a change
■of sign contrary to the heat currents shown by the same plates. The
observation is a very diflicult one, and requires further repetition, under
more favourable conilitions of light and weather, in order to obtain
definite results.
From the above experiments it would appesu: that, as a general rule,
sunlight has an oxidising or dissolving effect on silver, whether in acid
or alkaline solutions, the exposed plates being nearly always positive and
consequently forming the anode of the voltaic couple. With solutions
•decomposed by silver and formmg sensitive compounds with it the action
is variable.
♦
STEREOSOOPY.
r Fairfield Camera Club. 1
One would think it hardly possible in these days to meet with any-
body who does not know what a stereoscopic slide is, but I assure you
it is not an infrequent occurrence to find good photographers who
have not the sliglitest idea why a stereoscopic slide consists of two
pictures, or in what way these two pictures differ ; and, indeed, I
might even go a step further.
Not very long ago a member of this Society called upon me, and, in
the course ot conversation, he said that he had never seen any um in
stereoscopic sUdes ; he had a stereoscope and some slides at home, but
he could see the pictures best without the stereoscope. I gave him
«ome of my slides to examine, and he very soon altered his ideas, and
became deeply interested, and wanted to know more about them. In
the course of a very agreeable chat, I asked him if it had ever oc-
curred to him why he had two eyes? "Oh, every fool knows that 1"
he said ; " it's so that, if I get one knocked out, I have another to fall
back upon." But I think our friend would be able to give a better
reason now for his having two eyes, for he has since become a mosten-
thusiiistic stereoscopist.
BiNOciTLAE Vision.
Now, as the whole principles of the stereoscope are involved in
binocular vision, we had best begin by a little consideration of the
sense of sight.
The sense of sight has been called distant touch ; it enables us to
perceive light, and to distinguish bodies, not only as to their colour, form,
and distance, but also as to their motion or repose.
The organ of vision is composed of a receptive apparatiu and an
■apparatus for trans7mesion. As a receptive apparatus we may com-
pare it to a photographic camera and lens. We have a nearly globular
chamber, composed of a thick, strong, white substance — the sclerotic
■coat — part of which is seen as the white of the eye. The inside of thi.s
chamber is interlaced with minute blood vessels, covered again by a
thick black pigment, called the retina, and the whole is filled with a
transparent jelly ; in front is a transparent convex membrane (the
cornea), fixed, like a watch glass, into the sclerotic coat, and behind
this is the crystalline lens, covered in front by a curtain, which is
perforated by a round hole in the centre, and is called the iris.
It is by means of the crystalline leus, which i.t bi-convex in form,
thnt images are formed on tliu retiiin, and, a* in the coie of any other
bi-convex leu.4, the image formed )« inverted, just as the image formed
by n photographic len» js inverted on the ground-gloM screen of the
camera ; but, as we all know, the photographic lenj, as it ifi generally
uned, has no fixed focus ; the nearer an object 1<e brought to such a
leu.^, the further from the lens, on the other side, the aensitiv« plate
must be placed, and vice versa. For this reason we have a rack-and-
uinion movement to our camera for focussing ; but in the eye we
Lave no rack-and-pinidu movement, but we have an elastic lens which
automatically flattens or bulge.s, to become longer or shorter in focus
as we observe distant or near objects; thus the crystalline lens has the
power of accommodatim, as it is called.
The iris, too, is automatic in the adjustment necessary for more or
less light admitted to the eye.
The receiving surface for the inverted image is, as has been said, the
retina, which is an expansion of the optic nerve by which light im-
pressions are transmitted to the brain. The eye thus receives impres-
sions for the inspection of the mind.
But the retina is not equally sensitive over its entire surface;
indeed, there is but one spot near the centre where distinct virion is
possible. This is a yellowish depressed spot, sometimes called the
" pit " (or forea centralis), so that, when observing natural objects,
we only see distinctly a very small area at a time, all other parts are
indistinct, or what a photographer would understand a.s out ot focus,
or very inferior definition ; but the rapidity of the movement of the
eye enables us to combine the successive images, and we know, from
experience and the sense of touch, what they mean. To make this
part of our subject still more clear, let us look at a landscape in
nature. We concentrate our attention upon a tree. Now we see
only the tree or a portion of it distinctly for the moment, all other
parts of the landscape are more or less out of focus ; but, as we desire
to see other parts of the landscape, the movement of the eye and the
accommodation of the crystalline lens instantly adjust themselves to
produce sharp or distinct impressions of whatever part we turn our
attention to; thus, "whatever we want to see we look at, and we
see it distinctly ; what we do not look at we do not as a rule care
for at the moment, and so do not notice how imperfectly we see it.
Here 1 would suggest that a little study of the theory of vision
might assist the followers of the school of out-of-focus photography —
misnamed naturalistic photography — to a modification of their ideas.
I.WEnSIOX OF THE I'.F.nSAL l.\I.4GE.
Well, up to now we have only very briefly considered vision with
one eye, and before we leave this part of the subject I must remind
you agaiu that the retinal picture is inverted both as regards top and
bottom, and right and left, of the actual objects just as the image is
inverted on the camera ground glass. Then the question follows.
How do we get the impression of their true position ': The theoiy of
vision cannot be explained by anatomical facts, so that many hypo-
theses have been invented to explain it. The most reasonable of these
is that of the late Professor Pick, by assuming that, as all retinal im-
pressions are conveyed to the brain tor the inspection of the mind, the
nerves of sight and those of feeling are co-operative, or in corre-
spondence.
If some of us forget our own first difficulties in composing a picture
on the camera ground glass, we can care to mend the difficulties of
photographic tyros. It is only by constant practice that we can
adjust our instrument, and, when this is attained, there is no difficulty
in arranging the composition of our picture; we way cut ofE the
foreground, balance the sides of our picture with perfect ease — in
fact, so accustomed are we to the inverted image on the ground glass,
we do not even notice that it is so ; but, when the negative is de-
veloped and printed, we can no longer tolerate its inversion, and t >
judge of its composition, or even to examine its detail, we turn it-
right side up.
As I stand now, I see the President in his chair, and, although the
image of him on my own retina is inverted, I know that his head isupand
his feet are down; and if I now turn my back upon the Pi-esident, and
assume the ungraceful position by benduig my body with my head
down between my legs, the retinal image of the President will be
reversed, but I have still the impression that his head is up and his
feet down.
Another instance of the correspondence in the sense of sight and
that of touch is demonstrated by a man who shaves before a looking^
glass. Those who are not accustomed to shave are in fear of cutting
themselves, for the razor seems to go the wrong way. The same
thing is experienced by youn^ microscopists in attempting dissections
under a microscope.
But it is time we began to consider vision with two eyes, or
630
THE BRITISH JUUilNAL OF PHOTOGRAPHY.
[August 18, 1893
binocular vision as it is called. "When we look at an object with two
eyes we receive two retinal images, one in each eye, and yet, under
normal conditions, only one impression is produced in the mind. We
direct the optic axis of both eyes to the one object, therefore they
coiverge, and the images, falling upon corresponding parts, are trans-
mitted by corresponding nei-ves, which may be described as bundles
of fine fil>res, the inside set of whicli cross like the reins of a pair of
horses, and are brought together before entering the brain.
CONVKBOENCE OK THE OPTIC AxiS.
The power of convergence of the optic axis to one point is attained
in infancy, and 1 have no doubt many present can call to mind a very
young baby before it begins to "take notice" has a very vacant look
about the eyes ; it disregards the fond father as he approaches or
recedes. The nurse draws her hand over the organs of vision as she
notices the baby's eyes sometimes diverge, and this, she says, is to
prevent it from having a permanent squint; soon the baby acquires
the power of convergence, and then the nurse says baby is beginning
to "take notice." But everything is to the baby upside down as yet;
very often the bottle gets knocked over, and sundry other things go
wrong, the baby begins to turn and twist its little hands about and
examine them very carefully; Now is the time the direction of
motion is beginning to be learned. Then toys are given, a soft ball,
say, which baby throws away and cries for it to be brought back ; no
sooner is it restored than away it goes again, and father says it is
getting tiresome. Then it hits its little nose, and cries again. Now,
the facts are, the baby did not intend to throw away the ball or to
hit its nose — things went the wrong way, like the razor to the man
who is not accustomed to shave. Later on, other toys are given to
the child, which are turned over 'and over; then the sense of
touch and of sight are becoming associated, and soon we gain
experience.
it is by this convergence of the optic axis that we are enabled to
estimate the third dimension, distance ; but it will be seen that when we
view an object in nature with two eyes the retinal images are not alike,
because they occupy different stations, just as if we take a photogragh,
then move the camera the distance our eyes are apart, viz., 2i inches,
and expose again, the two pictures will to dissimilar ; and it fs by the
association in the mind of these two dissimilar retinal pictures that we
know from experience we are looking at a solid object or a landscape in
nature. If we place two similar objects, say, two billiard balls, in the
centre of a billiard-table, and look at them with two eyes, we shall see
two balls of a certain size and at a certain distance ; but, if we direct the
axis of the right eye to the right-hand ball, and the axis of the left eye
to the left-hand ball— which may be done by two tube?— there will be
the retinal image of only one ball in each eye, and the mind will unite
these as one, and we see them as only one ball ; but, in consequence of
the optic axis having little or no convergence, the ' one ball' looks
very much further away, and therefore very much smaller.
It is also quite easy to concentrate the attention on an image formed
in one eye, and to disregard a different image formed in the other eye,
as is the case when a microscopist applies one eye to his monocular
instrument, at the same time keeping the other eye wide open ; he
sees only that which he concentrates bis attention upon (through his
microscope) ; this is called the rivalry of the retina.
Now, it will be understood that a man with a permanent squint,
that is to say, having no power to converge the optic axis to one point,
would most certainly see double, if it were not from the fact that he
disregards the retinal image of one 6Te,'and consequently he sees no
better than a man with only one eye. " This experiment may be tried
by rolling two pieces of note paper into tubes, and applying one end
of each to the two eyes, at the other end diverging obiects may be
observed through either tube, and seen distinctly, but it is impossible
to see distinctly through both tubes at one time. "
Now we are able to perceive that, although with two eyes we coii-
yerge to the same spot and see that spot "distinctly, the indistinct
image or out-of-focus parts of the object or of surrounding objects
are not alike in each eye, and by falling upon portions of the retina
which are not in correspondence these images are doubled, but by
being indistinct and our attention not upon them for the moment we
do not notice that they are double. Here is an illustration : If I hold
my finger, say, 8 inches in front of my nose, and now look at the wall
opposite, first with one eye and then the other, there will be certain
parts of the wall obliterated in each case because my finger blocks the
way, but when I open both eyes there is no portion of the wall I
cannot see, notwithstanding that the finger still remains, and the
indistinct image of the finger gives me the impression that two
fingers are there ; indeed, I really see indistinctly two fingers, but,
my attention being upon the wall, ia the ordinary course of things
1 should not notice the finger at all.
If, now, we look at a Lo\ on the table with one eye, we get an
impression such as a sing'e photograph would produce; with th»
other eye we get another view of the box ; when we open both eyes'
these different images are by experiencs from infancy associated with
what we know to D6 a solid box of a certain size and depth and at a.
certain distance.
If the box be removed to a more remote position, we see it with
lefs convergence, and we estimate its distance by the amount of con-
vergence more or liss ; then, if we move two photographs of the box,
such as would be seen by the right eye and the left eye separately,,
and present these to their respective eyes separately, the mind com-
bines the retinal images, and we get the same impression of size,
shape, aud distance as in nature, colour, of course, being absent.
To do this is the science of stereoscopy. Stereoscopic photographs
are, for various reasons, generally taken on one plate by a camera
provided with twin lenses and a "division inside the camera, so that
we have practically two photographic apparatuses combined in one
body. Now, the picture taken by the right-hand lens must be pre-
sented to the right eye, and the picture taken by the left-hand lens
must be seen by the left eye. And now let us see how this is to be
accomplished in practice.
SrBnEoscopY in Phactice.
We hold a stereoscopic negative in the same position that the plat©
occupied at the time of exposure, viz., inverted, with the film aid*
away from us the picture taken by the right-hand lens is on our
right ; if we turn the negative to get the image right side up, as we
say, we find the right-hand picture is now on our left, and a print
from the negative would have the same fault. This is caused by the
fact that each photographic lens inverted its image independently of
the other, and what we have just done with the negative is to re-
invert the two together ; and the only way to correct the inversion
caused by the lenses is to reinvert the two separately, or, what
amounts to the same thing, transpose the pictures. Sometimes this-
is done by cutting the negative, and then a single print may be taken
from the transposed negative and mounted in the ordinary way as for
a single print ; but as there are some delicate points to observe, and as
amateur photographers are not usually expert glass cutters, the trans-
posing and trimming is oftener done in the prints.
In making transparencies on glass from uncut negatives a special
printing frame is generally employed by which the right-hand side of
the negative is printed on the left end of the transparency plate, then
a second exposure is made on the other end of the plate from the left
side of the negative, or the same camera and^lens used to take the original
negative may be employed as a copying camera, in which case the
lenses reverse the negative image independently, and thus transpose at
a single operation, or with one exposure.
Size of the Pictures.
The next thing to consider is the size of a stereoscopic picture, and
to arrive at this we must not forget many things that have been said ;
we know that the pictures must be observed with no more and no
less convergence than would be employed in viewing the natural object
or we shall get wrong impressions of distance, and therefore of size,
and, as our eyes are only SA inches, or 2|- inches, apart, it would seen»
that to be able to see corresponding points in pictures mounted at
wider centres a divergence of the optic axis would be necessary ; but
by employing slightly prismatic glasses in the stereoscope it is quite
possible to combine pictui-es up to 3 inches centres, but any increase
on 3 inches is apt to produce a strain upon the eyes and become so
painful as to condemn the stereoscope.
If 3 inches be considered the limit, it is clear that the pictures,
cannot be larger than 3 inches wide. The depth is not controlled by'
the same conditions, and may be anything up to 4 inches or more,
consistent with the composition of the view or the taste of the photo-
grapher. Now, objection has been taken to the smallness of stereo-
scopic slides, but tlie objection has no foundation in fact, for it has-
been clearly demonstrated on many occasions that when a photograph
is viewed at the angle at which it was taken, that is to say, at a
distance from the eye of the observer equal to the length of focus of
the lens employed to tone the negative, we get the apparent natural
fize of the object; thus a 3-inch square picture taken by a -S-inch
focus lens, and viewed at 5 inches distance, would convey the same-
idea of size as another picture (5 inches square taken by a 10-ihch
focus lens, and viewed at 10 inches distance : it follows, then, that if a
stereoscopic negative be taken by 5-inch focus lenses, the stereoscope
should have lenses of the same focus, for in that case we have the
apparent natural size, and therefore larger pictures would have no
advantage. Of course, when a picture or a photograph is framed, or
even mounted in an album, there are surrounding objects that are-
taken notice of, and these may interfere with the retina impressions;
AoKuat Id, 1803]
THE BRITIBH JOURNAL OP PIIOTOaRAPHY.
631
but by a sterooscope nil surrounding objects ara excluded, we should
■ttea Dothingf but the picture, and for thia rensuii the cird mouots fur
jpaper slides Hhoiild be black or very dark in cohur (not to be seen),
and when tran^parences on glass are printed they should be bound up
•with black piiper marks showin:^ nothing but the actual picture.
W. I. CUADWICK.
{To be toiUinutd.)
NOTES ON A MONTH'S TRIP TO CHICAGO.
In those days of ocean travel there is little of interest to record io the
short journey across the " berringpond." We embark la one of the
tloating palaces, and in a short week find ourselves on terra firma in the
New World. If it were not for the general bonhomie of the passengers,
short as is the passage across the Atlantic, the voyage would indeed be
monotonous. Very few vessels are sighted, and, as one gazes around,
nothing meets the eye but sea and sky, and sky and sea. There may be
a remote possibility of sighting an icebt-rg, or, as the banks of Newfound-
land are neared, where the warm Gulf Stream encounters the cold current
from the Arctic regions, an impenetrable mist may envelop the vessel
m its clammy sbrould. Then the fog-horn intermittently belches forth
its deep, harsh, guttural sound, to the annoyance of all on board, as the
•steamer ploughs on its way.
The excitement of the passengers grows intense as the land discovered
■by Columbus hoves into view. Even the yellow-faced occupants of
r/arious deck-chairs throw off their lethargy and pick up fresh courage at
the prospect of ridding themselves of the nausea demon. Soon the vessel
crosses the bar and enters the Bay, passing some massive battlements at
the entrance. As it steams through the Narrows, between the villa-
•crowned shores of Staten and Long Islands, those who possess cameras
are busy depicting each point of interest as they are unfolded to the
view.
Bartholdi's colossal statue of Liberty is soon passed, and the city of
New York lies before us, with that marvellous specimen of engineering
skill, Brooklyn Bridge, in full view. The ship is soon berthed in one of
the docks, which, by the bye, do no credit to an enterprising country like
the United States, nor to a city of such pretensions as New York.
After the usualcustoms declarations have been made, we land,and, having
collected our baggage, proceed to the Customs Office, where, on presenting
our ticket, an officer is deputed to overhaul our trunks. (Note. — Don't
wait until they come, but get your ticket without loss of time, for it is
first come first served here.) The camera is duly investigated, but Eiftcr
due explanation it is admitted free of duty. Having consigned our
baggage to an express agent, we proceed on foot to the hotel.
Two days are spent in visiting the lions of the city. An elaborate
system of elevated railways and tramways facilitates locomotion. The
pa'ving of the roadways, however, leaves very much to be desired, and the
elevated rails, although a convenience, are by no means elegant structures.
Besides being obnoxious to the inhabitants of the houses in the streets
which they traverse, they are a source of annoyance to the unwary foot
passenger, who is liable to be bespattered with hot, rancid grease from
the engines of passing trains. Central Park, of which the New Y'orkers
are jnstly proud, possesses many attractive features, engineering skill
having remedied most of the defects of nature.
From New York the train is taken to Philadelphia, and a day spent
there. The City Hall of Philadelphia is an immense solid and substan-
tially constructed building, reputed to be the largest in the world used as
business premises. From the top a splendid panorama of the city and
the adjacent country can be obtained. Independence Hall, of historic
interest, stands in the heart of the city, and there are some pretty spots
worth photographing in Fairmount Park, the largest park in the world.
An evening train lands us in the course of three hours at Washington, a
city well worthy of its title, the " Queen of Lilies."
The site of Washington has been admirably chosen, and nothing could
improve the positions of the many fine public buildings it possesses.
The Capitol, a magnificent structure in white marble, one of the finest
architectural designs in the world, is imposingly situated on a hill over-
looking the city, and lends itself agreeably to the art of the photographer.
A trip down the Potomac River to Mount Vernon, the home and burial
place of George Washington, results in many pretty views being obtained.
From the top of Washington's Monument, the highest in America, a
splendid panorama of the city, the Potomac River and the distant hills
is spread out before us. Two days spent in Washington are hardly suffi-
cient to see and photograph everything of interest.
Iieaving Washington in the evening, we take the train to Chicago, the
objective point of our expedition. The railway traverses the renowned
Alleghany Mountains, pa.ssing throngh beautiful mountainous scenery.
As it travels on its upward course, valley after valley unfolds itself to
view, with distant ranges of blue hUls; now it crosses a mountain stream,
then taking a sinuous course at high speed, on the brink of a wooded
precipice, until it reaches the highest point 3000 feet above sea-level.
Then it gradually descends again, and morning finds us steaming
along the banks of the Ohio. Another 'MO mUes or so over flat
uninteresting prairie land, and we arrive at Chicago.
Everything in Chicago is on a colossal scale, hotels forming cities in
themselves, theatres to Mat thoiisan'ls, public buildings and businesi
premises towering many stones high that it becomm painlol to look at
their summits.
The main feature of Chicago U its magnificent bonlevards, and the
oit zens may well be proud of them. They trivene miles and mile* of
the city, and are lined on either side with piivate dwellings of quite a
particular style of architecture which has received the name of Cliicago-
esque. A bit of Norman, a bit of Grecian, a bit of the seventeenth century,
and then some addition to suit the personal taste of the occupant, and we
have it.
The Exposition fully indicates the desire of thoChicagoansto do tlungs
on a colossal scale. 'I'he immensity and grandeur of the various build-
ing are certainly marvellous. For the modest sum (?) of two dollars per
dium, a camera may bo taken within the precincts of the Exposition and
the photographer will find much to interest and much to amuse him.
Tiie varied styles of architecture, the crowds of people of all nationalities,
the villages and inhabitants of different countries, the gaily dressed Turk
with a strong Hibernian accent, Greeks, Muscovites, Javanese, Esqui-
maux, and many others, are all seen under native conditions.
It IS truly said that the Americans can build an Exhibition, bnt their
management leaves much to be desired. Apart from the catalogue being
misleading, the guides who are stationed to direct visitors seem ignorant
of the position of the exhibits.
I was very desirous of seeing all that was new in the optical world and
what improvements in lenses, cameras, and optical lanterns were being
exhibited. A diligent search and numerous imiuiries resulted in my
arrival at length In the section devoted to same, which is sixty feet above
the ground floor and in goch an oat-ofthe-way place that no one would
see it casually.
To say I was disappointed with the number of exhibits is only repeat-
ing what others interested in optical matters have said; and, although the
majority of those who were showing photographic instruments are well-
known firms whose apparatus enjoys a good reputation, the absence of
anything decidedly novel was marked. Perhaps the annual exbibitioos
of the Photographic Society of Great Britain and the off-recurring exhibi-
tions at the Crystal Palace and elsewhere has made as famdiar with
recent inventions, and so there was little left in the way of a surprise for
visitors and our American cousins.
On leaving Chicago we take a night train to Niagara, as a visit to
America would not be complete without seeing the Falls.
The first sight of the Falls is disappointing, but their immensity and
grandeur gradually impresses one. Here there is plenty of field for the
camera, as so many different views can be obtained of the Falls and the
Rapids on aU sides.
A night train conveys us to Albany, the capital of New York County,
from whence we go aboard one of the magnificent river steamers that ply
on the Hudson.
The Hudson is a grand river, in some places three mdes wide, and the
scenery on its banks is very grand. With a long-focus lens many fine
views can be obtained, but the vibration of the steamer is not conducive
to perfect negatives. New York is reached in the evening and the
following morning we board the mail boat on our homeward journey.
No difficulty was found in changing plates, the photographers very
obligingly allowing use to be made of their dark rooms without any charge
whatever. J. J. Stewakd.
WALTHAM CROSS.
With an intention of catching the 10.25 from Liverpool-street and
arriving full early, brought a wee bit of good fortune by getting the one
earUer at 10.5, a quicker and better train, reaching the destination with
only about two stoppages. Thia train seems much patronized by the
followers of the gentle craft. The Great Eastern Railway carry many to
the banks of the Lea. Our compartment is very crowded with bundles of
rods and fair-sized wood boxes, holding enough to outfit a family iu
clothing. Each have more or less length of rope as handles, and
generally fitted through with every care to drawers and partitions, all to
carry artful devices to deceive tlie bright, lively members of the finny
species. While many are gentle in hobby, some are noisy in voice, and
far from decent in language. When one reaches manhood's function it
is to be regretted he wastes so much breath to so bad a purpose. In his
own estimation he may feel taller much, but those not so closely and
nearly related may consider him lower, if not very low indeed.
At first reaching Waltham Cross, nothing pretty is noticeable only for
its noticeable absence. Taking a tnrn to the right from the station,
innumerable narrow streams suddenly dart out in all directions, from
under bouse windows, beside and under the road, and between rows of
houses, all clear as crystal, and alive with small fry. 'The abbey now
soon makes its appearance in the near distance — a noble, strong, firm-
built'looking structure, standing as it does at the top of the main street.
To this hangs a pile of age and history. It made its debut abont 1100,
and suffered itself to be knocked and cut about from its original cress
shape to its present with seeming indifference, to suffer so much as one
would suppose. History of this and the bravo Harold will a tale unfold
to those who care to make its reference — and an interesting one, too.
Hard by still stand the stocks, fall of ancient carving and memories.
632
THE BRITISH JOURNAL OF PHOTOGRAPH Y.
[August 18, 1893
We were assured there is yet a man living near who remembers them
in full active use. Beside the abbey stands an inn, and a very old one
too. The present liost is a genial man, a good assistant and pilot to the
tramping amateur. Half a glance tells him to 1)6 a military man and a
man of the world. If you play cricket, and cricket your hobby horse,
with him you are at once at home and at your ease. If there is one
thing he more glories in than the antiquity of his home and its surround-
ings, it's cricket. Feeling our knowledge to be dull on this particular
spot, we spoke of photography and our requirements. You have only to
leave the old-fashioned room, take three steps, and find the yard all that
can be desired. It's been standing so 400 years. It's the old-fashioned
coaching yard one sees often engraved, but not in reality; here you have
the reality without the engraving. This old house is called the " Cock
Inn."
You may get one or two views of the yard. Mr. Ward will
willingly and pleasantly, if you wish, take you under his wing, and,
within a distance of a couple of hundred yards, show you some fine bits
and their best points. We saw the effective corners, and felt far from
happy. To do them was next to making money for comparison of diHi-
culties. The wind saw our desires and groaned and went on much, and
that dreadful. When the camera became a standing figure, it raged
and became perfectly wild with delight at such presumption. He
snatched the focussing cloth and vibrated the camera. We waited, to
wait him out. This could not be done ; the more we tried the greater he
laughed and became teaeeful, just remaining quiet long enough to
consider removing the cap, when he would quickly and carefully place a
dense cloud before the shining sun, then allow it to peep through in all
its beautiful glory, and in the next turn start the trees wanng their arms
in wild pleasure. For one hour we waited, and ate sandwiches, and still
he went along as only the wind can, till we confessed our defeat and
accepted his least noisy turn and uncapped the lens, recording a little bit
of English landscape showing the quaint Harold's Bridge (the oldest in
England). The Sportiiifl (iiulDramalic Paper, dated June 30, 1883, gives
it as the second oldest, and at the same time a chatty, interesting article,
made especially so with eleven sketches of spots round about. Anyway,
whether the oldest or its next junior makes but little difference. It's an
"old-un " anyway, built of stones, and jolly old stones they seem — ever
waiching and keeping guard over a tiny stream of clear, baby innocence,
gliding on its ever-moving course, quite careless and regardless of the
stern, time and weather-beaten, stone-hearted father bridge above it.
The old gateway is in good preservation considering its age, and good
for a picture with ruined abbey viewed in the distance. Such bricks ! many
measuring 15 inches in length. Our forefathers died with the secret of
brick-making, and carried it with them. So bright are they in colour
and tough in texture, a lazy Socialist would rather do one class of strike
than break such walls as these. By now you may receive slight notice
the inner man would prefer some consideration. You once again hie for
the " Cock " Inn and its master, where, and by whom, you may be suited
to your wishes either in lunch, dinner, or tea.
.^fter a comfortable meal and pleasant chat, you away to another
direction, working on pictures of another character, consisting of a
ruined wooden shanty standing on the edge of the narrow stream, with
distant view of small ruined-looking bridges. Many are the different bits
of this kind here obtained, that one's half-dozen plates are soon gone, to
the sorrow of the photographer. Finding you have pleasantly and
quickly passed a few hours, you, with a feeling of strong reluctance, put
away your last slide, determined soon to return, possibly with another
chum, who may have full play with a roller slide of unlimited exposures :
in fact enough — time, tide, and weather permitting — to swallow up all
Waltham Cross. ToJi Coan.
A DEVICE TO TAKE THE PLACE OP THE CAMERA LUCIDA
IN MICROGRAPHY.
The art of micrography, or the reproduction on paper of images of minute
objects seen through the microscope, says Dr. H. G. Piffard in the Sew
York iledicnl Journal, may be practised in variou.s ways, of which the
three following are the principal : —
1.— The observer studies the object on the slide, and when he thinks
he has the outlines and details, or a portion of them sufficiently impressed
on his mind, withdraws his eyes from the tube, and commits the mental
picture to paper, using, of tiourge, both eyes in direction of movements of
his pencil. Success with this presupposes a retentive memory and con-
siderable skill as a draughtsman.
2.— The observer, looking down the tube in the usual way with one
eye— for convenience, the left— is, after a little practice, enabled, by a
sort of auto-projection, to see an image of the object on a sheet of paper
by the side of the microscope. The outlines of this image he traces with
the pencil, using the right eye to direct its movements, the observation
and the reproduction being simultaneoua.
3. — By the aid of a camera lucida, of which there are many different
sorts, a reflected or projected image is visible on the paper with the eye
that is at the same time occupied in directly observing tjie magnified
image o( the object on the stage. In one of the latest forms of camera
lueida — the Abbe — this use of halt the eye for observing, and the other
half for recording, is a reasonably convenient method, if the observer's
eye is approximately normal ; marked myopia or hypermetropia, and still
more jironounced astigmatism, necessitating the use of spectacles, render
the use of the camera lacida inconvenient, if not well-nigh impossible.
Some time since it occurred to the writer that the practice of micro-
graphy could be greatly simpUfied by adopting the principles employed in
ordinary projection, as used in connexion with the optical lantern, the'
projection microscope, photography, Ac. It was only a question of re-
flecting the projected image on to a piece of drawing-paper fixed in some-
convenient position. To this end I requested Messrs. Bausch * Lomb to-
mount a right-angled, reflecting prism with a short tube extending from
one of its square faces, this tube to be of such calibre that it could be^
inserted into the microscope in the place of the eyepiece. From the
other square face a similar short tube extends, capable of receiving th&
ocular and holding it firmly.
When preparing to use this device, the object is placed on the stage and
focussed in the usual manner. The microscope is then brought to a.
horizontal position, the eyepiece is removed, and the prism case put in
its place, the ocular being inserted in the short tube provided for its re-
ception. The ocular should point downward. The lamp, or other source
of light, should then be disposed in such a way that it properly illu-
minates the object to be examined, it being expressly understood that nO'
light shall escape toward the observer except that which first reaches the
object. A Beck lamp is conveniently adapted to this purpose. If a piece
of drawing-paper is placed beneath the ocular, and the room darkened, a
brilliant image will be projected on the paper, and its reproduction can
be easily accomplished with a maximum of rapidity and a minimum of
discomfort. In guiding the pencil the draughtsman uses both eyes, and
his spectacles, it needed, and sits in whatever position he finds most
comfortable.
With a proper lamp, and careful utilisation of its light, this device
gives excellent results with amplifications up to four and five hundred
diameters.
If a sensitive photographic plate be substituted for the drawing paper,
an exposure of a few seconds will impress an image that may be developed
in the usual way.
♦
©ur BtJitorial tHahlt.
F.vllowfield's Photoobaphic An.nuai., 1893-4.
The Annual of Mr. Jonathan Fallowfield is, as our readers are
probably aware, an illustrated catalogue of the g^oods manufactured
or sold by the firm. When one looks over the 700 pages contained
in this Annual, he is tempted to exclaim, ' Prodigious !' and wonder
at the fei'tility of invention by which photographers could be enabled
to usher into the world such a variety of articles in furtherance of
their calling. When we say that there are twenty-four columns of
inde.x, it will be seen how unnecessary it is for us to even indicate
the contents of such a compendium, which appears to include every-
thing. The " Hints," which formed a useful feature in the previous
Annual, are reproduced, with some additions, aud form ussful reading
matter. In addition to the woodcuts, it contains six nages of auap-
shot illustration (two on a page) taken by the " Facile " hand camera.
Post free. Is.
Adams & Co.'a Photooraphic Annual, 1893-4.
Wb are glad to see that Messrs. Adams & Oo. have reprinted in this
Annual tne leading articles by various authors which enriched the
previous edition. There are certain topics which, when well treated,
are useful for all time. In other respects the Annual forms a well-
arranged repertoire of the specialities of the firm, numerous pages
bein" devoted to cameras for both studio and field work, while of
those belonging to the hand-camera family there is a very large
assortment, among which the well-known " Ideal " occupies a central
position. The variety of apparatus described, illustrated, and priced
in this Annual of 400 pages is very great. It is nicely printed on
toned paper. Price 6d., post free Is.
Photogbaphs FBOst Mb. F. a. Joyner, Adelaidb, Australia.
We are always glad to see specimens of the work of brethren at a
distance. >Ir. Joyner has sent us some charming examples, showing
two children at play with a garden roller. The expression, poaing,
and execution are admirable.
August 18, 1893]
THE BRITISH
f)w ^'H,'lT(M;T^A:n^^
nan
FnoM Archer & Sons, Liverpool, we have received their supplementAl
list of new cameras and appuratus, together with their list of second-
hand and soiled apparrttus in ttock.
WnATTENs " LoNPOs '" Plates.
Messrs. VVbatte.v & \\'ai.n\vrioht, of S-:* (ireat Queen-Street,
W.C, have now been making their justly appreciated plates for some-
thing lilitf sixteen years, and their jfood qualities seem to have
assured them a perennial popularity. As an example of their re-
markablo keeping properties, as well as an indication of the length
of time sensitive preparatiiins can remain unimpaired in quality, we
may mention that some few months back we had an opportunity
of trying some plates of the "'Instantaneous" brand that had been
made ten years njfo. These, with normal exposure and pyro-soda
development, yielded clean, vigorous, harmonious negatives. The
plates did not appear to have under^'one the sliglitest deterioration,
either in rapiility or good qualities. Samples of the " London " plates
(Instantaneous), made recently, were also subjected to trial, demon-
strating by their ease of development, and charming ricliness of
image that Messrs. Wratten fully maintain their high reputation in
the plate making art.
♦
Photooraphic Club.— August 23, Printing on Rough Pajier.
XoRTHERX Photographic and Sciestific Association.— Angnst 19
St. Albans.
Hackset Photoobaphic Society. — August 22, Photographic Mirrors, by
Mr. J. Miller.
GospoRT Photoobaphic Society. — August 19, Carisbrooke. Leave Ports-
niouth Harbour at twenty miuutes past one.
LoNoox .VXD Provincial Photographic Association.- August 21, Olucin
tf'id other Xeio Developers, by Mr. L. E. Morgan.
Manchkster Amateur Photographic Society. — August 19, BoUin Valley.
Leader, Mr. J. Ferguson. Train, Central, thirty-five minutes past one.
Croydon Cvmera Clur — August 23, Whole-day Excursion to Forest Row,
conducted by Mr. H. Maclean. Train leaves East Croydon at thirteen minutes
to ten.
Photoobaphic SoaEXv op Great Britain. — Technical Meeting, Tuesday,
August 22, at .W, Great Russell-street; subject. Aluminium Flashlight, a
deiuoustr.'ition by Mr. Bolas.
Leytonstone Camera Clib.— August 19, Along the Roding. Leader, Mr.
K A. Golletlge. The Club will assemble at Ilford Station, G.E.R., at thirty
minutes pa^t three. Open Social Evening at Headquartei-s, eight o'clock.
23, Special General Meeting to receive and pass new set of rules, and elect
Assistant Secretary .and Curator in place of Mr. ilout.igue Atkinson, resigned.
Chair taken at eight o'clock.
The Queen h.os accepted a copy of the Rev. C. Ctemr Caine's Martial Antv.iU
"f the City of York, which was forwarded to Her Slajesty by permission.
The last section of the work embraces a review of the life of H.R.H. the late
Duke of Clarence ami Avondale during his four years' residence in York
Garrison. This book was noticed, with an illustrition, in a recent issue of
The British Journal or Photography.
Messrs. Morgan and Kidd's Employes. — For many ye.-ivs the employfs oi
Jlessrs. Morgan i Kidd Iiave enjoyed au annual holiday together, and on
Saturilay, August 5, their extensive jwemises in Kew Foot-road were closed
for this year's outing. The members of the party assembled at Teddington
Look, and, embarking on the Wintlsor Castle, the largest steam launch on the
river, they had a pTeas.ant run up to Hampton. They were receiveil at
Hampton by Mr. and Mrs. Kidd, at their charming house] Castlemain, where
dinner was served in a lai-ge maniuee erected in the grounds. The tables were
beautifully decorated with flowers and palms, furnished from the gardens and
conservatories of the house, and were tilled with an extensive and varied array
of appetising dishes. About 100 sat down to a verv enjoyable and well-served
dinner. The usual toasts followed, and Mr. Kidd, replying to the toast of
" Success to the Firm, " said th.it the present year was a very notable one in
the history of Messrs. Morgan & Kidd. For some years past he had been
solely responsible for the direction of the firm, but at the beginning of this
year .Mr. Ernest .Morgan and Mr. H. M. Uennes had been admitted as partners.
He hoped thiit the success of the firm would be fully maintained, and that
with new blood it wordd receive a still further impetus. Air. Dennes gave a
hearty welcome to and proposed "The Health of tlie Visitors," and and
-Mr. Erni>t Morgan "The Health of .Mr. and Mrs. Kidd," a toait always very
popular. Year after ye.ir the company find tliemselves deeply indebted to
.Mrs. Kidil for the active and invaliuible share she invariably takes in the
organization of the outing, and her spirited speech in reply to her part of the
toast was received with great enthusiasm. After dinner a photograph was
taken of the whole p.irty, and the launch was again boarded, and continued
its run up the river until Penton Hook was reached. Tea was served on the
return journey, and the run back w.as enlived by the diversified musical talent
of the members of the party. Most of the songs were rendered in considerably '
better style than the avenge of amateur nWllty, and wwe very heartily
received. Teddington was reached about half-pait nine, and a thoroughly
eujoynlile holirlay lirought to a close, the whole ii1 the company pronoundng ft.
one of the most successful outings ever given liy the firm.
RECENT PATENTS.
APPLICATIONS FOK PATENTS.
No. 14,677. — "Improvements in or rehting to Photographic Cameras." J. B.
Ootx. -Dated July 31, 1893.
No. 14,839. — '• Improi-ements in or in connexion -with Photographic
Shutters, known as Blind Shutters." H. R. Cook.— Ort/c^ August 2, 1893.
No. 14,877.—" Improvements in and in connexion with Projecting Lantemn."
Complete specification. W. C. HcaaES and H. Vfoot)M:vr.— Dated Augiut 3,
No. 14.902. — " Actinometer and Method of Measuring the Chemical Effect
of Light." Complete spscirtcatioa. .1. Kp.?.iiZR.—DMetl A ugu.il 3, 1893.
No. 14,925. — "Improvements in Photognqihic Cameras and other Optical
Instruments." J. W. Gordon. — Dated August 4, 1S9.3.
No. 14,927. — " Improvements in Photographic Cameras." E. H. P.
Hv^iPHHEyH.— Dated August 4, 1893.
No. 15,056.— " Improvements in the Construction of Photographic Camera*.'
A. T. LixiK— Dated Avgits! 5, 1893.
meettngjEt of Sbocutt^jsi.
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of Meeting.
Name of Society.
Place of Meeting.
August *2l Dundee Amateur
„ 21 FUlebrook Atheii.'eum
„ 21 Hastings and St. Leonards ...
„ 21 Leeds Photo. Society
„ 21 Ricbmoud
„ 21 Sonth London
„ 23 Birmioffham Photo. Society
„ 22 Great Britain (Technical) ...
„ 22 Hackney
„ 22 ! Paisley
„ 23 1 LevtonsLone
„ 2.3 ' Photograplilc Clnb
„ 23 Southpoi-t
„ 24 Glossop Dale
„ 24.
., 2.1. .
„ 21..
„ 24.
„ 25..
„ 25..
.. 25-
25..
25..
26..
HiUl..
Ireland
London and Proviucial .
Oldham
Cardiff
Oroydon Microscopical ..
Holborn
Uaidstone
Swansea
West Loudon
HuU
[ Asso. Stndio, Xetherffat«, Dundee.
Fillebrook Lecture Hall.
j Mechanics' Institute. Leeds.
Greyhound Hotel, Richmond.
Hanover Hall, Hanorer.park, 8.^
, Olnb Room, Colonnade Hotel.
50, Gre.1t Russell-st., Bloomsbnry.
206, Mare-strect, Hackney.
9, Ganze-street, Paisloy.
{ The Assembly Rooms, Hifch-rood.
! Anderton' s Hotel, Fleet4tre«t,B.C.
The Stndio, IS, Cambridge-arcadou
71, Prospect-street, Hull.
I Rooms, 15, Dftwson.8treet, Dnblin.
{ Champion Hotel, 15, Aldersfate.«t.
I 'The Lyceum, Union.street.Oldham.
'; Public H.all,George-street,Croydon.
" The Palace," Maidstone.
Tenby Hotel, Swansea.
Ohiswick School o{ Art. ChUwick.
71, Prospect-street, UiUL
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
AuousT 10,— Mr. Thomas Bedding in the chair.
Mr. X. M. Levy was elected a member and Mr. J. J. Briglnshavr an
honorary member of the Association.
Mr. J. Cole showed a hand camera, constructed according to his own design,
the principal features of which weref that it could take lenses of from four to
nine inches foci, the front of the camera being used as a sky shade, and the
rising front being either raised or lowered by means of screw adjustment
The nnder is placed lieside the lens, and the camera was fitted with reversing
back. Mr. Cole said he was in the h.abit of attaching the camera to hi> waist-
co.at by means of a small chain. This freed one h,and and stcidied the camera.
E.\hibitions of Members' Work.
A question was asked as to whether it would not be desirable to occasion-
ally have a Salon Evening, at which member.* would put their best pictures on
the walls ! and, further, might not such evenings alternate with the Lantern
Evenings I
.\fterson)e discussion, Mr. H. M. Smith proposed and Mr. W. E. Debenham
seconded, "That it is desirable |to occasionally have a Salon Evening, at which
members might ]>ut their pictures on view."
An amendment, substituting the words "an E.vhibition" for the words "»
SaloD," having been carried, the resolution, as amended, was also carrie>L
NiKKO Paper.
Jlr. H. M. Smith showed an untoned print on Niliko pajwr. He .said the
prints were toned with a hot solution of alum and hypo, which was a very
curious toning compound. Such prints had been exposed for two or three
months to strong sunlight, and have shown no traces of fading whatever. He
asked whether members thought there was anything likely to be hurtful to the
keeping cpialities of the pictures in the toning solution I
i\Ir. H. Mackie asked : "What was the object of toning the print* I"
Mr. SiliTH replied : " To get a warm or sepia colour."
1
534
THE BRITISH JOURNAL OF PHOTOGRAPH V.
[August 18, 1893
Mr. \V. E. Debenham had experimented with the action of silver on cotton,
rsing silver tartrate, reducing by heat This, on washins, left a reddish
colour, which exposure to the vapour of sulphuretted hydrogen chaneed to a
rich black. In a fe«' months sulphur-toned deposits became laded and yellow,
whereas those reduced by heat stood very much better. ■ . j *
Mr. Smith pointed out that a developed image hid stood when a pnnted-out
image had faded immediately. Toning built up the developed image, and
enabled it to stand exposure to sunlight.
Mr. 1'. EvERiTT said that Captain Abney had characterised sulphide ot
silver as the most permanent of silver salts.
Mysterious MABKrsns OK a Nbgativb.
Mr. Everitt exhibited a negative having diagonal wave-like markings of less
intensity than the rest of the image. The plate was developed with pyro, to
which sulphurous acid had been added. Three plates showed the markings
liut a fourth, from the same box, developed with pyro, with the addition ot
eulphiteof soda, was free from them. , , ,, , u
Mr A. Haddon <iid not think the markings could be due to the sulphurous
acid, which never came iutd contact with the plate, it being converted by the
slkati into soda sulphite. Therefore the same markings should have come
when sulphite of soda was used.
After other di.scu.ssion the meeting terminate!.
deposit was obtiined. He also referred to potassio-silver cyanide, ferrid-
cyanide of uranium, and bromide of copper, the latter appearing to act as an
admirable intensifier for lantern slides, but it did not act so well for negatives.
Tney had their choice of all these processes, but he himself was in favour of
ferrous oxalate, as he was of opinion that the deposit left on tlie surface w-is
less likelv to decompose when printing, especially when using albumeni.s«d
paper. He used the ordinary formula for ferrous oxalate, taking one part each
of Nos. 1 and 2, and adding one part water.
Leicester and Leicestershire PliotogTapliic Society.— The third excursion
of the above Society took place on the I'ith inst., under the guidance of Mr. .1.
Porritt (President), the rendezvous being the far famed Castle of Belvoir, the
seat of the Duke of Rutland. The members and friends mustered in good
numbers, and included several ladies, whose presence added greatly to the
enjoyment of the party. The castle, built of freestone, chiefly in the Gothic
style, is a magnificent building, standing on the wolds above the Vale of
Bdlvoir, and occupies the site of an old fortress said to have been built soon
after the Norman Conquest. After inspecting the exterior, the ladies and
some of their friends paid a visit to the noble apartments, the picture gallery,
containing an extensive collection of works by some of the most celebrat.ed
masters, ami the Gobelin tapestry, while others rambled about the beautiful
grounds and shady glades, taking views which it is hoped will prove happy
reminders of a plea.sant time and beautiful day. The light was about perfect
for photography, but unfortunately the district is not a photographer's
paradise.
North Middlesex Photographic Society.— August 14.— This was a
technical night, and the attendance was affected by the holiday season and
also the tropical weather. An interesting tal'.: was held as to the use of
amidol as a developer for bromide and Alpha papers. Mr. Gregory had tried
it, and got good black tones with much shorter exposure than when using
ferrous oxalate. He useil the formula mentioned in Photojraphic Scraps for
July. Mr. Beedlb had tried it, too, and had succeeded also in getting good
blacks with very little trouble, but could not get greys, which he rather
wanted. Several other members related their experience, but the general
opinion seemed to be that, to keep amidol under control, fairly large quantities
of bromide were necessary, and this so slowed the action that it became no
faster in use than ferrous oxalate, and that, after all, the latter had not yet
been ousted from premier position with regard to paper. One member had
ti'ied it with Alpha, but found he could on development only get a green-brown
tone, which was no good for after-toning, a warm brown being necessary, but
this he had not succeeded in getting. Mr. Bkadle showed a series of prints
.showing the result of partial reduction of his negatives, thus removing the
efl'ects of halation in interiors or through trees, bringing out distance which
which was over-dense and did not print through, &c. The difference of before
and after treatment was most marked. He described his method as follows : —
A solution of hypo of ordinary strength had an addition to it of a little strong
solution of ferridcyanide of potassium — ^^just enough to give it a yellow colour ;
a small piece of sponge is dipped into this, and then squeezed fairly dry, and
the part of the dry negative to be reduced gently touched or rubbed with the
Kuonge until sufficiently reduced. The next meeting is on the 28th inst., when
the Saudell plate will be dealt with by Mr. Herbert Fry. Visitors are wel-
come.
Hackney Photographic Society. —August 8, Mr. R. Beckett presiding.
iteport read of August !'> excursion to Radiett. Members' work wa-s shown
from Messrs. Guest, Hensler, Pollard, and Selfe. Question : " What is the
'best method of reduction of a negative overintensitied with bichloride of I
mercury and ammonia." Reply: "After ammonia or soda sulphite, rehx the
plate with hypo, and it will come out little denser than it was before intensifi-
cation. After ayanide of silver, reduce with ferricyanide of potash and hypo.
Hypo alone makes little difference. " Mr. Hensler succeeded in removing veil
from lantern slides with Farmer's reducer. Mr. Beckett said, if a single
unexposed plate is left for any considerable time in its own Ixjx, on ex-
Sosing and developing, often the paper mark becomes clearly visible. Mr.
lake showed negatives [of a Lilium auratum on isochromatic plates, one
with a light yellow screen and the other without ; although two and a half
times' exposure was given to the former, yet it had green fog. Three to four and
a half times was recommended. Mr. Penny showed a negative veiled over,
and asked whether it were chemical or light tog? It was restrained with two
or three drops of ten per cent, solution of bromide of potassium. Reply ;
"Quarter grain to four ounces is the^correct quantity. Too much soda sulphite
was probably used. It is safer to start development with half quantity and
increase as necessary." Que.stion : "Can Alpha paper be developed' with
amidol and be toned afterwards ?" Reply: "Yes."
South London Photographic Society.— August 9, the President (Mr. F.JW.
Edward,?) in the chair. — The Secretary .announced the postponement of the
President's lecture. Reminiscences of a. Few Eminent Men, which was to take
place on September 4, and stated a demonstration of the new developers, A niidol,
Melnl, and (//yciK, would be substituted on that occasion. The names of two
new members were proposed. Mr. Maurice Howell (one of the Vice-Presidents
of the Society) then gave a short lecture on The Chemica'. Action of Intensifi-
cation. He stated that intensification was resorted to when the negative was
not what it should be through errors of exposure, insufficient development, or
several other causes. They, no doubt, all knew how to mercurially bleach the
negative, but he proposed to enumerate several ways of turning the white
prep,aration into a black one, and giving density to the picture. Ammonium
sulphite was almost always u.sed in the old days to intensify collodion pictures,
but this process had the bad effect of darkening also the half-tones and entirely
blocking np the shoilows. A solution of ammonia or sulphite of soda might be
used, but the best of all was ferrous oxalate, because it reduced both the silver
and the mercury to a metallic state, and it possessed the best keeping qualities.
Ferrous oxalate restored tlie image, and it had another advantage, as the
negative might be bleached and intensified over and over again, so as to
increase the opacity of the negative, and without apparently injuring it in any
way. Tlie mercury chloride could be used again and again until a very heavy
FORTHCOMING EXHIBITIONS.
1893.
Septembers *RoyaI Cornwall Polytechnic Society, Falmouth. W.
Brooks, Laurel Villa, Wray-park, Reigate.
,, 20-21 *Hove Camera Club. Hon. Secretary, H. Emery,
142, Church-road, Hove, Brighton.
,, 25-Nov. 15... ♦Photographic Society of Great Britain, 5a, Pall Mall
East, S. \V. Assistant Secretary, R. Child-Bayley,
50, Great Russell-street, W.C.
Octolwr 1-31 'Hamburg. Das Ausstellungs Committe des Amateur
Photographen Verein, Schwanenwik, 33, Hamburg.
,, 9- Nov. ... 'Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesbury-avenue, W.C.
November 7-11 *South London Photographic Society. Hon. Secretary
C. H. Oakden, 53, Melbourne-grove, Dulwich, S.R
,, 23-25 *Leytonstone Camera Club. Hon. Secretary, A. E.
Bailey, Rose Bank, South-west-road, Leytonstone.
December 'Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
' Signifies that there are open classes.
€orre]Siionlrence»
Corr«spon'i*m(.s sJioiiZi never Myrit^ on both .sii»;.s o/ tha |)oper. Vo notice is taken
of ctymmunicati&na uni«s3 the names and addresses of the wri':ers ore given.
PHOTO-MICROGRAPHY.
To the Editor
Sir, — I am afraid that the value of the evidence prodaoed by Mr. H.
Woodworth as to the possibility ot producing sharp negatives by ordinary
micro-objectives, is somewhat discounted by the fact of liia using cheap
French triplets only, my experience of such objectives being that it is
impossible they can give a sharp picture ot anything, and consequently,
when the image in itself is worthless, a little more in or out of focus does
not count. I happen to have been experimenting lately with a variety
of the best object-glasses turned out at different periods, and am certain
that with the far greater number — not apoohromatic — there is difference
enough between the visual and actinic foci to utterly spoil the picture
photographically when ordinary plates are used.
I read with great interest your article on this subject in the number
for July 28, and have nothing to say against the value of the methods
there described for correcting the divergence of focus; but, having myself
been teaching for some time past how the same thing can be produced
without any addition to the objective whatever, will you allow me to
give the readers of your valuable Journal my experiences on the
subject ?
My method is a very simple one indeed, and consists in nothing but
substituting isochromatic plates for those not colour correct, and as yet
I have not fotmd a lens which will not produce photographically as sharp
a picture as can be produced visually, and that without any readjustment
of the image thrown on the screen. I may say that I have worked at
this subject somewhat exhaustively, Mr. E. M. Nelson having kindly
placed at my disposal a selection from liia unrivalled collection of object
glasses, and ranging in period from 183(i to 1887. In addition to this, I
have experimented on several objectives made since the production of
the Jena new optical glass and partly made with it, but without fluorite,
and send you a aklection of prints showing the difference ot focus when
isochromatic plates are used and when liford ordinary. In all the cases
Auffust 18, 1893]
THE BRITISH JOUKNAL OF PHOTOGJtAPHY.
UK
the picture was perfectly true to foons when the former plate wai naed,
but more or lens out when the latter.
I do not profess to have been the first to discoter the advantage of
asing isochromatic plates, but with others the question w*« always
mixed up with the use of a coloured screen in conjunction with them,
and, as they did not take the trouble to find out what the effect would be
withoQt the screen, confused cause and effect, and pat down to the latter
what was due to the former.
In conclusion, allow me t^ sav that all my experiments were condncted
withoDt any screen whatever.— I am, yours, Ac, T. F. Smith.
185, lincknock-road, .V.IC.
MESSBS. GBUNDY AND H ADDON'S PAPER.
To the EinTOB.
Sib, — In your report of the discussion which took place on Messrs.
Haddon and Grundy's very valuable paper {ride The British Journal
or PnoTooBArBY, August 11, page .518), the remarks I made have been so
altered in transcription as to become quite meaningless. I will, with
your permission, rectify the text so as to render the report accurate.
In the first paragraph is said : —
" Some alkalies were impossible to remove ; camtic potash from cuprio
oxide, precipitated by that af/ent as hydroxide, for example." (Under-
lined words have been omitted.)
Second paragraph gtanding under my name : —
" Was the sulphur " (not silver, as printed) " really present as hypo-
snlphite?"
'Thiid paragraph under my name: —
" Why not metalloidic sulphur, formed in the pores of the paper itself?
Hyposulphite of soda, in contact with a porous substance, and with air
having every chance of access to it, would most likely decompose in a
vtry dilute solution, and possibly metalloidic sulphur and some insoluble
compound of silver be formed."
Fourth paragraph under my name: —
" Mr. Levy said there might be sulphur " (not silver, as printed) " in
that allotropic form, when it would not be dissolved by carbon di4ul-
phkle."
These corrections will restore to the passages quoted their real
meaning.
With reference to the insoluble silver compound formed in the pores of
the paper, M. Delafontoine {Wiirt^. Diet, de Chimie, vol. i. page 371) states
that both the double hyposulphites of silver and sodium decompose
" with the greatest ease " under the influence of heat or water, and yield
silver sulphate, silver sulphide, and a sodium salt.
With reference to the decomposition of hyposulphite of sodium above
alluded to, aqueous solutions of this salt decompose slowly in contact
with air, and deposit sulphur. Even when air is excluded, sulphur pre-
cipitates in time, and the solution, under the conditions, contains a
quantity of neutral sulphite [op. cit., vol. ii., page 1535).
The above facts seem to point out that the theory I proposed at
the London and Provincial Association, as to the nature of the com-
pounds retaining both the silver and the sodium, and unremovable by
washing, has, at least, some probability. — I am, yours, &c.,
Apolphe M Lew.
37, Baaset-road, Ladbroke-groce-road, London, W., August 12, 1893.
TELE-PHOTOGBAPHIC SYSTEMS FOB MODEKATE
AMPLIFICATIONS.
To the Editor.
SiE, — Mr. Dallmeyer has been good enough to approve of the spirit of
my letter, and to explain the question of rapidity in a manner that
should satisfy every one. I did not, however, venture to suggest that
definition would be unsatisfactory if a larger aperture than /-32 were
used, but only asked for information on this point. My reasons for
being a little doubtful about it were these— Ihat, s*ing that the opera-
tion of the instrument consists essentially of the formation of an image
by a positive lens a certain distance behind a negative lens,but within the
focal length of the latter, which image is then enlarged and projected on
to a screen by the negative lens, and brought to a focus at a distance
corresponding to the greater conjugate focus of the back lens as related
to the lesser one, or distance from the lens to the primary image of which
the enlargement is made, if the image produced by the front lens is un-
satisfactory, the enlarged one must necessarily be so as well. I was
thinking at the time of the appearance of images formed with a large
aperture, say in bright light — the general biightness of the whole, but an
indistinctness of detail, due to the superabundance of light transmitted.
Enlargements of pictures such as these could not be satisfactory. Such
pictures would be flat, weak, in fact, generally without sparkle. I cannot
deny that a large aperture would be useful to some extent in dull weather,
but I am afraid the evidence of which I speak would become very appa-
rent if /"-S or/-2 were used, or, 8ay,/-12 or f-8 with four times enlarge-
ment.
My idea is that most photographers would be satisfied with a more
moderate equivalent focus, and gain the rapidity by this means. Seeing
that the ability to regulate the amount of view incladed would be pre-
served, I do not think it would bo necesHary to do mora than construct a
lens that would give such a minimum equivalent focns aa would ansure
apistureof satisfactory minimum size, with powers to increase the** to an
extent that would not overtax tlie powers of the instrument by reducing
to aoy important extent the available aperture. It was with thii idea in
view that I suggested the use uf a negative lens of lower power than that
referred to by Mr. Dallmeyer. Such a lens, say, of five Inches instead o(
three inches foons. would require 733 back fonnn to give an equivalent
foons of, say, fourteen inches, whereas the ibree-incn lens would give
the same equivalent focus with only four inches back focus— insufficient
t) cover anythiog but a small plate. I do not offer my figures except aa
illustrations of the idea. There are perhaps obstacles which I have not
yet encountered that would interfere with the practical lolntion of such
a plan, but I must confess that I do not conceive what form they would
take.
I should Uke to refer to the power of pictorial composition possessed
by these lenses in connexion and comparison with their use for photo-
graphing objects at great distances. I would myself sacrifice the latter
for the former. We have seen the print from a plate of imposing. dimen-
sions cut down for the sake of pictorial arrangement of subject, until the
pity of working large apparatus for such reduced results hai struck u^
forcibly. Now, the tele-photographic lens will do our print-trimming in
the camera, and we can compose our picture in the field instead of with
a pair of scissors. This is such a boon to those who would rather take
one or two pictures that had demanded and received proper study than a
dozen that depended upon more or less ungovernable conditions of appa-
ratus, that comment is needless.
I must point out that I did not submit my diagram as a method to be
followed in the field, its impracticability under these circumstances
being evident, but rather to show quickly the actual working of my com-
bination, and facilitate the choice of one that might answer special
requirements.
For a method of ascertaining the back focus only, the following is a
very simple plan : Multiply the focus of the negative lens by the number
of times of enlargement minus one — thus, by three for four times en-
largement, as in Mr. Dallmeyer's original illustration. A division of the
result by the actual number of times of enlargement will, by the bye,
give the distince of the primary image from the back lens. These cal-
culations are only those common to the old style of enlargement-making-,
only that an alteration of minus for plus takes place as necessary to the
nse of the negative lens.
This is, however, only a reversal of the calculation in Mr. D.»llmeyer's
Bule III., for finding the extent of magnification, but it appears to me
to be simpler than the process which is given in his Rule II. — I am,
yours, &c., Charles E. EUxooc-k.
15, Oakfitld-streel , Cardiff.
HALATION.
To the Editor.
Sib, — If Mr. Pettitt's new plate possesses all the qualities he claims for
it, it is undoubtedly the plate of the future. For what is halation, but
over-exposure and diffusion, caused by a semi-transparent film upon a
perfectly transparent basis ? By substituting a non-actinic medium all
degradation of the high lights would be prevented, and the beautiful
gradations of light and shade seen upon the surfaces in a well-lit studio
would be retained ; whereas they are now too generally lost, buried
fathoms deep by a multitude of conflicting reflections.- Yours truly,
Nyassa, Bournemouth, Hants. Herbert Gus.
CELLULOID FILMS.
To the Editor.
Sir, — I have just been making some comparative trials with films and
plates, and would like to know if any amateur who has gone over the
same ground has arrived at the same results. I have tried a plate by
Schleussner, of Frankfort, against films of four of the most renowned
English and American makers, and they all failed, while the plate, with
an exposure the minimum of the Thornton- Pickard focal plane shutter,
supposed to be less than the ,r>'cs of >i second, with fVi of the Zeiss
111 screw, gave a fair negative, and what is more curious is that a
Schleussner film was far worse than any of the others. May it not be
that the celluloid has a deteriorating influence on the emulsion, or is it
due to the pressure of the sensitive surfaces one against the other in the
packing, causing rapid deterioration ? These films all fogged with the
same exposure and developer which was used on the plate. — Y'ours truly,
Venice, August 12. W. J. Stillman.
iExci)ange OTolumn.
TitlTet posing cbair» four baclu for quodraplex i»r globe oumeller, ftl»o optlmni
«nlargini{ iaat«ni, six-inch condensers, for centUiaear eolargiiw Untora, eight
and H qa^rter inch oondansert. Difference arranged.— Ad'Jr<!SS. T. rjiamoaiSt 2S$,
Weslmuisitr Bridge-road, Loadoii, S.E.
536
THE BKITISH JOURNAL OF PHOTOGRAPHY.
[August 18, 1893
ansJtoew to ©otrcsponUcnts.
*,* All matters intended for the text portion of this Joobnal, including
queries and Exchanges, must he addressed to ''The Editor, The British
Journal of Photography," 2, York-street, Covenl Garden, London. In-
attention to this ensures delay.
*#* Correspondents are iirformed that we cannot undertake to answer com-
munitations through the post.
%* Communications relating to Advertisements and general business affairs
shoidd be addressed to Messrs. Henry Gbebitwood k Co., 2 York-street,
Covent Garden, London.
%* It umdd be convenient if friends desiring advice respecting apparatus,
faihcres in practice, or other infonnation, would call at the Editorial Office
either mi Wednesdays from i to 6, or Thursdays from 9 to 12 noon, when
some one of the Editorial staff will be present.
<i. -W. T.— Lead toning is uot to be recommended if permanence is a con-
sideration.
James Craig. — Tlie address, " Holboru-viaduct, London, E.C.," will prove
sufficient.
Jj. NiEvSKY.— We can hardly publish your letter ; the opinions are expressed
too forcibly to be enshrined in print. Thanks all the same.
Anxious. — Fallowfiekl Iceejis collodion paper under the name of "CeUoidin
silver emulsion paper." — You had better not trouble to jirepare it yourself.
TT. Benwood. — Very thin guttapercha — guttapercha tissue — may be obtained
at most of the indiarubber shops. We are unable to say its present jjrice.
Carl Norman & Co. — So far as we are aware, there is no agency at
jffeseut for the double auastigmat lens of Goerz in this countrj-.
A. Lascelles (New Zealand). — Thanks for enclosed print. The discoloration
of the psiper is believed to arise from damp. See also leading article in the
present number.
T. McPhbrson. — Bo not disheartened by a few failures ; they must be ex-
pected at first. The formula; are all right. You must bear in mind that
collotype, like most other processes, is not learnt in a day.
W. T. M. Davidson.— Messrs. Hughes & Kimber, West Harding-street, or
Messrs. Winstone & Sons, Shoe-lane, or, indeed, any other dealer in printers'
materials, will supply all that is necessary in any of the photo-mechanical
processes.
R. W.— If the indentures are not properly attested and duly stamped, they
are not binding on either party — the master or the apprentice, or, as put,
"articled pupil." With regard to the premium paid, better obtain the
advice of a solicitor.
W. G. — 1. The formula mentioned at the page you quote would probably
answer as well as any. See also pages 780-81 of The British Journal
Photographic Almanac for 1893. 2. Should recommend fresh solution
for each batch of plates.
Nemo. — The greater portion of the official photography is done by the Royal
Engineers. If you desire to do that class of work, you had better enlist in
that regiment. You can get fuU particulars of your prospects before joining
by writing to the commander.
F. E. G. — The spots may be reduced or removed by very carefully painting
them with a solution of ferridcyanide of potash, and immersion of the plates
in hypo. On the few data given we cannot suggest the cause of them. Send
US one of the jilates for examination.
Lamp.— 1. Have the sides and top of the lamps of metal, and try the effect of
one, two, or three thicknesses of canary medium, and have the means
of introducing a sheet of ruby medium. A little experiment with the effect
of various thicknesses of the media on sensitive plates will indicate the safety
or otherwise of the illumination.
M. Baeby. —There are no patents in connexion with orthochromatising collodio-
bromide plates with cosine or anything else, whether added to the emulsion
or by bath. As a matter of fact, eosiue was first used as an orthochromatis-
ing agent, and its properties in this direction fully established, with this
process, long before gelatine plates were an article of commerce.
H.T. Lawson.— Bearing in mind that all chemical action is assisted by heat,
it follows that you will have to reduce the strength of your developer and,
at the same time, increase the proportion of pvTO and bromide, so as to
ensure density before the whole of the details "flash out. With this pre-
caution there \vill not be need for cooling the developer with ice.
A. Z. B. — From what you describe, we imagine you are suffering from astig-
matism somewhat badly in one eye. Our recommendation is, Go to a
properly qualified oculist without delay ; if you are, as you intimate, unable
to pay a specialist's fee, go to one or other of the ophthalmic hospitals.
Advice there is gratuitous, and eyesight is not a thing that shoiUd be tampered
with.
Ye Printer. — There are several causes for spots such as these, tut it is
obvjous that, from simply looking at the prints, even if they were not
stuck together as a conglomerate mass, as these were when received, and no
other data, it is impossible to indicate from which they proceed. However
from the stains and dirt on the backs of one or two pieces we were able to
detach, we should suspect that careless manipulation was the root of the
trouble.
Rose & Co. — If the articles cannot be obtained through the firm? named, we
cannot say where they can be had. We do not know them ourselves from
your description. If you send the firms a sample, they can possibly supply
them. Have you tried Marion & Co.?
T. Harvey puts the following : " I put all my print washings (washing before
toning, of course) into an old paraffin-oil cask, and add a little muriatic
acid from time to time. The cask has no cover, and therefore is, part of the
day, exposed to full sunshine, and a good deal of the chloride is dark instead
of being white. Do I lose any silver by this ? I have an idea I may." — No
harm whatever is done. The light rather aids in the deposition of the silver
than otherwise.
Attention. — You appear to have under-exposed the negative, and to have
used large quantities of sulphite as a remedy. You should have first in-
creased your pyro to obtain density, and then increased the alkali. The
spots on the intensified image may be due to the insufficient removal of the
hypo. Try the efl'ect of reducing the negative to a thin image by means of
ferridcyanide of potassium and hypo, and then reinteusify by means of
mercuric chloride, and redevelopment with fen'ous oxalate.
M. Stephens writes as follows : "Would you please inform me of a paste, for
mounting photographs in an album, that does uot cockle ? I am under the
impression I saw a recipe in the Journal some time ago for same, but am
not quite sure." — The best mountant for the purpose, which has been fre-
quently described, is a solution of gelatine in which alcohol is made to take
the place of a large proportion of the water. Make a fairly thick solution
of the gelatine in water, and then thin it with the spirit, "taking care not
to add sufficient to precipitate the gelatine.
T. J. W., writing on his first attempts at working the Stannotype process, and
proceeding exactly as directed in the .articles on the subject in our columns
a few yeiirs ago, says that the tissue cannot be developed even after it has
soaked in water, as hot as the hand can bear, for more than an hour, and
none of the gelatine will dissolve. His actujil query is : '■ DM the long time
it took to dry, nearly a week, have anything to do with the difficulty? " — It
certainly did. Indeed tlie trouble, in all probability, is due entirely to that
and nothing else, supposing the gelatine mentioned was employed and the
details, as described, followed. With tissue, however good it may be, that
takes so long to dry insolubility must be expected.
R. Stewart writes : "I am building a studio 36 feet long by IS feet broad by
18 feet high at ridge, and a ilark room at one end, and dressing and waiting
rooms at other end— in all about 70 feet long. Can you tell me of a cheap,
good, strong, effective, economical pipedieating system ? I think there was
an Edinburgh photographer's described about the time of Convention there
last year. Any information will be much appreciated." — On the whole, the
best, and in the end the most economical, system we know of is hot-water
pipes such as used in horticultural buildings, running through the length of
the rooms, with a good-size ' • saddle boiler " and a well controllable furnace
as the source of heat. Possibly some correspondent can suggest a better
system for such a size structure.
Perple.xed says : "I shall be very glad if you can inform me what is the cause
of the spots on the enclosed photographs. I have had some dozens spoilt in
this manner and cannot trace the cause of same. The spots do not show
until prints are mounted and nearly dry, and mounts are therefore wasted
too. I have tried fresh hyiio, new dishes, and everything I can think of, but
all to no jjurpose, and if you can tell me how to prevent same in future I
shall be veryfgrateful, as it is a great hindrance to business." — As all the
spots have a pronounced nucleus, like a particle of metal or other reducing
agent, aud only show after the prints .are mounted, we conclude that some
pernicious matter comes in contact with them in the later stages of the
operations. Flo.ating particles of an injurious matter in the air settling on
tlie prints while moist, will cause similar spots. So will particles of iron in
the water. It will be well to test the mounts, as they do not appear to be of
an extra good quality.
R. C. Garside says : ' ' Will you inform me what proceedings to take in ease
stated below ? I w-as ordered to photograph the enclosed, for two dozen
order, wbole-plate price quoted, 2s. each first dozen, Is. each after. Proofs
were submitted (4) ; but, during the interval another contractor got a
travelling photographer to take his works, and the charge was 5s. a dozen
cabinet, 10s. a dozen wdiole-plate ; therefore my customer sends back to
say enclosed is not satisfactory, but will find no fault, but gets the other
photographer (cheaper) to do the work. An .assistant and myself were there
from one o'clock till seven o'clock, had train fare to pay, and a two miles
tramp to the works; so, on those conditions, can 1 claim damages ?" — We
should think our correspondent would have no difficulty in recovering by
County Court summons. A solicitor should, however, be consulted in the
matter, as it is a purely legal one.
OONT
Paos
the keeping properties op
GELATINO • CILLORIDE POSITIVE
paper 521
MIXED DEVELOPER .4G.AIN 623
DR. EDER ON THE ACTION OF BRO-
MIDE WITH V.VT.IOUS DEVELOPERS 023
ON THE CONSTRUCTION OF INTER-
CHANGEABLE LENS SCKEW FIT-
TINGS. By W. TAYLOR 624
JOTTINGS. By COSMOS 026
THE ELECTRICAL. ACTION OP LIGHT
UPON SILVEB 627
STEREOSCOPY. By W. L CIUDWICK.. t;29
NOTES ON A MONTH'S TRIP TO
CHICAGO. By J. J. STEWARD OSl
BNTS.
Pagb
WALTHAM CROSS. By TOM CO.iN.... OSl
A DEVICE TO TAKE THE PLACE OP
THE CAMERA LUCIDA IN MICRO-
GRAPHY r.32
OUR EDITORIAL TABLE OSS
NEWS AND NOTES 0S3
RECENT PATENTS .'33
MEETINOS OP SOCIETIES K)S
FOBTHOOMINO EXHIBITIONS 534
CORRESPONDENCE 584
EXCHANGE COLUMN W5
ANSWERS TO COBEESPONDENIS OSO
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1738. Vol. XL.— AUGUST 25, 1893.
[counteracting the heat in the studio and
operating room.
The unusually great heat experienced during the past fortnight
das caused us to receive several letters expressive of the diffi-
Fculties in photographic practice which have arisen in conse-
quence of the increase of temperature.
In countries nearer to the equator photographers calculate
upon being subjected to heat during the summer, and take
precautionary measures to obviate the inconvenience arising
therefrom ; but in Great Britain the normal temperature is
usually 80 mild and equable that when, as of late, it is high,
beyond average, they are found unprepared to cope with such
difficulties as are thereby engendered.
These difficulties find development in two directions. First'
the heat in the studio or gallery, and the unpleasantness to the
sitters arising therefrom ; and, secondly, the increased tem-
perature of the solutions employed in the production of the
picture. The first of these may be mitigated by erecting,
where the configuration of the roof permits it, a shade of any
opaque material outside of the roof, so as to prevent, as far as
possible, the sun from striking the glass. In a studio in one
of the Southern States of America, we once saw a shade of the
nature mentioned supported on strong uprights projecting
above the roof, the management and unfurling of this being
done from the inside. In another we have seen a water pipe
running along and outside of the ridge of the roof perforated
with small holes to permit a gentle stream of water to flow
down the sloping sides of the glass roof, and thus keep it cool.
This it does, on the principle that evaporation produces cold ;
the hotter the sun the more rapidly does evaporation proceed.
We have known it recommended to cool the interior of a
studio by the suspension of sheets kept wet by being frequently
sprinkled with water. This is not judicious, because, while such
proceeding will ensure the cooling of the sheet itself, it has the
undesirable effect of surcharging the surrounding atmosphere
with moisture, and causing perepiration and a feeling of oppres-
sion to those present. To aid in keeping the studio cool, the
sun's rays should be debarred all admission by blinds running
along the roof, a feeling of greater coolness being induced by
having them of a blue colour. It is almost unnecessary to
recommend that the fullest ventilation should be had re-
course to.
In hot countries ice is a necessity, and in all cities is usually
delivered every morning at residences. A lump of this placed
In a covered box or chest well lined with thick felt and of
capacity sufficient to contain bottles of developing, fixing, and
other solutions — which, if allowed to get too hot, might
endanger the safety of gelatine on plates or paper — will be found
a prophylactic for the ills that may arise from heat. The trays
employed in development should also be kept in this ice safe
when not in actual use. An evil that has been complained of
when employing a developer that has attained a temperature
many degrees higher than the average one is that the image
flashes out with unusual rapidity, and that this affords no time
for density to be obtained. This trouble will cease if the hint
here given be taken. A bottle of a solution of chrome alum
should always be at hand to apply to the plate, and thus
prevent solubility of the film of the negative when exposed to
the air for the purpose of being dried. It may be borne in
mind that a developer composed of pyrogallic acid conduces
more to hardening the film and rendering it insoluble in warm
fluids than one of ferrous oxalate. Before dismissing the
subject of ice as a refrigerant, we may observe that its powers
of producing cold are greatly increased by crushing it and
mixing therewith some common salt, a fact well known to and
taken advantage of by every vendor of ice cream.
Where ice cannot be procurable, by far the best and most
economical substitute is one with which we have had much
experience, and which we have more than once recommended
in these pages. We refer to nitrate of ammonia. .tVs we h ive
formerly said, this salt is cheap (its present quotation is 42s.
per hundredweight) ; when dissolved in water, it strikes a very
low temperature, and it is practically inexhaustible, for it can
be used over and over again. By way of experiment, we have
just tried some which was in actual use in 1882, and it does
not appear to have had its virtues diminished. Equal parts of
the crystals and water, when mixed, will ensure a fall of 41)'-'
Fahr. in the temperature of the solution, whatever that of the
water may have been at the time of mixing. When the solu-
tion is effected in a wooden or other trough, any desired number
of inches in depth, bottles containing solutions, or anything
that it is desirous should be cooled, may be placed in it, with
the certainty of a full in the temperature resulting.
There are other mixtures which will produce cold in even a
greater degree ; for example, a mixture of snow (two parts)
and chloride of calcium (three parts) will produce a degree of
cold equalling 50° Fahr. below the freezing point. But where
the economy of the nitrate of ammonia comes in is here : as
soon as the solution has done its work, and has again become
of a temperature at which it ceases to act as a refrigerant, it is
only necessary that it be poured out into o shallow tray, and
allow the water to evaporate, leaving the crystals injthe bottam.
638
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[August 25, 1898
These, when dried and put away in a bottle, are again ready,
at any moment, to be used in the same way, and with similar
results. Ice-making machines based upon this property of the
salt are in use in some parts of the world.
By adopting the hints above given one may greatly ame-
liorate the effects produced by such great heat as we
have been experiencing of late, and may prepare for its
recurrence.
PURE OXYGEN.
That a review of this subject need not by any means be a
purely theoretical disquisition any one who has taken an in-
terest in lantern matters will readily understand, and prove
by reference to our columns. On the one hand, we liave had
complaints of the poor quality of, at any rate, some samples of
cotopressed gas ; on the other, we have heard for years past
how gas from chlorate of potash is so contaminated with
chlorine as effectually to destroy eventually the indiarubber
fabric of which they are made. With regard to compressed
oxygen, the feeling that it is unequal in illuminating capacity
to the older kind is felt very strongly by some large users ;
but its unparalleled convenience suffices to cause such objec-
tions to be over-ruled, unless the particular sample employed
were of especial impurity. Nevertheless, it should not be for-
gotten that an admixture of even one per cent, of nitrogen
must have a perceptible effect in reducing the heat of the flame,
and in a proportion far greater than that indicated by a mean
of ninety-nine per cent, and 100 per cent; for, in the first
case, there is in ordinary air about twenty-one per cent.,
and such proportion is useless for the purpose of the lime-
light ; and, secondly, as it is perhaps only about the last half
of the excess of temperature in the " oxyhydro " over an " air-
hydro " flame that can be said to count for illuminating pur-
poses, the heat absorbed in raising the temperature of only one
per cent, of useless nitrogen reducing the total available tem-
perature to an extent equal to several times one per cent. The
manufacturers, however, are strenuous in their endeavours to
continually improve the quality of the gas they compress, and
eventually, no doubt, the useless nitrogen will be still more
diminished. Were it a commercially paying process to use
oxygen from chlorate of potash for compressing into cylinders,
we think it quite possible that it would be p referred by those
who wish for the utmost attainable value from the gas em-
ployed in the production of the oxyhydrogen light.
A very singular light has recently been thrown upon this
aspect of the subject during some investigations upon ozone
lately made by Professor Brunck, of Freiburg. One of the
most commonly held beliefs upon the peculiarities of oxygen
as iisually prepared is that the strong smell it possesses is
owing to the presence of free chlorine. Marignac, it is true,
when attempting to ascertain the actual amount of this im-
purity present, was only able to obtain three milligrammes of
silver chloride from the gas from fifty grammes of chlorate — an
infinitesimal proportion ; and this fact might have caused
suspicion in the mind of investigators. Dr. Brunck now
proves that, when the saline residue left in the flask after
driving out the oxygen is examined, it has a neutral reaction,
while, if free chlorine had been evolved, the residue ought to be
alkaline. Again, let the gas be washed frequently with strong
solution of caustic potash, it will be impossible to remove the
odour ; yet, if chlorine were there, it ought to be all absorbed.
Further, the gas so washed bleaches moistened litmus paper,
and turns starch and potassium iodide paper blue instantly.
Finally, the gas, passed through alcohol, causes the production
of aldehyde, an effect of oxidation which free oxygen cannot
bring about. From these results Professor Brunck draws the
conclusion that the odorous gas present in oxygen made from
chlorate of potash and oxide of manganese cannot be chlorine,
and must be ozone. One proof of this is that the odour is
entirely destroyed if the gas be passed over a layer of
manganese dioxide at the ordinary temperature of the
atmosphere.
The great objection to this theory is that it is generally helcJ
that ozone is decomposed by a high temperature ; long ago,
Andrews gave ."500° as the temperature of decomposition.
However, Professor Brunck shows that ozone, passed slowly
through a tube heated to 350', still retained twenty-five per
cent, of the original quantity of ozone. He further instances,
several high-temperature readings in which ozone is liberated,
and he points out Schonheim's statement that the oxygen ob-
tained by heating several metallic oxides appeared to contain:
ozone, as it liberated iodine from potassium iodide.
From all these observations the inference is to be drawn
that gas made in the old-fashioned way in all probability con-
tains more than one hundrei per cent, in volume of oxygen,
which accounts in another way for the alleged superiority of
that kind of oxygen. Finally, when gas is made and stored
in bags, means must be adopted for decomposing ozone instead
of removing chlorine where the laating conditions of the bags
s of prime importance.
MIXED DEVELOPING FORMULAE.
In giving the following formulfe, we may remark that they
have been so arranged as to represent as nearly as possible-
similar proportions and strengths of the diflFerent ingredients,
the combination being such as has been found, after careful
trial, to suit the average plate under what may be considered
normal conditions. It is, of course, absolutely impossible to
form a combination that will give the very best results with
plates of widely different character, which is the reason why we
prefer to recommend the separate solutions ; but, at the same
time, it is possible to so vary the composition of the single
solution as to render it suitable for any class of plate.
The formulae given are calculated to suit plates of the
" ordinary " or moderately rapid type, which, with the usual
pyro development, give printing density without much trouble.
With such plates, and ordinary exposures, the development
takes place with about the same rapidity as with pyro, and full
printing density will be obtained simultaneously with the
production of detail, without the necessity for any restraiuer
beyond that contained in the developer itself. In case of over-
exposure the use of an additional restrainer may be resorted to
as under ordinary circumstances, and it may consist of a sixty
per cent, solution of bromide of potassium, or a plain solution
of citric acid of half that strength. The latter solution is, we
think, preferable, as it seems to exercise a more decided check,
both on development and fog, than the bromide, and, especially
with amidol, aids greatly in the acquisition of density.
With plates of a more delicate type — notably some of the
more rapid ones — we have tried, it may be requisite to slightly
modify the formulae, either by varying the proportions of
hydroquinone or of the alkali, or by directly adding a restrainer
August 20, 18«:VJ
THE BRITISH JODKNAL OF PHOTOGRAl'UY.
6W
to the solution. The first method seems to us the preferable
one, and the variation is easily carried into effect for any given
plate, but ia a one-solution developer the range of power is not
very great.
The advantages claimed for the system of mixed development
may be briefly recapitulated here. In the first place, density
is obtained with far more dilute solutions, one grain or
one grain and a half of amidol or metol, in conjunction with
a similar quantity of hydro(iuinone, serving the same purpose
as plain solutions of four times that strength or more.
Secondly, the addition of a restrainer may, under ordinary
circumstances, he dispensed with, the hydroquinone acting to
some extent in that capacity, with the result that there is a
complete prevention of fog, with a minimum of action upon the
feebly illuminated portions of the picture, a matter of the
utmost importance in cases of very short exposure. In fact, it
may be claimed that the mixed developer will " get more out
of an exposure " than, under ordinary circumstances, metol or
amidol alone.
The first formula we give ia a single-solution one, which, as
has been already remarked, may be found useful or convenient
for studio work where one kind of plate is constantly used.
The solution keeps fairly well, at any rate for a week or ten
days, in the concentrated form in which we give it, but when
diluted for use it very quickly discolours, and a few hours
suffice to practically deprive it of its developing powers. The
solution is made as follows, the substances being dissolved in
the order named : —
Singh-gohttion Devtloper.
Metol 40 grains.
Sulphite of soda 120 „
Hydroquinone 48 „
Carbonate of potash 240 „
Water 8 ounces.
Apply heat if necessary to dissolve the metol, and afterwards
add the sulphite, and allow that to dissolve before adding the
other ingredients.
For use under normal conditions, one part of the above is to
be diluted with three parts of water. To some extent greater
or less vigour may be obtained by using it in a state of greater
or less concentration ; but the difference in action is not great,
and, should greater density be required, it is better to increase
the proportion of hydroquinone, or to add to the formula a few
grains of citric acid.
Tlie next formula is one in which the developer and alkali
are kept in separate solutions, which will retain their properties
for a much longer period than when mixed together. The
proportions of the ingredients are praclically the same when
mixed for use as in the foregoing.
2\or/-s(jl ution Developer.
A.
Metol : 40 grains.
Hydroquinone 48 „
Sulphite of soda 120 „
Water 8 ounces.
B.
Carbonate of potash 1 ounce.
Water 1 quart.
For use, mix one part of A with three parts of B for ordinary
exposures ; for over-exposures use less of B, or elss add a few
drops of a ten per cent, solution of bromide of potassium, or of
a five per cent, solution of citric acid ; for slight under-exposure,
increase B.
But the best form of developer for general purj-toHes is one in
which the hydroquinone is kept in separate solution from the
other ingredients, as it can then be used in any required pro-
portions to suit each particular kind of plate or any length of
exposure. It may, in fact, be added as reciuired, in the same
manner as the ordinary restrainers, during the progress of
development. As citric acid is a better preservative for hydro-
quinone than sulphite of soda, advantage is taken of the fact
by combining the hydroquinone with the acid, and the addi-
tional benefit of the latter is secured proportionately with that
of the hydroquinone. The formula is as follows : —
Three-solution Formula.
A.
Metol 40 grains.
Sulphite of soda liO „
Water 8 ounces.
B.
Hydroquinone 40 grains.
Citric acid 10 ,,
Water 8 ounces.
C.
Carbonate of potish 1 ounce.
Water 20 „
For use under similar conditions to those already mentioned,
take one part each of A and B and two parts of C. It will be
noticed that in this formula the proportion of hydroquinone i«
slightly less, and that of alkali greater, than in the others — an
alteration rendered necessary by the presence of the citric acid,
which, in addition to neutralising a portion of the alkali, very
considerably modifies the general behaviour of the developer.
If required for use with plates of the more rapid type, or
such as are difficult to work up to density, the proportion of B
to A may bo increased, as, for instance, making the mixture
one part of A to two each of B and C. In some instances a
better result is obtained by increasing the proportions of A and
B equally, keeping C the same, say one and a half part to each
of A and B to two parts of C. These, however, are details
which each operator will do better to work out for himself.
In conclusion, we may say that, while considerable variations
may be made in the formulae, both as regards the proportion of
the ingredients and the introduction of restrainers, the funda-
mental principle of the innovation is the utilisation of the
restraining power that hydroquinone undoubtedly possesses in
addition to its developing action. We should warn our readers
who make a practice of using the same developer repeatedly
that with the addition of hydroquinone the solution discolours
very rapidly after use, and this very materially curtails the
power in that direction. In any of the above formula; sixty
grains of amidol may be used in place of the metol.
The Poisons Act and Fbotography. — Last week a
Madame Kuppert was proceeded against in Dublin by the Pbarma-
ceatical Society of Ireland for selling a bottle of " skin tonic " con-
taining eight grains of bichloride of mercury in solution, she not
being licensed under the Pharmacy Act. The defendant was mulcted
in a penalty of five pounds and costs. Bichloride of mercary is
somewhat largely used in intensifying negatives, and we know it is
vended by some dealers in photographic materials who are not
licensed under the Pharmacy Act without koowing that they ara
doing wrong or rendering themselves Uable to a penalty. They
should take warning.
040
THE BRITISH JOURNAL OF PHOTOGKaxHY.
[August 25, 1893
A Keerlected Field for Photogrrapliers.— Mention of
promising prints reminds us that a little wliile back, during a short
photographic tour in west Sussex, a district remote from large towns,
we were, on no less than three occasions, offered money for the photo-
graphs we happened to be taking. The offers emanated from the
inhabitantsof small villages, into which it is likely the professional photo-
grapher seldom, if ever, penetrates. The larger villages and townlets are
doubtless, well looked after by photographers ; but it has occurred to
us, from our own and others' experience, that no inconsiderable
harvest awaits those enterprising photographers who devote them-
Belves to portraiture, cottage views, &c., in out-of-the-way places,
such as those we have in our minds.
PromlBlng- Prints.— Some friends of ours who went the
other day on a photographic expedition to an Essex village were
chilled by a cold stream of rustic sarcasm on applying for permission
to photograph one of the " show " subjects. They would not mind
sending the custodian a print, would they ? Not at all, he should
certainly have a print. He hoped he would, but — several gentlemen
had recently made him a similar promise and had not kept it. He
supposed all their photographs had turned out badly, as they were
" only amateurs." Our friends winced, knowing that in all pro-
bability, though it was possible the photographs had turned out badly,
this was not the real cause why the proffered promises had not been
fulfilled. Assuredly, where prints are promised, they should be sent,
if at all practicable, otherwise a great deal of ridicule, and not a little
obloquy, is cast on amateur photographers generally, who thereby
stand in some danger of becoming just about as unpopular with large
sections of the general public as are those self -constituted kings of the
highway, cyclists.
A XCew Paper. — A new kind of paper from which, it is asserted
ink writing can be removed with a wet sponge has excited some
attention in Germany. Not only has a patent for it been refused, but
its manufacture and sale are declared unlawful. The paper is said to
resemble ordinary paper in appearance, and is made of similar ma-
terials, with the addition of asbestos and a parchment size. The pulp,
however, it is stated, is treated with sulphuric acid, and, after washing,
then with a solution of ammonia and further washing. So far as one
can judge from the meagre description before us, it differs only from
the well-known parchment paper by its containing asbestos, and the
pulp being parchmeutised instead of the finished article. When
parchment paper was first introduced it was propose^ to parchmentise
photographs to enhance their permanency. We treated some salted
prints at the time — now over thirty years ago, but we did not find
that it added to their stability. Halves of the same prints,
darchmentised and unparchmentised, mounted side by side, showed no
difference at the end of twenty years.
Art Awards at the Chicag'O Exhibition The official
list of awards in the Art Section of the World's Fair has just been
issued. From this it appears that over a hundred come to Great
Britain — the largest number taken by any country — namely, seventy-
two for oil paintings, twenty-one for water colours, and nine for
black and white. Germany takes about eighty, and other countries
leae. It is noteworthy that Japan is awarded thirty-eight, while
Italy takes only fifteen, and Switzerland but two. America is next
to this country in the number of awards. Since France and some
other countries withdrew their exhibits from competition, that can
scarcely Ixi considered of such an international character as would
otherwise have been the case. By the way, when the medal question
at the Photographic Society of Great Britain has been discussed, it
has often been suggested that the Society should follow the dignified
example of the Koyal Academy and not give medals at all. It is,
however, worthy of note, on looking through the list of prize-winners,
lo tind the names of so many of our most celebrated R.A.'s, including
thi\t of^the Pres dent of the Royal Academy, Sir Frederick Leighton
hitD8?-lf. If our Host famous painters do not consider it too undigni-
hcd to compete foi medals, why, then, should photographers ?
Duplicate Flxlngr Baths. — The paper recently published by
Messrs. Haddon and Grundy goes far towards clearing up some of the
causes of fading in albumenised paper prints, though, unfortunately,
it does not provide a remedy. Therefore, so long as albumen paper
continues to be employed, it seems that permanent pictures cannot be
ensured. -Vgainst this it may be urged that, as some albumen prints
have withstood the test of time for three or four decades, and are
still as good as ever they were, fugitiveness is not a necessary accom-
paniment of the process. In the paper just referred to, the point, so
well understood by experienced workers, is again strongly emphasised,
namely, that perfect fixation is of even greater importance than the
washing, and that two baths are again recommended. Of late years
the perfect fixation of albumen prints has been a secondary considera-
tion to the appearance of the pictures afterwards. Prints from very
thin negatives, on some of the weakly salted and sensitised papers,
will not stand the necessary action of the " hypo " solution without
serious deterioration in their vigour. If prints of this character suffer
so much in one solution, they will suffer more by treatment in a
second one. The prints of old were often in the fixing and toning
bath for several hours ; but they were printed from vigorous negatives
on very strongly sensitised paper, hence their stability.
Beach Photographers.— One class of photographers probably
does not join in the eliorus of lamentation over the alleged depression
in pliotography tliat has recently lifted its melancholy note in our
correspondence columns. We allude to beach photographers. This
year the fine weather has rained a golden harvest on seaside resorts,
the number of visitors being unusually large. At three or four of
these popular places we made a point of observing to what extent the
beach photographers were profiting by the visitors' patronage, and
were agreeably surprised to find that business looked decidedly brisk.
Our observations were confirmed by one or two photographers to
whom we put a question on the subject. By the way, a good spirit
of camaraderie prevails among these humble professors of the popular
art. Competition is keen, but never unfair, nothing like an advantage
being taken one of the other. We saw instances where a helping
hand was freelj' given in the way of the loan of chemicals, operating
one for another, and so on. Quite a number of these photographers
belong to the fair sex, who sometimes operate themselves, and, where
necessary, assist their husbands by subduing the sunlight on a group
of sitters by means of a translucent screen. We were amused, one
day, at the adroitness with which one of the photographers quieted a
squalling baby whose vocal performances disturbed the equanimity of
a group of nine people he was taking. Whistling for his dog, who
was gambolling on the sands, he whipped the animal up in his arms,
flourished it before the eyes of tlie recalcitrant infant, who instantly
became interested in doggy and quiet enough to permit of the cap
being removed. The " friend of man " is a useful accessory.
OPTICAL TRUTH AND VISUAL TRUTH.
No intelligent photographer can fail to be deeply interested in Mr.
Van der Weyde's bold attempts to counteract what he supposes to be
shortcomings in the optical lielineation of the portrait lens. Without
entering into the actual application of Mr. Van der Weyde's correct-
ing lenses (about which he has not yet published full information),
further than to remark that their successful application will always
demand the very highest artistic judgment, or gross failure will he the
inevitable result, I will pass on to deal with the vexed and yet un-
settled question which was reopened in the discussion on Mr. Van der
Weyde's paper on the Pictorial Modification of Photographic
Perspective read recently before the Society of Arts. Here we
have two most eminent authorities in practical and theoretical photo-
graphy expressing diametrically opposite views concerning the optical
delineation of the photographic lens : Mr. Van der Weyde, on the one
hand, emphatically asserting that, even under favourable conditions,
the perspective drawing of the lens does not truly represent or
preserve the same proportions in parts of the subject as those which
are present to the visual sense of the observer when looking at the
same subject from the same point of view as the lens ; and Mr. W. E.
Debenham, on the other hand, asserting that the lens is in no sense
to blame ; that if some artists find fault with the optical drawing
August 25, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
641
of the lens, it is because they have been trained to conventionally
idealise and flatter their subject, whicli, of course, the lens will not
do ; ia short, that the propurly taken photo(fraph is perfectly true in
its proportions and its perspective, and therefore should yield to the
eve precisely the same visual impression as a direct eye-view of the
subject from the saipe point of view.
Is there no way of reconciling these soemingly opposite views?
When artists of the highest repute, who have gone through the
most tediously painstaking training in the accurate delineaiion of
the human figure, for instance, and whose eyes have consequently
grown exquisitely sensitive to little differences in curves and propor-
tions of parts, deliberatelv assert that a certain full-length photo-
graph of a beautiful lady-sittrr, taken by some eminent photographer,
does not do her figure, on the whole, justice, that her foremost hand
and her feet appear laryer than theij actuall;/ do in life, are we at once
to shirk discussion by attributing his verdict to professional bias,
or to the supposed fact that artists are invtiriahly guilty of conven-
tional flattery of their subjects, and therefore will not have a gond
word to say for an unbiassed mechanical process which will not do
the like? On the other hand, if men of the highest scientific and
optical training assert, equally emphatically, that the optical projec-
tion or perspective of a photographic lens yields precisely the same
image (except for colour, &c.) on the retina, when a print is viewed
by the eye squarely and at proper distance, as that tfirown on the
retina when directly viewing the same subject with the eye from the
same point of view as the lens, are artists justified in simply pooh-
poohing such a verdict, on the false ground that a mathematical
mind cannot, with any profit, deal with artistic matters ?
I hope to be able to show that both sides are right in this con-
troversy, and that both sides are wrong, by omission. I am not one
of those wlio believe that photography caimot err. for I have else-
where pointed out one very serious cause of the limited powers of
photographv (see " Nature's Light Scales as Kendered by Photo-
graphy,"" Photographic Quarterly, vol. iii., Nos. 9 and 11) ; but
what I here contend for in regard to this question of photographic
delineation is. tliat the " mechanical " lens does not err, but that
the human photographer does very materially err, inasmuch as he
seriously expects to get the same visual impression by regarding a
picture on the flat as projected by the monocular photographic lens
as he gets when viewing the same subject from tlie same point of
view bv the binocular vi.-ion aftorded by his two eyes. The whole
controversy has been conducted, so far as I know, without making
anything like adequate allowance for the apparent discrepancies
which must arise in comparing together an effect of monocular
vision with the more realistic effect of binocular vision of the same
subject.
In order to explain my meaning fulh% I must first set out with
illustrations of a very well-known fact in connexion with the tlieory of
vision ; the fact that our instinctive estimate of the real sizes of objects
is generally a product of twa factors.
1. The visual angle subtended by an object ; or, what comes to the
same thing, the size of the retinal image of that object.
2. The distance from the observer at which the object is instinct-
ively judged to be situated.
For instance, in fig. 1, E represents the eye. Suppose that a 6 is a
plain wooden rod, two feet long, and c dis another such rod, four feet
Fio. 1.
long, hut just twice as far from the eye, E, as a h is. Then the images
of these two rods on the retina of' the eye will be of the same size
exactly, and, in the absence of any means of judging that the rod c d
is further away than a b, the conclusion would inevitablv be that
those two rods are of the mme size. The eye cannot differentiate
their fizes without, in the first place, having some means of judging
their relative distances.
At the risk of triteness, I will enumerate the principal means
whereby the observer is enabled to judge the distances of objects.
1. In the case of near objects, the focal adjustment of each eye
required for distant vision constitutes roughly a sense of distance, but
it can be shown that this cannot be operative beyond the dittance of
about fifteen feet.
2. The knowledge of the absolute size of familiar objecta, as derived
from experience. A man knows well the usual i>iz« of a cow or
sheep, and consequently he instinctively guesses, without other aid,
the aistance of such an object corresponding to the visual angle sub-
tended by it at his eye.
u. In the case of very distant, but more or less unknown, objects
the eye derives much help in judging their distance, and therefore
their size, from the apparent thickness of atmoephere which seems to
lie between — often a rather deceptive clue.
4. The effects of geometric perspective, especially in the case of
buildings and other objects bordered or varied by straight lines.
o — -and most important of all in relation to the main point whiih
I hope to establish — the effect of what I may call duplex pertpective,
due to binocular vision. The view of anv object within 100 yards'
distance, presented to one eye, is essentially more or less different in
its perspective and proportions to the view of the same object pre-
sented to the other eye, the left eye seeing more round the left-hand
maiyin of the nearer objects, and the right eye seeing more round
their right-hand margins. Examples of the accurate sense of dis-
tance derived from binocular vision, and the very vague and shadowy
fense of distance derived when binocular vision is either absent or
rendered ineffective, are well known to all of us. As an example of
the first case, let anybody try to thread a needle with one eye shut.
As an example of the second case, how notoriously difficult it is to
judge the distance of a horizontally stretched rope without putting
the liead on one side, and, consequently, how vague is the idea derived
as to the real thickness of the rope.
One or two further examples of the fact that our estimate of the
size of objects depends upon both visual angle and imagined distance
may be given. There is the well-known case of the full moon or
the sun generally appearing considerably larger when rising or
setting on the horizon than when high up in the sky. Yet it has
been conclusively proved, over and over again, that the visual angle
subtended by their horizontal diameters is exactly the same in both
cases, while their vertical diameters subtend a visual angle actually
smaller than when at greater altitude.
The only possible explanation of this phenomenon lies in the tact
that nearly every one almost unanimously attributes a flattened dome
shape to the sky, the parts overhead being thought much nearer than
the parts near the horizon, doubtless because there are so many ob-
jects between us and the horizon, helped out by the effect of atmo-
spheric perspective, all conspiring to throw back the lowest parts of
the sky into an apparently very remote distance. Therefore the
moon, when setting, although of the same visual angular diameter as
when at higher altitude, is instinctively judged to be much further
off. and therefore proportionately larger.
In the same way a distant hill is judged to be loftier and more im-
posing when an atmospheric haze gives the impression of its great
distance than when extreme clearness leads to the impression of its
near proximity, when it looks comparatively dwarfed in size. Yet
the visual angle is the same in both cases.
Now, when we come to represent a natural object or scene upon
a flat surface, according to the well-established laws of geometrical
perspective, which can be done either by the tedious process of
careful drawing and plotting out, or, far more expeditiously and
accurately, by a rectilinear lens, it must be carefully borne in
mind that the resulting view or picture is essentially a monocular
one : it ia projected with reference to one particular point of view —
the nodal centre of the lens in the case of a photograph, and the
}K>int of sight in the case of plotted-out perspective. Therefore, in
viewing such a picture on the flat, it is obvious that bin.)cular
vision is no longer operative; the picture is the same to both
eves, and the effect of looking at it with Iwth eyes is, in the
average of cases, rather to make the observer all the more con-
scious that he is looking at a flat picture — a fact borne out by 'the
habit, common among artists, of viewing pictures with only one
eye, whereby relief is gained, and not lost.
And, since binocular vision is no longer operative, the observer is
deprived of one of the most important means of estimating the re-
lative distances of the various objects represented in the view. How-
ever skilfully drawn or painted the picture may lie, if it represents
objects comparatively near to the observer and within the range of
binocular vision (in which case the great relief imparted by atmo-
spheric perspective would generally be out of place ), still the principal
natural means of instinctively estimating the relative distances of the
objects represented is denied to the observer. And the obvious de-
duction from this is that those parts of the subject represented which
are nearest to the observer will appear somewhat exaggerated in
543
THE BKlTISfl JOURNAL OF PHOTOGRAPHY.
[August 25, 1893
size, while those parts f uithest from him will appear somewhat too
small.
For I have already dwelt upon the fact that tlie mental estimate of
ihe size of objects depend upon tivo factors, visual angle and esti-
mated distance. Here, then, in the picture visual angles are rela-
tively all right, but, owing to binocular vision being inoperative,
there is necessarily inability to mentally project the various parts of
the subject to their proper relative distances. If it is a full-length
portrait of a man seated in a chair, with his hands and feet projecting
toward the lens, then, in the absence of binocular vision enabling
liim to see at a glance how much the feet are nearer than the body ;
they will, therefore, not appear small enough ; in other words, they
will tend to appear disproportionately large. And the same thing
will happen with the hands and the forward projecting arms or
legs of the chair. On the other hand, if one of the sitter's hands is
extended away from the camera, then, since the observer of the
portrait cannot propurly project that hand to its proper relative dis-
tance further back than the sitter, he will inevitably tend to think
the hand relatively too small.
A very instructive experiment will further illustrate this. Take a
low seat a few feet in front of a ^ubstantial arm-chair, in such n
position that the back legs are visible between the front ones, and
the whole chair seen in somewhat violent perspeetive. Shut one eye,
and with the other steadily regard the tout-entemble of the chair. It
will be noticed that the foremost parts of the chair bear certain
apparent proportions to the more distant parts. On quickly opening
the other eye and bringing binocular vision into play, a sudden
apparent shrinking of the front parts of the chair at once takes place,
thus showing that one-eyed vision is apt to over-estimate the relative
wzes of objects near to the eye at the e.xpense of objects more remote.
Similar experimeats may be made in the case of other near subjects
presenting parts relatively very much nearer to the observer than
other parts. But the most decisive experiment of all would be to
take a full-length portrait of a sitter placed in such a position in an
arm-chair as to bring out this apparent distortion to the utmost — the
body reclining, one leg stretched out towards the camera, the other
foot put back under the chair ; one hand stretched forward, the other
put far back. Let a portrait be taken with a stereoscopic camera,
furnishing two simultaneous views of the subject, and taking care
that the distance between the centres of the two lenses does not
materially exceed the distance between a pair of eyes. Moreover, let
the distance between the camera and the sitter be such as is usually
found best for artistic results, a wide-angle picture being thus pre-
cluded. Yet each picture in itself would be found to give a disagree-
able effect of distortion, the foremost foot and hand looking far too
large. Let a stereoscopic transparency of the two pictures be made
and viewed together in the stereoscope, thus virtually calling
binocular vioion into play again, and then it should be found that the
apparent exaggerations of the advanced parts of the sitter and chair,
&c., at once disappear, everything assuming its proper proportions
true to fact ; this taking place not by any modification of the relative
visual action (or perspective) subtended by the various parts, but
simply because the parts are projected to their proper relative
distances, and therefore the twin factor in instinctively estimating
real size is supplied. This experiment would supply a crucial test,
on which the soundness of the theory herein advanced should rest or
fall, and as soon as I can find time I shall carry it out and report
upon the result, which I feel positive will turn out as anticipated.
This apparent distortion may exist in very various degrees, in some
cases being far too slight to strike an untrained eye, but yet glaring
enough to an artist, whose eye has been carefully educated to estimate
subtle proportions as he sees them, and transfer his impressions to
canvas. After all, then, is there anything to be surprised at if
artists accuse photography of distortion of proportions ? Where they
are wrong is in blaming the lens, whose only error, if it is one at all,
consists in being rigidly faithful to monocular perspective. The hand
artist has fallen into the way of drawing in the nearer parts of his
subject smaller than the laws of monocular perspective would demand,
and thus, if he does not overdo it, he compensates in a perfectly
legitimate manner for the absence of binocular vision and its conse-
quent duplex perspective when viewing the portrait. We habitually
use two miniature cameras situated about two and a half inches apart
for forming pictures of objects about us, and gauging their relative
situations and distances, and therefore relative sizes, and transmitting
the information to the brain. The photographic lens justly demands
that it should be put on an equal footing with the eye, that its own
faithful picture should be supplemented by another picture taken by
another lens like itself, but placed two and a half inches to one side,
and that the right-hand picture shall be viewed by the right eye only,
»nd the left-hand picture by the left eye only, and then no suspicion
of distortion can be urged against the combined visual impression.
Under these circumstances, nothing further can be urged against
photography for portraiture and the like than its scrupulous fidelity
to the proportions of the subject as we see them with our eyes.
Hence, then, Mr. Van der Weyde's plan of modifying the proportions
of his subject by a system of very shallow lenses is but the optical
counterpart of the hand-artist's power of compensating in drawing for
the apparent distortion following upon the absence of binocular vision,
and seems to furnish the only solution of the difficulty of making a
flat monocular picture truly represent a two-eyed impression. The
only danger lies in the fact that so many sitters are satisfied with
nothing short of the most flagrant flattery on the part of the photo-
graphic artist as well as the portrait painter, and that the method
may, in some hands, be prostituted accordingly.
H. Dbxnis Taylor.
♦—
AMEPJCAN NOTES AND NEWS.
A New American Journal.— The palatial city of Washing-
ton, D.C., has not had, so far as we know, a journal to represent
photography there until now that the Photographic Adversaria has
been published. It is to appear fortnightly, and we give hearty
welcome to our young contemporary. The most noteworthy article
in the issue for the 5th inst. is one by Dr. Theodore Ilansmann, in
which he discusses the possibility of obtaining spirit photographs, and
states that in course of his investigations he has obtained several that
have been recognised. One of these is printed as an illustration to
the article, and represents the author himself, together with a sharply
defined portrait of Gen. U. S. Grant on the same plate. Dr. Hans-
mann is not quite correct in stating that a certain London photo-
journalist, whom he names, lived in Washington ten or twelve years
ago. The most that can be said is that he twice visited it for one
day, en route for the south, about the time mentioned.
Tlie Convention of the American Pbotogrraphers'
Association. — If the reports in American journals are to be
credited, and we see no reason for not doing so, the recent Convention,
which was held at Chicago, has proved a deplorable failure. Not a
single paper was read, nor was there any discussion on a technical or
scientific subject. In brief, says the Phatographie Times, "the
Convention amounted to this only : The members met, selected a
location for the Convention next year, elected officers, and adjourned."
By the way, the Tiines issued its July 14 number as a special
" Convention Number," but quite omitted to say anything about the
Convention in it, preferring to give the report a fortnight afterwards.
Coincidence or 1 — Is it not due to the readers of the
" Convention Number " of the TtTOs^ afore mentioned, that some ex-
planation be given how it happens that an article, by Mr. William
Taylor, of Leicester, entitled " The Principles of a Lens' Action," should
have appeared in its pages with the signature of Walter E. Wood-
bury attached thereto? True, the original title of the article has
been altered to " The Action of a Lens Simply Explained," and a few
verbal alterations, not corrections, have been made ; but, in other
respects, the article, together with its illustration, is essentially that
of the clever Leicester optician, and forms an addendum to his firm's
catalogue. Some explanation seems desirable.
On the War Path. — We understand, from the Photo-American,
that the Duke of Newcastle, who is stated to have almost a craze for
photographing wild beasts, especially those of a rarer class, has visited
California along with Mr. Gambler Bolton, intent on his favourite
pastime. One project these distinguished photographers have in hand
is to photograph the big sea lions at the cliffs. It is not their intention
to photograph those creatures from the shore, but to steal up to the
seal rocks on a tug and get perfect negatives. After leaving Cali-
fornia, they go to Honolulu. We trust that both will return safe to
England, heavily laden with the spoils of the chase.
Their XiOBS is Our Gain. — The editors of the Aineiican
Amateur Photographer announce that, although they lose the active
personal aid of Miss Catharine Weed Barnes by her marriage with
August 26, 180S]
THK BRITISir JOUKrJAr, OS" vHr.Tfw;R4 pmv.
Ml
Mr. II. Snowden Wanl, and her conaequent removal to London,
■where she will in future reside, yet is she to keep herself in touch
with her former journal by still acting as an nssociate editor and
Kng-lish correspondent. Thi.s esteemed lady, during her visit to
Uritain last year, made many friends, who will gladly welcome her
back again, and among these we include ourselves.
Kalf- tones In Colours.— Mr. F. Kurtz, of New York, has
patented a proces-i of printing half-tones in colours by carrying out
the idea of the three primary colours, and using blocks in which the
grain runs in lines of different directions. He prints two colours
over a third, and thus obtains a combination print in which several
different colours appear. The negatives have to be taken through
special coloured screens.
Friction at the World's Fair.— Photographers appear to
be resenting the restrictions put on them in connexion with making
use of their cameras at the World's Fair, and are leaving them at
their lodgings rather than be subjected to tlie exclusive and restrictive
policy adopted towards them. Hence, .'ays the American Amateur,
the number who try the privilege is at least ten times smaller than it
would be if some reasonable fee was asked, and, as a consequence, the
income from fees is disappointing. The annoyances everybody has
to put up with at the hands of the Photographic Department are
patent and notorious.
Extemporislngr a Camera Stand.— There is an absurd
rule prohibiting the use of a tripod ; but this seems, in one case at any
rate, to have been cleverly evaded by the photographer fixing his
camera on the back of a cliair by a bicycle clamp. It is said that the
official photographer employs a force of fifteen men to look after
camera permits and watch for camera users.
Soap-bubble Fhotogrraphs.— In view of the desire that
now prevails among some photographers to take children in the act
of blowing soap bubbles, Mr. E. L. Wilson gives (in Wilson's
Ma(jazine) a formula, presented to the Academy of Sciences by
M. Izard. lie uses a resinous soap, made of ten parts of finely
powdered resin intimately mixed with ten parts of carbonate of
potash, and adding a hunclred parts of water, these being boiled till
fully dissolved. This keeps well. For use, it must be reduced with
four or five times its bulk of water. The bubbles made with this
liquid continue much longer than those made of common soap.
THE PHOTOGRAPHIC CONVENTION, 1893.
Delegate's Report to the London- and Provincial Photooraphio
Association.
Is accordance with my duty as an elected delegate to the Photographic
Convention of the United Kingdom, I have the honour to submit to your
notice the following report, comments, and opinions.
By dint of a little personal exertion, I managed to get a small
party together on Monday morning, July 3, for the 10.30 train from
I'addington. Taking ten tickets, the reduced fares of a party were
obtained. The party consisted of nine only, so the amount saved
amounted to 7«. lid. instead of 10*. 8(t. each. But, as the remaining
ticket was sold at Plymouth, I declared a dividend Is. 'id. each, making
the total amount saved 9s. id. I mention this to show what can be
done, and to urge the importance in future of some combined effort
beforehand — first, to secure a comfortable saloon carriage ; and, second,
to reduce the fare of the journey. My work was but a scratch affair at
the last moment, but it is certainly an item that should be taken in
hand in future, as there will probably always be a goodly London
B contingent at all Conventions.
The Excubsions.
Whilst findin; no fault with the local Committee, there can be but
little doubt of the folly of arranging too many excursions for one day.
At Plymouth, as at Edinburgh, the great majority went to one particular
fixture, leaving a bare hmdfnl for the others. This must be particularly
unpleasant for the leaders of both, or, as wai the oaae at Plymouth, all
three. Two or three of those arranged thi« year practically fell throagh
altogether, and it should be a lesson for next year that the alternative
ezoursioDB ahoald not exceed two apon any one day. I will mention on*
instance only. The excursion to Looe and the Cheesowring on the
Thursday was allowed to drop, with the result that the one to Totneii
and down the Dart was patronised by nearly seventy instead of about
twenty-five as expected. The consequence was that the flotilla down the
Dart had to be augmented, and finally consisted of the steamer, a barge
and two small boats. To me the pleasure of an excursion is the party,
and therefore all arrangements for catting np a good size gathering into
fragmentary segments of five or six do not commend themselves.
The weather, with the exception of the first day, was particularly
bright and p'easant, though hardly the best for photographic work. It
was most unfortunate that the first day wa3 so wet, because the special
invitation steamer trip organized by the local committee was quite a
new thing, and deserved greater success. By means of local subscription,
a handsome steamer was chartered for the whole day free of cost to those
attending the Convention. Had the day been fine, the chances of the
hand camera were simply magnificent. However, Mr. Handsford Worth, the
local Hon. Sec, and Colonel Barrington Baker exerted themselves to the
utmost, and their endeavours, together with the two excellent repasts
served on board, the music, and collection for the Photographers'
Benevolent Association fund, served to keep the large company in what,
under such depressing circumstances, might fairly be termed good
humour. The trip which was probably more enjoyed than any other was
that down the beautiful river Dart from Totnes to Dartmonth, although
there was but little photographic work feasible.
The Papers Read.
I fear in this instance that I must find serious fault. There were too
many papers to commence with, some of them were not conducive to
discussion at all, and there was no time in any case for it. It was rather
surprising to me that, beyond the ofiicials, who would feel compelled to
attend the reading of the papers, even a small number of ordinary mem-
bers put in an appearance. The papers are usually in print and handed
round beforehand to the meeting, so that there is not even the charm of
listening to something new, and the discussion, being so limited, is of no
value. Consequently there is but small inducement for members ta
attend when varied enjoyments await them elsewhere.
The highly scientific nature of some of the papers is distinctly against
any sort of discussion. Even the ablest scientist would fight shy of
dealing with a mass of diagrams and tables without first digesting them.
The Social Side
Was, as usual, distinctly a success. Old friends met old friends, and
newer members met those they had so often heard of or read about, but
never seen in the flesh. With the slight exception of a little snarling by
one or two members of the trade, everything passed off well. The post-
convention meetings, where over a glass of stone ginger bser, o'd battlei
are refought, and song and story enliven the evening, have bacome quite
a recognised institution. One of our members, Mr. Cowan, rendered
yeoman services at these with his recitations.
To sum up, the Convention, in spite of the few matters which might be
improved, was enjoyed by every one, and I hope Mr. Cowan or Mr. Haddoa
will bear me out in this. And I should like to recognise the valuable
services of Mr. Handsford Worth, the local Hon. Secretary, who was mos
indefatigable in his efforts to please and assist ; also those of Mr.
Cembrano. They are both model Hon. Secretaries.
One more grumble and I have done. The receptions by the Mayors of
Plymouth and Devonport were all right in their way, but I muit ':ertainly
deprecate the increased use of evening dress. This year the number of
times required was increased to three. Personally I should like it to be
forbidden altogether. We don't go out photographing and for enjoyment
in dress suits ; and, when the local committee speciallv st iteJ on the
programme that they should make a point of attending the receptions in
morning dress, it was nothing less than affectation for the visitors to
disregard the hint. Of coarse it's just as well to show the natives that
some of as possess such articles of clothing, and that we know how ta
walk about the streets to show them to best advantage.
A journalistic friend of mine, bearing of the new venture, the magazine
I edit, said, "Oh, it's easy as easy; when you haven't much to say, shove
in more pictures." This is my case now, and in the album in which this
report is written you will find a few of my hand camera shots, to make
the report a pictorial souvenir as well.
WALriB D. Wsiroav
544
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[August 2'), 1893
CAMERA SUPPORTS.
Fob years alight, portable, withal rigid, stand has been a desideratum.
I have longed for such ever since my first essays, when 1 was wont to
carry some five feet or so of ash and brass, yclept a tripod — nothing
was better in its was, stronger or more rigid ; the stand bearing the
name of the the late Mr. Kennett was, and is, admirable, but weighty ;
the " Maudsley " is a model of beauty, and is light, neat and rigid,
the perfection, in fact, of a tripod for general use. The large variety
of stands may be somewhat confusing, they may be all that could be
wished as regards ingenuHy, but, when we come to consider their
portability, opinions will vary ; what one man looks on as portable,
another would consider impracticable.
I once owned a " fishing rod and gas-pipe arrangement " of metal
with a horn attachment, this was supposed to represent an umbrella.
It required a strong arm to wield it, was only some three feet six
inches high when extended, and was then practically of no use, being
a veritable reed " shaken with the wind."
However, the ordinary photographer has little now to complain of
with regard to tripods, he can get them one, two, three, or four fold —
but none of these are suitable for those who, like myself, combine the
art science with cycliny. I believe the want of a good stand deprives
many cyclists of the pleasures derived from the practice of photo-
graphy. To such I commend the perusal of this short note and
description of what I have so far found to be a really light, portable,
and rigid contrivance for supporting a camera during exposure. My
own idea was, to have made a hinged rod to attach to the handle bar
of safety, the rod to have at the end a metal plate pierced for the
camera screw and fitted with a universal joint. However, I saw
just in time a really good attachment by Lancaster, which, though
not, I think, perfect, is still so near the mark as to make it, considering
the reasonable price, a good thing to have.
Xow, what we want on the cycle is an arrangement which will
enable us to dismount, and, without any unpacking, transform our
machine into a steady tripod, the time expended being merely that
required to unpack and erect the camera, entirely doing awav with
any bulky bundle of sticks strapped to the frame of the bicycle.
With the camera attachment referred to (Lancaster), and a simple
contri-ance which any one could manage for himself, we have all we
require. The cycle, of course, will be of no use without a third
" leg " or support. This I get by attaching to the safety frame, just
above the front fork, by means of a collar and nut, a light bamboo
stick. This, when not in use, is held up under the saddle with a
small strap, though a spring " clip " would be simpler. Drop this
" leg '' down, and we have at once a strong, steady stand, the safety
leaning over somewhat. The camera attachment, being already
fixed to the top bar of frame just bshind the handles (the Beeston
frame being understood), is at once ready ior the camera. We get
three movements — lateral, vertical, and horizontal. Each movement
is controlled by a simple but powerful screw, and the whole arrange-
ment in situ is barely noticeable. The total weight of attachment is
well under one and a half pounds. The height may be reckoned at
from three to four feet six, the rapidity being wonderful.
It is well, however, to remember that to secure the best results, and
to ensure one's own comfort, the camera and its fittings must be per-
fect. Each part should move freely and easily, the dark slide inserted
and the shutters drawn without undue exertion. This is on the face
of it a simple matter, but is most important in practice. Above all,
the exposure should invariably be made by means of a mechanical
arrangement fitted with ball and tube ; the focussing cloth, slightly
weighted at the comers, is left hanging, and leaves no necessity for
touching the camera or machine during exposure. It is by no means
requisite to remove the camera every time between exposures, as
where several views are to be had in one neighbourhood the machine
may be wheeled or ridden, the camera being in place ready for work ;
at the same time all unnecessary vibration is to be avoided.
Many cyclists may prefer to add (with verv slightly increased
weight) a second leg or strut, i.e., one each tide of bicycle. This
gives greater steadiness, takes no more time to work, and is un-
doubtedly an additional security against vibration. Another point
worth mentioning is to line or pad the clip with leather ; the latter is
hotter than rubber. It may be securely fastened on with Front's glue.
1 aking the metal hot, running in the glue, adjusting the leather and
s rawing up tight till secure and set. j, Pikb,
PLATINOTYPE.
[North London Photographic Society,]
Thkrb are, to my mind, but two other processes able to approach platino-
^'w^'i^'u" P^otoS'a'ure and carbon printing. As to the exact salts with
which the papers are coated, I believe the chloro-platinite of potassium,
in combination with ferric oxalate, are chiefly used. Ferric oxalate is
sensitive to light, and by tlie action of light becomes fen-ous oxalate.
One of the properties of ferrous oxalate is, that in solution it has the
power of reducing ehloro-platinite of potassium to metallic platinum.
Oxalate of potash, or kindied alkalies, which compose the developer of
these papers will dissolve ferrous oxalate, and this in turn reduces the
ehloro-platinite of potassium to metallic platinum, forming the image of
a platinum print, the unused portion of the iron salt being dissolved out
by the acid bath. The foregoing brief outline of the process shows the
extreme simplicity of this method of printing. Platinum is undoubtedly
one of the most stable and unalterable metals known to chemists, and
in the very fine state of division in which we find it in a platinum print
is of a rich, pure black, unaffected by light and insoluble in hydrochloric
or other acids, thus ensuring permanency. This quality is undoubtedly
of high value, though its simplicity of working, its artistic colour, and
the soft effects producible by it, quite overshadow, in my estimation, all
other good qualities. To obtain an artistic print by any process, it is neces-
sary to devote considerable study to the production of the negative most
suitable to it, and the samples which I have here will, to some extent, ex-
plain the quality of negatives most suitable to the process under considera-
tion. True artists admire a perfect platinum print as a thing of beauty in
monochrome, while it is the envy of the mediocre painter who daubs on
the canvas his abominable greenery-yellowy colours in sections like a
child's puzzle, which colours externally refuse to blend together and can
only be softened down by prolonged contact with the fuliginous
atmosphere of the kitchen chimney. Some of the older generation of
photographers were somewhat incensed at Mr. Guardia's remarks at the
Plymouth Convention, re art productions with the hand camera, and
claimed that equally good work was done by some of the early and
earnest workers as by those of the present day, and that is undoubtedly
true ; but. however technically perfect their collodion negatives with their
false shadows of absolutely clear glass may have been, and probably were,
the photographers of old were almost confined to printing in silver, and
lacked such splendid processes of reproduction as present workers may
revel in, first and foremost among which I place the platinotype.
Having said thus much to express my admiration for the process, I will
give a few details as to the working of the paper, &c. Firstly, the paper
must be kept perfectly dry before, during, and after printing. Secondly,
the negatives should be, in my opinion, fairly dense, but soft, with
details to suit the subject, and free from stain, especially yellow, to which
colour the paper is but slightly sensitive, in consequence of which the
development may be carried on by gaslight, and so simple and cleanly is
the process that you may with the cold bath perform the necessary opera-
tions in your own dining-rooms (if you can get the requisite permission)
without the slightest detriment to the furniture. Thirdly, in printing it
is necessary to back the paper with a thin sheet of vulcanised India
rubber and by all means varnish the negative. Print till a faint grey
image appears as if imbedded in the lemon-coloured sheet with a thin
veil or film over it — a softness characteristic of the process without hard
or decided lines obtruding themselves. In working the process it is not
necessary to tie yourself down by inexorable rules (except with regard to
the exclusion of damp) but every worker with intelligence may vary the
composition of the bath or the extent of the printing to obtain different
effects of tone ranging from silver grey to exquisite black full of trans-
parency. I would advise beginners to print till the shadows and half-
tones are faintly discernible, and to have two developing baths, one much
diluted and the other of normal strength. Draw the face of the print
over the surface of your first very dilute bath, and if the effect desired is
obtained plunge the print into the acid bath to prevent further action ;
but, it through insufficient printing or weakening of No. 1 the desired end
is not obtained, then resort to the stronger bath and complete develop-
ment on that. J. V. Brewer.
AKT IN PHOTOGEAPHY : AN INTERVIEW WITH
ME. FEEDERICK HOLLYEE.
[Die Stuiio.~\
A COMMONPLACE-LOOKING room On the ground floor of a commonplace
house in a quiet Kensington square, the demure plainness of its furniture
relieved only by the soft grey tones of the countless platinotype repro-
ductions of the pictures of that apostle of romanticism, Mr. Burne- Jones,
which lined the walls. This is where I found Mr. Frederick HoUyer, a
sturdy, broad-shouldered, good-humoured, and good-looking man of
middle age, who comes nearer to the definition of artist-photographer
than any other man in England. To the art-loving public in general,
and to the section of the American community which deserves that title
in especial, Mr. HoUyer is chiefly known and appreciated as the trans-
lator into a more popvilar medium of the poetic fancies of Eossetti and
Burne-Jones. To a smaller circle, however, that appreciation is widened
into recognition of what may be called, without prejudice, his creative
work, as distinct from his reproductive work with the camera. It seemed
to me, therefore, eminently fitting that I should come to this modest
oracle for a word on the vexed question of art and photography, .is
luck would have it, I had made my pilgrimage at an opportune moment,
for, taking advantage of the leisure afforded him by a rare holiday, Mr.
HoUyer had, the day before, acquitted himself of a piece of work
August 26, 1803]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
646
■which I think represents the high-water mark of photographic portraiture.
He had deliberately aet himself a task, the techi\ical and artistic diffi-
culties of which would, to the ordinary man, hava seemed insuperable.
The result, in the shape of a platinum print from the untouched negative,
^as hanging in his studio to dry, and I was gratified with the first
outsider's glance at it. It was simplicity itself ; a charmingly pretty girl,
dressed in a simple summer costume of pure white, standing at an
open door, with her lingers resting on the handle as though she were on
the point of going out into the little suburban garden, a glimpse of which
was caught beyond. The upper part of the figure was seen against a
background of absolute sunlight, and yet face, arms, white dress, hair,
and dazzling sunlight were all given with a fidelity to values which would
not have been unbecoming to a Whistler. In face of this result it
seemed to me almost impertinent to ask Mr. Hollyer whether, in his
opinion, there could be such a thing as " Art " in photography, for was
there not lying before me, as I hesitatingly put my query, a clear answer
in the allirmative ? He met me, however, with no expression of lofty
scorn, but with a somewhat quizzical smile, replied, " I really don't
know ; but, to tell the honest truth, I have got rather tired of the very
-words ' art and artistic,' and at times am inclined to say rude things
about those who insist so strenuously that they are artists, with a big .\,
and seem to forget that they ought first and foremost to be photographers.
The fact is that my association with the eminent artists whose works I
have been permitted to render into black and white by means of my
camera has rendered me exceedingly diffident in making any claims at
all. I am content to do the very best work I can with love as well as
care, and to let the rest shift for itself. If .there be art in the result, I
am quite sure that those who have a right to be dogmatic on such
questions will find it out ; if there be no art, I am sure it is my fault
and not the fault of my medium. I think that the fact is that, as
regards photography as well as other things, we are inclined nowadays to
talk too much and do too little."
"Very truly and modestly put, Mr. Hollyer," said I, "but I am
afraid you have something more than an inclination to evade the real
point at issue."
" Well," was the reply, " to speak frankly, I am quite convinced that
something, call it art or what you will, but something apart from mere
mechanical and scientific excellence, not only can, but should, find its
way into every print from every negative that leaves the photographer's
studio. In landscape photography, for instance, that something may be
of the nature of selection, and selection is, as I understand it, an
important part of the equipment of every painter. Observation, too, I
think, must be fostered by the photographer as carefully as by the figure-
painter, for, if his work show not the presence of this quality in itself, it
will be a mere piece of mechanism. I have some prints here from
negatives taken by me many years ago to which I may, I hope, without
egotism, refer as showing the importance of proper selection. This view
of Waterloo Bridge, for instance, might have been taken from half a
hundred other points of view, and yet from a topogi'aphical and
mechanical standpoint have been as correct as I here show it. To make
it pleasing to my own eye, however, I found there was only one spot
from which I could properly view it. Having found this spot, 1 had
again to patiently wait until the cloud and mist efifects, with the London
sun just peeping through the murky veil, were as I thought they should
be. Not only this, but selection came into play to tell me when the
black barge was in the right relative position to the rest of the picture,
and when other boats and floating objects, which might have formed
discordant notes, were well out of the way. The result, whether good or
bad, is practically what I had intended it to be from the very first, and is
DO hap-hazard accident, but the expression of a deliberate intention, gained
by careful selection on my part. At that point, of course, I stop, and
the rest of the work is done for me by the camera, but I might almost as
well declare that the etcher was a mere mechanical workman because the
biting of his line is done by the acid and not by himself, as hold that
because some portion, granted even that it be the major portion, of my
work is done by an agent which I only imperfectly control, I cannot
introduce into my work that personal note which I take it is but a
synonym for the ' Art ' of which you speak. Of course I am aware that
at one moment, and that perhaps the supreme moment, the actual
recording of the observed facts is taken out of the photographer's
hands.
" This is the moment of exposure. Consider, on the other hand
though, at how many other points the personal equation enters into our
problem. First, there is the focussing (and though some writers on
photography have disagreed with nie here, I maintain that I am abso-
lutely correct in saying so) ; then there is the development ; thirdly,
there is the manipulation of the print from the developed negative.
Don't for one moment understand me to mean that that fatal crime of
touching and retouching negative or print is or has been laid to my
charge. On the contrary, no one can have a greater abhorrence of such
acts than I. I consider it almost as criminal to form a picture by the
superposition of one negative upon another. I am convinced that two
photographers, equally skilled in the mere mechanical processes of their
profession, can photograph the same object from the same point of view
with the same camera, and under exactly similar conditions, and that the
finished print of one man may be a mere soulless transcript of what lay
ill his field of view, while that of the other may be something to which,
for want of a better word, I must apply the term ' artistic' How much
or how little of art may belong to photography is another qaeition, and
one which I must refrain from entering upon. When, not ao very muiv
years ago, photography came into being, the marvelloai re*alt« wbieb
were produced by the very earliest photographers cansed an exaggerated
opinion to prevail as to its purely artistic future. When, later on, its
well-defined limitations became apparent, there was the asual reaction in
the other direction, and those who claimed that art might in any form enter
into photographer's work were sneered at as presumptuous Philistines.
Surely there is safety in the middle course. If yon do not deny artistic
faculty to the man who reproduces in black and white a picture by
means of his patient ' rockings ' and ' scrapings ' of a copper plate, relying
in a large measure upon reproductive processes which are entirely me-
chanical, why should you not, then, attribute some degree of artistic
personality to him who reaches the same end partially by means of the
camera? Compare the work of different men in my own branch, and
tell me whether there is not the greatest difference in the result, as
regards not only the technical excellence but the artistic value of the
translation as well.
" Perhaps I have talked too much, for I hold, as I said when I began,
'that my mission is to do and not to talk. But I am as irritated, on the
one hand, when I hear the flat-footed declaration that photography cac
never be more than a mere mechanical trade as I ara restive on the
other when I hear a photographer aver that, by combining a set of views
taken at various times and hours of the day, he has effected what he
fondly calls ' a picture,' as distinct from a ' mere photograph.' In other
arts, and especially the subsidiary, it is their very limitations which the
craftsmen turn with instinctive recognition to their own advantage. If
this principle were only to be recognised and honestly lived up to by
photographers in general, we should have results which would be better
art, because t'aey would be better photographs." Hobace Townsend.
THE PHOTOGRAPHIC CONGRESS AUXILIARY OF THE
WORLD'S COLUMBIAN EXPOSITION.
Sev'beal papers have been contributed to this Congress, which was
held on August 1, under the presidency of Mr. James B. Bradwell,
Chairman of the Uommlttee. We print the following at present : —
WINTER PHOTOGRAPHY IN THE ALPS.
Although it is now twenty years or more since winter visitors first came
to the Alps, few photographs have been preserved which render faithfully
an Alpine valley in winter. The subjects ready to hand are varied and
beautiful, yet somehow one seldom sees first-rate photographs of these
high-lying districts under snow.
Those who have so kindly asked me to prepare this paper have greatly
over-estimated my capacity for telling you some new thing. Still, bear-
ing in mind the fact just referred to, it is evident that few persons have
made a study of landscape photography at that season in the Alps, and
thus, perhaps, the experience of one who has worked in that direction
may be of some interest.
Those taking up this branch of their art are usually handicapped at
the start by their belief in an article of faith — and of little else — laid
down by the majority of English photographers, who declare that snow
should never be photographed m a bright light. I dare say that in your
sunnier climate, which must offer many more opportunities for experi-
menting in winter photography than does that of Great Britain, you have
already discovered that brilliant sunshine is essential to the best results.
But, in case any among you still hold to the unsound maxim, I would
ask him to bear in mind exactly what snow is ; that it is nnform in
colour, almost smooth of surface, and on dull days without distinct out-
line against a grey sky. It must, therefore, be built up, so to speak, and
modelled into that miracle of fairy delicacy and lightness Which, under
favourable conditions, it may become. We can have it at its best by
working with suitable light at suitable hours, and now and then calling
to our aid one or two artificial but inoffensive contrivances. At midday
in winter the light falls too directly on the subject ; the lace-like tracery
with its system of irmumcrable tiny snow crystals, obtains no relief
against the wlute robe, standing hard and stiff around rook and chdUt.
But go early in the morning or late in the afternoon, and note the
change. You will find in the long, soft shadows a thousand exquisite
half-tones. See how the highest and nearer lights are broken, and
broken again, by the thin veil of surface crystals, each with its perfect
modelling, its tmy shade throwing up its star-like form. Look at the
rounded billowy flow of the snow where, half in sunshine, half in shadow,
it sweeps around and over the inequalities of the ground. If there has
been a mist, however slight, during the night, a fretwork of hoar-froet
will cover all, and will complete the materials tor as flue a subject m
you can wish for.
546
THE BKITISH JOURNAL OF PHOTOGRAPHY.
[Au^st 25, 189»
Tou may find it desirable to use, in addition, the artificial contrivance
to which I referred, and by Bhovelling some of the snow, or trampling
out a track, break up any portion of the picture where the uniformity is
too great.
And now, having placed your subject under the most favourable con-
ditions, what is the best way of photographing it ? My own experience
leads me to think that slow plates are far the best, so that when used
with a small stop the exposure can be as prolonged as possible. I have
always used Wratton & Wainwright's " ordinary " plates for this purpose,
with one of Boss's portable symmetrical lenses, and with the smallest
stop. I give under the conditions of light just described an exposure of
two seconds. In developing, I am careful to work up the plate very
slowly and to carry the development very far, and when I have finished
I expect to find a range of density from excessive blackness to clear glass ;
but, though there must be no mistake about the quality of these two
extremes, there must be very little of either. It is on the variety of the
half-tones that the success of the picture depends, and it is for this
reason that, in photographing snow, correctness of exposure is of such
prior importance ; and therefore a slow plate, allowing of more laxity in
exposure than a rapid one, is far easier to work with. A plate under or
over-exposed can never, however skilful the development, give a perfect
result if the picture is of a snow-covered landscape, as the half-tones
must suffer from the error. I have used the iron developer, eikonogen,
and pyro, and ammonia, and. for snow, have obtained the best results
with the latter. I may add that, when developing photographs of large
moving figures, taken in winter in the Engadine, on our skating rink, I
get the most successful pictures by allowing the plate to flash up at once
under eikonogen, and continuing the development until the principal
object is hardly visible when viewed by transmitted light. For studies
of this kind I have had the best results with Lamiere plates.
Bnt I have digressed from my subject — because, probably, I had so
very little to say. I have now all but done ; but, before concluding, I
should like to draw your attention to the fact that very beautiful effects
can be obtained in Alpine photography by facing the camera to the sun,
which, of course, should be just out of the plate. For most subjects
(water and clouds excepted) such lighting is rarely suitable — at any rate,
in so extreme a form ; but with snow I have obtained most charming
studies in this manner.
In response to so great a compliment as has been paid me in requesting
me to write this paper, it would have been ungracious on ray part to have
refused ; but I must ask you to forgive the very inadequate manner in
which I have responded, for I know but little of the technical side of
photography, and of the practical side am but self-taught, by my love of
an art the beauty of which has always warmly attracted me.
Elizabeth Main.
PRESENT AND FUTURE POSSIBILITIES OF PHOTOGRAPHY.
To render an account of the present state of photography presents no
diflSculties whatever, the facts to its credit being recorded everywhere, so
that we need only draw from recent sources, the very ancient facts being,
BO to speak, contemporaneous, in order to trace a complete history of
photography up to the present hour, passing in review all its methods, all
its countless applications.
And, while we are desirous of justifying the very title of this paper, the
circumstances aUow to foot on the past, admitting it to be well known to
all of us, in order to arrive at a conclusion as to future possibilities
which we are able to foresee, combining the progress of photography
itself with the science of to-day.
We are witnesses of a scientific progress so continuous and wonderful
that it would be rash indeed, even if aided by the most exalted imagina-
tion, to indicate the more and more extraordinary facts reserved to us
even by the nearest future. New discoveries in the domain of general
science will, without fail, result in unexpected photographic inventions,
or in applications of photography to uses of which at the present time
not the slightest idea can be formed. This is why we cannot approach
the difficult subject which has been referred to us without a strong senti-
ment of our complete inability ; in other words, this is a new world,
inaccessible, which we set out to explore ; we would have to give proof of
the fervour of our imagination, of a kind of foresight, more than of true
science. We would be well inspired if we could embark on a journey to
the beautiful land of dreams to talk with the fairest fairies, and would
return to describe our visions and to explain the most fantastic and most
wonderful facts, while now we are obliged to appeal to reason— to the
reason of today — it may be well understood, for our reason changes its
basis at every moment according to the conclusions it has to draw from
evidences and facts which yesterday it denied and thought wholly
impossible.
But enough of philosophical contemplations, to which, however, we-
were prompted by a prudence which every one will appreciate.
Being thus under the protection of the unforeseen, we may now
venture suppositions as fantastic as possible, and become prophets-
without much merit of our own, since the past serves as guide in
discovering future possibilities, which, hypothetical as they are, may b&
admissible, because it has been shown that we need not doubt anything;
in the course of scientific facts.
The past belongs nearly exclusively to monochromy, designating thus
any method which, by the aid of light, produces an image with more
than oue colour, whatever colour this may be, and even images of more
than one colour, obtained by the aid of monochromy, each having its
own colour.
The progress in this line has been very remarkable, especially since'
the production of single images took the place of a multiplicity of
copies.
First, the paper prints obtained by a chemical process from one and
the same plate ; then the commercial prints, obtained in a mechanical
way with plates prepared with the aid of light, have made photography
one of the most ingenious and faithful auxiliaries of the art of illus-
trating all kinds of publications ; in one word, the automatical means of
copying the most wonderful and most instructive objects which have ever
been imagined. On the other hand, the considerable increase of sensi
tiveness of the products exposed in the camera to the action of light,
together with the invention of the dry film and the consequent porta
bility and easy management, have caused an immense expansion of this
art, which now in every respect is in the reach of all.
Science has, not less than arts profited by the progress of photo-
graphy, which made it an indispensable aid for its most delicate
researches. To prove this we only need observe the excellent and
I unsurpassed services rendered by it to astronomy, to physics, to the
I study of the infinitely small, to the rapid and complete registration of
I all phenomena of light and motion, even of the wonderful rapidity of the
I minutest organisms. Indeed, it is at the same time an eye and a
j draughtsman. Ijike the eye, it is gifted with the highest rapidity of vision,
so much so that it sees objects as if they were stationary though they are
alive with miraculous swiftness. Ah, it even sees what is invisible to tho
human eye ! The stars bear witness — which, though unknown till now,
have been discovered by the photogrophic eye in the depths of spade,
: inaccessible to our most powerful telescapes. The reproduction of ultra-
violet rays bears witness — which, for our power of vision, belong to the
invisible.
' As a draughtsman it is unrivalled, for nothing equals the definition of the
I lines it traces, ihe accuracy of the endless details it reproduces, the truth
of which is such that it has the force of the evidence of a witness. We
may add that it is also an artist. Indeed, thanks to entirely successful
researches, we are able to obtain impressions on the sensitive medium
I by the aid of light of all colours, in proportion to the degree of luminosity
of the different colours. This progress was achieved but slowly, and,
now that it has become an accomplished tact and practically within
I the reach of all, it gains ground slowly ; but this can be only a question
of time. Since we are able to sensitise our products so as to render them
susceptible to impressions of all colours, giving them a perfect ortho-
chromatism, it must also be possible to render them more sensitive to
one colour than to another.
I This possibility of selection must lead to the production of mono-
chromes corresponding to every one of the principal colours, and conse-
quently to the representation of the colour effect of an object or of nature,
by superposition of the different monochromes, each having its own
colour.
Therefore, photography, being the most skilful draughtsman and litho-
grapher, and the most admirable engraver, is also a wonderful expert of
colour. But it is even more than this, it is already the artist of entire
pieces of art, producing by one single action the colours of objects, much
as it impresses the sensitive monochromatic plate.
And, what a really wonderful idea, we begin to trace on the sensitive
film the true image thrown into the camera, with its reality of detail
and of colours. And this is our present position.
The development during more than fifty years has been nearly com-
pleted, because we have succeeded in passing through all possible phases
of the art of designing and of its applications, attaining even to the art of
painting. Wc say -'attain," by which is not meant that we have
advanced in the subject of colour photography to a point which we did
not gain in monochromatic reproductions.
August 25, 1893]
THE BRITISH JOi;RNA.L OF PHOTOORAPnY.
W7
The most characteristic name which might be given to the preseut
«poch is that of a new era. We are on the threshold of the art of
polychromy. Indeed, in scientific applications, the first step counts
most, as perhaps it does in every other field. Wa have only to direct
our attention to what is going on in the electric world, and then to
proceed by analogy. There we have arrived at a point at which even
ihe most fertile imagination could not pass beyond the scientific wonders
of the future, even if its flight would lead us into the most fantastic
dreams. No doubt electricity, with its power, its invisibility, its enormous
rapidity of propagation, will become an ally of photography to aid in the
•creation of unexpected wonders. Already they speak of plates exposed
and developed by the aid of an electric current. Kdison is at work to
construct an instrument intermediate between the phonograph and his
kinetograph, which will enable us simultaneously to see the motions of a
person, to hear his voice, his words, put in immediate harmony with his
gesture, his attitude, the play of his lips and eyes, &c.
This has not only been taken into consideration, but can be realised — "
probably it is realised— at this hour. But this is not all. By electricity
eimilar effects may be and are (why not speak aflirmatively, since such is
our opinion ?) transmitted over a distance.
Thus, using the electric telegraph at the same time as telephone and as
kinetograph, we will be able to communicate the oomplato effect of form,
(notion, and sound to points far distant from the scene of action.
So far we have spoken of the form, which involves the idea of outline
and detail of objects. Will a transmission of colours become possible ?
Will we be able to complete the characteristics of an object by com-
municating through the electric wire not only its outline, but also its
colours ?
Why should we not admit this possibility, extraordinary as it may
seem? How to get there? Tliis is the point which m oae yet knows;
but, considering the present state of our scientific resources, based on the
divisibility of matter, it does not seem impossible that wo may arrive at
results of this kind.
Passing in review the history of development of electricity, are we not
convinced that about fifty years ago no one would hive believed a prophet
of the future foretelhng all the present wonders of the spark ?
We do not burn the wizard any more, at least in civilised countries,
but they are still treated as fools.
Well, we cm no longer denounce folly in view of scientific predictions
of the most revolutionary character. AU we are allowed to say is this :
"Who can tell! This maybe rery well possible." Thus we do not risk
to engage in a dispute which sooner or later will be decided against us by
the facts.
Speaking of the progress of photography which may be realised, we
think at once of a higher sensitiveness, which would allow of instantaneous
impressions even with the feeble light of interiors. The sensitive pro-
duct, or at least its vehicle, shall have the fineness of the collodion or
albumen film. The apparatus, perfect as it is, still shows an incessant
tendency to improvement.
From the standpoint of expanding the field of photography until it
reaches every home, the ideal will always be an apparatus essentially
portable, of small weight and volume, permitting us to photograph with-
oiA being observed, and containing a number of plates or flexible films,
sufficient for a large number of successive exposures.
The favourite of the future is evidently the flexible film or the very
small plate, so that, after a sufiicient perfection of the rolling apparatus,
an endless ribbon may be advantageously substituted for a certain
number of single plates.
The rolling device lends itself better to a rapid succession of new sen-
sitive surfaces, but its operation must be made more reliable and easier.
This evidently is a field for the future.
The future will find enough work in the development of photography,
and persons who believe that very little is left to extend its field are badly
mistaken.
Well, what is it ? they ask. There is the question of colours, and,
saving some perfection in details, that is all, isn't it ?
First, in regard to colours, it is by no means a small step forward to bring
this branch of reproduction to that degree of perfection which we have
attained in monochromes. If such a great step has been taken, inducing
us to believe in a possibihty of reproducing colours, and proving that the
means of direct reproduction of colours exist, it is not less true that all
is done with a view of applying it to industrial uses, either to obtain
simply and easily direct prototypes from nature, or to multiply poly-
chromes with the aid of these prototypes. The very day this possibility
is recognised and justified by facts, nobody will do anything but take
polychromes.
But the perfect realisation of this hope will not come withoat exteniive
further researchei. It will be necessary tr> conquer step by step, with the
aid of successive progress, and no one is able to foresee how many yetri
it will take us to arrive at the perfection of this process. Occupied with
this most attractive study, we may ask, what other applications remain
to solicit our earnest endeavours?
Is it not surprising that so little has been done until now toward
employing photography in industrial decoration of ceramic and tissue ?
And, besides, we have everything necessary to pursue this line with
success. To the future, therefore, is left an application as important as
useful, and we hope that this work will be accomplished in an excellent
manner.
How long before the constables, policemen, and detectives will be
provided with detective cameras, permitting them to add to their words
as witnesses the proof of the crime and of the identity of the criminals ?
Though we have now all that is necessary for this application of photo-
graphy, so simple and useful, yet it remains still to be realised.
How long before we think of introducing into our schools and colleges
the study of photography practical enough to enable each scholar of
either sex to constantly use the pencil of photography, according to the
lessons of the course pursued, for gathering all the souvenirs on their
excursions and voyages ?
If this could be done, the application of the photographic lens to cer-
tain functions would cease to present difficulties.
We have already sounded far, very far, into the depths of infinite
celestial space by photographic investigations, but they are less applied
to terrestrial or submarine uses. Geology would find it advantageous to
verify the symptoms of life in the depth of the abyss, aided by a photo-
graphic apparatus, combined with a magnesium flashlight, which may be
lighted at a distance by electricity. The same might be done below the
surface of the water, in depths which no ere has yet beheld, and thus an
investigation of submarine landscapes, so to speak, would prove to be of
priceless value to science.
We have not yet encountered any impossibility, and the well-known
facts suffice to give immediate results of the highest value.
How much remains to be done in regard to the methods and nature of
registration ? We cannot form an idea thereof. Why, for instance, is
not the portrait obligatory on the passport ? What better proof that this
is Mr. X. who speaks to you than the presentation of his duly executed
passport bearing his picture ?
On the train, at the hotel, at the public places visited by travellers, at
the windows of the telegraph and post-offices, and of the banks, &c.,
every one appearing should leave, without his knowledge, the proof of his
presence, in the shape of an automatic, direct, and permanent reproduction.
What an aid would this be for the researches of the department of police,
for the proof of alibis, <tc.
We would find no end, would we venture an excursion, be it ever so
summary, into the realm of future application of photography. We
would only have to turn to every art, to every science, and say that the
drawing of the light is called upon to render them much more valuable
services than they can be rendered by any other means.
Until now we are concerned with flat monochromes or polychromes,
but it is possible that images in relief may have to rely on the aid of
photography.
Already it is used in engraving, either in relief or in impression. We
have made, by photographic process as well, mouldings in relief, still
somewhat imperfect, yet it is certain that we will learn the act of pro-
ducing better reliefs, and, on the other hand, that we will obtain true
copies of round ornaments.
The various trials in this line, known as photo-sculpture, did not give
very satisfactory results ; yet we have results at least, and to the future
belongs the task of more and more perfecting works of this kind. In
short, the question is only how to transform the plane into a relief, and
we shall certainly find a solution in a more practical way.
It remains to consider what influence the art of drawing and painting
with light exerts on the arts proper.
It is evident that photography teaches to see nature better, to give a
better account for tlie rules of perspective. Notwithstanding, there are
alw^ays fantastics. They will have difficulty in freeing themselves of the
true representation of their objects, as well in composition as in colour ;
yet, at the same time, they try to use originaUty and impress the stamp
of their personality on their pictures ; and. besides, even the colour shows
a tendency to approach more and more to reality, if we behold trne pic-
tures, painted directly by the aid of photography. Perhaps they wish to
turn away from truth prompted by a desire for contrast, and imagine to
find colour effects absolutely anti-natural.
548
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[August 25, 1893
This applies to some of them, but the larger number, though led by
confirmatory proof to represent truth, are tempted to observe an exactness
of colours much as if this question was one of perspective. ^
Will the art gain thereby? It wUl in correctness, perhaps it wiU not i
in originality. For it is probable that every artist will always have ,
many means of proving his worth by impressing on his canvas the '
stamp of his personality, which will distinguish it from all the rest.
Notwithstanding photography, Roybet would not cease to be Boybet, and |
Bonguereau or Meissonnier would not be less than what they are.
All we can say is, that as perfect an art of copying as the art of photo-
graphy must naturally exert a favourable influence on theory and practice
of the beautiful arts.
We do not understand how it^may be detrimental to ideal art, which at |
all times will be able to assert its rights. If photography compels it to ,
become more accurate, where is the disadvantage? Is it for fear of j
invasion of a certain monotony due to this very excess of accuracy ? It I
would be the same to say that we might ever become weary of the
beautiful works of nature because they are always correct in outline and
in effect of light and colours.
In our humble opinion, the ideal, the beautiful art, the art of creation
will gain, not lose, thereby, because the artist, not embarrassed by diffi-
culties of composition, will be more at liberty to dart forth into the
realm of dreams and pure vision of his imagination. As basis, he will
have the infallible guide of true effects rendered by the photographic
printing, and nothing will prevent him from embellishing this reality
with all the children of his brain.
As a result of the foregoing, we may predict the most brilliant future
for the art of drawing, painting, and sculpture with the aid of light. It
will ever be useful to all, and for every purpose. Nothing seems to exist
capable of taking its place, and we cannot foresee how it might ever
become hurtful to the beautiful arts, whose most powerful ally it is
already at the present time. Legs Tidal.
THE DESIRABILITY OF AN INTERNATIONAL BUREAU:
ESTABLISHED (1) TO RECORD ; (2) TO EXCHANGE PHOTO-
GRAPHIC NEGATIVES AND PRINTS.
The international photographic survey of the heavens has now been in
progress for six years ; some thousands of negatives of the stars have
been obtained, and when this survey is completed the present face of the
sky will be known with an accuracy which the astronomers of a pre-
photographic age never dreamt of, and which will possibly enable the
structure of the universe to be worked out, or, at all events, will afford a
means of detecting the changes which we now know so frequently occur
in the heavenly bodies.
But is not a photographic survey of the face of the earth at least as
important as that of the celestial sphere ?
Even such physical features as hills and coast lines change slowly but
surely : the influence of man upon nature brings about far more rapid
changes in the face of every country, while the successive generations of
mankind pass away and leave ibut little more record of their physical
peculiarities than the waves which beat in turn upon the seashore.
I have advocated a systematic photographic survey of the British Isle*
for many years, and the details of my scheme will be found especially in
two papers : —
{a) " Notes upon a Proposed Photographic Survey of Warwickshire,"
read before the Birmingham Photographic Society in December, 1889.
This was printed in the journals, and a thousand copies in pamphlet
form were sent to all the photographic societies in the British Isles and
in America.
(6) " Proposal for a National Photographic Record and Survey," read
before the Photographic Society of Great Britain in May, 1892, and also
printed as above.
In these papers the idea advanced vras that in the British Isles the
photographic societies of each county should band themselves together to
secure, by the aid of photography, a more or less complete record of the
physical features of each county, its fauna and its flora, of its architecture
and archiEology, and its ethnology, &c. The aid of the leading men in
science, literature, and art in each county was to be invited, who should
be requested to furnish lists of places, persons, and things worthy of
being grouped together to form this " True Pictorial History of the Present
Day." As a unit of work the sheets of the excellent ordinance survey
map were taken. These sheets are on the scale of six inches to a mile •
each sheet or map includes six square miles ; upon them is marked every
house, field, and tree.
One or more sheets of this map may be allotted annually to each
photographer who expresses his wiUingness to take part in the task.
This photographic survey work is now being actively prosecuted in
about eight English counties. In most cases the local free libraries and
museums have been selected ae the best places in which to deposit com-
plete sets of prints. In ;he case of each of the two counties (Warwick-
shire and Glamorganshire) the number of mounted prints of local places,
&c.. handed over to municipal authorities during last year (1892), ex-
ceeded one thousand in number.
It is greatly to be desired that this systematic survey work should b&
extended largely, both in England and America.
It supplies a definite and useful object both to each photographic society
and to each and every member of such societies. In the British Isles we
have now nearly three hundred photographic societies, and in the United
States about two hundred.
There is no reason, however, why the " unattached " workers — men
who belong to no society — should not also lend active aid in the work.
That such survey work will be continued and will prosper is obvious ;
but it seems a great pity thai the results secured should be confined to
the locality in which they are produced. And the main object of this
paper is to point out how the usefulness of the scheme might be largely
extended.
In each country there should be some central place — the British
Museum, for example, for the British Isles, and the Smithsonian
Institution for the United States — where a record of all the negatives
should be kept. This record should be limited to negatives (a) of good
technical quality ; (6) of local interest. A complete set of the prints from
these negatives would also be stored at each of these centres. Such prints
might either be furnished as gifts by the producers of the negatives or
they might be printed by the special staff of the central institution.
They should be in either carbon or platinum.
As the workers in the majority of cases would be amateurs, it is pro-
bable that they would not object to handing over the negatives themselves
to such central institutions ; the negatives could then be stored in fire-
proof and damp-proof rooms, and could be printed from by a special staff
as desired.
Printed lists of negatives added annually should be published, and
should be widely circulated among free libraries, museums, &c. A com-
plete set of the prints should also be exchanged annually between the
two great centres one on each side of the Atlantic. It is certainly
lamentable to consider how many thousands of valuable negatives are
wasted annually for want of any method for their preservation and pub-
lication. Moreover, the establishment of some such scheme as is here
advocated would lend an incentive to steady work by supplying an object,
and this is just what nine out of ten of the great and growing army of
amateur photographers stand in need of.
And, as each earnest worker " joins the majority," it would certainly be
satisfactory to think that hie store of fine negatives — accumulated at so
much expense and with such pains — would be preserved and used, instead
of being wasted and loUt, as is at present almost invariably the case.
Exchange of Pkinis.
Every donor of negatives or of prints might be credited with a certain
srmi (according to the number and size of his contributions), and he
should be allowed to select prints to this value from the publishedjlists.
The working expenses of the scheme may be derived from such sources
as (a) grant fiom government ; (t) subscriptions, the subscribers being
allowed to select a certain number of prints in return ; (c) sale of prints
to the general public.
How many thousands there must be in the United States who would
I welcome the opportunity of examining the lists of British photographs
which would be furnished to their local institution (library, or museum,
or municipal offices), and of selecting therefrom pictures of the village,
town, or county from which they or their forefathers came ; or of the
places of which they read in history or in their daily paper. And we in
England would many of us gladly hail similar opportunities of obtaining
pictures of that wide land where our relations dwell, and of its wonderful
physical phenomena.
Although such a scheme ought ultimately to be conducted at the
national expense and by national institutions, yet it would probably be
necessary to inaugurate the work on a smaller scale so as to show its
desirability and its possibilities. In England the Photographic Society
of Great Britain is now endeavouring to affiliate to itself all the local
societies ; and, if there is (or could be established) a similar union of
societies on the American side, the matter could be negotiated between
these two central institutions. Or direct relations might be opened up
between societies of equal numbers (of members) and importance on either
side of the Atlantic.
August 35, 1893]
THE BRITISH JOUBNAL Cy l'il'>.'"-"-i::"_U'U'-'.
64»
In oondasioD, the point! to which I wish to draw attention are :^
1. In every county it is desirable that a photographic survey should be
initiated. By the term " survey " I here mean a pictorial record of the
state of things, physical and Roneral, as now existing.
3. In each country there should be {a) local dopi^ts containing complete
seta of permanent photot^raphic prints of the district ; and (b) a central
bureau containing negatives and prints.
3. Facilities for the exchange (or purchase) of prints, &o., should be
provided.
It has been well said that " all photographers are brothers," for it is
certain that the study of this light science, though black art, tends to
bring its fellow-workers together in no ordinary degree. Moreover, photo-
graphy is more and more employed every day as a means of record in
every branch of science and of art. It is of the utmost importance then,
that the students of this subject, both in England and in the United
States, should become acquainted with each other's work, and should be
able to avail themselves of it. If this principle be once recognised and
approved of, then the details by which it can best be carried out might
safely be left to a committee appointed by the conference, should they see
lit to do so. W. Jkuome Harhison, F.G.S.
©ur iEtiitorial CTatle.
Thb Watkins' " Joniob" Exposubs Mbteb.
A NEW and simple form of the Watkins' Exposure Meter has been
issued under the above name by Messrs. K. Field & Co., 142, Suffolk-
street, Birminp^ham. In this, when the adjustments are once made
for plate and diaphragm, the different exposures due to variations of
light during the day can be read off
without further adjustment of the in
strument. By comparing the cut with
that which has previously appeared in
connexion with descriptions of the Wat-
kins' Meter, it will be seen how much
it has been simplified. This will con-
duce to further popularising an instru-
ment which is one of great reliability.
An improvement in the "Junior" consists in transmitting the light
to the sensitive paper through an end piece of blue glass. The price
of the "Junior " is 7 s. 6d.
NoETHERN Photographic and Sciksmfic AssociATioif.— August 26,
Hatfield.
Hackney Photoqraphic Society. — August 26, Excursion to St Margaret's.
Take excursion ticket for Rye House. Leave Liverpool-street by quarter
past two train. Tea at Pied Bull, Stanstead. 29, Daylight Enlarging.
Lbytonstoxe Camera Club. — August 26, Buckhurst Hill. Leader, Mr. A.
Frost. The Club will proceed by the train leaving Liverpool-street, Great
Eastern Railway, at thirty-five minutes past two p.m., calling at Leytonstone at
tight minutes to three, arriving at Buckhurst Hill at seven minutes past three.
Open Social Evening at Headquarters, eight o'clock.
Midland Camera Club.— The First .\nnnal Exhibition of the Club will be
held at the Botanical G.ir.lens and College Grounds, Moseley, Birmingham, to
open on Monday, October 2, and close on Saturday, October 14, 1893. Parti-
culars and forms may be obtained on application to the Secretary, Mr. C.
Jevons Fowler, 4, WooJstock-road, Moscly, Birmingham.
Accident to Mr. Bibt Acres.— We are sorry to learn that an accident
of a serious nature has happened to Mr. Birt Acres. He was experi-
menting with sodium for tha pro luction of hydrogen for a particular
purpose, and was making use of about sixty grains of it wrapped in fine
gauze to prevent the gas from becoming ignited. But as soon as the
sodium touched the water a terrific explosion ensued which tore a large
hole in a thin sheet iron drum he had in his hands ; he was also holding
the sodium with a pair of ordinary pliers. How he escaped without still
more serious injury than he has sustained is a mystery, but it is probable
that the water having been dashed in his face by the force of the
explosion saved him. From Tuesday (last week) until Saturday he was
totally blind, but on the latter day he recovered the use of one eye, and
the doctor holds out the hope of a similar recovery of that of the other
one shortly. We know that sodium ignites when it is brought into
contact with water, but were not aware that such ignition was accompanied
by an explosion, and we shall await with much interest such details as,
on his recovery, Mr. Acres may be enabled to give as. Meantime we
accord him our sympathy, and rejoice that the consequences, serious
though they be, are not still worse.
RECENT PATENTS.
APPLICA-nONS rOR PATBNT8.
No. 15,383. — "An Improve<l Proce.« and Combination of Ingrcdienta for tb»
Formation and Transfer of Photographic Imagea." 0. H«Ltjrr«t.x.— /)rt««f
Angutt 12, 1893.
Ho. 15,400. — " Improvements in Coin-freed Photognpbic Apparatiu." P.
E. }il\l.LKt.— Dated Augiut 12, 1893.
No. 15,473. — " ImprovementH in Photographic Positive*, and in Scodtivs
Emulsions therefor." J. B. Brooks and J. H. P. Quxard.— />a{ei/ Avffust
15, 1893.
No. 15,621.— "An Improvement in Photography." C. F. Cboss and W.
Nklsou.— Ca<Mf August 17, 1893.
No. 15,666. — " Improvement-i in and In consexion with Photographic
Shutters of the Character known as ■ Blind Shutten.' " H. CooK.—JMUtil
August 18, 1893.
SPECIFICATIONS PUBLISHED.
1892.
No. 13,241.— "Photography." Heuert.
No. 18,899.—" Photographic Cameras." KbCorxbr.
No. 22,576.— "Photography." Hauff.
No. 13,6.32.—" Photographic Apparatus." PoSTOK.
No. 14,753.— "Photographic Cameras." GRlKKrrHs.
No. 16,074.— " Backs for Photographic Plates." Pumphrkt.
1893.
No. 12,304.—" Photographic Plate.i." Edwards & R.vsso>i.
No. 12,655.— " Trimming Photographs." RffrriE.
improvbmkhts w photographic apparatus on thb plnholk alb lcks
Principle.
No. 13,632. Archibald Campbell Ponton, Viewfield, Parlutone, Dorset-
shire.—^ii/y 26, 1893.
The invention relates mainly to the construction of cameras for taking pictures
rapidly through very small pinhole lenses, the focal lengths of the air lens or,
what is the same, the depth of the camera being apportioned to the rapidity
of exposure. I find that I may use pinholes as small even as jjj, of an inch
in diameter. These may be formed m metal foil, snch, for instance, as ot
pKitinum or brass, and are inserted in the lid of a box-shaped camera. The
latter may l>e made of cardboard or sheet metal, and may be pressed up. The
interior size of the camera should be that of sensitised plate to be used, and
of the depth of the focus of the air lens. I prefer to make the camera in two
parts, one fitting into the other like the ordinary cardboard box in which
sensitised plates aie sold. The box lid may, by partition or partitions, be
divided into two or four coiupartnients for the production of ssveral photo-
graphs on one sensitised plate, thus, for instj>nce, adapting it for stereoscopic
pictures. On the outside or inside of the lid I provide a movable lever-shaped
or other shutter, which, for two pinholes for stereos may be T shapetl and
working on a pivot.
This apparatus may be made so light as to only flightly exceed the weight of
the plates themselves, at the same time it can also be made at a very low price
indeed, so as to bring it within the reach of the million.
From the small negatives produced by this apparatus the positives can be
printed in an enlarging camera of the size most suited for trade purposes.
Negatives taken with an air lens of yjVii "f »■» i°<^b in diameter for stereo-
scopic pictures are found to give a suffieient field to be printed from direct by
contact.
Improvements is and belatisq to Photographic Cavbras.
No. 14,753. Walter Grifkiths, Highgate-square, Birmingham,
Warwickshire.— ./ii/ySS, 1893.
My invention has for its object improvements in and relating to photo^phic
cameras, by which I obtain a much more durable article, which is particularly
suitable for export by reason of its freedom from liability to be affected by the
intense heat or cold of other climates, while it is much stronger in construc-
tion, without losing the delicacy of movement and adjustment of the variona
parts, which is so essential to a first-class camera. At the same time it is
simple in construction, and my improvements are embodied without in any
wav increa-iing the cost of the camera. By my improvements in relation to the
dark slides for use in cameras, I also obtain a mnch more durable article,
which, at the same time, is more compact, and also does not increase the cost
of manufacture, such dark slides being cheaper than the ordinary ones of
equal quality.
In carrying my invention into effect, I form the bottom, or under ftume, of
my camera of metal tubes, with, say, two longitudinal tubes, and two cross
tubes attached, as to form a square base, and with the longitudinal tubes
mounted upon the cross tubes within each longitudinal tube, « second tube is
telescoped, and upon the front ends of these two inner tubes another cross tube
is mounted, to the centre of which one end of another longitudinal tube is
attached; this latter longitudinal tube passes through a socket forme<l upon
the front lower cross tube, and is tapped at the back end to receive a screw,
which has its shoulder socketed upon the rear lower cross tube, beine pro-
vided with a thumb-screw end, which enables the screw to be turned, ana thus
adjust the distance between the lens and the back frame.
The front for re<^eiving the lens is mounted upon the front upper cross tube,
and thus travels with it, while the back frame is mounted at its bottom to two
outside longitudinal tubes by means of two metal sockets, which slide on the
550
THE BKlilSH JOURNAL OF PHOTOGRAPHY.
[August 25, 1893
Slid tubes. The ends of the inrtal of these two sockets may be bent up t»
toroi a Hange, and to these flanges the back frame is pivoted so as to be pitched
to an angle or shut down on to the bottom, and it is secured in the required
position by a metal strut, having a slot working on a thumb-screw on the
tack in the usual way. The front frame for lens may be kept up in a vertical
position bv a snug formed upon its bottom side, having a screw which engages
■with the boss, which forms a finish to the end of the central longitudinal tube.
The back and front frame are cased on their outer edge with thin metal, having
:an inner lining of wood, upon which the grooves for receiving the dark slides
are fixed. The bosses forming the connexion between the longitudinal and
■cross tubes at the two front corners and the centre boss on the back cross tube
Tiave their under sides shaped, or are provided with studs to receive the top of
"the tripod, which is fixed m the usual way.
Tlie ends of the bellows are clamped between the metal casing and wood
lining of the back and front frame, which thus forms a very strong connexion,
and throughout there are no .joints dependent upon wood.
In place of forming the bottom of tubes, I may form them of metal rods of
■other section, such as hollow v-«hape or any equivalent of the tubes.
In the case of the dark slide, I form the "centre partition of two thin sheets
■of metal, which are bent over at the sides to form grooves to receive the plates,
and these two sheets arc bound together at the toji by velvet, which is padded
out to the thickness of the grooves. A square metal frame of channel section
•on two sides and the bottom is provided to receive this partition containing
the plates, and the top ends of the two sides of the frame are connected
together by a sheet-metal band, which is turned out to form a flange at the
top, thus strengthening the band, and preventing it from being sprung open.
The insides of these bands are lined with velvet, the top edge of which is
secured by the flange being turned back with the edge of the velvet between.
The shutters are of sheet metal, and slide in between the velvet on the inside
of the frame and the velvet on the outside of the partition, and, as there is a
spring within between the two sheets of the partition to expand them at the
top, all possibility of any light entering is thus prevented. By these means
an exceedingly simple, substantial, and portable camera is obtained, in which
all the latest requirements are embodied, and which will stand the varying
climates of other countries, while it is not liable to be destroyed by those
insects or worms which, in the case of wood, are so destructive in warmer
climes, and the dark slide, while being much more substantial, is much more
portable and compact, without any increase in the cost of production.
Improvements is Racks used for Soakixg or Drvisg Photographic
Plates.
No. 16,074. JosiAH PuMPHREY, 160, Angelina-street, Birmingham.
July 29, 1893.
I CONSTRUCT a frame and hinge on it, in a suitable position, two corrugated
plates, furnished with feet, each having a fence on one side. Handles are
attached to the upper edges of the corrugated plates. The measurements are
80 calculated that in one position the corrugated plates are at such a distance
as to take plates of a required size between them, and, by reversing the
apiiaratus, the same number of a dissimilar size are equally well accommodated
without any readjustment of loose or ti.xed parts.
iH^ettngjEi of &oct>tte)S*
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of UeetiDg.
Name ol Society.
Place of Meeting.
Aagost 28 Dundee Amateur .
„ 28 j North Middlesei .
■I 28 ' Richmond .
M 29 Birmingham Photo. Society
„ 29 Hackney
„ 29 i Halifax Camera Club..
>, 29 ' Lancaster
>. 29 Leith
.. 29 ! Paisley
>f 29 Rochester
t* 29 i Warrington
„ 3» ' Bath
>« 30 , Burnley
■V 30 1 Leytonstone
•t 30 Photographic Club
» 30 1 Sonthport
•■ 31 ^ Glossop Dale
If 31 1 Halifax Photo. Club
.. 31 Htdl
f* 31 Liverpool Amateur
*f 31 1 London and Provincial ..
>, 31 ! Oldham
September 1 Cardiff..
1 Croydon Microscopical
1 Holborn
1 Leamington
1 1 Maidstone
2 ; HaU
Aflso. Studio, Nethergate, Dundee
Jubilee House, Hornsey-road, N,
Greyhound Hotel.
Club Room, Colounade Hotel.
206, Mare-street, Hackney.
Springfield Barracks, Lancaster.
165, Constitution-street, Leith.
9, Gauze-street, Paisley.
Mathematical School, Rochester.
Museum, Bold-street, Warrington.
Roy. Lit. i Sc. Inst., Terrace-walks.
Bank Chambers, Hargreaves-atreet.
The Assembly Rooms, High-road.
Anderton's Hotel, Fleet-street.K.C.
The Studio, 15, Cambridge-arcade,
Mechanics' Hall, Halifax.
71. Prospect-street. Hall.
Percy-buildings, EberJe-street,
Champion Hotel, 15. Aldersgate-st.
The Lyceum. Union-st., Oldham.
Public Hall, George-street, Croydon
Trinity Church Room, Morton-st.
" The Palace." Maidstone.
71 Prospect-street, Hall.
PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN.
At a meeting held on Tuesday last, the 22nd inst. , Mr. G. Scamell occupied
the chair.
Mr. T. BoLAS, in giving a demonstration of Flashlight with the metal Alu-
minium as a ComhvMilile, mentioned that an assertion had been made that
aluminium could not be usefully burned in such a Hash lamp as is used for
magnesium, but this statement had arisen out of the somewTiat dangerous
practice of positively asserting a negative proposition, merely because the
speaker had not seen the positive side demonstrated. It wa.s then pointed out
that a very fine state of division i< essential in the case of a flashlight witii
aluminium powder, as otherwi.se the metal passes through the flame without
being: heated to the somewhat higli ignition point of the metal. When the
aluminium does burn, it produces a more intensely actinic light than magne-
sium, as the temperature of combustion is higher.
The commercial aluminium bronze powder, as manufactured at Fitrth and
Niirnberg, but sold in London by Mr. W. C. Home, of White Horse-alley,
Cowcross-street, was then shown in three degrees of fineness, costing about seven-
teen shillings per pound, and was recommended, the minute scales composing
this being abont one-five-thousaudth of an inch thick. This powder, as sold,
is covered with a very minute trace of the oily matter used in its manufacture
and this causes it to hold together in clots when blown through a flame, and
so, as was demonstrated, if used .just as sold the greater part escapes ignition.
In order to fit it for use in such an ordinary flash lamp as that of Mr.
England, this oilv matter must be removed, and Mr. Bolas showed how this
may be done. The powder was merely heated to about the temperature of
melting zinc, in a test tube, and after this treatment it had no tendency to
clot, and it is blown about, with eacli grain separate, by the slightest breath.
About a grain and a half of the powder was now burned in an England's
flash lamp, and by the light Mr. W. E. Debenham took a fully exposed portrait
of the Chairman.
Other ways of using aluminium (leaf in oxygen, and the powder mixed with
potassium chlorate) were now shown, but Mr. Bolas said the object of his
demonstration was principally to show tliat aluminium can be used in the
flash lamp, and that it can be much more completely burned than is usually
the case with magnesium powder. *If magnesium is so finely powdered as to burn
completely, it oxidises or rusts very ciuickly, and so becomes useless. Tlie
aluminium dust may be kept without tear of deterioration by slow oxidation
or rusting.
Mr. Andrew Pringle and Mr. Clifton both spoke of the inconvenience of
the magnesia smoke, which is peculiarly irritating to their lungs, and they
remarked that the alumina smoke did not appear to have irritating qualities to
the same extent.
Mr. Bolas said this was easy to understand, as magnesia is a caustic earth
almost as irritating as lime, while alumina is bland or neutral.
Mr. Pringle now made a com:r.uuication on photo-micrography with lenses
not specially corrected for photographic work, and his results fully confirmed
Dr. Pifi'ard's observations that such lenses will work to focus if a yellow screen
and orthochromatic plate is used. Such microscopic lenses as those of Powell,
a Lealand, or a Ross will give excellent and sharp results if the screen and
the orthochromatic plate are used.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
The usual weekly meeting was held on August 17, Mr. R, Beckett in the
chair.
Notice of a special general meetiug was read; the object of which was to dis-
cuss a recent alteration of rule 7, respecting the election of members. August
31, was fixed as a suitable evening for the purpose.
Mr. P. EvEBiTT showed a lens mount made by Mr. Haddon, and remarked
upon its being a good piece of amateur workmanship.
The Chairman passed round a negative having markings upon it. A general
opinion was formed that they had been caused by mechanical abrasion whilst
moist.
Mr. Fry had had similar experiences during hot weather, the defects
appearing after development, and iluring the period of drying ; he considered
them as being caused by decomposition of the gelatine in the presence of heat
and moisture.
Some results of the recent meeting at the "Zoo" were shown by Messrs.
Boyston and Steinmetz, It was suggested that the members who were present
on that occasion should show their jiictures at the meeting on August 31.
Mr. Welford read his report upon the Convention meeting as a delegate of
the Association [see page 543].
After reading the report, he handed round the small album which contained
it, as well as prints from negatives taken on the occasion.
After a few remarks from Mr. Fry, the other delegate,
Mr. Haddon proposed a vote of thanks to the delegates, agreeing that the
excursions were too numerous, and saying how much non-members of the
Convention lost by holding aloof.
Mr. EvERlTT supported the vote of thanks, and moved the adoption of the
report.
The Chairman and Mr. Debenham agreed that great benefit was derived from
these meetings.
The Hon. Secretary seconded the adoption of the report, which was then
carried.
Mr. Welford acknowledged the thanks.
Mr. Debenham quoted a letter whicli appeared in the current number of a
photographic paper, stating that some lenses would not work to focus with a
yellow screen. He pointed out that this occurred through the operator focus-
sing before introducing the screen, instead of with the screen in position,
inasmuch as the screen has the eflect of lengthening the focus about a third of
its own thickness.
After a discus.sion involving a slight modification of the delegates' report, the
meeting closed.
•
Hackney Photograplilo Society.— August 15, Mr. T. H. Smith in the
chair. — Work of the members was shown. Mr. Vining asked what was the
particularjadvantage with tabloids .' The Hon. Secbktar r said they saved
measuring, and were convenient when away from home, but care must be used
that they are thoroughly dissolved before use. Mr. Wire asked what caused
yellow spots on amidol-developed bromide paper ? Mr. Welford thought
August 25, 1893]
THE BRITISH JOUKNAL OF PHOTOGUArHY.
Kl
amidol itself was not the cause. From the qne«tion-hnx : " Which is the belt
illuminant for printing in clouds on lantern slides ?" Mr. BlcKETT said K«s
was more regular. The Hon. SBcnBTABY agreed, and said gas was more under
control, and printing-in al.-io. Mr. PaRRV said he had been troubled with yellow
P.O.?. prints. Mr. Beckett said perhajia the lirst washing water did not
carry off the silver, and doubtless the .sulphocyanide was impure. Mr. W. L.
Barker had recently teste<l the heat of water. In listern exposed to sun it was
78°, and from inain 63". Mr. Welfocd then demonstrated his toning bath. He
claimed finality of tone and rapidity, and quite s\ibstantiated both of these.
In the former it was demonstrated by toning half a print, then immersing the
whole ; no difference was apparent. The favo\irite bath was bicarbonate of
soda, one and a half drachms ; chloride of gold, four grains ; water, six ounces.
New paper has a great deal to do with rapidity. The Hon. Secuktary asked
for approximate keeping time of bath, and was informed not more than two
hours. A diluted bath is slower, but gives warmer tones ; but finality is lost.
Brixton and Clapham Camera Club.— August 1.5, Mr. F. F. Buckle in the
ch.air.— Mr. Belton, representing the Paget Plate Company, gave a demonstra-
tion on the printing-out plates and opals of the Company. The special methods
of printing, both by means of special and ordinary frames, were explained. As
regards the printing, Mr. Belton said it was a daylight process, as the plates
were very slow. The opals are of two (jualities— matt and glazed. The pro-
cess is precisely the same as for gelatino-chloride paper, but, owing to stibse-
qaent reduction in the fixing bath, printing should De deep, the rule being, the
colder the tones desired the deeper the printing. Density and colour must
be judged by reflected light. When finished, Mr. Belton recommended mounting
the prints under glass, as they are then less liable to damage from dirt. They may,
however, be mounted and used as transparencies. Printing of lantern slides
may he performed in an ordinary frame, and the judging of density will not
necessitate the removal of the plate owing to the thinness of the film. At the
conclusion of the practical demonstration, several plates and opals having been
toned and fixed in combined and separate baths, Mr. Belton passed the slides
through the lantern, anil the tones were very satisfactory. Next meeting,
September ;>, Mr. W. H. Harrison, Some Useful Photographic Sta/ulards.
♦
FORTHCOMING EXHIBITIONS.
1893.
September ^ *Royal Cornwall Polytechnic Society, Falmouth. W.
Brooks, Laurel Villa, Wray-park, Ileigate.
„ 20-21 'Hove Camera Club. Hon. Secretary, H. Emery,
142, Church-road, Hove, Brighton.
,, 25-Nov. 15... 'Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. Assistant Secretary, K. Child-Bayley,
50, Great Kussell-street, W.C.
October 1-31 'Hamburg. Das Ausstellungs Committ^ des Amateur
Photographen Verein, Schwanenwik, 33, Hamburg,
„ 9-Nov. ... 'Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesburj-.avenue, W.C.
November 7-11 'South London P'hotographic Society. Hon. Secretary
C. H. Oakden, 53, Melbourne-grove, Dulwich, S.E.
,, 20-25 'Leytonstone Camera Club. Hon. Secretary, A. E.
Bailey, Rose Bank, South-west-road, Leytonstone.
December 'Madras. The Hon. Secretary Amatejr Photographic
Society, Madras.
* Signifies that there are open classes.
♦
CorrejSponUtnce,
' Ccrrisponients should ntvtr irnfc on both siiet o] the poper. Xo notiM i» iaJwn
of oommuiucattons unless the names ani addressed of the vriters are givtn»
PHOTO-SIICROGBAPHY.
To the Editor.
Sir,— Mr. Smith calmly assumes that " cheap French triplets " can-
not produce fairly good negatives of microscopic objects, his experience
being that " it is impossible they can give a sharp picture of any-
thing."
As a simple test I have hunted up and have forwarded to you an old
album containing upwards of two hundred prints, and would be obliged
by your looking over it and giving your opinion as to whether I am or
am not correct in stating that " I got fairly sharp definition up to, say, 400
diameters."— I am, yours, <fec. ■ Joseph H. Woodwobih.
liooterxtoun, Dublin.
P.S. — As I am not an "expert'' in optics, I would be glad of an ex-
planation of how an isochromatic plate can correct a difference between
the actinic and visual foci.
[The photographs in the album are certainly verj excellent consider-
ing the class of object-glass by which thev were produced. Our ex-
perience goes to show that, while cheap" French object-glasses will
often show fairly well such low-power objects as the itch insect, bed
bugs, fleas, the proboscis of the blow fly, sections of wood, crystallisa-
tions, wings of flies, and suchlike objects as those so neatly and
systematically displayed in the album, yet is their angular aperture
too small for higher-class objects such as those sent us by Mr. Smith,
and which include the podura scale, plearoiigma ariQulatum, ami
others of like difliculty of brilliant resolutinn. We have a foreign
triplet by a good maker (Oberhauser), and, although it is one of tbe
best of the kind we have seen, it quite breaks down on objects of tb«
clas) last named when cuapared with a good English objective of tb*
ame power. — Ed.]
TELE-PH0T0GR.4.PHIC SYSTEMS FOR MODERATE
AMPLIFICATIONS.
To the Editob.
Sir, — There is little to be said in reply to Mr. Hancock's letter in jonr
last issue, except to thank him for his clear expression of the advantagen
of the above systems, and his intelligent criticism of tbe psssibilities of
errors arising from too high an enlargement.
If the original positive element is corrected with ^reat care, I bavfr
abundant proof, and have publicly shown it, that, however great the en-
largement may be, the direct method is always greatly superior to
secondary enlargement, as from a negative taken by the positive lens
alone, to the same dimensions. Further, a ratio of two to one, as
between the foci of positive and negative, I have found to give sufficient
" sparkle,'' consistent with a useful and striking amount of magnification,
but there is no reason at all that a more even ratio of the foci of tbe
positive and negative lenses should not exist with less magnification. — I
am, yours, &c., Thomas It. Dallmeyer.
>
THE ■WORLD'S CONGRESS OF PHOTOGBAPHEBS.
To the Editor.
Sir, — the following report of the first business at the Thursday session
of tbe World's Congress has not been reported in the general press, but I
think it might be of interest to your readers. — I am. yours, &c.,
H. Snowdkn Ward.
On Thursday, August 3, before the programme was commenced, Mr. H.
Snowdcn Ward pointed out that a suggestion contained in Judge Bradwell's
opening address had been overlooked by the Congress, and proposed that it
should be acted upon. The suggestion was that Mr. W. Jerome Harrison's
paper on The Desirabilitj/ of an JiUernational Bureau, estailished (1) to
Jiecord ; (2) to Exchange Photographic Sfegutives and Prints, should be read
in advance of its proposed order, and that a Committee should be appointed
to carry out its suggestions. Mr. W. A. Ctooper seconded the proposition,
which was carried. Mr. Harrison's paper recommended an international
bureau connected with national bureaus for the collection, preservation, and
exchange of photographs of historical, scientific, or literary interest. The
meeting voted that the President should nominate a Committee to undertake
what might be possible in furtherance of the scheme, and Judge Bradwell
therefore nominated.
ft Snpwden Ward (chairman), London.
Gayton A. Douglass {vice-chairinan), Chicago.
W. Jerome Harrison, Birmingham.
John Carbutt, Philadelphia,
Shapoor N. Bhedwar, Bombay.
Leon Vidal, Paris.
W. K. Burton, Tokio.
Mrs. Elizabeth Flint Wade, Buffalo.
Dr. John Nicol, Tioga Centre.
CELLULOID FILMS.
To the Editor
Sib,— In reply to Mr. "W. J. Stillman's letter in your last number,
wishing to know the experience of amateurs as to the deteriorating influ-
ence of celluloid on the emulsion, I do not think that the celluloid has
any deteriorating influence whatever on the emulsion, although ureat
pressure might perhaps tend to cause some fog, but could easily be
prevented by packing the films in a flat box. It has also been said that
the image on films deteriorates after exposure if kept for some time. To
test this, when in the Riviera last winter, I exposed two 10 x 8 films from
the stone pier at Mentone for exactly the same time, no clouds, strong
sun, 16-in. lens, /-IG, and Stanley's Shutter, one-tenth of second. One
I developed a day or two after, the other was kept nearly two months.
If any difference, there was a little more detail in the shidows of the
latter, the same developer used for both, viz., pyro and ammonia.
I exposed in the Memorial Church at Cannes a 10 x 8 instantaneous
plate, and a 10 x 8 isochromatic medium film, both from the same
maker, the rapidity of each supposed to be the same— the plate I
developed with the hydroquinone developer, now so much used in France,
and the film with pyro and ammonia. The plate yras much under-
exposed, the window being very much blurred ; the film was a good
negative, with scarcely a trace of blurring. Both were exposed twenty-
three minutes.
Films doubtless require more careful treatment than plates, but I
tbmk they will soon replace glass to a very great extent.— I am,
yours, Ac, F. Beaslbt.
552
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[August 25, 189.'i
INVEKSION OF THE EETINAL IMAGE.
To the Editor.
SiB,^ — Many of your readers would, no doubt, be interested in Mr. W. I.
Chadwick's paper on stereoscopy. As one who has taken an interest in
the curious fact of an inverted image, a fact which most people are quite
unconscious and ignorant of, I must say that I cannot consider Professor
Pick's theory, as stated by Mr. Chadwick, to be the " most reasonable."
To my mind, the difficulty is better explained by the " law of visible
direction."
We are all aware that we may roll about our eyes as we choose, and
yet all the objects around us remain in the same directions, as they
always appeared to us to be in. Now, no camera on earth would stand
the same test, for, move about the lens, and a corresponding movement
will take place on the ground glass ; in fact, the directions of all objects
•will apparently be changed.
From this it may be argued that there must be in the eye somewhere a
fired point, and that through this point the rays of light forming the
picture pass to the brain. As I said before, this seems to me a more
reasonable theory than that which holds that the nerves of sight and
feeling are co-operative.
The amateur and professional photographer, no doubt, does become
accustomed to the up-side-down image on the ground glass, but he never
sees that inverted image erect, nor will his knowledge of its true position
help him in the slightest degree. — I am, yours, &c., David K. Bose.
Dalhousie-terrace, Edinbjirgh, August 19, 1893.
iExctange (ttolumn.
*,* No charge is made Jor inserting Exchanges of Apparatus in this column ;
but none will be inserted unless the article wanted is definitely stated. Those
who specify their requireinents as ' ' anything useful" will therefore understand
the reason of their non-appearance. The full name of the advertiser must
in all cases be given for publication, otherwise the Exchanges will not be
inserted,
"Will excbangre a 5x4 hand, or stand, camera complete for a light half -plate camera or
lantern. — Address, H. Couch, 11, Waterloo-crescent, DoTer,
Will exchange a Derogy's seven-inch focns cabinet portrait lens for a good cabinet
rolling press.— Address, J. HOKlon, Central Photographic Studio, Caroline-street
Cardiff.
Itetonching desk for half-plates and under with mirror, &c., never been used, cost
lOi. Will exchange for half and qn*rter-plate printing frames in good condition of
same value.— Address, W. H. Browkk Deaki, i, Charles-street, Cambridge.
"Wanted, modern half -plate camera, with three double backs, in exchange for 7x5
rapid rectilinear lens and quadrant camera carrier to fit on tricjcle, made specially
to avoid vibration.— H. Masistbe, photographer, St. Mary-street, Chippenham
ansstoetsJ to ©orresponticntg.
*»* All matters intended for the text portion of this JonRNAL, including
queries and Exchanges, must be addressed to " The Editor, The British
JOURNAL OP Photoqraphy," 2, York-street, Covent Garden, London. In.
attention to this ensures delay.
*,* Correspondents are informed that we cannot undertake to answer com-
munications through the post.
%* Communications relating to Advertisements and general business affairs
should be addressed to Messrs. Henry Greenwood & Co., 2 York-street
Covent Garden, London. '
*,* It would be convenient if friends desiring advice respecting apparatus,
failures in practice, or other information, would call at the Editorial Office
either on Wednesdays from i to 6, or Thursdays from 9 to 12 noon, when
some one of the Editorial staff will be present.
Photogbapbs Registbred : —
Alexander Campbell Hutchison, North Berwick.— Fiew of Bass Rock.
Thomas Bramwell, Alston.- Two pJietographs of the 66th JPield Battery.
Sydney Victor White, Reading.— Tien- of the foundatim of a Christian Chwch dii.
covered at Silchester,
Collodion.— We are in hopes of having a special article on the subject soon.
Coi:cH.— The Convention group given in the Journal was not an enlarge-
C. A. M. W. — Under the circumstances, we would certainly tilt the camera
and use the swing back.
Lens. — If you send the lens, we will tell you what we think of it. The other
may or may not be good. Try it before you make the purchase.
B. C. — The idea is not patentable. George Mason & Co., of Glasgow, manu-
facture a similar adaptation to the camera stand to keep the legs rigid.
F. E. G. — It is probable that the transparent spots in tlie negative arise from
tiny bubbles ia the emulsion, and are not due to faulty manipulation on
your part.
B. T. (Yarmouth). — As the spots, identical in their character, occur on clif-
ferent brands of plates, it is clear that they must be due to something in tlie
development.
BUBBLKs. — See "American Notes" in present number. Such pictures are not
done by double printing. Let the child practice blowing bubbles for a little
time previous to being taken.
D. H. W. — There is ao false perspective in the picture ; it is violent, owing to
its being taken with an extremely wide-angle lens ; but, if it be viewed from
a distance equal to the focal length of the lens, even that will disappear.
Zeno.— Without saying positively that the spots on the prints are caused by
particles of bronze powder, we strongly suspect, from theu- appearance, they
are. The name, So., are printed in bronze, not gold, and particles of
bronze powder are plainly to be seen on the uncovered portions of the
mount,
T. NiCHOl.? writes : "Would some kind readers give me a formula for and
directions for preparing a printing-out gelatine paper that will yield better
colours than those now supplied, and which can be blotted ort' or mounted
wet, like albumen'paper ?" — Perhaps some "kind reader" will oblige our
correspondent.
E. H. Thomas. — We can say nothing as to why the plates will not work in
your hands, unless it may be want of experience. The peripatetic workers
in the streets of London and its suburbs appear to get tolerably good results
upon them. If the house named cannot supply the Phcenix plates, apply to
Mr. J. J. Atkinson, Liverpool.
T. NoRRis. — The titles of subjects can be conveniently put upon the negatives
with the simple appliances advertised in our columns as the " Nameit."
The titles on the subjects issued by the firm mentioned are written upon tlie
negative with a sable brush and a black varnish. Of course, tlie latter
system requires some skill to do it neatly.
Country Town.— Your case is precisely similar to many others. The "big
illustrated," as you term it, has pirated your Wews of the neighbourhood
without let or licence ; but, as you failed to make them copyright, you have
uo remedy. Common courtesy ought to have secured an acknowled»meut
of the source from which the pictures were obtained. But that is not
possessed by some of the illustrated periodicals.
G. Simmonds. — As the condenser you require is only eight and a half inches in
diameter, you will find it more economical to purchase it complete, or to get
a pair of plano-convex lens&s and mount them yourself, than to attempt to
build them up out of clock glasses — that is, if time is of any value. Although
condensers that will answer well may be formed with suitably curved clock
glasses, plate glass, and water, it requires some degree of skill to make them
so that they will not leak after a short time. For so small a size as this,
we should say it would be cheaper to buy lenses and avoid future trouble.
In\'entob. — If, while you were an ordinary weekly servant, you invented a
great and valuable process, which is now being worked as a secret one, and
for which you received no remuneration, but, instead, were shortly after-
wards discharged, we see no reason why you should not work it on your own
account, or in connexion with any one else you may be associated with. We
presume that there is no agreement that your invention is the property of
your late employer.
H. M. asks : " 1. Could you inform me if there is a protection gr.anted prior to
taking out a patent for an invention ? 2. If so, what would be the cost, and
where to apply for the same .' 4. Would the specification be sufficient to
send?" — In reply: 1. A provisional protection can be obtained for nine
months for a Government fee of 1/. 2. Make application, on the proper
form, to the Comptroller of the Patent Office. The Office supplies the forms.
Or the application can be made through a patent agent. 4. Yes ; the com-
plete specification can be lodged and a patent secured for four years, the
Government fee in this case is 4/. The third query has been omitted.
OONTBMTS,
COUNTERACTING THE HEAT IN THE
studio AND OPERATING EOOM .... M7
PURE OXYGEN asu
MIXED DEVELOPING FOBMUL/E 638
OPTICAL TRUTH AND VISUAL TRUTH.
By H. DENNIS TAYLOR 540
AMERICAN NOTES AND NEWS 6*2
THE PHOTOGRAPHIC CONVENTION,
19»S. By WALTER D. WELFOBD 6«
CAMERA SUPPORTS. By J. PIKE 5U
PLATINOTYPK. By J. V. BREWER .... iU
ABTIN PHOTOdRAPHY: AN INTERVIEW
WITH MR. FREDERICK HOLLYEB.
By HORACE TOWNSKND 6t4
THE PHOTOGRAPHIC CONGRESS AUX-
ILIARY OF THE WORLD'S COLUMBIAN
EXPOSITION. By ELIZABETH MAIN Hi
Pase
PRESENT AND FUTURE POSSIBILI-
TIES UF PHOTOQRAPHY. By LEON
VIDAL 5W
THE DESIRABILITY OF AN INTER-
NATIONAL BUREAU; ESTABLISHED
(11 TO RECORD: (2l TO EXCHANGE
PHOTOGRAPHIC NEGATIVES AND
PRINTS. By W. JEROME HiVBRISON,
F.O.S 6*<
OUR EDITORIAL TABLE 64!)
NEWS AND NOTES 649
RECENT PATENTS 64»
MEETINGS OF SOCIETIES 666
FORTHCOMING EXHIBITIONS 651
CORRESPONDENCE 661
EXCHANGE COLUMN 668
ANSWERS TO CORRESPONDEMIg
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1739. Vol. XL.— SEPTEMBER 1, 1893.
IMPROVEMENTS IN TELE-PHOTO LENSES,
A coM.MUKiCATioN on the tele-photo lens, hy Mr. T. 11. Dall-
meyer, which appeared ia our issue of July 28, has now been
sufficiently long before our readers to enable them to note his
statements. Since that time, we have been permitted to occupy
the strong vantage-ground of being able to speak of the subject
from the experimental point of view.
While, in his earlier telephoto lenses, Mr. Dallmeyer seemed
to have had in view solely those who aimed at an exceedingly
high degree of magnification, in his new scries he has realised
that there are many who do not care for the extreme of ampli-
fication, but would be content with a moderate degree of direct
enlarging. In this we think he is right. The former having
been attended to, he has now turned his attention to the latter.
While his general system of a compound amplifier, composed '
of a pair of achromatic concave lenses, has been adhered to,
Mr. Dallmeyer has altered the internal structure of these
concave appliances, and has pressed into his service certain
properties obtainable only by the employment of Jena glass.
His original concaves were composed of flint and crown glass,
and were combined by what is known indiscriminately as the
Gauss or (Jrubb forms inverted. In this, it need scarcely now
be said, the flint glass had a much higher degree of refraction
than the crown, although the familiar jhapes of "crown" and
" flint " arc reversed. But in the present one — and, so far as we
can see, he has no more worlds to conquer in this direction — he
has adopted a form of double combination, each separate com-
bination having a contact between two separate lenses, one of
which, although it has a higher refractive index than the
other, is convex in shape, these contacts tending to a better
cure of astigmatism. If this form were adopted for very high
magnifying systems of this nature, the reverse curvature of the
field introduced would be more than is allowable. If a power-
ful negative lens be used, the reverse curvature of field is best
remedied by the other form referred to. There are planes
curved tomards the lens, planes flat and very nearly flat, and
planes with " reverse " curvature, dependent upon the camera
extension. In some cases an unsymmetrical form has been
adopted in which there are two planes of perfect flatness at
considerably different extensions, this being arrived at by
reversing the negative combination in its cell.
The practical result of this is that a lens much larger in
diameter can be employed, transmitting a ray of light consider-
ably exceeding in obliquity anything previously obtained ; that
the astigmatism of the oblique pencils caused by the front lens
is annihilated or practically so ; and that the distortion of
curvilinearity is done away with.
This improved back concave or tele-phot) attachment can be
employed in conjunction with any lens, whether a portrait
combination or a rapid rectilinear. We have had it applied to a
Petzval carte portrait combination of six inches focus, although
warned by the maker that it was not by any means the best for
such an attachment, and have found that by its agency (its
diameter is nearly one and a half inches, and its focus, negatively,
four inches) the old carle lens, which was corrected to cover a
plate of three and a ((uarter inches, now covers a plate the
full size capable of being contained in a 10x8 camera, the
largest on which we have as yet tried it. In doing this there
is so much light transmitted as to admit of the employment of
a drop shutter in good light, or ihe giving of an exposure of
from half a second to three seconds in light of a less intense
character.
The distance apart of the front positive system and the
■^back negative one is the factor which determines the magnitude
of the image, of course taken in conjunction with the position
of the focussing screen relative to both. No matter how much
or how little the camera is extended, there is a relation between
the two lens systems which, when ascertained and adjusted by
actual trial, ensures sharpness. The smaller the separation of
the positive and negative systems, the greater will be the
magnification of the image, and the farther must the camera
be extended. This cannot be explained by instituting a com-
parison between it and the ordinary cimera and lens in which,
if the focussing screen be placed either within or without the
focus, the image will be blurred without the power of being
sharpened. But an analogy exists between it and the screen of
the optical lantern, on which to project an enlarged image.
An equally sharp result is not obtained on a screen shifted
from the twelve-feet position on which the focus had been
adjusted away to twenty or forty feet. But sh.arpncss at any
distance is obtained by readjustment of the objective. And
thus it is with the tele-photo objective. A slight manipu-
lation of the rack and pinion ensures perfect shai-pness,
no matter how much or how little the camera is expanded.
This constitutes one of the beauties of the system of
mounting that has been adopted, for, by its agency, the photo
grapher can, within certain limits, make a distant object of any
size he chooses either to cover a quarter-plate, or one of 12 x 10
inches or more in dimensions. A short time since an American
optician applied for a pitent for a rigid tube in which to
mount both positive and negative elements of a tele-photo
objective. But from what we have said it will be seen that
this adaptability of size of image to the space which it is found
desirable to cover is totally wanting in such a system ; whereas,
by that adopted by Mr. Dallmeyer, there is absolutely no
practical limit to the dimensions to which an object at a distance
may be carried.
654
TflE BKITISH JOURNAL OF PHOTOGRAPHY.
[September 1, 1893.
With regard to exposure, it will, of course, be well under-
stood that, the greater the magnifying of the image, the less
is the rapidity, seeing the intensity of the lens is reduced by
magnification ; so that, according to the intensity of the entire
instrument, must one determine for himself whether he will
choose a positive lens, per »e, of liigh or moderate intensity.
DISCOLOURED NEGATIVES.
In spite of all that has been written in these columns and
elsewhere on the subject of imperfect fixation, we are con-
stantly being asked to explain the cause of, and supply a
remedy for, discolouration in negatives, that can only be traced
to the want of the most ordinary care in treatment during
and after fixing. In most instances, by the time the evil has
been recognised, it has become irremediable, although, if taken
in time, it is often possible to arrest its further progress
or even to remove any slight discolouration that may have
occurred.
There are many different forms in which this discolouration
may arise, and, although they may one and all be traceable, in
the first place, to imperfect fixation, or insufficient washing
afterwards, yet it does not follow that the immediate result is
the same in all cases. For instance, we may have a negative
whicli shows a yellow discolouration as soon as it is dry, or
perhaps even before that, and then, again, may exhibit signs
of change soon after it is put into the printing frame, while
others only develop the fault in the course of weeks or months,
and quite independently of whether they are exposed to light
or not. Quite another kind of discolouration is met with in
the case of negatives that have shown no symptoms of the evil,
until, for one reason or another, intensification is resorted to,
when it appears in full force.
The chemistry of the changes that occur has never, so far as
we are aware, been carefully studied in connexion with gelatine
films, and the result is set down, in a general way, to sulphura-
tion in some form or other ; but that it is the same in all cases
is, we think, far from true. In one class of cases the image
itself is involved in the change that goes on, while in others the
discolouration appears to be confined chiefly to the film of
gelatine. In some instances, too, the colouration is removable,
while in others it resists every attempt to get rid of it.
If we glance briefly at the chemical changes that are supposed
to go on in the process of fixing, it is not difficult to under-
stand that the after-discolouration may partake of different
characters. The nature of the double salts formed under vary-
ing conditions has been over and over again pointed out ; for
instance, it is known that, with a weak fixing bath, or when in-
sufficient time is allowed, an insoluble silver compound is
formed, which, with a stronger bath, or under more prolonged
action, is converted into a more soluble form, which is remov-
able by washing. It is here where the distinction between
imperfect fixing and imperfect washing comes in, the two being
only too frequently confounded or considered synonymous.
In the case of an imperfectly fixed negative — that is, one
from which the unaltered bromide of silver has been barely
removed, and which is apparently fixed — there will still remain
in the film a quantity of silver, either in an insoluble form, or,
what is practically equivalent to it, in a state in which it is
■precipitated or rendered insoluble by washing. On the other
hand, the perfectly or sufficiently fixed film may contain, like
the other, a quantity of silver ; but it is in the soluble form,
and is not precipitated in the course of washing, but may be-
entirely eliminated if the washing be properly performed.
This constitutes the essential difference between imperfect
fixing and washing.
It may be accepted, we think, as an undoubted fact that, in
order to have discolouration of the film from the action of
hypo, there must be silver present in some form, as the hypo-
itself will not stain the gelatine. The familiar term " sulphura-
tion " as applied to prints or negatives describes the effect
produced by the combination of silver and sulphur, these being
supplied by the unremoved products of fixation. Sulphur, or
rather hypo, alone will not produce the result, as has been
proved by immersing a perfectly fixed and washed print in a
fresh solution of hypo. The extent and nature of the dis-
colouration will depend upon whether the silver is present in
the soluble or insoluble form, or, in other words, whether the
fault is insufficient washing or imperfect fixing.
If a plate be cut in halves before fixing, some instructive
light may be thrown upon the matter. Let the two halves be
placed together in the hypo bath, and allowed to remain until
the silver haloids have just disappeared and no more, then let
one half be taken out and washed very thoroughly, the second
half being allowed to remain for a further period equal to that
already given, and then simply rinsed sufficiently to prevent
crystallisation of the superfluous hypo on the surface. If the
two halves be carefully preserved from the action of light until
quite dry, they will probably show no sign of anything
abnormal, unless, perhaps, in the case of the portion which
has received the shorter immersion in the fixing bath, there
may be some slight opalescence, especially if the film be thick •
but, directly they are taken out into a strong light, tliey will
both be found to discolour, assuming a yellowish brown tinge
of greater or less depth, according to circumstances.
But, in the case of the shorter fixing, the discolouration will
be denser, and of a more opaque character than the other
which will be clear and transparent, and apparently confined to
the shadows of the negative, whereas, in the first case, the
change of colour appears to affect the image itself, and to alter
its density. If, instead of immediate exposure to light, the
two portions of the negative be carefully put away in a dark
place for some weeks, it will be found on examination that
while the imperfectly fixed portion remains unchanged in
appearance, the other will have undergone spontaneous dis-
colouration in much the same manner as under the action of
light.
Assuming that both halves have been equally protected
from abnormal atmospheric conditions likely to bring about
decomposition, these two experiments show that there are in-
fluences at work quite distinct from sulphuration as commonly
understood, and that the effect produced differs according to
whether the silver is present in the form of the insoluble or
the soluble double hyposulphite ; for, while both are sensitive-
to light, it is found that the latter is more liable to spontaneous
decomposition in the presence of gelatine. This is quite as
might be anticipated, if we consider the behaviour of gelatine
after treatment with, or in the presence of, a soluble silver
salt such as the nitrate.
It is not our purpose to enter into the question of the
ultimate changes that would occur under circumstances favour-
able to "sulphuration," suffice it to say that either of the
plates mentioned would exhibit it in its worst form. What we
particularly wish to point out is how the two faults, imperfect
fixing and washing, may be recognised and', remedied if taken>
tf
September 1. 1803]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
666
•in time. It will be readily understood that both may be
•present in the same plate ; and, though the proper treatment
^br one is not the correct remedy for the other, still, means
may be adopted that will effectually cure both.
In actual practice it is surely seldom that the work is so
■ carelessly performed that the wliole surface of a negative
suffers from either of these forms of neglect. The results are
generally seen in the form of patches, arising from inequalities
or irregularity in the thickness of the films, against which it is
often impossible for the most careful operator to guard ; but,
by carefully examining his negatives after drying, and especi-
ally after exposure in the printing frame, he will often be able
to detect the evil in its incipient form, and arrest its further
progress.
The result of imperfect fixation is, as we have said, some-
-times visible in the form of a slight opalescence before exposure
to light, and this is more especially the case when it occurs in
patches. When thus apparent, it is easily removed by re-
immcrsion in a fresh solution of hypo. If, however, the nega-
tive be exposed to strong light before the discovery is made,
■more or less discolouration will take place, and] this will be
intensified by each successive exposure. All that can be done
amder these circumstances is to arrest the further progress of
the decomposition by refixing, and if this be done at once the
injury will not be great.
But a negative may be perfectly clear and free from opales-
cence before exposure in the printing frame and yet show in a
-sliort time a clear yellow stain, generally along one edge or
over one corner. Reimmersion in the fixing bath if done at
once will often remove this, especially if it be simply the result
of insufficient washing. But it is seldom that either fault
exists alone, and, in order to satisfactorily treat both, the best
plan we have found is to soak the film first of all for two or
three minutes in a strong plain solution of salt, and then with-
out washing to plunge it into a dish containing a very dilute
solution of nitric acid, about fifteen or twenty mimims to the
ounce ; after this, wash to remove the acid, and refix and wash in
the usual way, when in nine cases out of ten the stain will have
disappeared.
But, after all, prevention is better than cure, and it is a very
«asy matter, without adding greatly to the trouble of finishing
a negative, to test whether it is properly fixed and washed be-
sfore running any risk. All that is necessary, as we showed a
'few weeks back, is to immerse it in a solution of iodide of
potassium, when any silver remaining is at once rendered
•visible as iodide.
KEEPING QUALITIES OF FILMS,
Of late the question has been raised at several of the societies,
:and at different times in our columns, as to the relative keeping
•qualities of plates and flexible films, and diverse opinions ex-
pressed. In our last two issues the subject is again referred
to in letters from two well-known amateurs — Mr. W. J.
Hillman and Mr. F. Beasley. In the majority of instances,
when the question has been previously raised, several im-
portant points in connexion with the subject have been entirely
Jgnored, the various commercial films being 'treated almost as
if they were a standard commodity. As a [consequence, the
alleged deterioration, if any, has been attributed mainly to the
support of the gelatino-bromide of silver.
Glass may be fairly classed as being, so far as gelatino-
tiromide of silver is concerned, a perfectly inert material.
Yet we all know quite well that plates prepared with some
emulsions will remain good for several years, while others,
witli different ones, will sometimes become almost useless after
only a few months' keeping. Tlierefore, in the consideration
of this subject, it must be l)ome in mind that the emulsion
itself is a most important factor in the case, quite independent
of the material upon wliich it rests, whatever that may be.
Then, again, flexible films themselves are not alike either in
their composition or mode of manufacture, not even when they
pass under the generic term celluloid, while some are of an
entirely different material.
Celluloid or, as the English manufactured article is named,
xylonite, is a modification of what was at one time called, after
the name of its inventor, Mr. A. Parkes, Parkesine. Numerous
improvements have been made in it since, and many patents
in connexion with the materials used and its manufacture,
have from time to time been taken out, but whether all, or
even any, of them are being worked we are unable to say.
As a matter of fact, the whole of this manufacture is treated
very much in the light of a trade secret, and its working is
in the hands of a few large firms only. Indeed, we question
if, in connexion with any material having so many applications,
and being employed for so many general purposes, so little
has been published with regard to the details of its manufac-
ture. It is, however, safe to afiSrm that^it is essentially a com-
pound of nitro-cellulose and camphor, although it may be made
by different methods. According to one of the Eastman Com-
pany's patents, their film is composed of soluble pyroxyline,
camphor, wood naphtha, amyl-acetate — more familiarly known
to some as essence of jargonelle pears — and fusil oil. The
solution is spread on glass plates and allowed to dry, when it
is coated with the emulsion.
What are known as cut films are made quite differently.
In this case the camphor is really the solvent of the nitro-
cellulose, but this is not of the same kind as the soluble
pyroxyline used for collodion, but a lower nitro compound
known as xyloidine. It is almost insoluble in ether and
alcohol, but when kneaded and rolled, camphor, by reason of
the latter's solvent action, heat also being applied, becomes a
plastic mass, which can be wrought in various ways. In con-
nexion with the solvent action of camphor, it may be men-
tioned that there are several substances that are not solvents
of nitro-cellulose by themselves, but they become so by the
admixture of camphor. AVhen required for such pxirposes as
knife-handles, pianoforte keys, photographic dishes, <tc., colour-
ing and other matters are added to the compound, according
to requirements. For transparent articles, such, for example,
as photographic films, the pigment is, of course, omitted. One
important point in coimexion with the manufacture of cellu-
loid is the seasoning. When freshly made, it is termed green,
and if used in that condition articles formed with it are liable
to warp, shrink, or otherwise lose their shape. The " season-
ing " is effected by keeping the celluloid exposed to the air, at
a warm temperature, for a long period — sometimes for months.
The longer it is kept the more unchangeable it becomes, and
the more it loses the smell of the camphor.
So far as we are aware, the manufacture of the celluloid used
for photographic films is chiefly confined to America, and this,
we are informed, is how it is made : The transparent celluloid
is first formed in large slabs, which afterwards undergo a
lengthened seasoning. When surtieiently seasoned, it is cut
into thin sheets and rolled between heated rollers, as it
can still be softened by heat, and finally polished, as met with
556
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 1, 1893
in the market. When it is required with a matt surface, we
were told by Mr. Carbutt, who has given a great deal of atten-
tion to the production of flexible films, that it is produced after
the sheets have been polished.
From what has now been said, it will be seen that what are
classed under the head of celluloid films vary in composition
and manufacture. Again, some films are of an entirely dif-
ferent material, having gelatine as its basis. Furthennore, we
have met with films having a cellulose basis, that have had an
intermediate layer of a gelatinous character between the sup-
port and the sensitive film.
The object of the present article is not to express any
opinion as to the keeping qualities of flexible films, of what-
ever they may be composed, but simply to point out that,
in discussing the subject, there are films (supporting) and
films, also emulsions and emulsions. These are conditions
that do not seem to be sufficiently taken into account by some
who have expressed opinions on the subject, and who, as we
have said before, treat " fikns " as a constant product.
The Orig'in of Photogrrapl^y-— W'e are accustomed to the
statement of scientiBc facts in epigrammatic fashion by our neigh-
bours across the Channel, but it is a decided novelty to hear as,
iiccording to Mr. Bashford Dean, in the American Naturalist of
July, Professor Lacaze-Uenthiers has stated, that " the observation of
tarnishing of silver .... was the origin of photography ! "
FhotogTaphing' the Invisible.— This is a feat which, in the
production of photographs of the ultra-violet rays and of stars never
seen by the human eye, is no novelty, but it is to the general public
more in the nature of an abstract problem. At the Academy of
Sciences of Paris, however, M. Zenger gives it concrete form by ex-
hibitingtwo photographs taken the 17thof last August, two hours before
and two hours after midnight. They exhibit two faint images of the
Lake of Geneva and Mont Blanc, which were at the time absolutely
invisible to the naked eye. M. Zenger, however, stated that to some
extent the invisibility was relative only, as it depended upon in-
dividual idiosyncrasies as regards visual power.
A Mew Source of Error in Scientific Photography.
-—The absolute rigidity and freedom from tremor that are essential
requirements in such photographic work as spectrum photography,
and, in astronomical photography, the ascertaining of polar distances,
has lately been shown by Dr. E. Von Rebeur Paschwitz to be subject
to hitherto unknown disturbances. He finds that the earth's surface is
subjected periodically to wave motions analogous to those disturbing a
sheet of water, and often persisting for several hours with great
regularity. He observed the motions of a horizontal pendulum,
and obtained memoranda on photographic plates moving at the rate
of twenty-four inches per minute. He suggests that all observatories
should be fitted with instruments to register these tremors, and that
they should be systematically examined.
Xiord Rayleigrh Questions the Need for Ziargre
Astro-telescopes in a letter to Nature last week. Noting that it
is in contemplation to spend over 2000/. on a special photographic tele-
scope for Cambridge Observatory, he asks whether astronomers have
duly considered the facilities afforded by modem photography ? " There
is now no difficulty in preparing plates sensitive for all parts of the
spectrum. . . . The interference bands of sodium hght may be photo-
graphed with the utmost facility on plates sensitised in a bath con-
taining cyanin. The question I ask is. Whether the time has not
come to accommodate the photographic plates to the telescopes,
rather than the telescopes to the plates ? It is possible that plates
already in the market may not exactly meet the requirements of the
case, but I feel sure that a tithe of the sums lavished upon instru-
ments would put us in possession of plates suited for object-glasses
that have been designed for visual purposes." He refers to Captain
Abney to give an opinion on the probable sensitiveness of plates pre-
pared for such purposes.
A Sensitive Spherometer. — The spherometer is an instru-
ment for measuring the curvature of the surfaces of lenses, and the
first constructed was the design of the late Andrew Ross, and
obtained the silver medal of the Society of just over half a century
ago. It is a tool of great value to the manufacturer of either photo-
graphic or any kind of lenses, and has been gradually improved upoa
by succeeding inventors. It is a sort of low tripod, carrying a screw
in its centre, the number of turns given by this screw before it meets
the surface of the glass, when placed upon a lens, giving the depth of
the curves. Ross's original form could measure to the thousandth of
an inch, and by estimation to half that amount. The ordinary
instrument will gauge to the ten-thousandth. Mr. A. A. Common
proposed to the Royal Astronomical Society to increase this sensitive-
ness by placing the screw on one of the arms of the tripod. He now
publishes a note describing a method he has devised for still further
extending this suggested improvement. The new spherometer he
describes in Nature, and he states it capable of Pleasuring to the
marvellous minuteness of the three-hundred-thousaudth of an inch !
Xiig'ht Hays as Sound-carriers.— At the World's Con-
gress of Photography, the Chairman of the Committee, Judge Brad-
well, in the concluding remarks of his address said, " I have no
doubt there are those within the sound of my voice who will live to
see the time when photographic reproductions will be sent from
country to country as quickly as we do telegraphic messages to-day."
This is a bold prophecy ; but almost ere the words were uttered there
was on view in the Electricity Building an instrument which, for
marvellous utilisation of the rays of light, would almost make one
ready to beheve in any such prophecy as Mr. Bradwell uttered. We
refer to Professor Bell's Radiophone, which is founded entirely on the
utihsation of light rays, and as such of interest to photographers,
though in this case it is not tho Uneaments of a friend which are
conveyed, but the actual sound of his voice. Not to make the descrip-
tion too technical, we may say briefly, it consists of an instrument for
emitting parallel rays of Ught of great brilliancy, reflected from a thin
diaphragm mirror to a receiver placed in one instance an eighth of a
mile distant. Opening into the chamber behind the mirror is an
ordinary speaking-tube mouthpiece. This is spoken into, the mirror
vibrates, the vibrations are carried forward by the rays of light, are
received into a special apparatus at the other end, and by a hearer
placed in a room freed from sound are distinctly heard, though in
slightly muffled tones.
PHOTOGRAPHICAL SOPHISTICATION: ITS TRUTH-
FULNESS OR OTHERWISE.
Mb. H. Dennis Taylor, in dealing with my criticism of Mr. Van
der Weyde's claims with respect to " Optical and Visual Truth," refers
to my remarks on one branch of the subject only, without touchmg
those on the other branch, which I considered as more important. I
regret to have to differ from Mr. Taylor, the value of whose wntmgs
in exposing fallacies of so-called naturalistic focussing is so deservedly
recoo-nised, and shall be much interested to learn whether he is with
me on this second branch of the subject now under discussion
The consideration of any such means as that of the so-called photo-
corrector for varying the visual angle, and consequent apparent
magnitude of anv particular object in a picture, may be divided into
two parts ; the one being the shrinkage of near and the enlargement
of distant portions of a picture, so as to destroy the effect of natural
perspective, in virtue of which the nearer object occupies proportioa-
all y a larger angle to the angle and in the picture ; and the other, the
modification of the size or proportion (width, height, or both) of
particular objects, independent of whether they are enlarged or
diminished by perspective, to suit an ideal, conventional or otherwise.
The claim to "correct" photographic perspective Mr. Taylcr
September 1, 1895j
THE BRITISH JOURNAL OF PHOTOGRAPHY.
»7
defends on tlie ground that, for near objects, we are able by the aid
of binocular vision to estimute the relative distances of their various
parts, and so to make allowance for the greater appan«nt ma|^lutulld
of the nearer planes. Whatever truth there may be in this pro-
position, I think it is a mistake to import the que.'-tinn of binocular
vision and binocular perspective into that of affording the truest
obtainable representation in a single picture. No .'•ingle picture can
give binocular effect, and painters and photographers alike (except
when a pair of stereoscopic pictures are used) have to content them-
selves with what can be shown upon a siogle surface.
Mr. Taylor draws a distinction Ijetween objects within the range of
binocular or stereoscopic recognition, which he puts at 100 yards, and
those outside that distance. Of course, the actual distance for stereo-
scopic recognition will vary with the class of subject; thus a twig or
other small clear upright line standing some di.stance in front of
another object of distinctly different colour and having well marked
lines or pattern on it, will show stereoscopic effect at a distance
where on any such object as a cake or a house such effect may not be
recognised, but the 100 yards limit may be accepted as approxiruately
near enough for the argument. Suppose, now, a photograph to be
taken including a building, the nearest point of which is 100 yards
distant, and that it is at the corner of a street, and our camera is placed
80 that we see one side almost or quite at a right angle to the line of
sight, whilst we also see other houses of a similar height for a con-
siderable distance down the street at the corner of which it stands.
The houses will regularly decrease in height on the picture, so that
the one which is in a plane at double the distance of our corner build-
ing will only occupy half the vertical space in our picture. Will it
be said that the photographer or the draughtsman is wrong in repre-
senting these buildings in the same proportion that they bear to that
image on the retina, or to the visual angle included ? In Europe
and in modern times such a picture will be accepted as true, what-
ever might be thought about it in China. If this is true of houses
at a distance, why should it be otherwise than true of, say, a row of
dog kennels so near at hand and at such elevation as to bear the
same relation to the eye that the houses do in the first case ?
An objection to altering the perspective of the photograph, which
has not been dealt with by Mr. D. Taylor, is that it is impossible to
diminish one part and leave the rest of the picture unaltered. If
some near object is diminished, there must either be something shown
which the object actually hides, or immediately adjacent objects must
be stretched to till up the space created. In the case of the " photo-
corrector " it is the latter event which happens — the neck is stretched
cut to make up the deficiency left by the shrunk head, and, whilst
there is a fashion for admiring small heads and long necks, no doubt
the double sophistication will be approved of by those who desire
flattery rather than truth.
My own view is, that|pictorial|representation8 are generally preferred
by the spectator not so much to the original subjects as to other
fictorial representations of similar subjects to which he is accustomed,
t is thus that the toleration of the book of beauty of pre-photographic
period for small Cupid-bow mouths, eyes preternaturally large and
wide apart, ridiculously small hands and feet, &c., can be accounted
for. It is also thus that we may account for the rocking-horse posi-
tion which did duty so largely in hunting and battle scenes, and
•which has been so much accepted that since the more truthful repre-
sentations, such as those shown by photography, came to be generally
adopted by the best artists, there has been a wail set up that such
positives represent " arrested motion," " positions never seen by the
human eye," and so on. True, there have been observant sculptors as
long since as the classic ages, who have left us much such representa-
tions as photography gives us, and some painters, like Meissonier, who
have gone direct to nature, and, producing drawings which are found
closely to resemble the photographic representations, should therefore
also incur the censure of those who accept only the commonplace con-
ventions.
This brings me to the point that, whereas it has been customary for
painters aiid draughtsmen to represent mo.'t subjects in linear perspec-
tive, buildings with retiring lines, groups of figures with the farther
ones represented smaller than near ones, it lias been conventional to dis-
regard this effect with single figures, and the public, judging of photo-
graphs by what they have been accustomed to see in paintings and
engravings, object to the increase of size in the advancing portions of
a single-hgure subject, whilst they accept it in subjects of any other
character. In my criticism, referred to by Mr. Taylor, I recognised
the hold which this Convention had obtained, and said (see 'Society
of Arts Journal, April 2S, ISO.'!): "As people are not thoroughly
accustomed to perspective in single-figure pictures, there is something
to be said for sophistication to the extent which brought the picture
more into accordance with what they were accustomed to."
The other branch of the aubjoct deal* with ailerationa of the dimen-
sions of the subject, where it is not nuggested that perspective ban had
anything to do in cau'ing »uch alterations to be desired. Mr. Van
der Weydu, in his paper, apeaks of sitters who " are prone to lament
that their hands, to say nothing of their heada and waists, come out
much too large. Others, again, fancy themselves much taller and
slimmer than they optically, perhaps I may say architecturally, really
are, and I have always been compelled to admit that they are right
— that is to say, vUually right, artistically right — and that photo-
graphy, in their case, could not do justice to one's visual impression."
I maintained on the night of the discussion, and I have seen nothing
yet to onvince me to the contrary, that beads and waists do not
come out too large for truth and nature, but only too large to accord
with some conventional ideal.
Mr. Taylor, in his concluding paragraph, aays : " The only danger
lies in the fact that so many sitters are tatialied with nothing short
of the most flagrant flattery on the part of the photographic artist
as well Hs the portrait painter, and that the method may, in some
hands, be prostituted acconlingly." Does Mr. Taylor consider that
the reduction of hands and waists, the making the sitter taller and
slimmer in the picture, and the photographer's assent to the propoei-
tion to this in accordance with visual truth, is in itself a truthful
proceeding, or would he consider it to come under the ceasure of the
sentence last quoted from his article ? W. E. Dsbknuau,
CONTINENTAL NOTES AND NEWS.
EUaiinating' Kypo from Prints.— M. Ommeganck recently
informed the Antwerp Section of the Association Beige de Photo-
grapbie that of all the means employed for the elimination of hypo he
found the best to be the immersion of the prints in a bath of borax
solution (strength one-half per cent.) and their washing in pure
water, the small traces of borax remaining in the prints being Advan-
tageous for toning purposes. Toning, however, we may remark,
usually precedes fixing in the albumen process. Possibly, however,
the idea would be applicable after toning and fixing.
A Permanent Acid Fixlngr Bath.— The following is recom-
mended by the Bulletin of the I'hotographique Club de Paris : —
Water 350 c.c.
Bisulphite of soda 10 grammes.
Hyposulphite 40 „
Chrome alum 2 „
Citric acid 15 „
The bath is said to keep indefinitely, fix rapidly, and obviate staining
of the plates.
Increase of Rapidity in Gelatine Plates by X,eep-
ingr. — Moiis. F. Burle writes to La Nature, giving an instance where,
as he alleges, gelatine plates have gained in rapidity by keeping.
Some Beernaert plates, he says, in the seventh year of their existence
were five times more rapid than in the first month of their manu-
facture. We should like to know what tests Mons. Bourle applied to
attain such a result.
Development by Slectrlcity.— Following up the experi-
ments of Schiitzenburger and Eder, Ilerr Liesegang has succeeded in
developing plates by electricity. Two vessels, one of which is of
porous ware, are filled with a solution of bisulphite of soda; the
porous ves.-?el is placed in the other, and a current of electricity
is passed through by means of two platinum electrodes. The
expo.sed plate is placed in the vessel containing the negative electrode.
The image develops in a few minutes, and is of a brownish colour.
The deposit is considerably reduced in the fixing bath.
New Method of Development with Dlamldo-
phenol. — M. Balagny gave the following plan at a recent meeting
of the Sociote d'Etudes Photographiques :— A three per cent, solution
of anhydrous sodium sulphite is made. To develop an instantaneously
exposed plate (130x189 mm.), 100 c.c. of the solution aw taken
\
558
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 1, 1893.
half a gramme of diamidophenol being added to it. For a plate
having had a time exposure, five to ten c.c. of a solution of acetic
acid are mixed with the developer.
A Combined Toninr and Tixlng Bath without
Sulphocyanide.— Herr Valenta recommends the following:—
Distilled water 1000 parts.
Lead nitrate 10 „
Soda hyposulphite 200 „
For use, add fifty parts of a one per cent, solution of gold chloride.
The bath is said to answer with most commercial chloride papers. It
does not work at its best at the first, and it is therefore recommended
to tone one or two prints by way of trial.
Removing' Tellow, Green, Ked, or Dichroic Tog.—
Dr. MeniertS of Paris, advises the following treatment :— Soak the
negative in ordinary water for five minutes, and then immerse in —
Water 100 parts.
Bromide of sodiom 3 „
Bromine water 3 „
Leave in for ten to fifteen minutes. The bleached image is vrell
•washed and dried, and the image redeveloped with an amidol-sulphite
developer.
♦
UNSUSPECTED SOURCES OF FAILURE.
Thbre can be very little doubt that by far the greater proportion of
the failures that "occur in dry-plate work are attributed to wrong
causes, and that, in very many instances, the poor plateiuaker or
some equally innocent individual receives the blame that is really due
to the carelessness of the operator. This happens not infrequently
even when the operator is an old and experienced hand ; but, un-
doubtedly, most such cases are to be met with in connexion with
beginners, whose knowledge of photography is not yet sufficiently
extensive to have taught them how easy it is to err.
Photography has now become so extremely simple and easy a pro-
cess that, to the average amateur, it is impossible to conceive how he
can possibly go wrong, at least in the merely mechanical details of
manipulation, although he may, perhaps, recognise the possibility, if
not the probability, of there being at first some little difiiculty, or at
least something to learn in development. But whether novice or
veteran is the more really blameworthy it is impossible to say : the
first errs from want of knowledge, the latter in spite of it, and he
should therefore, perhaps, be deemed the greater sinner.
Several cases, serious, comic, and instructive, liave recently come
under my notice, and a narration of one or two may, perhaps,
serve to impress upon some of your readers the folly of coming to
too hasty a decision in such matters, and, above all, of recognising
the possibility that they may themselves be in fault, and thoroughly
sifting the matter before laying the charge on other shoulders.
In one case, which promised to be a rather serious one, and
possibly to lead, if not to a lawsuit, at least to "strained rela-
tions" between two hitherto old friends, I was asked to arbitrate
on the subject of the quality of certain plates, a large number of
which had been supplied through a dealer to a customer who con-
demned them as worthless. The maker, on testing a sample re-
turned to him for the purpose, pronounced them all right, and
declined to take them back ; the dealer, on testing the plates,
moreover, found them free from fault, but, as they were an un-
common and unsaleable size, he could scarcely agree to have them
on his hands as useless stock. In the dilemma, I was appealed to
to give an opinion on the plates, and, on trial, pronounced them
good in every respect.
The customer accepted the decision ; but, though he went earnestly
to work to discover where he himself was wrong, so many verdicts
being against him, his compliance was of that character that left
him " of the saiue opinion still." By chance I happened to be at his
place of business when the mutter of the plates was mentioned, and it
was proposed to make a joint trial of them, and certainly they
turned out all that he had alleged them to be from the first, foggy
and hopelessly bad. The fog extended over the whole plate, even to
the margin representing the rebate of the dark slide, and that fact, in
conjunction with a careful examination of the camera, proved that the
latter was not in fault, while there was ns reason to lay the fault
to the dark room. I accordingly carried away with me two or
three plates from the same box to try in my own dark room, when,
strangely enough, they again worked without the slightest blemish.
Returning to the charge, another plate was exposed in the pro-
fessional studio, and that, together with a second that had not been
exposed, were placed together in the same developing dish, when the
exposed plate came out precisely as previous ones had done under the
same circumstances, while the unexposed one remained perfectly
clean. Here, at least, proof was positive that the fault lay in some
way with the exposure. The camera, as I have said, appeared per-
fectly light-proof: but, to place that beyond dispute, a plate was cut
in half, one half being kept in the dark room without exposure, the
other placed in the dark slide, with a portion protected with opaque
paper, and exposed as before. On developing the two halves, the
unexposed portion was, as before, perfectly clear, the other com-
pletely and equally fogged.
Now it became evident that, while the fog arose in the camera, it
was certainly not in front of the plate, but behind ; so a plate vpas
placed in the slide — a single one with hinged door — and one half of it
covered with opaque paper placed behind it. As a matter of form the
plate was exposed in the camera, and on development the protected
half proved perfectly clear ; the other badly fogged, as on previous
trials. On carefully overhauling the dark slide, it was discovered that
from shrinkage — no doubt caused by the protracted dry weather — the
back door of the slide did not lie closely in the rebate, and light
leaked in nearly all round the edge of the plate, and so the mystery
that had so nearly caused much unpleasantness was explained.
In another case a batch of plates was condemned in a very similar
manner, the fault in this case being that many of them — sometimes
three or four, or even more, in a box — were marked by a diagonal line
of fog across the middle of the plate, one side being clear. In other
boxes the whole of the plates might be perfect. The theory formed
by the victim in this case was that a light had been taken into the
drying room while the plates were in the drying racks, and that some
of the batch had thus got fogged in this partial manner. The theory
was ingenious, but it was shown that at the particular factory it was
impossible. It turned out in this case, after a long series of investiga-
tions, that the fault was again due to a defect in the camera, aided by
circumstances. The camera was one of the reversible-back pattern,
and at one corner of the reversing frame, that which was at the
right-hand top when the plate was in the upright position, admitted
a leak of light, at least when in that position ; for when placed in the
horizontal direction, in which case the defective corner was at the
bottom and did not get the benefit of the direct skylight, the diagonal
streak of fog did not occur. This discovery, of course, put a very
different complexion upon the drying-room theory.
Another case in which the blame was sought to be fixed wrongly
on the camera — not, in this instance, on the platemaker — gave a
good deal of trouble before it was accurately diagnosed. The defect
tooli the form of an irregular blur of fog, occurring only occasionally,
but always in the .same position on the plate. It was not sufficiently
well defined to give the idea of Ijeing caused by any minute aperture
in the camera front acting as a " pinhole," less still of its being caused
bv a perforation in the back of the slide — this also being a single
slide. However, its always falling in exactly tlie same position proved
that it was caused mechanically by some internal defect in the
camera. Examination of the slide with a plate in position showed
that the " blur " fell just where the spring pressed upon the back of
the plate, this spring being of "blued" steel, nicely rounded at the
extre'iiity. Fiu-ther investigation showed that when the camera was
employed in a certain position out of doors, for portraits or groups,
the light from the sky, entering the lens, passed through the plate,
and was reflected back by the curved and polished extremity of the
springs. The application of a httle dead black varnish in this instance
removed the trouble.
As an example of the comic side of matters, I may conclude by
mentioning an incident that occurred to myself, and which for a time
presented all the features of an inexplicable mystery. A friend who
was just entering on the novice stage brought to me for my opinion
a new camera that he had had offered to him, and of course the
instrument had to be tried. This was done by each in turn taking
the other's portrait, the slides containing the two plates lieing then
taken into the dark room for development. One plate, however,
turned out to be hopelessly fogged, while the other gave not the
slightest trace of an image. The slide was refilled and tlie exposures
repeated, but with a precisely similar result. That one or other of us
should have omitted to draw the shutter once would not have been
remarkable, but that it should be repeated after the contingency had
been mentioned was scarcely likely; but even then it would not
account for the fogging of the other plate, and it seemed too extra-
September 1, 1803]
THE BRITISH rJOURNAL OF PHOTOGRAI'HY.
690
ordinarv a coincidence that twice in succession a good plate and a bad
one should be placed in the slide, and the good one in both instances
escape exposure.
A third pair of plates were placed in the slide, and for the third
time one of them developed a mass of dense fog, while the other was
quite innocent of exposure, and the situation began to be decidedly
interesting if a little exasperating. It wa.s my friend's plate that had
escaped exposure in each case: so, after sitting for the fourth exposure,
determined to solve the mystery, I placed my hand under the focus-
sing cloth in order to be perfectly certain that the novice understood
what drawing the shutter meant. He proved to be quite capable of
performing tlmt simple operation in a fashion, but where he had err^'d
was in drawing the xcrong one ! In fact, one of each pair of plates
had been exposed twice, once in the camera and once out of it, while
the other was not exposed at all. W. Lindsay.
SPOTS AND PINHOLES.
Wb hare heard of late many complaints of spots and pinholes on both
paper and plates, but afllictions of this kind seem to be of periodical
recrudescence, more perhaps in the summer than at other seasons of
the year, which may be reasonably expected owing to the extra dry-
ness of the atmosphere at this period, and the great quantity of dust
that is everywhere in evidence. There is nothing new in the pheno-
menon,and, knowing it, extra precautions should be taken to counteract
its evil influence bv both manufacturers and users of paper and plates.
Considering the immense quantities of both that are yearly consumed,
the fault-3 in this direction can scarcely be termed excessive. That
occasional batches of defective material are sometimes on the market
there is no disputing, for which possibly the makers are the greatest
sufferers.
In these days of keen competition loss of popularity is a serious
matter. Advertising does a good deal, but the production of
uniformly good plates or paper is more to the purpose. Photo-
graphers getting hold of a thoroughly reliable brand of either are
very conservative, and it depends entirely on the manufacturers to
keep their customers or send them roving for something better. That
we shall get absolute perfection at all times is simply out of the
question. Not until paper is made of rags from angels' clothing and
boiled in liquified air, as a photographic expert once put it, shall we
get paper without faults of some kind ; the less there are, the more
we have to be thankful for. The wherewithal of which spots are
made may be introduced from the very beginning of the paper manu-
facture to the final mounting of the print. Firstly, there is the paper
itself, faults or oversights of manufacture, and mostly consist of
metallic particles of some kind incorporated with the paper pulp, and
more or less visible on the surface of the paper. Many are also in-
visible except bv transmitted light, and make their appearance as
faults later on in the preparation of the prints.
At one time Rives paper had an unenviable notoriety in this direc-
tion, and Saxe was of equally good repute, from which we may infer
that more care was observed in one manufactory than the other, and
that this particular fault is preventable, and ought to be. Metallic
particles make their presence felt, as soon as they come in contact
with silver salts, by the reduction of the silver to a metallic state.
If large spots are carefully examined, the silver will be seen reduced
to a foliated form and attached to the original speck, the bulk of
which determines the amount of reduction, specks that were un-
noticeable before spring into existence, to the great detriment of the
print. As far as my own observation goes, it is only spots of
a metallic nature that are of serious inconvenience; other kinds
remain as they appear at first, neither increasing nor diminishing. If
the prepared paper is held up to the light, the locality of the spot is
easily seen, and the paper, by judicious management, may be placed
on the negative so that the fault will come in some dark part of the
picture where it will be of little or no consequence. Supposing the
paper itself is free from defects, they may be introduced either in
rolling, albumenising, sensitising, storing, or in the printing frame.
If free up to this point, they may be contracted in washing or drying
afterwards, and, finally, by the mountant and mount. From one end
to the other of the preparation of silver prints they are more or less
liable to become defective from spots. The process of albumenising,
if carefully performed, is not very likely to introduce them. The only
way spots are contracted at this stage is by dust settling on the
surface during the drying, although the albumenising is responsible
for streaks and markings. of another character. The most prolific
source of spots is du.^t during the sensitising process.
A peculiar class of defects is produced by the silver bath settling in
tears and drops on the surface of the paper hung up to dry, as if the
paper had been greoay. This is sometimea produced by the too irj
condition of the paper, or too great strength of the silver bath, or to
the albumen itself not being properly ripened before um. lUotticg
off the surface liquid before hanging up the sentitited theets will
prevent it. lieady-sensitised paper, bb purchased, ia rarely, if ever,
troubled with these spots. In most photographic workrooms the du*t
is of a very complicated nature. Organic, inorganic, and metallic
matter enter its composition, and are more or less dangerous occordin^-
to the predominance of objectionable chemical auDstaaces. Iron,
hyposulphite, and pyrogallic acid solution being spilled on the ground
dry, and friction by footsteps aid in their distribution in the atmo-
sphere, and are perhaps the chief offenders in this connexion. Sulphur
in various forms is also very pernicious. Great care is necessary to
avoid dust wherever any moist surfaces containing silver salts ore
being prepared. Qas and coke stoves give rise to trouble unless the
products of combustion are thoroughly removed by good ventilation.
If the paper gets to the usable stage without accident, a frequent
source of spots is found in dirty pads in the printing frames, or by
metallic particles ground off the springs and hinges by the friction of
opening and closing. New printing frames are verv liable to cause
trouble. Every crevice of a pressure frame should be thoroughly
dusted before being filled in, especially the rebates and pads. A
piece of stout blotting-paper that has been saturated with a solution
of carbonate of soda, and dried, should be laid between the paper and
the pad. This will not only prevent the paper jellowing, but protect
it from any deleterious matter that may happen to be on the pad itself.
Spots are sometimes, but rarely, caused by bad hyposulphite of soda,
and by imperfect manipulation in toning and fixing, letting the prints
stick together, so that they are only partially acted on by the
solutions.
-Vnother source of spots is dust settling on the surface of the prints
during the time they are washing. This is more likely to happen
when they are left soaking all night face upwards and float to the
top of the water. New unvarnished zinc in the washing trays will
also cause spots if the face of the print lies in close contact with it
for a little time. If the work passes through all these ordeals
safely and intact, only sheer carelessness will spot them whilst they
remain unmounted. When many processes are carried on in the
same apartment nothing is more likely to cause defects on a finished
silver print than particles of liver of sulphur, the most minute speck
of which will in a short time do irretrievable damage by entirely
destroying the liver image, and substituting an ugly yellow spot
that increases in size from a pin-point to that of a pea, when it
seems exhausted. Any print being in contact with this chemical is
ruined. It may he a day or two or more before the spot is noticed,
but then it soon spreads, and the destruction is complete. A lump of
this substance (sulphide of potassium) may have been broken up for
intensification purposes or for precipitating residues, aiul, being very
hard, i.s apt to splinter and fly about, unless great care is taken to
prevent it, and so a few particles may get on to the prints. I cannot
call to mind anything else likely to cause spots on the finished print
in the course of ordinary photographic work if care and cleanlmess
are fairly observed.
With' the gelatino-chloride papers, spots may exist in the un-
prepared paper, or from the emulsions being imperfectly prepared, or
the process of coating carelessly done, or dust settling on the surface
during drying. The preparation of this kind of paper is chiefly in the
hands of a few manufacturers, who, by the aid of machinery, can
produce a more perfect article than it is possible to do at home, and
it is a matter of importance to their business that a good paper is
turned out; at the -same time, it cannot be disputed that we occasion-
ally purchase gelatino-chloride paper that is afflicted with minute
spots that increase during toning and fixing, to the great detriment
of the pictures, especially those of the vignette order, where a perfectly
pure margin is necessary. The nuclei of these spots are easily seen on
holding the paper up to the light as tiny opaque specks, and during
the toning and fixing develop a kind of anreola that destroys the
image where it exists. The more protracted the toning, the more
conspicuous these spots become, but with rapid toning thev' show very
little. The tubes in which gelatino-chloride paper is sent out are not a
safe protection for the paper from the light, they being perforated by
minute holes that let in sufficient light to darken the papers, in patches
varying from the size of a sixpence to a crown piece. This may
be easily remedied by giving the tube a coating of asphaltvarnish or
pasting'some orange paper on it. Of course, if the paper is wrapped
in orange paper inside, it is safe so far as it goes : but the tubes ore
sometimes again used for untoned prints or sensitive paper, so, unless
some extra precautions are taken against the action of light, there is
a probabilitv of spoiUng the contents.
We occasionally hear of the mysterious appearance of spots witk
£63
THE BRlTISn JOURNAL OF rnoTOGRAniY.
[Septemlwr 1, 1893
nothing to suggest their origin, and their rare occurrence do»s not
give one the opportunity of tracing them to their source. Water,
when supplied under high pressure, although aufRciently pure, is some-
timtxs the cause of spots ; the imprisoned air settles in tiny bubbles
over the surface of the print, and thus prevents the proper action of
the water on those parts. I have seen water supplied that looked
quite inuddi) from this cause, and remained so for some little time
»fter being drawn, when it gradually became clear, but the slowness
with which the air separated from the water seemed to me phe-
nomenal. Occasionally impurities are introduced into the water
supply by repairs going on to the supply pipes, which may have a
deleterious effect on the prints. In some circumstances the pipes
themselves contribute to this end, but, generally speaking, the spots
can be traced to some more controllable origin ; but, when they happen
unexpectedly, the photographer is thrown off his guard, and the cause
is apt to be overlooked, or, having righted itself, the cause of the
defect is enveloped in mystery ; but dust, in some form or another,
has more to answer for than all other causes put together.
Spots on gelatine negatives are mostly attributable to either dust
or bubbles. If we examine an unexposed plate, we may find round
spots of clear glass or depressions, where the emulsion is much thinner
than on other parts of the plate. These are produced by bubbles in
the emulsion, which, as the emulsion sets, break, and leave clear
glass, as the gelatine then becomes too thick to flow to fill up the
space equally, or some part of the plate may not have been perfectly
covered in cjating. Such plates as these never ought to be sent out,
and I have no doubt it is quite an oversight that they are not thrown
to the waste instead of being packed, as no firm with any care for
their reputation would put such on the market knowingly. Dust,
again, is a prolific source of pinholes on exposed plates. Specks of dust
adhere to the film, and protect the part they stick to from the action of
the light, and the developer and fixing, of course, develops a pinhole
wherdver they have been. No plates ought to be placed in the dark
slides without first carefully dusting them and the slide too. Backed
plates are apt to cause pinholes. Unless extra care is bestowed on
tham, small particles of the backing get loosened by the springs, and
find their way to the surface by the shaking and vibration of travelling.
It is an excellent plan to line round tue edges of the rebate of the
d;irk slide where the plates fit with strips of black velvet. It will not
prevent the backing being loosened, bat it will prevent it getting
round to the front of the plate. It is a good plan to line with black
velvet all those parts that give access to the plates where it can be
done without putting undue strain on the slide, for it is a most
effectual mathod of preventing access of dust, which will find its
way through the best-fitting woodwork unprovided with such extra
protection.
A pad of cotton velvet, such as used b^ hatters for polishing up
silk hats, is better than a brush for removing dust from the surface
of a plate before putting it in the slide. There is no fear of scratch-
ing the film even with considerable pressure, and it does not leave it
in an electrical condition, as will the frequent passing over the surface
of a camel's-hair brush, the film thereby becomini? an attractive sur-
face for stray motes. The slides and plates being free from dust,
they sho'jld be kept in a close-fitting waterproof case until required.
We now come to a division of the work where all sorts of defects
may be produced ad libitum.
beoelopment.—Vmhoi^ are mostly caused by small bubbles which,
protecting the film from the action of the developer, dissolve out in
the hypo, leaving clear glass. This is, perhaps, the most prolific
source of pinholes on the negative of any. The best wav to get a
good crop of them is to give the plate a prelimiiiarv wettins before
pouring on the developer. I could never understand why this plan
was ever advocated as a preventive of bubbles, as it acts 'in the very
opposite direction, a statement which will be corroborated by any
practised worker. What we do when we first bathe the plate in plain
water 13 to partially fill the pores of the gelatine with an inert fluid
We then pour on another fluid (the developer) of a different density.
In the act of mixing there is much more tendencv to form bubbles
than when the developer is used without this preliminarv wetting.
Ihe blm itself is more soluble in plain water than in the developer
which has somewhat of a hardening tendency, and which has probably
something to do with the persistency with which bubbles adhere to
the previously wetted film. It is almost impossible to avoid bubbles
in the weak light of the dark room, unless the whole of the surface of
the plate is rubbed or brushed over after the application of the
developer to the wetted surface, or the result will be strin<rs of small
bubbles that p-irtinaciously adhere all through the development, and
provide a crop of exceUent pinholes; but. when the developer is
poured carefully over the plate in the first instance, it penetrates as
It goes something like pouring water over blotting-paper, and causes
no bubbles whatever. Every time the same developer is used, each
application increa-^^s the chance of bubbles. The developer becomes
more and more glutinous, which will be seen by the persistence of
the froth caused by pouring it backwards and forwards from the
plate into the developing cup, and with this increase of glutinosity
we get increase and persistence of bubbles. A curious thing is that,
if the dev»loper only begins to act before the bubbles are removed,
their removal then will not prevent the defect, showing, however long
the development may be continued, the protected parts never catch up
with the rest.
Dust and bubbles are practically the main cause of pinholes on
plates. Spots occur from a very different cause, and the use of dry
pyro has something to answer for in this connexion, a speck of pyro
getting on to a plate will inevitably cause an opaque spot. Splashes
of other solutions may accidentally fall on a plate and cause spots ; the
developing cup may be set down on a sloppy table, and the liquor may
drop off the bottom, when pouring on the developer on to the plates,
or on the edge of the dish, and so splashing the film. Spots are seldom
seen when care is used in the conduct of the dark room, for they
are almost always dependent on the carelessness of the operator.
Of course, mistakes are more likely to occur when the operating
chamber is only lighted by a small quantity of ruby light, what to
many is practically darkness, and the work is really done by guess.
The more liffht, so long as it is a safe light, the better the results will
be, and, if the dish in which the development is progressing is shielded
as much as possible in the initial stage of development it is astonishing
what an amount of light may be used without any detriment to the
clearness of the image during the latter part of the process, although
I certainly do not recommend exposing the plate unnecessarily to any
light whatever. A clear operating room and plenty of light con-
duce not only to comfort but to the abolition of these annoyances,
pinholes and spots. Edwabd Dunmorb.
• ♦
NOTES ON A TOUB IN THE HIMALAYAS AND ON THE
NOBTH-WEST FBONTIER.
II.
The number of plates to be carried is the next consideration. I made
a rough guess, and took with me two gross^one gross of Wratten's
ordinary (a plate which never fails in its high standard of excellence for
all landscape work), and half a gross each of Edwards' XL celluloid
films and Edwards' XL plates. I used the latter for all figure and close
subjects, it being a plate that I had always been accustomed to, and
which I never had any cause to complain of. This was a rough guess,
but it turned out fairly correct, as of the lot only one dozen Wratten's
were smaslied while being carried on a mule, and one dozen of each kind
I left in India on my return, not having required them. I found that,
though in the Himalayas I took pictures of everything that I thought
would be interesting to give a complete idea of the country, the number
of plates I exposed in one day never exceeded eight, and the average over
three months' marching was under two a day.
I will now endeavour to give some idea of the details of the kit I used,
and which, speaking from experience, I may say I found complete in
every respect. I took a whole-plate camera of Chapman's (Manchester),
which I have had in continual use for eight years, having used it out
yachting in Scotland, in the plains of Italy, and in the mountains of
Switzerland. It is of the simplest construction, having no especial
struts, and is not brass bound, and, though it will not carry a heavy lens
when racked out to eighteen inches in a high wind (what camera will ?),
yet not one single picture of the 250 I have taken in India has been
spoilt by any break-down or shake in the camera or its three double
backs. The camera design has one fault, in that the bellows does not
rise and fall with the rising front, and in extreme cases the corners of the
picture are cut off. When, however, one has to put up and take down
the camera so constantly on the march, simplicity and absence of all
fancy swings, stays, and screws is the thing one values most, providing
no efficiency is sacrificed thereby. Certainly this camera, with its three
double backs, speaks well for the soundness of first-class English work,
and I can congratulate Messrs. Lane of London, who made it, on the fact
that it is now as good as new, while it has never in any way been repaired
since I had it.
The only addition I mide to my kit was to get three more double slides,
numbered from 7 to 12, which fitted tight into a tin velvet-lined box.
This was carried by my gun-bearer, always slung over one shoulder by a
strap, and was only used to contain Edwards' rapid plates or films, the
slow plates always being in slides 1 to 6 in the camera-case. I was thus
always ready for either landscape or figure subject as they came. On a
march of this kind the portability of the camera legs is not a necessity.
September 1, 1893]
THE BRITISH JOUKNAL OF rnOTOGUAPHr.
061
Before leaving London I looked everywhere for a strong, limple ut of
legs, with a single tliding joint. Not finding anything suitable, I fell
back on my old oneR, which, though theoretically weak, yet were itrong
enough to stand the keen winds on the high passes without shaking.
The legs were always carried ready fixed to the triangle, with th«ir joints
slid in, to reduce them to half their length, the whole being carried on
the top of the camera case as it rested knapsack-like on the man's back.
In this way I could erect the legs at once, put on the camera, and I found
from eight to ten minutes' halt was all that was necessary to get a picture.
Of lenses I took three, an eight-and-a-half-inch focus Dallmeyer land-
eoape, a twelve inch Boss's rapid symmetrical, and an eighteen-inch
Swift's landscape. AH were fitted with carriers to go into the same flange
on the camera front, and all were bayonet-jointed, so that they required
only a quarter turn to screw them home. The eight-and-a-half-inch lens
is a necessity for all mountainous countries. The angles from the heights
to the depths are so enormous, that frequently one can get no picture on
one's plate unless a wide-angle is used. The rapid symmetrical remains
the most useful all-round lens, and a longfocus lens enables you to take
many a beautiful and eCFective picture of distant mountains, embracing,
as it does, an angle much more nearly resembling that of one's eye. All
my lenses were fitted with iris diaphragms, and the slight extra expense
will be amply repaid in the saving of time these little conveniences effect.
I used a shutter of my own making, but any time-and-instantaneons
shutter, such as Thornton -Pickard, will do, though, without doubt, it is
an advantage to have one's shutter behind the lens. Each lens iVas
carried in a little chamois leather bag, differently coloured, so that the
men, in opening the camera case, were always able to hand me out the
one I required.
Last, but not least, comes the focussing cloth, which should be
of thin white macintosh, lined with some thin non-slippery cloth.
The white colour keeps off the great heat of the sun's rays at high
altitudes, and prevents the heating of the camera and condensing of the
damp on the cold lens. The macintosh is an excellent cover to the
camera, and, if buttons and loops are sewn on the front edges, in rainy
weather the coolie can take it out of the camera case, and, throwing It
over the whole knapsack, can, by buttoning it in front round his neck,
ase it as a complete waterproof for the camera case on bis back and him-
self. The whole kit in the camera case, including the six plates and the
«amera legs, made up a load of twenty-three pounds, which is a fair load
for a man who marches behind you all day. The other three double-
backs, loaded in their tin case, weighed seven pounds, and were, as
mentioned above, carried by my gun-bearer. Both these men were per-
manently engaged, and became soon experts at helping me to set up and
pack away the camera, the gunbearer going even so far as to pick up an
idea of posing the villagers naturally in the picture, always a work of
eome difficulty, for, needless to say, the natives' idea is always to stand in
a row, at attention, facing the camera. In no country, however, are figure
subjects easier than in India ; the patience of the natives far exceeds one's
own, and they will stand any length of time immovable if carefully posed.
Even with the wilder Pathans across the frontier, I had no difficulty in
photographing either them or their villages ; they seemed only surprised
that the operation was over so soon, and a peep through the camera,
ander the focussing cloth, was the greatest reward to them.
III.
I made for myself a small view-meter, consisting of a small frame of
brass, the opening of which was in the proportion of 8J to GJ. Through,
and at right angles to the longest side, ran a stiff brass wire, the end of
which was held against the bone just under the eye. By sliding the
frame along the wire, which was marked in three places for the three
lenses I used, the different angle on the landscape which each lens
would embrace was shown, so that, by the time the camera was on its
kgs, I knew which lens would be required. This view-meter I always
carried loose in my pocket, and I found it invaluable.
All my plates were packed as tho boxes came from the makers, on
edge in two tin-lined cases, each holding about nine dozen plates. This
kept the weight of each case down to fifty pounds. I made a depot of
these in India, and took with me on the march as many plates as I re-
quired, packing some four or five of the makers' boxes in each yakdan,
or wooden mule trunk, filling the spaces with clothes. By keeping the
weight of each yakdan below fifty pounds, it can either be carried by a
coolie or by mule. The most important packing was, however, the re-
packing after exposure. In order to be quite safe in this respect, I had
prepared, at the kind suggestion of Signer Sella, whose great ex-
perience in the Caucasus made his advice invaluable, a number of whole-
plate cut sheets of Eivess plain paper. These were dipped in a weak
.solation of Nelson's gelatine, in which enough chromate of alum was
mixed to render the aolation a palo greeniib eolonr. The lolotion most
b« weak enough not to gla/.c the paper when dry. EzpoM<l platcf,
packed face to (ace with this paper between them, will keep an indt-
finite time, and those I have expoeed six monthi ago I have now un-
packed, and they develop ai freshly aa if expoMd twenty-four houn ago.
It is a long basineas packing away exposed platea. It is most difScoU
to get a dozen Wratten's plates, with all their paper wrappers, back
into the cardboard boxes again. It can be done, however, and it is worth
while spending every effort to pack the exposed platea carefully once (or
all. Two grooved light-tight wooden boxes, each to hold one dozen
plates, will be found tlie greatest help, so that a whole dozen may b«
opened at once, worked through the slides as rcjuired, numbered, and
put back into the box. As soon as the whole dozen is worked through,
repack all of them, at one operation, into their cardboard boxes. If only
one rapidity of plate is carried, one wooden box will gnffice ; bat each
rapidity of plate requires its own box, which had better, (or convenience
sake, be painted a different colour. I wrapped each cardboard box
filled with a dozen exposed plates, in brown paper, and then in a sheet of
that most excellent Indian Homjilma (cheap waxed calico, bought in
every bazaar), which is a good waterproof. Each dozen plates had a
label on the outside of the box, with the numbers corresponding to thoss
in the exposure-book. I had no difficulty, in this way, in finding those
tliat I wished to develop first. Finally, on my return to India from
across the border, I packed all the boxes of exposed plates again in the
tin-lined cases they came out in, and, for safety's sake, enclosed each of
these small heavy cases in a larger packing-case, hay being well stuffed
between the two.
I will conclude with this advice, that those who go out to bring back
a series of photographs of a new country should not confine their pictures
only to the prettiest subjects, but should endeavour to take every land-
scape that is characteristic, even though it be ugly. For Instance, all
Central Asia (including in this Affghanistan and our own North-West
frontier) is a vast barren, stony desert, in which, here and there, where
there is irrigation, you find green and fertile valleys, cultivation, fruit
trees of all sotts, many of which bowers remind you of an EngUsh coppice.
One is tempted to pick out these refreshing bits, to leave alone the
twenty miles' march over the barren, stony waste, and so bring back to
England a number of pictures which convey the idea that Central Asia is
a Garden of Eden. In landscapes, as often as possible, get some of the
natives of the country to make a foreground, making them look away
from the camera, and stand or sit in their natural attitudes. A group of
such figures will always localise a picture, add the human interest, and
throw back the distance in your landscape by making a bold foreground.
Nothing can add to the interest of travel so much as the wise use of a
camera. It makes you observe so much more the characteristics of the
country ; it takes you off the beaten track in search of something more
interesting ; it is an excellent passport into native villages and comers,
for, children-like, they are all interested in the "picture man," and in
return for a few kind words they do all they can to offer assistance ; and,
finally, it is the best school of all (or patience, without which a photo-
grapher is no photographer. F. St. J. Goe«, B.A.
PH0T06EAPHERS' EFFORTS AT UNION.
[Read at the WorUl's Conf^ress on Photogrraph j. ]
When first I was asked to read a paper before this Congress, I purposed
to use the title " Union Among Photographers." A friend objected that
if I took that title, and treated the subject truthfully, the paper would be
as brief and to the same effect as a certain famous essay, " On Snakes in
Ireland," which consisted of three simple words, " "There are none ! "
While this statement is too sweeping to be absolutely true, it contains
the germs of truth ; so, in deference to my friend's suggestion, I speak of
photographers' efforts at union.
The subject is such avast one that I cannot pretend to treat it exhaust-
ively. I shall not trouble you with the reading of the whole, even of the
particulars that I have been able to collect and that are contained in the
printed slips distributed about the hall. The subject is one that will be
taken up, that muxt be taken up, by abler and more leisured writers than
myself, and the present is merely a first contribution. It is also a bait
thrown out to catch information, and I shall be indebted to any one who
will send me additional particulars, or correction of errors that occur in
the present brief summary. Such particulars I will endeavour to have
published in an English and an .\merican photographic annual.
In order to keep the subject within limits that are at all manage-
able, I have confined myself almost entirely to professional efforts, and,
with one exception, to |organizations in the English-speaking world.
The matter may well be divided under four heads : — 1. Brief historical
notes. 2. Efforts now existing. 3. The ideal union. 4. Present
possibilities.
662
THE BlUTiSH JOURNAL OF PHOTOGRA-PHY.
[September 1, 1893
The history of the subject is largely a history of failures. But from
those very failures we can learn much that will be valuable if we of the
present are true to our opportunities. In the history of the subject, both
of success and failure, America plays a far more prominent part than
the other sections of the English-speaking world, so I give her the first
position. The earliest records are those of —
The Daguerrean Societies, national. State, and local, which flourished
in the '40'3 and '50's. They were professional bodies, discussed manipu-
lation, prices, A'C, and for a time flourished. Gradually jealousy and
dissension appeared among them, and before the Daguerreotype was
MUed the societies formed in its interests had killed themselves.
I have obtained particulars of some forty-five unions, or professional
societies, of which no trace appears now to exist, and place their names
and brief particulars on record. They are arranged in the order of the
earliest dates at which trace of them is found, although some of them
were, no doubt, old before the time at which I have met with particulars.
They embrace Canadian societies as well as those of the United States.
Most of them are defunct, possibly some may feebly exist, and probably
many have been merged into amateur societies.
The Photographic Club of Neic York City, existing in 1843, before pro-
fessionals and amateurs were separated. Date of dissolution not known.
Photographic Section of the American Institute, 1859. The oldest now-
existing society. Is now purely amateur, though originally largely pro-
fessional. San Francisco Photographic Artints' JssocM(io;i, founded 1866,
to remedy price-cutting, and flourished for a few years. Michigan State
Photographic Association, founded in Detroit, 1866. German Photographic
Society of New York Cj(;/, founded 1867; a branch of the Photographic
Society of Berlin. Last heard from in 1889. The Feirotypers' Association
of Philadelphia, 1868, was a strong and active though srnall society.
Fell to pieces after 1879. Northern Ohio Photographic Association, active
in 1879, when it attempted, and with fair success, to enforce Sunday
closing of studios. Photographic Association of West Virginia, founded at
Wheeling, West Va., 18G9. No subsequent history. Toronto Photo-
graphic Association, founded 1869 (or early '70). Fell to pieces at once
through price cutting by members. Hoston Photographic Society, founded
1869. Languished till early seventies and was then reorganized on a
broader basis as the Neic England Photographic Association, which held
several well-attended meetings, with much discussion, but little practical
result. The Indianapolis Photographic Society, founded 1870. In 1872
became the Indiana State Association and flourished for a while. St.
Lonis Photographic Association, founded 1870. Pennsylvania Photographic
Association, founded in 1870 as a State Association. Had about one
hundred members, embracing all the best men, and for a while did good
work. Central Ohio Photographic Association, 1870. Had no fees or
meetings, but had a well-arranged scheme of mutual help by corre-
spondence and the regular exchange of specimens of work. Brooklyn
Photographic Artists' Association, 1872. Met regularly at various studios
for a time. Photographic Association of Western Illinois, 1872. Had
quarterly meetings. Photographers' Association of District of Columbia,
founded Washington, 1872. Maryland Photographers' Association,
Baltimore, Md., 1872. Buffalo Photographic Association, founded 1873.
Northern Michigan Photographic Association, founded 1874, and held
meetings to draw up a constitution, but did little else. Photographic
Artists' Society of the Pacific, San Francisco, 1875. Had some fifty mem-
bers, but died erelong. Chicago Fliotographic Association and Pltotofiyapliic
and Fine Art Institute of Chicago. Were active in 1881; founded some
years before. No record since 1889. Chicago College of Photography,
first session announced 1881. Apparently a good scheme, in theory at
any rate, for a college for training professional assistants. No record
since 1881. Gayton A. Douglass, Treasurer. Photographic Society of
Nashville, Tenn., founded 1881. Photographic Stock Dealers' Association
of America, founded at Cleveland, 0., 1882. Rochester (N.Y.) Photo-
graphic Association, founded 1883. Detroit {Mich.) Photographic Associa-
tion, active in 1883. No later record. Northern Michigan Photographic
Association, in existence in 1883. Photographers' Association of Syracuse
{N.Y.), founded 1884. Photographic Association of Fort Wayne [Inil.),
founded 1885. Photographic Merchants' Board of Trade, held its seventh
meeting in February, 1885. No later record. The Secret Order of
Scientific Photographers, founded in Minneapolis in 1885, and issued a
printed constitution. Was intended to include all professional photo-
graphers, assistants, stock dealers, and manufacturers in America. Last
record, 1886. Jackson (Mich.) Photographers' Union, founded 1886.
Association of Operative Photographers of New York City, had an employ-
ment bureau and held social and business meetings. Formally
dissolved in 1886, after a long and useful career. Cause of dissolution :
lack of interest. Pottsville {Pa.) Photographic Association, founded 1886.
Texas Photographer.',' Association, founded 1887. Held one (or two?)
conventions. No record since 1889. Kansas State Association of Photo-
graphers, Held a convention at Wichita (Kans.), 1888. No later record.
Southern Tier of New York Photographic Association, founded 1888, Met
at various towns. No record since 1890. Toledo {Ohio) Photographers'
Association. Last record 1890. Photographers' As.iociation of Lancaster
{Pa.), founded in 1891. Held one or two meetings. United Retouchers'
Association, founded, St. Louis, 1892. Intended as a national union with
local centres. No records.
To this list I suppose I must add that ill-fated Association which seemed
to start under good auspices, but which turned out a fraud rather than a
failure, and which has done much to increase the distrust with which
many photographers regard all efforts at union. The Photographers and
Artists' Mutual Benefit Association. It is to be regretted that such a
promising association was not honestly worked, but I think it is more to
be regretted that the large number of good and honest men who joined it
had so little cohesion as to allow a valuable scheme to be wrecked by the
treachery of one or two men.
From the British side I have no such record, partly, no doubt, because
I have unfortunately been able to devote but little time to investigation,
but mainly because there have not been the numerous efforts. Unions
and combinations have often been suggested, but seldom formed. In fact,
there are only two of any importance that I can record as failures. The
first of these was —
The Photographic Manvfacturers and Dealers' Association, founded in
Loudon, 1891. It arose out of an informal meeting of photographic adver-
tisers called to take concerted action against one of the photographic
magazines. It became a trade-protection society, employed a paid secre-
tary, and opened and furnished an olfice in London. It made status
inquiries, collected bad debts, and held meetings to settle questions of •
discount and prices. Through jealousy and mutual distrust it broke up-
within a year.
The Photographic Artists and Assistants' Union, founded in Loudon,
1891. Was intended as a trades union on the ordinary lines, to grant
sick-pay, burial-money, and out-of-work grants to its members ; to keep
registers of assistants, to act as an employment bureau, and to generally
work in the interests of the assistants. It held preliminary meetings and
drew up a constitution, but only some thirty odd applications for member-
ship were received, so the society never floated.
From other parts of the English-speaking world I have records only of
two spasmodic efforts. In 1891 the photographers of Christchurch, N.Z.,
formed a successful combination to stop price-cutting. And in the present
year a number of the Australian photographers made common cause vrith
other members of the public to expose and ruin the free portrait swindlers ,
Efforts now Existing.
So far as I am aware, the efforts at union existing at the present time,,
and likely to be of use to professional photographers, are : —
1. The Photographers' Association of America, with the various State
associations, which I consider as its auxiliaries.
2. The Photographers' Association of Canada.
3. The National Association of Professional Photographers.
4. The Photographic Convention of the United Kingdom.
5. The Photographers' Benevolent Association.
6. The Affiliation of Photographic Societies, in connexion with the-
Photographic Society of Great Britain.
7. The International Photographic Congress.
A very brief outline of the history and constitution of these societies-
may not be out of place.
1. The Photographers' Association of .imerica (Secretary, Adam Heim-
berger, New Albany, Ind.) may be said to be a continuation of the
National Photographic Association founded in Philadelphia in 1868,
after a preliminary convention in New York in 18(J7. The National
Photographic Association was a strong and useful association, which
fought patent claims, circulated special formulic, helped the needy, and
took up such questions as apprenticeship, insurance, &c. At one time it
had 1500 members ; it held conventions in various cities, and did much
good until 1879, when it practically expired, and in 1880 was merged in
the present Photographers' Association of America. The new Association
has not been conducted without great friction. Its membership at
present is stated as 2936 and the average attendance at its annutil con-
ventions (1885-91) has been 588. It has grand and noble objects, few of
which have been attained or attempted, mainly (apparently) owing to
unsatisfactory management in the past.
Among the State Associations which I consider as its auxiliaries
are: —
The Pliotographers' Association ff Ohio, founded 1891, and absorb-
ing the Photographers' Association of North-Western Ohio, founded in
1890. It has some two hundred members, and appears to be flourishing.
Holds an annual convention.
Photographers' Association of Iowa, founded in 1890. Holds annual
convention. Is not so successful as the above-named. Has about one
hundred members.
Pliotograpliers' Association of Nebraska, founded 1890. Holds annual
conventions. Not well supported.
2. The Photographers' Association of Canada, founded 1884. Holds-
annual conventions, and seems flourishing.
3. The National Association of Professional Photographers (Secretary,
D. J. O'Neil, 47, Charlotte-street, Birmingham, England). Founded
1891, in the interests of the profession. Holds meetings about once a
quarter, in the principal English cities alternately. Has some one
hundred and sixty members, including most of the best British profes-
sionals, but has not done much practical work, owing to the small extent
to which it has been supported.
4. The Photographic Convention of tlie United Kingdom (Hon. Secre-
tary, F. P. Cembrano, Cambridge-gardens, Eichmond-on-Thames).
Founded 1S8G. Holds an annual convention for reading of papers and
September 1, 18Wa]
THE BRITISH JODKNAL, OF PflOTOORAril Y.
MS
discaesion, exhibition and ezonroionB. The "social element" hM
hecome predominant. Membership, two hundred and fifty to three
hundred.
5. The Photonraphcn' llriirfolent AKsDci'ition (Hon. Secretary, H.
Saowdcn Ward, Memorial Hall, London, E.C.). Suggested by Mr. A. H.
Wall in 1K(>4, but not founded until a meeting of aseiutants was called in
1873, when a Photographers' benefit Society was established. M a later
date it became purely benevolent. It does considerable good in a quiet
way, derives most of its funds from manufacturers and amateurs, and
dispense them entirely to professionals and assistants. Has been gene-
rally neglected by the profession. Has a fund of nearly 400/. in hand,
and has the making of a valuable insitution.
fi. The AJTiliation of I'hotoyraphic Societies (Secretary) E. Child Bayley,
50, Great Russell-street, London, W.) An afliliation started by the
Photographic Society of Great Britain, and consisting of a number of
amateur and mixed societies, might prove a valuable factor in a
comprehensive scheme of union.
7. ■/ he International Photoflraphic Congress. — Suggested by the jury of
the Brussels Photographic Exhibition, 1885. Initiated in 188fi, with the
King of the Belgians as patron, but did not meet until 1889, when a
Congress was held in connexion with the Paris Exhibition. A second
Congress was held in Brussels in 1891. On both occasions large
Congresses of the best-known photographers devoted several hours a day
for several days to the careful discussion of various practical questions,
and made recommendations as to standards, <tc. Of the intrinsic value
of their work there can be no doubt, but to EngUsh-speaking people it
has been rendered practically useless because they have not been ade-
<inately represented, and because the Congress has no adequate means
of conveying to them the results of its deliberations. These difficulties
would be at once cleared away under a scheme of union that embraced
federation with the Congress.
These Societies, as they stand, do not furnish the materials for
The Ideal Uniok.
And, in order that we may see what can be done towards attaining the
ideal, it will be well for me to state what the ideal seems to be.
In each country there should be :
1. A National Association, including as sections or affiliated Societies :
a. A manufacturers' and dealers' union.
b. A strictly professional union.
c. An assistants' union, on benefit-society or trades-union lines ;
and
d. State, County, or District Associations, ^and, where possible.
Town Associations, affiliated to the National Association and
directly represented in its management.
And, in addition to these, there should be an International Union,
with a separate section for dealing with professional questions, but also
including the fullest possible representation of amateur societies and
workers, for combined conference on all subjects that are of interest to
amateurs and professionals alike.
This brings us back to
Pbesent Possibilities,
And to a consideration of what ought to be attempted forthwith for the
realisation of the ideal.
1. In the United States, the increase of State and other local associa-
tions, and their affiliation with the Photographers' Association of America
should be encouraged as far as possible. The possibility of reviving or
forming a Dealers' Association and an Assistants' Union, either inde-
pendently of or within the Photographic Association of America, should
be carefully considered. The formation of a benevolent or a provident
fund, or both, should be taken in hand.
2. In Canada, the Photographers' Association of Canada should work
on similar lines.
'A. In Britain, the National Association of Professional Photographers
should be immensely strengthened and every effort made to increase the
number of its local branches. It should consider the possibiUty of
forming an Assistants' branch, or of encouraging the formation of a
separate Assistants' Union ; and it should give what attention and assist-
ance it can to the Benevolent Association, as to an institution which
ought naturally, and is likely eventually, to be under the control of the
National Association. The effort made last year to co-operate with the
Convention should not be relinquished, even though it did prove a partial
failure ; and the advantages offered by the affiliation scheme of the
Photographic Society of Great Britain should not be overlooked.
In India, Africa, Australia, New Zealand, and elsewhere attempts
«hould be made to form professional societies similar to those above
mentioned. Every such effort should be encouraged and aided as far as
possible by the older associations.
Finally —
An International Union
is much needed, and, as it is always economy to use existing institutions
rather than to create new ones, I would suggest that a great effort be made
to have at least one delegate, and, of course, as many more as possible,
from each of the national associations in attendance at the International
Photographic Congress. Though that Congress at present is rather
£cientitic than professional in its tendency, most of its subjects of discus-
sion tre of ftreat praotieal importanee to the profeMional worker. More-
over, any subject luggeited by delegates or by the sodetiei tbey represent
would be accepted foroonsideratlon ; and, if even two or three professional
representatives joined, there would be no difBcnky in arranging a
separate professional section.
The suggestions that I make as being immediately practicable are not
novel ; they ore not revolutionary. Yon will see that I almost entirely
suggest procedure on present lines. The only new thing that I ask U
that photographers will oonsider their present societies not only -a« ends
in themselves, but also as means to a greater end. There is mnoh to be
done in perfecting the machinery before we can hope for much In the
way of results, and the work must be done in the good old-fashioned
way, "line upon line, precept upon precept; here a little, and there a
little." That much could be done by the ideal Union no photographer
doubts. But many, the immense majority, look upon the thing as
Utopian. And so it is if we are to wait until the whole is in our grasp
before attempting to realise it. This has been the bane of too many
photographic efforts at unity. It is their bane to-day. The men who
should support them, and often the men who do support them, ore unable
to do the things that they would, and unwilling to do the things that they
can. For the great things they are powerless, and the multitude of little
things that they can do they despise. But in our present unions there is
so much promise that we ought to feel encouraged to trust and to work
for the future. And this year, when international courtesies are being
exchanged, when parties of Old- World photographers have been visiting
this New World, and when this series of congresses is holding up the
ideal of unity, I have felt that we could have no better or more profit-
able subject of discussion than " Photographers' Efforts at Union." It
may be that from our deliberations some practical good may spring.
I should like, if possible, to have some resolution sent from this Congress
asking the various bodies that I have named to consider what is possible
in the way of federation, immediate or prospective ; and, even if we
have no practical photographic result, I trust that our meeting may
twist one small strand in the tie of fellowship that binds the nations,
and help us one step nearer to
"The parliament of man.
The federation of the world. '
H. Snowpes Ward.
ADAMS & CO.'S TWIN LENS IDEAL CAMEBA.
Since we, in May, 1891, described Adams' Ideal camera, it has been sub-
jected to several improvement?, one of which is hinted at in the heading
of this article, and which is of such a nature as may be termed revolu-
tionary.
The leading feature in regard to improvements consists in this : that,
whereas the first, or original Ideal contained two finders of the usual
small class so well known, as being constructed with a mirror placed at
an angle by which the image was shown upon a small ground-glass plate,
in the new form the image is thrown upon a white plaque, which reflects
it into the eyes of the observer with a singular degree of brightness.
But, in order to this, the extraneous light must be prevented, in ^
large a measure as possible, from falling upon this receptive white plaqqe,
which, we may observe, occupies the same plane as does the sensitive
plate in a lower compartment of the camera.
564
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 1, 1893
The construction is such that the Twin Lens Ideal is really a double
camera, one above the other, and, so far as admission of light is con-
cerned, the one is entirely separated from the other. Both, however,
have lenses of identical focus. When operating, the photographer keeps
his eyes upon the reflected image in the upper compartment, which, by
the folding arrangement shown in the cut, he is enabled to do through a
slot without light having access. The moment the object is seen in
proper position and sharp focus, the " button is pressed," and the picture
is taken.
As there is a similar folding hood on the side, it follows that the full-
size picture is seen both ways, both horizontally and vertically. The
front, on which the lenses are fixed, is movable in both directions, rising
and cross.
The shutter is one of the class which requires no setting. It has a
pneumatic release, and is marked in speeds varying from a second to
the one hundredth part of a second. Of this shutter it is here enough to
say that it has been specially designed for this camera, and is fitted with
a patent pneumatic regulation, which permits of exposures being made
with certainty and exactness. It works in the diaphragm slot, and has a
direct movement across the lens.
Taken all in all, it is an instrument of which Adams <fe Co. may well
eel proud.
©ur IBtritorial ERtlt.
The " Bibmingham" Dby Collodion Plates.
Birmingham Dry Collodion Plate Company, Stechford, Birmingham.
"We have received samples of the Birmingham Dry Collodion Plates ;
"yellow label " for landscapes, and "green label" for line transparency
work. We find on trial that the landscape plates are of medium
rapidity and with pyro-soda development are capable of yieldinjf
negatives of excellent quality, having all the characteristic features of
a good collodion plate. ,The makers say : —
" These plates being isochromatic, should only be developed in a
ruby light, ordinary canary medium alone is unsuitable.
The exposure required is about the same as that of the best gelatine
plates on the market.
These plates while wet being soft and pappy like wet collodion,
must not be touched or brushed during development. They may be
put straight into the developer, i.e., without previous wetting ; the
latter does not recede from the surface as in the case of gelatine,
neither do any air-bells attach themselves to the film.
Enough developer should be used in a suitable dish to keep the
plate always well covered with the developing solution.
All the customary reducing agents, e.t;., iron, pyrogallol, hydro-
quinone, eikonogen, can be used, but ammonia is not so good an
accelerating agent as the fixed alkalies, and the latter, inasmuch as
they allow less exposure to be given, are therefore to be preferred.
These plates can be built up with silver and pyro, after fixing, as in
the old collodion process. The temperature of the developing room
and solutions should not be below 60° Fahr."
A VERY useful panoramic album has been made, in several sizes, by
Messrs. Percy Lund & Co. It is shown, opened out, in the cut.
There are slots in each corner of the leaf under which the correspond-
i^etos anlt i^otes.
Photooraphic Cutb.— September 6, Toninj Baths. 2, Outing to Sutton.
NoBTHBRSi Photographic and Scikntipic Association. — September 2,
Chingford.
Manchester Amateur Photooeaphio Society. — September 2, Lower
Peover. Leader, Mr. Davenport.
Hacknet Photographic Societt.— September 5, Open Night. Members
are requested to bring up questions, kn. Morley Hall has been secured for the
Exhibition for October '17, 18, and 19. Members' classes will be — 1, Not
previously medalled ; 2, Lantern slides ; 3, Hand-camera pictures (enlargements-
permitted) ; 4, " Excursion " class.
Gosport Photographic Sociktt. — September 2, Bosbam ; leaves Portsmouth
Harbour at twenty minutes past one p.m.
Tooting Camera Club. — September 21, Stereoscopic Photography, Mr.
Dollery. October 12, Members' Exhibition of Prints. 26, Artistic PJwto-
graphy, Mr. Berger. November 9, The SandeU Plate, Mr. Fry. 23, Double-
Printing, Mr. Child.
East London Photographic Society's Exhibition. — Tliis Exhibition wiU
be held at the New Tabernacle, Old-street, E.C., on Monday and Tuesday,
October 30 and 31. There are six classes, two of which are open to any
amateurs. The prints sent in for competition will be judged by two Judges,
who will be nominated by the Editor of the Amateur Photographer, after they
are sent in, which must not be later than October 10, 1893. The open classes-
are— Class E, General Photography ; and Class F, Lantern Slides. There is an
entrance fee of one shilling in each case. A silver medal, bronze medal, and-
certificate will be awarded in each of these classes. Applications for entry
forms must be accompanied with a stamped directed envelope, and sent to the-
Hon. Secretary, Walter R. Gould, 61, Gibraltar-walk, Bethnal Green,
London, E.
" Daoonet," of the Referee, is so hard up for matter that he has to give his
readers an account of a trip to Portsmouth. He saw the Victory there, and
professes to be shocked at the sale of photographs on "the grand old sea
cathedral." In what way the sale of " cheap photographs " " desecrates " the-
deck of the Victory Mr. Sims does not explain. People with the liver com-
plaint say — and write — funny tliing.s. " I saw the spot where Nelson fell, and
the cockpit where he died, and the guns that were used on that memorable day,
and many a relic of the ever-glorious past ; but, do what I would, nothing
seemed real to me. It was a show — a Portsmouth side-show — and when we
came to a table spread out with photographs, ' one shilling each,' I felt in-
clined to cry out to the crowd of holiday-makers behind me, ' England expects
that every man this day will do hi.s duty,' and then explain to them vaguely
that I considered it an Englishman's duty to take that table of photographs
by storm and cleanse the s-acred battleship of England's greatest naval hero
from such an iniquity. I hated these photos — loathed them. They made my
blood boil. I went down, all alone, to the place where Nelson died, and I
apologised to his shade for those photographs. To me they were vandalism of
the vilest kind. Let us give tips to the guides ; let us pay a fee ; let us do any-
thing ; but, oh, my brothers, sons of Britannia, heirs of Trafalgar's deathless
fame, do not let us desecrate the deck of the grand old Victory with a stand of
cheap photographs, to be sold for the benefit of somebody or other. If we do,
why not have apples, and nuts, and ginger-beer sold on board, and put up a
set of put-a-penny-in-the-slot-.and-the-figures-work boxes, and a try-your-
weight machine, and have all the fun of the fair ? If the photographs must be-
sold in connexion with the Victory, then let the naval hawkers of thim pitch
their stand on the hard. They will do quite as good a trade there — probably
even a better one. Britons ! — ye in whose veins the blood of the old Vikings
Hows — on board the grand old Victory they first show you the spot where
Nelson fell, and then ask you to buy a shilling photograph ! Sliall this thing'
continue ? No ! Rather will I be an indignation meeting all by myself, and
meet — show me a more appropriate place — in Trafalgar-square, under the
shadow of the Nelson Column, and call upon the Lords of the Admiralty to-
surrender those photographs or perish."
ing comers of the photograph are slipped, thus dispensing with
further mounting. .A series of portraits or landscapes can, by its
means, be instantly displayed. This is a new series, differing in some
respects from one of a similar nature we noticed some time ago.
RECENT PATENTS.
PATENTS COMPLETED.
Improvements in Means for usf. in pRonnciNG a Plurautt of
Photogbaphic Images on one Pi.ate.
No. 13,241. Thomas George Hemkry, 13, Hanover-street, Peckham,
Surrey.— ./«?!/ 19, 1893.
This invention relates to the production of a plurality of portraits on one
plate, obtained by successive exposures on the same plate without removal
from tlie dark slide, each and every one separately exposed, as in the case
with an ordinary portrait, with or without a subsequent exposure before de-
velopment of the ground surroumling the portraits, the same being plain or
ornamented according to will. This is effected by a screen pierced as the
combination of photographs requires, and held in position within the camera
on a permanent support as near as may be to the dark slide, such screen giving
placeto others for other combinations. Each apace in the screen is covered by
a disc, which, on removal, leaves a vacant space suitable for the exposure of a
portion of the plate, and, on being replaced, protects it so that each space may
be successively exposed. The lens must be centred on each particular space
by the usual perpendicular and horizontal sliding fronts, both slides being
carried beyond the margins of camera to allow the lens to travel to every corner.
September 1, 1893]
THE BRinSH JOURNAL OF PHOTOGRAPHY.
MS
When the spaces are all expose*!, the negative when developed will have a aeries
of portraits on an iinexposeil ground. That part may be ma.ske<l in the ordinary
way, and the portraits printed with no further trouble, after etfccts being by
double |>riuting as with an ordinary negative. The unexposeil portions may be
further exposed, and the after effects done on the negative before development in
the followihg manner ;— A thin card replique of the al)ove screen, without any
discs, must tirst be placed in the dark slide, angled to secure future correctness
always in one, say, tlie left-hand corner of the slide, and upon it, also angled
in the same corner, is placed a sensitive plate. It is exposed to gas, or
diffused light, anil developed. When dry it is kept for future use for any
number of plates, and is the shield of that particular series. The same
replique must be again angled in the same comer, and a sensitive plate,
similarly angled, placed upon it. The exposures being made, the plate is
lifted in the dark room, auu the card replique replaced by shields, both plates
being angled as before. The series of developed discs on the shield fit
accurately the exposed portions of the superimposed plate, and protect the
portraits from the momentary exposure to gas. Subsidiary effects can be
introduced by paper negatives or positives, litho prints or devices, signatures,
mottoes, birth-dates, and the like, by interjiosing before the exposure to gas,
the position being easily determined by fitting the same on the shield by day-
light. Each camera will require a special frame or holder fitted in to receive
and hold the new screen. The supplementary exposure need not necessarily
be made in the same dark slide ; any will do, provided that the shield be
angled in the left corner, and the exposed plate similarly angled on transfer
from its proper dark slide.
An Improvkmbst in thk Manufactcbe of SKNsrrivK Plates or Films for
Photoorafhic Purposes.
No. 12,304. Francis William Edwards, 87, Belleuden-road, Pechara Rye,
S.E., and Harry Ransom, 122, Newington-butts, S.E. — Jidy 22, 1893.
Odr invention relates to an improvement in the manufacture of sensitive plates
for photographic purposes, and its object is to give a grain, stipple, or line to
the pictures printed therefrom, and also to diminish the liability to halation
and solarisation (or reversal of the image), which are incidental to photographic
plates prepared in the ordinary way.
By employing plates made according to our invention, it is possible to pro-
duce photographs in which the subject ai>pears as a series of fine lines or dots,
instead of tne usual flat tones, thus obtaining in the one operation of printing
the special character required for photo-mechanical reproductions.
Our invention consists in giving to the surface of the sensitive film, or its
support, a series of fine lines or dots by any of the ordinary printing or sten-
cilling methods, preferably by a specially prepared roller, or a perforated plate.
These lines or dots, consisting of a suitable medium, will thus allow the action
of the light on tlie sensitive parts only, and hence the resulting negative will
appear as a series of fine lines or dots.
By this method of graining the negative, with a medium easily removable,
in whole or in part, after development, the light and shade of the print can be
modified as required.
This lining or graining of the sensitive surface will also have a tendency to
break up the rays of light reflected from the surface of the support of the sen-
sitive medium, and thus prevent halation or solarisation.
The claim is : — The preparation of sensitive photographic plates or films,
with a grained, dotted, stippled, or lined surface, such lining or stippling con-
sisting of any suitable medium applied by any mechanical or other method.
The Ejiploymest of Diamidodioxtbenzol vs Combination with Sulphites
OF THE ALKAUES FOR DEVELOPING THE LATENT IMAGE IN LAYERS CON-
TAINING Halogen Silver for Photographic Purposes.
No. 22,576. Julius Haufp, Fenerbach, near Stuttgart, Germany.
July 22, 1893.
This invention relates to the employment of diamidodioxybenzol for develop-
ing the latent image in layers containing halogen silver for photographic pur-
poses, consisting in dissolving, in suitable proportion, in water, diamidodioxy-
benzol with soluble sulphites, or with .soluble acid sulphites, to which latter if
added the quantity of soluble bases or carbonates required for the purpose of
neutralisation, so as to obtain solutions ready for developing purposes, the
action of these solutions being intensified by the addition of a few drops of
preferably a five per cent, solution of a carbonate of the alkalies, and enfeebled
by the addition of a few drops of an acid solution, or of a few drops of a solu-
tion of bromide of potassium.
The orthoamido compounds of the phenols and cresols have not yet been
utilised as developing substances for photographic purposes, nor have they
been as yet included in patents referring to such purposes.
Without the use of caustic or carbonated alkalies, they are too weak bodies
for reduction purposes in order to bring out the latent image, while, if such
chemicals are used, they are too energetic as reducing means, and impart a
black colour to the whole image.
As a result of my experiments on the preparation of such developing sub-
stances which develop the image in weak acid or neutral solution, I have dis-
covered that, by introducing a further amido group in amidophenols which
only operate in alkaline solutions, these amidophenols will be able to develop
with sulphites only, and that my opinion is capable of the most extensive
generalisation. The chief representative of this new group of developing sub-
stances is the already patented diamidophenol, which gave me, since the short
time that it has made its appearance in the market, the most conclusive proof
of its sterling properties for developing purjwses. The theoretical testing of
other substances under consideration led me to the thought that, by doubling
the OH ; NH2=1 -.I group in the benzol kernel, I mav be able to likewise
double the developing power, which is not very great, if "the above-mentioned
orthoamido compounds are employed for developing without carbonates of
the alkalies, so that the said orthoamido compounds may be able to develop
the image with sulphites only. In testing these orthoamido compounds.
the anbutMice of the following coiutitutioa prMentwI themiatviM in th« flnt
place : —
OH
OH
NH>
NH'
that is to say. a diamidodioxybenzol, with two hydrozylamido groapt existiog
together in the ortho arrangement As a matter of fact, tbii compound i« ■
very advantageous developing means, which, without the use of^caoatic or
carbonated alkalies, slowly developea the latent image in from three to four
minutes, with a deep coating and fine details or ouuines. It develops much
more slowly than the diamidophenol developing agent, a fact which may be
already expected from the other grouping of the developing rsdicala. For
many purposes, however, this is a distinct advantage over the diamido-
phenol developing agent to which I have given in commerce the name of
amidol. Moreover, the new developing means nnites the advantage of the
dihydroxyl developing means, i.e. . a deep black colour, and covering with the
advantage of the hydroxylamido developing means, that is to say, clear work,
sharply outlined in all its details, and entirely free from must or haze, without
recjuiring the use of caustic or carbonated alkalies, which are injnrioua at mans
points of view.
EXAMPLS.
In 100 parts of water I dissolve 0-5 parts of diamidodihydroxybenzol and
eight parts of crystallised sulphite of soda. With this solution, several
successive developments may be effected. To intensify this development, I
may use a concentrated solution of a sulphite or a few drops of a five i)er cent,
solution of potash in water, whereas, to retartl the development, a few
drops of an acid, or of a five per cent, solution of bromide of potassium, may
be used.
To obtain greater durability for the solution, I may use. instead of a neutral
sulphite, an acid sulphite of soda, only it would be necessary in such a case to
add, before developing, the required quantity of a base, or of a soluble car-
bonate, to neutralise the double sulphite of soda.
The claim is : — The employment of diamidodioxybenzol for developing the
latent image in layers containing halogen silver for photographic purposes, con-
sisting in dissolving, in suitable proportions, in water, diamidodioxybenzol
with soluble sulphites, or with soluble acid sulphites, to which latter is added
the quantity of soluble bases or carbonates required for the purpose of neu-
tralisation, so as to obtain solutions ready for developing purposes, the action
of these solutions Ijeing intensified by the addition of a few drops of preferably
a five per cent, solution of a carbonate of the alkalies, and enfeebled by the
addition of a few drops of an acid solution, or of a few drops of a solution of
bromide of potassium.
ifle^tinsiS of 5boctf tieiS.
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date ol HeotlDg.
September 4..
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:: t:
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:; 5.:
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5...
5...
S-
6...
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Name of Society.
Dnndee Amateur.
Peterborough
Putney
Richmond
South London ,
Stereoacopic Club ,
Birmingham Photo. Societj ...
Brixton and Clapham
Exeter
Hackney
Herefordshire
Lewe-i (Annual)
North Loudon
Oxford Photo. Society
Paialey
Rothcrham
Sheffield Photo. Society
York
Leytonstoue
Photographic Club
Southport
Southaea
Wallasey
Birmingfaiun Photo. Society ...
Glossop Dale
HoU
Leeds Photo. Society
London and Provincial
Oldham
Tunbridife Wells
Bristol and West of Bngland ...
Cardiff
Croydon Microscopical
Halifax Camera Clab i
Holbom
Ireland i
Maidstone
West London
HuU
Pla«« of Meeting.
Abso. Studio, Nethergate, Dundee.
Museum, Minster Precincts.
High-street, Putney.
Greyhound Hotel, Richmond.
Hanover Hall, Hanorer^park, S.B.
Brooklands Hotel, Brooklands.
Club Room, Colonnade Hotel.
376, Coldharbonr-l&ne, Brixtou.
City Chambers, Ckindr-st., Exeter.
206, Mare-street, Hackney.
Mansion House, Hereford.
Fitzroy Library, High-st., Lewe«.
Canonbnry Tower, laUngton, N.
Society's Rooms, 136, High-street.
9, Gauze-street, Paisley.
5, Frederick-street, Eotherham.
Masonio Hall, Surrey-street,
Victoria Hall, Goodramgate, York.
The Assembly Room.i, High-road.
Anderton'a Hotel, FIeet-street.B.C.
The Studio, 15, Carabridge-aroado.
3, King's-road. Southsea.
Egremont lustitnte, Bgremont.
Club Boom, Colonnade HoteL
71, Prospect-street, Hull.
Mechanics' Institute, Leeds.
Oluunpion Hotel, 15, Aldenvate-st.
The Lyceum, Union-street, Oldham.
Mechanics' Inst.,Tunbridgn Wells.
Booms, 28, Berkeley^sq., BristoL
Public Hall,0«orge-street,C roydoa.
Booms, 15, Dawion-ctreet, Dahlia.
** The Palaoe," Maiditona.
Ohiswiok School of Art, Ohiswiek.-
71, Prospeot-stTMt, HaU.
6G6
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[September 1' 1893
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
AUGCST 24.— Mr. E. H. Biyston in the chair. _ ,
The Hon Secretary passed round an album containing views of the lower oi
liondon, which he hii'd recently taken as a guide, to the members visiting there
on the following Saturday.
Metol and Gltoin.
The subject of the evening, "Demonstration by Mr. Morgan {Messrs. Fuerst
Bros ) of Development by Metol and Glycin," then commenced.
Mr Morgan said that as glvcin was slow and peculiar in its action, antt
-therefore not a fit subject for demonstration in public, he would proceed at
once with metol, which he said was a suitable developer for br»mide prints,
negatives, and lantern slides. The mixed developer did not stam tlie hngers,
although the dry powder would do so. The solutions used and recommenaea
"Were as under : —
Solution A.
Water 100 parts.
Metol ,lP*L
Soda sulphite 10 parts.
Solution B.
Water 100 parts.
Carbonate potash (or substitute) 10 „
Crystallised carbonate soda 20 „
3 parts A to 1 of B. with 40 minims of bromide of ])otassium solution (1 : 10)
Metol had a great advantage over other developers, inasmuch as it would keep
indefinitely, even as a one-solution developer mixed with free alkali. The ex-
■posnre was stated to be only one-half of that for pyro. With a normal expo-
sure, the image comes up quickly ; but the operator must not be frightened,
'but allow it to go on until density has been obtained ; the shadows will always
remain clear. Two negatives were passed round, one developed with pyro
and one with metol, also prints therefrom.
Mr. Morgan then successfully developed a portrait negative exposed that
afternoon at thirty minutes past three (half a second with /-ll), also a bromide
(print and lantern slide, the latter being developed with the same solution as
the bromide.
Answering a question, Mr. Morgan said he always used half a grain per
-ounce of soluble bromide.
Mr. W. E. Debexham said it was a pity that the two negatives shown were
■not the same density, so that no strict comparison was possible. The same
claim of lessening the exposure had been made for all the new developers,
and if in this case it could be substantiated, then metol would be the best
■developer we had.
Mr. EvERiTT said that, of the two negatives one was yellow and the other
blue ; also, that by printing on gelatino-chloride paper the thinner one was
favoured. Platinum would have been better for the pyro print.
The Chairman remarked that by not giving the same exposure the advantage
in this direction was not proved.
Mr. EvERiTT suggested test-exposures as between pyro and metol — that is,
stepped exposures to a standard light.
Mr. Debenham suggested the reproduction of a negative by a standard light
in order to corroborate the other experiments.
Mr. Morgan said that the pyro negative passed round was exposed and
developed in normal time with a normal developer. The metol one was ex-
posed simply one-half the time, and resulted in better gradation and longer
scale.
Mr. Fry said that he could not agree with Mr. Morgan on the question of
exposure. He liked colour in a negative, and not a blue one. If a pyro
negative was under-timed, then a hard result was obtained ; but, with metol
and amidol, the negative was thin, and might give a passable print. He
thought that a false conclusion had been arrived at.
Mr. Deage saw a great advantage in the cleanliness of metoL It could be
used four or five times.
Mr. Morgan had developed eight half-plates in the same two ounces of solu-
tion, when the last was the same as the first.
The Chairman in proposing a vote of thanks to the demonstrator said he
liked metol, as it was clean and useful, except for negative work.
This was carried by acclamation, .ind Mr. Morgan briefly responded.
In answer to a question by Mr. Haddon respecting " Pepperine," introduced
some years ago, Mr. Bolas said particulars would be found in The British
Journal op Photography, about 1886. He believed it was an alcoholic
tincture of pepper.
Hactaxey Photographic Society. — August 22, Mr. Beckett in the chair. —
Mr. Eoder showed a print he had toned using carbonate of soda, but it was
not clear. Mr. T. H. Smith showed some work done on Nikko paper, with
which he was much pleased. Mr. Roofe had used metol, and obtained plenty
of density, Mr. Nunn complaining of lack of colour in amidol. Mr. Miller,
of the South London Society, then gave an interesting account of photographic
mirrors, finally concluding with a demonstration of how to do it. For
reversing work, mirrors are very useful, and for zinc an absolute necessity.
Mirror making was best done in the daylight. The glass must be chemically
clean, and ought to be optically worked. The bath must be under 60°, and
distilled water must be used. The solutions used were ten per cent, solution
of white loaf-sugar in distilled water, and to it one-tenth part ordinary alcohol
and one-half per cent, nitric acid. Take three ounces of solution, and add
four ounces of distilled water, and to this, in turn, seven drachms of reducing
solution, made up of ten per cent, of nitrate of silver. Add drop by drop to
bath mentioned until precipitate is formed, which redissolve by gradually
adding ammonia. Then add three-quarter ounce of ten per cent, freshly
made solution of caustic potash. Then add more ammonia as before, and,
when cleared, it is ready for use. In twenty minutes glass will be coated, which
must be first washed in acid, fdllowed by distilled water, and dried in
blotting-paper.
East London Photographic Society.— General Meeting, Mr. Uffendall in
the chair. — Mr. Bennett read a paper Upon the Desirability of Adapting the
Printing Process to the Subject and Quality of the Kegatice. The lecturer
illustrated his remarks with some prints, showing that what would make a
good picture upon one kind of paper, upon another would be an utter failure.
He remarked upon the disappearance from the walls of the exhibitions of pic-
tures printed upon the albumenised paper, and said that the impurities and
unstapleness of the paper was the reason. He congratulated the present gene-
ration of photographers upon the advantage theif have over those of the past,
inasmuch that, whilst the older generations only had the one process, the pre-
sent had an almost unlimited choice. He further said that the aim of all
should be to portray, as accurately as possible in the finished print, the
natural tone of the subject which forms the negative, for, by so striving to this
end, we are distinctly upon the threshold of colour iihotography. In con-
clusion, he said that the following maxims should not be forgotten :— " Never
print from a weak negative upon a paper which is adapted more particularly
to one of greater contrasts ; " " Let your print be finished ofl' in such a way as
to harmonise with the subject ; " ancl, lastly, keeping this well in mind, "that
colour, like distance, lends enchantment to the view," and only by a careful
study of the several points can we attain to anything approacliing perfection,
and justify our claim (though by many it is disputed) that photography is an
art.
Croydon Camera Club. — A whole day devoted to practical photography in
the field was spent by a party of the members under the guidance of the Presi-
dent (Mr. H. Maclean, F.G.S.) on August 23, the locality chosen being on the
borders of Ashdown Forest. In the course of the day the ruins of Brambletye
were visited ; the Medway, which is here little more than a runnel, neverthe-
less afforded subject matter for several views. The village of Forest Row, con-
taining a number of old timbered, and also some stone-roofed cottages, re-
ceived due attention. In the after part of the day Mr. Maclean gave a practical
demonstration in composition, the subject being The Wood-xnorkers. Later,
VVych Cross was reached, and members being by this time somewhat s,atiated
with the scenic attractions, a pleasant tramp back through the forest glades
and over the golf links to the Brambletye Arms was made.
Birmlnghajn Photographic Society.— August 22, the President (Sir J. B.
Stone) in the chair. — The President distributed to the successful competitors
the prizes and certificates gained at the last annual exhibition. In the course of
a few well-chosen remarks, he said that personally he deprecated the giving of
any prizes, from the point of view that it was almost impossible for judges,
however skilled, to decide whicli were the absolutely best pictures, some being
superior in technique, some in artistic feeling. Let photography be a useful
record, not a mere striving after prizes. The President congratulated the
members on the second Warwickshire Survey Exhibition, now being held in
the Corporation Art Gallery, and bade them continue with this useful move-
ment.
FORTHCOMING EXHIBITIONS.
1893.
Septembers *Royal Cornwall Polytechnic Society, Falmouth. W,
Brooks, Laurel Villa, Wray-park, Reigate.
„ 20-21 *Hove Camera Club. Hon. Secretary, H. Emery,
142, Church-road, Hove, Brighton,
,, 25-Nov. 15... *Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. Assistant Secretary, R. Child-Bay ley,
50, Great Russell-street, W.C.
October 1-31 'Hamburg. Das Ausstellungs Comraitte des Amateur
Photogi-ajihen Verein, Schwanenwik, 33, Hamburg.
,, 9-Nov. ... "Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesbury-avenue, W.C.
November 7-11 *South London Photographic Society. Hon. Secretary
C. H. Oakden, 53, Melbourne-grove, Dulwich, S.B.
,, 20-25 *Leytonstone Camera Club. Hon. Secretary, A. K
Bailey, Rose Bank, South-west-road, Leytonstone.
December *Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
* Signifies that there are open classes.
«
€orresf|)onlrence.
' Oorreaji undents should never vrrite on hoth sidea of the paper. No notice is taken
of communicatioru unless the names and oddres8e« of the writers are given.
COLOUR PEINTINa IN HALF TONES.
To the Editor.
Sir, — In your " American Notes and News," p. 543, you state that
Kurtz, of New York, has " patented a process of printing half-tones in
colours by carrying out the idea of the three primary colours, and using
blocks in which tlie grain runs in lines of different directions." If this
is a fact, Mr. Kurtz is making a bold attempt to appropriate a method
which I devised and carried out successfully twelve years ago. Nobody
seemed to be able to realise the significance of such a result by such a
method at that time; but when I exhibited the same reproduction at the
Novelties Exhibition in Philadelphia in 1885 it received some notices in
the local newspapers, and I remember that one of these notices was
1 reproduced in one or more of the photographic journals.
September 1, 1893]
THE BRITISH JOURNAL OP PHOTOGRATilY.
867
The specimen referred to — a reproduction of a ohromolithosraph,
accompanied by printed descriptive matter — occupied a coDspiouons
position by tlie side o( exhibits of my patent lialf-tone block process and
ohloropliyl process of ortlioohromatio photography. Mr. Kurtz had an
exhibit of portrait work in tlie same section, a few feet away, and I have
no doubt tliat he saw and studied this reproduction by a method which
he now claims as new and original.
Mr. Kurtz's recent specimens are more remarkable than the one I
made in 1881, chiefly because he selected more striking subjects, made
larger plates, and printed on enamelled paper, which does not deprive
the coloured inks of their gloss and transparency like the soft plate paper
universally used for fine printing in 1881.
If this process had been really capable of successful commercial operation
on a large scale, the firm with which I was connected would have gone
into it ten years ago ; but while it is possible to produce wonderfully
effective specimen prints, the quality of the work becomes so uneven and
generally bad under the present conditions of commercial printing, that
it does not give satisfaction even when the printing plates are perfect. A
striking proof of this is found in the result of the Kurtz Company's first
attempt to illustrate a periodical with reproductions of colour sketches
supplied by the publishers for the purpose. In the " Outing" number of Tlie
Chriiitinn Viiioii (New York), June 10, p. 1148, some of Mr. F. Hopkinson
Smith's beautiful colour sketches of the scenery of the Bronx Biver are
" reproduced," in a manner that must have surprised the artist, to say the
least. I would advise anybody who contemplates undertaking this kind
of work to see these results before doing so, and I would also like to know
the Editor's opinion of them.— I am, yours, <fcc., F. E. Ives.
116, Chaiinri Cross-road, London, W.C., Auiiust 28, 1893.
[The example of the Kurtz Company's process of Coloritype sent
by Mr. Ives is not only sutBciently poor to deter any one from under-
taking it commercially, but cannot possibly have done justice to the
originals. The colours and tones are, to say the least of it, crude and
false : for example, green foliage on a river bank heing expressed in red
where reflected in water, though this may be due to bad printing.
Mr. Ives' ^^pecimen made twelve years ago is of its kind inQnitely better
thau the more modern example. — Ed.]
PLATINOTYPE TONES ON GELATINE PAPERS.
To the Editor.
SrK, — Some of your readers may be interested in a simple process of
obtaining platinotype tones on gelatine papers by means of the ordinary
combined bath, as used for Eastman's Solio paper.
I had toned some prints in this bath and put them to wash, when the
idea struck me to try an experiment. To the combined bath (eight
ounces) I added about thirty to sixty minims of hydrochloric acid,
when the mixture became quite milky in appearance. I then put the
toned prints into it, with the result that they changed to a platinotype
tone, resembling an engraving.
I did not expect this result. Whether the prints so treated would be
as permanent as otherwise I cannot say, but for those who like that
particular black-and-white tone it may be useful, and gives little trouble.
Perhaps some of your readers who are better up in chemistry than
myself could oblige us with the theoretical reasons for this result.
I was not successful in toning untoned prints in this mixture. — I am,
yours, (fee, W. J. Farmee.
68, Blackbnrn-street, lilackburn, Aujutt 24, 1893.
PHOTO-MICKOGEAPHT.
To the Editor.
Sir, — Mr. J. Wood worth wants an explanation as to "how an isochromatic
plate can correct the difference between the actinic and the visual foci,"
and, in answer, I beg to say that, at the discussion which took place at
the Quekett Club, when I brought forward this subject for the first time,
Mr. Haughton Gill said "there was no doubt," I had "obtained a sharp
image in the focus of the visual rays, but the reason of this was that
these plates (isochromatic) were sensitive to the rays which were active
in producing the visual focus, and, therefore, it was not necessary to
work with a focus nearer the violet end of the spectrum. The plate did
not cause the two foci to become coincident, but only enabled a picture
to be taken by the visual rays." Our President (Mr. E. M. Nelson) con-
firmed that view by saying that " Mr. Gill had no doubt perfectly
explained their action, which could not be due to their bringing the chemical
and the visual foci together, but was due to the image-forming rays being
the active rays where these plates were employed." Similar views were
expressed when I brought this subject before the Koyal Microscopical
Society in answer to Dr. Piffard's communication ; and, seeing there was
no exception taken to my conclusions at the time of introducing it, and that
they have not been traversed by any microscopist since, I am certainly
surprised to find that Jlr. Andrew Pringle, in his communication to the
Photographic Society of Great Britain, treats the question of an ordinary
achromatic objective working true to focna m It the results were tb« joint-
product of the orthochromatic plates and tha yellow screen.
Now, I am certain that the yellow screen has no effect on focos what-
ever, and the results are dae solely to the isoohromatio, or, in other
words, the orthochromatic, plates--an experiment anyone of your readers
may try for himself if be possesses a microscope and camera.
Sot up in the usual way by placing an image in sharp focus on the
focussing screen of tbe camera, and then place a screen of yellow glius
between the light and the object ; when, on examining the image again,
he will find that it remains as sharp as before. Should he wish to oany
the experiment still farther by photographing the object, let him take
the yellow screen away, and, using an orthochromatic plate, he will find
the negative image on the plate comes out on the same plane as the
positive image on the focussing screen. This image may not be a good
image photographically ; it will vary with the correction of the objective,
the quality of the lens, and the skill of the operator, but it will always be
in the right plane. Now repeat tbe process with an ordinary photo-
graphic plate, and the chances are ten to one that the image on the -
negatives will be on quite a different plane. I have reserved tbe one
chance because there is one particular correction of an ordinary achro-
matic lens which will work true to focus on any plate, provided it is con-
fined to low powers on the one hand, and oil immersions on the other,
I am supposing, for the purpose of these experiments, that the lighting
is done with the ordinary paraffin lamp, it bemg possible that with other
modes of illumination the results might be somewhat different, althoagh
I should not expect them to be so.
The necessity for orthochromatic plates alone is what I have been em-
phatically asserting in contradiction to Dr. Piflard and others, and I pre-
sume all we want is the truth, whatever it be. If I am wrong in my
conclusions it is a subject important enough to be worth confuting ; but
it I am right some acknowledgment is, I think, due to me for having
simplified a process which threatened to become a very intricate one
indeed, owing to the elaborate precautions to be taken by procuring
specially corrected lenses, and placing various coloured screens and ray-
filters between the source of light and the object.
Now, I do not deny the value of coloured screens, but, when required at
all, they will be equally wanted when even apochroraatic lenses are used.
I enclose four prints of part of the proboscis of a blowfly, two taken on
orthochromatic plates without yellow screen, and two on Ilford ordinary.
■They were taken under the same circumstances with regard to lighting
and focus, and in each case the image on the former plate comes out
sharp, while the latter is fluffy.— I am, yours, Ac, T. F. Sshth.
185, Ilrecknoch-road, AMI'.
To the Editob.
Sib, — That microscope objectives not specially corrected for photo-
graphy must work to focus if used with colour-sensitive plates and yellow
screen is such a self-evident fact that I am surprised to see it referred to
as a "discovery," and discussed at length in the photographic and'
microscopical journals. Nor is the observation a new one. I especially
emphasised the fact in a verbal communication to the Photographic
Society of Philadelphia in April, 18'.)0, when I presented the Society with
a series of photo-micrographs made under those conditions. A few
months after, in a communication to J. W. Queen & Co.'s Microacopical
Bulletin, in reply to an inquiry from the Editor, I recommended Mr.
Pringle's book on Practical Photo-micrographt/, but disputed Mr. Pringle's
assertion that high-class work could only be done with apochromatic or
specially corrected objectives, and repeated my assertion that any objec-
tive that gave a satisfactory image to the eye would give an equally
satisfactory photograph under those conditions. All of my photographs
were made with comparatively cheap objectives selected from stock, yet
were certainly equ^ to those made by Mr. Pringle with the costly
apochromatics. — I am, yours, *c., F. E. Ives.
116, Charing Crost-road, London, W.C, August 28, 1893.
THE PHOTOGRAPHIC CONGRESS.
To the Editob.
Sib, — I shall be glad if you will allow me to reply publicly to the
inquiries that are being made concerning the Congress of the Photo-
graphic Society and affiUated Societies.
It is finally arranged that this Congress shall be held on October
10, 11, and 12.
In a few days all the arrangements will be completed, and a fall pro-
gramme will be circulated as soon as possible after that.
We shall be happy to send a copy of this programme to any one who,
not being a member of this Society or of one of the affiliated Societies,,
sends a post-card request for it to 50, Great Russell-street, Bloomsbury,
W.C. I am, yours, Ac, Chapman Josks,
Hon. Secretary Photographic Society of Great Britain.
Pliotographic Society of Great Britain, 50, Great Riuie'U-itreet,
Bloombury, London, )f'.C., August 26, 1893.
£63
THE BKlTISfl JUUKNAL OF PHOTOGRAPHY.
[September 1, 1893
lExri)ange OToIumn.
*,* No charge is made jor inserting Exchanges of Apparatus in this column ;
but none will be inserted unless the article wanted is definitely stated. Those
who specify their requirements as "anything useful" will therefore understand
the reason of their non-appearance. The full name of the advertiser must
in all cases be given for publication, otherwise the Exchanges will not be
inserted,
Backgronnds, one exterior, in flatted oils, 7 ft. 6 in. by 7 ft. 6 in. ; one interior, dis.
temper, 7 ft. 6 in. by 7 ft. « in. ; and one floorground, distemper, 9 ft. by 7 ft. 6 in. ;
will exchange for quarter-plate camera, lene, &c., or olfer. — Address, A. Midy,
13, Taunton-place, St. John's Wood, N.W.
anstoetis to CorreBponUenta.
%• All matters intended for the text portion of this Journal, including
queries and Exchanges, must be addressed to " The Emtoe, Thb British
JOURNAL OP Photoobapht," 2, york-street, Covent Garden, London. In,-
attention to this ensures delay,
*»* Correspondents are informed that we cannot undertake to answer com-
munications throu^gh the post.
%* Communications relating to Advertisements and general business affairs
should be addressed to Messrs, Henbt Grebitwood & Co., 2 York-street,
Covent Garden, London,
%* It would be convenient if friends desiring advice respecting apparatus,
failures in practice, or other information, would call at the Editorial Office
either on Wednesdays from i to 6, or Thursdays from 9 to 12 noon, when
aome one of the Editorial staff will be present.
E.XPEEIMENT ; Spotty ; G. H. J. ; F. E. G. ; and others.— In our next.
Ctmro. — We would select that lens by which the ground before and behind
the sitter is equally good.
W. HoBBs.— The "No. 4b" of the same maker has the same rapidity as the
3b, and will cover the size plate you require.
W. HlLLCEAH. — The yellowing of the wljites indicates sulphur toning. Better
change the constituents of the toning bUth, and keep up its strength.
Doubtkul. — " Permanency " is a vague and indefinite term. Hence, as the
length of the engagement was not specified, we fear you have no remedy.
J. G. Henderson (Lewi.sham). — Norton's cloud shutter is made and sold by
Messrs. Brooks & Norton,|of 728, NicoUet-avenue, Minneapolis, Minn.,
U.S.A.
Eeproduction.— Any letterpress printer will do the work if you supply him
with a process block. Waterlow & Sons, and other firms, will make the
Mocks for you.
.Alp. Lloyd. — For sitters with auburn hair and much freckled, there would
be an advantage gained by treating the plates with erythrosine, according to
the method mentioned.
J. AsTLKY. — It is evident that the stops have not been made for that lens.
You will have to scratch or engrave the true values on them yourself. You
quite correctly appreciate the system on which to do so.
R. Stanley.— The spots or pits on the collotyjje plates can only be avoided
by changing the gelatine for another kind that does not pit The defects
complained of arise from the same cause as pits in gelatine dry plates.
S. S. — It by no means follows that because a piece of apparatus is patented
the patent itself is valid. If a large proportion of the patents that are
sealed annually were contested, they would certainly be proved invalid.
London, W.C, wants some pure zinc plates for etching. Pure zinc, in the
form required, is not an article of commerce. It may be had from operative
chemists, but then it is ifl grains or rough lumps. The best zinc plates, as
supplied by the dealers in printers' material, are quite pure enough for general
photo-etching.
G. BOTTS. — The advantage of a 15 x 12 lens, when used for 12 x 10 negatives, is
that it will cover the plate better when used with a large aperture. On the
other hand, it will not, on that size plate, include so wide an angle. But,
for groups out of doors, where there is generally plenty of space, the larger
lens will be the best to have.
P. C. HAN.SEN says : " I shall feel very much obliged if you can tell me if
there is any book published giving the partiojilars of Fox Talbot's method of
working the calotype, and where I could get the book."— All the old manuals
on photography give full details of the process. An abstract of it was
given in our volume for last year. Hunt's Photography gives it very
lully.
G. F. J. — Use ordinary water colours ; nothing more is required. If you have
not yet attempted to colour photographs, you will find it advantageous to
get some lessons from a skilful colourist. This correspondent also asks
" as to the likeliest of our colonies or possessions where there would be scope
for a professional photographer ! " — Perhaps some one can supply the desired
information.
H. Spence. —Parcels of negatives sent through the post can be insured ; but
compensation will not be paid in case of injury if the parcel was obviously
insecurely packed. We frequently receive negatives, or rather fragments of
them, simply placed between two pieces of cardboard. In such cases as
this the Post Office authorities could not be expected to recoup the senders
for their loss.
S. Tallon.— 1. We know of no work in English devoted exclusively to ortho-
chromatic photography. See our own back volumes, and the last edition of
Abney's Instructions. 2. We do not think there would be any advantage in
_ copying the photograph through blue glass.
A, X. B.— Certainly not. The fact that by waylaying Her Majesty with your
camera you secured a couple of good negatives of her as she passed, in no
way entitles you to style yourself " Photographer to the Queeu " and put
up the royal arms over yoar shop. By using the royal arras, and
calling yourself " Photographer by Appointment to Her Majesty," without
being entitled to do so, you would incur a heavy penalty.
T. Moore. — To obtain the verj- best reproductions of fine line engravings—
that is, those most closely resembling the originals— we should take the
negatives by the wet-collodion process, and print them by the carbon
process in a black tisure, or by the platinotype process. If our correspondent
IS not aufait with working collodion, the next best thing to do will be to
use dry plates, such as are specially made for negatives for photo-mechanical
processes.
Experimentalist. — An Albion press will answer quite well for collotype
work, but there is a certain degree of risk, in buying a second-hand
one, that the bed may not be perfectly true. If that were the case, the
glass plates would be continually breaking. However, it is an easy matter
to test the press before purchasing by placing a glass plate upon it of the
full size and bringing the platten down upon it with a heavy pressure and
seeing the result.
Subscriber. — The strength of the solutions is of no great importance ; the
stronger they are the quicker they act The prints are first treated with the
lime solution, and then with the acid, till the stains are removed. As you
say, the engravings are very fine ; we should advise you to place the work in
the hands of a professional print restorer. Many valuable engravings have
been irretrievably ruined by novices' attempts to clean them. Print-clean-
ing requires considerable experience.
B. B. — 1. The photographs of lightning sent are of a not uncommon kind.
2. The most expensive item for working the collotype process would be the
press. One suitable for the purpose might be obtained cheaply second-hand,
m which case it would be decidedly worth your while to undertake the work
yourself. See back volumes for information on the working of the process.
'3. Take the equivalent by weight. 4. Two shillings each for mounted
whole-plates is a good price as things go just now.
Alfred H. Saunders writes : — " A customer of mine has sent me some pic-
tures that he has copied from a book which is copyright to be coloured, and
he wants to know how he stands under the Act Is he liable in any way to
prosecution if he exhibits these slides in public .' He does not accept pay-
ment for his services, neither is there any charge for admission." — lu reply ;
If such copies are exhibited in public, he certainly runs the risk of being
prosecuted for piracy. Write to the publisher of the book and obtain his
permission for exhibiting them, and then all will be right.
Retoucher writes : "Can you give me any information respecting the following ?
I have been much worried recently through being unable to get any work on
our negatives, owing to a greasiness apparently, of the surface of the film, or
something which, when the medium is applied, causes it to lose its abrasive
quality, and to form a slippery surface, which the pencil will not touch. We
work on the film with the Autotype medium and varnish after, as we cannot
get sufficient work on the varnish alone. I have been retouching for some years,
and have never met with this difficulty before. Our negatives are developed
with pyro and ammonia in the ordinary manner, and I can discover no cause
for this strange defect. Any information re the above will be thankfully
received." — We have never met with a difficulty of this, kind ourselves, and
do not see how it can arise, seeing that a medium is applied to the gelatine
surface. Perhaps some reader can .assist our correspondent.
Puzzled writes : "1. I have been keeping old hypo baths, the washing water
from printing-out paper, and the old toning baths for same (sulpho and
gold), and now, when 1 have filled the receptacles for same, cannot precipi-
tate the silver and gold from them. Will you kindly say what is the best
and simplest method to do this, and about how much of the precipitants it
takes to the gallon of liquid treated, as the methods in all articles 1 have
seen give no quantities whatever as a guide ? 2. Also please to say whether,
if any hypo got into the washings from prints, it would make it useless ?
And, 3, whether a zinc tank is suitable for a hypo bath, as the one I have
been using lately seems to have been eaten away to some extent by the soda ?
Your kind replies will greatly oblige." — 1 and 2. As the residues are mixed
together, the best thing to use is the sulphide of potassium. The amount
necessary depends upon the quantity of silver in the solutions. The sul-
)ihide should be added until it ceases to precipitate more suljihide of silver.
3. Zinc is quite unsuitable for containing solutions of hyposulphite of
soda.
Paqb
improvements in tele ■ photo
lenses itli. 368
DISCOLOURED NEQ.VTIVE8 .W4
KEEPING QUALITIES OF FILMS ...... 555
PHOTOORAPHICAL SOPHISTICATION ;
ITS TRUTHFULNESS OK OTHER.
WISE. By W. E. DEBKNHAM .-.66
CONTINENTAL NOTES AND NEWS .... 657
UNSUSPECTED SOURCES OF FAILURE.
Uy W. LINDS.W 558
SPOTS AND PINHOLES. By EDWARD
DUNMORE 659
NOTES ON A TOUR IN THE HIMALAYAS
AND ON THE NORTHWEST FRON-
TIER.—U. By F. 8T. J. aOBB, B.A. . . 560
OONTENTB.
Paoe
PHOTOGRAPHERS EFFORTS AT UNION.
By II. SNOWDEN WARD 661
ADAM AND CO.'S TWIN LENS IDEAL
CAMERA 5SS
OUR EDITORIAL TABLE 6««
NEWS AND NOTES Ml
RECENT PATENTS «*
UEETINGS OF SOCIETIES 666
FORTHCOMING EXHIBITIONS 668
CORRESPONDENCE 5«6
EXCHANGE COLUMN 668
ANSWERS TO CORRESPONDENTS 5«8
THE BEITISH
JOURNAL OF PHOTOGRAPHY.
No. 1740. Vol. XL.— SEPTEMBER 8, 1893.
SOME PECULIARITIES OF PERSPECTIVE.
Pending a full disquisition on the subject of perspective pro-
mised by one of our contributors, a remarkable paper, recently
published in Nature over the signature of Arthur L. Haddon,
afifords au opportunity for a reference to a topic always in-
teresting to photographers. Much has been said by the skilful
and the unskilful aboat "distortion" by wide-angle lenses,
which is both misleading and illusory. One of the most im-
portant studies undertaken by all students of art, who go
through a curriculum — such, for example, as that of South
Kensington — to fit them for teachers, or for independent art
work, is that of linear perspective by the aid of rule and com-
pass. Further training is given by practice in drawing from
solid objects without instrumental aid. The outlines of the
objects so drawn must conform to those which would be ob-
tained if the same objects were represented in the first-named
Eoanner; hence, the actual rules for one are identical with
those for the other. It is not difficult to explain the under-
lying principle, and it may be said that th^re is no dis-
agreement whatever ut the correctness of these rules
among experts. Some treatises on linear perspective go
to the length of showing mathematically the basis of these
rules.
A sheet of glass is supposed to be placed before the draughts-
man, and he is supposed to use one eye only ; further, it is sup-
posed to be rigidly fixed in one spot. Objects of certain given
dimensions, at a given distance from the sheet of glass (called
the picture plane), and placed at a specified angle to that plane,
are to be depicted in outline on paper in such a way that, if
transferred to the sheet of glass, they would actually exactly
cover the same outlines of the original object. Clearly, if they
do so cover the outlines, the drawing is a correct linear repre-
sentation of those objects as they are apprehended by the eye.
Now, we may at once say that the rules of perspective, ac-
curately carried out, will enable such truthfulness of represen-
tation to be achieved, and from this it is right to assert that
the rules must be correct.
There are some who have argued that, because the eye is
not a perfect optical instrument, judged from the narrow stand-
point of strict optics, the picture so drawn must be incorrect,
through the distortion it will undergo in the eye. The simple
reply to such argument is, that the original object is seen by
the same eye, and hence its outlines will be distorted in au
«xactly similar manner. Let any one j)lace, for example, a
thin, straight walking-stick some little distance on the other
«ide of a window pane ; he will be able to entirely hide it by
placing on the window glass a narrow slip of paper of exactly
the same proportions, and so with a drawing.
There are, however, two important limitations about this
picture transferred to the sheet of glass.
First, it will only cover the outlines of the object when the
glass and object are at one fixed distance from the eye, so that
at all other distances it is not a correct representation. The
same rule holds good with a photograph. It also will only
coincide with the outlines of the object when it is held at one
fixed distance from the eye.
Secondly, a draughtsman or painter never paints, for
pictorial purposes, a view which embraces an angle of over
sixty degrees ; rarely does he include that extent. If, how-
ever, for a particular purpose he desired to include a larger
p igle, he would employ exactly the same rules of perspective ;
« id then, with the sheet of glass at a fixed place as before, his
drawing would coincide w^ith nature, and would be identical in
linear perspective with the outlines given in a photograph
taken by a suitable wide-angle lens. Therefore, such photo-
graph must also be correct, subject to the same limitations at
to distance, as the sheet of glass. So-called " distortion "
would be given equally by lens and pencil if the right
distances were not made use of. The bad name given, then,
to subjects of wide angle taken by the camera is simply owing
to the fact that, besides being improperly viewed, such pictures
are common i n photography, and very rare in paintings or drawings.
There is, however, a further school of disputants, who argue
that the received ideas we have attempted to set down as
clearly as possible, do not represent all the truth, and that, in
certain pojitions, objects produce effects other than thns«
usually believed in. These theorists do not fairly meet thu
sheet-of-glass theory, they go round it. one proof given b"
them being the fact that skilful artists do not adhere to
the rules of perspective. These arguments will find singular
corrobor<ttion in ihis paper of Mr. Haddon's that we referred
to. The original article will be found in Nature, p. 402, and a
further communication on p. 41 G of the current number. The
article is entitled, " Compulsory Laws of Error in Drawing,"
and, of course, some of the disputants wo refer to would say
that these so-called errors must virtually be truth. The article
referring to " phenomena connected with the art in drawing,
or depicting form in outline,"-. ... "is to prove that error
niade in such drawing comes under the dominion of natural
law, or compulsion, and is not the result of individual miscon-
ception of truth. . . . the intelligent and the dull being eqiially
liable to commit the errors in forms." He divides these errors
into three kinds : —
(1.) "A general lawmaking us fundamentally incapable of
drawing in perspective .... perceivable in the form of direct
divergence of lines parallel in nature, whicli in perspective
should converge."
670
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[September 8, 1893
(2.) " Another general law is a natural incapacity to erect a
proper perpendicular for an object, unless the same occurs close
on the line of direct sight (forward). The deflection occurs in
the nature of an inclining of the top of the line towards the
central line of sight."
(3.) "The next general law is less distinct, but still
abundantly provable on test. A certain line is not drawn with
perspective inclination to the vanishing point n front of the
observer, but is draion on a perpendicular, or, as s evident, in
such a manner as would be the true fact of its direction, void
of the influence of perspective."
A large number of instances of geometrical figures, and how
the errors tend with them in drawing, are given, and finally,
Mr. Haddon states, " I have traced them (the errors) clearly in
the draughtsmanship of Orientals, and even in the drawing of
the greatest painters." We strongly advise all of our readers
who take an interest in scientific perspective to read the
articles referred to. They give much food for thought, and an
exact appreciation of their bearing may enable the reader to
see the extent to which they might be made to prop up false
theories as to the proper delineation of objects by photographic
lenses.
ECONOMY IN WORKING.
Although the possibilities in the way of saving are far less at
the present than they were in the days of wet collodion and
albumen paper, there is no doubt that a very great deal of ufr
necessary waste occurs, more especially on the part of amateurs,
although professionals cannot be held altogether blameless.
Time was when every amateur had his little arrangements for
the recovery of the silver from his print cuttings, as well as
his spent fixing and toning baths ; while the workers of wet
collodion carefully collected the developing and iutensifying
solutions after use for the sake of the unreduced silver they
contained. In large establishments the saving thus effected
formed a very important item in the year's business, and even
on a small or amateur scale we have, in former days, seen
handsome " ingots " of silver resulting from the residues of a
season's printing.
In those days, however, it must be remembered that the
negative plate, when it came from the silver bath, however
carefully and closely drained, was rich in the precious metal in
the form of soluble nitrate clinging to its surfaces, and, while
much of this mingled with the developer, and took part in the
formation of the image, yet the greater portion, in most cases,
was recoverable with proper precautions. In our modern de-
veloping operations there is, of course, no free silver recoverable
and the solutions, except in so far as tliey may be used again,
are not worth saving.
Turning to printing again, in the old days there was the
printing batli, a tolerably concentrated solution of silver
nitrate, to be dealt with ; and those who have had experience
in sensitising paper will be aware how the valuable metal can
be wasted in the form of drippings, splashings, and drainings,
quite independently of that which can be saved from the prints
themselves. The actual quantity of silver involved in the
formation of the positive image is but an infinitesimal propor-
tion of that used in sensitising, and it has been estimated that
seventy or eighty per cent, was recoverable, with proper care,
from the dippings, washings, and fixing of prints. Now, how-
ever, both in the case of ready-sensitised albumen and gelatine
chloride " printout " papers the quantity of free silver present
— that is to say, silver in the soluble form and recoverable
from the washing water — is very much less than formerly, so
that it is to the cuttings and fixing baths that we must look
more particularly for our residues.
Here again, however, we find a difference between the prac-
tice of to-day and former times. The system of using cut sizes
of printing paper, which has grown so much in popularity
during the last few years, is in itself an important economy,,
since it avoids the necessity for trimming the prints, and thus
does away practically with that form of " residue." Thus, in
the old days it was customary to cut up a sheet of paper into-
thirty-two cartes- de-visit e, although, as was well known, as
many as forty could be cut out of the sheet with a little
management. Here, then, was at once a practical waste of
twenty per cent, in the shape of trimmings.
One other important fact must also be borne in mind in
comparing the possible savings of to-day with those of the past,
namely, that, both in the case of plates and paper, the greater-
portion of the waste is incurred by the manufacturer, upon
whom falls the chief onus of exercising economy. Our sensitive
films, both negative and positive, now come into our hands
ready for immediate use and at a minimum cost, since wo are-
not asked to pay for the waste occurring in the process of
preparation. Obviously, then, it is not possible to expect as
great a return from residues as in the days when the whole
process of preparation was performed by the photographer
himself.
There are, however, one or two directions in which the
users of sensitive pliotographic films, but esjjecially amateurs,
never think of looking with a view of economy. Wo refer
more especially to the treatment of spoilt negatives, not, be it
understood, with the intention of using the plates again, but
merely as regards the extraction of the silver contained. In
the case of a fairly successful amateur, perhaps, the proportion
of spoilt negatives would scarcely bo great enough to justify
any special system for their treatment ; but we know from oup
own experience that waste plates rapidly accumulate as the-
result of experiments of one kind or another, and that, in the-
course of time, these give a very good return for the trouble of
recovering the metal they contain. The same rule must hold
good in large professional establishments, especially where the
negatives are only preserved for a stated time.
Most operators, when a plate is seen to be spoilt, at any rate
go to the trouble of fixing it, if for no other purpose than to-
extract the silver from the portions unreduced by the developer.
If they do not, they certainly ought to, for the trouble is little,
and the fixing bath offers perhaps the easiest method for ex-
tracting the haloids and presenting them in an available form^
for reconversion. But the developed image which is not
touched by the hypo still contains a considerable portion of
silver ; not as much, it is true, as that removed in the un-
reduced form, but still sufficient to make it well worth system-
atic collection, the only question being the most convenient
way of proceeding.
As we have just said, the fixing bath is the simplest means*
of presenting the residues in an available form for subsequent
treatment, and all that is wanted in order to bring the de-
veloped image within its range is to reconvert it into one or
other of the haloids, preferably chloride, on account of its ready
solubility. The best way of effecting this is with a solution of
bichromate of potash, acidified with liydrochloric acid, the
strength being quite immaterial, since, after the silver is con-
verted, no harm can be done. Tlie image being bleached with.
September 8, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY,
671
this solution, the plate is rinsed and passed into the hypo bath,
which then dissolves out all the silver. The bichromate
solution is to be preferred to any of the metallic bleaching
agents, such as cupric chloride, as it leaves the silver free from
other metallic contitminivtion.
When the bath is fully charged with silver, it may be pre-
cipitated by means of one of the alkaline sulphides, such as
potassium sulphide or " liver of sulphur," and, after washing
by decautation, the sulphide of silver may bo collected and
dried ready to bo seat to the refiner. In order to convert it
to the metallic state for subsequent transformation into nitrate,
it will, of course, require to be fused in the furnace with a
suitable flux; but, as we imagine few amateurs of the present
day will go to the trouble of converting their own residues, we
intend to say nothing on that process.
Another method of precipitating the silver, and which
reduces it in the metallic state, is by means of metallic
copper, iron, or zinc ; but this has the disadvantage of con-
taminating the silver with the baser metal, which is very diffi-
cult to separate again. Some strips of copper, iron, or zinc,
are placed in the fixing bath and allowed to remain until all
the silver has been precipitated as a black powder, which
should then be carefully washed and dried.
The treatment of paper residues may be carried out in a
similar way by means of the fixing bath. In the case of Solio
and similar processes treated in the combined bath, the latter
contains all the removed silver as well as any excess of gold not
used up in toning ; but, when the separate baths are used, the
washing water employed before toning will contain all the
soluble silver, and should therefore be saved. In order to ren-
der this process as convenient as possible, the prints should first
of aU be soaked for, say, ten minutes, in a minimum quantity of
water, time l^eing allowed for the silver contained to be fairly
well extracted. This water may then be poured into a jar, and
the prints again covered with a similar quantity, which will
remove all the silver that is worth saving. A few drops of
hydrochloric acid will throw down the metal as chloride, and by
the time the next printing operations have to be performed the
water may be poured off.
Clippings and trimmings of prints may be burnt, as in the
■case of albumen paper ; but, owing to the smaller quantity of
silver they contain, the gelatine and, above all, the barium
sulphate used in the preliminary coating, the ash is far bulkier
and more impure, and, in fact, is so difficult to treat that it
becomes scarcely worth saving. But fortunately the fixing
bath is available, and if the trimmings are immersed in the
acidified bichromate solution already mentioned, and afterwards
in the hypo after it has performed its legitimate duty, the-
latter will effectually extract the silver without touching the
other impurities. Spoilt or over-printed proofs may be sub
jected to the same treatment for the extraction of the silver,
but the gold in toned proofs may be ignored as not worth the
trouble of recovery.
The gold toning bath, for iise with gelatino-chloride paper, is
a much richer source of " residues " than its predecessors for
albumen. Not only is it a more concentrated solution, but it
is impossible to work it so closely as the albumen bath, and
there is consequeutly always more of tlie precious metal re-
maining after use. Add to this that there seems to be no
satisfactory means of preserving the batli after it has once been
used, and we have cited sufficient reasons for paying consider-
able attention to the toning bath. The treatment is very
simple, and consists in adding to the used bath some crystals
of sulphate of iron, which will form a purple-black precipitate,
more or less bulky, according to the quantity of gold present.
It is not to be supposed, however, that it is all gold, for much
of it will consist of basic iron salts ; before collecting, the pre-
cipitate should therefore bo treated with dilute sulphuric acid
until it ceases to lose bulk, and, finally, well washed before
drying.
In conclusion, we may remark that the principal difficulty
with amateurs in saving their residues is in the length of time
it requires to get a sufiScient quantity to make it worth while
sending to the refiner ; but, if the necessary collecting jars be
set aside in some out-of-the-way comer, the process of collect-
ing is not a difficult one, and may go on uninterruptedly from
one end of the season to the other, or, for that matter, from
season to season, until one day a nice little " nest egg " will be
found.
Ziow Prtces.— One cabinet and two cartes for one-and-nine-
pence! This is the price we saw announced outside a West-end
photograplier's a few days ago. The establishment is not in a back
street, as might be surmised, but one of the principal thoroughfares of
a fashionable part of the south-west district. One would imagine
that such prices as these should act as a deterrent to many from
apprenticing, or "articling," their sons to photography as a profession.
The rorthcomlner Exhibition of the Photographic
Society of Great Britain.— The last day for sending in
exhibits for the forthcoming Exhibition of the Photographic Society of
Great Britain is Monday, September 11. Cases should be forwarded
by that date to Mr. Goldstein, 7, Great St. Andrews-street, W.C.
Unpacked pictures may, however, be handed in at the Gallery,
OA, Pall Mall East up to nine o'clock on Wednesday, September 13. We
understand that there is every promise of a successful Exhibition from
the numerical consideration, between three and four hundred pictures
having already been received, while rumour has it that the Exhibition
is not likely to suffer by comparison with any of its predecessors from
an artistic and technical point of view. AVe wish the Exhibition the
success it deserves, and trust that it will be supported by all interested
in photographic progress, and in the fortunes of the Society.
Caution to Photog-raphic Tourists Abroad. — It
seems that the spy scare is again aroused on the Franco-German
frontier. Last week two persons were arrested at Kiel, and are now
awaiting their trial, charged with being French spies. Possibly the
German authorities had greater reason for their arrest than appears
in the telegrams to the daily press. They were travelling, it seems, in
a pleasure yacht flying British colours, and, when arrested, had with
them photographic apparatus, plates, photographs, sketches, and
maps of the district. Now, these things are usually to be fotmd in
the possession of every photographic tourist abroad. Whatever may
be the outcome of the present arrests, it is pretty certain that
great vigilance is being displayed on the frontier ; therefore English
tourists with cameras in those districts must be particularly careful
where they plant them, or they may inadvertently place themselves
in an unpleasant position. We repeat the advic-f we have before
given to photographic tourists to the Franco-German districts, namely,
to provide themselves with passports from our Foreign Office; and,
further, to have them vis^d at the consulates of the t^o countries
here in London. The cost and the trouble is but a trifle, while the
inconvenience it may avoid might be great.
Fallacies. — Almost every week we are told, by some one whose
knowledge of what was done in the past is extremely limited, of the
circumscribed resources at the disposal of the older photographers, and
how they were to be commiserated. In a paper read at the last
meeting of one of the Metropolitan Societies, on the subject of
672
THE BKITISH JOURNAL OF PHOTOGRAPHY.
[September 8, 189
printing, the author congratulated the present generation of photo-
graphers upon the advantage they have over those of the past, who,
he said, had only one process, while the present had an almost
unlimited choice. Now, it is difficult to see, if we except gelatine
paper, what processes are available to the modern worker that were
not also available to his older confrere. Had we not the platinotype
process ten years ago, and the carbon some twenty years before that ?
CoUodio-chloride we have had about as long as carbon; matt sur-
face printing was in a high state of perfection forty years ago —
indeed some of the modern formula for this cla?s of work are
identical with those employed at that period. Printing by develop-
ment is one of the oldest methods of obtaining prints from negatives.
Where, then, with the exception referred to, is the unlimited choice
of process which the present worker has over him of twenty years
and much longer ago ? By the way, in the paper it was recom-
mended to suit the process to the negative. The older workers
proceeded differently, they aimed at producing negatives of such
quality that they would suit any of the processes then, and now, in
Togue.
Aluminium versus Itlag'nesium. — Winter is now ap-
proaching, and there is very little doubt but that artificial light will
be invoked, as an aid to photography, to a greater extent during the
dark days than it ever was before. There are few districts now in
London, and most other large cities, where electricity is not as avail-
able as gas from the mains. Therefore it may be expected that this
is the light that will ha adopted by professional photographers.
Amateurs wlio have employed artificial light at night for negatives
have hitherto relied upon magnesium ; but, at the last meeting of the
Photographic Society of Great Britain, Mr. Bolas demonstrated that
that metal now had a formidable rival in aluminium, by obtaining a
fully exposed negative by the light evolved by the combustion of a
grain and a half of the powdered metal in an ordinary flash lamp.
Aluminium promises several advantages over magnesium, one of
which is the absence, in its combustion, of the irritating smoke
evolved by the latter metal — a great gain when working in ordinary
rooms — the greater amount of light from a given weight of metal,
and economy, aluminium powder costing but about half the price of
that of maimesium, and the possibility of its costing still less if the
demand for it be increased. Added to this, the powder is not prone
to oxidise like magnesium. As at present met with commerciallv,
the powder requires to be freed from some oily matter used in its
manufacture. If a demand is created for it for photographic pur-
poses, there is little question that it will be supplied ready for im-
mediate use.
Reversing' DZirrors. — Now that mechanical processes are so
much to the fore, anything that will aid in the production of suitable
negatives for them becomes of increasing interest. At a recent
meeting of the Hackney Photographic Society Mr. Miller demon-
strated a method of silvering reversing mirrors, the formula for
which was given in our last issue. In his paper, Mr. Miller says the
glass " ought to be optically worked." We would emphasise this by
substituting must be, for, unless the surface be optically plane, the
mirror would be worthless if good definition be essential, as, of course
it is in all mechanical processes. So important a matter is this, that
it may be mentioned that the best mirror may have its good qualities
entirely destroyed by the slightest pressure from its mount, which
would alter its figure. Therefore, the glass should always be left
perfectly free in its setting. The most perfect lens would have its
definition quite ruined by being worked with a defective mirror.
While on the subject of mirrors, we may add a few words on the
preservation of the silvered surface. When out of use, they should
be protected as much as possible from the action of the atmosphere
which, particularly in large towns, readily tarnishes the surface.
This can, it is true, be cleaned off with a pledget of cotton-wool and
a little fine rouge, but it must be borne in mind that constant clean-
ing wears away the silver coating. Tarnish and even scratches on
the surface do notirapivir definition any more than do dirt and
scratches on a lens, they simply cause so much loss of light, and
necessarily entail prolonged exposure. It has just been said that
the surface of the mirror is easily polished with cotton-wool and
rouge, but it should be added that the precaution should be taken
that it is perfectly dry before commencing, because, if the silver film
be at all damp, it would come away from the glass in flalies. It is a
good plan to make the mirror warm a few minutes before repolishinc
it. With care a mirror can be in constant use for many months or
even years, without resilvering, but by careless use it may bo
rendered useless in a few weeks.
THE NEW PHOTO-TELESCOPE FOR GREENWICH
OBSERVATORY.
So long ago as 1835 the Treasury consented to give to the Greenwich
Observatory a large telescope, for want of -which the Astronomer-
Royal and the astronomical staff had been somewhat crippled in theii
endeavours to adequately photograph the spectra of the stars.
The construction of the telescope was entrusted to Sir Howard
Grubb, F.R.S., and some idea of the perfection aimed at, and happily
attained, may be gleaned from the fact that three years were occupied
by the ^Messrs. Chance in turning out perfect castings of the glasses
which were to form the object-glass, which is twenty-eight inches in
diameter. Precisely how many castings were made before the re-
quired perfection was attained we knosv not, but we understand they
were numerous, as the slightest imperfection ensured rejection.
The object-glass was delivered at the observatory early last year,
and the final erection has for some time been delayed by the con-
struction of a suitable dome and the requisite fittings. These are
now completed, and a few weeks since Sir Howard, along with Mr.
Christie, the Astronomer Royal, devoted some time to the final
testing, which, as Sir Howard mentioned to us at the time, had been
much impeded by want of clearness in the atmosphere. It is grati-
fying to know that the 4500/., which is the cost of the instrument
and its equipment, could not have been better invested, as it is pro-
nounced to be one of rare excellence, and one of which the nation
may well be proud.
The talented optician by whom it has been constructed has shown
himself to be such a master in regard to high-class objectives, that we
can the more readily understand that, although this i28-inch one has
been specially made for spectroscopic photography, it is also available,
by the alleged reversal of one of the lenses, for visual observation.
We have not yet learnt the precise way by which this has been ac-
complished, although we know that chromatic correction — that is,
from the visual to the actinic — can be effected by a slight separation
of the components of the object-glass. Concerning this, however, we
must wait for further information, which we presume will be forth-
coming on an early occasion, probably at the meeting of the British
Association.
Comparing the diameter of the object-glass with some others, it
will be seen that-, while it is not the largest in the world, still it is
believed that, owing to the perfection of its construction, it -will be
little behind any of them — even the best.
The telescope which it has superseded has an aperture of th-rteen
inches, and, by squaring the respective apertures of the two (784 as
against 109), it will be seen what a great light-grasping power has
been obtained. The scientific world will look with interest for the
revelations that are confidently expected as the result of the work of
this instrument.
MAKING READY FOR EXHIBITION.
It is probably well within the memory of most of my readers that
" full many a time and oft " prints displayed at various exhibitions,
although possessing in themselves many intrinsic merits, have failed
to obtain due recognition of their beauties by reason of the incon-
gruouj, offensive, or detractive setting in which they were shown.
That a judicious choice of mount and frame very largely modifies
the impression which a print gives to the beholder, even the least re-
flective photographer will, without doubt, allow.
Granted that there exists this modifying power, it immediately
follows that an injudicious choice of surrounding must needs exercise a
very deleterious influence upon tbe effict whicli a picture will produce
September 8, 1803
THE BRITISH JODKNAL OF PHOTOGRAPHY.
678
upon tho artistic sense of the spectator. It must not be forpfotten
that wliat is quite pood enougli for tlie common herd, may be vastly
too bad for tho man of exquisite artistic refinement, and of such tem-
prament it is to be presumed most judges, and some of the critics,
belong. This being the case, the ordinary exhibitor, if he desires a
good place well on the line, and also the contingent chance of a medal
— where such guerdons are offered — obviously needs to be superlatively
careful not to transgress any of the canons of good taste when select-
ing a mount and frame for his master-work of the year.
There are many items of advice which might be profitably set
down, but to fully exhaust the subject would need a treatise of itself,
instead of the few lines by the way, whose first aim is merely to im-
press upon photographers to give the question of a suitable surround
for their prints more attention than they in some cases have been ac-
customed to bestow.
Here, however, are some few hints. In the first place, it is to be
remarked that the greatest offence is usually given by violent incon-
gruities of colour between mount and print.
Colours may harmonise — in the sense tliat various slight modifica-
tions produced by addition or subtraction of related colours in a
tint may be termed harmonious differences — or may contrast, as
purple does with yellow. Neither of these juxtapositions produces a
discord.
But when two rival primary colours are brought into immediate
contiguity — say, Antwerp blue and cobalt — a jarring of the eye
ensues, analogous to that which is produced upon the ear by the jang-
ling of music out of tune.
What is true of the two above quasi-primary colours is, although
not so self- apparent, true of the secondary colours derived from them,
and also of the tertiaries, upon which are based the so-called
" neutral tints," which, in most instances, they are far from being.
Many people, without effort, instinctively recognise this clashing of
shades of colour ; but, on the other hand, a considerable proportion
are not quite awake to the importance of the subject, while a large
residue really cannot distinguish between any of the minor modifica-
tions.
To those who are at all in doubt as to the limit of their colour
sensitiveness, I would say, select a white Whatman mount (not
necessarily a rough-grained one), and for frame employ a plain black
reed.
To do this is, to my mind, to eliminate all risk of giving offence.
It is, however, to be remarked, that relying upon such a simple
entourage is sometimes merely to adopt a choice of evils ; because,
although I personally consider that a print of the highest quality in
tone should, as a rule, not only have the juxtaposition of the white
mount, but should be enhanced thereby, there certainly exists a pre-
ponderating proportion of photographs which need some reinforce-
ment of the high lights, some subduing of the shadows, or some
modification in the warmth or coldness of their tone, which cannot
be otherwise attained than by the employment of a specially suitable
moimt and frame.
Thus, if the high lights lack brilliancy, a neutral grey mount will
adventitiously brighten them ; and if the shadows are unduly heavy,
an unusually dark mount will lend an appearance of liglit to them by
force of contrast.
In a similar position may the particular shade of colour employed
in the printing process be modified. Thus, cold tones may be caused
to look warmer than they really are, or hot tones made to appear
cooler ; the danger in using mounts where tints are potently warm or
cold is that their effect is apt to be so discordant and assertive that it
often only succeeds in producing a feeling of disgust. None the less,
used with a nice appreciation of tout emeinbte, the aforesaid are very
valuable. Sometimes the power is well seen by the effect produced
by the misuse of the expedient under discussion. Thus, I was lately
shown a capital portrait which, however, suffered from being printed
in a process which had ensured the rendering of the " female face
divine " in a sickly brown hue, which was the reverse of pleasing.
Pointing this out to my friend, said he, " All right ; lU soon counter-
act that." Next time I saw the print it had apparently turned green,
the appearance being brought about by surrounding it with a brilliant
crimson plush mount. This was my friend's notion of how to
counteract ;_ in reality it was, of course, an aggravation. Crimson
being complimentary to green, an illusory tinge of the latter colour
is, as may be demonstrated by experiment, imparted to the print. It
is no exaggeration to say that relatively small low-tinted pieces of
paper may be so arranged as regards large high-coloured ones, that
the beholder shall not bo able to say what colours the small pieces
are tinted with.
Soine people advocate that a mount and frame should possess the
negative virtue of being quite unnoticeable ; that they should be, what-
ever else, unobtrusive. Tlierc \n without doubt much sound aenae in
this; but what is the definition of unobtrusiveness in the aboTef
That which is very self-assertive in a dwelling-room may look snukll,
mean, even shabby, on the walla of an exhibition.
On the other band, we occasionally find that the bright and
attractive setting, which was well enough in the middle of the shop
window, is, when transferred to I'all Slall, or a similar exhibition,
slightly too gorgeous and demonstrative.
Anyhow, one's frame should not be too bashful and retiring. Its
object, aided by the mount or flat, is, firstly, to differentiate tho con-
tained picture from all the others which are fighting for attention ;
secondly, to strengthen and magnify the picture's beauties. This a
wishy-washy, milk-and-water, humble and lowly arrangement, is not
calculated to do. Here let me stop to add to tho advice I have given
to those who think they lack the needful taste and judgment to go as
they please in the matter another maxim, viz., don't stint yourself in
margin. If two prints from the same negative be mounted on boards,
of which the area of one is twice that of the other, the one on the
larger board will not only present an appearance of greater import-
ance, but will have its pictorial effect considerably fortified. This is
suificiontly well known amongst the more experienced that it not in-
frequently happens, when conditions of exhibitions or of competitions
are drawn up, we find a regulation forbidding more than a certain
maximum margin.
Of course, besides the sel. -evident absurdity of unduly applying the
principle of wide margins io such an extent that we get the appear-
ance of "a postage-stamp in a ten-acre field,' considerations of coet,
both of frame and of wall-space, exercise a wholesome check upon
any tendency to overdo the matter, in addition to which, apart from
any express rule on the subject, a hanging committee, other things
approximately equal, woiUd most certainly be inclined to pass over
any print which is characterised by a wasteful and ridiculous excess
of surround. • Hectob Maclean, F.G.S.
SOAP-BUBBLES IN THE STUDIO.
Of all the beautiful and ingenious toys which have been placed in the
hands of children of late years, it must be said that, either on the
ground of amusement, or the higher level of education, they are
not to be compared with that delightful plaything, the soap-bubble.
Present a little girl with one of Mr. Edison's wonderful dolls, which,
by virtue of a concealed phonograph, can talk, sing, laugh, or cry in
the moat natural manner in the world, the chances are that in half
an hour you will find her nursing an ancient creature with one eye
missing and an internal economy of sawdust. But when do children
tire of blowing soap-bubbles ?
Professor Boys tells us that there is an ancient Etrufcan vase in
the Louvre at Paris, ou the sides of which children are depicted in
the very act of blowing bubbles with a pipe ; but, he quaintly adds,
there are no means now of telling whose .'oap they used. Hence it
is quite certain that the practice of this delightful art is of great
antiquity.
It is small wonder, therefore, that so many photographers should
desire to portray some of their more juvenile clients in this way; but
the mechanical difScuIties are very great, and so far their en-
deavours have frequently met with failure. To begin with, a soap-
bubble itself is not a particularly easy thing to photograph, as many
who have tried to do so will acknowledge; it requites very careful
lighting, and is apt to burst at the critical moment of exposure ; but
the latter difficulty arises from the use of an unsuitable soap solution,
and may be easily overcome by making up a solution as follows: —
Take three quarters of an ounce of freshly prepared oleate of soda,
which can be obtained from any large chemist, and place it in a
perfectly clean quart bottle with a pint and a half of distilled water,
or clean rain water. When the oleate of soda has dissolved, add
half a pint of I'rice's best glycerine, and shake the bottle up ; but the
oleate must be allowed to dissolve without heating the solution, as
this would spoil it to a great extent for making good bubbles. Castille
soap may also be used in place of the oleate of soda, but it does not
answer the purpose so well.
Bubbles blown with this solution are so wonderfully strong and
elastic that they may be tossed about on the coat-sleeve, or on a flannel-
covered tennis racquet, without breaking, and, if the mouthpiece of
the pipe be stopped with the tongue to prevent the bubble from con-
tracting, the bubble will remain upon the bowl of the pipe for a
sufiicient length of time for the photograph to be taken in a
satisfactory manner.
If it is desired to show a bubble apparently floating in the air, as
in Sir John Millais's well-known painting, this may be accomplished
C74
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 8, 1893
in the following manner. A piece of horsehair or exceedingly fine
■wire is bent into a circular loop about the size of a five-shilling piece,
•with a crosspiece of horsehair or wire arranged in the fashion of the
handle of a bucket. If the loop of horsehair is first thoroughly
■wetted with the soap solution, a bubble brought into contact with it
■will adhere to the loop, and can be detached from the pipe. The
loop and bubble are then suspended in a suitable position by means
of a fine silk fibre, -which is invisible in the resulting photograph.
A very good sub.-titute for a soap-bubble may be obtained from
any glass'blower in the form of a thin glass globe, similar to the
silvered balls exhibited in the shop windows at Christmas time.
This, when cemented to the bowl of a clay pipe, is scarcely to be
distinguished in a photograph from a real soap-bubble.
Harby Smith, F.I.O.
THE PHOTOGRAPHIC CONGRESS AUXILIARY OF THE
WORLD'S COLUMBIAN EXPOSITION.
Thk following additional papers were read : —
THE LINE SCREEN PLATES AND THEIR USE.
While I appreciate most highly the honour conferred upon me of
preparing a paper to be read before you on the subject, " Fine Line Screen
Plates and Their Use," I also; fully appreciate that the task is full of
difficulty, and that to treat the question properly much more time than I
can take would and ought to be required.
The manufacture of screen plates has occupied my attention for the
five years past, and necessitated many experiments, and expensive ones,
and required large research; yet the field beyond still seems more
immense than that aheady passed over.
The subject is one requiring much thought and study and constant
experimenting. Without taking up time, I will at once proceed to my
subject, giving, in my own plain way, my impressions and the results
obtained by me, being fully aware that same may be the subject of
much just criticism.
The object of fine-line screen plates briefly stated — their use being
tor the production of half-tone relief blocks for typographic printing.
Screen plates are rulings on glass, having opaque lines with trans-
parent spaces, and can be produced by mechanical means, or by
mechanical and photographic processes combined. In actual use, accord-
ing to the character of the work to be reproduced, screen plates may
have from 65 to 200 lines to the inch, the most generally useful screen
having 130 to 132 lines to the inch.
The screen is for the breaking up of the continuous gradation of light
and shade in a photograph into absolute opaque lines and dots, with
transparent spaces between.
It is not an easy matter to convey to the uninitiated the exact
meaning of the above terras, but it can be easily understood by the
examination of a photograph having a continuous gradation from light
to shade, and a reproduction from same by the intervention of fine line
screen plates. In the latter the picture is exact in facsimile, the im-
pression to the eye is the same as the original picture ; but, instead of
the gradation of light and shade as described above, it will be found to
have an even tint or colour of dark lines and dots, with perfectly white
spaces to correspond, to give the effect of the original picture.
It will thus be seen that by the intervention of the screen, as will
presently be described, it is possible —
First, To make a half-tone negative in absolute black lines and dots
with transparent spaces between to correspond ; and, second, from this
an engraving with an even surface, that when mounted on a block, type
high, is capable of producing the most beautiful impressions known to
the typographic art.
To do my subject full justice, some mention must be made of the
earlier attempts to produce typographic printing blocks. As long ago as
October 29, 18.52, Mr. Fox Talbot took out a patent. He used folded
gauze to obtain a grain. Later on, December 4, 1872 (twenty years
after the above), Walter Woodbury patented the use of " mosquito net-
ting" and "Brussels net," and again in a patent. May 30, 1873, he
claimed the use of fine ruled lines. Lastly, Woodbury obtained a patent,
October 5, 1883, for the use of fine ruled lines, netting, gauze, dots, or
a print from a grained stone.
Of all the above European patents, none seem to have had any practical
yalae, and the first published attempt to obtain relief half-tone blocks by
♦he aid of photography was the patent of Meissenbach in Munich, whose
method consisted in imposing a transparent positive of the subject to
be engraved, in connexion with a sheet of glass covered with diagonally
ittled lines alternating opaque and transparent, and rephotographing this
positive and ruled screen together, and reversing the direction of the
lines upon the screen by inverting the screen after about one-half of the
exposure is completed. This method, with various modifications, as will
be explained further on, is in use by a good many engraving firms to the
present day.
Looking back with the knowledge and trained eye of the present day,
it is amusing to think of the earlier attempts and what ideas were had in
regard to the requirements of a fine-line screen plate. Among the first
partially successful attempts was to rule a copper plate diagonally one
way with fine lines, then from this to pull an impression on fine white
enamelled paper and with black ink ; then from this to make a negative
by the wet or collodion process, having perfectly opaque lines with
transparent spaces, the negative so made being used as a screen plate.
It may be said that at this stage the operator's hopes were mountain
high, and success seemingly assured, only to be dashed to the ground by
unexpected and unforeseen obstacles In the path.
First, The extreme diificulty of obtaining a perfect impression having
pure black lines without breaks or flaws ; and, 2nd, an unsurmountable
obstacle in copying from tlie impressions that was entirely lost sight of
in the anxiety to obtain a perfect ruling, this obstacle being no less than
the nature of the lens itself. To explain, the view of the ruled impres-
sion, on a direct line from the lens, i.e., the centre of the impression, the
lines and spaces were in proportion as the original in the resulting nega-
tive, but, receding from the centre, the spaces were less wide in propor-
tion to the distance from the centre, the result being that from a large
ruling a comparatively small screen could be produced of any value.
Oh, the hopes dashed to the ground ! It is only the enthusiastic workers
that can understand studying and toiling, buoyed up by fond hopes and
fancies, at the last to find some obstacle, not seen or calculated on,
seemingly unsurmountable. Success, though, is a succession of failures,
and tliis was the first real step to success. The next was to coat a per-
fectly flat or crystal plate gla'is with an opaque film, then to cut through
this film lines of various thicknesses and number to the inch, according
to the character of the work intended for reproduction. When this was
accomplished, success was assured ; it can readily be understood that
lines so produced were perfect in proportion throughout the whole
plate.
As to the nature of the film on the glass plate and its list of failures
before perfection, it is out of the province of this paper to explain.
Suffice it to say that, the glass plate having been prepared with the film
as described, it is placed on a perfectly level bed plate of an engraver's
ruling machine and fastened firmly in place.
In the operation of ruling the most extreme care is necessary. Wlien
once the machine is set in operation it must be kept going with an even,
steady motion until the ruling is complete ; any stoppage, even for a
short time, will make a difference in the spacing at that particular place
that can readily be detected on examination.
The cutting tools are diamond points, made so as to cut through the
film, but without cutting or scratching the glass. These tools are made
to cut any width of line desired, and are the perfection of workmanship.
It can be surmised they are very expensive. This screen plate, placed
in front of the sensitive plate in the camera or in connexion with a trans-
parent positive and reversed during the exposure, constituted the first
real success in the making of halt-tone negatives for the production of
half-tone relief blocks.
Screens prepared as described were open to the objection of rapid
deterioration, and especially if used in the camera plateholder in front
of the sensitive wet plate moist with the nitrate of silver solution of the
batu. The solution would get on to the screen, and in a short while
would be spotted and useless. Various means were resorted to to over-
come this serious difficulty, until at the present time the screens are
cemented with a colourless cement to a cover or protecting glass, that
ensures permanency to a great degree.
At the present day there are two well-known methods of manufacturing
origmal screen plates. One is to rule or cut through an opaque film pre-
pared on perfectly flat crystal plate glass ; another is to prepare a wax
ground on the same kind of glass, then to cut lines through this, after
which the glass (laid bare in lines) is etched to a certain depth with
hydrofluoric acid ; this gives ridges or furrows, which, after the glass is
cleaned of the remaining wax, are filled with India ink. This gives a
very intense black line with clear glass for space.
On a first cursory glance it would appear that plates so prepared would
be more permanent or better adapted for the purposes intended, hut such
is not the case ; there are serious difficulties attending their manufacture
any way you will, and of the two well-known methods it would be a ques-
tion to decide between.
September 8, 1893]
THE BRinSH JOURNAL OF PHOTOGRAPH Y.
fi76
►
The defects as they exist in botli methods the manufacturers are, no
doubt, endeavouring by all the skill at their command to overcome. It
should also be borne in mind that at the present day the rapid advance-
ment of this beautiful nrt demands a screen plate that only a few short
years ago would have been considered a marvellous achievement.
So far this paper has only generally treated on the production of single-
line screen plates. The subjects now under consideration will be, the
proportion of opaque line to transparent space and the manner of use to
give the best results.
The cross-line screen plate, how prodnced, the proper proportion of
opaque line to transparent space— manner of use and why, as a screen, it
is the best and most generally used.
The production of screens and the causes leading to it, Ac.
In the use of the single-lino plates the effect of " lines and dots,"
" black lines " more or less wide to represent the detail, and " dots " to
represent the high lights, as seen in the resulting etching or reproduction,
is by far the most truthful and pleasing manner of reproducing with the
single line plate.
Experience has taught that the best method to obtain this result is to
use two single-line screen plates of exactly same number of lines to inch,
but one having the opaque line titrce timex the width of the transparent ;
the other, the opaque and transparent lines equal but running in the
opposite direction.
The use of the screen would be as follows : 1st, a special kit is devised
for the camera plateholder — that will hold the screen firmly and at a cer-
tain distance in frontol the sensitive ph&te; the exposure is given of
sufficient length of time to bring up all detail in the shadows, and the
separation of the screen and sensitive plates should be such that the
opaque lines, resultmg in the higit light* of negative will be of same width
as the black lines of the screen— in other words, the light from the high
lights of picture or positive, passing through the narrow openings of
screen, will spread and make a black line in the negative, as above de-
scribed, if the screen and sensitive plate are separated proper distance ;
while in the middle tones the black lines will be more or less wide, ac-
cording as the detail is light or dark.
A negative made in the above manner, while giving an exact reproduc-
tion, would lack contrast; the highlights being represented by very
narrow black lines would not be as light as they should be ; these lines
must be broken up i/ito dotx, and to do this the screen with even lines
must be brought into use. After the exposure, as described, the plate-
holder is taken to the dark room and placed with the back or door to the
wall — remove the slide — take out the screen and in its place put in the
one having even lines — an exposure now should be given to simply cross
the lights — no more, or the reproduction will lose in detail and be too
light.
The foregoing is the true principle of obtaining a correct reproduction
of an original by the use of single-line screens. The elements to secure
success being that the operator understands thoroughly the old wet-plate
or collodion process of photography, as all negatives for this or any en-
graving method should be made with wet plates.
In the use of the single-line screens it will be seen there are two expo-
sures, the plateholder must be removed from the camera taken to the
dark room and the screens changed ; if the special kit holding the screen
and sensitive plate is firmly held in place, and the plateholder fits snug
on the camera box, there will not be a particle of danger of movement of
the sensitive plate already having one exposure, and the results, if pro-
perly done, are elegant. Yet the time taken up in making the two ex-
posures is considerable. The risks of getting a perfect negative are nearly
doubled from what it would be if one exposure only was given ; and in
these days of sharp competition, when work must be finished with dis-
patch, any saving of time is a great boon. Therefore a method devised
of obtaining results equally as good, if not better, with one exposure was
a great advance.
The discovery of the cross-line screen plates marked a new era. The
results were found to be as a rule far superior, and the chances of failure
from the fact of one exposure considerably lessened.
How Produced.
If the glass is covered with a wax ground, the lines cut through this,
then etched with hydrofluoric acid as described, then it would be neces-
sary to rule either two plates in the same direction and when brought
face to face the lines would cross at right angles, or, after ruling the plate
one way diagonally, to turn it about and rule it the other way so the lines
would cross at right angles on the same plate, the latter process or
method having the disadvantage of being liable in the etching to eat away
the corners of the intersection and not fill properly with the ink, most
likely in iioUted plaoei, thoa making the working of the plate somewhat
uneven. In the other method, or where the linei are cnt through an
opaque film, luooesg depends, lat, on the evenness of the film ; '2nd, on
its character ; if too brittle, ragged edges would be the result ; and, 3rd,
on the tools employed in cutting the lines ; two plates would have to be
ruled singly and in the same direction, then brought face to face.
The ruling machine nsed for the purpose mnst be as perfect as me-
chanical ingenuity can devise — any deviation in a line, no matter if »
hundredth or one two-hundredth of an inch, can be instantly deteoted on
examination.
The proportion of black line to transparent space in a cross-line
screen : —
In reproducing a subject when the reduction is great, or when the
light parts are very strong as compared with the shadows, a screen in
which the proportion of opaque lines predominate would give the best
result ; but the most generally useful screen would be prepared as fol-
lows : Take two single-line screens ruled exactly alike, diagonally, in
same direction, and in which the opaque line is one-half the width of the
transparent ; bring them together face to face ; the lines will then cross
at right angles, and the transparent spaces will be e<inal in area to tlie
opaque lines. This will make the most generally useful screen for all
purposes, the manner of adapting the use of the screen to different sub-
jects being well known to the professional negative-maker.
The manner of use or action of the cross-line screen, as will be seen
from the foregoing description ; the opaline lines cross at right angles,
making a square transparent opening. To illustrate tlie working : Pat
the screen and sensitive plate in the plateholder, separated the proper
distance ; place in position on the camera, point the lens to a white card,
and make the exposure. If properly timed, the light passing through
the transparent openings of screen will not form square, but round, black
dots in the negative, and will joint solidly at the edges, leaving the inter-
sections of the line as a transparent dot. This white card would then
represent the high lights of a picture. It is evident, then, that in the
detail these black dots in the negative would be more or less large
according to the gradation of light and shade in the picture, while in
parts of subject having black without detail there should be no opaiiae
dot whatever.
The reproduction of screens and causes leading to it : —
The nature of screens reproduced by photographic means : -The
making of an original screen, not only from the difficulty attending it,
but the very expensive outfit required, makes it necessary to charge what
would seem to be an exorbitant price for them. Nearly five years ago
thewriterof this conceived the idea of manufacturing screens, first making
an original, then reproducing from it, and at a price within the reach of
any good engraver. At that time good workable screens could not be
had at any cost, and the number of engravers in the United States
making halt-tone reproductions could be counted on the fingers of one
hand. This seems an exaggeration, but it is literally true.
Look at the half-tone work of to-day and the countless numbers en-
gaged in it ; see the beautiful reproductions, artistic in every sense of the
word, that are being done with the use of the fine-line screen plates and
the half-tone process, and may I not feel a pardonable pride for my shore
in the advancement of this beautiful art ?
The impossibility of obtaining original screen plates, and the great
demand created for them as soon as their possibilities once became
known, led to formulating the following reproduction process as worked
by myself for the last four years : —
First. The original screen plate is made by the method described, of
first coating a prepared glass with an opaque film ; the lines are cut
through this diagonally, one way only, the cut or transparent line one-
half the width of the opaque. Whether an original would have eighty or
up to two hundred lines to the inch, the relative proportions for practical
working should be the same. The original being prepared, the next im-
portant step is the selection of the glass for the reproduced screens. It
is absolutely necessary that the glass be crystal plate, perfectly flat, and
without bubbles or scratches, and best if about one-tenth of an inch in
thickness. This is prepared as collodion dry plates. It was not without
many failures and discouragements before a suitable method could be
formulated, one that would give an intense black line with clear glass lor
space, and, though finally got, yet it requires the most extreme caie,
failure will result.
The original screen and sensitive collodion dry plates are placed in
absolute contact ; one exposure is made ; the plate is then tamed and
another exposure given with the lines crossing at right angles. The
plate is then developed, fixed, and intensified, and after washing and
drying is ready for sealing to a cover or protecting glass.
676
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 8, 1893
In the method just given for reproducing by making two exposures to
obtain the cross lines, the cross section, or where the lines cross, is
somewhat enlarged, so that the transparent opening is not exactly square ;
and for this reason, provided the lines are perfectly opaque, and the
openings or spaces transparent, it makes a very much better irorkiiig
screen than the original itself, giving more of the effect of a well-shaded
photograph, and without a certain harshness peculiar to a reproduction
with a screen having the lines cross with sharp angles.
It is a notable fact that, if a screen could be prepared with the
transparent openings round and in the proper proportions, it would give
the most pleasing effect and be much the easiest to work, but such
screens could not be made commercially. I succeeded at one time by a
process of copying to obtain such a screen, but it was before the days of
sealing. I used it as long as I was able to preserve it, but from that day
to this I have not had time to make another.
It might be argued that the film of collodion on a collodion dry plate
would be some obstruction to the light, but, if clear as it should be,
between the lines it will be as transparent as the glass itself, and so thin
that it could not possibly be any obstruction.
I could readily enlarge on the subject at hand, but feel that already too
much time has been taken and that my paper should come to a
conclusion.
I thank you all for this opportunity of explaining principles thai
generally are very far from being understood, and I trust that in so doing
I have not been irksome to you. M. Wolfe,
"COARSE-GEAINED NEGATIVES'
THEM.
-HOW TO PEEVENT
It is an acknowledged fact that there is a difference between the grain of
a highly sensitive plate and one of a lower degree of speed, but from
experience I have found that this difference need not be so great as is
generally supposed, unavoidable.
Ex.reme care in the manufacturing of the emulsion is necessary to
prevent it. Without this great care there may be great sensitiveness, but
tiere will be coarseness. From such plate it is impossible to get a fine-
grained negative, but it is possible to get a coarse-grained negative from
a fine-grained plate.
After years of observation I have noticed that as a rule photographers
make a better class of negatives during the cooler months than through
the hot season. The grain of the negative is finer and the general
appearance cleaner. The reason may appear obvious. Use ice, some
one will say, and all the difficulties will be overcome. The suggestion
is good, but it does not fill all requirements. The negative may appear
without fiult up to the time of putting on rack to dry, and still when you
ex<»mine it after drying it does not possess the quality you expected to
find. The reason is, that during the sultry days of the summer the drying
of the negative takes several hours, the gelatine film becomes partly
decomposed, allowing the particles of silver bromide to come together,
they having an affinity for each other, the sack of gelatine which kept
them apart being partially destroyed, forming coarse particles. The
negative has then a woolly appearance.
All negatives have the finest grain and appear the cleanest immediately
after fixing. What we want is to retain this quality when dry. How
shall it be accomplished during the hot season, when everything is warm
and the drying so prolonged? My method is as follows :—
I have a small ice box for my developer made like this : [Illustration
omitted] in which are the two stock solutions. When I mix the developer,
I take enough ice water to bring it to about 60° Fahr. I first rinse out
my tray with ice water, then develop the plate : the fixing bath also is
kept cool. If the water I wash my negatives with is too warm, I simply
rin«e with it and allow the negative to soak in cool water in a grooved
box about one hour, changing water two or three times. Then I rinse
once more and put on rack to dry. Between this point and the time when
the negative is perfectly dry, it is liable to injury during the summer
months when the atmosphere is 90° or over and often very humid, taking
eight to ten hours to dry perfectly, thus changing the density and pro-
<lucing coarse grain. I have seen negatives that were developed, fixed,
and washed in the evening, having wet patches on them the next morning.
They were taken to another room to perfect the drying. The consequence
WAS, where the drying commenced to be more rapid, there was at once a
change of intensity, ruining the whole lot.
It is important, therefore, that the negative should dry as quick as
possible, in as cool and clean air as can be had. The best arrangement
1 have seen for this purpose is now being used by one of the most
eminent photographers in this country, Mr. M. J. Steffens, of Chicago.
It is a small electric fan, by the use of which the negatives can be dried
in half an hour or less. Connexion is made to a sixteen- candle lamp
wire.
Just a word md-e as to another cause of coarseness. It may be pro-
duced by using a developer too strong in alkalinity. A strong alkali has
the same effect upon the film as less soda with heat. M. A. Seed.
OBTHOCHROMATIC PHOTOGRAPHY AND ITS PRACTICAL
APPLICATION.
It is very evident that the prominence given to orthochromatic photo-
graphy at this World's Congress of Photographers reflects the growing
interest in the use of colour-sensitive plates, not only to produce mono-
chromatic results from nature and the production of the artist, but a
close realisation of that long-sought desideratum^photographs in the
colours of nature.
Since the first intimation by Col. Waterhouse for the use of dye-eosine
in collodion to overcome the inability of the collodion process to render
other than the blue and violet rays of the spectrum, scientists have
worked assiduously to overcome the difficulties that were inherent in the
old wet, and the dry-plate process of the present, and to no one are we
so much indebted for the present success in orthochromatic photography
as to Dr. Hermann Vogel of Berlin. We owe also much to the research
of Mailman and Scolik of Vienna, Bothamley of England, and others we
might mention, who by their liberal contributions to the literature of
orthochromatic photography have done much to aid those who have
made it their business to produce commercially the plates for the photo-
grapher's use.
The dyes now generally used, either by mixture with the emulsion
before coating the glass plate or celluloid film, or dyeing the ordinary
gelatine plate afterwards, are eosine, erythrosine, rose bengal and
cyanine, the latter we believe but rarely used, owing to the unsaleable
character of the plates made with it. To the above may be added
axaline, a compound of Dr. Yogel's invention, said to consist of chinoline
red and cyanine blue.
Orthochromatic photography has had its greatest advocates in Ger-
many and Austria, in the reproduction of works of art in monochrome.
Since the introduction by myself, in 1885, of orthochromatic plates, the
use both by the amateur and professional photographer has had a steady
growth. The intelligent amateur, as seems to be always the case on the
introduction of any improvement in photography, was the first to test
its merits, then the professional copyist of art works took hold of them,
and their results now vie with the best products of Europe.
The professional photographers of America were the last to take hold
of and use the orthochromatic method, and the wonder to me is tliat
they are not more used by them. One reason is, I believe, a want of
acquaintance with the orthochromatic plate, and with many the idea
prevails that a colour screen must be used under all circumstances ; this
arises, it seems to me, from an unwillingness on the part of photo-
graphers to read the literature provided for them on the subject, which,
if read, would make many things plain that they remain in ignorance of,
and, as is often the case, lose business for want of the little knowledge so
easily acquired.
It is, however, very pleasant for me, as a manufacturer of orthochro-
matic plates, to say that since 1891 the irw^reased use of these plates has
been very large as compared with the time of their introduction in
America up to that date.
The use of the colour-sensitive plate may be used under all conditions
when a plain bromide plate has previously been employed. Its use is to
harmonise contrasts, whether in the dress of the sitter or a view from
nature. Greens and yellows are rendered with more detail and colour
value, while blues and light reds in drapery are given their proper
colour value instead of being rendered lighter in the photograph, as is
common on the ordinary gelatine plates.
The Colouk Screen— Whex and How to Use it.
For ordinary landscape work a very light yellow screen is all that is
necessary, a dark yellow or one of orange shade would falsify distance.
The most suitable place for the colour screen is at the back of the lens
board, sliding it in two grooved cleats, and should be placed in position
when focussing. A screen of such a tint as this one would require an
increased exposure of four to six times, depending on the state of the
atmosphere, the yellower the light the shorter the exposure, and towards
evening may be dispensed with ; the value of a light yellow screen is best
shown where the vi-jta is slightly hazy, or where the clouds are included
September 8. 1893]
THE BRITISH JOURNAL OF PHOTOORA.PIIY.
677
in the view. Their outlines and lorms will be muoh better rendered in
the negative.
Use of Scbeens in Copying Paintinos.
In this class of work tlie selection of the proper coloar screen ia of
more importance than in landscape work, and the photographer should
be provided with two or three, ranging in tint from a moderately strong
yellow, medium, and dark orange. Paintings are best photographed in
direct sunlight, and by examining the painting through the colour screen
it will not be difficult which one of the screens to select. For instance,
take a modern French painting, consisting of light and brilliant colours,
a yellow screen will answer ; but with a German or English painting,
containing strong reds and dark blues and green, we would select an
orange-colour screen, and correspondingly increase the time of exposure.
It may astonish some of you to learn that as muoh as ten minutes'
exposure ia given in direct sunlight on paintings that are old or painted
in strong colours.
Photography in the Coloces op Nature.
The objective point that has been striven after for years seems w
near of being accomplished. I do not mean the actual photographing of
either objects of nature in colours, but through and by the agency of the
orthoohromatic plates. By the patient and scientific research of Dr. H.
Vogel, of Berlin, and Frederick E. Ives, of Philadelphia, the first as
achieved by triplicate negative and a like number of superimposed im-
pressions, reproductions of objects in colour so true to the originals in
colour as to be quite a commercial success, and in this country is being
carried out by Mr. Kurtz, of New York. Of Mr. Ives' work I have seen a
great deal ; it differs in result from that of Dc. Vogel's in that the final
picture is a triple image — a positive — on glass, viewed through three
colour screens in an instrument invented by him, called the heliochromo-
soope, and the object as viewed is seen in all of nature's brilliant
colouring.
CoLOUB Photography (so-called)
la now achieved by miking three negatives of the object on orthochro-
matic plates through three different colour screens, viz., violet, green,
and red. I have here samples of such colour screens. In printing by
the collotype, or half-tone block, as in Mr. Kurtz's work, inks in the three
primary colours are used, viz. , blue, red, and yellow. The proper selec-
tion of tints, however, is a very important matter. Eeproductions by this
method are shown in Mr. Kurtz's exhibit in the gallery, northjend of
Liberal Arts building.
Developing of Orthochromatic Plate.
The same developer as used for the plain plate may be used for the
colour-sensitive plate, except that we find it best to use it slightly diluted ;
as the colour-sensitive plate more readily takes on density, and the
exposure should always be generous, it is necessary in order to get full
colour values.
Keeping of Orthochromatic Plates.
A certain amount of doubt as to the keeping qualities of orthochromatic
plates has been disseminate! in this country. I cin only say, with
regard to those of my own mivke, that I have evidence of many cases
where they have yielded perfect results from nine months to a year and
more after leaving the factory. Plain plates orthoehromatised by th<»
bathing process, writers tall us, are not to be depended on over a few
weeks. From past experience I am led to believe that plates from a
proper orthochromatic emulsion have as good keeping qualities as the
plain plates from same emulsion.
In conclusion, I may say that I am firm in the belief that colonr-
sensitive plates will in tima replace the plain bromide plates, as the latter
has the old wet-collodion. Jon.'i Cabudti. ^
MEDICAL PHOTOGKAPHY.
I HAVE often wondered that the art of photography is not more generally
employed in the interests of the medical profession. Those who teach
the various sciences included under the one general term of medicine can
not fail to find it a most valuable assistant. This is so clear that I will
not linger longer in discussing it ; let me rather say that the disfavour
with which photographic attempts in medicine have been regarded by the
medical profession is directly due to the poor work which has been done.
These poor results have been made by photographers who were either
ignorant of what the physician's eye would seek for in the picture, or so
poorly skilled in the art of selecting and lighting the right kind of subject,
that failure was inevitable.
In medical, as indeed in all other kinds of photography, the first step
towards niccess ia to know what to Wkr, what not to take, and bow to
poae and light the aubject to be taken. For instance, all portions of the
human body that are not too complex in Btructore, and have deddad oat-
lines, with well-marked contrasts of colour, will be good subjects for the
camera. Bonea, either healthy, diseaaed, or fiaotured, and with or with-
out the ligaments belonging to them, photograph welL I may here say
that I waa once called upon by a professor of obstetrics to make a set of
negatives of the various planea and straits of the female pelvis. Enlarged
prints from these negatives wore then made, and very auccessfally used
for class demonstrations. Being enlarged to rather more than life size,
the smaller details could be easily seen, even from the farthest comers of
the lecture-room. In doing work of this kind, which ia intended to show
only certain portions of the bone, and no more, the camera mnat be
directed with absolute accuracy ; otherwise the student would receive a
wrong impression. Photographers ignorant of anatomy will not easily
recognise the importance of what I allude to, and they must be prepared
to have their early efforts in this direction sharply criticised by their
medical clients, who will naturally expect scientific accuracy as the first
desideratum. The photographer should always demand the fullest in-
atructions from the medical man as to what the finished photograph is to
show, and how much subject is to be included.
As I before hinted, all deformities and diseases that are striking to the
eye make good photographic, subjects. I have succeeded well with
children with hydrocephalic heads, or with advanced cases of black gan-
grene of both feet, and with cases of advanced starvation. But the
interior portions of the body are more difficult to photograph satisfac-
torily, th3 various organs crowding one another too closely, and being too
nearly of one colour, or (what amounts to the same thing) of the same
actinic effect upon the film. To produce really effective photographs of
diseased abdominal or thoracic organs, I should recommend the stereo-
scopic camera, and orthochromatic plates, which, at least, give better
marked contrastj in the different colour values. The anatomical rela-
tions between the different organs will be admirably brought out in the
stereoscope, but care must be taken not to separate the lenses of the
camera too widely, and thus produce exaggerated perspective.
It is hardly necessary to add that there is no advantage in nsing the
stereoscopic camera for such a thing as a skin eruption on the breast or
back ; these, and other flat portions of the body could be as well photo-
graphed with the single camera.
Enthusiastic medical men, who take up photography with the idea that
it is a mechanical sort of thing soon learned, will find their results quite
unfit for use or for show, nnleaa they are willing to learn a little of the
principles of posing and lighting in photographic portraiture. Theae
principles can best be learned in the portrait gallery itself, though there
is no want of excellent text-books that explain the matter. To thoae
ignorant of these things I may give the following example: Supposing
the subject to be a man with a large lacerated wound of the left side, and
that he was set in a chair with the wounded side toward the window of
an ordinary room, the camera being set in front of him ; what sort of a
photograph would be obtained? The patient's body would be divided
into the two portions vertically, the one greatly over-lighted and the
other corrcspondiagly under-lighted and black. The delicate and im-
portant details in the wound would be " burnt out " by the light, while
the whole of the right side would be smudgy and without detail. Far
better results would be obtained by so posing such a subject that a soft,
even light from the north falls upon the head and body at an angle of,
say, forty-five degrees. A properly arranged skylight will make this
easy, and judicious exposure and development will give a clear, rotund
image of good printing quality.
To photograph a sick or wounded person by the magnesium flashlight
would not only increase all the photographic difficulties, but be injoriously
exciting to the sufferer.
There is a very extensive and interesting field in medical photography
open for microscopists, particularly in the enlarging of microscopic
objects for use in class teaching and lectures. I should certainly prefer
an illuminant of unvarying power, such as the electric light, for this sort
of work, but I cannot here enter into the question as to the desirability of
direct versus diffused lighting. Different subjects, as I said before,
require different treatment ; but I can aad do advise the nse of low-
power objectives rather than high onej as giving greater depth of focns
or *' reach," and being also in other ways easier to work with. The time
of exposure and development must be found by experiment. A simple
yet effective apparatus may be fitted up as follows : — After taking out the
eyepiece end of the microscope, level the body of the instrument, and
insert the eyepiece end into a small camera, say, for plates 5x4 inches,
and make the connexion light-tight with a bit of black velvet. The body
578
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 8, 1893
of the microscope must now be so directed as to come opposite the centre
spot of the ground glass of the camera, and stand exactly at right angles
to it ; or, in other words, the whole photo- micrographic apparatus must
be in a right line axially. The slide is now inserted and focussed upon
after the lighting, whether reflected or transmitted, has been seen to. A
want of sharpness in photo-micrographs is, perhaps, more often owing to
improper lighting than to any other cause, except the use of too high-
power objectives. It will be found convenient to stretch a thin, strong
cord around the large focussing screw of the microscope and carry it back
to a spool or similar arrangement set on the board supporting the
apparatus at the right of the camera, and within easy reach of the hand.
A cheap and efficient sulphate of copper cell can be made with two pieces
of plate glass, say, four inches square, and a rubber ring one-eighth of
an inch thick. The ring is laid on one glass, and a few drachms of
ammonio sulphate of copper solution poured on. The other glass is then
laid down, and the two strongly clamped together by two pairs of short
laths made of hard wood, connected by screws. In all this class of work
I should advise that soft negatives with plenty of detail be aimed at
rather than vigorous ones with great contrast. The soft negative is
more useful for slide-making and enlarging, besides which it is much
easier to intensify a thin negative satisfactorily than to reduce one in
which there is too much contrast. I do not like the action of reducers,
and avoid them as much as I can.
The peculiar walk of certain forms of nervous disease might be
registered if a full battery of cameras with chronometric shutters was at
hand. I need hardly say that such apparatus is very expensive, and
requires the greatest care and skill to manipulate. Animal locomotion,
as it is now termed, is within the range of possibility from the photo-
graphic point of view ; but, aside from the value ot such pictures as
triumphs over technical diificulties, it may be doubted whether they are
worth the trouble and expense of making from the medical standpoint.
I may repeat in closing that suitable subjects suitably lighted should be
chosen, and those avoided that offer no chance of success.
Ellekslik Wallace.
ISOCHROMATIC PHOTOGRAPHY.
Among the great discoveries and achievements that characterise our
present century, and have accomplished results never before dreamed of
and formerly deemed impossible, photography holds a prominent place
in practical utility and as a helpmate to art and science.
Portraiture has been brought to simplicity, and in the fraction of a
second we can secure the features of those who are dear to us. Foreign
countries and nations are brought to our sight in pictures produced by
the camera ; movements of animals, too quick to be distinguished by the
human eye, are truly and accurately recorded by the highly sensitive photo-
graphic dry plate ; the stars are photographed, as well as the minute bacilli
and bacterifB whose multitudes inhabit the drops of water and the cells of
animal life, and which in many instances are the causes, heretofore
unknown, of diseases.
Since photography has rendered it possible to secure the rays of light
to the sensitive plate, it has been the aim of scientists and practical
workers to bring it to perfection, and the greatest improvements have
been achieved in the preparation of dry plates ready for use and of the
utmost sensitiveness. The great desideratum, to obtain photographs
in natural colours, is now brought in the reach of possibility, as
shown by the fine specimens of reproductions which are on exhibition in
the photographic department of our great World's Exposition, and the
time may not be far distant that portraits and landscapes are photographed
in all the beautiful tints and colours as seen in nature. The most
important step in this direction was the production of colour-sensitive
plates by which one of the shortcomings of photography is corrected, that
is, the insensitiveness of the ordinary plates to the yellow, orange, and red
colours, which cause these colours to appear much darker, while the blue
and violet appear much too light in the ordinary photograph.
The aim of isochromatic or orthocluromatic photography is the
production of plates equally sensitive to the different rays ot the spectrum,
so that in the monochrome of the finished picture all the colours are
rendered equally correct in their respective values.
This colour sensitiveness is obtained by the addition of certain
ingredients, mostly of the cosine group of analine dyes, to the sensitive
bromide of silver emulsion, and the plates so prepared are called
isochromatic or orthochromatic plates.
A great drawback to the introduction ot the isochromatic plates into
general use has been the necessity of a colour screen in order to obtain the
isochromatic effect. A yellow glass had to be placed before or back of
the lens, or a yellow pellide in place of the diaphragm, to filter the light,
and to subdue the greater actinic power of the blue and violet rays. The
isochromatic effect being increased in the same proportion as a screen of
deeper yellow colour is used, it necessarily follows that the required
exposure is prolonged in the same ratio and to such a degree that the use
of a colour screen for portrait work and instantaneous exposures is out of
the question. If the yellow screen is not perfectly even in structure and
thickness, and absolutely plain, it will cause distortion of the image by
aberration. Change of chemical focus and reflection may also be caused
by its use, and therefore it is apparent that plates which produce the
most isochromatic effect without the aid of a colour screen are the most
valuable. As such plates can now be obtained which combine great
rapidity with good colour sensitiveness, and are no more difficult to work
than ordinary plates, their advantages should be appreciated by the photo-
graphic fraternity.
In portrait photography the blue eyes, auburn hair, are rendered more
truthfully ; imperfections in the complexion, such as freckles, are less
noticeable ; and dresses of any colour are photographed correctly, so that
ladies need no longer consult the photographer as to what colour of dress
to wear when having their pictures taken.
In landscape photography the main advantage of the isochromatic plate
is that distant objects are photographed much more distinctly than with
the ordinary plates. A slight haziness in the atmosphere is neutralised
by the use of isochromatic plates, while an ordinary plate would not
produce any satisfactory result under the same circumstances. White
clouds in a blue sky can not be photographed except with the isochromatic
plates, and how much clouds add to the beauty of a landscape is known
by everybody. In sunset scenes the superiority of the isochromatic platea
is as apparent as in the autumn landscapes, with their wealth of yellow
and orange-tinted foliage.
In seascapes or marine views the horizon is not lost, water and sky
being properly rendered.
In commercial photography the instances where isochromatic plates
should be used are too numerous to mention. Wood work, which is
generally of a yellowish tint, is photographed more perfectly ; inscriptions
on waggons, railroad cars, samples, floral designs, &o., which may
not show at all when photographed with an ordinary plate, are perfectly
reproduced.
Now, for the copying of paintings in oil or aquarelle nothing but an
isochromatic plate should be used, and its advantage for this class of
work is most strikingly apparent. In an old oil painting the lights are
generally yellow, while the half tonrs are of a bluish tint. It is impossible
to obtain a good copy of such a painting with an ordinary plate. Plates
of full isochromatic effect are necessary for this purpose.
Another advantage of the isochromatic over the ordinary plate is its
greater sensitiveness when the light is yellow, as is frequently the case
in fall when the sky is cloudless, or in photographing by gaslight.
I have now said enough of the advantages of isochromatic plates, and
beg to be excused if I have made statements ot facts supposed to be well
known; but the isochromatic plate being undoubtedly the plate of the
future, it seems to me that its full value should be more generally under-
stood and appreciated. G. Cbameb.
A WEEK'S TOUR IN THE BORDERLAND.
Now that the excursion season has commenced in good earnest, and the
many votaries of the camera are preparing to take their annual holiday,
a few words on a district liberally supplied both by nature and by art with
a wide and varied choice of subjects for the photographer, may chance to-
prove not less serviceable than they are timely.
The region referred to comprehends that portion of the Scottish Borders
which is included within the shires of Roxburgh and Selkirk.
It is doubtless tlie case that of the many places of interest in those •
counties some are already over familiar to most field-workers, by reason
of their lying directly in the beaten parts ot the tourists ; but it is no less
true that a large number (including many spots ot much historic anil
artistic interest) are hidden in out-of-the-way corners and unfrequenteii
by-paths whither the mere visitor is of all persons the least likely to find
his way.
The following brief sketch of a week's tour in those parts is intended to
serve as a daily outline for the itinerant photographer, by showing him
how best he may utilise the short time at his disposal.
For his first day's excursion, let him take the train in the early morning
to RiccartonJunction. A four inile^,' walk over the hills will bring him to
the famous castle of Hermitage, the ancient seat of the Douglas family. On
his way thither he will do well to halt tor a few minutes on the Nine-Stane-
Rig, where there are still some remains of the circle of standing stones from
which the hill takes its name. Here, if song and tradition may be believed,
the refractory vassals of the tyrannical Lord Soulis executed summary
vengeance on their master in the painfully original manner related iii
September 8, 1803]
TIIK imiTISH JOURNAL OP PHOTOGKAPHY.
679
Ijeyden's celebrated ballad. This oiroamstanco may serve some as an
exouso (or perpetuating a rather unpioturesque spot m gelatino-bromide.
Having descended from the heights, the tourist will find himsoK in the
valley of the Hermitage Water. Bv taking a westward course, and
following the windings of the stream for his guide, a short walk will bring
him to the castle, which stands on a grassy platform on the northern
bank.
This massive and venerable pile is comparatively unknown to the
general tourist. It is, nevertheless, perhaps the best and most entire
example of an early Border castle now existing in Scotland, its only
possible rival being that of Ca»rlavorook in Dumfriesshire. The natural
dignity of Htjrmitage is greatly increased by its lonely situation in the
midst of a region singularly bleak, flat, and desolate, and by the bold
Bimplicity of its architecture, which is that of the beginning of the fifteenth
century, with some small remnants of earlier work, and a few additions of
a later date. The whole forms an excellent subject for the camera, and
several plates may be here profitably expended.
If he go expeditiously to work, our photographer shonld have no
diflioulty in re-arriving at Biccarton in time to catch the early afternoon
train to Hawiek. This done, let him w.ilk or drive to Branxholm Castle
(the Brank?ome Hall of Scott's Marmion), distant about three miles to
the south of the town. On his way thither, just as he begins to ascohd
the hill that lies at the farther end of Hawick, he will notice an interesting
bowl-shaped barrow standing in a garden by the wayside. This memorial
of prehistoric times is locally known by the name of the "Mote." With a
little trouble a spot may be found whence a satisfactory negative of this
curious rehc may be obtained. Further on, upon the summit of a little
hillock on the left side of the road to Branxholm stands the old peel-tower
of Goldielands. The building is of small size, and without pretensions to
either architectural or historical interest ; but as an example of the most
common type of fortified dwelling-house it has some little claim on the
attention of the visitor.
Branxholm Castle, though much moclBrnised to adapt it to the
purposes of a nineteenth century residence, still retains many features of
its original condition. An ancient ivy-clad tower, abutting on the
western gable of the more modern portion, remains almost intict.
Under ordinary circumstances, the building is not open to the inspection
of tourists, but an excellent picture of the exterior may be obtained from
the southern bank of the Teviot, near the suspension bridge. Having
returned to Hawick, our photographer will probably be inclined to
devote the remainder of the evening to rest and refreshment. Should
he, however, prefer a pleasant country walk, he will find Harden Hall, a
picturesquely situated old mansion, distant about four miles west of the
town, well worthy of a visit. He should pass the night at Hawick, and,
in the morning, proceed by rail, via St. Boswell's Junction, to Jedburgh.
He may profitably devote the whole forenoon to an examination of the
magnificent remains of Jedburgh Abbey. It was founded in the year
1118 by David I. of Scotland, and is a noble example of the Later
Norman style of architecture. Many excellent negatives can be obtained
here. The western and cloister doors are particularly worthy of the
attention of the photographer, and a good general view of the whole
extent of the edifice, witli a river foreground, may be had from a spot on
the banks of the Jed, a little south of the precincts.
In the afternoon the tourist should pay a visit to Fernieburst Castle,
situated a mile and a half south of the town. This interesting building,
which has been lately repaired and partially restored, is chiefly of
sixteenth century date. Though of less importance than Hermitage, it is
not wanting in the elements of the picturesque, and makes a good subject
for the photographer.
The remainder of the day may be spent in examining the Watling-
street, the ancient Roman road from Northumberland into Scotland. It
passes about two miles to the east of the town, whence it may best be
reached. At the point where it crosses the Oxnam Water, a Roman
station has been discovered in recent years, the remains of which have
been partially excavated. Tlie foundations and ground plan of several
buildinsjs may be seen within its area. A number of interesting
antiquities have been discovered in the vicinity.
The visitor shonld pursue the Roman way northwards to Bonjedward,
where it crosses the Teviot. Here he will get a train back to Jedburgh.
In the course of his walk he will, weather permitting, find many
favourable opportunities for employing his camera.
The next morning he should proceed by rail to Kelso. He may
utilise the short time spent in waiting at Roxburgh Junction by photo-
graphing an old building known as Sunlaws Tower, which overhangs the
River Teviot beneath the railway embankment. On reaching Kelso he
will naturally devote some time to photographing the ruins of the
Abbey.
This, another of the monastic foundations of King David I., dating
ten years later than the Abbey of Jedburgh, is also a fine specimen of
the Norman style. It is, however, much less perfect in its plan, a large
portion of the edifice having been demolished. The pedimented porch
in the northern wall is of uniqus character, and its rich details make it a
suitable study for the camera.
Having finished his work in the town, our photographer should pro-
ceed on foot to the hamlet of Crosshall, which lies within the border of
Berwickshire, about six miles northward of Kelso. Here he will find an
antique cross, on the shaft of which are sculptured the figoies of a
knight and a greyhonnd. Iti origin U itUl a matt«r of dalwta among
arcliicologists. Reiiuming his walk, he will reach Hume Caatle, two
and a half milea westward of Crosshall. The building is of some
celebrity in the annals of Border warfare, and is a prominent object in
an otherwise flat landscape. Our photographer ihoold have no diffionlty
in getting several good negatives here, after which, by taking the
southward road, a walk of five miles will bring him back to Kelso.
The next day, leaving Kelso, let him take the train to Melrose, and
spend the forenoon in photographing the oft-depicted abbey. B7 ex-
ercising a little judgment, he will be able to obtain a number of pietores
of the ruing which shall possess some measure of individuality. Aft«r-
Wirds, passing through Newstoad, a quaint village remarkable (or the
number of its sundials, a five-miles' walk alongside and across the Twe«d
will bring him to Dryburgh Abbey, beautifully situated in a wooded nook
by the waterside. Both here and on the road hither he will meet with
many picturesque " bits," which will keep him busy for the best part of
the afternoon. From St. Boswell's Junction, a mile distant, he may
return by rail to Melrose in time to pay an evening visit to the Eildon
Hills.
Next morning, crossing the Tweed to Gattonsidc, a suburb o( Melrose,
and taking the eastward road that runs parallel to the river, a walk of an
hour and a half will bring him to Smailholm Tower.
This old fortress, situated on the summit of an irregular and rocky
hill, is a conspicuous landmark throughout the length and breadth of the
shire. It is a good example of its class, in better condition than are the
majority of the neighbouring strengths, and, naturally picturesque in its
outlines, is still more so by its situation.
The afternoon may be employed in visiting Abbotsford, distant! two
and a half miles westward of Melrose. Should the visitor desire to
photograph the house or grounds, he ought to seek and obtain permission
to do so some days beforehand. By neglecting this, he is likely to meet
with a refusal.
The last day of the tour should be spent in visiting St. Mary's tiooh in
Selkirkshire. This may best be done by journeying by rail to Selkirk, and
there taking the coash which, at regular intervals, conveys passengers to
the loch.
The spot is one of great n vtural beauty, and a day's ramble in the
vicinity will aff jrd the photographer many opportunities for exercising
his artistic taste.
He will thus be enabled to add to his already extensive pictorial series
a number of views of an interest apart from their historical associations,
and to bring to a close, in the very heart of the Borderland, a holiday
tour which, should he enjoy favourable waather, cannot fail to prove both
pleasant and profitable. Matthew Wilsos.
CENTRAL PHOTOGRAPHIC CLUB.
We are happy to be able to announce that the executive of the Central
Photographic Club have secured suitable premises at one of the best and
most agreeable hotels in central London, namely, Coleman's Hotel (late
Ashley's), Henrietta-street, Covent Garden, a building associated with
the earlier days of at least two existent flourishing photographic societies.
The rooms available for the use of members will include such as give the
usual club accommodation of smoking, reading, meeting, and dark rooms,
and seem in every way well adapted for the purpose.
Country members visiting town will have the advantage of securing
hotel accommodation, as it were, on the Club's own premises, and certain
obvious difficulties aS to service of refreshments, tariff, Ac, will be easily
and happily overcome. It is expected that the premises will be available
for the use of members in a few days.
In the meanwhile the opening meeting of members and those intending
to become members will be held at the Club, Coleman's Hotel, Henrietta-
street, Covent Garden, on Wednesday, September 13, at eight o'clock.
■This will constitute, as it were, the formal opening of the Club, and will
give an opportunity for the amendment of the rules, necessitated by the
abandonment of some parts of the original scheme, and for other busi-
ness of a formal nature. Mr. George Mason, of Glasgow, will take the
chair. Intending members and others interested will be welcome.
It should be said that the Hon. Secretaries are Messrs. W. Fenton-
Jones, 12, King Edward-road, Hackney, and C. H. Oakden, 53, Mel-
bourne-grove, East Dulwich, to whom communications relating to the
Club should be addressed.
©ur iSlritorial JTaftlf.
SlCHBI.'s CatALOGUB of PHOTOaBAPHIC Fbahbs, Matkbials,
Apparatus, &c.
0. SiCHXi. & Co., Si Banbill-row, S.E.
Mrssrs. Sichbl's catalogue appeals largely to professional photo-
graphers. In it are given illustrated details as to a large variety of
mouldings for photographic frames, all evincing taste in design,
mounts, fancy frames, studio cameras (these appear of great eieganee
580
THE BKITISH JOUENAL OF PH0T0GRA.1'HY.
[September 8, 1893
and strength), field cameras, stands, albums, &c. In the section
devoted to accessories are many charming things in the way of studio
furniture, while there is an extensive assortment of baclfgrounds, and
designs for the baclis of cards. Altogether a useful catalogue for the
professional photographer, anxious to be up to date.
Cataloguk, &c., of the Cantilbveb Enlabging Appabatcts.
W. Hume, 1, Lothian-street, Edinburgh.
Mb. Hume's catalogue is largely devoted to descriptive particulars
with illustrations of his well-known Cantilever enlarging apparatus.
Some serviceable hints as to lantern manipulation, enlarging, &c., are
also included. Other photographic goods, such as cameras, lenses,
microscopes, &c., hand cameras also find places in this well-arranged
pamphlet (for it is a cut above an ordinary catalogue in point of utility).
No lanternist or enlarger should be without it.
The Sandbli Films.
R. W. Thojias & Co., Thornton Heath.
The Sandell film just introduced by Messrs. E. W. Thomas & Co.,
is an application of the principle embodied in the Sandell plates, the
films of celluloid having a multiple coating of gelatine emulsion. One
by one the principal makers are selecting celluloid as a support for
the sensitive medium, and we have no doubt that ere long there will
be none left who have not added the coating of cut films to their
specialities. Including, of course, among their characteristics the
advantages of lightness and portability, the Sandell films also embody
the leading features of the Sandell plates, and yield negatives of a
similar character. Consequently, what we have before written of the
Sandell plates applies with equal force to the films, at any rate in
re.^pect of the quality of the results. Celluloid is notoriously more
difficult to coat than glass, with an equal certainty of escaping from
mechanical defects and irregularities ; but, judging from the sample
of the Sandell films, Messrs. Thomas appear to have surmounted these
obstacles, and to have produced a film which leaves nothing to be
desired on the score of technical excellence. It should be said that
the manipulation of the films is precisely the same as the multiple
coated plates.
i^ftos anil llotes.
Northern PnoTOORArHic and Soientikic Association. — September 9,
Totteridge.
"Cream" (of the World's Fact, Fan, and Fancy) is the title of a new
weekly penny paper, which, under the editorship of Mr. Francis George
Heath, will sliortly appear.
Manchester Amatel'r Photographic Society. — September 9, Dunham
Park. Leader, Mr. Prince. ' Train, London-road (L. & N.W.), ten minutes
past one ; Oxford-road, fifteen minutes past one. Fare, is. Book to
Altrincham.
Mr. B. P. Drage, the late Hon. Sec. of the London and Provincial
Photographic Association, has gone on a six months' tour in India, Japan, &c.
He takes a large supply of films for photographic work en route. Mr. Drage's
numerous friends will wish him a pleasant journey and a safe return.
Great efforts are heing made by the executive of the Triennial International
Photographic Exhibition, to be held in Bristol next December, to render it a
worthy successor of former exhibitions held there. Mr. H. A. Hood Daniel,
the president of the Bristol and West of England Amateur Photographic Asso-
ciation, and the Hon. Sec. , Mr. E. Bligh Bond, are throwing themselves ener-
getically into the work.
The Congress of the Photographic Society of Great Britain, to be held in the
rooms of the Society of Arts on October 10 and 11, is expected to be largely
attended by jirovincial photographers then likely to be in London for the Ex-
hibition. We understand that an attractive programme of important papers is
in preparation. The proceedings terminate on Thursday, October 12, with a
free lantern entertainment in the gallery of the Exhibition at Pall Mall.
Hackney Photographic Society.— September 12, Failures, Members will
please bring failures for discussion thereon. The Society's Exhibition will be
held on October 17 to 19 at Morley Hall, Hackney. Tliere are four open classes
— Portraiture, Genera! work, PiUures previously medalled or aicards taken,
Lantern slides. The Exhibition is open first day at half-past seven, when the
awards will be made known, and the successive days at twelve midday, to
enable City men to get up in dinner hour.
The Seventh Annual Exhibition, under agreement between the Society of
Amateur Photographers of New York, the Photographic Society of Phila-
delphia, and the Boston Camera Club, open to all photograpliers, will be held
by tlie Society of Amateur Photographers of New York, at the galleries of the
American Fine Arts Society, Fifty-seventh-street, near Broadway, New York,
from April 16 to 28, 1894. Entry forms can be had by applying to the
Committee. Exhibition Committee, T. J. Burton ; R. A. B. Dayton ; B. h.
Bracklow. Address, 113 West Thirty-eighth-street, New York.
Leytonstone Camera Club.— September 9, Essex Dairy Farm (Cattle
Studies), by kind permission of Mr. Smyth. Leader, Mr. H. E. Farmer. The
Club will proceed by the train leaving Liverpool-street (G.E.R.) at thirty-flve
minutes past two p.m., calling at Leytonstone fifty-two minutes past two,
arriving at Loughton twelve minutes past three. Open Special Evening at
Headquarters, eight o'clock. 13, Ordinary Meeting at Headquarters, eight
o'clock, for the purpose of Testing and Selecting the Slides to be sent in to the
National Slide Competition. It is hoped that every slide-worker will bring
six slides (those with connective interest preferred).
"Trade Depression." — A correspondent writes : — "I cannot believe that
the photogra. hie trade is depressed, judging by what I see and read in your
Journal. When a new thing comes out it is " boomed," and large profits are
made ; as the number of persons engaged in the trade increases, prices must fall ;
moreover, there is the fact that at first all the world is purchaser, and after, all
those who have not already purchased. Where .are Lancaster's 65,000 cameras ?
Where Dallmeyer's, Ross's, Underwood's, Tylar's — et hoc i/enus omne l Photo-
graphic instrument and material makers have one desideratu7n to find— a cheap
film. Wheu this is found, a Large and hitherto unsuspected market will be
opened. "
A Photographic Association for Widnbs. — On Wednesday, August 30,
a well-attended meeting was held at Bedford Ch.amber3, at which it was
decided to establish the Widnes Photographic Association. Olliei.als were
appointed as follows: — Pretident : V. C. Driffield. — Vice-President: G. E.
Warner. — Council: J. S. Sinclair, A. Wareing, W. Priestnall, 0. White. —
Hon, Secretarjj and Treasurer : George Bay, Bold, near Widnes. The
inaugural meeting of the Society will take place on Wednesday, September 13,
at Bedford Chambers, when the President, V. C. Driffield, will give a practical
demonstration ou the Determination of the Density of Negatives and Bromida
Printing,
The Joker, a halfpenny "humorous" sheet, is circularising pliotographera
in the following strain. We question the likelihood of any "benefit" to the
photographer arising out of the scheme. " We beg to call your attention to a
scheme which, in America, has proved most advantageous to both newspaper
])roprietors and photographers. In our paper, the Joker (whicli has a circula-
tion of considerably over 100,000 weekly), we shall insert a coupon, six of
which will entitle the holder to a free jihotograph of himself ou presenting
same to any one of the photograi^hers who join us. The benefit to photo-
graphers will be : First, very few people would be contented with one photo-
graph, but will give an order for more, which can l)e charged for at such rate
as the photographer pleases. Second, as the names and addresses of those
photograpliers who act for us will be published weekly, this will prove a
splendid advertisement for them, ]articiilarly as the mere fact of our selecting
a special photographer in a district will in itself be a testimonial for that
artist, as we shall only connect our paper with firms of the highest standing.
If you care to participate in our scheme, will you kindly write us to that
effect?"
Pinholes. — Pinholes in a plate arise from one or other of three causes :
(1) Dust species in the course of manufacture ; (2) dust specks during ex-
Eosure ; and (3) dust specks during development. The first-mentioned pin-
oles, says Photographic Scrai>s, may be at once and definitely distinguished
from those resulting from either of the other causes. If thiy are due to dust
in the course of manufacture, the pinholes will be re,al ones— that is, they will
show as specks of hare glass. The other so-called pinholes will be, on the
contrary, only transparent spots where the gelatine is present ; but, owing to
the presence of dust during exposure, the li^'bt has not been able to act, or,
during development, the developer could not get at tlie film under the dust.
It will tlius be seen that one can tell instantly whether the spots are due to
faulty pLates or careless develojiment, and we beg those who experience such
troubles to kimlly look to this point before tlrey write us. The slightest care
will save us and them much trouble. There is another class of spots too often
described, unfairly, as pinholes, which arise from the presence of minute air
bubbles in the developer— such air bubbles are much more frequent during hot
weather, and with a stale developer.
Printing Half-tone Blocks. — The secret of success in making lialf-tsne
work commercially profitable is to understand the printer, says Process Work.
Give him the block he can print, and more orders will follow. Printers are
now begining to wake up in regard to the printing of process blocks, and, if
they do not make a good job of a half-tone block nowadays, it is not for want
of trying. In most cases it is the master printer who is to blame, in giving his
man unsuitable ink and paper. It is surprising what a difference tliere is in
results between one sample of paper and ink and another. The fundamental
rule is, that it is no good trying to print a half-tone block on coiirse-graiiied
paper with thin ink. A higlily gl.azed and sized paper is best, and the ink
must be tacky and intensely black. It is no good trying to get colour by means
of heavy impression. The ink itself must give the colour. It is important, in
printing half-tone subjects, to give the block a clean up occasionally with a
fine, stiff brush— an old tooth brush does very well— and turpentine or benzole.
Speaking of this cleaning up, we well remember a machine-minder ilescribing
to us a great find he had made in the way of a fluid for cleaning up Iiall'-tone
blocks. He had a mixture — it such it couM be described— of hydrochloric
acid and turpentine. "Cleans 'em up fine, and no niist.ake," he proudly ex-
claimed. So it did, and by the end of the job he had cleaned all tlio picture
away, and, when the customer received the job, of course the unfortunate
process man got the ' ' wigging."
September 8, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
581
KEOENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 16,202.—" Improvements in the construction of Supports for Glazed
Photographic Pictures and other Articles capable of being similarly sup-
jrorteil." B, Fbitu. — Dated August '2S, 1893.
r No. 16,319.— "Baker's Rapid Photograph MountPr or Roller Sqneegee."
T. Baker.— Oated Augitst 30, 1893.
No. 16,354. — "Improvements in the production of Photographic Negatives."
K. Albert.— Dalai August 30, 1893.
No. 16,373. — "Improvements in or in connexion with Cameras." F. W
Branson.— /Ja^ed August 31, 1893.
PATENTS COMPLETED.
iMPnOVKMENTS IN AND RELATl.va TO PHOTOORAPHIO CAMERAS.
No. 18,899. Dr. Rhdolk Krugeneb, Bockeuheim, Frankfort-on-the-Main,
Germany. — rulg 22, 1893.
My invention relates to a photographic camera, in which single sensitised
sheets are employed. A number of these single sheets are put together on an
improved priuciple to form packets, and in that state are placed in the camera
directly, that is to say, without a specl.il case or the like. By reason of the
peculiiir packing of the single sensitised sheets, extreme simplicity is realised
iis regards the exchange of such sheets in the camera and the construction of the
latter.
Besides the great cheapness and facility of handling resulting from this
feature, the improved camera possesses the turther advantage that despite the
large number of exposures which may b« given one after the other, it is very
light, and that by virtue of the improved mode of packing and exchange the
bulk of the camera may be exceedingly small, which is of great importance for
large sizes.
K As above stated, the essential feature of my said invention lies in the
peculiar packing ami exchange of the sensitised sheets. One mode of packing
is characterised by the employment of a long strip of paper or the like. This
strip is laid together in lolds, which are a little larger than the sensitised
sheets to be employed. To the lower end of the said folds are pasted small
strips, extending across the strip. These transverse strips are bent outwards
a little, and, in conjunction witli the respective upper fold of the strip, hold
the sensitised sheets between two layers of paper. Packed in this manner, a
considerable number of sensitised sheets can be put In a very small space of the
camera.
The above-described mode of packing and the resulting mode of exchanging
the sensitised sheets may be used in cameras of various constructions. In one
arrangement the apparatus comprises the camera proper, a magazine, and a
chamber for the reception of the sheets which have been exposed. The camera
and magazine are separated from each other by a glass plate, against which
the sensitised (dates bear as they are focussed. The exchange or conveyance
of the sheets which have been exposed into the said chamber takes place by
conducting the prolonged end of the strip over a roller, and from this roller to
the outside through a slot which precludes the passage of light. When pulling
this end of the strip, the transverse strip which is foremost at the time will
raise the sheet which has been exposetL By the above-mentioned roller and
small block, preferably covered with velvet or similar soft materi.al for protect-
ing the coated side of the sheet, the latlier is bent, shifted forwards, and finally
falls cf itself into the chamber. Now the strip is pulled a certain distance
further from the camera, the superfluous end being then torn off. By this
means the sheet which has been exposed is laid away, and at the same time a
new sheet is put ready for a fresh exposure, as by pulling out the strip the
following sheet is liberated and placed against the glass plate, which takes
place by a small spring plate pressing the whole packing forwards. After the
exposure, the fresh sheet is conveyed in the same manner as the preceding
sheet into the said chamber, and another new sheet which has not yet been
exposed passes into the focus.
In a second arrangement the chamber is provided vertically above the
magazine, and separated therefrom by a tongue. In this instance the sheets
which have been exposed move straight upwards, are taken from the strip by
the said tongue as the strip is pulled further, and pass in this manner into the
chamber.
According to a somewhat different mode of packirg the sensitised sheets, a
number of single strips are used instead of a continuous strip. All the upper ends
of these strips are bent round snd lie one upon the other, whilst the lower
ends are furnished with transverse strips like tliose used in the first mode of
packing. The.se transverse strips support the sensitive sheets, which are pre-
vented from falling by the upper bent ends of the main strips. Then the
entire packet is .so placed in one of the apparatus that the upper free ends of
the main strips protrude through a slot formed in the wall of the camera. On
pidling: the foremost upper sheet after the exposure from the camera, taking
hold of the end protruding from the latter, the sheet which has been exposed
is conducted into the said chamber by a plate or other suitable device, the
following sensitised sheet being at the same time put ready for exposure. In
order to preclude the piussage of the light through the slot after a number of
strips have been puUed out, the said slot may be kept closed by any suitable
ilcvice— for instance, by a plate held in guides and adapted to sliile down in
proportion as the strips are pulled out, or the said slot is specially covered
over by a Hap on the outside.
Instead of jiasting on to the strips small transverse strips for holding and
raising the sensitised sheets, a very narrow width of the latter may be fixed
with paste to such strips. When pulling the ftrip the sheets are finally torn
off and drop into the magazine.
Of course my improved method of packing and exchanging sensitised sheets
may also be employed with cameras of any construction without departing
from the scope of the invention.
MtHinQfi of SbocretteiEJ*
MEETINGS OP SOCIETIES FOR NEXT WEEK.
J>mtaofMe«Ung.
September 11
,. 11
11
.. U
12 .
la
12 .
12 .
12 ,
12 .
12 .
12 .
13 .
l:i .
13 .
l:i .
13 .
13 .
U .
U .
U .
U .
u .
u .
u .
15 .
i'> ■
15 .
>. 15
.► 15 .
16 .
Name of Soclaty.
Darliufrton
Dundee Ama tear ,
North Hiddlenx
Richmond
Birmini^ham Photo. Soolety
Derby ,
Qreat Britiua
Hsoknej ,
Manohester Amateur
Paisley
Rochester
Stockton
Leicester and LeicesterBhire
Leytonbtone
Munster
Pbotogrsphio Olab
Sontbport
Stookjiort (Annual)
Birkenhead Photo. Amo
Glossop Dale
Hull
London and Provinnial
.Manchester Photo. Society ...
North Kent
Oldham
Cardiff
Croydon Microscopical
Holborn
Leamington
Maidstone ■,
HuU
FteMolllMUnc
Trerelnui Hotel, Darlintrton.
Ajw. atodlo, Netha>VBt«, Oimd**.
Jubilee Honse, HoniMy.road, N.
Oreyboand Hotel.
Olab Room, Colonnade HotaL
Smith'! Reatnnrant, VIctorhMt.
80, Great RuneU-st. Bloomsbnry.
206, Mare-street, Baokney.
Leotars Hall, Athensom.
9, Osoze-atreet, Pablar.
Mathematical School, Bocheftar.
Maaon'a Ooart, Hirb-street.
Mayor's Parlour, Old Town HalL
The Assembly Rooms, High-road.
Soboal of Art, ReljOB-plaoe, Cork^
Anderton't Hotel, Fleet-iitrMt,B.O.
The Studio, 15, Cambridire-arcade.
Mechanics' Institute, Stockport.
Y.H.C.A., Grangc-rd., Birkenhead.
71, Proepect-street, Hall.
Champion Hotel, 15, Alderagate rt.
36, Geor^-street, Manchester.
Gravesend.
The Lyceum, Union-it., Oldham.
Public HaU,George->treet, Croydon
Trinity Oharch Room, Horton-st.
" The Palace," Maidstone.
71 Prospect-straet, HnU.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIA-nON.
AuonST 31,— Mr. W. D. Welford in the chair.
It was decided that the monthly lantern nights of the Association should
commence in October.
Members were invited to contribute slides for the Lantern Evening of the
Photographic Congress, to be held in the Exhibition Gallery of the Photo-
graphic Society of Great Britain, 5a Pall Mall East, on Friday, October 13.
"What is a Pinhole Lbns ? "
In reply to the above question from the box, Mr. T. Bolas remarked that
the late Colonel Stuart Wortley took some large photographs with a lens
having a very minute stop. This might be the sense in which the term -was
used.
Opening Out the Aperture of a Portable Symmetrical Lens.
Mr. P. EVERITT, alluding to the mount Mr. Haddon had made for him which
allowed of the full aperture of the lens being used, said he hail taken a
negative with the opening/-9 (approximately), and the print from it (which he
passed round) showed that definition had not been greatly Impaired.
Mr. W. E. Debesiiam thought that with such an aperture there would be
less equality of illumination, the corners not being projxirtionately so well
lighted as with the original stop.
Mr. Boijvs said that Messrs. Swift m,ade a type of portable symmetrical in-
which the mount acted as diaphragm for facility of focussing. He was sur-
prised at the good definition obtainable. The lens with the large opening was
not intended for actual use.
Mr. EvERiTi pointed out that a portable symmetrical working at /-9 conid
be used for instautaneous work.
Mr. A. Mackie stated that Mr. William.s, who did a great deal of instan-
taneous work ten years ago, used a portable symmetrical for the purpose. ^I
The meeting subsequently becime a Special General Meeting, called with
reference to a consideration of some of the rules.
Hackney Photograplilc Society.— August 29, Mr. K Puttock in the choir.
—Mr. T. H. Sjiith showed some Nikko paper, toned with the sepia bath,' but
said it wa.s a very tedious process. Mr. Bakne.s showed a Barnet plate, anil
asked the cause of markings appearing lil:e fog. Mr. Beckett thought the
plate was not at fault. The Ilox. Secretary said he would get an opinion
from the firm. Mr. Uen.si.er had use^l the P.O. P. II ford formula more con-
centrated, and found it tone quickly and regularly. Mr. Far.meb had been
advised to use ferrotype plates for squeegeeing. Mr. A. Barker said old one*
were apt to blister. The Hon. Secrktary advUc<l u.sing an enamelled metal
plate, such as now sold. A question w.as a.ske<l : " Is quick negative drying
advantageous?" Messrs. Hensler, Tunston, and others deprecated it. Dr.
Roland Smith read a paper on Dnytiiiht Knlanjing. It was a great advantage
to enlarge. No enormous cameras should be necessary. He used a windoir
facing N.-N.E. or N.W., fitting a tight frame to e.xclude light, and baring
attached a dull sjiot to reflect in. Camera slips on to groovings of frame,
and two mop-handles are used, on which is placed board to take enlnrgtng
paper. A rapid rectilinear lens was advised — not portrait. Eastman's slow
bromide paper, with ferrous-oxalate developer, was recommendetl. He used
the same stock for four years, but, after using, placed out (in tnbed bottle
with film of paraffin) in sun. The Hos. Secretary preferred amidol, found
ferrous oxalate blocked out detail too much.
582
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 8, 1893
liverpool Amateur Photographic Association.— August 31, Mr. P. H.
Phillips (the Hon. Treasurer) presiding. —After the election of three new mem-
bers, Mr. F. Anyos, a memher of the Council exhibited twenty-one prints,
representing fourteen rtitferent printing processes, and clearly explained the
method of working each. Instructions were also given for producing the best
results. A great deal of useful information was contained in the address, which
was very interesting throughout.
Northern Tasmanian Camera Club.— Fifth annual meeting, Mr. R. L.
Parker in the chair. The Secretary read the annual report and balance-sheet,
which showed that the club was still increasing its membership, and that the
new year started with a fair credit. The members continued to make good use
of the library, thus gaining much useful information from the various journals
subscribed to by the club. The attendance at the monthly meetings during the
year was larger than previously, the members evidently taking great interest
in the work of the clubs. After four years' services as Secretary, Mr. F. Styant-
Browne intimated that, owing to increasing business engagements, he had re-
luctantly been compelled to resign, and the members that evening would have
to elect a successor. The following officers were elected for the ensuing year : —
Patron: His Excellency Lord Gormanston. — President : The Rev. A. H.
•Champion, M.A. — Vice-Presidents : Dr. H. A. Roome, Mr. F. Styant- Browne,
Mr. R. C. Kermode. — Committee : Messrs. F. Stewart, W. H. Twelvetrees, and
C. Nickolls. — Librarian : Mr. F. S. Browne. — Secretnry and Treasurer : Mr.
J. Sparrow. The Chairman, on behalf of the members, then presented the
retiring Secretary with a purse of sovereigns, intimating that the members
wished its expenditure in an optical lantern and accessories, having preferred
giving Mr. Browne the choice of procuring the make of lantern he most desired.
Mr. Browne thanked the members for their kind appreciation of his services.
A hearty vote of thanks was accorded the Chairman for the use of the room
during the year ; and the first lady was enrolled as a member of the club.
FORTHCOMING EXHIBITIONS.
1893.
•September 20-21 *Hove Camera Club. Hon. Secretary, H. Emery,
142, Church-road, Hove, Brighton.
„ 25-Nov. 15 *Photographic Society of Great Britain, 5a, Pall Mall
East, S. W. Assistant Secretary, B. Child-Bayley,
50, Great Russell-street, W.C.
•October 1-31 *Hamburg. Das Ausstellungs Committe des Amateur
Photographen Verein, Schwanenwik, 33, Hamburg.
,, 2-14 Midland Camera Club, Botanical Gardens, Moseley,
Birmingham. Hon. Secretary, C. J. Fowler,
4, Woodstock-road, Moseley, Birmingham.
,, 9-Nov. ... 'Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesbury-avenue, W.C.
,, 17-19 *Hackney Photographic Society, Morley Hall. Hon.
Secretarj-, W. Fenton Jones, 12, King Edward-road,
Hackney, N.E.
,, 30, 31 *East Loudon Photographic Society, New Tabernacle,
Old-street, E.C. Hon. Secretary, W. R. Gould,
61, Gibraltar-w!ilk, Bethnal Green, E.
November 7-11 *South London Photographic Society. Hon. Secretary,
C. H. Oakden, 53, Melbourne-grove, Dulwich, S.E.
„ 20-25 *Leytonstone Camera Club. Hon. Secretary, A. E.
Bailey, Rose Bank, South-west-road, Leytonstone.
December *Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
„ 18-Jan. 22, 1893 *Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Corn-
street, Bristol.
* Signifies that there are open classes.
y
4flr Correspondents should nsoer write on hoth iid^s of the paper. No notice ie ttUun
of comtnunicationa unless the names and addresses of the ^criters are given.
PHOTO -MICROGRAPHY.
To the Editor.
Sir, — I am very glad to gather from your columna of late that consider-
able attention is being given to some interesting points in connexion with
photo-micrography. Two letters in your issue of to-day evidently allow
of, or perhaps call for, some reply from me.
First, my friend Mr. T. F. Smith " goes for me" because I hold that
the Jesuits under discussion are the result of the use of both colour-
correct plate and yellow screen. I hold, and claim to have proved, that
the use of a plate more or less abnormally yellow-sensitive is the first
step towards the result ; the use of a light strong in rays more or less
near D is the second step. The yellow Ught, in plain language, ekes out
the_ effect of the extra relative yellow-sensitiveness of the plate. Mr.
Smith does not appear to see the importance of his own words * " I am
supposing .... that the lighting is done with the ordinary paraffin
lamp. ' In fact he uses a light which is practically equivalent to my
limelight transmitted through a yellow " screen." If Mr. Smith will use
a light relatively strong in blue-violet rays, and then another with the
yellow rays relatively strong, whatever he may " expect," he will find the
effect of the yellow light. My experiments showed that the worst result
was got with " white " light and an ordinary plate ; a colour-correct plate
greatly improved matters, while a colour-correct plate and a yellow light
gave the best results of all.
We need not discuss the opening statement of Mr. Ives' : " That micro-
scopic objectives not specially corrected for photography must work to
focus if used with colour-sensitive plates and yellow screen is such a self-
evident fact," A'o. The statement seems to me loose, but let it pass.
Mr. Ives' chief complaint is that I gave credit for noticing certain facts to
Dr. Piffard, whereas Mr. Ives had pointed out the same facts on a pre-
vious occasion specified by him. In giving the credit to Dr. Piffard for
having lately called attention to the facts in question, I acted according
to my lights. I was not aware of Mr. Ives' verbal communication to the
Photographic Society of Philadelphia, nor have I seen the transactions of
that Society of the time mentioned by Mr. Ives. But I must say that,
knowing Mr. Ives' intimate connexion with, and knowledge of, colour-
correct photography, I can easily believe that he noticed long ago the
effects of orthochromatic methods with uncorrected microscopic objectives.
I can only say that I knew nothing of Mr. Ives' work in this direction,
and, so far as I remember, I have not said that Dr. Piffard was the first
to notice the facts alluded to. I know too much of the scientific world
to claim priority for myself or for another.
Mr. Ives proceeds to say that on a certain occasion he recommended
my book on Photo-micrography, and for this I thank him heartily ; but
he says he disputed my assertion " that high-class work could only be
done with apochromatic or specially corrected objectives." Well, I did
not then know as much as I do now, and I might have made the asser-
tion ; but, after a careful search through my book, I cannot find any such
statement. This was not kind of Mr. Ives. I have over and over again,
almost every time I have written or spoken about photo-micrography,
said that very good work can be done without apochromatic glasses, and,
if I overlooked a statement by Mr. Ives, he has overlooked a dozen by me,
as well as disputing what I neVer asserted. I have said, and I say again,
that the highest class of work requires apochromatic glasses ; and I be-
lieve that all the best work has been produced with these objectives. I
cannot say what Mr. Ives calls the highest class of work, nor can I say
whether his productions are equal to mine ; but, if lie will permit me to
see some of his work, I will either gladly " own up," or say boldly that I
do not call his work the highest class. If Mr. Ives builds on the illus-
trations to my book, I can understand his position to some extent, even
without seeing his work of the same nature, for these illustrations were
chosen, in my own words (p. 10), "to illustrate various types of subject
and varied treatment," and they were not all done with apoohromatics.
It is not only an opinion, but a fact, that apochromatic objectives repre-
sent the highest point of excellence at present attained, both for visual
and photographic purposes, and I should be much surprised if any real
authority were found to deny it.
I am taking for granted that Mr. Ives is conversant with the best work
of such men as E. M. Nelson, Van Heurck, Comber, T. F. Smith, Bous-
field, B. Zeiss, and even the " bugs " of A. A. Carnell. If he is not, he
has still something to learn about high-class photo-miorography. — I am,
yours, i$;c., Andrew Peingle.
BETOUCHEE'S TROUBLES.
To the Editob.
Sir, — Having experienced the same difficulties as the retoucher in
your correspondence column mentions, namely, that of not being able
to get sufficient lead on the negative, I can give a remedy which may be
of use to my brother artist in photography.
There is one condition of the unvarnished gelatine film suitable for
retouchingl upon, that is, the matt-surface looking film, with a texture
like the rose leaf; you can work on such a surface with or without
medium. When the surface of the film has a polished appearance, a
kind of metallic lustre, there is greater difficulty in getting the lead on.
By applying medium, and working with gentle pressure, you can get the
lead on. Too much pressure upon the pencil brings the medium off
again. A softer pencil enables you to put more lead on the negative. It
the varnish is very hard and glassy, first apply the medium with the
finger, rub it well in with a circular motion, then bring the finger right
down the same part several times, this abrades the surface ; then apply
the medium again with handkerchief, just a little medium. You will
then be able to put sufficient on the negative. — I am, yours, &c.,
A. W. C.
To the EmioE.
Sir, — In reply to " Retoucher," while unable to assign a cause for the
trouble, I would advise him to go over the negatives lightly witli an old
silk handkerchief moistened with methylated spirit before applying the
medium. I liave found this to remove all trace of greasiness from a
negative when wishing to apply water colour to it ; also to see that the
September 8, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
/»3
medium has not, by evaporation or chemical change, become too thick.
Hoping that these hints may remove the difficulty, — I am, yonri, Ao.,
Clare, Suffolk, September i, 1893. Tnos. Stokob.
MB. W. E. DEBENHAM ON " PHOTOGIIAPHIC SOPHISTICATION."
A REPLY.
To the Editor.
SiK, — After reading Mr. Dobenham's criticisms in The British Journai.
of Photoobapht for September 1 on my article on " Optical Truth and
Visual Truth," published August 26, I feel somewhat at a loss to reply
to him, since it seems to me that I have not succeeded in making the
main point of my arguments quite plain. When correcting the proofs, I
actually sent back another diagram, and a little additional matter, with
the intention of making my point still plainer if possible ; but, no doubt
because it was too late, my article appeared as it originally stood.
Mr. Debenham wishes to know whether I approve, or not, of Mr. Van
der Veyde's apparatus being used for modifying the sizes or proportions
of head, arms, waist, and other features of the sitter, " independently of
whether they are enlarged or diminished by perspective to suit an ideal,
conventional or otherwise."
I at once reply, No. I should call this a most illegitimate use of such
an apparatus. I am quite agreed with Mr. Debenham in his remarks
made at the Society of Arts on this subject of conventional flatteries. I
was not attempting to deal in detail with this aspect of the subject — or
second branch of it, as Mr. Debenham calls it— except, perhaps, by im-
plication.
Then, in his fourth paragraph, Mr, Debenham puts forward two cases
for my consideration, one being the case of a block of buildings viewed
in perspective from-a distance of 100 yards, and the other, a case of, say,
a model of such building on one-tenth of the scale, viewed from one-
tenth of the distance from a corresponding point of view, so that the
geometric perspective is exactly the same in both cases. He then chal-
lenges me to show why, in the latter ease, a rendering of the view by
photography is not to bo considered true to the visual sense, while the
photographic rendering in the first case is to be looked upon as faultless.
I can answer this quite agreeably to the theory which I have already put
forward, although I must remark that my arguments do not apply quite
so strongly to representations of solid geometrically shaped objects show-
ing a vivid perspective, whereby the eye, or mind, is more certainly im-
pressed with the sense of relative distances, and therefore sizes, than it is
in the case of objects of uncertain and varied outlines. My explanation
of why the above two subjects should be somewhat differently treated lies
in the fact that, in the first case, the two eyes of the observer at the
distance of 100 yards are practically the same as one eye ; whereas in the
second case, while the scale of everything, including the distance of the
point of view, is reduced to one-tenth, yet the distance between the two
eyes remains the same — that is, the distance between the eyes is ten times
!(.« much in proportion to the scale of the buildings in the second case as
in the first. Leaving out any considerations of atmospheric perspective,
in the first case the observer can only guage relative distances, and there-
fore sizes, by means of the effect of geometric perspective, while, in the
second case, besides the effect of geometric perspective, he has also the
further effect of binocular vision, which, of course, tends to give a greater
sense of relief than in the first case.
In the first case, the fact that one end of the buildings is twice as far
away as the other may be approximately realised ; but, in the second
case, it is possible to realise this fact far more completely, and I fully
believe that the nearer parts of the buildings in this second case will appear
to two-eyed vision relatively smaller than they do in the first case. This
is, after all, merely another way of stating the fact, which I find experi-
mentally verified, that one-eyed vision tends to over-estimate the relative
sizes of nearer objects, when viewed closely, as compared with two-eyed
vision. This, of course, is but the correlative of the truth that two-eyed
vision of near subjects is apt to under-estimate the relative sizes of nearer
objects as compared with the effects of geometric perspective, pure and
simple, which are experienced when viewing the same subject with only
one eye. But it is just the effects of two-eyed vision of near subjects
which the painter seeks to transfer to his canvas, and if, in the process,
be unconsciously perpetrates something not quite true to the laws of
geometric perspective, it need be owing to no desire to conventionalise
his subject, but owing to the unavoidable discrepancy between one-eyed
and two-eyed vision.
What I assert is, that the perspective of near subjects must be some-
what modified, or " sophisticated," as Mr. Debenham calls it, in order
that the plane representation on canvas or paper may give the same sense
of relative sizes of parts as are obtained when viewing the original subject
with two eyes from the same point of view.
I agree with Mr. Debenham that " no single picture can give binocular
effect," but I maintain that it can give something in the nature of an
equivalent for it, some compensation for the absence of binocular effect.
But I own Mr. Debenham makes a very good point against Mr. Van
der Weyde's apparatus, inasmuch as he points out that no reducing of
a hand or a foot can take place without a corresponding shrinkage of the
part of the background bshiud against which it is seen. This would be
an insuperable objeotion were the background of nieb a natare that •-
modification of ita proportions wonld be of ooBMqnanoe ; bat in moat
cases of studio work it would not matter. He then assamea that no
diminution of ihe head could take place withont, at the lame timer
lengthening out the neck. Although I should strongly diaapprore o(
making the head smaller in the first place, I may yet point out that the
neck need not be lengthened, seeing that the bead, besidea being redooed,
may also be lowered In position. — I am, yoara, <tc.
York, September 2, 1893. H. Dexkis Tatlob.
To the Editor.
Sir, — Please allow me to correct some printer's errors, which, in some-
places, change the meaning of my writing in the article on " Photographlcal
Sophistication," of last week.
In the sixth paragraph the first sentence should read, " My own view
is that pictorial representations are generally referred (not preferred) by
the spectator," &&; and, a little farther on, I am made to hold up the
book of beauty as eminently responsible for ridiculously small hands and
feet, Ac. What I wrote was, " the book of beauty or (not of) the pre-
photographic period," and I wished to describe the generality of the
artistic work of the period, not of the particular work which did not
include such striking examples of the conventionalities mentioned a»
were to be met with elsewhere.
In the fourth paragraph I am made to speak of a " cake or a house,"
rather an odd conjunction. Whether " cake or " stands for " side of," or
what else I do not now remember.
The concluding sentence should read, " Doss Mr. Taylor consider that the
reduction of heads and waists, the ranking of the sitter taller and slimmer
in the picture, and the photographers' assent to and proposition that
this is, in accordance with visual truth, is in itself a truthful proceeding, or'
would he consider it to come under the censure of the sentence quoted
from his article?" — I am, yours, Ac, W. E. DEEBSHAii.
KEEPING QUALITIES OF FILMS.
To the Editor.
Sir, — As there is at present a controversy going on as to the keeping
quality of celluloid negative films, facts bearing on the practical solution
of the question may be of interest to your readers, and I wonld like to
mention that to-day I gave an exposure to a Thomas's rapid film
purchased in January, 1891, and developed a perfect negative in every
respect. The film had been knocking about in the slide for over six-
months. — I am, yours, &c. George Massfiku).
Morristown, Lattin, Naas.
THE PHOTOGBAPHIC SOCIETY'S EXHIBITION.
To the Editor.
Sir, — Will yon kindly remind your readers that Wednesday, September
13, is the only day for receiving exhibits at the Gallery for the annual
Exhibition of the Society, and that they may be sent at any time up to
September 11 to our agents. Full particulars can be obtained on appli-
cation to the Assistant Secretary at the Society's rooms, 50, Great
Bussell-street, W.C. — I am, yours, Ac, CHAriijiN Jo.nes, Hon. Sec.
Photographic Society of Great Britain,
50, Great Russell-street, Bloomsbury, IV.C, September 1, 1893.
Bwi)ange (ttolumiu
%* No charge is made for inserting Exchanges of Apparatus in this column r
but none wiU be inserted itnless this article wanted is definitely stated. Thot^
who specify their requirements as ' ' anything useful " wiU Oierefort underOana
the reason of their non-appearance. The full name of the advertiser must
in all cases be given for publication, otheraise the Exchanges will not ber
inserted.
WiU exchanire thirty lantern slides of Garmany, plain, for some coloored tlidei, any
subject.— Addresn, (*. MooBi, Bookfastleigh, DeTon.
Baolcitroands, one eiterior and one interior, about 8x8. Will exohanje for otlwrs.
Can send pliot-ftraphs of both.— W. Hobbs, Qold-street Studio, Sinron Walden.
Prize piReons, ton pure bred silver dun Antwerp! and two red chequered Antwerps,
will exchange for half-plate camera and len« and three doable slides.— Addraa,
Waltxb Box, the Studio, Cannock.
Will exchange whole-plate portable boUows body oamem. toft light, three double-
slides, also a tripod stand, in exchange for studio camem »nd accassorias.— Addreai,
F. Davis, 8. Zingari-terrace, Forest Oate, Kssex.
Wanted Archer Combined quarter-phite camera or half -plate Watson's Aoae, KoKalhn,
or similar pattern, any size, in exchange for Marion's 61. 10s. embossing press.— Ad-
dress, W. H. Hi'STKB, 73, Trafalgar-road, Peckham, London, S.K.
S84
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 8, 1893
an^toersf to Otorrespontienta.
*.* All matters intended for the text portion of this Journal, tnclttding
queries and Exchanges, must he addressed to " The Editor, Thb British
Journal of Photoqrapht," 2, York-street, Covent Garden, London. In-
attention to this ensures delay.
•«,* Correspondents are informed that we cannot undertake to answer com-
munications through the post.
• * Communications relating to Advertisements and general business affairs
should be addressed to Messrs. Henry Greenwood & Co., 2 York-street,
Covent Garden, London.
■*,* It would he convenient if friends desiring advice respecting apparatus,
failures in practice, or other infonnalion, would call at the Editorial Office
either on Wednesdays from i to 6, or Thursdays from 9 to 12 noon, when
some one of the Editorial staff will be present.
G. H. 1.— A lens of sixteen inches focus would be required.
F. Garner.— We do not remember the name of the maker, but the lens is un-
doubtedly of French origin.
G. Brown. — This correspondent inquires if we " know anything of the Photo-
graphic Apparatus Supply Society i "—Reply : No.
•Spotty.— 1. Yes, occasionally. 2, Yes. 3. Furnish ns with particulars as
to toning bath, quality of water, and we may be able to help you.
M. E. C. W.— Almost .any cabinet lens could, we think, be fitted to your half-
plate camera. Write to the principal makers for the diameters of the flanges
necessary.
R. Ward.- It is not necessary that tlie thick glass plates for collotype be
bevelled at the edges when they are printed in an Albion press. In the case
of the power press — machine printing — they should be.
A. W. Erskine.— Possibly the deposit is ferrocyanide of silver. Do you use
hypo to follow ? If neither of these is the cause, perhaps an acid solution
will remove the deposit, which may be due to lime, &c., in the water.
F. E. G.— 1. The addition of fresh hypo solution will be necessary when it is
seen that the bath is losing rapidity of action. No definite strength can be
fiven. 2. Add sufficient until no further precipitation takes place. 3. We
ave as yet no further information.
Hxperimknt. — The reason why the blotting-paper causes the stain could only
be ascertained by careful chemical analysis. It must be obvious to you that
we hardly have the time to devote to such an operation. Procure two or
three samples, and experiment with them as to their suitability.
D. Webster. — We are by no means surprised that you have not improved the
appearance of the lens mount. By cleaning it with emery cloth you have
cleaned off the lacquer and exposed the bare brass. The only thing that can
be done now to improve matters is to get the mount relacquered.
Watchmaker. — No rolling press will give the same gloss to gelatinn-chloride
prints as can be obtained by drying them in contact with glass. Those who
desire the extra high gloss do not, as a rule, consider the method of obtain-
ing it too troublesome. The rolling press mentioned is a very good one for
the money,
Toby. — So far as we are aware, no one supplies gelatino-bromide emulsion
ready for use. Therefore we suspect you will have to prepare it for your-
self. It is possible, however, as you only require a little for an experiment,
that some dry-plate manufacturer will oblige you with a small quantity, but
it will only be as a favour.
Traveller asks : " Wo\dd you inform me if, when I go to Australia, I may
take any quantity of films for hand-camera use, or will there be any duty
for same, and will the Custom House want to see them ? If any duty, what
is the largest amount I can take without having to pay anything ? " — Perhaps
some of our readers who have carried films to Australia will supply the
desired information.
Dry Plate. — It is quite out of the question to give in this column such details
of the working of the wet-collodion process as would be of any value to one
who has no knowledge whatever of it, or has never seen it worked. Our corre-
spondent's best way will be to get one or other of the old manuals of photo-
graphy. When the rudiments of the process are mastered we shall be
pleased to assist our correspondent further.
J. Bunnell. — By shortening the tube of the rapid lens, so that glasses are
brought together, it will cover a larger field ; but it will have te be worked
with smaller stops than before. Wo should advise you to have a separate
mount for the glasses, to be used only when the widest angle is desired.
Then they can at any time be returned to the original mount, and thus the
commercial value of the instrument will not be impaired.
0. M. O. asks which side of a studio, running north and south, should be
glazed, the east side or the west, as only one side can be of glass ?— The best
side to glaze will depend upon circumstances. If the studio is likely to be
used most in the early part of the day, the west side will be the best to glaze,
so as to avoid the morning sun. If used most in the afternoon, then the east
side had better be glazed, thus avoiding the sun on the side most used in the
after part of the day.
A.A.B.— The composition is composed of gelatine and glycerine, with some-
times treacle. The proportions are varied according to the degree of hardness
or softness desired and the kind of gelatine employed. It will be better to
purchase the composition ready prepared. It may be h.xd of different
degrees of hardness. Tubes for moulding rollers are supplied by all dealers
in printers' material. Ordinary printing ink of good quality is what is used
in printing half-tone blocks.
C. C. Smith says : "Would you let me know if there are any books published
on the process of photogravure, and where they are to be got ?" — For a few
pence the Assistant Secretary of the Photographic Society of Great Britain,
50, Great Russell-street, will supply you with a copy of the Society's
Journcd, containing a lecture on photogravure by Mr. Denison, which
may meet your requirements. Our own back volumes contain a large
amount of information on the subject. We do not know of any reliable
book on the subject.
S. A. Y. — This correspondent says that " we can pruchase almost everj-thing
connected with photography cheaper if it is made .abroad than we can if it
is of home manufacture, and why is this not the case with dry plates ?"
adding that " it would be a great boon to an amateur if he could buy his
plates cheaper. "—Quite so. We imagine that it would be an advantage to
every one to have his goods, whatever they may be, at a cheaper rate. But
the fact remains that foreign plates, quality being equal, are much dearer
than English ones ; also that probably more English plates are used on the
Continent than those of Continental make. We strongly suspect
" S. A. Y." will not get cheaper plates from abroad than those manufactured
in this country, for some time to come, at least.
R. W. H. says : " I have been much tried by spotting, such as you see on the
enclosed photograph. I have tried everything to remedy it, but with no
avail. I may say I find it only on the two kinds of mounts encloseii. The
mounts came over last year at the time the cholera was about. They were
disinfected. Do you think the disinfectant used has anything to do with the
spotting?" — Without knowing how the mounts were treated, it is impossible
to oiler an opinion that would be of any value. We have seen many
examples of similar spots on prints the mounts of which had not been dis-
infected.
T. W1LLIAM.S says : " I want to convert my bath room into a dark room, but
it must be on the 'Box and Cox ' system- that is, it must siill be a bath
room when required as such."— We strongly suspect that bath roon)s are
frequently extemjxirised as dark rooms. The usual way is to have a wooden
shutter, if the window is large, with a small glazed opening, the shutter
being hinged so th.at it can be open and shut as required. If the window be
small, a light wooden frame, either covered with non-actinic paper or glazed,
will suffice. Tliis may be secured to the window frame with a couple of
"turn buttons," or may be permanently hinged to it. The bath itself is
sometimes used as a sink, but it is better to have a proper sink if space will
allow.
F. R. F. writes : "A friend of mine has a photographic portrait of Garibaldi,
received from him and signed on the mount. It is an albumen print,
framed aud hung, and is now decidedly yellow and beginning to fade. I
pointed this out, and being asked what should be done suggested that the
print should be copied, removed from the mount, and a platinotype be
substituted for it. I venture to ask you kindly to advise in your ' Answers '
column if any better course can be adopted, and whether any method,
beyond taking the print from the frame and keeping it from the light, could
be employed to prolong the life of the original print."— We shouhl advise
the print being copied as it is, an orthochromatised plate being used for the
negative. In this way. if the detail has not disappeared, a copy as gooil, or
nearly so, as the original was in its pristiue state can hi obtained. It is
scarcely advisable to remove the print from the mount, as the treatment
with water often hastens the fading. Light will have but little action now
on the priut.
OONTBNTS,
SOME PECULIARITIES OF PER8PEC-
TIVE -^
ECONOMY IN WORKING ■■■■■■,;x.i "
THE NKW PHorO- TELESCOPE FOR
GREKNWU-11 onSRRVATORY ..■■■•■■ 672
MAKING HKADY FOR EXHIBITION.
lU HKCTOR M*ni,R*N, F.OS 572
SOAP-BtlllBI.KS IX THE STUDIO. By
HARRY SMITH- I'M <' Vi^'OXiVJi
THK PHOrOGRAPHlC CONORESb
AUXILIARY OF THE WORLDS
COLUMBIAN F.XPOSITION 5,4
FINK LINE SCRKEN PL.ATES AND
T'IKIR USE. Bv M. WOLFE 574
'■COARSK-ORAINED NEGATIVES "-
HOW TO PREVENT THEM. By
M. A. SEED ■„-^r,:^;, "
ORTHOCHROMATIC PHOTOGRAPHY
AND ITS PRACTICAL APPLICA-
TION, liy JOHN CAUliUTI 570
PlOK
THE PHOTOGRAPHIC CONGRESS
AUXILIARY— t"„/ii,ii,.cl.
MEDICAL PHOTOGRAPHY. By
ELLERSLIE WALUCE 677
IS0CHR0M.4TIC PHOTOGRAPHY.
By G. CR.AMKR ■'■79
A WEEKS TOUR IN THE BORDER-
LAND. By MATTHEW WILSON .57S
CENTR.AL PHOTOGRAPHIC CLUB ."79
OUR EDITORIAL TABLE 679
NEWS AND NOTES 6"»
RECENT PATENTS 6"!
MEErlNOS OF SOCIETIES .5"!
FORTHCOMING EXHIBITIONS 6Sa
CORRESPONDENCE 688
EXCHANGE COLUMN 688
ANSWERS TO CORRESPONDENTS 68*
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1741. Vol. XL.— SEPTEMBER 15, 1893.
OVER-INTENSIFICATION OF NEGATIVES.
Ax umisual number of letters having been received during the
past and present week from querists who find that they have
been over-intensifying their negatives, we take this means of
replying to them all.
When a negative has been under-exposed and the action of
the developer has been prolonged in the hope of getting the
details in the shadows coaxed out, by the time this latter effect
is produced, if produced at all, the high lights will have ac-
quired such a degree of density as to require a diu-ation of
printing so prolonged as to entirely destroy the delicate
shadows. The transition from the highest light to the deei)e8t
eihadow is too abrupt, and the print resulting is hard.
We have intentionally produced a negative having these
characteristics in order to see the effect obtained by the dis-
criminating action of light in imparting density to the weaker
parts. This we have done by varnishing the hard negative by
•a collodion emulsion of chloride of silver and exposing its back
to light. The action thus produced is obvious. The thinner
portions of the negative permit more light to be transmitted to
the sensitive varnish than do the more dense portions, and
hence, by the darkening of the former in due proportion, a
marked degree of equalising is produced.
We do not here enter into full manipulative details, feeling
assured that these will scarcely be required by our readers,
more especially as it is scarcely three years since we treated of
this special phase of the subject. On that occasion, however,
we recommended applying the sensitive coating to the back or
glass side of the negative, but we have since found it preferable
to coat the film side. Further, we may state that a simpler
and not less effective coUodio-chloride coating than the one
we then gave n .'.3 I < prepared by the three following stock
solutions : — A.
Nitrate of silver 1 drachm.
Water (distilled) I „
B.
Chloride of calcium 64 gniins.
Alcohol 2 ounces.
C.
Citric acid „—... 64 grains.
Alcohol 2 ounces.
To every two ounces of plain collodion add thirty drops of
the A solution, previously mixed with one drachm of alcohol ;
then one drachm of B solution, gradually shaking well at the
same time ; lastly, half a drachm of C solution. It is ready
for use almost immediately after mixing, and will keep well for
t. considerable time.
When negatives have been simply made too dense, without
benig hard, they may be made thinner by one or other of the
expedients so often publislied, such as treatment with a very
weak solution of ferridcyanide of potassium, followed by im-
mersion in a solution of hyposulphite of soda, or by treatment
with a solution of bichromate of potash, to which has been
added very little sulphuric acid. Exceptional care must be
taken that this latter mixture is used in a highly dilute form,
as its solvent action on the image is so great that, if strong, it
will remove it altogether.
It is when a negative has been intensified by bichloride of
mercury, with a subsequent treatment with ammonia, that one
is most apt to over-intensify, even to such an extent as some-
times to necessitate more than a day's exposure in the print-
ing frame to secure one print. The cure for this may in nearly
all cases be readily effected by reimmersing the negative in
the mercury solution, by which the dark-brown opaque colour
of the image is rendered translucent, and usually of a yellowish
colour, that, without any further treatment, serves to convert
it into a good printing negative. It should not be forgotten
that the action, both of the mercury solution and the ammonia,
is a progressive one, and, by attention in watching such pro-
gress, either in intensifying or in reducing, the operator who
uses his judgment will have complete command of the situa-
tion, it being well understood that the solutions employed are
sufficiently weak to enable him to have control over their
action.
Although we have assumed ammonia as the reagent in
intensification, it is well to realise that there are several others,
each of which imparts its own colour to the deposit. Amongst
these may be mentioned sulphide of ammonium (the most
powerful of all), hyposulphite of soda, sulphite of soda, and
others.
TESTING MOUNTS AND MOUNTANTS.
The many examples of fading and spotty prints we are con-
tinually receiving, with the query as to whether the evil is not
due to the mounts, renders it necessary to say something more
on the subject than can be said in brief replies in the corre-
spondence column. At the present time it seems that con-
siderable suspicion exists with regard to photographic mounts,
and in some instances it is well founded, and in others Just tlie
reverse. It is too frequently assumed, if a mounted print
fades quickly, while a corresponding one which was kept un-
mounted does not, that the mount must of necessity be the
cause. This fa a fallacy, as the fading may be, and in many
cases is, really due to the mountant. We have frequently had
cases brought under our notice where prints mounted in optical
contact with glass have become yellow in a very short time,
666
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September IS, 1893
■while others, kept unmounted, have not suffered. In these
cases it is clear, as the mount is a glass plate, that it cannot be
the cause of the evil.
There is a very simple way by which photographic mounts
may be tested without subjecting them to a chemical analysis.
The method is that described by Mr. Foslee in our Aljianac
for the current year. Briefly, it is this : A light print is made
on albumenised paper, toned, fixed, washed, and dried as usual.
The mount to be tested is just moistened with distilled water,
and over one half of it is laid a sheet of any material that is
impervious to water, such as talc, celluloid, or two or three
thicknesses of paraffined paper. The print is now laid on face
downward, and over that is placed a piece of plain Saxe or
Bives or other pure paper. The whole is then fastened to-
gether with a paper-fastener or a few .stitches of cotton. It is
then backed up with several sheets of moistened blotting-paper,
and the whole placed between a couple of glass plates under
pressure. The object of the glass plates is to prevent evapora-
tion, and so retain the print and mount continually damp. As
moisture conduces to fading, particularly at a warm tempera-
ture, the print should be kept in a warm place, as our purpose
now is to hasten its fading as much as possible.
The print should be examined from day to day. If it fades
uniformly all over, the mount may be considered innocuous ;
but, if that portion of the print which has been kept in contact
with it shows spots or signs' of fading before that part which is
protected from it by the impervious material, it proves that
the mount has had a pernicious action. In some bad cases we
have seen a marked difference between the two tables of a print,
so treated, at the end of a couple of days, or even sooner.
If the mounts are of the dark kind, it is quite possible that
the print may become stained by soluble colouring matter dif-
fusing out. But this does not prove that the mount is unfit
for its purpose. By long contact with a damp print a mount
may produce a stain, yet have no otherwise ill effect on the
silver image, as proved by examining it by transmitted light.
Instead of employing a light print from a negative, a piece of
sensitised paper, exposed to diffused light until it is about as
dark as the half-tones of a light print, then toned, fixed, and
washed, is preferable, as the change, if any, is more quickly de-
tected on the uniform surface than it is on an image. If
photographers who suspect the mounts as being the cause of
their prints fading in a brief period were to submit them to
the above simple yet reliable test, they would frequently find
their suspicions quite unfounded, and that the source of the
evil must be sought elsewhere.
The mouutant is frequently a fertile cause of fixding. The
most general mountant is starch, and an excellent one it is,
provided the starch is of good quality and the paste is used
freshly prepared ; but samples of starch, as they are met with
in the oil shops, vary much as to their suitability for our
present purpose, although they may all be equally good for
laundry uses. Some kinds have had a blue colour added to
them in the manufacture to give them a fictitious whiteness by
disguising their yellowness ; others are strongly coloured blue.
We are informed that the blue, sometimes used for the purpose,
is artificial, ultramarine, which is composed largely of sulphur,
and is readily decomposed by acid with an evolution of sul-
phuretted hydrogen. Gelatine and glue are favourite mount-
ants, but many samples are strongly acid or rapidly become so
if kept in dilute solutions. Dextrine is sometimes used, and
that, as found in commerce, is almost invariably acid. The
various liquid gums and ready-prepared cements, sold by
stationers for general adhesive purposes, are sometimes used for
mounting purposes ; most of them contain an antiseptic, and'
sometimes that is bichloride of mercury. If cements, such as-
those enumerated, be employed, the delicately constituted silver
image will be jeopardised, particularly if the mount be impure..
The effect of a mountant can be tested in a similar manner
to that of mounts, namely, by coating one half of a print with
it, and mounting it face downwards on a piece of clean glass,
leaving the other portions free, and allowing it to dry. It is-
then kept damp in a warm place, as in the case of testing
mounts, and examined daily. This, it may be mentioned, can
scarcely be considered so conclusive a test as in the case with
the mounts, as the moisture and warmth favour fermentation
and mildew, conditions that do not pertain in a state of dry-
ness. But a deleterious mouutant will generally make itself
manifest before that sets in — sometimes, even, in a few hours>
BUBBLES.
Not the bubbles of the Millais picture with which the adver-
tisement hoardings have made the public familiar, or those
appearing in some charming photographs to which we have
referred several times lately, but such as are formed on gelatine
films during development. As more than one correspondent
has recently written us complaining of this unwelcome visita-
tion, and its equally undesirable after-effect in the shape of
transparent circular spots in the negative, and as, moreover,
we have ourselves had some experiences in this direction, it
may be worth while to devote a little consideration to the
causes of the defect and the remedies for obviating it.
Setting aside for the moment defects in the emulsion which
may tend to produce transparent markings in the negatives of
the minute form known as pinholes, as well as the larger and
more symmetrically defined variety analogous to those produced
in development, let us enumerate the commoner causes which
produce them. Particles of dust on the film during develop-
ment not only cause pinholes, but occasionally act as nuclei
for air bells, and thus produce large circular transparent spots,
due to the retention of the developer from the spaces covered
by them. Again, if a quantity of developer insufficient to well
cover the plate be employed, or the wetted film be left exposed
for a considerable time to the air, air bells appear, with a like
subsequent result.
A developer that his been used again and again, especially
in hot weather, such as that of the departing summer, rapidly
becomes frothy and bubbly, and is therefore a prolific source
of failure if means be not emi)loyed to stop the growth
of air bells. Some operators allege that a preliminary soaking
of the plate in water is also favourable to their formation, while
others affirm that the action of flowing the developer over the
plate should be avoided in preference for the immersion of the
plate in the developer.
The nature of the gelatine of the plate is, perhaps, as much
responsible for the formation of air-bells as any other cause.
If it be of a repellent character, and the developer is above
the normal temperature and at all frothy, the conditions are
very favourable. On the other hand, we have observed that
plates of which the gelatine is of a soft kind, even under such
circumstances as those just described, do not prevent the
access of the developer to all parts of the film alike.
Such a degree of skill is required for the successful touching-
out of transparent holes in negatives, that it is worth while to
take a little extra precaution to prevent them. We have not
September l'», 1803]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
87
■confirmed the suggestion that preliminary 8oakiu|r of the plate,
its immersion in the developer, or the flowing over of the latter
upon it, have anything to do with either fostering or obviating
the growth of air bells on the surface ; but it is quite certain
that the quantity of solution used is of considerable importance.
Sufficient of it should always be taken to well flood the plate,
which sliould be left uncovered for as little time as possible.
So soon as the solution is in contact with the plate, a broail,
clean camel's-hair brush, or a pledget of cotton-wool should be
evenly, and not too forcibly, drawn over its surface, so as to
disperse any bubbles that may have formed, and to prevent
their occurrence by e«suring that the film is uniformly wetted.
As a rule it is next to impossible, in the dark room, to see
when the bells have formed, so that it is well not to trust to
•one's eyesight in the matter, but to keep a brush or .some
cotton-wool handy for constant use. Where an old developer
(for which many workers have a fondness) acquires perceptible
frothiness, it is worth while running it through a filter paper,
which will render it temporarily clear.
Tliese are some of the commoner causes of an aggravating
complaint which happens in the course of every-day practice,
and a little attention to which will ensure its prevention. We
have not spoken of splashes of i.v.T,ter, before or after exposure,
and other obvious sources of danger, as we take it that due
care is always exercised in every well-regulated studio, pro-
fessional or amateur, so that such are guarded against as a
matter of course. We have also assumed that the causes of
theae transparent markings are not inherent in the plates,
which are too often unjustly blamed for them.
" A Slgrii of the Times." — Among' the causes that contri-
buted to their faihire, the members of a large firm of printers, wond-
•engravers, &c., recently " gazetted," are reported to have included the
influence of process work, which had oper.ited to oust wood-engraving
from its former pride of place.
The New Fixing' IMCatorlal. — We have looked into a large
number of English priced cataLigues of chemicals, to endeavour to
learn the probable cost of thiosinnamine in this country, but so far
unsuccessfully. We have, however, come across the price in an
English agent's list of a foreign manufacturer's chemicals, and in this
<(a wholesale list) it was priced at three shillings and sixpence an
■ounce. Hut, then, we must remember there are photographers now
alive who can remember hypo at a guinea a pound.
A ZTeTv Thermometer 3Eilquid.— M. P. Chappuis, of the
International Bureau of Weights and Measures, has, since 1889, been
•experimenting with regard to a substitute for alcohol in thermometers
for low temperatures, which is found to be very unsatisfactory in
many respects and irregular in its action accordinjf to the various
sources of its supply. So far M. Chappuis has fl.xed upon toluene
•which has a much higher boiling point (about 111°), and is of greater
■fluidity. Its indications are much more trustworthy than those of
alcohol.
To Blacken Zinc— Mr. J. A. Moss, writing in the Electrical
lleview, while stating that Brunswick black (a solution of asphalt) is
the best for the purpose, as it forms a resistant varnish, at the same
time points out that, when a metallic blackened surface is needed, it
may be obtained by pouring a weak .solution of copper sulphate over
the object, which thereupon becomes coated with a dense deposit of
black o.xide of copper. This is pulverulent, and requires lacquering to
ensure its permanency. For lantern work, diaphragms, &c., it \i not
possible to imagine a less costly process than the latter.
Developer Stains on ireratlves.--There u, w(> bellere, s
growinii^ desire with many photographerit to revert to the kind of
negative having the slight stain producible by pyro development
either without sulphite or with a very omall portion of that agent,
such as was frequent a few years back. We have heard it utated by
many operators that the " pretty " negatives yielded by the newer
developers are so deceptive in their printing qualities that they are
tempted to go back to negatives of pyro-like quality on that very
account. This implies that, after all, a slight yellow stain i« no
disadvantage, but rather the reverife in some case.*.
The MCeeting: of the British Association offers very
few themes of interest to photographer*; but, in one respect, the
lecturers have borrowed a page from photographic experience, in that
the optical lantern and photographic repreoentations are being made
use of to some considerable extent. We wonder if Convention
authorities could in return take a leaf out of the A.'Mociation hook P
We read that " the local committee has engaged the Theatre Royal
for Wednesday night next, when Mr. Wiljon Barrett's company
will give the new play, Pharaoh. It is hoped that members will avail
themselves of the invitation extended to them for this entertainment,
and that it will induce them to remain in Nottingham and take ad-
vantage of the excursions arranged for the following day."
Boonomical BCanufacturs of Ozygren.— This subject
continues, in chemical circles, to excite much interest, and in the
Chemiker Zeitung has quite lately been treated by one expert —
Kassner, the inventor of a process before de.scribed in the-se pages, and
by Le ChateUer in another place. Kassner's improved process makes
use of furnace gases : a new process hiw been patented by Peitz
in which, instead of furnace gases, pure carbonic acid is employed.
Le Chatelier concludes that calcium plumbate gives up its available
oxygen by merely heating at a temperature of iOO° higher than that
employed in Brin's process in the ca.se of barium peroxide, and that
the heated residue absorbs oxygen from the air much more rapidly
than the latter substance. He seems not to have read Kassner's ex-
planations of the latter's process, who points out that he has already
explained this, but now asserts that his indirect method possesses two
great advantages over Le Chatelier's direct method, in that a lower
temperature is required, and a consequent saving of fuel and wear of
retorts is effected, and that a valuable bye-product, pure carbon
dioxide, is also obtained.
nx. XLassner's Indirect Method. — The Inventor claims a
distinct superiority over Brin's process. He first exposes calcium
plumbate to the action of moist furnace ga«as, previously well washed,
at a temperature not exceeding 100". Under these conditions the
plumbate rapidly absorbs the carbon dioxide of the furnace gases,
with the resulting formation of calcium carbonate — free peroxide of
lead. This decomposition is not accompanied by any change of form ,
the spongy masses preserving their original appearance. They are
next transferred to a strongly constructed retort heated to redness,
oxygen being then strongly evolved This evolution is faciUtated by
leading superheated steam over the mass. When most of the avail-
able oxygen is given up from the peroxide, carbon dioxide begins to
come off, which after a while is collected separately, the gas being per-
fectly pure. The first outburst of this gas, which is not quite pure,
is carried over a further quantity of calcium plumbate, which absorbs
it entirely and allows pure oxygen to escape, and so the process is
made to continue indefinitely. It seems abundantly evident that the
barium process is by no means the only one available, and we can
only hail with satisfaction any improvements in the direction of re-
ducing cost, as it must ultimately reduce the already low price of this
valuable agent.
♦
AN IMPROVED MICRO-CAMERA.
Now that the microscope is becoming such an adjunct to the camera,
we hail with pleasure every appliance that is calculated to develop
this union. Hence we have pleasure in giving a brief description of
588
THE BKITISH JOURNAL OF PHOTOGRAPHY.
[September 15, 189S
a micro-camera which appears to us to combine several advantages.
We have called it an " Improved " micro-camera. So it is, in respect
both of its simplicity of desigrn and construction. The manufacturers
are Messrs. Perken, Son, & Rayment, and we incline to the opinion
that, of their various productions which warrant them in adopting
the trade term "Qptimus," this will not be found to be the least
worthy.
The one we ex,amined is constructed for micro enlargements on
plates 3^ X .3^, which, it will be observed, is the English standard for
lantern plates, for which adaptation it is intended, in order to exhibit
the subjects by projection on a screen. This at once imparts an idea
as to the dimensions of the camera proper, which is erected on a base-
board fifty inches in length. The bellows-body is twenty-four inches
long, and is attached by one end to a strong wooden front erected a little
over two feet from the rear end of the camera, and pierced in the
centre with a hole of such dimensions as to permit of the insertion of
the eyepiece end of the microscope. But the microscope itself is
erected upon an movable baseboard outside the wooden front men-
tioned, that is to say, it is adjustable as regards its motion to and
from the camera, and, when the microscope has once been adjusted
to the proper height, it is in accurate centre for ever after. On a
second and similar sliding sub-baseboard, made, like the former, to
slide axially, is erected any of the various microscopic sub-stage
apphances common to the microscope, such as the condenser, which,
after being fitted, is, like the optical system, ever afterwards in centre,
requiring no further attention than the sliding backwards or forwards.
A third sliding platform, similar to the two just spoken of, is intended
for the lamp.
A rack extends the whole length of the principal baseboard, and
each of the movable platforms mentioned is operated by a pinion
ready of access to the photographer, who thus can control the various
movements necessary.
The rough adjustment for degree of enlargement is made by sliding
in or out the bellows-body, which is under control of one of tliis firm's
patent pinions, capable of being thrown out of gear with the rack for
rapid adjustment, and of being geared again when it becomes neces-
sary to focus. This we consider a very handy arrangement, as it
saves the long and tedious racking out when extending the bellows to
any considerable extent. The fine adjustment of the microscope is
done by means of a band and pulley at the rear end.
The various sliding pieces work smoothly within brass guides at
either side of the baseboard. It is made of mahogany, and is finely
finished. Although the one we examined is made of dimensions
suitable for lantern sUdes, there is no limit to the size to which it can
be made. A great charm lies in the readiness with which work can
be resumed at a moment's notice after the instrument has been packed
away on the shelf.
♦
CONTINENTAL NOTES AND NEWS.
nKonument to Dagruerre. — A monument to Daguerre is to
be erected in the village of Bry-sur-Mame. The municipaUty has
charge of the matter, and M. G. Kolland, of 2, Rue da Sfax, will
receive subscriptions.
Imitation Ground G-Iass. — The following plan is advocated
by Ilerr Tooh, in the Sundi^chau for imparting a very fine grain to
glass for focussing purposes. Fix an unexposed gelatine plate, wash,
and immerse in a solution of chloride of barium. Then, without
washing, treat with a very dilute solution of sulphuric acid, keeping
the latter in motion over the plate. A fine precipitate will be formed
in the film.
The International TTnion of Pliotog'rapby. — The
second session of the International Union of Photography opened at
Geneva on August 21. A large number of members and delegates
from photographic societies were present. At the opening skmcn,
M. Joseph Maes, president of the Union, took the chair, being sup-
ported by Messrs. Janssen, Bataidt, Pricam, Demole, Luckhardt
(Vienna), Warnerke (London), Liesegang (Diisseldorf), Davanne,
Audra, Gravier, and Berthaud (Paris), Bucquet, Boisard, LumiJre,
Puttemans, &c. The second sitting was remarkable for an account,
by M. Janssen, of the photographic work of the recent EoUpse Ex-
pedition. At another meeting, pictures in " natural colours,'' accord-
ing to Lippmann's method, were exhibited by M. Lumiere. On the
Thursday au animated discussion took place over an attempt to obtain
a clear and precise definition of what constituted an amateur. Several
excursions and receptions took place during the week, and the pro-
ceedings concluded— not with a " werse," as Sam WeUer has it, but
with a banquet. On the whole, the Union appears to have had an.
enjoyable time, its doings much resembhng those of our own Con-
vention.
Iodine and Glycerine in the 2>eveIoper. — Professor
Lainer states that a drop of tincture of iodine to about each tenc.c.of
eikonogeu developer imparts excellent softness and gradation to th&
negative. The addition of glycerine o : 101) prevents fog, and adds to
the keeping properties of the solutions.
Relative Quantities of Sliver Haloid and Gelatine
in Commercial Gelatine 3>ry Plates.— MM. Frutiger &
Perrot have ascertained the respective weights of silver and gelatine in
a dozen kinds of plates. Their method consisted in the elimination
of the silver haloids with cyanide, washing the films in running water
and then removing them. After being washed in alcohol for two
hours the films were allowed to dry spontaneously at the ordinary
temperature, placed in a drying stove at 10.5°, and weighed. Wlien
incinerated the gelatine leaves a trifiing weight of phosphate and car-
bonate of lime behind completely free of silver salts. The I'esulting
figures show proportions of silver to gelatine varying from about 1 : 2
to 1 : 5. The authors, however, are inclined to think that the pro-
portions of silver and gelatine contained in a plate afford no guide a&
to its qualities.
SOME USEFUL PHOTOGRAPHIC STANDARDS.
[Brixton and Clapham Camera Club.]
Do not think that in this memoir much in the way of novelty will be-
brought forward in relation to photographic standards. For years
English photographers have been, like pelicans, crying in the wilder-
ness for simple standards of m^easurement, and to their bitter cry
dealers have responded but in homceopathic doses, with the loss- of
years of time between each driblet. One object of the paper is to
emphasise old-established demands as to what scientific photographers
want, but, so far, have not been successful in obtaining.
A demand constantly exists, and that demand is sometimes ex-
pressed at the meetings of photographic societies, for a standard
light for common use in photography, flerr von Hefner- Alteneck once
read a paper before the Electro-Technical Society of Berlin, describing
his amyl-acetate lamp as a photometric standard. His invention next
came before the Congress of Electrical Engineers in Paris, soon after
that city had been partly lighted by electricity, where the simplicity
of the lamp riveted the attention of the late Sir WiUiam Siemens,
who made it widely known among electrical engineers in London ;
and, when it subsequently came under the notice of Captam Abney,
he read a paper about it before the Photographic Society, setting
forth that it was exactly what photographers required. Then it was
forgotten for a course of years, until the holding of the Internationa]
Photograpliic Congress in Paris at the Exhibition there in 1889, when
the amyl-acetate lamp was again recommended for general photo-
graphic use.
StUl, the mass of photographers have no amyl-acetate lamp. What,
then, is this lamp which commercial men are so long in supplying P
If you gaze in certain oil shops and ironmongers' shops, little brass
lamps will sometimes be seen piled a yard high, and seDing at three-
pence or fom'pence each, under the trade name of " benzolene " lamps.
They are made for burning light petroleum. These lamps are practi-
cally amyl-acetate lamps unstandardised. If good double screws be
put to them to raise the wick, if the tube be made to standard size,
and some minor conditions receive attention, you have an amyl-acetate
lamp. It is largely a qivestion of exactitude in manufacture, and in
screening the flame with a diaphragm having a standard aperture.
If these modifications were made, and the standard wisk used, they
might be sold to the photographic public at, say, eighteenpence each,
with say, fifty per cent, profit ; but, from the experience of the past.
September 15, 1893]
THE BRITISH JUUUNAL OI- I'llOluuli.vni V.
we may have to wHit for j'ears before such lamps are readily obtaiuiible.
A horizontal piece of phttinum wire, supported by a brass rod indi-
cates the heii,'ht to which the flame should bo adjusted.
Amyl-acutato ia burnt iu these lamps because of the uniformity of
its compusitou. This liquid is better known, especially to manu-
facturing confectioners, by the name of pear oil. When the outside
of the lamp is not lit' pt clean, or when the wick is turned too high an
overpowering smell of pears prevails. With the best management of
the lamp, a faint odour uf this kind diffuses, and, after a time, becomes
unpleasant. This simple little lamp is exceedingly trustworthy as a
standard of light, and would probably have been recommended by
scientific experts as the legal standard for testing the illuminating
power of coal gas were n )t its tlanic a little too yeUow. Its tube gets
corroded unless made of silver, and >rr. Bothawley has introduced a
spt>cial method of screening the tiame from draughts.
Should this standard ever be used in photooraphy, it is probable
that some other hydro-carbon than amyl-acetate will be burnt in the
lamp. I think that a more useful standard in photography would be
a lamp of the Argand type, giving a light of about ten candles, such,
for instance, as Dibdin's Tentane Argand standard lamp. Printing by
artificial light could then be done with it, and we should no longer
hear the remark at photographic societies, '• The exposure should be
thirty seconds at one foot distance from the flame of batswing
burner," a barbarously vague definition of the amount of light to be
employed.
We come no^y to a standard of light to which small attention has
been paid in this country but much in France, namely, Giroud's jet
photometer, one of the class of rat-t4iil photometers. Giroud tests
the illuminating power of gas by its own combustion, which, at first
sight, seems a strange thing to be able to do. The main principles
on which all jet photometers depend are : — 1. For the same gas with
the same consumption, the height of the flame with the same aperture
of the burner is almost directly proportional to the lighting power of
the gas. 2._ On comparing gases of different qualities burned as a
jet, the heights of the flame are in proportion to the illuminat-
ing power. Giroud uses a flame 105 millimetres high, which is
kept up by thirty-eight litres per hour of the normal gas of Paris,
subject to regulation by an excellent rheometer.
Photographers have all heard of, although few have seen, the
sen.-itometer invented by Mr. J. B. Spurge, one of which is now on
the table before you. This instrument has never been on sale in the
market, the few that have been made having been constructed by
Mr. Spurge's own hands. In calibrating his sensitometer he found
the standard candle established by law to be too uncertain to be of
any use for the purpose, therefore he employed for the purpose four
of Giroud's rat- tail jets.
First, as to the sensitometer itself. It consists, as you see, of a
nuinber of holes of different diametere in a plate of hard brass ;
behind each hole i.s a little cell, and at the back of the cells is placed
the plate to be tested. A standard light is made to shine through the
holes for a given time, and the larger the hole the more light does
the plate behind it receive. The apertures have to be made with the
most scrupulous exactitude, and they have been so well made in the
past as to bear with credit measurement under the microscope. In
making these sensitometers in large numters, the holes would have to
be made to fit a series of specially constructed Whitworth's gauges,
and the construction of these gauges in the first instance, is the only
outlay of importance in the way of the commercial introduction of
these instruments. The diameters of the apertures were calculated
mathematically, so as to be specially useful in scientific research, by
Mr. Spurge and by the late C. F. Varley, the Atlantic telegraph
electrician.
A few days ago I wrote to Mr. Spurge, telling him that I was going
to bring these matters before you to-night, and inviting him to attend.
I am glad to say that he is here, and has brought with him his modi-
fication of Giroud's photometer.
The following rough diagram will help to show how the appliances
are used : — a is the back of the sensitometer, standing upon the
wooden platform k. Alongside it. are four jets, h h hh, with rat-
tail flames, all turned to the height v n, which level is indicated in
the instrument by guide wires. Twelve or eighteen inches in front of
the flames and the sensitometer is the rectangular board, w w w w,
covered with a sheet of pure white Kive paper, which paper is evenly
Ulunimated by tlie flames, and the light from this extended illumin-
ated surface is that which acts upon the sensitive plate through the
circular holes of different sizes in the sensitometer. The whole
apparatus is made to fold up neatly into a narrow flat box form, for
carnage.
Mr. Spurge adopted the jet photometer as the source of light
because he found the standard candle to be so inaccurate and
-"'■" "•■"'■'•
variable that he could not use it for the calibmtion of bia mamto-
lueter. lUt-t«il photometttrs, fur lli-l- >.;... ..i;.;i i ;
in use in nearly all gasworks in tlii-
long, and more influenRed by driiu^;
Giroud. Mr. S]
'.'J
Jditidual steadiIlus^ by using four of the
short flames at once. In Paris it has been found that the maximum
error of Giroud's photometer does not exceed one per cent.
Mr. Spurge's sensitometer, because of its accuracy, is much used by
Captain Abney, Mr. H. M. Elder, and others in photographic re-
search, and I am glad to have drawn that man of modest merit, Mr.
Spurge, out of his too great retirement, to give u« some information
on sensitometry to-night.
We had to wait many years before opticians began to give us
standard diaphragms and standard screws to lens mounts ; but at last
some opticians at home and abroad moved in the matter, and in time
uniformity will be the rule. How long shall we have to wait until
the same screws are put upon the fronts of lens mounts, to take
flanges put for the purpose upon some of those instantaneous shutters
in the market, which are used in front of lens, and at present have to
be made to stick on by means of india-rubbtr bands or other unsatis-
factory devices ? Then, again, when will all camera screws be made
to one gauge, instead of presenting that lack of uniformity of which
Mr. Traill Taylor complained at the Camera Club Conference?
Captain Abney then hit the right nail on the head by stating that it
might be well to form a sort of unofficial trades union among photo-
graphers. By common consent, purchasing photographers might do
much to direct the channels into which the trade shall flow, and to
support those particular dealers who show a desire to meet their
requirements.
When standards are wanted, it is obviously necessary that some
disinterested public body should specify what the standards are to be,
otherwi.se commercial men have nothing authoritative to guide them.
For this reason the photographic Society may well add to the debt
of public gratitude by forthwith specifying some more standards,
especially a standard .Argand lamp of ten or twenty candle power for
use in tratiaparency printing and other work, as well as for use as a
photographic unit of light. Although I was a foreign member of the
Paris Photographic Conference Committee, I do not now agree with
the decision of the Conference about the amyl-acetate lamp, except on
the ground that any standard of light is better than none. It would
be better to have a larger luminous source, useful also for some kinds
of practical photographic work. The Photographic Society some time
back began to affiliate other Societies, apparently with somewhat vague
ideas of what was to come out of that line of action, but directlv the
united societies begin some work in which the public are strongly
interested, plenty of life and energy will cluster about the affiliation
movement, and the two representatives of this Club will then tell us
whether the affiliation movement Is still in existence, what it is doing,
and what they are doing on our behalf. W, H. Hasiuson.
THE EVOLUTION OF ARTISTIC PHOTOGR.VPHY.
The art of photography, dissociated from its purely mechanical con-
nexions, has been written about by many able exponents of art sub-
jects, the greater number of whom regret the intractability or limita-
tions of a process that, on the face of it, promiaed so much and
performed so little. This was the keynote of most writers in :h '
earlier days of photography, and has, no doubt, continued its infi -
to the present time. The dictum of skilled men will always, rigi.i •■>
wrong, shape the public mind, and an opinion once established in a
$90
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 15, 1893
matter of this kind is very difficult to upset, with even the most con-
clusive proofs to the contrary. I firmly believe scores of pictures
now made are equal, and very often superior, to drawings in
monochrome by acknowledged artists, and quite as dependent on per-
sonal skill as any pencil or brush work can be. It is simply absurd
nonsense to limit the production of artistic pictures to any special
materials, a clever man, or woman either, for the matter of that, will
make a picture with anything that will make a mark. It is not the
manner of producing, but the production itself that has to be judged,
and to claim on its own intrinsic merits the position it is to occupy.
I am convinced photography is an art in the fullest significance of the
term, and not only that, but one that puts to shame a vast amount
uf hand work to which is arrogated the right of being the only true
and legitimate method of representing nature literally and ideally on
a plane surface.
" More twaddle about art," I fancy the reader ejaculating ; but,
twaddle or no twaddle, it is plain to see that a process mechanically
perfect, almost from its first inception, and which goes on improving
by leaps and bounds in its purely artistic character, to which no
limit can be put, has considerable claims to the title of art — a claim
audacious and wrong, as many declare it to be. Thirty years ago —
but it is really longer— quite as perfectly manipulated negatives were
produced as at the present time, just as good definition, almost as
much softness, and more brilliancy, in fact, as che7nical productions,
just as good in every respect as now. Their number was, however,
somewhat limited, and their art qualities, with few exceptions, left
much to be desired. Great things were expected, art was to be revo-
lutionised, nothing was too difficult for its comprehensive grasp;
sentiment, passion, everything could be represented, in the twinkling
of an eye, true to nature and of unimpeachable correctness. Painter-
artists would have to take a back seat in the future, to make way for
the new process. It was soon found that too much was expected,
as is generally the case with a new and sensational thing, and from
the pinnacle of expectation it fell to be a butt for the gibes and
sneers of artists of all degrees. As I write, I have before me a few
early photographic portraits, and, most assuredly, as candidates for
artistic recognition, they deserve the disparagement metf d out to the
class of which they are specimens. There is no fault to be found with
their manipulative qualities, that is as good as the pi'esent average,
in spite of the difficulties of the process as then carried on ; but as
pictures, artistic treatment, and so forth, compared with modern
work, are as much behind as is the four-year-olds pencilling, with the
legend, " This is a man," to one of Millais' or Sant's society portraits.
Certainly, in the early days, the light of art was hidden under a
bushel, and it is assuredly, but gradually, shining forth as the means
of production becomes less and less evident and the shadow of
mechanism passes away. " Like a photograph " was a term of re-
proach ; •' Like a photograph " will be the criticism of approbation.
Let time work its magic influence, and, if we remember that lenses,
cameras, and plates are but tools ; in evidence, only to take the place of
brushes and pencils, we shall then get on ; in fact, we have got on,
the thing is accomplished, and only wilful blindness or obstinate
partiality can find anything to say disparaging to many photographs
now produced. Look at the designs and sketches of dozens of pic-
tures hung at our leading Exhibitions, Royal Academy included ; take
away the colour, and what could be weaker, poorer, or show less in-
ventive capacity for design than many of them ? Thousands of photo-
graphs are a long way ahead. There^is not much doubt that, if any
one of our best photographs was copied line for line in chalk, sepia,
or any other monochromatic colour, it would stand an excellent
chance of being hung at any representative exhibition, .so hny as it
remained a xecret that it was a copy of a photograph : that damning
iuformation being afforded, it would, metaphorically, be pitched into
the waste-paper basket as a thing of no account. So much for the influ-
ence of process and unfair prejudice,ioT it cannot be called anything else.
There is no denying that artists had good reasons for their restrictions
long ago on the generality of photographs claiming kindred with art.
As soon as the process became well known and popular, it was taken
up by all classes, educated and uneducated alike, as an easy means
of money-making, which it undoubtedly was, and the most awful
things were perpetrated in the name of art.
One clas.", and that was a large one, invariably introduced a
curtain, pillar, high-backed chair, and carpet, no matter whether it
was an indoor or outdoor background. \ wild, stormy sky, with waves
beating on a rock-bound shore, a ship foundering, and a lighthouse
fla.shing was considered suitable for a lady in evening dress, sitting on
a drawing-room chair, with an elaborate ottoman and Brussels carpet.
Thousands of such incongruities were made, and liked — think of it,
positively looked on as works of art by the million ! Most of the
poses (and there was not much variety) were stiff and formal. This
style of thing continued until ridicule had its effect, and we then
arrived at the second stage of severe simplicity, plain backgrounds,
and few or no accessories, an improvement no one can deny. The
dress of the time was rather difficult to deal with. Then vignetted
heads and busts were introduced, which swept awaj- a lot of trouble
and introduced a very pleasing and artistic style of picture, which
has continued its popularity to the present time. Vignettes, in some
form or another, will in all probability remain with us, whatever
changes take place. Then came double printing — the figures and
surroundings on separate negatives ; but, although some splendid
work was done in this way, there was much coarse, incongruous stuff
made up by people who borrowed the idea, but had not either the
taste or skill to carry it out artistically till this kind of picture was
practically smothered.
It really required more art training than that then possessed by the
majority of photographers to do it properly, but at the present time I
should think it (double printing) might be revived with advantage,
for the results are exceedingly attractive when well done. Almost
all styles have been produced, and well, too, in isolated instances ; but
in these remarks I allude to the general run of any speciality. It is
only seldom now that we see modern work spoiled by the incongruity
of indoor foregrounds with outdoor backgrounds, which used to be so
common. The chief fault of composition in the present day is crowd-
ing a lot of accessories into the picture close round the sitter. A lady,
for instance, may be well posed and lighted, seated on an ottoman,
with her feet placed amongst a number of flower-pots containing ferns,
palms, or other green stuff, suggesting the idea of their being over-
turned if she changed her position. Whoever saw any in ordinary
life so crowded up with greenery in a fashion that would require
an acrobatic performance to clear them without damage ? Art will
never be advanced by such attempts, that is very certain. This going
out of the way for the sake of displaying the covering power of the
lens — or, in the usual studio slang, breaking up the straight lines —
will have to be modified or eliminated for more reasonable means, less
ostentation, and more of the character of those assodated with every-
day home life. Even the expression of the face is frequently assumed
for the benefit of the photographer, and seldom or never seen at other
times. This, however, is not altogether the fault of the photographer.
Then we get all sorts of eccentricities in lighting, under the impres-
sion they are Bembrandtesque — a streak of light down the profile and
the top of the head like a fall of snow, whilst the face generally is
buried in deep shadow, sometimes in positive blackness, which is
neither Rembrandt-like nor anything else but absurd. Vagaries of
this description are happily toning down at the present time, although
they were plentiful enough not long since. It is curious how the
public will take a fancyto some particular kind of lighting, some special
effect on an exceptional subject, and forthwith conclude it will suit
them individually. The photographer sees £'. ». d. in it, tries to please
the public and outrage common sense at the same time; for, when we
have said and done all, we must admit that it is mainly £. s. d. that
rules the roast. But it is when the inartistic mind attempts to do some-
thing startling in the wayof picture-making that we are brought face to
face with the depths of degradation to which photography is
exposed.
Human emotions are not successfully treated by photography, and,
except in rare instances, are not likely to be truthfully rendered ; the
poetical extracts we find attached to many such attempts provide
the onlv poetry of the exhibit. Perfect models are unattainable, and
photographers, unlike painters, cannot select the beautiful from many
and blend them together in one, whatever their skill may be ; and,
despite of all this, the advance of artistic photography has been very
great of late years, and promises to be greater still in the future. It
is by comparison of the best pictures of different decades that the
improvement is so marked, is realisable. Adam Salomon was the
first to set English photographers thinking. Luckhardt and Angerer
showed us what could be done with ordinary dress, as Salomon did
with lighting and posing, and from that time dates the artistic revolu-
tion of the art. It was soon evident that the most skilful manipulation
would not make up for lack of artistic knowledge — a fact that was
not so soon realised as one would have expected — but gradually the
pictures turned out by different men effectually proved that those who
possessed the most artistic knowledge made the most popular work :
and at the present time, unless a man can supplement good manipula-
tive skill with artistic treatment, he had better by far give up
photography as a source of income. The business of good houses now
depends for popularity on the work of the artist rather than that of
the photographer pure and simple, for with dry gelatine plates, and
the ease with which a perfect chemical image can be produced by
almost any one, a merely good photographer is absolutely of no
account. But in lighting, and in the treatment of the sitter generally,
September 15, 1893]
THE BRITISH JOURNAL OF i-HOTOGRAPHY.
0B1
18 centered the test of competence — a fnct of itself that proves the extra-
ordmary improvement that the last few years have made in the
practice of photography from an artistic point of view.
Edwaud Dunmobb.
To be continued.)
PHOTOaRAPHIC METASTASIS.— II.
Thk sources of error which we must take into account, and against
which we must guard in estimatin(f the density- value corresponding
to a given expodure-value in a finished normal image — to set aside
for the moment all consideration of " neutral," " reversal," and inter-
mediate forms, — are chiefly due to the following causes, enumerating
them in the order in which they occur : —
1. Unequal Coatiny. — (a) Of one plate as compared to another from
the same batch or box, the thinly coated plate being more rapid and
giving less density than that which is more thickly coated, (hi) Of
the margin as compared to the centre. Here the preceding observa-
tions also apply ; the margin being the thinner portion is the most
sensitive, but; usually receives the least light, when a lens is used.
(c) From the viscosity of the emulsion. Few plates have the film of
uniform thickness even in the centre. I have found commercial
plates by the best makers to show ineaualities of relief when viewed
by the light of the dark-room lamp, reflected from the surface of the
tilm when held at very obtuse angles. In every -day picture-making
this defect like many others does not, when present, detract appreci-
ably from the quality of the result; but in the quantitative estimation
of the density-value of one flat tint as compired to aniather the varia-
tion is distinctly perceptible, [d) Owing to the surface of the (glass)
support not being truly plane. Hollows in tlie glass sufficient to
form Newton's rings might, even when superadded to other sources,
be inconsiderable, and be left out of account save where such a deli-
cate estimation is claimed that the analysis is expressed to the
thousandth of less than the thousandth of an inch.
2. Unequal Development. — (a) Due to insufficient precision in
measuring out the ingredients. (6) Caused by inaccuracy in timing
the period of immersion, (c) llesulting from inequality of tem-
perature, which makes the effect of a minute's immersion at one
time different from a minute's immersion at another, (d) .^rising
through the impurity or unequal strength of the chemicals em-
ployed, and also from the unequal rate at which some of them
volatilise and lose their efficiency.
3. Unequal Fixing. — (n) Owing to the diversity in the resisting
power of different brands of plates. (6) Brought about through
employing inconstant proportion of tlie ingredients of the developers,
(c) Produced by variation in the rapidity with which the density
has been developed, little matter from what cause, {d) By using
a fixing bath of unknown strength, or for uncertain periods.
4. To these causes we may add, while treating of the production
of the finished plate — («) Inequality of colour, (b) Inequality in
washing between development and fixing, oorae plates and some
exposures acquiring more density tlian others during this interval,
(c) The very marked inequality in density between equal wet
densities when dried at unequal rates.
■5. The inaccuracy and untrustworthiness, where minute variations
are concerned, of most photometric methods.
To all these sources of error we must add, when dealing with
abnormal exposures — (a) The printed-out increment in density. (6)
The greater activity of the fixing reagent.
Nor must we forget when working with the unbacked plates — for
backing, though it does not cure, mitigates the evil of halation — that
there is in most subjects a certain amount of unequally distributed
density, excessive or deficient, which is not directly due to the incident
light, but is mainly attributable to the localised reflection of that
•which has already passed through the film.
Taking, as I have been forced to take, all these considerations into
account, I have preferred, in my work of the past five or six years, to
make my experiments as exactas possible, but never to trust to the
accuracy of any single observation, nor to any reasoned-out estimation
of the amount of the error of observation, choosing, under the
circumstances, rather to multiply results and take the average of
repeated testing, of single, and stripped, and superposed films, by eye,
by the time taken to print through, and by photometer. I hold, and
I consider m3'self abundantly justified in my belief , that without the
check afforded by the previous determination of the arithmetical series
ofdensity-valuesO-<--5, 0-1-1, •5-i--5, and 1 -(- 0, corresponding to the
geometrical series of exposures, no set of analyses of fractional
densities can, se ipse, furnish sufficient or sufficiently reliable data to
how what is the actual relationship existing for the time being
between exposure-value, and density-value, nor to suggest that the
connexion is that of common ratio to common difference.
.\. working hypothesis is, I feel certain, an absolute necessity,
because, where unstinted experiment might amply suffice to rebut or
confirm the position taken up, the life of man is far too short to
admit of the creation of a lucidun urdo from the chaotic jumble of
disjecta membra, which must infallibly accrue when a complicated
analvsis and synthesii are undertaken unadvisedly and without pre-
meditated intent.
Finding that all experimental essays tJ connect the shorter ex-
posures with their developed densities were utterly untrmtworthy, I
relinquished the task, and devoted my energies to the graphical repre-
sentation of both semi-constituents of density, which, commencing
with the normal image, I found to be reciprocals one of the other,
not only during one complete cycle of revolution (cycle of phases),
but for more than one repetition of the same. Whilst in this deter-
mination of the connexion between exposure and density-values I
chiefly employed tlie method of superposing the complementary den-
sities— stripped, or on the glass, and allowing for it — and comparing
tliem in a photometer, I took care to check my figures by printing
opaque spots through them, and by giving very .short exposures, and
submitting the action produced to the test of a constant developer.
-Vccepting the leading statement in my paper of 1888 as correct,
the following may fairly be advanced as the line of reasoning naturally
suggested to any mathematician cognisant of the elements of photo-
graphy.
In order to express the density at any instant in terms of the
time which has elapsed since the exposure of the film commenced,
let e denote the time of exposure requisite to produce the first normal
image, and a*e that required to produce the second normal image ; a^ is
chosen for the ratio, in preference to a single letter, merely to simplify
the subsequent formula; ; a thus depends upon the accelerator eraploye<l.
If d represent numerically the maximum density of the image, we can
tabulate the corresponding values of t and D (time from commence-
ment of exposure and density) as follows, adding for convenience a
third column giving log t.
t
D
logt
e
d
log e
ae
d
5
log e -flog a
a-e
o
log e -1- 2 log a
a%
d
log e-(-3 log a
a^e
d
log e -(- 4 log a
a'e
d
log e -)- 5 log a
a^e
0
]oge-i-61og a
a'e
d
5
loge-l-71oga
Comparing the second and third columns of this table, we see that
log t increases uniformly as the density of either semi-constituent
varies from normal to neutral, from neutral to reversal, from reversal
to second neutral, from second neutral to second normal, and so on.
The density is a continuous function of the time. Hence we must
come to some decision as to its mode of variation at intermediate
points. As the density rises and falls, always repeating the same
cycle of changes, the simplest hypothesis we can make is that of simple
harmonic variation. This clearly coincides with the known results
of observation at the four points in each cycle which are of greatest
importance, and it is the law obeyed by almost all periodic phenomena
in nature, e.g., the rise and fall of the tides, the (vibration of elastic
bodies, the motion of the particles of every medium that transmits
waves, whether air, or water, or ether, and the swing of the pendulum.
Its sufficiency can only be demonstrated by experimentally determining
the density at points intermediate to those given in the table. This,
as stated in The British Jouenal of Photography for January
13 and November 10, 1888, in the paragraph preceding my leading
conclusions, I did for several points after the first normal image and
intermediate to the four critical points of ea;h cycle, as also for a series
of points between the first mean and greatest densities. The values
given by these experiments coincide with those required by the law to
the closest degree of accuracy which we can reliably measure. But,
even in default of such experimenttd verification, we still know that
this hypothesis satisfies all the known facts, is the simplest assumption
-692
THE BRITISH JOURNAL OF PHOTOaRAPHY.
[September 1-5, 1893
which will do so, and has been found to be the law of multitudes of
similar natural phenomena. .
Owing to the periodicity of the circular funcUon,the table can
now be written thus : —
t
».;..,;/•
logt
ea
'" 'e a^ "
1(1+ sin p
^(1 + sin2|)
i(l+sin3|)
1(1 + sin 45)
-
loge
log e + log a
log e + log a
log e + log a
ea*
ea°
ea"
e a''
|(l+sin5p '
d(l + sin6|)
|(l + sin7|:)
|(l + 8in8p
1 1«^. •'' t.n, ■'■i
log e + log a
log e + log a
log e + log a
log e + log a
ea»
t(l + sinn + iP
log e X n log a
Hence we have D and t expressed in terms of a variable parameter,
n, the elimination of wliich will at once give the relation between
them.
Taking the general entries in columns 2 and 3, we have : —
D= I (1 + sin irrrp (i)
log t = log e + n log a (2)
From (2)
t
log -
n = -A^ (3)
log a
Substituting from (3) in (1) we get :
, at
.d ) log ^
'2 ) 1 + sin -, ~
los- a
D =
(4)
This formula gives the density, D, at any instant in terms of the
time, t, which has elapsed since the beginning of the exposure.
The data from which the foregoing formula has been deduced are
as follows : —
I. The laws expressed in ' C ' and ' D ' of my original paper.
II. The successive maximum densities (or contrasts between zero
and unity) are equall3' intense. This applies with the same force to
either semi-constituent.
III. No account is taken of the continuous degi-adation or fogging
of the film.
The provisional law based on these data, and applicable under the
limitations stated, is, in brief : —
" The density is a simple harmonic function of the logarithm of the
time from the instant of exposure."
Although resulting from a consideration of densities brought out
by immersions of considerable duration, the foregoing law is put for-
ward as specially applying, not so much to the density actually pro-
duced as to the total conjoint energy or power to produce density of
light of a given intensity when superadded to a developer of known
potency acting upon a film of silver bromide suspended in gelatine,
the contact of the exposed plate with the chemical multiplier or
divisor being assumed to be instantaneous. The primary object of
all the experiments from which the law was deduced was the o)i-
taining, in the first place, such information regarding the qualitative
and quantitative individual influence of the separate ingredients of a
standard developer as would admit of the assigning to each an ab.so-
lute and comparative value, with the ultimate view of arriving at
some definite conclusion as to tlie precise nature of tliose physical and
chemical properties of the silver salt in question wliich "constitute
its sensitiveness, properties to which Messrs. Ilurter & Driffield
have assigned tlie symbols
formula :-
'«," and "e" in their mathematical
"D = 7log. fo-O-
(01)/(1-
a)
It
]"
a formula which, with our present knowledge of "A," "a," and '
consider to be pathetically simple. It is, nevertheless, extremely
mathematical and scientific in appearance, and to mathematicians
who know little of photography, and to photographers who know little
of mathematics, it is most satisfactory. Only it won't work out,
because it means nothing as yet. When it means anything, it will be
found to be wrong. Hugh Bbebnbk.
THE PHOTOGRAPHIC CONGRESS AUXILIAKY OF THE
WORLD'S COLUMBIAN EXPOSITION.
The following additional papers were read : —
PHOTOGRAPHY AS APPLIED TO SUEGERY.
The service which photography is capable of rendering the surgeon covers
a wide and important field. By this means minutely accurate delineations
of the work in progress can be secured in a few seconds' time, which will
subsequently reproduce all the surface features of a case at a glance, and
that, too, more perfectly than an elaborate description.
Ill surgical cases intended for publication the photograph is an in-'
valuable adjuvant, either for direct processes of reproduction or as an
accurate basis for a careful drawing, which will in this way be enabled to
preserve the life and individuality of the subject, often lost in drawings
hurriedly made and then finished from memory.
A further and possibly a still more important field for photography in
surgical operating room is one which has been for the first time brought
into use in the gynecological room of the John Hopkins Hospital of Bal-
timore, Maryland. That is, an effort by this means to crystallise a
sufficient number of important steps during an operation from the com-
mencement to completion, so that, by producing the photographs in the
same order, a fairly accurate conception of the operative procedure may
be obtained, and in any event the pictures will afford a basis for a vivid
lecture, when given before students for instruction.
The eiifect of the photograph is much enhanced when the negative is
converted into a positive on glass in the shape of a lantern slide, and the
operation reproduced upon a screen of sufficient size, in lifelike propor-
tions, by the aid of calcium or electric light, as an illuminant. The con-
trast of lights and shadows and the stereoscopic appearance in this field
are superior to the best prints, and leave nothing to be desired in the
realistic effect. 'While photography possesses these manifold advantages
and holds for itself a wide field of utility never before occupied, it does
not supplant the more painstaking drawing direct from the specimen or
subject. By means of the drawing, always more or less diagrammatic,
those features are emphasised to which the surgeon wishes to draw the
attention, and the drawing is for this reason more quickly self-explanatory.
In addition to this, photography becomes difficult, if not impossible, as
soon as the field of operation lies deep in the body, either in the abdomen
or vagina. The lack of actinic power in red blood also often interferes
with the success of a negative taken during the progress of an operation,
the deep red spots showing as unsightly black blotches in the positive.
Moving objects, to be sure, cannot well be photographed, unless the
illumination is great enough to allow an instantaneous exposure to be
made.
In this way the movements of respiration transmitted to the abdomen
and pelvic floor may be a serious disadvantage. Sometimes, however, it
is advantageous to photograph the motion of a part. Motion may, for
example, be registered in this way : If a patient's chest is heaving during
an exposure of several seconds, the outline will be a blurred one, while the
other parts are sharp, thus demonstrating the motion. A photograph of
the contour of the abdomen from sternum to pubis shows a hazy outline
due to the transmitted respiratory movements. If, however, the lower
abdomen is filled with a myoma large enough to reach the anterior wall,
this part is splinted and remains quiescent on the tumour, showing a sharp
outline in the picture, while the rest of the abdomen above has a faint,
hazy outline, thus demonstrating the presence of the tumour to the eye.
The conditions necessary for malung a good photograph are but few :
A good illumination of the subject and the employment of prepared plates
of a sufficient degree of sensitiveness, so as to make an impression quickly,
without delaying the operator in his work. None of the pictures thus
made in the gynecological operating room (and we have made about eight
hundred and fifty in the past year) delay the work longer than three
seconds, and generally less time is consumed.
A good instrument, lens, and shutter are necessities. The camera
proper must be arranged with considerable movement or adjustment of
the front carrying the lens, so as to bring properly into the centre of the
plate that particular part which is the principal object of interest in the
picture. A vertical swing back is also a desideratum. The camera should
be strong and well made, and equipped with an abundance of plate-
September 15, 1893]
THE imiTISH JOUltNAL OF niOTOGKAPHY.
«M
holders. The use of lensos of different focal length is of assittanee to
tiio photographic operator, bat two lengths are all that are made um of
in our work.
The best size of plate is that known as .5 x 7 in the list of photographio
sizes, which is a convenient one for tliose prints to mount in our refer-
ence albnras. Should a larger size be desired, they can readily be
enlarged. With this size a good rectilinear lens of ten inches back
focus, classed in the price-lists to cover the next larger size of plate,
say, (ij X 8i.
This will enable the photographic operator to use his lens without
small diaphragms, as the object on the ground glass will be of sufficient
size without moving too near to the subject, thus avoiding distortion and
irregularity in the sharpness of the field. The use of small apertures to
secure uniformly sharp focus of the image considerably lengthens the
time for necessary exposure of the plato. . For photographing specimens
a lens of shorter focal length is necessary, as it will be found that to
get an image of the desired size, when the foregoing described lena
is employed, the length of the bellows of the standard cameras is in-
sufficient ; so I would suggest that one of about five or even four
and one half inches back focus be added to the photographic outfit.
As a stand or support for the camera, I urge that the conventional
tripod be altogether discarded, because of its liability to slide and slip
about in a very erratic way, and a table, with such suitable attachments
as I will hereafter describe, be substituted. This table had better be
one rather high in proportion to its size, square on the top, but made
strongly, so that there may be no vibration. It should be about four feet
high, and on the top about thirty by twenty-four inches square, with a
shelf placed about midway between the top and the floor ; this will make
the same more rigid, and, besides, give an opportunity of a greater range
of adjustment for the attachments as you may want to place them. As a
general support for the camera, have made two pieces, or rather angles,
made of boards about eight inches wide and one inch thick, the sljape of
a letter L ; these two are placed one against the other, one having a slot
about two-thirds its length, and in the other a nut to work on a thumb-
screw, to enable you to shde one on the other, and secure them in any
position in which they may be adjusted. You now have the two angles
fastened together something in the shape of a very straight up-and-down
letter Z. On the upper horizontal part of this you have placed a second
board, same width and length, and hinged to it at one end, while at the other
you place a long wooden screw, so by this means you can elevate and
depress that end. On this part the camera is now placed, and it can be
tipped to a great angle from a horizontal line, depending upon the length
of the screw. The lower part of this is then placed on the table and
secured by a screw on which it can revolve. The great advantage of
this arrangement is that the camera, when desired, can be placed in a
position of being plumb, level, and square.
We find very often that we wish to place the camera in vertical posi-
tion— that of pointing down upon a subject. To enable this to be done,
have two pieces of board, one about two feet six inches long and the other
about eighteen inches, fastened together so as to form a right angle, as
before mentioned, only that the shorter part is fastened to the table at
its edge, and the other longer part is to have a long slot running almost
from the top to the bottom, through which the tripod screw^ will pass and
allow you to slide the camera up and down in a vertical position, and
secure it at any point. Have now a frame of such suitable size, and
capable of holding a sheet of plate glass, supported by slender legs, so
as not to obstruct the light, about ten inches high. On this table we
place the specimens to be photographed.
The advantages of this method of photographing specimens are ap-
parent. In the first place, they will lie in any position in which they
are placed. Again, the background being at a distance from the plane of
support gives the specimen the appearance in the pictm'e of hanging
in space without visible support, and securing thus a stereoscopic effect
not otherwise obtainable. In some cases the specimens are placed in a
dish of a shallow nature, and floated or submerged in water, then the
dish placed on the plate-glass stand, and so the photograph is made, the
floating out of all the delicate velamentous adhesions. When the flow
of blood is such as to interfere with the photographic work, a generous
flow of water from the " irrigator " will not oppose the work of the
camera.
A record of all negatives made during the operations and the nature
of the subject is kept m a book in the operating room, with date and the
patient's hospital number. By referring to the album, in which all the
prints are mounted in the order taken, the oases arc recalled with
deflniteness which descriptions and drawing cannot attain.
A. S. MUBBAT.
POSING AND IliLDMINATION.
TiiK subject of posing and lllummation in the photographic studio i$
more nearly related to tlia artistic than to the scientific port of photo-
graphy, and tlierefore there will naturally bo a wider diversity of tboaght
and opinion on this subject than might bo expeotod concerning the more
scientific, and therefore more exact, branches of our profession, soch as
are practised more particularly by the dark-room worker or the printer,
although there can be no doubt tlmt each of these is suoc«8sfal in
accordance with his knowledge of art principles and his ability to apply
them in his work.
The successful photographer may well claim (o be an artist, for tiie
liighest product of his genius must be the exquisite flower of the com-
bination of the purest and most cultivated taste and the highest skill.
The artist, however, they say, is born, not made. Nature must first
have endowed him with gifts that would have constitnted him an
authoritative connoiseur in all art matters without having studied either
line or rule. The endowment of artistic taste, however, does not carry
with it the ability of mechanical expression ; taste is of the intellect, in-
ward ; mechanical expression is of study and practice, outward.
Taste is God-given ; it may be improved by cultivation, bnt cannot be
acquired by study.
Manual skill is only acquired by long and generally painful exertion,
and only retained by constant practice.
The artist, therefore, in whatever line (whether as the musician who
charms and enraptures us with heavenly sounds, or the painter who en-
chants us with harmonious colours, or the photographer who delights ns
with beautiful effects of light and shade), is one who has been impelled
to acquire the manual dexterity or skill to give ontward expression to the
beautiful in sound, or colour, or light, whose origin is from within.
All photographers may not be artists in the highest sense, because art
is inherent, not acquired ; but that which a man has may be improved
by study and observation of the works of artists who have made for
themselves a name and reputation as such.
All photographers may and should be students, eager to find out for
themselves every means that may enhance the beauty or value of their
work.
At no time in the history of art has the study of art principles in the
beauty of form, colour, and shade been so easy or the opportunities so
numerous as at the present time, the near ending of the century.
Posing and illumination under the photographer's skylight or in the
painter's studio must be governed by the same rules, and these rules or
laws have so frequently been published in photographers' journals, and
have been so fretiuently commented on by eminent photographers tor the
instruction of their fellow-workers, that it appears unnecessary on this
occasion to occupy time by any detailed discussion thereof. I would,
however, remind you that you have the works of H. P. Bobinson, of
Edward L. Wilson, and many other eminent authorities, equally
accessible, and I would strongly recommend the study of the same and
the application of their ideas in your daily work in your studios.
The time is now past when any photographer poses and illuminates
any subject without study and consideration.
It is not the rule now to seat your subject carelessly before the camera
and fire away, considering that any outcome must be a likeness, and
therefore good enough. The Ught now furnishes the modelling, and the
lens cuts it in ; therefore the handling of the light and the use of the lens
must receive the study and practice that are necessary to the skilful nse
of the pencil and the brush.
If the artist photographer has any appreciation of the line of beauty,
he will easily understand that, in posing his subject under the skylight,
he should develop, or bring into prominence, the curve, rather than the
angle, and that the centre of gravity should fall within the base.
He should understand that symmetry and proportion must characterise
his work, whether of the one or of the many — the single figore or the
group.
He must understand that, in composition, lines must have supporting
lines when not perpendicular, and that a picture is unsatisfactory that
carries no idea of firmness and support.
The artist, having these elementary principles constantly in mind, will
practically make a study of each face and form that comes under his
studio light ; viewing the subject or model from every direction, and by
every method of illumination ; studying the face by front, three-quarters,
or profile view, both toward and from the light ; and also by the various
arrangements of the light, such as broad Bembrandt or shadow lighting,
or by any recognised method of lighting that the studio will admit of,
that may impart character, form, or piquancy to a face or figure that
may, perhaps, lack one or all of these graces when in repose, while
594
THE BRITISH JOURNAL OF PHOTOGRArHY.
[September lo, ISOS
abundantly interesting when animated by conversation or engaged in the
common affsurs of life.
Every face will present some one view that will be more pleasing or
interesting than any other. The long, thin face may, perhaps, be more
pleasing from the front ; the broad face may look better at the three-
qaarter view ; one view may suppress an angle and develop a colour, while
an inconsidered pose might bring out the reverse.
The tilting of the head to one side or the other, the raising of the chin
or the reverse, may give piquancy to this one, and picturesque effect to
the other.
In this manner he will decide on that view that gives the most pleas-
ing outline, and that method of illumination that gives boldness and
brilliancy where features are small or insipid, or that tones down the
harshness of a too rugged face without losing altogether its characteristic
quality, for it is well to keep in mind that an indication of character adds
as much to a portrait as does action or life to a pose, avoiding always the
commonplace. Tameness in expression, pose, or lighting, is contemptible,
and will rob even the finest execution of every charm ; at the same time an
evident straining for effect in pose or lighting is objectionable to any re-
fined taste, and should be avoided as strenuously as the other extreme,
however true it may be, that the daring innovator may sometimes pro-
duce charming eilects that may not come strictly within the approval of
a too-cultivated taste.
In my opinion, a resort to ultra effects is only justifiable in cases where
the face and form of the subject are not amenable to ordinary methods,
and when it may be desirable or profitable to experiment.
When posing a single figure, in either full or three-quarters, certain
accessories may be used with good effect, but care should be exercised
in making the model the central point of attention ; everything should be
subservient to the portrait.
The three-quarter length will always be better without accessories,
unless in a sitting or leaning position, in which case the proper support
will necessarily be provided.
Groups of two or more require the exercise of common sense, and a
knowledge of the capabilities of light and lenses. In form, the group
should be as symmetrical as may be, with dark complexions and dresses
placed next the light ; and, in large groups, more attention should be
given to the general than to individual effect.
The best photographic light is received from two windows— a top
window or skylight joined to a side window, which shall reach to within
three feet of the floor of the studio.
The dimension of the skylight should not be less than ten feet square,
if space permits, but preferably larger if convenient, the pitch of the
upper light only enough to easily and safely carry the snow and ice of
winter, and shed the rain of summer without leakage.
The quality of the top light is softness and delicacy of detail, but with
two heavy shadows beneath projection.
The quality of the side light is vigorous harshness, with abrupt lateral
shadows.
The one corrects the other to any extent desired, so that, having a top
and side light properly shaded with movable curtains, every description
of face may be so lighted as to make prominent all the good points, and
to lessen, or entirely suppress, all that is not desirable.
By a proper arrangement of the top and side light we can give boldness
and prominence to small or weak features. We can by similar means
soften and refine coarse and rugged faces.
By seating the model facing the light, and at a suitable distance there-
from, it is possible to remove, to a great extent, the appearances of age ;
the wrinkles and crow's-feet are lighted up, but cast no shadows.
In fact, it is possible to change the shape of the face of any subject to
a great extent by judicious management of the light.
Having a good light, use all of it that may be used with advantage, ac-
cording to the method of lighting adopted for that particular subject.
Many photographers shade their lights down closely and give long ex-
posures ; but the preponderance of opinion among artists of recognised
ability is in favour of using all the light the model will bear, and^make
shorter exposures comparatively, thus obtaining bolder modelling, finer
gradations, and more brilliant effects, while not losing the softness that
is characteristic of all really first-class work.
I have stated that time of exposure has much to do with the quality of
the negative ; it is also very true that the character of the dry plate has
an important bearing on the resulting negative. I have always found
that thinly coated plates invariably had a tendency to make negatives
whose printing quality tended to contrast because of the fact that the
shadows were always thinner than they looked. Such plates require
longer exposure, and the subjects should be more evenly lighted than
when plates of a thicker ooiting, although of even sensitiveness, are
used.
The effect of the lighting of the subject will not be the same on the
sensitive plate as it is on the retina of the operator's eye ; therefore the
photographer by closely observing the action of the lens will learn to see
photographically, or to understand the precise effect on the sensitive plate
of any method of illumination he may employ for his subject.
Also, he must understand that the time of exposure will greatly modify
the effect he may be desirous of obtaining.
The subject should be posed well out under the light, and generally at
a proper distance from the background to get what is called atmospheric
effect. Tlien, if the whole figure or head is well lighted, a proper expo-
sure will give the effect of daylight illumination, while a short exposure
will produce the effect of artificial lighting.
By daylight illumination I mean that the figure or head will be fuUy
lighted with soft modellings and easy gradations from high light to trans-
parent shadows, while by artificial illumination the lights are chalky or
flatted, and the gradations are abrupt to heavy shadows. I therefore con-
sider that it is safer to err on the side of over-exposure than to under-
expose, although I have known eminent photographers to lean constantly
to the short exposure for picturesque effects.
Picturesque effect of pose and light should be aimed for in all photo-
graphic portraiture, and a thorough knowledge of the peculiarities of
light and lens should be acquired by the artist, so that his judgment may
ever readily arrive at the proper methods of arrangement of the light and
the exposure for lens to produce the effects desired for any face or figure
with as little delay and hesitation as possible.
This promptness of decision will secure the confidence of the sitter and
facilitate matters in a large measure, the natural result being more
patrons, enlarged business, and increased profits. That such may be the
good fortune of all who have listened to my views on the subject under
discussion is the sincere wish of your friend and fellow-labourer.
E. M. EsTAERoaiiE,
♦
©ur lEtntorial JTaftle.
Messrs. York & Son, 8", Lap.caster-road, Netting Hill, London, have
issued their i?4th -\nnual Supplemental Catalogue of lantern slides
and lecture sets, which contaius many valuable additions. Amongst
these we find fifty and sixty views respectively of Chicag;o city and
the Exposition ; similar numbers of Athens and the Piraeus, cities
of North Italy, the Canary Islands and Madeira, Ceylon and tea-
culture, with many others of both an instructive and amusing character.
-Accompanying this is a twelve-page Catalogue of the titles of the
sets issued by this firm. Some idea can be formed of the enormous
numbers kept in stock wlien we say that one line alone in this double-
column index frequently represents several hundred slides.
The New Rolleb-slide Films of the Eastman Company.
Some time since, the Eastman Photographic Materials Company
(Limited), having discovered that there were imperfections in their
original roUable films which militated against their keeping, recon-
structed their formulaE! and method of manufacture, recalling what
had been previously issued. We have recently made trial of tlieir
new and improved film, and are much pleased with it. While so
sensitive as to permit of snap-shots being made with it even under
unfavourable conditions, it develops with great brilliance and clean-
ness, giving negatives of excellent printing quality, with entire free-
dom from imperfections. The Company is to be congratulated upon
now turning out films of such excellent quality. ^Ve have also re-
ceived samples of this Company's new " Nikko " paper, upon which
we expect to be in a position soon to report.
STANLEY SHOW, 1893.
SnxLEY Photographic Competitions will take place in connexion with
the Seventeenth Annual Exhibition of Cycles, their accessories, machinery
and tools, photographic apparatus and pictures, held by the above Club,
at the Royal Agricultural Hall, Islington, London, N., from November
17 to 25 inclusive. Twenty medals (five gold) are offered for competition
under certain rules and conditions in the following classes : — (a) Cham-
pion ; (&) Landscape; (c) Lantern slides; {d) Portraiture; (e) Hand-
camerawork; {/) Beginners; {g) cycling, and (fc) Special society prize.
Address all communications respecting this exhibition to Walter D.
Welford, Manager Photographic Section, Stanley Show Office, 57 and 58,
Chancery-lane, London, W.C.
September Ifl, 1893]
THE BRITISH JODKNAU OF PflOTOGRAl'HY.
696
lletDS anti iRtotes.
Manchester Photographic Society.— September 16, Woralcy (Ramble).
Northern Photooraphic and SaKNTiFic Association.— September 16,
Hadley Wood.
Sot:TH London Photoobaphio Sociktt.— September 18, Demonstration.
lUntem-sliile making by Mr. H. E. Farmer.
Photoc.uaphio CLiia — September 20, Dark-room Appliancet. The annual
winil-up outing to Hampstead Heath will take place ou Saturday, September
30.
Hackney Photographic Society.— September 16, Excursion to Kew (by
Boat). Hand Camera Day. Meet at Old Swan Pier at two o'clock ; tea at
Kichmond, and return by train. 19, Members' Lantern Niglit.
The Newca»tle-on-Tyne and Northern Counties' Photographic Association
and Hexham Photographic Society's joint outdoor meeting will take place on
Thursday, September 21, 1893, to Bardon Mill ami Staward. under the
leadership of Mr. J. P. Hibson. Train leaves Newcastle for Bardon Mill
Station at twenty minutes past ten.
r4KVT0NST0NE CAMERA CLUB.— September 16, Radlett and Aldenbam.
r^eader, Mr. A. E. Bailey. The Club will proceed by the train leaving
Mootgate-street, Midland Railway, at nineteen minutes past two p.m., arriving
.it Radlett at twelve minutes past three (take single tickets, retnm from
Watford, L. & N. W. R.). Open Social Evening at Head-quarters at eight
o'clock.
London and Provinciai, Photookaphic Association.— September 14,
MeralMsrs' Night 21, Paget Lantern Pkites, demonstration by Mr. S. H.
Fr}-. 28, Fibn. Working, by Mr. W. H. Barnes. 30, Outing, " Bull and
Bush," Hampstead; tea at six o'clock. Octobers, L'nconrcntiorud Printing
AfctAocls, by Mr. S. H. Fry. 12, Aifdiated Societies' Meeting, .5a, Pall M.-iIl.
19, Lantern Night, by Jlr. T. C. Hepworth, on A Pecent Trip to tlie La/x
District. 26, Aluminium Flash Light, by Mr. T. Bolas.
At the recently opened Bristol Industrial Exhibition, Messrs. Epstein & Co.,
of :J3, Broad-street, have a large exhibit of picture mouUlings in great variety.
.Some 1200 patterns of German moulding are shown ; also a large collection of
chromos, oleos, etchings, and many specialities for photographers. Messrs.
Epstein's business was established in 1878, and its growth has been such that
it has necessitated enlargements of the premises more tliau once. Other sec-
tions of the busine.ss are devoted to the restoration of engravings, paintings,
mount cutting, &c. From the illustrated sample sheet we observe that great
taste is displayed in the choice of mouldings. &c. . while the price-list includes
.iiarticulars of all requisites in framing and mounting.
The Capetown Photographic Society opened a very successful exhibition on
August 17. Amongst the principal exhibits were a number of beautiful carbon
enliirgements, as well as some tine large direct prints of views taken in Italy,
shown by Mr. T. E. Fuller, M.L.A. Mr. G. Lindup lent some valuable oil
taintings. The Cape Royal Observatory, through the president of the club,
eftt amongst other exhibits a Dallmeyer's rapid rectilinear lens to cover a
34 X 34 inch plate. This cost no less than 100/., an^i has been in use a number
of years at the Observatory, no less than 3000 stellar photographs having been
taken with it. Some interesting spectroscopic apparatus was also contributed
Irora the same source. Amongst the loan photographs were also specimens
of the series of "Artists at Home," being piatinotype portraits of most pro-
minent English Academicians taken in their own studies. These were the work
of-Mr. Ralph W. Robinson (of the firm of H. P. Robinson k Son), besides English
rural scenes by the same photographer, and a set of views of Windsor Castle
during Jubilee year, principally interiors, taken by special permission by
Mr. William Brooks. A number of microscopes, graphoscopes, magazine stereo-
scopes, lantemscopes, and other scientific instruments were also exhibited ; as
well as a swarm of bees lent by Mr. Gracie, the structure of the bees being
illustrated by a number of micro-photo lantern slides, the work of Mr. A. J.
Fuller.
Congress of the Photographic Society of Great Britain and
Affiliated Societie.s, 1893. — This Congress is arranged to take j.lace on
October 10, 11, and 12. All who are interested in the progress of photo-
graphy are invited to be present, and take part in the discussions. It is
expected that, by the kindness of M. L. Lumicre, some of M. Lippmann's
latest specimens of photography in colours will be on view at one of the
meetings. It is necessary that, for the lantern display, admission shall be by
ticket only, and a limited number of tickets will be sent to every member of
tlio Society for themselves and their friends. Members of affiliated Societies
-hould apply to their respective Secretaries for these tickets, or for any further
information. Programme : — Tuesday, October 10, at eight p.m., at the Gallery,
5a, I'all Mall East : The presentation of the medals awarded at the Exhibition ;
the President's annual address; a paper on The Action of Light »ii ISacteria
and Fungi, by Professor H. Marshall Ward, M.A., F.R.S. Wednesday,
October 11, at three p.m., at the Theatre of the Society of Arts, John-street,
Adelphi, the following papers will be read : The Present Position of Photo-
micrography, by Andrew Pringle, F.R.M.S. ; Ona Process of Photo-mechanical
Printing in Natural Colours, by W. Weissenberger, of St. Petersburg ; a paper
by Mr. Emil von Hoegh, of Berlin ; Photography in Compartments, by Hector
Maclean, F.G.S. At eight p.m., at the Theatre of the Society of Arts, John-
street, Adelphi, the folbwing papers will be read : On Exposure and Chemical
Action, by Captain W. de W. Abney, C.B., F.R.S. ; The Recent :<olar /Sclipse,
by Captain Hills, K.R ; a paper by Dr. A. Miethe. Thursday, October 12, at
three p.m., at the Theatre of the Society of Arts, John-street, Adelphi, a
ilenion.stration of collotype printing will he given by Messrs. T, Bolas and W.
E. Uebenhim ; the following papers will be read : Tiie Measure and Numera-
tion of the Stops of Photographic Lenses, by Dr. P. Rudolph ; a paper by Mr.
Arthur W. Clayden, M.A. At eight p.m., at the Gallery, 5a, Pall Mall Ea«t,
a special lantern display.
i;
BEOENT PATENTS.
APPLICA'nONB FOR PATENTS.
No. 16,579. — "Improvement* in Magazine Camenu for Photographic Par-
potM." B. J. Yovyo.— Dated Sr.ptrmber 4, 1883.
No. 16,820. — " Improvements in Cumnra/< for CopTing, Rfdadng," Ac. A.
S. Newman and J. Guabdia.— Z>a/«^ September 7, . ~~
mntimfi oC iboctettejEf*
MEETINGS OF SOCIETIES FOR NEXT WEEK,
Dit« a( Mmting.
Hum o( Boeietf.
tlMetotUtUBt.
September 13 ...
Aw>. Stndio, Netbemta, DimdM.
18 ...
.. 18 ...
18 ...
Hastings and St. Leonarda
Leeds Photo. Societ/
MeohankM' Initltote, Laeda.
„ 18 ...
Oreyhonnd Hotel, Eichmond.
Haaover Hall. Hanorcr-pkrk, S.E.
376. Coldh&rboar-lane. Brixton
„ 18 ...
19 ...
„ 19 ...
Binninifham Photo. Society ...
Brixton nn'l Clapham
19 ...
Ganonbttry Tower, IiUn^ton, H.
9, 0«ue-(tr«et, Paisley.
14, St. Mary.atreet. Brechin.
Club Rooms, 13, Agar-«tr«et, Bary.
The Assembly Roonu, Hiffh.road.
„ 19 ...
19 ...
Paisley
20 ...
„ 20 ...
Bury
20 ...
20 ...
„ 20 ...
20 ..
20 ...
21 ...
21 ...
Photographic Clab
Southport
Sonth.sea
Birmingham Photo. Society ...
Anderton's Hotel. neet-«treet,E.C.
The Stndio, 15, O&mbridge-aroade.
3, King'8-road, Sonthsea
21 ...
Greenock
Ma.ienm, KeIIy..«tro«t, Greenock.
71, Prospect-street, Hull.
Cliampion Hotel, 15, Alderssste-et.
The Lyceum, XTnion-street.Oldham.
Society's Rooms, 136, High-street.
21 ...
Hall
21 ...
21 ...
Oldham
21 ..
22 ...
Oxford Photo. Society
Cardiff
22 ..
22 ...
22 ...
2-i ..
Croydon Microscopical
Holborn
Maidstone
West London
Public HaIl,Oeorge-street,Croydon.
"The Palace," Maidstone.
Ohiswick School of Art. Ohiswick.
23 ..
Hull
71, Prospect-street, HolL
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
September 7,— Mr. A. Haddon in the chair.
The greater part of the evening was occupied in discussion of matters
arising out of the recent alteration of the rules.
Vitrifiable Powder for Ekamelung.
The Chairman asked if gelatine, loaded with vitrifiable powders, could be
obtained ?
Mr. T. BoLAS thought not, but the loading was easily done. Tissue prepared
with the vitrifiable colour did not keep well, the fluxes making the tUsue
insoluble, so that it was better to prepare it, the bichromate heiag added to
the mixture.
The Chairman said it bad l>een recommended to have aa much powder as
gelatine.
Mr. T. Bolas said the brown and purple colours were very cheap.
Mr. R. Beckett exhibited a plate which had been exix)sed on a copy of a
group, put away, and forgotten, and then exposed on a portrait. On
development the original exposure came out as a i>03itive.
In reply to a request for an explanation, several were made attempting to
account for the phenomena on the ground of over-exposure, reversal, kc ; bat.
as no particulars of the exposure were forthcoming, nothing definite was
arrived at.
Mr. Beckett also exhibited several negatives fogged in the same place, and
also the slide on which they were t.aken.
The fog was variously suggested to be due to emanations firom the slide, the
paper wrappings, &c.
Nortli Middlesex Photographic Society.— On Monday, September 11,
Mr. BiRT Acres treated the members to what he called a " talk" on Hatation,
its Cause and Cure. In opening his subject he said that the halation caused
by the reflection of light from the back of the plate was only a small part of
that with which photographers had to contend, the greater portion t>eiDg caused
either by (1) the actual spreading of the light rays beyond the edge of, say,
the window in an interior view ; i2) the luminosity of the air, which was mnch
more manifest to the lens and plate than to the human eye ; or (3) the photo-
graphing of the atoms of dust floating in the air. Halation of thi.s kind could
never bo wholly avoided, and, in fact, it would not be proper that it should be,
for some of this luminosity was necessary to give a natural result ; but this
effect was much exaggerated in the negative, and the most snccenfil way be
knew of overcoming it in the print was to Hrst take a somewhat fUnt prist
on silver paper and fix it, then wax it, or in some way render it tnuislaoeitt,
and fix this transparent print on to the back of the negative in the printing
frame, and print through it far enough to correct the excessive opacitjr of the
halation-stricken negative. To avoid that halation caused by reflection from
596
THE BIUTISH JOUENAL OF PHOTOGilAPHY.
[September ] 5, 1893
the glass, Mr. Acres recommended backing tlie plate with Bates's black, which
was very effective, was easily applied, and conld be easily removed by a sponge
dipped in benzine. He thought this method of backing was more free from
objectionable features than any other he had seen recommended. A most in-
teresting discussion followed, or rather was sandwiched in with the lecture,
which was much appreciated. The voting on the pictures taken at the Strand-
on-the-Green outing resulted in Mr. Gregory's being declared best, Messrs.
Pither and Spencer tying for the Hatfield competition. Tlie next meeting
will be held on the 25th inst., when Mr. Thomas Bedding will read a paper on
Stereoscopic Photography. Visitors are welcome.
Hackney PhotograpMo Society.— September 5, Mr. Kobert Beckett pre-
siding.— The Hon. Secretary presented the Society with Cassell's Academy
books. Some of Mr. Powell's plate-backing was distributed, Messrs. Beckett and
Smith promising to give in report on same. The negative shown last meeting
by Mr. Barnes was explained to have been caused by light, the plate being not
to blame. A question was asked by Mr. Roberts, how to remedy a film
which had been put wrong way in developer < The Chairman said, if this
had been discovered soon,, -by turning right way and giving prolonged develop-
ment it might have been cured. In answer to question as to how many
gelatino-chloride prints could be toned at once, the Hon. Sucbetahy advised
just enough to cover dish, about two in half-plate. Mr. T. H. Smith thought
six or eight in whole-plate dish. A question of weight and measures was then
debated on. The Chairman said doubt was in many minds at present, so
tliey preferred to say "parts," as avoirdupois and apothecaries' weights
seemed to be a rock on which opinions were divided. Mr. Puttock asked what
is best amount of developer to use for half-plate ? The Hon. Secretary said he
would use at least three ounces ; it was a great mistake to be economical. Mr.
Gosling showed some stereoscopic work done with his home-made contrivance.
Mr. Barnes showed some Isle of Wight views. Mr. Puttock showed a much
over-exposed plate. Mr. S. Beckett advised intensifying. Mr. Avent showed
a print executed by the Automatic Printing Machine Company on broniide
rapid paper. Prints %vere automatically exposed and cut off at rate of sixty
per minute. The print shown of Captain Abney was very good.
South London Photographic Society.— September 4, Mr. Mark Boxall in
the chair.— By the courtesy of Mr. Powell, samples of his caramel and sienna
anti-halation backing were distributed among the members for trial. Mr.
L. E. Morgan then gave a demonstration of the working of the new
developers— amidol, metol, and glycin. The latter, he said, did not, by
reason of the slowness of its action, lend itself to demonstration. It was
strongly recommended for reproductions, photo-micrography, &c. Negatives
of varying exposures were passed round to show its capabilities in that respect.
Amidol, he stated, he was partial to on account of its simplicity. He used a
single solution, the formula of which was given by the manufacturers, and
proceeeded to develop some negatives, bromide paper, and lantern slides with
it. Some plates were also developed with nietol. At the next meeting, on the
18th inst., Mr. H. E. Farmer will give a demonstration of the making of
lantern slides.
Brixton and Clapham Camera Club. — September 6, Dr. J. Reynolds,
F.R.G.S. (President), in the chair. — A memberof the Conimitteeof Instruction
was present for the purpose of affording assistance to members requiring it.
At the conclusion of the formal business, Mr. W. H. Harrison read a paper
on Sortie Useful Photographic Standards. The substance of this paper appears
in another column. Mr. Spurge, who was present as a visitor, then gave a
very full description of the theory and practical use of his sensitometer and
standard light for use in connexion therewith. Next meeting, September 19,
Jlr. F. W. Levett on Carhon Printing.
Leeds Camera Club. — A satisfactory inaugural meeting of the above Club
was held in the Central Market Auction Rooms, 34, New Market-street, Leeds,
on Wednesday last, September 6, 1893, at eight o'clock. After a resolution
being made that a club be formed, the above title was adopted. It was agreed
that for the present the subscription be 2s. 6rf. per annum, with a further call
of Is. jier member if necessary. A committee of five members was formed to
draw up a code of rules to be submitted at the next general meeting to be held
at the same address on Thursday, September 14, at eight o'clock. It is urgent
that all intending members will be present at this meeting, as the business to
be brought forward will be the election of officers for the year and the adoption
of rules.
Leeds Fhotographic Society.— September 7, Mr. J. H. Walker (President)
in the chair. — Major Darwin's paper on Lens-testing at Kcic, kindly lent by
the Photographic Society of Great Britain, was read by Mr. Washington
Teasdale, F.B.A.S., one of the respected founders of this Society, who made
many useful remarks and explanations, rendering some of tlie technicalities
simpler and more interesting and instructive. A discussion followed, in which
the following gentlemen took part : — Messrs. J. H. Walker, A. A. Pearson,
S. A. Warburlon, G. H. Rodwell, and others. A number of very fine slides
were afterwards thrown on the screen, contributed by Messrs. Washington
Teasdale, Godfrey Bingley, and .J. H. Walker.
Lewes Photographic Society. — Annual General Meeting. The President (Mr.
J. Tunks) occupied the chair. — The Council presented a report in which they
regretted that tlie year just ended had not been altogether .satisfactory with
regard to the number of members. Several new societies had been formed in
the neighbourhood, and this had had the effect of taking some of their outlying
members, who had taken advantage of the facilitie soffered nearer home. During
the year two new members had joined, four had resigned, two had left the
town, and two had been struck off' on account of the treasurer being unable
to obtain their subscription. There were now thu-ty-one members on the
books. The meetings had been fairly well attended. The exhibition of
lantern slides and members' work, which was held in March, though not
successful financially, brought together a good selection of pictures and slides,
and two enjoyable evenings were spent. The committee trusted that the
meetings which would be arranged for the coming season would attract
better attendances than in the past, and also that all working members would
endeavour to send in slides for the co'iipetition which had been announced,
and for which a prize would be given. They desired to thank the press, local,
and photographic, for their kind notices, and those who had sent free copies of
their journals for the use of the Society. The Hon. Secretary and Treasurer
reported that tlie total receipts for the year had been 8?. I2s. 5d. , including
the balance of 11. 3s. 5d. from last year ; and that the expenditure had been
61: 12s. 2d., leaving a balance in hand of 2^ Os. 3d. Mr. Curtis proposed the
adoption of the accounts, and expressed the opinion that they were very
satisfactory. He did not thinlc they could consider the loss on the exhibition
unsatisfactory, when tliey tooli into acco^jnt the fact that they had two very
pleasant evenings. Mr. Carpenter seconded, and the motion was carried. The
following officers were then elected for the ensuing year ; — President : Coun-
cillor Wightman. — Vice-President : Mr. J. Tunks. — Committee: Mr. E. J.
Bedford, Mr. W. J. Young, Mr. G. Carpenter, Mr. T. H. Lyell, and Mr. C. A.
Wells. — Hon. Secretary and Treasurer : Mr. H. B. Constable. A vote of
thanks was accorded to Mr. Curtis for auditing the accounts. Mr. Constable
announced that it was intended to liold a special lantern-slide competition, in
which it was hoped all working members would take part. A Watkins' ex-
posure meter would be given for the best set of four slides from negatives
taken at any time, but wliich had never received an award in any competition.
Sheffield Photographic Society. — September 5, Mr. J. W. Charlesworth in
the chair. — Messrs. Brooks aud Loxley were elected as auditors, after which
the photographic exchange was effected, aud the prints of the last exchange-
criticised in the usual manner.
♦
FORTHCOMING EXHIBITIONS.
1893.
September 20-21 *Hove Camera Club. Hon. Secretary, H. Emery,
142, Church-road, Hove, Brighton.
„ 25-Nov. 15 "Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. Assistant Secretary, R. Child-Bayley,
50, Great Russell-street, W.C.
October 1-31 "Hamburg. Das Ausstellungs Committi des Amateur
Photographen Verein, Schwanenwik, 33, Hamburg.
„ 2-14 Midland Camera Club, Botanical Gardens, Moseley,
Birmingham. Hon. Secretary, C. J. Fowler-
4, Woodstock-road, Moseley, Birmingham.
,, 9-Nov. ... •Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesbury-avenue, W.C.
,, 17-19 *Hackney Photographic Society, Morley Hall. Hon.
■Secretary, W. Fenton Jones, 12, King Edward-road,
Hackney, N.E.
,, 30, 31 *East London Photographic Society, New Tabernacle,
Old-street, E.C. Hon. Secretary, W. R. Gould,
61, Gibraltar-walk, Bethnal Green, E.
November 7-11 "South London Photographic Society. Hon. Secretary,.
C. H. Oakden, 53, Melbourne-grove, Dulwich, S.E.
,, 20-25 "Leytonstone Camera Club. Hon. Secretary, A. E.
Bailey, Rose Bank, South-west-road, Leytonstoue.
December "Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
,, 18- Jan. 22,1893 ^Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Corn-
street, Bristol.
" Signifies that there are open classes.
♦
©orrejEljJOttDrence*
' Co-respondents should never write on hoth sides of the paper. No notice is taken
of communications unUss the namcfi and addresses of the writers are given.
pkofessionaij versus amateur.
To the Editob.
Sir,— I have been much interested in reading the correapondenoe
between amateurs and professionals in the late numbers of your
Journal, as well as the great amountr being written on the amateur and
the professional in all classes of journals and newspapers. If the
amateurs have so greatly injured the business of the professional as it is
claimed they have, I should be a just target for the ire of this injured class
in America, for it has been my aim for the last ten years to create as many
amateurs as possible, and, in America at least, directly and indirectly, I
must stand answerable to profeesicnals for influencing several thousands at
least of the innocent public to amuse themselves in this luring pastime,
unaware that they were acting the part of the boy who was amused at see-
ing the stones which he threw in the pond create waves, until begged by
an injured frog to desist from the amusement in the language of the
adage, "for what is fun to you is death to us." And I feel satisfied
from quite an extensive acquaintance with the public who have
taken up with photography as a pastime, that, whUe the amateur amuse-
ment does not mean (financial) death to the professional, the stones have
September 16, 1893]
THE BIUTISH JOUKNAL OF rilOTOqUAl'IlY.
aer
liit hard in many cascH. Amateurs, and manufacturers of and dealers in
the apparatus and materials used by them, should not feel surprised to
'iiul the professionals resent this encroachment, and attempt to prohibit,
if such was possible ; but this cannot be done, and it is unfortunate that
at least some of each side will iadulRe in writing letters that can only
tend to do harm.
I felt much regret at seeing Mr. W. J. Stillman's letter of July 4, for,
from what I hiivu known of Jlr. Stilhuan and his work, it does not do
justice to his temperament and intelligence; and, as he practically accnses
the professional of having done nothing worthy of mention cither in
I'.urope or .Vmerica towards that which has " made outdoor photography
i practical affair," I feel an answer should be made. I shall, however,
only speak tor America, yet I have oonlidenoe that muoh could be said
for Europe with equal truth.
15y making " outdoor photography a practical affair," I presume Mr.
Stillman means adapting it to be used by the masses; for photography
as practised by some of the best workers is not the result of the apparatus,
plate, or paper-maker. Nor do I understand Mr. Stillman to mean the
nen who first conceived the idea of a sensitive plate without the silver
i/ath. The knowledge of making a dry plate lay unused too many years
D give to its discovers (if such gradual gathering of knowledge could be
i lUed a discovery) the credit of the dry plate of to-day.
I hardly think I would be accused of immodesty in America if I should
lay claim to having contributed a fair share, for one individual, towards
making " outdoor photography a practical affair," not only in cameras
and apparatus, but in other branches as well, and I have the honour of
having once been in the rank and file as a professional. I entered this
" rank and file " not as an amateur, but in the studio, and my first ex-
perience was in preparing the plates for tintypes.
During my six years' service as a professional I managed to keep myself
poor experimenting ; in fact, the apparatus which the present Company
bearing my name was organized to manufacture in 1880 was invented
in the spare hours I found after using the " baby-charmer," or beseeching
my adult sitter to " look naturally about here, and think of something
pleasant." I make bold, Mr. Editor, to ask you to allow the use of
sufficient of your valuable space to copy one of my early visions. I do so
hesitatingly, for the quantity of what is termed in America as youthful
" gush " in this article has always made a colour approaching the " non-
actinic " to hover around my cheeks even when I read it to myself alone,
Photocrapht— What is its Limit ?
Did you ever stop, brother photographer, to think of the unspeakable joy
;md a-stonishment the present position of photography would cause Daguerre
and his co-workers, were they, like Rip Van Winkle, to suddenly awake from
their long sleep and behold, with wondering eyes, into what the results of
their humble toil had so rapidly developed ? Hardly can we mention any
branch of industry, art, or science, in which this, their offspring, does not
play u part, and, in some, a most useful and important one.
As .an assistant to the artist, it is of unlimited value, giving him, if pro-
perly handled, a "bit" or landscape which would require hours to sketch.
It is a silent detective to the counterfeiter's skilful hand, and leaves with us
m undeniable copy of the face of the outlawed criminal, who, having once
visited the precincts o£ the photographic official, cannot say, on his com-
pulsory return, " I now receive my initiation to the walls of justice."
The great discoverers could now cross their legs, peruse the pages of at least a
dozen different photographic journals, in almost every language on the globe, all
("well, mostly all ") <levote<i to the advancement of our fascinating art. Sur-
prised, most undoubtedly, would all be who witnessed the birth of this child,
l)om of genius, and with the most promising traits of character, but, alas,
under circumstances so unfavourable and uueiaies so plentiful.
.So m\ich worth was not to be crushed by its foes, nor destroyed by the un-
fertile surroundings ; but, like the hardy .acorn, it sent its vigorous shoot uji,
up, until it now stands like a noble tree, swaying its nimierous branches,
t'r-ting aside its tottering enemies, and demanding its rights and freedom.
N , .t has it attained the ponderous dimensions of the full gi-own oak ; but
V far it sinks deeperjits roots, ailds and extends its branches, until every
: ;• ^ted watcher is ready to exclaim, "Where, oh, where are thy boun-
A -lin, my brother, diil you ever pause to think of the m.arvellous changes
.. ; 1 are destined to be wrought in a much shorter time than that which h.is
1 : i: .■ 1 since the death of our photographic forefathers ! Ah, yes ! how sur-
1 vised, indeed, would we be upon waking, should any of us be so unfortunate
as to make an acquaintance with that hunchback, partake of the mysterious
•Iraiic-ht, and, aa did Hip, succumb to the unu.itural sleep. Methinks, should
' ' de old sleeper inquire for " my hobby," the wet-plate picture, all woidd
■ . : .ipped in mystery, except, perhaps, some old veteran might make answer,
"It li.is been dead these twenty years a most."
Dry plate would then run riot. The tourist, the artist, or the solace-seeking
iii.ii.lin wonld, instead of the now popular sketch-book and pencil, have the
I opular camera and dry plate (or some more modem and convenient
), all, doubtless, of the ever "popular" American Optical Company's
These, with the perfect, the simple, the rapid, the reliable plates,
i I form an important part of the personal property of all lovers of Dame
.N:!t;ire.
Readers, do I not hear you say, " What over-enthusiastic disciple is this ?
propbacia*
,' uy that.
-Iduk
'igrapiicrs lo carefully
Should he livi " "■ "T
fullillo.!." W
i-ven at th« pi^
would prevent all u.
and emidsion"' run r
for. TliogTi'n' ''iifc' prai in-al y.
teat what the ■ them.
One vcrir lul obstlaatccneii.v to llio drv idalo iiiaiiy
form, fn ,' it to Iw on a par with " ;
happily day, I determined to give it :
trial. ' ' ' :' " ' ' " " factory v.-t'* tiie ri;-';it''- i.;i ir I teel
IK thoi: :- of the caime.
I lic'l:' ■ ■ ■ ! those who would make thriuMilTe*
familiar with diy-pklu work, to du a good and legitimate bnsineM in developing'
and printing negatives for unatenrs, if they wonld do it at a raawmable rata
and strive to give the fine' - " ■ T'- - • are hnndreds of ladle* and gentle-
men in every city iu the i , upon starting for a week'« rainbl*
among the mountains or would be delight«<l at the idea of
taking with them a camera and platen were there not »o much exgiericnce and
work required before the pictures are completed. .\ny one familiar with the
development of a dr- ■'■■•■. '"ows how much more it is under hi.s control than
the wet, and a list ; under different lights could easily be giveD, ao-
that even the inoxp. ild proceetl with comparative surety of locceM.
But, says the landscape jihotograpber, should all this com* to ]>as», our
business is gone, for then " every roan would be his own photographer."
In my humble opinion such would not be the case. It would no more injure
yoiu- trade, or lower your jirofession, than does the fact that almoet every
schoolboy or girl sketches and paints make "every man his own artist," or
decreases the sales of the professional artist, but instead thereof it cultivates a,
taste and creates a desire for his works.
.And yet has all this writing shown the limits of photography ! No. And
the answer to the question heading this article no man can give, at least not
in the year 1880.
In conclusion, let me add an urgent request to all ray finger-stained Irethren
of ^s dusky art, to give this "future" process an early and carelul trial.
FollW strictly iu the smallest detail the direction-:, for often a very slight
variation makes a marvellous difference in the results.
T. H. Blaib.
The above article was written in 1879 for the Photographic ilosaia,.
but received too late for publication, and was pnbUabed in iho Philadelphia
rhotiiijrapher, 1880.
When we consider how near this prophecy has been fulfilled in every
way, and how muoh further the art has advanced than what was con-
sidered a very sanguine prediction, one does not feel that much risk of
being called visionary is assumed by saying that Leon Vidal's able article
on " Present and Future Possibilities of Photography," in the Jnly 25th
issue of your JoriisAi,, and read before the world's Congress at Chicago,
puts the subject " mildly."
Enough of myself, except to acknowledge that professionals have given
me valuable assistance many times in various branches of my work, and'
there are improvements which, by being brought out by a corporation
bearing my name, are credited as the result of my brain exclusively,
which emanated from suggestions nude by professional friends, and I no-
doubt present a very ungrateful picture, engaged as I am in the business
of creating amateurs whom some would stigmatise as the intentional
enemies of these benefactors ; but I feel sure they bear me no ill will, and
I rely on the good sense of human nature generally to take the right view
of my position. I could formulate a lengthy list of professionals in
.America who have contributed much to the present state of things in
photography, and in mentioning those that I do it is possible that I may
go beyond what Mr. Stillman intended to cover, as it is difficult to realise
where the advantages of modern photography to the masses ceases.
Were not the greater part of the early dry-plate makers professionals ?'
'What was the occupation of John Carbutt or G. Cramer ? D. W. C.
Hoover, the manufacturer ol glossy bromide paper since 1889, and the
first to make it at least practically and commercially, was a professional
and constant experimentalist ; he also is the inventor and designer of
the Hoover patent printing machine, which, by using the glossy bromide
paper, will print from one negative 300 prints per hour, which can
scarcely be detected from amongst albumen prints. But why name indi-
viduals, for I am sure to leave'out many ? I must not, however, pass the
name of Mr. Frank Rowell, of Boston, large in stature and heart, and
always ready to lend a hand or impart knowledge to any and every one il
only to help on the art which he so much loved.
As far as my knowledge extends, and circumstances have made It
necessary for me to make exhaustive research in this direction, Mr.
Eowell, ■was the first to practically coat celluloid, and thus make a
flexible celluloid film. This article, as cut sheet film, he has been
selling since 1887. He was the first to introduce and work in
America successfully the beautiful carbon process, for which a gold
medal was granted to his firm at the Centennial Fhiladblphia, 1876,
and many of the processes which are constantly being brought out at
the present time as new discoveries arc old to this indefatigable ex-
perimentalist, and his portfolio of samples and dates show the reBiilta^
598
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 15, 1893
He ia, and haa been for scores of years, a professional. Like many
others of the real inventors and discoverers of the world's most useful
appliances of the day, he did not possess the capital or the business ability
to secure or use others' capital to put his discoveries before the world in
the most energetic manner, and thus get the credit for their efforts ; but
the desire for improvement existed, and the hard work to discover it was
done nevertheless, which is the question at issue at present. The
willingness of these workers to fully impart to others the results of their
efforts, tells whether they were interested for the sake of their art or
science or not.
I trust I will not be misunderstood as having any small regard for the
great benefit the amateur has rendered, or the long list of scientific men
who have done so much for photography. Far from it — and I have
them, and my amateur friends also, to thank for many suggestions and
much assistance. Neither do I fear that my business interests will suffer
on account of my arguments in favour of the professional. I rely on the
desire of human nature generally to see fair play for my security in this
direction.
Regarding the discussion, there is, as a matter of course, no way in a
modern civilised nation to stop such a tendency as the public now have
to photograph ; but remedies for such abuses as exist will appear, and
■their appearance can be much hastened by the professionals themselves.
It is only fair for the amateur — and I believe but few would object — to
•pay reasonably for any bother or expense either in time or money he may
cause the professional ; but the great army of amateurs know nothing
about the grievances of the professionals, which exist, at least in print,
and it is only rational to suppose it would have no influence on them if
they did know.
Human nature remains about the same after it has become the
possessor of a camera, and it will accept information free, and use free
dark rooms when no charge is asked, the same as it (professional photo-
graphers included) would accept free advice or privileges in other
amusements or pursuits.
My advice to professionals, if any care to accept it, is, make yourself
aa useful to the amateur as possible, and charge him as much for this
service as conscience tells you is fair, or, I might say, as much as he will
pay and feel content ; but, above all things, be good-natured.
Injustices are doubtless practised by both sides in cases, but illogical
letter- writing will not right the wrongs. If an injured class exists, the
professionals are doubtless the class. The amateur should therefore be
the more willing to bear with the outbursts of those who at least feel
•that their pockets are the emptier for the universal desire to photograph.
—I am, yours, Ac, T. H. Blair.
September 9, 1893.
" PHOTOGRAPHICA.L SOPHISTICATION."
To the Editor.
Sib,— I am permitted to send you the accompanying letter, received
■some time ago, and which I have no doubt will be read with great interest
during the present controversy, in your columns, on " Photographic
Sophistication."— I am, yours, iSic., Henry Van der Weyde
182, Regent-street, W., Seiitember 9, 1893.
"Lauriston, Bromley, Kent, May S, 1893.
"Dear Mr. Van di>r Wetde,— I have to thank you for sending me a cony
of the JoMriw.1 of the Society of Arts containing a report of your°Iectiire. I
have read it with much interest. Your invention opens up afresh the often-
debated question whether it is permissible to alter a photograph with a view
to its improvement in a pictorial or artistic sense. The question h.is, at least
two aspects — one scientific, the other commercial. Regarded from the scientific
■standpoint, no one will deny that a photograph, as ordinarily taken, is true, or
nearly so, in an optical sense, and that in very many instances it is vigorous
optical truth that is wanted, and that gives a photograph its greatest value.
" But it seems to me that while, as a rule, it would be intolerable to tanipT
with the optical truth or approximate truth of a normal photogi-aph, vet there
are cases, and it is these you doubtless have ia view, in which an alteration
such as will bring the photogr.aphic representation more in accord with the
mental impression of Tightness Ls not merely permissible, but necessary in
order to satisfy the just requirements of pictorial art.
"The mental impression, as distinguished from the optical impression is a
compromise between the image imprinted on the retina and the ideal i'maKe
uupriuted on the memory and derived from knowledge of the actual form of
the thing seen, and every familiar object is regarded under the infiuence of
these lUial impressions, which go to make, so to say, a composite image
Pictorial art recognises this complication, and makes due concession to the
preconceived ideal.
" ' Retouching' exists ; it is a step in this direction. You ask that a further
step should be taken. I cannot see why it may not, provided it be taken as
you distinctly say you intend it should be, with judgment, botl> as to the
occa.sion and to the extent.
" From the other point of view much more may be said in favour of your
proposals, because there can be no question that they provide means at once
simple and effective for, m a large measure, satisfying the almost univers-il
desire for a little harmless flattery in the matter of ' fine little hands, fine
little feet.' I am, yours, &c.,
"J. W. SWAIf."
To the Editor.
Sir, — I am pleased to find that Mr. H. Dennis Taylor's communication
in your last issue so much reduces the difference between us, and that,
for the most part, we are agreed. Mr. Taylor's condemnation of photo-
graphic flattery is, indeed, couched in stronger terms than those I have
employed. He calls the diminution of heads, waists, &c. (otherwise than
as they may have been enlarged by perspective) a " most illegitimate
use " of the apparatus. Mr. Van der Weyde, on the other hand, puts
forth the proposition that sitters were right in complaining of waists, Ac,
coming out too large, and shows how he diminishes them in ac-
cordance with the sitters' ideal. If Mr. Taylor, in his first article, had
made it clear that this was the kind of flattery by which the method
might, as he said, " in some hands, be prostituted," I should not have
thought it necessary to reply.
It is not, however, the sophistication itself that I object to so much, as
to the proposition that the sitter who desires it is to be told that this
sophistication Is in accordance with truth — visual, optical, or truth of
any other kind — if truth, indeed, itself, is capable of such variations.
For verbal flattery of this sort I don't think Mr. Taylor's language at all
too strong.
Mr. Taylor says that I assume that diminution of the head could not
take place without lengthening the neck. I did not intend to assume
anything more than that that was what was done in the examples shown.
I am curious, nevertheless, to see how Mr. Taylor could practically over-
come the objection in the way he says, by lowering the head, without
introducing some other distortion.
With regard to the reduction of near portions by as much as they may
have been enlarged by perspective, I have said that, in view of the
circumstance that painters have accustomed the public eye to representa-
tions of this kind, there is something to be said in its favour ; but how is
the photographer to recognise the exact amount, and be supplied with
sophisticators of various powers for every change of pose ? The proba-
bility is that he would employ one powerful enough, and, perhaps, twice
or three times as powerful, as would give hand and figure in the propor-
tion actually existing at an equal distance. So that the hand was small
enough, a little or a good deal of flattery in the direction of the con-
ventional ideal would easily be accepted.
The actual amount of enlargement due to perspective is much less
than is, I believe, popularly supposed. If a single figure is taken at a
distance of over twenty feet, the enlargement of any part due to perspec-
tive is| very slight ; and, as for heads, I have photographed the same
sitter at distances of four and a half feet, twelve feet, and eighteen feet,
using lenses of such foci as to make the images all of one size, and
when aU three were projected by the lantern on to a screen the only
one in a large audience who ventured to say which was the near pose
chose the wrong one. It is quite possible that the convention among
painters for disregarding the rules of perspective when rendering single
figures — rules which they would not disregard in other subjects — may
die out, and then, when the public has become accustomed to see the
facts as they really present themselves, complaints of photographic
perspective will cease. — I am, yours, Ac, W. E. Debenham.
September 11, 1893.
PHOTO-MICROGRAPHY.
To the Editor.
Sib, — The fact that ordinary microscope objectives work to focus on
yellow sensitive plates exposed through the yellow screen was not to me
a " discovery " in the popular sense of the term. Having occasion to
make some photo-micrographs, and knowing that my objectives were not
corrected for photography, I concluded that, in order to use them to the
best advantage, I must make the photographs with those light rays for
which the objectives were corrected, and at once proceeded to do so by
employing yellow-sensitive plates and yellow light. I feel that it would
have been stupid of me to do otherwise, especially after having had twelve
years' practical experience with colour-sensitive plates and selective
colour screens.
I did afterwards discover that even the apochromatic objectives gave
better results with yellow-sensitive plates and a colour screen than with-
out, and proved this to be due in part to the fact that they are not
corrected to give perfect definition with the ultra-violet rays, to which
ordinary gelatine-bromide plates are still very sensitive.
It is not a question with me whether an objective is "apochromatic"
or only " achromatic," but how good an image will it give to the eye ?
In low-power objectives I know that there are some aohromatics that
have a flatter field and greater resolving power than the Zeiss apochro-
matics of the same focal length, that, with moderate amplifications (say,
X 30 with a one-inch objective), they define details so minute that it is
only just possible to see them with the naked eye in the photographs,
and that such objectives are, therefore, everything considered, better for
high-class photo-micrography in low powers than any apochromatica
September 16, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
600
now on the market. In high power*, I have it on good authority, that
an achromatic objective has been made that resolves ampliipleura pellucida
with ordinary white cloud and mirror illumination, which is certainly
more than some of the apoohromatio objectives of the same angular
aperture will do ; and it seems to me to follow that one achromatic ob-
jective may be hetter for high-class photo-micrography than another
apocl>romat':c objective, even in high powers, if properly used. I venture
to think tliat even the " real authorities " may be able to see the force of
tliis argument.
Mr. Priugle says I have overlooked a dozen statements made by him,
besides disputing what he never asserted. If so, I have made a mistake
of a kind which I do not know that I ever made before. Unfortunately,
most of my references are locked up at my home some thousands of
miles away. Perhape Mr. Pringle did make such a statement in one of
his contributions to the photographic or microscopical journals, if not in
his book ?
My photographs and negatives are also locked up in Philadelphia, but,
if Mr. Pringle has access to back volumes of some of the American
photographic and microscopical journals, he may find some references to
them as follows -.—I'lrjlograjihic I imen, New York, April 25, 181K), page
206; the Beacon, Cliicago, May, ]8itO, page 117; the Microscopical
Bulletin, Philadelphia, April, IS'.tO, page 11 ; the Microscope, New Jersey,
Augnst, 1H90, page 2.51. Other notices appeared in Philadelphia news-
papers and in other microscopical and photographic journals, and in sub-
sequent issues of some of the same journals, but I have not got the
references with me. It is, perhaps, significant that the definition and
brilliancy of the photographs was such as to lead an old expert like Dr.
Nicol to mistake them for aristotypes, although in reality only ordinary
albumen silver prints. My subjects ranged from the proboscis, x 30, to
various bacteria and the secondary structure of diatoms, x 1000. I have
seen nothing better of any similar subjects, but did not attempt anything
requiring a higher resolving power than 1 : 30 N. A. With such a power
I obtained brilliant and crisp photographs of the "beads" on surirella
gemma, and photographs of bacteria that were, and I believe are still,
used to advertise the merits of the objectives. One of the latter was re-
produced as a frontispiece in the Microscopical Bulletin, and three Phila-
delphia bacteriologists, who had already done something in high-power
photo-micrography, soon after applied to me for practieal instructions in
this work. I also received many letters asking tor advice, and it is
really quite possible that my recommendation of Mr. Pringle's book may
have increased its sale in America, although I suspect Mr. Pringle of
sarcasm in his reference to the subject.
Nobody knows better than I do tliat a very few subjects may be found
in which colour value plays such an important part that an apochromatic
objective, other things being equal, would give a perceptibly better repre-
sentation of the object than is possible in a photograph made with an
achromatic objective, provided that the photograph with the achromatic
was made by the joint action of all the visible spectrum rays, in propor-
tion to their power to excite vision. Such subjects are so extremely rare
in microscopical preparations that I do not remember ever to have seen
one among the many examples of " high-class photomicrography "
that have come under my notice. I am not even sure that any of the
" real authorities " have ever realised the conditions which I have specified
in making the photographs.
I have no doubt that the most remarkable photo-micrographs of difTi-
cult subjects that have yet been made with apochromatic objectives can
be equalled in ([uality with achromatic objectives of equal angular aper-
ture, and I fear that, if Mr. Pringle is going to insist upon his distinction
between " high-class " and " highest-class " photo-microeraphy, he may
have to admit that none of the latter kind has yet been produced.
I am sorry that my letter has been taken as a " complaint." It was
not so intended. I am not at all sure that my observation was properly
recorded in the proceedings of the Philadelphia Photographic Society, and
it is not a surprising fact that Mr. Pringle overlooked a note published in
an American microscopical journal. I know of far more important original
observations recorded in scientific and technical journals of considerable
importance which have escaped fruitful notice for a much longer time. —
I am, yours, &c., F. E. Ives.
116, Charing Grots-road, W.C. , London, September 11, 1893.
To the Editob.
Sjr, — I do not think, after all, there is very much difference of opinion
between my friend Mr. Pringle and myself, that a light from the paraffin
lamp without yellow screen is about equivalent to the limelight trans-
mitted through a yellow screen. I took it for granted, however, that
microscopists who could afford to work with limelight would also supply
themselves with apochromatic lenses, as there can be no question, outside
that of expense, on which side the advantage lies, and operators who
have once accustoned themselves to the beauty of image produced by the
apochromatics will never be content to work with anything less perfect
except as a matter of experiment.
Of course we often read of ordinary achromatics being made better in
every way than the apochromatics ; but, as these wonders never take place
at any distance nearer than America, we on this side are not able to
compare results.
Mr, Pringle lay* : " My eipeiiments Rhowed that the worit reinlt
was got with white light and an ordinary plate. A ooloar-oorrect pUte
greatly improved matters, while a colour-correct plate and yellow light
gave the beat renults of all." Now, what I want to know is (not at
present having the appliances to perform the experiment myielff,
does the inferior reaolt produced by limelight without screen and
colour-correct plates refer to the quality of the photographic image
or to the focus only? for, as I understand it, the question does not
so much turn on the former as on the latter. My own experience
when working with achromatic lenses and ordinary plates has been
that the image formed by the violet end of the spectrum is just as
sharp — if you can only catch it — as the visaal, and the question I ask is
this : When working with white light and colour-correct plates, is the
image formed on tiie visual plane, on the actinic plane, on an intec^
mediate plane, or is it only a wishy-washy image formed on the visual
plane ? An answer to this by Mr. Pringle (for which I am sure we shall
all feel indebted) will greatly narrow the grounds of dispute.
Lest I should be considered captious in taking certain objections to
the experiments made by Dr. Pifford, I would say it was not so much to
the use of the yellow screen I took exception as to the assertion that tht
results were even then unsatisfactory, and that certain farther correc-
tions of the lenses were necessary to produce the desired result. Havin;;
myself worked out the matter somewhat exhaustively by experimenting
with lenses of all sorts of corrections, my experience was entirely
different, and I see no reason yet for altering my opinion. The con-
clusion I have come to is that any lens, no matter what the correction,,
will produce as good an image on colour-correct plates photographically
as it can produce visually. I do not deny that a oertain yellowness of
the light may be necessary ; but that does not vitiate my argument. — 1
am, yours, &o., T. f . Smith.
185, Brecknock-road.
EETOUCHEBS' TROUBLES.
To the Editor.
Sir,— The primary cause of this particular trouble may lie in the use of
■pjto-xulphite developer; any radical change in the developing agent may,
however, considerably alter the general character of the negatives ; there-
fore I would suggest after development, which should be fall and carried,
if anything, to excess, a bath of —
Potassium ferridcyanide 10 to 20 grains.
Hypo 1 ounce.
Water 20 ounces.
The first-named being usually kept in saturated solution and added to
the hypo bath. The above acts, of course, as a reducer and clenti*er, and
leaves the film in as perfect a state as can be desired, ample washing,
carefully going over the film with wet wool, should follow the application
of the above, and, when dry, the negative should not be faulty in the re-
spect your correspondent complains of; but, if still obstinate, I would,
before drying the negatives, immerse for five minutes in a weak bath of
glycerine and water, say, one to fifty. — I am, yours, &a. J. Pike.
September 9, 1893.
♦
i£xct)ange Column.
*,* No charge is made Jor inserting Exchanges of Apparatus in this column ;
but none will be inserted unless the article wanted is deHnitely stated. Those
who specify their reqairenients as "anything useful" will therefore understand
the reason of their non-appearance. The full name of the advertiser muM
in all cases be given for publication, otherwise the Exchanges will not ie
inserted,
Will exchange a stereoscopic camera ami p»ir of lenies and three slides for decent
half-plate camera and slides without lens.— Address, Obablis Hibbis, 3, Pentyre-
terrace, Plymouth.
Will cxchanpre P. <5 rapid rectilinear lens by T*Tlor & Hobson, and qoarter-pl»te
portrait leiis Ly Lerebour & Secretan, for eaiarsiin^ apparatui to 12 x 10. Address,
J. H. Newman, 41, Truro-voad, Wood Qrecii, X.
Will exchange Watson & Sons' teu-gaisea biunial lantern and blow.throngh jets (oily
used eight times) for good detective or handcameracarryingtwelTepwtes, orhUx-
plate camera and outfit (double extension bellow?). —Address, ALrasDH. Sacxdebs
Mount Pleasant, Brierley Bill.
Thk following are the classes at the Hackney Photographic Society's
Exhibition next month :— Members' work : Class A, for any picture not pre-
viously exhibited for competition ; Class B, for best picture taken in hand-
camera (enlargement permitted) ; Class C, for any picture taken at a dub
outini; since the last Exhibition ; Class D, for set of six slides (not previously
exhibited), still life excluded. In Classes A, B, and C, a Gold Championship
Medal will be given for the best picture, by the President, Mr. F. Houghton.
Open classes — entries in the.se classes may be priced for sale at the option of
the exhibitor : Class E, for any picture not previously having received an
award ; Class F, for portraiture and genre (professional class— no restriction) ;.
Class G, for pictures which have previously received awards ; Class H, for su
lantern slides not having previonsfy received award.
600
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 15, 1893
an0toet0 to ororregpontientB.
*,* All mailers intended for the lexl portion of this Joctenal, including
meries and Exchanges, must be addressed to " The Editoii, Thb British
JouKKAL OF PHOTOfiBAPHT," 2, York-street, Covent Oarden, London. In-
attention to this ensures delay.
■",* Correspondents are informed that we cannot undertake to answer com-
munications through the j'ost.
*,* Communications relating to Advertisements and general business affairs
should be addressed to Messrs. Henrt Greenwood & Co., 2 York-street,
Covent Oarden, London.
*»* It would be convenient if friends desiring advice respecting apparatus,
failures in practice, oj- other information, would call at the Editorial Office
either on Wednesdays from ito&, or Thursdays frmn 9 to 12 noon, when
some one of the Editorial staff will be present.
Photographs Registered :
John Horsbnrgli & Son, Edinbnrgli.— Pdofograp^ of EirjU Bon. Sir Stuart Knill.
Henry John Cherrington, Swinton.— Two photographs of the Fitzmlliam Family.
Ask. — Make the silver bath stronger.
G. J. P. — ^We do not know of such an ink.
Spotty, Wasp, Operator, and others. In our next.
A. A. Carxell.— We do not think the pictures are of any commercial value.
H. H. Cboucher.— We will try the lens towards the close of the present
week
Dense.— Bleach the negative with bichloride of copper, and dissolve off with
hyposulphite.
A. Lascelles (Napier).— Thanks for the cutting ; we shall be pleased to see
the photographs.
Francis.— It is possible that oxgall on the surface of the prints may have the
effect you name.
Penciller. — Your communic.ition is in the nature of an advertisement, and
therefore cannot be published in the text columns.
J. KeynolDS. — We believe that Messrs. Negretti & Zambra, Holbom-viaduct,
can supply you with silvered plates for Daguerreotyije.
Subscriber. — Burton's book, published by Me&srs. Marion & Co., Soho-square,
may meet your wishes, but you do not specify the process.
■G. CowEi.li. — Bromide enlargements turning yellow at the end of a few months
is not the fault of the jirocess but of the one who did the work.
Pyko says : " Can you give me the address of the English agency for the
Edison Phonograph 1 " — Write to Colonel Gouraud, Meulo Park, Norwood,
S.E.
H. H. B. — You seem to have proceeded quite accurately ; but we cannot
suggest any better means for ascertaining the precise adjustment as regards
the chemical and visual foci than by making a few trials.
W. Sims. — Unless the ancient print can be got quite flat — say by pressure be-
tween glass plates — there is no way of preventing the creases showing in the
reproduction. Can you not have it mounted on cardboard, or strained on
linen ?
Lens.— Suppose the lens be nine inches equivalent focus, to copy the same
size with it the camera must extend eighteen inches. It matters not
whether the original be carte, cabinet, or any other size, the conditions are
the same.
J. TiLFOR says : — ' ' Can you inform me where I can obtain a suitable gas
stove for warming a dark room ? Hitherto I have not required one, but
shall be shortly moving into a house where I think one will be wanted."
Perhaps some of our professional readers can supply the desired informa-
tion.
C R. B.— The Continental firm named, we know, will supply their apparatus
without their name upon it ; but, if you were afterwards to put your name
on it, and sell it as purporting to be of your own manufacture, you would
infringe the Trade Marks Act, and consequently become liable to a penalty.
However, the thing is done daily.
Agent.— We do not know the " longest discount " the two houses referred to
allow to the trade. If, as you say, you are a shipping agent, why not write
to the firms direct, as in the ordinary course of business ? Writing to us as
you do rather inclines us to doubt your bona fides as a shipping a^ent or
being connected with the trade at .ill. °
D. McAndbew.— In protecting the proposed studio from lightning, the con-
ductor should not be connected with the gas or water pipes, but taken direct
to the earth, into which it should enter three or four feet. Connect it with
the building as described in the second proposition. The thick electric-
light cable will answer very well for the conductor.
J. K. TuLLOCH.— Our opinion is that the object-glass of a cheap French achro-
matic telescope of twelve inches focus will serve your special purpose. Such
can be purchased unmounted for about half-a-crown. Being small in
diameter, it will scarcely require a diaphragm to cover such a size as that
mentioned, although such may be employed with advantage.
Graver. — What is known as the steel facing of copper plates is iron deposited
on the plate in a very hard form. It is not, as you seem to imagine, a
separate steel plate. When renewal of the steel is spoken of, it simply
means dissohing off the iron coating when it has become worn through
with dilute sulphuric acid, and then depositing a fresh one, as in the first
instance.
W. T. — As the canvasser only worked on commission, we do not think you can
proceed criminally against him for the defalcations ; he can be sued In the
County Court. Had he been a paid servant, or paid by commission and
salary, the case would have been different. As, however, there is an
attested and stamped agreement, a solicitor had better be consulted before
any action is taken.
B. JosLiN complains that some plates he recently bought in a country town,
while away on his holiday, all show a blue metallic-like appearance" round
the edges after development. He says that he has used the same brand of
plates for some months now and has not seen the like before ? The plates
were old— evidently been in stock for a long time. The appearance is very
common with plates that have been made for a long time. However, some
plates keep much better than others.
Clarence asks where he can obtain a copy of the "new Copyright Act,"
which was recently passed ? — No new Copyright Bill has been recently
passed, or, indeed, has one been promoted. Several different BUls on the
subject have beeu introduced during the past few years, but they have all
suffered in the slaughter of the innocents at the end of the session. Un-
fortunately there is very little prospect of copyright law receiving attention
in Parliament for a long time to come.
Snap-shot. — Although you may be working the camera, shutter, and lens under
precisely the same conditions, so far as they are concerned, and with the
same brand of plates, there is yet one factor that has not been taken into
account, namely, the light. It should be borne in mind that the light at
Brighton a month ago is very different from what it is in London at the
present time. The difference is quite sufficient to fully account for the
under-exposure, even if all the other conditions are identical.
S. J. writes : " I have a Doulton's stoneware sink, but am continually breaking
measures, dishes, and plates with it. Is there any other material that I can
use imstead of these sinks, as I am going to fit np a new dark room ? " — Sinks
lined with lead answer very well ; so do wooden ones, provided there is
always some water kept in them. A wooden frame at the bottom of the
stoneware sink will prevent a great deal of breakage. A piece of " expand-
ing " lattice work, which may be purchased at most timber yards, answers
the purpose well, and it is very inexxJensive.
E. J. Davison. — We do not attribute any fault to the mounts themselves,
but it is well known that all bronze printing on mounts produces such tiny
spots as we observe in one of tliem, and, if in mounting the bronze card
were laid on the top of the others, it would convey the same defect. What
mountant is used ? This may be the source of the trouble as regards the
yellowness in certain parts. The lubricant also may have acted on the
cracked parts. We confess to not being able to give any definite informa-
tion that can help you to any great extent. We have shown the prints to
several persons of experience, and fail to glean anything definite.
Raphael. — From the sketch the studio appears to be very ill constructed for
photographic purposes, except, perhaps, for copying. But this may be due
to the space at command at the time it was built. All the light appears
to come from the front as it is now arranged, and what has to be done is to
convert the front light into a side one. This can easily be done by altering
the position of the background, and working across the room instead of
lengthwise. Although by this modification the length will be curtailed,
twenty-five feet will be long enough for general purposes. With this single
alteration, a studio, except for length, will be obtained that will be admirable
for portraiture.
THE BRITISH JOURNAL PHOTOGRAPHIC ALMANAC, 1894.
Edited by J. Traill Taylor.
We luive commenced tlie preparation of the Almanac for 1894, a^id shall be
happy to include amongst its contributors all those valued friends who, in
former years, have made it the vehicle of their experiences in the progress of
practical photography. We shall also be pleased to receive contributions from
m<n'e recent recruits to the art.
We should be glad i^ intending contributors would favour us with their
articles as soon as possible, in order that any possibility of their having to be
excluded on account of late arrival may be averted.
OONTENTS.
Paqi
OVER ■ intensification OF NEGA-
TIVES 665
TESTING MOUNTS AND MOUNTANIS 685
bubbles 686
AN IMPROVED MICRO-CAMERA 587
CONTINENTAL NOTES AND NEWS .... 588
SOME USEFUL PHOTOGRArHIC
STANDARDS. By W. H. HARRISON 688
THE EVOLUTION OF ARTISTIC PHO-
TOGRAPHY. By EDWARD UUNMORE 589
PHOTOGRAPHIC METASTASIS.— II. By
HUGH BRECNER 591
Page
THE PHOTOGRAPHIC CONGRESS
AUXILIARY OF THE WORLD'S
COLUMBIAN EXPOSITION 692
PHOTOGRAPHY AS APPLIED TO
SURGERY. By A. S. MURRAY.... 59-J
POSING AND ILLUMINATION. By
E. M. KST.VBROOICE 5»S
OUR EDITORIAL TABLE 694
STANLEY SHOW. \ms 694
NEWS AND NOTES 695
RECENT PATENTS 695
MEETINGS OF SOCIETIES 69:.
FORTHCOMING EXHIBITIONS 698
CORRESPONDENCE 5S>i
EXCHANGE COLUMN I B
ANSWERS TO CORRESPONDENTS CIX>
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1742. Vol. XL.— SEPTEMBER 22, 1893.
FINDERS AND COGNATE SUBJECTS.
We have heard complaints of some of the cheaper classes of
hand cameras that the finders attached to them are only so in
name, that they do not afford an adequate idea of the amount
of subject that is actually impressed upon the sensitive plate ;
and, what is worse, that the centre of the one does not coincide
with that of the other. Photographs have been seen by us in
which all their bad qualities have been attributed to the
finder.
The most pronounced of these defects has been the conver-
gence of the perpendiculars, owing to the camera having been
pointed upwards in order to get in the desired amount of
subject. The finder does not always afford an opportunity of
detecting this imperfect levelling of the camera. It is of
minor consequence that the camera is not held level as from
side to side, as the imperfection arising therefrom is remedied
in trimming the print at the expense of a slight diminution of
its size when cutting it square ; but no trimming can rectify
the effect of longitudinal mal-levelling when buildings are in-
cluded in the view. lu this case the operator should not trust
to his finder, but rather to his own ability to hold the camera
level, or, better still, to a small spirit level which may be placed
alongside of the finder.
We have seen many photographs of otherwise real excel-
lence obtained by hand cameras, their beauty being marred
only by the defect spoken of, viz., convergence of their per-
pendiculars, and to those who uttered lamentations over this
we have invariably recommended the adoption of the remedy
we pointed out, with some fulness, in a chapter in our Almanac
for 1890, which treats on the curing of distortion already
existing in negatives, and which no one has ever known to
fail. At the risk of repeating what many already know, but
which, unfortunately, many seem not to know, we repeat in a
few words the directions given, which are to make a trans-
parency from the offending negative by superposition in a
printing frame, and, having erected it in front of a plate of opal
glass, make a copy of it by means of a camera having a swing
back, and in doing so focus as sharply as possible with the
largest aperture of the lens, and swing back the ground glass
until the convergence of the buildmg is seen to be neutralised,
and the vertical lines rendered parallel. Now insert the
amallest stop, so as to ensure top and bottom being equally
sharp, and expose. The negative whicli results from this treat-
ment will be rectilinear, and in every respect perfect, so far as
drawing is concerned.
We have long thought that there is very much room for
improvement in the lenses of finders. The great majority of
these is formed of a double convex lens of short focus, with a
stop or diaphragm outside. Now, if this lens is used without
a stop, in order to secure the maximum of illumination on the
small ground-glass pane usually left exposed to light from
above and arouml, the image is exceedingly hazy owing to the
imperfection of construction and use of the lens ; while, if it be
stopped so as to obtain a greater degree of sharpness, a shade
of one kind or other must be erected around the screen to
shield it from the light.
With a view to ascertain the best form of lenses for finders,
we got a plano-convex of short focus (one of a class employed
in the eyepieces of telescopes and microscopes), and tried it,
convex side out, without any diaphragm. The image given
was very bright in the centre, but fell off rapidly towards the
margin. This, we may state, is not a very bad fault, for, if the
centre be sharp and luminous, the object of a finder in a non-
focussing hand camera has been attained. Still, and aiming at
a greater degree of perfection, it was desirable that equal sharp-
ness as that in the centre should extend to the sides ; so we had
the system entirely reconstructed, by adapting a powerful
plano-convex front, convex side out, as before, with a double
convex, having an immense excess of negative aberration
mounted a little behind. This flattened the field, and gave an
image on the finder screen which we have never seen even
approached for lumiuousness. In optical parlance, it gives an
intensity little over /-I. The whole combination may, from
this description, be designated a Petzval ; but the principle is
carried to an extent far l>eyond what this philosopher aimed at,
for here a visible image only is aimed at, and further, although
from the large aperture there is a residuum of aberration, yet is
such not appreciated, on account of the smallness of the image
and the fact of its being viewed by the unaided eye, and not
through a magnifier. Further, there need be no nicety aimed
at in securing perfect achromatism, although, by the way, the
front of ours happens to be an achromatic, because the co-
incidence of the visual with the actinic foci is not of the
slightest consequence in this case, and even slight fringes of
colour do not interfere materially in the image shown by a
finder. The question of cost of construction need not, there-
fore, be an interfering element in the substitution of a finder
possessing immeasurable advantages over that now so generally
employed.
We are not, in these remarks, losing sight of the still
superior advantages of hand cameras of a double nature in
which two lenses identical in every respect are employed, one
for focussing and the other for photographing with, now
being supplied by several firms ; or those of an ingenious
American inventor shown at the Derby Convention, in which
the ground glass was on the top, a la Sutton, the sensitive
plate at the back, and the lens and diagonal mirror so adapted
to each other, as by pressing a button at the supreme moment
CO?
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 22, 1803
to ensure the light being instantly deflected from the focussing
screen above to the sensitive plate at the back, a form of
focussing finder camera we now very seldom see, but to the
resuscitation of which it might be worth while to devote
attention.
CAMERA STUDIES.
It will be interesting, in view of the immediate approach of the
annual Exhibition of the Photographic Society, to watch what
effect has been produced upon the character and quality of
camera productions by an exceptionally favourable season for
outdoor work. Never within recollection, we should think, has
there been such an almost uninterrupted spell of " photo-
graphic weather," reaching from the late winter right through
the spring and summer, and still promising to extend well
into the autumn.
It goes without saying that there will be, at any rate, an
abundance of " snap-shot " or hand-camera pictures of small
size, for these form the majority of the total work executed ;
but there will also be a higher class of the same kind of work
of larger size — studies, in fact, in contradistinction to mere
landscape — that promises to be the fashionable style of the
near future.
Tliis is not to be wondered at when we consider the peculiar
advantages that modern dry plates offer for this class of work
in the first place, and also, except in a few favoured districts,
the scarcity of really good landscape subjects. It is not every
amateur who can afford either the time or the money, except
for a few brief days in the summer, to travel far afield in the
practice of his hobby, and the majority of such, pent up in our
large centres, have to look entirely to occasional half-day ex-
cursions, or shorter rambles nearer home, for their pictorial
studies. Under such circumstances, it is not to be expected
that scenery of the grandly picturesque type falls to the lot of
the average amateur, though in some favoured localities it may
be so, while in others there is no lack within reasonable
distance of subjects of a milder type of beauty, which to many
perhaps yield equal or even greater pleasure. In this respect,
perhaps, London, much as it is decried by some, stands un-
surpassed by any other town or city in the extent or variety of
the work to be found within easy reach ; but the case is very
different with some of the great northern and midland centres.
Objects of antiquarian and archoeological interest are plenti-
ful everywhere, and suffice to engage the attention of one class
of workers, but to the majority they are as "caviare to the
general." Such subjects are seldom beautiful, and consequently
fail to satisfy any but those who make a special study of the
subjects. Architecture, on the other hand, may be both inter-
esting and beautiful, and forms a favourite branch of work
with almost every class of photographer, amateur or pro-
fessional ; but it is only a branch, and scarcely suffices to
form the staple. We have known individuals who have laid
themselves out to make collections of the cathedrals, abbeys,
castles, or ancestral halls of England, and suchlike ; but these
are almost invariably found to be individuals who make a
special study of architecture, archceology, or take an historical
interest in the class of subjects depicted. We are acquainted
with another amateur who, faut de mieicx, devoted his spare
time to photographing the churches and chapels in his town,
independent of any beauty or interest they might possess,
simply that he might have them complete. We can only
consider him, as the Americans would say, a " crank " in search
of an object in life.
The picturesque in either landscape or architecture is, iu
fact, very thinly and unevenly scattered about the country, but
the class of subjects which we have termed camera studies may
be found almost anywhere in our streets, at our very doors, on
the river, in the country lanes and fields, anywhere, in fact,
where life, human or animal, exists coincidently with the
camera and the capacity for using it. But it is upon the
capacity for properly using the camera that everything hinges.
The idea that all that is required to make a picture is to point
the camera at a life scene, and "press the button," has been
responsible for the production of an inestimable amount of
rubbish in the past few years. Too many of the users, or
" abusers," of the hand camera labour under the impressioa
that what is " true to nature " must be right — that, in fact,
realism constitutes art. Pvather should they endeavour to con-
vince themselves that the real ars celare arteni consists in
softening down that realism, and depriving it of the excessive
truth that renders it vulgar or even repulsive. To illustrate
what we mean, let us try and imagine what would be the effect
produced if such a picture, say, as Luke Fildes' The Casuals-
had been rendered from nature by means of photography.
This is merely one view of the question, but we may refer to-
another, namely, the utter disregard in so many instances of
the capabilities and requirements of photography, both opti-
cally and chemically ; or, to put it in another way, the igno-
rance displayed by the users of the tools they are handling.
Thus we have seen an amateur snap-shottist calmly "pot-
ting away " in a crowded railway station, where the only light
came through the smoke-begrimed glass roof, and where several
seconds' exposure with the quickest lens and plate would at
least have been necessary. Then, again, how often do we see
such curiosities in a group as, perhaps, a toddling infant in the
foreground appearing a giant in comparison with a full-grown
man a few feet further away. But such things are too common
to need pointing out to those who are willing to guard against
them.
But, after all, it is not only the "artist" that is to blame
for the lack of proper subject. We fear, in a great many
cases, the subjects themselves have greatly changed for the
worse, and, in fact, do not present themselves to the true
artist in the manner he would like to render them. How
seldom, in fact, do we see any really satisfactory renderings of
rural scenes, such as hay-making, harvesting, gleaning, and a
hundred others. As a matter of fact, the introduction of
machinery has practically done away with such scenes as we
are wont to see them depicted, and, in place of the half-dozea
mowers in picturesque deshabille', and the bevy of country
lasses in broad straw hats or sun bonnets, and many-coloured
gowns and kerchiefs, teasing the hay, one man, with horse
and machine, does pretty well all the work. The same may
be said of harvest operations generally, and it is only when the
gleaners have taken possession of the field that much chance
arises for pictorial rendering. But here even the Arcadian
simplicity of dress and manners that we naturally associate
with gleaning seems to have almost disappeared, for the
majority of the women and girls engaged are got up in the
fashions of Paris of three or four seasons back, while, instead
of listening to the pipes of some shepherd swain, they fill the
air with their invocations to "Daisy" — ^a nice enough name if
properly pronounced — to give her answer at once.
Things are fortunately not so bad all the country over, but
September 22, 1893]
THE BRITISH JOUUXAL OF PHOTOGUAPIIY.
603
it is only too true that withia range of the larger agricultural
towns rusticity is rapidly disappearing, and the fashions and
manners of the East End and St. C.iles taking its place. There-
fore, when we come across any camera renderings of such sub-
jects as we have suggested, let us give them all the credit that
is their due as artistic productions.
VARNISHING AND RETOUCHING.
TiiE interest taken, by courteous correspondents, in the query
of a brother photographer in retouching difficulties, leads us
to suppose that some further hints on the points at issue
■will not be deemed superfluous. The particular difficulty
first mentioned — inability to get the pencil to bite upon a
film treated in the usual manner with medium — does not
appear to be solved yet ; but, from the data given, the most
probable solution would be that some accident had happened
to the retouching medium, or that it had been tampered
with.
The first point that attracts attention in the correspond-
ence is the perpetuation of the common error as to the
function of a " medium " applied to a varnished, in speaking
of it as " abrading " the surface. The action of abrasion
•does not come into piny with the usual mode of applying
medium, but the term is justly applied when powdered
pumice- stone and chalk is used, and partially so when
powdered resin is employed. There is a growing tendency
to use medium as against abrading substances, and perhaps
equally good results may be obtained with either method.
But there is one disadvantage of the medium plan that
seems to be quite ignored in any retouching discussion, and
that is, the great liability it has to cause the collection of
dust and dirt, not only upon the retouched surface, but
upon the space covered with medium outside the worked-
upon surface. When a negative is in constant use for
printing, it may not be noticed for a while, but if it be
left in the frame for a few days — often if only for a single
day — it has a tendency to collect particles of fluff or dust
from frame or pad that, eventually, seriously interferes with
the delicacy of the work. With abraded surfaces, this ten-
dency to collect, by adhesion, does not exist, and the
negatives are the better in consequence after long usage.
The tendency of the method of the roughened surface to
gather fine particles does not appear to be nearly so great.
All these difficulties are, however, completely avoided by
varnishing the negative after being worked upon, and all that
are held in estimation should be so varnished. When this is
done upon retouching, executed upon the medium-treated film,
little difficulty arises. When the work has been done upon
the varnish itsnlf, treated of course by medium or abrader, very
considerable difficulty will be experienced. Unless great care
be exercised the operator will be astonished on looking at his
negative after varnishing to find a bare negative without a trace
of- retouching, the second varnishing has softened the first,
the surface of which, with the work upon it, has been floated
away by the hot liquid. To avoid this trouble several points
have to be considered. The varnish when applied the second
time must on no account be too hot or too thick; and it is
necessary to choose a suitable one, as there is considerable
difference in the resisting powers of varnish surfaces in this
respect. It does not seem to make much difference to the
dissolving power of the second coating whether the first be a
day or a month old ; and what forms the moat troublous
feature in the case is the fact that a dozan retouched negatives
may be revarnished without the slightest sign of mishap,
while the very next may be hopelessly lost so far as the
retouching is concerned.
As regards the surfaces of the unvarnished negatives, they
vary considerably according to the make of plate ; some give a
surface almost like glass, others a beautifully matt surface,
well described by one correspondent a rose-leaf surface. The
latter will take delicate retouching without any preparation,
while the pencil will glide from the former as though greasy.
A negative which has been passed through a reducing solu-
tion likewise exhibits a glossy surface, while one that has been
intensified with mercury presents just the opposite effect — per-
fectly matt, and capable of receiving and retaining heavy pencil
strokes.
AVe will conclude our remarks by referring to another point
which we do not remember having ever seen referred to. The
power of the pencil to bite or grip is not governed wholly by
the medium made use of, it depends to a considerable extent
upon the surface to which it is applied. For example, a case
was brought before our notice which ran parallel to that of our
correspondent, except that the difficulty was experienced upon
a film varnished before retouching. Good work could not be
done, though the same pencil and the same medium were made
use of by the same hand. Nothing appeared to enable the
retoucher to get enough of lead on his surface, though many
different " mediums " were tried, and the pencils were also
varied. Ultimately it was discovered that the varnish in use
had been thinned down with spirits far too severely, the coating
it gave being very slight. There was, consequently, no bed, as
it were, for the pencil to grip into, and it would slide along
instead of parting with sufficient of its surface to make a
defined mark. The varnish was changed, and all went right at
once. It is just possible that this may explain the difficulty
that first led to the correspondence, though the letter inferenti-
ally leads to the supposition that the film, and not the varnish,
formed the medium substratum.
Preparing Plaques for Enamels. -At the meeting of the
London and Provincial Photof^raphic Association on September 28,
Mr. A. Haddon will demonstate the preparation of plaques for vitro-
enamel work. We understand that the process is both a simple and an
inexpensive one. As visitors to the Association will be welcome, we
trust a goodly attendance will result, as the subjVct, which will,
no doubt, be treated in Mr. Haddon's usual lucid style, is one that
should be instrumental in reviving' interest in enamel work.
The Photog-rapblc Society's Exhibition.— We under-
stand that, for the Exhibition of the Photograpliic Society of Great
Britain, which opens on Monday next, more pictures have been sent
in than was the case last year. Moreover, the roll of exhibitors will
be found to contain the names of all the prominent photo$p«pher8
then represented. In view of ike strenuous opposition since organized,
this is a, very gratifying circumstance. The Exhibition will be pre-
ceded by the customary conversazione at the Gallery, Pall Mall, on
Saturday evening next, when the President will receive the Society's
guests. The Exhibition will remain open a week longer than last
year.
Stndlo &oofs> — The roofs of most studios have had an unusually
trying time of it during the past exceptionally hot summer. If ex-
amined now, it will be found in many cases that the putty has cracked
004
THE BRITISH JOUBNAL OF PHOTOGRAPHY.
[September 22, 1893
badly or otherwise left tbe glass, and, as a consequence, the autumnal
rains may, and often will, cause inconvenience and damage within.
Therefore now, while the roof is still dry, ii the best time to have it
seen to and repainted. But is ordinary lead paint the best for the
purpose : We ask this question, as we were recently told by an old
blind that the outside of his studio had not a coat of paint for years,
and was still perfectly watertight. .\t ihe close of each summer he
had the sash bars carefully " painted " with ordinary gas tar, to which
a little tallow had been added, remarking that with paint the heat
frequently caused it to blister, and also the puttj- to crack. With tar,
however, he told us the case was different, the heat caused the tar to
soften, and, if excessive, to run slightly, and thus fill up any cracks,
if any occurred, in the putty, and also bond it tightly to the glass.
There is a certain degree of novelty in this system of treating the
outside of photographic studios which may prove useful with those —
and they are not a few — with leaky roofs in a chronic form.
Snaxnelled Ironware in Photography.— With the ex-
ception, perhaps, of dishes for the developing solution of platinotypes,
and occasionally for washing prints, this ware seems to be but little
employed by or known to photographers. But many articles are
made in it which will answer their purpose better than any other,
because, while totally unaffected by t!ie majority of the substances
employed in the art, they will stand almost any amount of heat.
Funnels, jugs, mugs, and ladles, to say nothing of the handy little
saucepans to be seen everywhere, will all find a handy use in the
photographic laboratory'. Most are aware of the result usually met
with in dealing with glass funnels and measures with hot solutions,
but with enamelled ware any of the vessels can, of course, be put
direct on the gas or other stove whenever necessary, a very great con-
venience in making solutions where heat is necessary. We were
recently shown some enamelled iron spouted-measures of a variety
of sizes, graduated in black figures on the inside, and we do not
remember having seen anything hke them in any of the photo-
graphic warehouses. As they were all graduated according to the
metric system, we assume they were of foreign manufacture. These
measures should be specially useful in compounding percentage
solutions. It is quite possible that they may also be had according
to the English system. The subject may be worth the attention of
some of our enterprising dealers.
A Secession Exhibition.— There are open just now in
Munich two fine-art Exhibitions. For several years past the Artists'
Society there (we are not quite sure of its exact title) have held an
annual Exhibition, and the reason that a second one is being held this
year is very similar to that which has brought about two photographic
exhibitions in the metropolis at the same time. For some time past,
it appears, there has been a certain amount of friction between what
may be termed the old school of artists and the new school, the
impressionists, and that culminated last year in the latter seceding
from the general body of the Society, and forming themseiyes into a
new one. They are now possessed of a fine peirmanent building, and
have their first Exhibition open under the title of the Secession Exhi-
bition. We are informed that the Original Society's Exhibition at the
Glass Palace numbers between two and three thousand works, and
the new one, though not numbering anything like that, yet makes a
very good show, so far as numbers are concerned ; but the attendance
is limited, and the remarks by many of the visitors on some of the
pictures is anything but complimentary. Evidently, although Munich
may be considered a hotbed of art, a large proportion of its inhabi-
tants are not yet educated up to the " impressionist " school, for we
are told but very few of the works are sold, while at the other Exhi-
bition a very large proportion of them are. It is also said that the
impressionist style of painting has been there extolled by the news-
papers, precisely as has been impressionist photography in England.
The same opinion is also shared by some photographers. Only a few
days ago we were in the company of several photographers, when the
fugitiveness of photographs was under consideration. One said he
had had some ordinary silver prints that liad been in a shop window
fully exposed to the light for over two years, and they showed no
signs of fading as yet. Another remarked that his showcase containcrl.
some prints that had been in it for a very similar period, and, although
exposed to a direct south aspect, they too showed no signs of deterior-
ation. Xow, does light ;>«• sf conduce to the fading of the silver image.
It is tolerably well known that, when some silver prints are exposed
for a lengthened period to a strong light, they become changed,,
turning much darker, not only in the shadows but in the Ughts as well.
Such prints are frequently to be seen at railway stations where they
have been long exposed. But the action of light in this case is not a
fading one, but a general darkening one all over the paper, so that the
image, instead of becoming weaker, is actually strengthened. Ex-
posure of silver prints to the ordinary condition of a showcase is a-
trying ordeal, but is it not climatic influence that works the mis-
chief and not the light ? Moisture and heat combined have a most
destructive action on the silver image conditions always found in the
usual showcase. The subject is an interesting one.
The Influence of Iilgrht on Silver Prints. — There
seems to be a very common opinion with the lay pubUc that the more
photographs are exposed to the light the more rapidly they will fade.
£i. Photographic Spy Scare. — Reference was made in a
recent issue to the spy scare, in which photography figures con-
spicuously, on the Continent. There appears to be also, if we are
correctly informed, a photographic spy scare here in England on our
seacoast, particularly at fashionable watering-places. The terror is
the hand camera, or, at least, as such it is looked upon by many
ladies, who cannot feel at their ease either when taking their morn-
ing bathe, or in returning from the machine, or, indeed, in several
other enjoyable pastimes, for fear of being, as they often are, waylaid
by the hand-camera man, or, as we heard him characterised, " cad."
Of course, every one is now quite familiar with the hand camera,
and it is exceedingly unpleasant, under any circumstances, for ladies
to be aware that they have been " snap-shotted," and know not to
what purpose the picture may be hereafter applied. Especially is
this the case when their portraits are obtained under such conditions
as those referred to. Only a few days ago we were told by three
voung ladies that, while they were sitting, and being in a neglige
way, reading an amusing book in a secluded spot on the sea-coast,
with no idea that any one tlse was in the neighbourhood, they were
startled by a couple of sharp clicks, and, " on looking up, saw two-
fellows with hand cameras, who then went away laughing." The
ladies were naturally very annoyed, and were in a state of some
anxiety as to what purpose the photographs would be put. This
sort of behaviour will certainly tend to bring photography into dis-
repute, and amateurs to be considered a disreputable class. However,
if ladies knew much of this class of work by these individuals,
they would take comfort from the fact that all but a very small
percentage of the plates exposed are abject failures.
VARIATIONS IN THE METOL DEVELOPER.
I NOTICED a remark a week or two back in the Journal to the effect
that many of those who have adopted metol are tiring of the " pretty "
negatives obtained by its means, and are beginning to yearn for t]}e
printing quality formerly associated with the slightly yellow colour
of a pyro-developed film. While I can fidly sympathise with such a
feeling where it exists, and I have at times had a touch of it myself
during the past few months, I must urge in fairness that I scarcely
think that metol is itself to blame.
It is a good many years since the fallacy of " pretty " negatives, as
distinguished h'om good printers, was pointed out : but it must be borne
in mind that the former are not necessarily bad or unsatisfactory prin-
ters, though too frequently, especially in the early days of the pyro-
sulphite developer, they have proved to be so. A negative may possess
clearness of shadow and delicacy of gradation together with freedom
from stain, «nd these qualitie.»inay certainly establish for it a claim
to the title of pretty ; but, in the absence of the^ necessary vigour, it
will never make a good print. On the other hand, vigour, accompanied
September 22, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
606
by correct gradation, softness, absence of colour, and just the faintest
signs of really clear glass in the deepest shadows, combine to con-
stitute a perfect printing negative, and such a one will, at the same
time, be beautiful to look upon to a far greater degree than the other.
In fact, there is prettiness and prettiness.
A considerable outcry was raised against the use of sulphite on its
first introduction, on the ground that, by preventing or removing the
yellow tint of the image, the latter was robbed of its printing quali-
ties. That many of the earlier negatives produced with the aid of
sulphite, and also many of those obtained at the present day with
metol, and others of the new developers, were, and are, inferior in
printing value to many of those developed with pyro cannot, perhaps,
be denied ; but that that result is due to the mere absence of yellow or
other stain is an absurd contention. If such were true, it would only
be necessary to stain tlie over-clear or pretty image, or to print it
through tinted glass or other medium in order to give it the printing
strength it lacked. That such is not the case any practical printer is
aware, for though, under some circumstances, such treatment may
ilightlij improve the print, the difference is so very slight that many
experienced workers deny its existence at all.
As a practical test, I would ask any one who pins his faith to the
coloured pyro image to take such a negative, of good printing quality,
and to remove from a portion of it, by means of an acid clearing
solution, the stain to which it is supposed to owe its quality ; or,
better, perhaps, to cut the negative into halves, and treat one with
the clearing solution. If the two portions are then printed so as to
get the best possible result from each, I venture to predict that the
cleared half will certainly not prove inferior to the other, though, in
point of rapidity in printing, and very likely in other respects, it will
prove superior. Again, if a good negative of the colourless kind —
that is to say, one of perfect printing quality — whether developed
with pyro and sulphite or any of tlie newer developers, be stained
with a decoction of coffee or other suitable solution, or be printed
through a coloured medium, the only difference in result will be
that the stained portion will take a longer time to print. I have
carefully tried this experiment in a variety of ways, and, except in
the matter of rapidity, have failed to find any advantage in a coloured
film over one of the perfectly black and white kind.
But here, I think, is the point. We hear the objectors to sulphite
and metol, &c., complain that they do not like the blue-coloured
image. Nor do I ; but it is not necessary to get a blue image, at
least with metol ; I have had less experience with amidol, so refrain
from speaking of that. If the image is of a blue or " steely " tint,
it is pretty certain that something is wrong, and also that the nega-
tive will not print satisfactorily. When all is right, the image
should be a rich neutral black or grey, whether metol or pyro-
sulphite is used, and I dare say the result is the same with any of the
others properly used. With an image of that colour it is possible to
combine perfectly " prettiness," quality, and rapidity in printing.
Why, then, do we hear complaints against metol ? The explanation
is, I think, to be found in under-exposure and a want of acquaint-
ance with the peculiarities of the developer, and some of the more
enthusiastic of the earlier workers with, as well as the introducers
of, amidol and metol, are partly to blame for this result. Thus we
have been told that with these substances the exposure can be reduced
to one-half or one-third ; I can only say that I have worked con-
stantly— almost every day — with metol for several months now, and,
so far as comparative exposure is concerned, I find I can get as good
a printing negative out of a given exposure with pyro as with either
amidol or metol.
Metol without restrainer is, as all know, a very rapid developer ;
but this rapidity of action has been miscalled energy of another kind,
and it has been assumed that, because the development is rapid, the
exposure may be curtailed, which, so far as my experience is con-
cerned and that of others I am acquainted with, is not the case.
Metol seems to have a marvellous power not only of rapid develop-
ment, but of searching out faint detail and developing it almost as
rapidly as tlie more powerfully illuminated portion of the picture ;
but it has no power of building up or intensifying the image first pro-
duced. It exhausts itself in one supreme effort, and further pro-
longation of its action can only result in fog.
Then on applying an unrestrained solution of metol, with sulphite
and alkali, to a nominally exposed plate, the image will flash up in a
few seconds, the faintest details being little behind the highest lights,
and, if the plate be of good quality and the developer of suitable
strength, probably a good printing negative may result. The operator
concludes from this behaviour that either a shorter exposure niW
suffice or that a weaker developer can be used, and then the trouble
commences. The action of the imrestrained solution is so utterly dif-
ferent from that of pyro that he goes on reducing his exposure and
weakening his solution, with a constantly increasing poverty of result,
although there is still almost the same rapidity of action and the
same marvellous searching out of detail. As a consequence of this
latter power, it follows that any " light-fog " that may be inherent in
the film, or any excessive action of light during development, are
brought out with greater facility and shew with greater prominence
than if pyro were used, and any continuation of development in the
attempt to get density only leads to deeper and stronger veiling of the
shadows.
But if, instead of reducing exposures or diluting the solution, a
proper portion of bromide be added to the developer, an entirely
different result is obtained. The development becomes much slower, not
only in starting, but also in its progress — becomes, in fact, very similar
to pyro development. The abnormal searching out of detail is less
apparent, since the bromide necessarily acts more powerfully upon
the most feebly illuminated portions of the image, and these are
consequently held back while the rest of the image is gaining in
density ; but, if the action of the restrained developer be continued
long enough, the feeblest details obtainable with an unrestrained
solution and a similar exposure will also be produced, though the
general character of the image will be altogether different. Vigour
and density will be obtained in abundance ; indeed, if the action be
continued long enough to get out the last details, the danger will be
lest too much density be obtained.
It is not that the addition of bromide confers any intensifying
power upon the solution, for, if a plate be exposed for what I must
again call a " normal " time, that is sufficientlj', cut in halves, and the
two portions developed respectively in restrained and unrestrained
solutions until no further action seems to go on in the high lights,
there will not be much difference in their density at the finish,
although the two images generally will be widely different. Even if
the action of the restrained solution be continued until the shadows
contain as much detail as in the other half of the plate, the general
effect will only be one of increasing softness without any greater
density in the lights. The unrestrained solution will, in fact, if of
sufficient strength, and with sufficient exposure, give all the density
required, but there will be a strong tendency to veil the shadows
with fog.
Those who have failed to apply metol satisfactorily through at-
tempting to achieve the great increase of rapidity claimed for it in
some quarters, should try again, and content themselves with securing
its other good qualities. Among these I have no doubt many will
reckon its wonderful rapidity of action ; but this, as I have shown,
must be at least partially relinquished, though, if bromide be used in
the proportions given in the first formula published by the manufac-
turers, it is still a rapidly acting developer. But it must be always
borne in mind that under-exposure is fatal to density, as is also the
too great dilution of the solution. The last formula published, con-
taining only about one and a quarter grain of metol to the ounce of
developer, is only applicable to subjects in which there are no heavy
contrasts. I prefer to keep up the quantity to at least four, and pre-
ferably five, grains of metol to each ounce of mixed solution, to which
quantity I add one grain of bromide and three minims of strong am-
monia. In this form it is comparatively slow in its action, though
not slower than pyro, but beautifully regular, and gives an image
that for printing quality can scarcely be surpassed.
The proportion of sulphite, I had almost forgotten to say, is a point
of the greatest importance in conjunction with density, as, if this is at
all curtailed, the action is slow and incomplete, however much alkali
may be added. The quantities given by the manufacturers — namely,
ten of sulphite to one of metol — are what I use, and nothing is gained
by either increasing or reducing the sulphite.
606
THE BUlliSH JOURNAL OF PHOTOGRAl'IIY.
[Septemter 22, 1893
It may be urf^d that, at present prices, metol is an expensive de-
veloper, but 1 do not think it will be found so in practice. I have
never hitherto been an advocate for the repeated use of the same
solution, nor have I been a believer in the principle of an automatic
developer. But I am constrained to confess that latterly I have
come to regard metol as a near approach to automatism, and to
rather like it in consequence. The same solution may be used over
and over again — at any rate, to the extent of six or eight times —
•with the only result that it gets a little slower in action, but not
much. Should it get too i-low, an occasional addition of a little more
alkali, or, if it fail in giving density, a small pinch of metol added
■will keep it in working order for a long time. A few days since I
developed eight 7i X 5 plates with three ounces of solution, the last
being undistinguishable from the first. W. B. Bolton.
ON THINGS IN GENERAL.
SHOtTLD like to join in a few words of the highest commendation in
the laudatory remarks made upon Messrs. Grundy and Haddon's paper,
read some little while ago before the London and Provincial Photo-
graphic Association, upon the " Amounts of silver and hypo left in al-
tumenised paper at different stages of washing." If such an abstrac-
"tion as myself can offer thanks, I should desire to tender mine with
effusion for one of the most valuable papers connected with practical
and theoretical photography that has been presented to us for a long
time. Only those conversant with such matters can appreciate the ex-
tensive labour involved in making the experiments recorded, and the
results given have a very practical bearing upon photographic printing
practice. I heartily endorse what these gentlemen say about the chief
factor towards ensuring permanency being the use of plenty of hypo.
The singular point in connexion with the yellowing of a silver print
on albumenised paper is that it is frequently accompanied by a fading
of the dark parts. That unfading prints, or rather, as it would be
better to say, unfaded prints, have been produced is undoubted.
What we want to make certain of is the cause of the fading where it
exists. I hold a i-trong opinion. Granted a picture well washed
after toning, properly fixed with an ample supply of hypo, and suffi-
ciently washed afterwards, I believe it will, when unmounted, not fade
■when th- air is kept from it. I have dozens of unmounted pictures,
taken at different periods and more than twenty-five years ago, which
^ire as bright, and as good, and free from fading and yellowness (where
air has not had access) as they were the first day they were produced.
■But it is desirable that this experience be not misunder.stood. The
pictures are unmounted: the mounts of the present day, or some of
them, have much to answer for.
I was much interested in reading Mr. Kidd's letter about the Con-
vention group, and was pleased to note, as would only be expected by
those acquainted with that gentleman, that he did not attempt to
take the group without fir^t obtaining permission, for I hold that no
one whatever ought to tnke a snap-shot of the Convention group,
arranged and composed by the local photographers, without, permission
granted. It robs the latter of credit justly due to him for his previous
preparation and his composition of the figures. We learn that Mr.
Kidd's camera was used, but that the local photographers' staff ex-
■posed the plate and supplied the developer. Mr. Kidd said, " Hold
enough," when he considered the plate developed, and then the staff
came in again and finished thenngaiive. Surely Mr. Kidd is quizzing
us in suggesting that the whole credit of the photograph did not
practically belong to Messrs. Heath & Co.
Much interest attaches to the discussion between Messrs. Debenham
and Dennis Taylor on perspective topics—" optical truth and visual
truth." I notice in Mr. Taylor's paper a good risume of optical
theories, which might almost be looked upon as a paraphrase of Le
Conte's views on the subject, even to the reference to the difficulty of
judging the distance of a horizont«lly stretched rope without putting
the head on one side. Le Conte's own example shows the difficulty
more clearly, for h« speaks of two stretched ropes, one further f ro n
the eye than the nther. It will be well to point out, with regard to
Mr. Debenham's illustration of a block of buildings viewed in per-
spective and a model, one-tenth scale, viewed at one-tenth the di-
tanee, that it is the front surface of this building that is stated to
have the same dimensions in each case, not its vanishing lines— two
very different matters indeed. Most disputants upon perspective repre-
sentations of the human figure lose sight of a prime factor of com-
parison. An artist's life-size painting of a sitter is usually placed and
painted so as to he seen from a distance, and from such a distance as
few photographers work at. If it be desired to produce a photo-
graph that will resemble such a painting, the plan will be to put the
sitter thirty or forty feet away, take a small negative, and then en-
large to life size. No one then will talk of distorted hands and feet.
When perspective or optical matters come into discussion, it is most
singular how it most frequently happens that the writer makes some
slip or other. Now we are all familiar, for example, with Mr. Chad-
wick's excellent popular explanations of some optical matters; yet
when he begins to deal with subjects of which it is to be presumed
he not being a surgeon, his knowledge is obtained from sources out-
side his own experience, he makes a slip. He says, describinr'' the eve-
ball, " We have a nearly globular chamber composed of a thick,
strong, white substance — the sclerotic coat — part of which is seen as
the white of the eye. The inside of this chamber is interlaced with
minute blood vessels, covered again by a thick black pigment called
the retina, and the -n-hole is tilled with a transparent jelly." Now,
it is very probably a slip of the pen in writing, which he will thank
me for calling attention to; but, as a matter of fact, the black coating
(the choroid) does not cover the retina, it lies behind it, between
retina and sclerotic. It is, in fact, the physiological analogue of plate
backing, and prevents halation. We have read a good deal about
who discovered how to prevent halation, and here the method was
before (or in) our eyes all the time.
I often pity platemakers when I hear plates complained of when
the fault lies with the user himself, but my imagination never soared
to the possibility of such heights of complaint as those given by a
correspondent— "S. A. Y." — in a recent issue of this Journal.
He wants to know why, as evei-ything foreign is cheap, dry plates are
not. Further he says, " It would be a great boon to an amateur if
he could buy his phites cheaper." This is really nauseating !
Quarter-plates at a penny a piece, and he wants them cheaper! Ha
had better send the hat round at once ! Fhbe Lance.
THE PRINCIPLES INVOLVED IN THE CALCULATION OF
EXTOSURES FOR CONTACT PRINTS ON BROMIDE PAPER.
r President! J Address at Inaugural Meeting of the Widnes Photographic Society.]
You are probably aware that Dr. Ilurter and I have together devoted
a gfeat deal of attention to the scientific aspect of photography, the
result of which has been to convince us that all the operations in-
volved are iinipnable tj calculation and predetermination. I was,
therefore, influenced in my selection of a subject to-night by a desire
to bring for. ibly home to you at the outset tiie practical advantages
of the methods we advucate, and I made the selection I did because
it seemed the implest for my purpose.
Our subject involves a consideration of the properties of the nega-
tive to be used, and of the paper upon which the print is to be
inade. We will refer to the negative first. A negative image con-
sists of metallic silver deposited over the surface of its support in
more or less widely varying quantities, which quantities, of course,
determine the varying amounts of light which the negative, in its
different parts, allows to pass through it. The quantity of silver on
any one spot of the negative is represented by wuat we term the
'• density " of that spot. When I say •' we," I refer to my friend Dr.
Barter and myself, as we were the "first to use the term density in
this sense, and I may tell you we found ourselves in very hot water
f.ir rightly applying a term wliich photographers hnd previously mis-
applied. However, the term density implies the relative quantity of
silver deposited per unit area, and f particularly want you to do your
best to grasp the meaning of the definitions I shall give you t^-night.
This is of the utmost importance, and will be of the greatest assist-
ance later on.
Every point, say, in a landscape we are about to photograph reflects
a certain amount of light, and our object is to produce a negative
which will yield a print in which the light intensities reflected by
the landscape are faithfully reproduced. The negative itself is only
a means to an end; but, if it is to be capable of producing a true
print, it is clear there must be a definite relationship between its
densities and the light intensities which produced them, and it is also
clear that a perfect negative must be capable of transmitting amount
of light through its varying densities, which are related to each otho
September 22, 1893]
THE BRITISH JOCJRNAL OF PHOTOGRAPHY.
607
ns are the light intensities reflected by the objects which form the
liictiire. Tins britif^s us to two other definitions, namely, trans-
parency, and its invers ■, opacity. The opacity simply expresi-es the
optical pnijjorty of a substance (in our case, silver) to impede the
passage tlirougli it of liglit. The transparency of a substance is the
inverse of this, and is measured by that fraction of the original light
wliich the substance allows to pass through it. A deposit of silver,
of which the opacity is two, transmits half the light it receives.
Now, in order to be able to calculate the exposures to be given in
the case of printing processes by development, it is clearly necessary
to establish the connexion which exists between the liglit intensity
used for printing and the opacity of the negative, which determines
the amount of the original lijht which the negative actually trans-
mits. It is easy to ascertain wliat the effect will be upon bromide
paper of a certain exposure to a naked light of known intensity ; but
we have to ascertain to what extent this original intensity will be
affected by the interposition of the negative. This renders it necessary,
in the first place, to measure the opacity of the negative. We do not,
however, for very good reasons, measure the opacity of the negative
directly, but we measure tlie density ; and, as the relation between
the opacity and the density is of a simple character, we can easily
arrive at the former when we know the latter.
The connexion between density and opacity is expressed by saying
that the density is the logarithm of the opacity. If, therefore", we
can, by measurement, ascertain the density, it is easy to calculate tlie
opacity. Tlie photometer which we devised for this purpose renders
this operation extremely easy and expeditious. As a simple example
which you can easily remember, suppose we have a uniform deposit
of silver of which the opacity is two. In this case the plate will
allow one-lialf tlie light to pass through it, or it will have a trans-
parency of one-halt; and, in order to possess this property of
transmitting one-half the light it receives, it must have a density of
0';!01, this being the common logarithm of two. Now, in talking
about lofrarithms, I am uio>t anxious not to alarm you; they may
not be things you are much in the habit of dropping across, but tliere
is nothing very alarming about them; and I venture to think you
will sonn be as familiar with their use as you are with the use of the
multiplication table. They form an absolutely indispensable element
in pliotographic arithmetic, and all the logarithms necessary for
photographic work can be placed on a card the size of a quarter-plate.
1 must here digress for a few moments, in order to say a word or
two about our unit of light and exposure. Our unit of light is
that amount emitted by a standard candle acting for one second, at a
distance of one metre : tliis we call one " candle-metre second." As
you all know, the intensity of a given light varies inversely as the
square of the distance; and it is all the same thing whether the light
be allowed to act for one second at one metre distance, for four
seconds at two metres distance, or for a quarter of a second at half a
metre distance. The candle-metre second is therefore the unit in
terms of which we express all our exposures. Whether this source
of light be the sun gas, paraffin, or magnesium, we always refer it
back to the standard candle.
We have so far considered the part played by the negative in
the production of the print, and we will now turn our attention to
the bromide paper upon which the print is to be made. You will
easily understand that the various gradations of the finished print must
be included within a range, limited, on the one hand, by the natural
white of the paper ; and, on the other hand, by the extreme black of
the deposited silver when examined by reflected light. In order to
produce the best possible print upon a given paper, the negative
must have a range of densities which coincides with the range of
gradation of the paper, otherwise the negative and the paper are not
suited to each other, and an inferior print must result.
In order to ascertain the density range of the negative, we submit
it to actual measurement; but, as the merits of the finished print
will bo finally judged by the eye, ocular inspection, instead of
measurement, will serve our purpose in deciding the range of our
paper. All we have to do is to ascertain what exposures correspond
with the gradations of the paper ranging from extreme white to ex-
treme black. At first sight, you would naturally suggest that the
■way to do this would be to give a series of exposures on different
patches of the same strip of bromide paper, beginning, say, with one
second, and proceeding with two, three, four, five seconds, and so on.
This would be a perfectly correct method of obtaining the informa-
tion we require ; but I am afraid you would be very tired of the
operation before you reached the end of it, for, in the case of the paper
we shall use to-night, you would have to give a series of about seven
bundled exposures, increasing arithmetically from one second to about
twelve minutes. Such a formidable operation as this would prohibit
the practical application of our principles; but, fortunately, there is
a short cut to the attainment of our object. By causioff our exposures
to increase geometrically, instead of arithmetically, we shall obtain the
information T.-e require in nine, iastead of 700, exposures ; and, further,
by means of a simple piece of apparatus, we can make the nine ex-
posures concurrently. By a geometrical progression of exposures, I
mean one in which each successive exposure is the same multiple of the
Erevious one — ^for example, one, two, four, eight, sixteen, and so on. I
ave brought with me to show you a strip of the bromide paper we
are going to use for our experiment to-night. This strip of paper has
received nine different exposures, each double the preceding one, and
progressing from two and a half to 640 cm. The strip is divided
into ten parts, nine for the exposures, and the first, which was pro-
tected from the light while the exposures were made, represents th&
natural white of the paper.
Now, you will notice that the shortest exposure which has pro-
duced any deposit at all on this paper is five cm. The first ex-
posure of two and a half cm. has produced absolutely no result. At
the other end of the range you will see that the maximum blackness
by reflected light is reached by an exposure of 320 cm. ; the ex-
posure prolonged to 640 cm. has not produced any increased black-
ness, though it has, of course, produced an increased deposit of silver,
which would be apparent by transmitted light ; but, as our print is
to be viewed by reflected light, this increased deposit has not the
slightest value. We therefore consider that the available range of
this paper lies within the limits of exposure of five and 320 cm.
Having obtained this knowledge, we must next consider the paper
and the negative in conjunction ; and, to make the matter as clear to
you as I possibly can, we will first of all consider a negative consist-
ing of one uniform density, such as I hand round. This negative I
have measured and marked accordingly. Its density is 10.5, its opacity
is 11, and its transparency is tV. Now, imagine this negative in con-
tact with a piece of bromide paper of which we have ascertained the
range in the manner described, and let us set ourselves this simple
problem, What exposure must we give through this negative in order
to produce upon the paper the same amount of deposit as was pro-
duced by an exposure of eighty cm. to the naked light ? The opacity
of our negative is 11, and as it, therefore, only transmits -f^ of the
light it receives, we must obviously multiply 80 (the direct exposure
to which we want the equivalent) by 11. 80x11 = 880, and this is
the exposure in cm. which we must give through this negative in
order to produce upon the paper the same result as an exposure of
eighty cm. to the naked light.
Y'ou will see from this example how simple the principle is which
underlies the determination of tne exposure ; but when we come to
deal with an ordinary negative, with its varying ranges of densities,
the considerations involved are somewhat more complicated. The
calculation is, however, just as simple. We will now, therefore,
devote our attention to the particular negative from which we are
going to produce a print this evening, and consider its range of
densities in relation to the range of gradation of the paper.
I did not elect to bring a negative of my own for our experiment
to-night, because it might have suggested a suspicion that I had made
a sly preliminary trial ; I therefore asked Mr. Warner to provide a
negative, and this he has kindly done, and he will vouch for it that I
never handled the negative except in his presence, and then only to
measure its densities. I had intended to have measured the negative
here to-night, but this would have involved explanations as to the
photometer, for which we shall have more time upon another occa-
sion. This negative of Mr. Warner's I have measured in two places,
corresponding to the highest and lowest densities, and this is all that
is required. These densities I found to be : —
Density :
Opacity :
Negative.
234 mean
218
1-80
03
r2r
18-6
The densities, you will remember, are logarithms of the opacities,
and, knowing the former, we can easily ascertain the latter from a
table of logarithms. Having found the opacities corresponding to the
maximum and minimum densities of the negative, we learn tliat these
densities transmit respectively one two-hundred-and-eighteenth, and,
roughly, one-eighteenth of the light they receive. Let us now refer
again for a moment to the bromide paper upon which the light in-
tensities transmitted by this negative are to be brought to bear. We
found that the range of this paper extended from an exposure of
5 cm, to one of 320 cm.
Paper.
Exposure : cm. 6 mean 40 320
Log. of exposure : „ 0-690 „ 1-602 2-30i3
If our negative were exactly capable of utilising the entire range
608
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 22, 1893
of the paper, the exposure would be arrived at by considering either
that, through the maximum density of the negative, it must be
such as to leave the normal white of the paper untouched, or that the
exposure, through the minimum density of the negative, must be
tuch as to allow the paper to acquire maximum blaclmess ; that is to
say, all we should have to do would be to multiply 2| (the exposure
which just failed to produce any deposit on the paper) by 218, the
maximum opacity of the negative, or to multiply 320 (the exposure
corresponding to extreme blackness) by 18 6, the minimum opacity of
negative. Either method would lead "to the same result if the paper
and the negative were absolutely suited to each other. Unfortunately
we do not, as a rule, pay that amount of attention which we might
do to procuring the exact quality of negative which is calculated to
yield the best possible results by any particular printing process. We
have therefore had to find a method of procedure for ascertaining
that exposure which will yield the best possible results with the
particular negative and paper we wish to use in conjunction. We
have found it best in practice to regard the range of the paper as ex-
tending from the shortest exposure producing the blackest deposit to
that exposure which just gave the first evidence of deposit. We then
base our calculation upon the mean density of the negative, which
we refer to the exposure which corresponds with the mean gi-adation
of the paper. This adapts the negative, and the paper ranges to each
other in the best possible way.
The mean density of the" negative is 180, and the corresponding
opacity is 63. We do not, however, for mathematical reasons, take
the arithmetical, but the geometrical, mean of the exposure which
produced the paper gradations, and this mean is forty cm. We are
now in a position to determine the exposure we are going to give to-
night, and to simplify matters by regarding our negative as though it
consisted of one uniform density of 1-80, and as uniformly trans-
mitting one sixty-third of the light it receives. Our next considera-
tion is that, through the mean density of the negative, we have to
produce a deposit on the paper equal to that produced by an exposure
of forty cm. to the naked light.
For optical reasons, which I propose to give you when, on some
future occasion, we go into the question of enlargements, it is neces-
sary to somewhat reduce our mean density to the extent of multi-
plying it by 0'8.* I'80x0'8 = l'44, our modified mean density, to
which corresponds an opacity of 27'5, and the following figures must
now be taken as our working data : —
Mean density x 08 1*44
Mean corresponding opacity 27'o
Mean exposure of paper range 40 cm.
We have only now, as in our first example, to multiply the mean
exposure of the paper range by the mean opacity of the negative,
40 X 27'5 = 1100 cms., which is the exposure we shall give to-night.
In making this calculation I have chosen to work with the opacity
of the negative rather than with its logarithm, the density, because I
thought the former would appeal to you better than the latter. I
should, however, like to show you how, in practice, I prefer to make
the calculation myself. We have already been compelled to refer to
our logarithm tables in order to derive the opacities of the negative
from the densities, so that it would be no more trouble to refer to the
tables for the logarithms of the paper range exposures instead. We
should then have the following data to work from : —
Mean density x 0'8 1'44
Log. of mean exposure of paper range 1-602.
We simply add these two numbers together, l-44-l-l'C02 = 3'042,
and, by referring again to our tables for the number corresponding to
this sum, we should once more find the answer we require, namely,
1100 cm.
We will now proceed to make our exposure, and I have little doubt
I shall be able to show you the best possible result which can be
obtained upon this particular paper and from this particular negative.
As I do not suppose you will care to sit for 1100 seconds, or 18^ mi-
nutes while we make our exposure to the light of a standard candle,
I am going to show you the means we adopt when we have these long
exposures to deal with. We shall make our exposure to the fight of
a duplex paraffin lamp, and this piece of apparatus enables me, at will,
to make the lamp equal to any number of candles I may require.
To-night we shall make it equal to twenty candles, and, as our source
of light will be equal to that of twenty candles, we divide our required
exposure of 1100 cm. by 20, which gives us an actual exposure to
the lamp of fifty-five seconds. This apparatus consists of a shadow
photometer, and the candle is placed at such a distance from the screen
* I wUl only say that one consideration affecting this factor is the colour of
the negative, consequent upon the developer med.
that, when the shadows thrown by the candle and the lamp are of
equal intensity, the light of the lamp is equal to that of twenty
candles. An appropriate scale provides data upon which to base the
calculation necessary if it be desired to make the lamp equal to any
other multiple of the candle.
Mr. Warner actually found me two negatives for my experiment
to-night, and the one of which I have given you the measurements I
selected because its density range better suited the range of the paper-
The second negative is, however, so different from the first that I
thought, while we were about it, you would be interested to see a print
from it as well. The requisite data for calculating the exposure for
this second negative are as follows : —
Maximum density 1-72.5
Minimum „ 0-880
Mean „ 1302
j Mean density x 0-8 1-041
( Mean corresponding opacity 11
Mean exposure of paper range 40 cm.
The required exposure is therefore 40x11 = 440 cm. and, with the
lamp at twenty candles, Y/ = 22 seconds ; our two exposures, then,
are, to the light of the lamp, fifty-five seconds for the first, and twenty-
two seconds for the second negative.
Here are our results, and you must judge for yourselves how nearly
I have hit, by calculation, the best exposures for the negatives and
paper we have used. One very great advantage of this method is
that, having ascertained the range of different papers, and the extreme
densities of the negative, it is easy to tell which paper will give the
best print from the negative. The more nearly the difference between
the extreme densities of the negative agree with the difference be-
tween the logarithms of the exposures at the extreme limits of the
paper range, the better are negative and paper suited to each other,
and the better will be the result. Through no fault of Mr. Warner's,
the range of the negatives and the paper we have used to-night do
not coincide as well as they might ; and, if you will refer again to
the strip of bromide paper showing its gradations, you will see that I
have marked upon it the extent and position of the range actually
utilised in the iirst print we have just made. You will notice that
the print does not nearly utilise the entire range of the paper. If you
care to see them, I will pass round a number of bromide prints upon
the same paper we have used to-night. You will see that they are
produced from negatives considerably varying in density ranges, and
the e.xposures vary consequently from 1290 cm. to 153 cm. I
should say that all the negatives from which these prints were made
were developed with ferrous oxalate.
In conclusion, I have done my best to make it as clear as I possibly
could how to arrive at the best exposure for a bromide print, and,
while I can hardly hope that I have enabled you to go home and put
the operation into immediate practice, I do hope that I may have led
ycu to see the advantage of working by methods of precalculation.
Judged at first sight, you may be inclined to question whether the
game is worth the candle ; I can only assure you from long experience
that it is well worth it. Not only will you, by the adoption of this
system, save an enormous quantity of material,but I can assure you you
will find the pleasure of working at photography vastly enhanced when
you come to substitute calculation and almost absolute certainty of re-
sult for rule of thumb and depressing failures. Do not any of you go
home with the idea that what I have said is beyond you ; take
my word for it, it is not. What has taken me a long time to tell you
is really only an account of operations which, in practice, occupy but
a few minutes to carry out, and with which you may very soon
familiarise yourselves.
Of course, I have been obliged to refer to the principles involved,
but it is only by understanding these that you can work intelligently,
and ever hope to reap full satisfaction from the adoption of scientific
methods ; and I will tell you in ponfldence that there is one little spot
in my heart wherein dwells the glimmer of a hope that the Widnes
Photographic Society may become, from conviction and choice, our
warm ally in the promotion of photography by precalculation.
VkKO C. DalFFlELD.
• -♦ ■
THE EVOLUTION OF ARTISTIC PHOTOGRAPHY.*
Retouching has become a necessity from the public standpoint, and,
if it was kept within bounds, it is a very valuable auxiliary to photo-
graphy proper ; but, abused as it is in so many cases, the advantage is
very often problematical. Landscape work has also had much atten-
tion paid to its artistic beai-ings, with the most happy results ; some-
thing more is now expected than a mere representation of nature.
* Concluded from page 591.
Septemlwr 32, 1893]
THE BRTflSH JODKNAL OF PHOTOGRAPHY.
609
Atmosphere and compa^ition are qualities absolutely necemaiy Id any
good landscape. Not that this has not always been th« case, but
much more critical attention has Ixson bestowed on these special
<iualiii('s than ever before. However we may disajjree with Emerson's
-dicta, it was the chief means of calling attention to these particular
•qualities, and many who had previously paid but slight attention to the
matter were induced to examine it more seriously, from a new stand-
point, with results that have undoubtedly added to the im]>roTement of
photography from a pictorial point of view. Sometim{'s a fuzzy, out-
of-focus picture possesses very many art qualities, and has very great
charms for a true artist, whether he is a photographer or not; but
the charm does not lie in the fuzziness, but in cei'tain leading beautiful
lines which are emphasised by all minor or less important ones being
suppressed or indistinct; generally speaking, the success of a fuzzy
picture is somewhat of a fluke, and, if any photographer starts an
exposure with a predetermined blurr effect, the cliances are very much
against anything but a dead failure rewarding his exertions. I do
not think our art will be much benefited by any deliberate attempt to
produce out-of-focus pictures, merely relying on this for atmosphere,
when atmospheric effect can be obtained by other means than
imperfect instruments or faulty manipulation, which is implied by
the out-of-focus systems.
We have many photographers who are undeniably artists in the
best sense of the term, and who impress their individuality on their
•work in a greater or less degree, accordingly as they work in the
ordinary grooves or deviate from them. A man will be successful
with one particular style, and, having achieved witii it a certain
amount of popularity; feels disinclined to adopt any other ; at least,
whatever his inclination, he, as a rule, keeps to the one by which he
sained his reputation. If we analyse any of these styles, we shall
find their beauty entirely depends on their strict accordance with
art rules, and the clever adaptation of peculiarities of the subject in
carrying them out.
With the greater development of purely artistic treatment has
grown up that excessively bad or good thing, retouching, withmit
which nothing is saleable in the realms of portraiture. Human nature
rarely objects to flattery, and, when that tiling that never lies shows
you to be younger by many years and better-looking than you are,
you accept the soft insinuation, and half believe you must have made
a mistake about dates and crow's-feet, for the last new cabinet proves
it. There is a good deal to be said in defence of retouching, very
much more commercially than artistically all the same ; but, as we are
chatting about the improvements, and not the profits, we will confine
ourselves to the estimation of retouching entirely on its merit.o. That
the legitimate use of the process is an immense power in the hands of
the photographer there is no shadow of doubt, as photography itself
is apt to exaggerate lines and markings on the human face divine ;
the judicious use of the pencil will balance matters, and make a much
more truthful presentment than would be possible by unassisted
chemistry. Now, this is the legitimate application of retouching;
accentuating a light or reducing a shadow is also perfectly legitimate,
and, if retouching was confined to these limits, there would be nothing
to say against it. But, unfortunately, the possession of the means to
do much more makes much more done, and to such an extent, tliat
flesh rivals marble in solidity and egg-shell in texture, and the like-
ness— well, the less said about that the better. But not only is the
texture of the skin misrepresented, but the features themselves are
altered and shaped to suit the retoucher's idea of what they should
be — crooked noses are straightened, ugly mouths are made to rival
Cupid's bow in contour, small eyes are enlarged, fat people are made
slim, round shoulders are m.ade straight, and the completed photograph
is nothing but a delusion and a snare, and becomes as difficult of identi-
fication as a suicide that has been a month in the water. This excess
of hand work, reprehensible in itself, has good results indirectly, by
causing the photographer to become a better artist in his struggle to
represent the beautiful ; it improves his correctness of drawing, and
indicates those points it is best to avoid or to give least prominence to,
as well as to make the most of the good ones with which nature has
endowed the sitter. From this point of view retouching has its ad-
vantages, and decidedly the artistic qualities of pliotography are in-
creased ; but, when the vanity of the person insists on a remodelling
throughout, and many do, the conscientious photographer is in this
ditficulty, he must please his sitter or lose his customer — it need not
be said that the former alternative is generally chosen ; but wliether
even this concession pays in the long run is doubtful. The sitter is
undoubtedly gratified at first, but soon — unless for advertising pur-
poses— the most striking likeness will be preferred. It must be borne
in mind that the most elaborate finish will not secure the approval of
friends unless the likeness is good; but, given a good resemblance and
expression, the portrait will have an enduring reputation, conduce to
better business and more general satitfoction, as well as meriting
greater praise from a purely artistic standpoint.
Vanity has much to answer for in the propagation of the worked"
up monstrosities with whicli we are, unfortunately, so familiar, and
some photographers enooura^^e the public in this wretchnd taste, on
the plea that it gives satisfaction and brings in the money. What can
we want more '^ That is just it — what do we want more ? We want
a portrait to be a portrait ; a similitude to the living person, and a true
reminder of those who have passed away ; to those who esteem the
living, it is a notorious fact that hundreds of pretty enough pictures
are no more like the originals than if they nad never sat for the
negative, but had sent a deputy instead. But with all these faults,
which are remediable, there is undoubtedly an immense improvement
in the art feeling displayed in ordinary work to that of a few years
ago, an improvement we may fairly attribute to the facilities provided
in gelatine plates, which do away with anjr anxiety in regard to the
manipulative part, and leave the artist nothing to think of except the
lighting, posing, and exposures. In landscape work we seem to im-
prove irregularly, if one can so term it.. We have a great number now
of exceedingly good pictures made — pictures in every sense of the
word — but, with few exceptions, successes are not repeated by the
same individual, which suggests that the success was more a matter
of chance than design.
Of course, the occurrence of certain atmospheric conditions necessary
for some special effect cannot be relied on, or scarcely anticipated, and
they often happen when we are in an unprepared state. The same may
be said of many necessary items that go to help the composition of the
picture ; at the same time, by watching and waiting, we may often
secure a picture equal to, or better, than the one we had mentally
pictured to ourselves, so there is no reason why good pictures should
not be the rule, if we only knoxe what we want and have the patience
to wait for it. " Knowing what we want " is, I think, the key to the
position ; at any rate, unless we do, success will be only gained by a
tliike. This does not imply that a picture should be mentally arranged
sometimes in advance, \mi that, given a view with certain acces-
sories, we should be able to iittayine a picture composed of the material
presented to us, and so see how it combines to form the picture we
intend to produce ; we then select our point of view, to get the com-
position as near as ice can to our imaginary picture. In doing this it
often happens that we shall have to content ourselves by securing the
leading characteristics, as the detail will not come as we had desired:
but, in our attempt, we may get a composition equally satisfactory,
but one we did not realise at the outset; anyway, our photograph is
made with a definite purpose, and, as a picture, it will be much better
than one produced by the happy-go-lucky system, without due con-
sideration, so generally adopted. The snap-shot system has a good
deal to answer for in this connexion, for it engenders a habit of
making exposures the instant things seem about right, without taking
the necessary deliberation most good compositions require. It is very
seldom, indeed, we see a subject to the best advantage immediately we
look at it ; a little study will show us how far from perfect our first
impressions were, although they may be tolerably correct on the
whole ; and, now that the process is divested of any necessity for hurrj',
the photographer of the future will have to show carefulness of con-
struction, as well as other pictorial qualities, are necessary for all true
photographic works of art. Edward Duxmork.
CENTEAL PHOTOGRAPHIC CLUB.
A L.iKOELT attended meeting of members of the Central Photographic
Club and others interested was held at Coleman's Hotel (late Ashley's)
Henrietta-street, Covent Garden, W.C, on Wednesday, September 13.
The meeting was called to give members an opportunity of becoming
acquainted with the premises the executive had chosen, as well as to
elect officers, receive report of progress, and consider certain de-
sirable alterations in the rules. Mr. George Mason occupied the chair,
and among those supporting him were Messrs. J. Howson, T. Fall, Birt
Acres, A. C. Edwards, E. Beckett, E. J. Wall, H. Snowden Ward, Thomas
Bedding, F. P. Ccmbrano. A. Cowan, W. F. Slater, J. S. Tespe, L. E.
Morgan, — TurnbuU, Child Bayley, O. H. James, W. Fenton Jones and
C. H. Oakden (Hon. Sees.), —Jacobs, — Wilkes, H. E. Farmer, F. W.
Munro, J. Birtles, and many others.
Mr. Oakden (Hon. Sec.) reported progress, detailing the difficulties
the Committee had expeirenced in the selection of suitable premises, and
stating that finally it had been decided to take rooms at Coleman's HoteL
Two rooms and a dark room would be permanently at the disposal of
members there, and a large meeting room tor meeting nights as might
be required. The terms were moderate, and there was an advantage in
610
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 22, 1893
being able to obtain refreshments and service without difficulty. For
country members staying in the hotel there would be a reduced tariff.
Tne report was formally adopted.
The meeting then passed to the consideration of the rules, which, after
much discussion, were adopted In the following form : —
EULES OF THE CENTRAL PHOTOGRAPHIC ClDB.
1. The title of the Club shall be the Central Photographic Club.
2. The object of the Club is to provide a central meeting-place for
those interested in photography where they may enjoy social and technical
advantages.
3. All gentlemen interested in photography shall be eligible for member-
4. The annual subscription for town members shall be 11. Is., and for
country members lOs. 6rf. For lite membership a payment of lOZ. 10s.
shall be required from town members, and 51. os. from country members.
The first 300 members will be admitted without entrance fee. Those
joining after that number has (jeen reached shall pay an entrance fee of
11. Is. for town members, and 10s. 6d. for country. Gentlemen residing
within a radius of twenty miles of Charing Cross shall be deemed town
members.
5. The management of the Club shall be vested in a committee of
twelve town members, and six country members, four to form a quorum
exclusive of officers, to be elected by the members in general meeting
annually. The Committee shall have power to fill up vacancies during
the current year, and also to make bye-laws as may be found necessary,
such bye-laws to be binding on the members after being posted in the
Club-rooms.
6. The property of the Club shall be vested in two Trustees.
7. The President, Trustees, Hon. Treasurer, Hon. Secretaries, and an
Hon. Librarian shall be elected by the members annually in general
meeting, and shall be e.c-ojfieio members of the Committee.
8. All officers and Committee shall be nominated in writing at the
ordinary meeting of the Club fourteen days previous to the annual meeting.
The election to be by ballot at the annual meeting, verbally or in writing.
9. Candidates for membership must be proposed and seconded by two
members of the Club. The name and address of the candidate, and the
names of the proposer and seconder must be sent to the Hon. Secretaries at
or before the stated meeting previous to the one at which it is proposed
to submit such candidates for election. Such name shall be read by
one of the Secretaries to the meeting, and posted on board till the next
meeting.
10. The election of members shall be by ballot at any stated meeting of
the Club, and a vote of four-fifths of the members present and voting
shall be necessary to elect a new member.
11. Every candidate on his election shall be notified in writing with a
request for payment of his subscription and entrance fee.
12. No member shall be entitled to use the Club until his subscription
for the current year has been paid.
13. The annual subscription shall be payable in advance on the first
day of October in each year.
11 Members joining the Club before December 31 shall pay the full
subscription. After the end of December and before March 31 the pay-
ment shall be two-thirds ; after the end of March, and before June 30, one-
third ; the subscription of any member elected after August 31 shall be
considered payment for the following year.
15. Any person who shall by any means cease to be a member of the
Club shall, nevertheless, remain liable for and shall pay to the Club all
moneys which at the time may be due by him to the Club. Any person
ceasing to be a member from any cause shall forfeit all interest and
rights in the Club.
16. Any member making himself obnoxious to the members of the
Club shall be reported to the Committee, who shall investigate, and, if
necessary, call a special meeting of the Club to discuss the matter ; then,
if the majority so decide, the offending member shall be expelled the
Club, and lose all interest and benefit in it, such decision to be taken by
ballot.
17. An annual general meeting of the members shall be held in the
first week in October to receive the report of the Committee, to pass the
accounts, having been audited by two members, not being members of
the Committee, chosen at the previous meeting of the Club, to appoint
officers for the ensuing twelve months, and to elect members of the
Committee to supply to supply the places of those retiring. Th .-newly
elected officers and members of the Committee shall come ntr jffiee at
the conclusion of such meeting.
18. Ordinary meetings of the members shall be held weekly.
19. The Committee may, whenever they think fit, and they shall on a
requisition made in writing by ten members, convene an extraordinary
general meeting. Any such requisition shall specify the object of the
meeting required, and shall be signed by the members making the same,
and shall be delivered to the Secretaries.
20. The Chairman shall have a casting vote in addition to the vote to
which he may be entitled as a member.
21. No alteration of, or addition to, these rules shall be made except at
the annual meeting, or at a meeting specially convened for that purpose.
Notice of such intended alteration or addition shall be posted on the
notice board not less than fourteen days previously.
The Chairman next read the following address :—
"At this, the opening meeting of the Central Photograph Olnb, I
wish it unbounded success, and may it have a big future before it. If
the success prove equal to the need for such an institution, it cannot fail
to be successful beyond our anticipation. After much trouble and anxiety
in looking out for suitable accommodation for us, the executive have
done well in securing these premises, where we will find ourselves free
from so many conditions and restrictions that clogged up the freedom ol
arrangements in all previous negotiations for a suitable place.
"Here we have comfortable rooms, refreshments at hand always,
lodgings if desired by our country friends, and in a very central position.
— all these combined should prove no mean factor in inducing all the
brotherhood of the Black Art to gather round and claim membership.
The fee is so small that it must come easily within reach of all, and not
to be considered if the possible advantages are put against it.
"I have said elsewhere that, in the interests of the provincial photo-
grapher, such an institution is of incalculable benefit, because it provide*
for him a place where he can at all times find kindred spirits and special
interests there foeussed, so to speak, and saving no end of trouble in
going in search of friends and information ; and as a centre for informal
meetings it should be of great value.
" I place a great value on informal meetings, where a few friends, over
a pipe, talk out the many experiments (successes and failures) that one
and all have experienced in their professional career. This is an educa-
tion of itself, and that of no mean order. As a place for formal meetings
of all professional kinds this Club should hold a very prominent place,
and there is no reason why many of the London Societies should not
make it their headquarters, and by this means draw the bonds of brother-
hood closer.
' ' Many other points of mutual interest will suggest themselves to you
as we proceed on our way ; and, wishing the enterprise all the good that
can be wished, I launch our bark upon the photographic stream.
And in closing, I would propose a hearty vote of thanks to the executive-
for all the labours that they have undergone — labours that have so
successfully terminated."
Mr. Mason having been cordially thanked for liis address, the election
of officers was proceeded with, and resulted as follows : — -
President : George Mason. — Trustees : Thomas Fall and George Mason. —
Hon. Treasurer : John Howson. — Committee : T. Sebastian Davis, Dr. G.
Lindsay Johnson, Alexander Cowan, Birt Acres, Eobert Beckett, A.
Horsley Hinton, F. W. Hindley, J. S. Teape, F. P. Cembrano, jun.,
Andrew Pringle, H. "Van der Weyde, T. E. Freshwater, E. Keene (Derby),
Lyddell Sawyer (Newcastle), W. M. Warneuke (Glasgow), J. Stuart
(Glasgow), Paul Lange (Liverpool). — Hon. Secretaries .- W. Fenton-Jones
and C. H. Oakden. The election of librarian was left to the committee.
The meeting night was fixed for Friday in each week. The Club
premises wUl be opened on Monday, October 2. A vote of thanks to the
chairman concluded the proceedings.
NOVELTIES IN CAMERAS.
Thb Hawk-Eyb op the Eubopean Blair Cameea Company.
It speaks well for the high reputation of London as the commercial
capital of Europe iind the East that the great American manufactur-
ing companies are selecting it as a distributing centre.
The Blair Camera Compiiuy, of America, constitutes the latest
arrival in this great metropolis, their business being constituted under
the title of " The European Blair Camera_ Company, Limited." _ It is
being organized under the personal supervision of Mr. T. H. Blair, the
founder of the American firms, for the Company already have
premises in New York, Boston, and Chicago. The generic name of
their camera, of which they make a speciality, is the Hawk-eye, and of
this there are some varieties, of which, by the aid of cuts, we shall
endeavour to give a description, feelmg assured that English readers
will be interested in knowing something about some of the instruments
in popular use by their American brethren.
In the tirst cut (I'^ig. 1) is shown an exterior view of the Hawk-eye,
arranged as a tiand camera, this particular one being intended for
either" .5x4 plates in double dark slides, for cut films in double slides
of thinner make than the previous ones, or for a roll-holder._ It is
capable of being foeussed, the focal range extending from within a
few feet to infinity. This is done by rotating a circular scale shown
on the top, and graduated from six feet to 100 feet. There are two
finders, adapted respectively for a vertical or horizontal picture.
The shutter is set by moving a small lever, and it is so constructed
September 22, 1893]
THE BlUTISn JOUKNAL OF PHOTOGRAPHY.
611
lis to give three different rapidities. The exposure is made for in-
stantaneous imprt'ssioiis by presi-injf a smnll button on top; for time
oxposures, a buiton of different form from the other is provided,
pressure upon which throws the lens open, in which condition it
remains until closed by a second pressure upon either of the exposing
buttons. M -'H !, ' .
When used as a landscape camera a cover of a square aperture in
the back is removed, revealing a ground-glass focussing screen in the
interior, on which the picture may be arranged and focussed if desired,
instead of trusting to the scale of distances. This is shown in the
cut following (Fig. 2).
In the cut (Fig. 3), we find the side thrown open on its hinges, display-
ing to view a roll-holder, for which, as already stated, the camera is
adapted equally as for slides. The lower or left hand shows the action
of bringing a fresh width of film into the line of exnosure by the
Fio. 2,
action of the finger and thumb. There is an index showing the
number of exposures that have been made.
On opening the fiont of the Hawk-eye (Fig. 4), it is seen that the
whole of the exposing appliances are placed, concealed, in that front,
that the lens support is fixed, and that it is the back that is actuated
by the focussing rack and pinion.
A word as to the lens, which, being, like the Ilawk-eya itself, of
American manufacture, we examined rather particularly in order to
discover how Americans ttand iu respect of this branch of manufac-
ture compared with their European brethren. In the first place, we
are plea.-'ed to observe that they have had the good taste and good
sense to adopt the standard flange screw of the Photographic Society
of Great Britain. The one we specially examined is a rapid rectilinear
of six a nd a half inches equivalent focus, and even with a large aperture
covers t h« 6 X 4 plate brilliantly and well. It has rotating stops, and in I
finish and other qualities compares favourably with the best European
productions.
A modification of the Hawk-eye, known in America as the
'" Columbus," camera, differs from the precedinjr one, using roll films
only. It is less bulky than the other when packed, but i.'^ capable of
Fia. 3,
being expanded by the pulling out of the front with its lens and
finders, as shown in the cut (Fig. .5).
Still another modification is shown in a folding Hawk-eye (Fig. 6),
the front of which folds down and forms a baseboard, on which the
inner body is supported when drawn out, and on which it is adjusted
Fio. 4,
by rack and pinion. The one here shown is made for 7x5 plates or
films. It has a double swing and a double sliding front, is fitted with
a Bausch and Lomb iris diaphragm shutter, and a Taylor & Hobson
lens. Several of the Hawk-eyes, especially the folding ones, are
made for sizes up to 8} x Gj, and have aluminium fittings.
Probably the neatest, most compact, and elegant of the whole
series is the one we now show (Fig. 7),
612
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 22, 1893
When folded up, it is thin — somewhat like a inoderately thick
bo jk— hut, when unfolded, presents the appearance shown. It is fitted
Fig. 5.
■with a roll-holder, with a capacity of fifty 5x4 exposures. It is
designated " The 400," doubtless out of deference to the elite, or west-
enders of New York and Boston, to whom this numerical term is
Fig. C.
applied, and who allow no considerations of expense to stand in^their
way of obtaining a high-toned instrument.
The cameras now described and illustrated will enable our readers
and manufacturers to note the points of difference between these
American high-class productions and those of home manufacture. It
only remains to be said that the workmanship on the former is equal to
the ingenuity displayed in their design and construction, and. reflect
the greatest credit upon Mr. Blair.
KOTAL CORNWALL POLYTECHNIC SOCIETY'S EXHIBITION
AT FALMOUTH.
Judges' Report on the Photogkaphic Depabtmekt.
The Judges on examining.' the exhibits were much impressed by the
general high level of excellence reached by most of the exhibitors, and by
ihe almost total absence of mediocre and common place work.
In many exhibitions the fact that wall space is paid for seems to
deter the Hanginp! Comi!;ittees from excluding any work that may be
sent in, lest the finances should suffer, and the result is that the good
work has often to be painfully picked out from amidst very inferior sur-
roundings. This the Judpes are glad to observe is not the case at Fal-
mouth, and the absence of any charge for wall space, and the distinction
conferred by winning the medals of the Society, have the effect of en-
couraging merit and excluding the failures of the incompetent.
Turning now to the exhibits, and taking them in the catalogue order,
the Judges observed that Nos. 701-704 (B. Terras), although sharp
enough in one plane, have little depth of focus, and the very dark back- ■
grounds swallow up the subject. Nos. 708-711, by the same artist, are
well composed and well lighted, though low in tone, but the detail is not
sharp, and the models unprepossessing. No. 713 (R. H. Lord, first silver
medal), is one of the most perfect things of its kind ever produced, even by
the famous Rejlander, and has all the character and humour of a Webster,
with better drawing. Nos. 714-718 (R. Frost, first silver medal for 714,
Iris), are remarkable for the perfect focal rendering of the different
planes of the objects, and for the exquisite delicacy of the gradations in
the high lights of the petals. This is particularly seen in the prints on
gelatino-chloride paper, and the picture No. 713 on bromide paper, shows
strikingly its failure in that direction.
Nos. 720-724 (J. H. Coath, first bronze (fiedal) are cleverly told stories,
but are somewhat too suggestive of the shop show-frame,
Nos. 734-73'.) (W. J. Byrne),— Of these. No. 735 (first silver medal),
A Jliidfjet of Xcwspupers, is delightfully original, well thought out, and
capitally photographed. A little variety in the models would have im-
proved it. Another first silver medal was awarded this artist for No. 738,
The JucUiing at RkJimond Horse S)iow, a good series of quick outdoor
work in a branch imaccountably much neglected by professionals.
Nos. 740-7-14 (E. D. Lav<;nder, first silver medal). — Two large frames
of panel portraits in platinotype, as good in all respects as it is possible
to make them, and three large direct portraits, of which No. 744 is
perfectly charming.
Nos. 7-18~7.'J0 (E. Scamell, first bronze medal for No. 7.50). — No. 748,
Al Home Portrait, should have stopped there, and No. 749, The Houses
of Parliament, are spoilt by an obtrusively painted-in boat ; but No. 750,
Interior of St. Marij's Cltiirch. is a splendid specimen of a church interior
in correct perspective, and well worthy of a medal.
Nos. 757-7()0 (F. W. Edwards, first silver medal). — Interiors of West-
luinxter Ablifii. Perfect work printed in a most unpleasant colour.
No. 764 (J. H. Gear, highly commended). — Cattle lying down and
nicely grouped. No. 7<'7, byjthe same artist, is a beautifully rendered
picture of the shrine of Edward the Confessor, and the difficulties of
halation are (luite successfully overcome in this case.
Amatecp. Section.
Amateur photography does not show up this year so well as usual,
hand-camera work, the speciality of the amateur of the latest fashion in
photography, being badly represented, and the more serious work of the
scientific amateur hardly at all. The faults of under-exposure and lack
of sharpness are painfully visible.
Kos. 851-854 are under-exposed and considerably worked up, appar-
ently with black chalk.
Nos. 855-860 (A. B. Dresser, highly commended) are enough to show
what an amateur can do who really knows something of the art. No. 869,
a study of the heads of two " doggy " gentlemen, is full of character, as
is also No. 855 by the same artist.
Nos. 871»874 (C. Court Cole), stained-glass windows, rendered on iso-
chromatic plates in something like their true value, and also Nos. 875-
878 (first bronze medal for No. 877) beautifully crisp Thames scenes, with
sky and its reflections in running water perfectly rendered.
Nos. 879-882 (C. R. Taunton, first bronze medal for series).— Hand-
camera work, tolerable, but under-exposed. Pity there was not a better
display in this popular branch.
Nos. 883-885 (E. Dockree, first bronze medal). — Good and correct
studies of architecture.
No. 887.'— Ough»*ot to have been sent ; they look like first attempts
with an objective, not corrected for photographic use ; the magnification
is insufficient, and the definition left out.
Nos. 888-894 [A. W. Gotlieb, first bronze medal for No. 893).—
Meritorious.
Nos. 895, 890 (A. G. Tagliaferro, second silver medal).— No. 896 is &
well-arranged skudy^^harp and well composed as to details. No. 895, &
French peasant girl sticking wild flowers about a wayside image of the
Virgin, is equally good.
Nos. 902-908.— Fair average work ; the Roman baths at Bath perhaps
the best.
There was no exhibit of apparatus this year. One hand-camera holding
six plates 5x4 was brought u$ from the mechanical department for
September 2-2, 1803]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
013
inspection, and this, though showing much ingenuity and admirnblo
workmanship by its inventor, was considered too complicated and bulky
(or honourable mention. It showed no practical improvement on existing
forms.
Other exhibitors in the photographic department mcluded— Profes-
sional : Messrs. W. H. Harrison, W. Illingworth, G. T. Harris, F. A. Lee,
W. M. Warnenke, W. J. Anckorn F. Whaley, Louis Duprez, M. H. Chubb,
and J. A. Draycott. Amateurs: Viscount Maitland, Messrs. E. Beringer,
S. Tresidder, lun., Sidney Erakspear, and Miss Katie E. Tru.'foott.
\ W. Gaoe Tweedy, B.A.
(Signed)
( W. NwLon Carne.
©ur iEUitorial JTaftle.
The Adams Chaxgixg Box.
When we .«aT that we have, without previous experience in its use,
effected the transformation from front to back of the twenty-four
film sheaths enclosed in this new Changing Box of Messrs. Adams &
Co., it will be seen that there is no difficulty in using it. It forms a
neat package and contains either twelve glass plates or twenty-four
films. By dr.iwing up a slide at the back", the first of the series, which
we will imagine has been exposed, is pulled up partially into a flexible
bag above, and when grasped by finger and thumb, and drawn up until
it is entirely free of the box, it"is pushed down again through a suit-
able rece.ss behind all the others. And thus it goes on till the last one
is exposed, when an automatic check catch comes into action, entirely
preventing a second exposure of the already exposed plates.
The above cuts show the box as made in two forms, the one for large
and the other for smaller plates. Every plate ex posed is registered auto-
matically, and plates of varying rapidities may be placed in the box
and exposed out of turn if desired. The sensitive surface of the plates
or films comes into contact with the register of the box, hence the
thickness of these is of no consequence. The bag is made of very soft,
pliable leather, and is absolutely light-tight. Its construction is such
as to afford ample room for transferring the plate from front to back
without difficulty, and, taken all in all, the Adams Changing Box is
singularly well adapted for its intended purpose.
A NEW ENAMEL FOB IRON.
Messbs. Fletcher, Kussell, A Co., of Warrington.have introduced a new
enamel which promises to prove both useful and ornamental, even to
such utilitarian objects as cast-iron gas burners, as it entirely prevents
rust and stands heat. The film of enamel is so thin that the most micro-
scopic details on the metal are unchanged. The application is new, and
admits of a large extension for permanent decorative work of all kinds ;
castings protected in this manner are not only capable of fine artistic
treatment, but they are absolutely permanent and proof against dirt
and smoke, which disfigure other work so rapidly. '
iaetos ani i^toteg.
*,* " Editorial Table," and several " Answers to Correspondents " unavoid-
ably held over.
PHOTOGRArHic CLUB. —September 27, Enlarging.
Northers Photooraphic and ScncmFic Associa.tios.— September 2-3,
Welwyn.
Hackney Photoobafhic Socibtt.— September 28, Bromide Snlarginy, by
Mr. R. Beckett.
LosnoN AND Proviscial PHOTOOttAPBic AssoouTlOit. — .Sept<!iiil>er 2S, Mr.
A. Haddon rteiuonrtrateg the preparation of plaqaei for vitro-eiamel work.
Visitors welcome.
I'HOToonArHic 80CIETT OP Great Britaiw.— Tnc«lay. September 26—
Technical Meetinv, at the Gallery, 5a, Pall Mall East. Explanation of the
apparatn.s in the Exhibition by the exhibitors.
On Satnrday, September 30, the annual joint outini! of tbe inemfier* of the
Plidtograiihic Club and the London and Provincial Pliototfrnphic Association
will take place to Hampstead. Tea at the " Ball .ind Bush " at six o'clock.
We are sorry to If am of the death, on Tnesday last, of Mr. W. Morley. the
well-known dealer, of 70, Upper-street, Islington, N. The deceased gentfenmn
had a long connexion with photography, to which we hope to refer in iletail
next week.
Lettonstone Camera Clfb.— September '2?i, Along the River Ro<llng,
second section from the Red House Briilge, BarkiD)(-f,iile. Leader, .\fr. F. W.
Wates. The Club will assemble at headiiuarters at three o'clock. Ojicn Social
Evening at headquarters at eight o'clock.
People's Palace. — The calendar and syllabus of evening classes for the
session 1893-4 is published. Mr. Charles W. Gamble is the lecturer on
photography, the courses embracing negative-making, printing, optics, and
practical instniction. Mr. Pvetlmond Barrett is the professor of retouching,
and the syllabus of the subject .shows that it is to be treated completely and
practically.
Photographic Section, Stanley Show.— The following gentlemen have
kindly consented to act as Judges at the Photographic Section of the St-ioley
.Show in November : — Messrs. J. Traill Taylor, Henry Sturniey, and E. J.
Wall. All communications respecting the Photographic Section to be
addressed to Walter D. Welford, manager Photographic Section, Stanley
Show Office, 57, Chancery-lane, W.C.
Scene: Large West-end photographic establishment. Dark room — Two-
yoimg assistants developing. Basybody housekeeper, bursts into dark room
without knocking. Assistants, most anxious to save their plate from f(»,
frantically cover their plate and dish with anything that comes tti-st. Busybo<fy
Housekeeper: "Ha ! ha ! my young friends, you are doing something, I am-
sure, yen are ashamed of, or you wouldn't cover it up in such a hurry t "
Central Photographic Club. — We are glad to learn that the Centra
Photographic Club is at last un fait accompli. It has found a home at Cole- .
man's Hotel, Henrietta-street and Maiden-lane, Covent Garden, where club
comforts, conjoined to a reduced tariff for town and country members, will bo
obtainable. At the meeting held on the night of Wednesday week, the rules
were revised and a committee appointed. Friday was selected as the meeting
night.
A PROFESSIONAL photographer writes : " I have been much troubled with
old plates which »n development have a band round the edge and are other-
wise defective, also with plates of different batches which are not uniform ii>
f|nality, being sapjilitid through dealers. I think we ought to be able to get
j>l:ite8 with the liaie rnnrked on every box and batch number ; in the collo<lion
days each bottle of collodion had the date marked on the label when it was-
nidde." *.
A Nest Societv for Queensland (Atjstralia).— A Society wos formed
on July 8, 1893, called the Ipswich and 'West Moreton .\matear Photographic
.Society, having for its headquarters the town of Ii>swich, in the colony of
Queensland, Australia. It was 4ecided to hold the meetings on the second
Thursday and last Wednesday of each month, and the annnal meeting on the
second Thittsday in the month of July of each year. The following office-
bearers were then elected: — President: Dr. Lightoller.^ri<:«-f rexi(/<f«t .•
Mr. Boatock. — CammiUee : Messrs. Carey, Ward, and Eilwarda, who are to act
with the other office-bearers. — Treasurer : Mr. Durno. — Secretar)/ : Mr. T. A.
Darker, care of R. T. Darker, Locomotive Superintendent, Government Railway
Works, Ipswich, Queensland, Australia.
NoniNGHAM Mechanics' Institution Camera Club,— .\nnoalExhibition.
A>D Prize Co.mpetition, 1893.— The following are the Club prizes :— Cla.ss I.,
Instantaneous : prize for best set of three ; certificate for second set, donors
the Committee. Class JI., Landscape : prize, value llf., for the best set of
three, donor Mr. S. Bourne, J. P.; certiticate for second set, doners the
Committee. Class III., Portraiture : prize for best .set of three ; certificate
for second set, donors the Committee. Class IV., Lantern Slides (the slides
winning the medals to become the property of Messrs. Guy & Co., and the set,
winning the certificate to become the property of the Club, the lienors of the
prizes) : silver medal for best set of six : bronze me<lal for second best set of
six, donors Messrs. Guy & Co.; certiticate for third best set of six, donors the
Committee. Class \^ , Pictures taken at the Club Excursions : pri/.e, value
1/. Is., for the best set of three ; certiticate for second set ; donors the
Committee. The above classes are open to members only, and subiect to the
competition rules of the Club. Survey Exhibition Work, 1893.— Class VI.,
Six Photographs of Street Scenes in the Borough of Nottingham : Hrst prize,
silver medal, donor Mr. Couftcillor A. Pratt ; second prize, certificate, donors
the Committee. Class \'II., Six Photographs of Nottinghamshire Churches —
Three Interior and Three Exterior : first prize, silver medal, donor the Hon.
Secretary ; second prize, certificate, donors the Committee. Class VIII., Three
Photographs of Buildings in the Borough of Nottingham : first prize, silver
medal, donor Mr. Councillor J. A. H. Green ; second' prize, certiffoate, donors
the Committee. Class IX., Three Photographs of Nottinghamshire Peasantry :
first prize, silver medal, donor Mr. A. Flowerdew ; second prize, certificate,
donors the Committee. Class X, Six Photographs of Places of Interest in the
County of Nottingham, not included in the previous Classes : first prize, silver
medal, donor Mr. G. H. Wallis, F.S.A.; second prize, certiticate, donor, the
Committee. Classes VI. to .\. are open to any one, either members of the Cluh
or non-members, subject to the competition and Survey Exhibition rul«3 of tho.
Club. All photographs, either for exhibition or conl]>etition, to be sent in to
the Hon. Secretary on or before December 1, 1893.
614
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 22, 1893
The PHOTOanAPHKRs' Benevolent Associatiox. — Committee meeting was
held on Friday, September 15, at the rooms of the Photographic Society of Great
Britain, Mr. A. Mackie in the chair. The applications for assistance were as
follows : — First. — An assistant who stated that he had come from the North of
England on an engagement with a London photograplier, and had been dis-
missed after worliing two and a half days without notice or salary in lieu of
notice. He asked for legal assistance in obtaining the money due, and a small
loan to enalile him to live until he could obtain the arrears or find a new situa-
ation. An immediate loan of 1/. was granted, and the Secretary was instructed
to instruct solicitor to proceed for recovery. Second. — Application for loan of
20?. from assistant who stated that his wife had been seriously ill for ten
months, and was now quite unlikely to recover. The doctor's and other ex-
penses had taken the whole of his savings, and he was now threatened with
jiroceedings for rent and rates. The loan was granted. Third. — Application
for a grant of 1/. to enable the purchase of a larger camera than the one at
present possessed by applicant. He stated that he had been thirteen years in
one situation, not as a photographer, and that he earned additional money by
practising photography. In his situation he was receiving a salary of ISs. per
■week. The loan was refused, as the Committee considered it was not a tit case for
assistance. Fourth. — Applicant wrote from a workhouse infirmary. He stated
that he was to be discharged cured in a day or two, after being in the institution
three months. Apjilied for a grant of Ss. for railway fare to a town where he
had promise of wet-])Iate work, and a few shillings for subsistence until first wage
should be due. A grant of 15s. was made. Fifth. — Application for loan of »/.
to enable applicant to pay small debts and reach a situation. Referred back
to Secretary for further particulars and inquiries. Sixth. — Application for
assistance, sum not stated, by an operator who stated that he was penniless
•owing to illness, wliich had prevented him working for some months. Referred
back for further inquiries to be made. Seventh. — Application for loan of 201.
to assist in building a studio. Applicant had been many years in business,
and stated the reasons which had caused him to fail. He had very .small
amount of capital iu hand, and required 20^ further to enable him to start
again. Referred back for further inc|uiries. The Secretary reported on the
position of several persons who had been assisted during the spring, and said that
two of them who appeared to be in a position to repay, at any rate, a portion of
the loans granted to them had failed to do so. The Secretary was instructed
to write these people further, and to take advice as to tlie possibility of insti-
tuting County Court proceedings in one case, and criminal proceedings in
another. The Secretary reported that several of the applicants who had been
assisted last winter and during the spring were progressing favourably.
Arrangements were made for the lantern evening, whicli had been granted to
the Benevolent by the Pliotographic Society of Great Britain. Messrs. E.
Floate, Frank Hallen Smith, F. Nunn, J."H. Napier, W. T. M. Davidson,
A. D. Fisher, Mclsaac & Riddle, and Misses Hardy and L. Hicks were
•elected subscribers. Mr. George Mason was elected an honorary life governor.
Donations of 51. 5s. from Mr. George Mason, 5/. from the Convention, per
Messrs. W. D. Welford and Hedley M. Smith were acknowledged with
thanks.
Mtttinq^ of SoctetteiS.
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of Meeting.
September 25 .
i> 2S .
.. 25 .
26 .
26 .
.t 26 .
.. 26 .
•• 26 .
» 26 .
■• 26 .
» 26 .
.. 26 .
II 27 .
II 27 .
I. 27 .
•I 27 •
27 .
II 28 .
II 28 .
11 28 .
II 28 .
28 .
28 .
•I 28 .
29 .
29 .
I. 29 .
29 .
II 29 .
Name of Society.
Dundee Amateur
North Middlesex
Richmond
Biruiiu^ham Photo. Society
Great Britain (Technical) ...
Hacknej
Halifax Camera Club
Lancaster
Leith
Paisley
Rochester ,
Warringrton
Bath
Bamley
Leyton&tone
Photographic Club
Southport
GloBsop Dale
Httlifai Photo. Club '.
Hull
Ireland
Liverpool Amateur
London and Prorinoial
Oldham
Cardiff '
Croydon Microscopical
Holborn
Maidstone ]...
Swansea
HnU
Place of Meeting.
Asso. Studio, Nethergate, Dundee.
Jubilee House, Hornsey-road, N.
Greyhound Hotel. '
Club Room, Colonnade Hotel.
50, Great Russell.st., Bloomsbury.
206, Mare-atreet, Hackney.
Springfield Barracks, Lancaster.
165, Constitution-street, Leith.
9, Gauze-street, Paisley.
Mathematical School, Rochester.
Museum, Bold.street, Warrington.
Roy.Lit. & Sc. Inst., Terrace-walks.
Bank Chambers, Hargreavcs-street.
The Assembly Rooms, High-road.
Anderton's Hotel, Fleet-street.B.O.
The Studio, 15, Cambridge-arcade.
Mechanics' Hall, Halifax.
71, Prospect-street, Hull.
Rooms, 15, Dawson-street, Dublin.
Percy-buildings, Eberle-street.
Champion Hotel, 15, Aldersgate-gt.
The Lyceum, Union-st., Oldham.
Public Hall.George-street, Croydon
"The Palace," Maidstone.
Tenby Hotel, Swansea.
71 Prospect-street, Hull.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION
Settember 14,— Mr. J. Weir-Brown in the chair.
Photo-heliochhomt.
Paner-Offic?qViT*^f'"™^'°lv''''i?-'°'°"''''"~''™"y'"'''l« ='"''« state
raper Ottice, St. Petersburg, under the direction of M. Weissenbereer who was
engaged by the Russian Government to work out the process. Th^ lubiects
embraced landscapes, portraits, and old street views. He (Mr Bolal) thSt
the results went beyond anything in the nature of three-colour pTting on
paper hitherto produced. The general effect was such as a skilled lithographer
would not get with twenty stones by ordinary chromo-lithogr.aphy. The
general principles of three-colour heliochromy were set forth by Henry CoUen
many years ago, three negatives being taken, each one coiresponding to one of
the primary sensations, and printed in ]>igment or superimposed in some other
way. Mr. Bolas showed, besides the linished results, prints in yellow, red
and blue. The printings were made in that order. A different effect would
be produced if they were not printed in that order. As examples of photo-
heliochromy, the results shown by Mr. Bolas were considered extremely tine.
In reply to the Chairman, Mr. Bolas said onlyabout two hundred Hrst-class
impressions could be obtained from one plate. If more were wanted, it was
easy to make fresh plates. The results he showed were really photography iu
colours, no work being introduced beyond careful manipulation.
The Chairman observed that the process might easily fail in the hands of a
cheap piinter.
Mr. W. E. Debenham remarked that it was essential that the superposed
colours, and especially the last, should be transparent, although the llrst one
might be opaque.
Mr. BoLA.s pointed out that each separate colour picture seemed to be
wonderfully complete in itself. This seemed to point to the fact that ordinary
objects radiated all colours.
Effect ok Metol ox the Skin.
Mr. .1. A. Sinclair had been developing largely with metol, and had found
that the latter had a painful effect on the skin, ammonia being the alkali.
After the discussion of other matters the meeting adjourned.
MANCHESTER PHOTOGRAPHIC SOCIETY.
Sei'tember 14, Mr. A, Brothers, F.R.A.S. (vice-president) in the chair.
Mr. S. Herbert Frt gave an address and demonstration on the " Sandell "
multiple-coated dry plates. His contention was that with these plates the
photographer was freer to devote his attention to the selection and posing of his
pictures, not being hampered with so many technical restrictions, the double
and triple films giving a great amount of latitude in exposure, and if developed
in an intelligent manner, having regard to the action of the varying sensitive-
ness of the different films, good negatives could be produced of subjects
which, with single-coated plates, would require an extra amount of care and
preparation.
Hackney Photographic Society.— September 14, Mr. J. 0. Grant in the
chair. Messrs. Dean, Fort, Moore, Roberts, and Roofe showed work. From
the question-box : " In taking photograph of factory with men at work, what
kind of plate should be used ? " Summarising the replies, backed and very
rapid plate advised. Mr. Beckett had tried Powell's backing, and would
expect it to answer for all ordinary cases. Mr. Sodead said, when caramel is
slow in drying, he would advise applying a piece of slightly greased paper to
the back of the plate before applying the backing. The Hon. Secretary
showed one of Dyson's vignette backgrounds. Considering the price, it was
thought wonderfully cheap. Mr. Barker showed a platinotype print much
marked. The paper appeared at fault. Mr. Fort showed a negative having
a mottled sky. It was thought irregular drying was the c.iuse. Mr. F. W
Dodd showed a negative having marks on. "The Hon. Secretary thought the
uegative had been rubbed whilst wet. Mr. Gosling showed a negative which
by retouching, had been cnred of line-markings. Mr. Dean showed a negative
with silver stains. Methylated spirits were advised being used. Mr. Hudson
handed up some negatives on which he failed to secure proper density. Mr
Beckett said they were much under-exposed.
East London Photographic Society.— September 12, Mr. E. Stone occupied
the chair. — Mr. Aldridge showed two whole-plate negatives, one an improved
plate and one a Barnett, both of good quality. Prints shown by Mr. G. E.
Bennett, and also some lantern slides. The date for sending in prints for the
forthcoming Exhibition was altered from October 10 to October 24 for members'
classes only. Mr. Wilkinson showed a very neat method of mounting P.O.P.
which was to take the print from the water, lay it face downwanls upon a slab
of glass, remove the surplus water with a piece of blotting-paper, then apply
the mountant (starch preferred), and place upon the mount. This, he said
gave a very nice finish to the picture. The Hon. Secretary announced that
at the next meeting (September 26) Mr. S. H. Fry would give a demonstration
upon Sanedl plates.
1893.
FORTHCOMING EXHIBITIONS.
September25-Nov.l5 *Photographic Society of Great Britain, 6a, Pall MaU
East, S.W. Assistant Secretary, R. Child-Bayley,
60, Great Russell-street, W.C.
October 1-31 'Hamburg. Das Ausstellungs Committe des Amateur
Photogiaphen Verein, Schwanenwik, 33, Hamburg.
•> 2-14 Midland Camera Club, Botanical Gardens, Moseley,
Birnun;liam. Hon. Secretary, C. J. Fowler,
4, Woodstock-road, Moseley, Birmingham.
•Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesbury-avenue, W.C.
1"-19 *Hackney Photographic Society, Morley Hall. Hon"
Secretary, W. Fenton Jones, 12, King Edward-road,
Hackney, N.B.
9-Nov.
September 22, 189b]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
616
October 30, 31 'Eiist London Photographic Society, New Tabernacle,
Old-street, E.C. Hon. Secretary, W. R. Gould,
61, Gibraltar-walk, Bethnal Greeii, E.
November 7-11 *South London Photographic Society. Hon. Secretary,
C. H. Oakden, 61, Melbourne-grove, Dulwich, S.&
„ 20-25 *Leytonstone Camera Club. Hon. Secretary, A. E.
Bailey, Rose Bank, South-west-road, Leytonstoue.
December 'Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
„ IS-Jan. 22,1893 'Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Corn-
street, Bristol.
* Signifies that there are open classes.
♦
RECENT PATENTS,
APPLICATIONS FOR PATENTS.
No. 17,022. — "Improvements in the Constraction of Portable Photographic
Cameras and Stands." W. J. Spurrier.— />«tei Sejytemher 11, 1893.
No. 17,060. — "Improved Means and Apparatus (or securing Accurate Focus
Registration in Photographic Cameras." T. R. Dallmeyer. — Dated Sep-
tember 11, 1893.
No. 15,956
No. 13,373.—
Lenses." Fawcett.
SPECIFICATIONS PUBLISHED.
1892.
" Photography. " Hardy.
Regulating Rays of Light passing through Photographic
CorrejSjJonlrence*
PHOTO-MICEOGEAPHT.
To the Editor.
Sir, — Touching the letter of Mr. Ives to you in your issue of September
15, may I offer a iew remarks ? Mr. Ives' first point evidently is that
some achromatic microscopic objectives are as good as, or better than,
apochromaties. In low powers he knows of some achromatics " with
flatter field and greater resolving power than the Zeiss apochromatie of
the same focal length." These achromatics " define details so minute
that it is only just possible to see them with the naked eye in the photo-
graphs " which are at about x 30, if I read aright. ^Yhen it is considered
that the Zeiss one-inch apochromatie has numerical aperture 0-3, and
will resolve somewhere near 38,000 lines to the inch with photographic
light — rays of the spectrum — Mr. Ives' description of his low-power
achromatic will strike the average microscopist as somewhat vague, to
say the least. Does Mr. Ives suggest that a Zeiss 24 mm. glass will not
resolve details so minute that it is " only just possible to see them " with
the unaided eye at x 30 ? If so — and I can see no other meaning in his
words— he certainly has much to learn about apochromatie glasses, as,
indeed, I have suspected from the first. I cannot gainsay Mr. Ives'
statement about the comparative flatness of field of his achromatics and
Zeiss apochromaties at equal apertures and magnifications ; but I have
never seen, nor till now heard of, achromatics surpassing apochromaties
in this matter, especially in the lower powers.
Mr. Ives goes on to say that an achromatic objective has been made
which resolves A. I'cllucida "with ordinary white cloud and mirror
illumination." I have also heard that about seventeen years ago this
diatom was resolved in America with a quarter-inch objective. I cannot
contradict either statement. I suspect we require a definition of the word
" resolution."
Mr. Ives overlooks, or rather distorts, what I wrote about my own
repeated statements as to the good qualities of achromatic glasses. I did
not write that I had made the stiitement in " one" paper or journal ;
what I wrote was that I had made the statement in nearly all my com-
munications, oral and written. My impression is that I have never once
omitted to say that good work can be done with achromatic glasses, and
more than once I have shown what I called good work done with such
objectives.
I had no idea of sarcasm in thanking Mr. Ives for recommending my
book, nor is there any need for Mr. Ives' production of evidence in proof
of the quality of his own work. As I have never seen any of his work, I
could not very well belittle it ; but if he wanted evidence of his powers,
surely he might' have found something more convincing than ordinary
journal criticism. I, too, have produced work with ordinary glasses which
was used as proving the fine quality of the objectives ; but the work was not
to be compared with what I did with apochromaties, and nobody thought
it was. I cannot see what bearing on the matter has the fact that Dr.
Nicol took for aristotypes what were albumen prints, nor was I aware
that Dr. Nicol was an authority on photomiorographv, though he is
pretty smart in matters of ordinary photography. If Mr. Ives did not
get beyond "beads" on S. Gemtna, he did not get ▼ery far ahead, and
why he used such an aperture as l-S (or this exploit I cannot conceive.
As to " secondary gtrncture of diatoms," that is a very wide phrase ; ik
half-inch or even a one-inch apochromatie will show this in some diatomi.
Mr. Ives does not tell us whether lie has seen the work of the men I
named in my last letter — Nelson, Van Heurck, Comber, Smith, <tc. — but
I think he ought to make himself familiar with tbia class of work, and
try to rival it with his achromatics, and tlien let us have his opinion on
the relative merits of the glasses. It is no good to say so-and-so can be
done with achromatic glasses ; let Mr. Ives do it and ibovr it. I never
could do it, and I have never met any one who could.
liy " highest-class " work I mean the most difficnlt work with the beat
results. As tests of Mr. Ives' ability and of his achromatic glasses, I
suggest: — A good clear resolution with oblique light of A. I'ellucida in
$tTUf, the white intervals about four times as wide as the black lines — I
say nothing about " dots "-^a fair resolution of the same diatom with
axial conified illumination. " C. Asteromphaliu with dot» and fettoons,
N. Fhomhoiile.i, or even S. Gemma in dots. If he does not care to tackle
diatoms he can amuse himself with the spike and barb on human sper-
matozoon, or even the jlagellum of one of the smaller bacteria — say, /;.
Termo. When these are as well done with the achromatic as they have
been done with the apochromatie, Mr. Ives can report progress, and we
will try to find him something still more fascinating.
It may be, as Mr. Ives says, that there arc achromatics eqaal to apo-
chromaties. AH I can say is, that I have never seen them, and would
very much like to see even one of them. "Achromatic " and " apochro-
matie " are not merely trade designations ; they represent different glass
metals and different constructions. I have always understood " real
authorities " to pronounce the latter to be superior to the former, and in
my own experience they have sKown themselves very distinctly superior.
Apologising for the length of this letter, — I am, yours, Ac,
Andrew Prinole.
P.S. — Mr. T. F. Smith and I have in the main agreed from the begirt
ning as to facts, only we went to different lengths. Ordinary " uncor-
rected " glasses are made for the visual rays specially ; colour-corrected
plates are abnormally relatively sensitive to the same rays. I take it that
the colour-correct plates pick out, and are affected by the rays which they
absorb and are specially sensitive to, and reject the outstanding spectrum
rays which with an ordinary plate are taken up and represented by blur.
But I do not at all plume myself on being a theorist.
" ALUMINIUM VERSUS MAGNESIUM."
To the Editob.
Sir, — In your issue of September 7, 1893 (page 572), mention is made
of "Aluminium i-ersus Magnesium." I, and no doubt many other
photographers, would esteem it a favour if Mr. Bolas or some other
gentleman would be kind enough to inform me, through your columns,
where " aluminium powder " of sullicient fineness to use in an ordinary
flash lamp could be obtained, and its price, post free, per ounce, as I am
desirous of taking portraits and groups by artificial light during the
coming winter, and would like to give the aluminium powder a trial.
Can the oily matter with which the above powder seems to be at
present contaminated be removed by stirring it up in strona methylated
spirit and, after pouring the latter off, drying the powder on blotting-
paper in the air, or should it be placed in etiier after the spirit, in order
that the powder may dry more rapidly after being freed from the oily
matter ? If the above process would not be suitable, would treatment
with a solution of soda or potash be effective, removing tlie alkali after-
wards by several waters ? If not, how is it to be extracted ? Any in-
formation on the above will greatly oblige. — I am, yours, Ac ,
J. T. Hackett.
Die Victoria Studio, Albert-street, Fleet, Hants, September 12, 189S.
HACKNEY PHOTOGRAPHIC SOCIETY'S EXHIBITION.
To the Editor.
Sir, — Will you allow me to correct a wrong impression which appears
to exist about Class F in our forthcoming Exhibition ? It reads as though
amateurs ore excluded. This is wrong. Amateurs are not excluded
this class, the idea, in the first place, being to permit photographic firms
to compete as such -i.^. , not being compelled to be the work entirely of
one man. It would be better understood if the words " Professional
class — no restriction " were expunged. — I am, yours, &e.,
September 18, 1893. W. Fssnos Jokes, Hon. See.
A CORRECTION.
To the Editor.
Sir, — I find two typographical errors in my letter (pp. 598-599). In
the fifth paragraph " the proboscis " should be " the proboscis of a blow-
fly." In the sixth paragraph, " provided tliat the photo^'raph with the
achromatic " should read, " provided that the photograph with the apo-
chromatie," itc. — 1 am, yours, <Sc., F. E. Ivis.
IIG, Charing Crost-road, London, ,WC., September 15, 1893.
616
THE BRITISH JOURNAL OF PHOTOaRAPHY.
[September 22, 1893
attgtoersf to CorrcBpotrtrcnts.
•„• All matters intended for the text portion of this Journal, including
gueries and Exchanges, must be addressed to " The Editoe, The British
Journal op Photoorapht," 2, York-street, Covent Garden, London. In-
attention to this ensures delay.
•„* Correspondents are informed that we cannot undertake to answer com-
munications through the post.
• * Communications relating to Advertisements and general business affairs
should he addressed to Messrs. Henry Greenwood & Co., 2 Tork-street,
Covent Garden, London.
*«* It would be convenient if friends desiring advice respecting apparatus,
failures in practice, or other information, would call at the Editorial Office
either on Wednesdays from i to 6, or Thursdays from 9 to 12 noon, when
some one of the Editorial staff will be present.
""»* Several aaswers are unavoidably held over.
J. H. A.— We note your remarks.
A. B.— Write to the Superintendent of Police of the locality named and st ate
the case.
J. E. G.— The "Kangaroo" changing-box, by J. K. Gotz, 19, Buckingham-
street, Strand, W.C.
A. C. TvLER.— We do not know the name and address of the maker of the
" Excellens " lenses.
<j, V. S. — Use your ordinary developer, but increase the reducing agent, and
diminish the quantity of alkali to commence with.
g. -w. B. — The solution should be clear. We cannot account for the blue
colouration on the data given. Let us have samples of the ingredients of the
developer.
Wasp. — 1, 2, and 3. Place the solutions in one receptacle, and precipitate with
potassiuiu sulphide ("liver of sulphur"). 4. Proper exposure and a sufS-
ciency of amidol. 5. Possibly not. 6. Messrs. Marion & Co.
G. B.— 1. The collodion you are using is unsuited for enamelling. It should
dry transparent. 2. To prevent collodion from leaving the glass, run a
little diluted albumen around the margin. -3. Filter the gelatine solution.
49. — We have no experience with the formuliT;, but the reason that one advises a
much larger quantity of pyro than the other is due to the fact that it is
meant for rapid plates, while the one with the smaller quantity is for slow
plates.
SrOTTY. — The spots look as if caused by iron or other impurity. Carelessness
as regards particles of dust may cause them, as the dust stirred up in a photo-
graphic dark room is usually of a highly complex and deleterious character.
Tliis, however, is merely a suggestion, beyond which we fear we cannot help
you.
Liverpool. — Eosine is seldom to be obtained at an ordinary chemist's, but it is
kept by most drysalters or dealers in dyer's material. There are several
varieties of it, fcut the best way to ensure haviug the right kind for photo-
graphic purposes is to obtain it from such a house as that of Hopkin &
Williams, Cross-street, Hatton Garden.
T. H. B.— By the way the sheets are described as sticking together, it is
obvious that the paper has been kept in a damp place, and has absorbed
sufficient moisture to soften the albumen. Under these circumstances we
are not surprised that the paper, after sensitising, prints with a mottled
appearance.
H. Neville. — The best lens for taking portraits in an ordinary room is the
" Petzval " form — the ordinary portrait lens — on account of its rapidity.
Next to this a lens of the " Rapid " type would be the most useful. Of
course, any lens wouhl do equally as well as either of the above if the time
of exposure were not a consideration.
"WiNDONE. — Canary medium is a very pleasant light to work with, and two
thicknesses in front of a No. 3 fish-tail burner would be quite safe, and
supply sufficient illumination. Although this medium is trustworthy wit h
ordinary ))lates, it would not be so with plates orthochromatLsed with
eosine, a.s they are sensitive to the yellow rays. When using such plates,
the medium should be supplemented by one of red — say, a sheet of ruby
glass.
S. E. Walley. — The stereoscopic lenses may have been accurately paired ; but,
as you say one has been used much more than the other, it is probable that the
blacking on the tube of that has become, to an extent, polished, and so
reflects a certain amount of light. If this be the case, one half of the
negative might have the appearance of having had more exposure than the
other. Probably, if both tubes were reblacked, the lenses would be found
in unison.
Amateur. — It is very doubtful if the district surveyor will permit you,
although the neighbours may not object, to erect a studio in the back
garden constructed of wood, zinc, and glass. According to the Metropolitan
Building Act, such a building must be "fireproof." But this is sometimes a
very clastic term, and it seems to vary with different surveyors. Our advice
is to consult that functionary before commencing the erection ; it may save
a deal of trouble in the end.
S. Pannell.— The doubled appearance in the negative is due to movement.
If you are sure that the camera did not move during the exposure, the plate
must have dropped in the slide, owing to its not being placed at the bottom
of the rabbet, and the spring being too weak to retain it iu position.
Novice says : "In my first attempt at sensitising albumenised paper, I made
my fingers in a sad mess, which ,<and and pumice would not remove ; and I
also got some on my cutl's and handkerchief Can you tell me how to get
them out ?"— The rough-and-ready way is to treat them with a strong solu-
tion of cyanide of potassium. A more refined way is to treat them, in the
first place, with a solution of iodine in iodide of potassium, followed by one
of hyposulphite of soda or cyanide of potassium.
Mechanic. — There is no firm in London that make a speciality of supplying
apparatus and material for Woodburytype printing, and we cannot say
where the paper ready prepared is to be had. This process is very little
worked in this country now. Only two or three firms, we believe, work it
to any great extent. One or other of these may supply you with the paper.
Try Waterlow & Sons or Eyre & Spottiswoode. Liesegang, of Dtisseldorf,
used to stock Woodburytype papers, and, so far as we know, does so still.
T. CouKTENEY says : "In sensitising albumenised paper I am much troubled
with a marbled-like appearauce on the surface. Some sheets are worse than
others, and some are quite free from it, although the same solution is used.
Wliat can be the cause ? " — It arises from scum on the solution. This is
almost sure to form if the solutiou is allowed to remain an hour or two in
the dish out of use. The surface of the solution should always be skimmed
by drawing a slip of blotting-paper over it before recommencing to sensitise.
C. W. — Coignet's and gelatines of a similar kind are not suitable for mounting
photographs, as they set too quickly when applied to the print, and
hence do not retain their adhesive properties. Furthermore, they are
usually decidedly acid, a thing to,be avoided with silver prints. The sort
of gelatine best for the purpose is one of a poorer quality, as a gelatine
such as those sold as "soup strengtheners." These, if of English make,
are generally quite free from acids. Try Nelson's No. 2 Soluble. It is the
best for the purpose that we know of.
K. C— -Preparing copper plates to make them suitable for photo-etching
purposes from the rolled copper of the metal warehouses, is very trouble-
some and tedious work for a novice to undertake. It.will be found, as the
plates are planished, that they contain numerous small holes or indenta-
tions which have to be hammered up from the back, even after the plate has
been well hammered to harden it. Auyhow, there is no harm in trying
your hand at it. First clean the surface of the metal with pumice-stone and
water ; after that, smooth with snake-stone and water, always in one
direction only. Then polish with a stick of charcoal and oil, and finally
finish with the oil rubber.
G. Pekry says : " I have often seen it stated that lenses all work with the
same rapidity, provided the ratio of aperture to focal leugth is the same.
My reason for doubting this is that I have two lenses of the same form
(rapid rectilinear type), one is a whole-plate, and the other a ten by eight.
When used with their full apertures /-S, or with smaller stops, the latter is
always the quickest. I at first thought that the ratio of the stops was
not the same with both lenses, luit by careful measurement I find they are.
Why, then, is one lens- quicker thau the other ? " — All things being equal,
the rapidity of the lenses should be identical ; but there are disturbing
causes. The glasses of one instrument may be more colourless than those of
the other, or the balsam with which those of one is cemented may have
become yellow. If the glasses be laid singly on a sheet of white paper, no
doubt a difference in colour will be detected which will account for the
discrepancy.
T. Biggs writes as follows : " I have made several attempts at carbon printing,
but cannot manage the development satisfactorily. I cannot hit the right
time to .stop development. Sometimes the prints, when finished, are too
light, and at others, although some parts of the face are light enough, the
darker portions of the picture are too dark, and are not distinct ; they ap-
pear to have a lot of unaltered gelatine thtit seems as if it onght to be
washed away. Can you give me any idea how long I should develop at a
given temperature of water, say, 100° ?" — Our correspondent's trouble arises
entirely from under-exposure. The prints have not been exposed long
enough to fix the image in the lighter pjirtfi, so as to allow of the proper de-
velopment— that is, the complete washing away of all the unaltered gelatine
not required to form the picture. If he will give considerably more ex-
posure, and develop the picture until it appears as it should be when finished
— bearing in mind one point, however, namely, that carbon prints dry a
little darker than they appear iu the water — his difficulty will be at an end.
OONTBNTS.
FINDERS AND OOGNATE SUBJECTS.. 60i
CAMERA STUDIES 602
VARNISHING AND EETOUCHINci .... 603
VARIATIONS IN THE METOL DEVE.
LOPER. By W. B. BOLTON 604
ON THINGS IN GENERAL. By FREE
LANCE 006
THE PRINCIPLES INVOLVED IN THE
CALCULATION OF EXPOSURES FOR
CONTACT PRINTS ON BROMIDE
PAPER. By VERO C. DRIFFIELD.... 600
THE EVOLUTION OF ARTISTIC PHO.
TOQBAPHV. Ey EDWARD DCNMOKE 60S
CENTRAL PHOTOGR.\PHIC CLUE 609
Paok
NOVELTIES IN CAMERAS 610
ROYAL CORNWALL POLYTECHNIC
SOCIETY'S EXHIBITION AT FAL.
MOUTH 612
OUR EDITORIAL TABLE 613
A NEW ENAMEL FOR IRON 613
NEWS AND NOTES 613
MEETINGS OP SOCIETIES 6U
FORTHCOMING EXHIBITIONS 6U
RECENT PATENTS 615
CORRESPONDENCE 615
ANSWERS TO CORRESPONDENTS 010
THE BEITISH
JOURNAL OF PHOTOGRAPHY.
No. 1743. Vol. XL.— SEPTEMBER 29, 1893.
HOW THE EXHIBITION STRIKES ONE.
For details of the Annual Exhibition of tlie Pliotographic
Society of Great Britain we refer our readers to another article
in -which these are dealt with.
The first thing that strikes one is the paucity of portrait
exhibits. This is a department in which amateurs cannot hope
to compete with professionals, whose studios are specially ar-
ranged for it, and hence the latter, in all save a few cases, may
be expected to remain masters of the field. It is in landscape
or general out-of-door work that both classes compete on equal
terms.
For such work photographers now seem to be getting alive
to the advantages of making their prints on a rough-surface
paper, and, for the purpose of producing efi'ective pictures of
large dimensions for the walls of an Exhibition, there is no doubt
as to its value, especially when the subjects selected for pictorial
representation are such as lend themselves to a coai-se texture
— that is, when they are of a broad character, and do not
possess features of fine detail, necessitating close inspection.
This is the fashion at present ; whether it survives many years
time alone must show. It need scarcely be said that this
applies mainly to large pictures intended for wall decoration.
A few of those of this class in the Exhibition, whether en-
largements or taken direct we need not pause to inquire, are of
a cold tone, which is not by any means so attractive as when
the prevalent tone partakes more of a sepia or red nature.
There being such a charm about the rough-surfaced paper,
it is probable that its admirers will be speedily able to procure
it from all dealers throughout the land.
Instructions for converting the cold tones of enlargements
produced on gelatino-bromide prints have recently been given
in such full detail that it is not now necessary to refer to this
topic, except so far perhaps as it refers to the more recently in-
troduced method of toning Nikko paper by the ngency of
sulphur. Sulphide of silver, when produced under t he proper
conditions, has long been known to be a most stable substance,
and we see no reason for doubting the statements of those
chemists who have been making a study of this renaissance,
and who say that, when produced in the presence of gelatine
containing silver obtained from the decomposition of silver
bromide by a developing agent, it stands every reasonable test
for unalterability. We know, and every other experimentalist
knows, that this is not so when produced on albumenised
paper, which is a pity, as its colour is often so beautiful. But
albumen and gelatine as applied to photographic surfaces,
whether for negatives or positives, are two entirely diflferent
things.
How there can exist any mystery, as spoken of in a daily
paper, concerning the production of one of the pictures in the
Exhibition (No. 103, The Proud Turk; by .1. S. Bergheim)
puzzles us. This is a photograph on a textile fabric such as
oil paintings are painted upon, and similar things were, and
perhaps still are, as " common as blackberries." The produc-
tion of a photograph on prepared canvas has, for much over a
score of years, been a regular item in commercial photography.
The dingy yellow "whites," indicating the affinity of the
photographic material, whether silver or anything else, for the
surface preparation of the canvas or other substance, are all
there, much as they were a quarter of a century since. But it
appears to have bewitched the Judges, who have awarded it a
medal. The sleepy-looking eyes of this " Proud Turk," although
but barely visible to the ordinary spectator, appear to have
still further hypnotised the .ludges, who, while under the in-
fluence, have awarded another medal to a photograph which is
catalogued as having been taken by a lady, but concerning
which, at the risk of being considered ungallant, we must
confess to sympathising with the almost universal feeling that
there arc considerably over three hundred specimens in the
Exhibition (there are but three hundred and thirty-four alto-
gether) better entitled to the honour. Indeed, the picture just
hinted at is such a one as is weekly exhibited at our sub-
urban and provincial societies by neophytes of a fortnight's
standing, and who want to know the causes of their failures.
A wise Judge abstains from giving the reasons for his verdict,
but we imagine that there will be such a strong outcry con-
cerning the reasons which have operated in the case of the
judging of the Exhibition this year as must compel them to
speak out. With most of the other awards made by the
Judges no particular fault is to be found.
The abolition of the screens formerly present is an im-
provement which seems to be appreciated by the visitors.
Something like five hundred pictures are said to have been
rejected; but, from what we learn from those competent to
form a judgment, some of these might, with great advantage,
have been allowed to supplant others now remaining on the
walls. And yet, notwithstanding these grumblings, the Ex-
hibition, as a whole, is an excellent one, and will well repay
one or more visits to it.
RAPID INTENSIFICATION.
Whex the necessity arises for the intensification of a negative,
more especially if it be wanted in a hurry, the greatest trouble
arises from the very careful washing required in order to ensure
the entire success of the operation. The rule holds good more
or less, whatever may be the particular process adopted, and
618
THE BKITISH JOURNAL OF PHOTOORaPHY.
[September 29, 1893
.specially so with the most generally popular method based
upon the use of mercuric chloride followed by weak ammonia
solution.
■\Vhea the mercury salt is employed it is essential in the
first place that the negative be very thoroughly washed after
fixing, much more so than is requisite when intensification is
not to be performed. Where time permits, the efficiency of the
washing or the complete elimination of the hyposulphite is
promoted by allowing the negative to dry after a fair amount
of washing, and then reimniersing it in fresh water, when any
remaining crjslalline matter is almost instantaneously removed
in a more efFco'ive manner than would be the case after a
considerable prolongation of the original soaking ; but, when
time is an object, this course can scarcely be pursued with
advantage.
Some years ago the proposal was made by a member of the
Photographic Society of France to utilise alcohol for the purpose
of rapidly removing hypo from the negative film after fixing,
thoueh, as was pointed out at the time, there appeared to be
tome misapprehension as to the precise action of the alcohol,
and we question whether, applied as was proposed, the result
would not be rather injurious than beneficial ; but certainly
alcohol may be utilised for the purpose of indirectly hastening
the removal of the hypo if it will not itself perform the part of
eliminator.
Thus, if a negative be taken from the fixing bath, and after a
brief rinse in water plunged into a dish of methylated alcohol,
the transparent portion — the shadows — will be found to be filled
up with a dense opalescence, caused by the precipitation in the
gelatine film of the hyposulphites of soda and silver soluble in
■water but not in alcohol. A portion of the salts may be thrown
down in'minute crystals in the liquid itself, but the bulk will
remain in situ in the gelatine, under which circumstances they
can scarcely be considered to be in a safe condition ; but, if the
negative be again immersed in water, the opalescence will
q li ckly disappear, and by the time the water runs evenly over
the gelatine surface all soluble matter will be found to have
been practically removed by the rapid diffusion of the alcohol
clinging to the film. This method of treatment, in fact, produces
precisely the same eifect as drying and subsequent rewashing,
but in a much shorter time, and leaves the negative ready for
any further treatment that may be necessary.
But the most careful washing is required after the bleaching
with mercuric chloride, and it is here that most failures are
made, for, unless every trace of soluble mercuric salt be removed
before the application of the darkening agent, a more or less
heavy veil will be formed in the shadows of the negative. Such,
at least, is the case with most of the reagents employed, such as
ammonia or other alkali, the alkaline sulphides or ferrous
oxalate ; but we pointed out some years ago that sulphite of
soda differs from those in not forming an insoluble compound
with the bichloride, and it therefore presents little or no
chance of fogging or veiling the image if the washing be in-
sufficient.
Sulphite of soda, however, as a rule, gives but little increase
in density, the result, such as it is, being more of the character
of a change of colour than an increase in the opacity of the
image. When but a slight augmentation of density is necessary,
sulphite answers admirably, and gives a beautifully clean and
bright result, the cleanness and absence of veil going far to
compensate for its inferiority in intensifying power, while the
reduction in the time required in washing is an item of some
mportance.
Having occasion, a short time back, to intensify a negative
that was required immediately, we resolved to use the sulphite
method ; but, unfortunately, the sulphite bottle proved to be
empty. We had at hand, however, a stock solution of metol
and sulphite, which was called into use in place of the plain-
sulphite, and with such a satisfactory result that we have
little hesitation in placing it at the head of the list of re-
ducing agents for use after mercurial bleaching. Not only
does it afibrd the same immunity from veil and stain as in
the case of sulphite alone, and the reduced necessity for
prolonged washing, but it gives as great an increase of density
as can be secured with ammonia, while the colour and cha-
racter of the image, and the clearness and brightness of the
shadows are much better. The colour is, in fact, the nearest
approach to the rich purple-black of the best type of wet-
collodion negative that we have yet seen, and it is entirely free
from the dull opacity that too frequently marks the negative
that has been intensified with mercury.
There arc no special precautions to be observed beyond
giving a fair amount of washing after the application of tlie
mercury solution. Three or four minutes under the flow of a
tap, or a slight wash in that manner, followed by ten minutes'
soaking in two or three changes of water, will prove ample-
The strength of the metol solution does not seem to be very
materia], though we fancy the best result is obtained with a
comparatively weak solution, containing from one to one and a
half grain of metol, and ten times that quantity of sulphite to
the ounce. This, if kept by itself, may be used repeatedly,
though, if the films are carelessly washed, it soon becomes
yellow. This does not, however, destroy its reducing power,
nor, apparently, create any tendency to discolouration of the
film.
The negative should be removed from this solution as soon
as the bleached image has been reduced throughout its whole
thickness, which will be recognised by the disappearance of
the white colour from the back of the plate. If allowed to
remain for any lengthened period in the reducing, there is a
chance of the formation of i metallic scum on the surface of
the negative, which is very difficult of removal; but, if the
plate be washed as soon as the required result is attained, no
danger arises.
It must be understood that no alkali is added to the metol
solution, otherwise the same degree of care in washing will
be required as with ammonia, and the quality of image obtained
with metol and sulphite will be lost. It is this peculiar
character of image which, in fact, especially recommends the
process, which we can heartily recommend to those desiring a
rapid and reliable method of intensification.
PHOTOGRAPHING HIGHLY POLISHED SURFACES.
Whex an ordinary portrait photographer is called upon to take
a negative of an object, or group of objects, with highly polished
or burnished surfaces, he is, if we may judge from sevei-al
letters received of late, sometimes at a loss how to proceed. Of
course, those who are familiar with this class of work know
quite well that it presents no difficulties to them, but evidently
the case is different with those who are not. The topic is a
wide one, too wide, indeed, to be dealt with in a single article.
Therefore, we propose to divide it into two. The experienced
hand is well acquainted with a series of dodges that can gene-
September 29, 18;^3]
THE BRITISH JOURNAL OF PHOTOGRAPH Y.
619
rally be resorted to, such as might be termed sophistication of
the articles themselves. But there are cases where this is not
allowable, and, even if it were, would not help matters in any
material degree.
AV6 shall here treat the matter as in the latter proposition, that
is, the objects have to be dealt with as they are, leaving for a
future article a series of what may be classed as " dodges," or,
at any rate, means to an end. What, however, is to be said
now will apply equally well even when the surfaces can, to an
«xtent, be modified.
Let us take, in the first place, by way of example, some
silver plate that must be photograj)hed in its natural state, and
some of ite parts are frosted, or matt, while others are highly
burnished. The latter, as seen from some directions, will ap-
pear almost, if not quite, black, while the former will be
brilliantly white. To add to the troubles of the photographer,
some of the articles may have an inscription that it is de-
sired should appear in the picture. Now, it will be admitted
that this is a somewhat difficult subject to deal with under
any circumstances, and particularly by those unaccustoirred to
such work. Unfortunately, it is impossible to give any very
•definite instructions that will answer under all conditions. It
may, however, be said that success or failure is mainly a ques-
tion of lighting. It should always be borne in mind, in photo-
graphing brilliant objects, that the angle of reflection equals
the angle of incidence, and the illumination must always be
an-auged so that the reflections are not in the direction of the
lens, but away from it. Hence it will be seen that direct front
light must be strictly avoided. So important is this point
that, when possible, a large black curtain should be hung from
the roof of the studio, in front of the camera, and not at a very
great distance from the object to be copied, with an aperture
-only sufficiently largo for the lens to see the subjects without
obstructioa Next, the whole of the light from one side should
be stopped out as well aa that from the direct top. Here,
then, we have concentrated our light, so that it comes from
one direction only, and it will at once be seen, on looking
at the image on the ground glass, that many of the reflec-
tions have been overcome, and detail in the high lights, which
could not be seen before, are now tolerably distinct.
The light, however, requires still more concentration. This
is effected by further closing the curtains and blinds on the
light side, so that the direct light "falls on the plate at an
Jingle of forty-five degrees ; then the reflection will be at a
similar angle and quite away from the lens ; that is, this
would be the case if the plate were a flat surface ; but, more
generally than not, it has many curved surfaces of varying
radii, in which case much may be accomplished by slightly
turning the different objects round so as to reduce what reflec-
tions there are in the direction of the lens to a minimum.
With a little care it will be found that the major portions of the
reflections towards the lens may be entirely got rid of. When
that is accomplished, it will be seen, on examination of the
image on the focussing screen, that there is full detail in the
finest engraving and chasing, but that the shadows are very
dark, because highly burnished silver is black when in shadow.
Therefore it is necessary, in timing the exposure, to go on the
good old maxim of exposing for the shadows, leaving the lights
to take care of themselves.
The development must be tentative, and the density of the
image kept back until full detail in the shadows is secured.
To do this effectually with subjects such as we are now dealing
with will require considerable ability on the part of the operator.
What will be found a better plan by some is to ameliorate the
darkness of the shadows with reflected light ; but it will have to
be done with judgment, and care must be exercised that the ligiit
projected by the reflector is not again reflected from the silver
surface in the direction of the camera. A white reflector
should be avoided. One of tolerably dark blue, French grey,
or light green, will be preferable. If there is much fine chasing
on the work, or engraved inscription", it may be advisable to
illuminate with a more direct side ligiit than one of forty-five
degrees, so that the edges of the lettering throw a strong cast
shadow, and care must be taken that this is not destroyed if a
reflector be employed.
As a further illustration of our renxarks on the illumination
of highly polished surfaces for copying, let us take the case of
a Daguerreotype. If this be illumined by a direct front light,
it is impossible to obtain a good copy, as the light from it is
reflected back into the lens ; but if the front light be entirely
stopped off, and the picture lighted only from one side, and
then in the direction in which the metal plate was " buffed,"
excellent copies may be obtained even if the plate was some-
what scratched in the final polishing.
What has been said with regard to plates, whether silver or
gold, for there is really no difference to be made, except in the
matter of exposure, applies equally well to glass and china, so
far as illumination is concerned, though with the last-named,
if it be elaborately painted, it will be advisable to employ
orthochromatised plates, and, if blue predominates, a yellow
screen as well. Jewellery generally gives some trouble, as the
innumerable small facets of the gems all reflect a brilliant light,
and it is impossible to so arrange them that they reflect it all
in the same direction. Still, as will now be seen, much may
be accomplished by paying attention to the method of lightiag.
Coins and medals, when the photograph has to be made direct
from them, sometimes give a little trouble, particularly when
the relief is low, and gold, silver, and bronze have to be in-
cluded on the same plate. Here, however, the same principle
is followed, and it is advisable to use a somewhat high side
light, so as to produce strong cast shadows from the relievo
portion.
With reference to the photographic part of the subject,
much might be said ; but this is unnecessary here, as we as-
sumed, when saying that, in the development of the image,
density is to be avoided till full detail is obtained in the
darker portions, the operator knows quite well how that is to be
accomplished. We might, however, emphasise that the chief
things to be avoided in this class of work are under-exposure
and forced development. If dry plates be used, they should
always be backed, to avoid halation in the highest lights. If
the negatives are — and more generally than not they are — re-
quired for any of the photo-mechanical processes, collodion
ones are preferable, and, if they arc taken, they will be best
developed with a strong developer, so as to secure, in the
first instance, a thin image, full of detail, that can afterwards
be intensified to the required degree.
Of course, in an article of this kind, it is manifestly im-
possible to make reference to even a tithe of the numerous
things, with highly glazed articles that have, from time to
time, to be depicted by photography. But sufficient has been
said to indicate to the novice the direction in which he most
proceed. In another article, as already mentioned, we shall
give some of the dodges often resorted to for modifying the
surface of the work, when that is allowable, before operations
are commenced.
620
THE BKITISH JOUJRXAL OF PHOTOGRAPHY.
[September 20, 1893
The Pliotoffraphlc Congress.— We draw attention to the
6T8t Congress of the Photographic Society of Great Britain, which
wiU be held at the rooms of the Society of Arts on October 11 and I'J,
when many important papers will be read. A special lantern display
will be held at the Exhibition Gallery on Thursday, October 12, and
on Friday, at the Frascati Restaurant, a dinner is projected, at which
it is hoped members of many affiliated Societies, including country
members who may then be in town, will be present.
Fadlnr of Boslne.— Touching the use of eosine, which, either
of itself or in one'of its many compounds, is the sheet-anchor of those
who make isochro'matic plates, it is interesting to note the results of
one of the British Association communications— that on The Action
of Light zipon Dyed Colours. The authors made a vast number of
experiments with the various natural and artificial dyestuffs in use by
dyers generally. They were exposed to sunlight for different periods of
time in an atmosphere removed from the smoke and gases of a town.
It was found that of all the reds experimented with, dyed either on
silk or wool, those which were first acted upon by light were the
eosines and their allies.
A STeMB Use for the Badiometer.- It has always been
looked upon as a misfortune that this marvellous instrument could not
be directly utilised in photographic practice ; but hitherto such has
been the state of the case. It is well known, for example, that a
rapid revolution can be given to the vanes by simply blowing with
the mouth upon the bulb of the instrument. However, Herr N.
Tesla has put the radiometer to a valuable scientific use for deter-
mining the radiant transparency of bodies. It is arranged in such a
manner that its velocity of rotation is determinable, and Herr Tesla
finds this velocity and the intensity of the incident light to bear a de-
finite proportion to one another. In his paper on the subject he gives
tables showing the relative transparencies of various liquids ascer-
tained in this manner.
Cheap Aluminium. — This metal, which now forms a staple
quotation in the prices of lens-makers' catalogues, though a compara-
tively short time ago being scarcely ever quoted, is constantly forming
the subject of newspaper paragraphs, as to probable increased cheap-
ness. Many of these are so wild as to be capable of dismissal with
a smile ; but the most recent utterance in this direction seems very
plausible. It is to the effect that the Government chemist has re-
turned to Washington, after examining a new process rejected by
the Patent Office at first because the process was held to be im-
possible, a report that the plan is operative, and that he has made
three entirely satisfactory tests. The discoverer of the new process
and his Dulak associates assert that they can produce metallic alu-
minium at a price cheaper, bulk for bulk, than copper.
ItXr. A. A. Common on Xiord Bayleig-h's Sug'g'estion.
— Writing to Xatuie upon the suggestion of Lord Rayleijh to use
specially constructed isochromatic plates in preference to specially con-
structed expensive telescopic object-glasses, Mr. Common says of this
" novel suggestion," as he rightly terms it, that " if this can be done by
a variation of the photographic process without paying too dearly for
it, a good deal will be gained in many ways. The great doubt in
my mind is whether it is possible to get ri<l of the blue rays without
the use of screens." He further remarks, with surprise, upon the
continued preference of expensive refractors to reflectors of com-
paratively low cost for this kind of work. With regard to the need
of a screen, it must not be lost sight of that the necessarily thick
object-glass must form of itself a coloured screen, for no glass is
colourless, and, in view of possible experiments on the lines of Lord
Rayleigh's suggestion, it would first be eminently desirable to have
some definite data as to the particular portion of the spectrum
diminished by passing through the object-glass, if for no other reason
than to diminish the number of factors the isochromatic plate maker
would have to deal with.
A Zilg'ht and Vision-measurer. — The subject of relative-
visual illumination of the dark room has always been a topic of im-
portance to the photographer, and has given rise to as much diseus-
sion, perhaps, as any one disputed question in photographic technics.
From the days of the great " cathedral green " controversy down to-
the present time a definite standard of visibility has never yet been
arrived at, but a new contrivance designed by Dr. SimonofJ seems to
offer a fair solution of the difficulty. He arranges a book of twenty-
four pages, the first being a clear grey tint, and the succeeding pages-
advancing evenly in increasing depth of colour till the last is almost
black — twenty-four times the intensity of page one. On every page
a few phrases in black'* letters are printed. When the illumination
is very'good, the printing is visible on the last page, and, as the light
diminishes,'the observer has to turn nearer to page one before the
type is legible. The instrument is only intended to be used inside a
room, and it is anticipated that it will be of value in schoolrooms.
If such books were easily obtainable, and made in such a way as
to be capable of reproduction in a standard manner, it would be
posf-ible for photographers in any part of the world to describe with
any necessary exactitude the intensity of illumination of their darlc
rooms generally, or at any particular point. Such a standard would
be of immense value in experimenting with various coloured media
for dark-room windows.
EXHIBITION OF THE PHOTOGRAPHIC SOCIETY OF
GREAT BRITAIN.
The Thirty-eighth Exhibition of the Photographic Society of Great
Britain was preceded, on the evening of Saturday last, by a Con- ^
versazione, to which the Council had issued numerous invitations, H
The President (Captain W. de W, Abney, C.B,, F.R.S.) and Mrs.
Abney received the guests, among whom we observed : — Mr. J.
Spiller, F.LC. (Vice-President); Messrs. T. Bolas, F.I.C, ; F. P.
Cembrano, jun, ; T, Sebastian Davis, F.CS. ; W, E, Debenham, W.
England, f, E. Freshwater, F,R,M,S, ; Colonel J. Gale, F. HoUyer,
H. A. Lawrance, F.I.C; A. Mackie, J. W. Swan, M.A, ; J.Traill
Taylor, Leon Warnerke, G. Scamell, E. Clifton, H. Chapman Jones,
F.I.C. (Hon. Sec), Members of Council; Mr. F. E. Ives, Mr. and
Mrs. Snowden Ward, Miss Taylor, Mr. R. L. Kidd and Mrs. Kidd,
Mr. H. M. Dennis, Mr. G. W. Atkins and Mrs. Atkins, Mr. F. A.
Bridge, Mr. E, J. Wall and Mrs. Wall, Mr. 0. R. Rowe, 5Ir. Thomas
Bedding, Mr. H. E. Davis, Mr. G, W. Webster, Mr. J. A. Sinclair,
Mr. A. S. Newman, Mr. L. Medlaud, Mr. J. Birtles and the Misses
Birtle.», Mr. J, J, Gerard, Mr, F, C, L, Wratten, Mr, S. H. Wratten,
Mr. W. J. Belton, Mr. H. Smart, Mr. J. W. Marchant, Mr. C. W.
Gamble, Mr. W. S. Bird, Mr. Birt Acres, Mr. J. Hay Taylor and
Mrs. Taylor, Mr. H. M. Smith, Mr. A. Haddon. Mr. J. S. Teape,
Mr. Charles W. Hastings, Mr. Conrad Beck, Mr. A, J. Golding,
Mr. J. II. Avery, Mr. J. C. S. Mummery, Mr. C. Beadle, Mr. Perigal,
Mr. A, Glendinning, Mr, N, A. Monnickendam, Mr. G. Gosling, Mr.
R. R. Beard, Mr. J , D, England, Mr. T. Samuels, Mr. R. Child Bayley
(Assistant Secretary), and many others. In the course of the evening
nearly 400 -n-ere present, and locomotion was, at all times easy on
account of the abolition of screens, the rearrangement of the apparatus
tables, and the improved lantern-stand, which not only improve the
appearance of the room, but give increased space.
There are 334 frames of pictures on the walls, eighteen exhibits of
lantern slides, &c., and forty-three of apparatus, making a total of 395,
a falling off of nearly three hundred as compared with hist year, when
C93 was the grand total. On this occasion there are 100 exhibitors,
49 of whom are members of the Society. Last year the numbers
were 202 and 64 respectively. The comparative smallness of the
Exhibition, however, implies no lack of desire on the part of the
exhibiting public to find a place for their photographs on its walls,
inasmuch as we understand that the number submitted to the Judges
exceeded that of last year, a more rigorous weeding out than hitherto
being therefore responsible for the comparative smallness of the
display. Nine medals were awarded, as against seventeen last year.
The Judges were Mr, P. II. Emerson, Colonel J. Gale, Mr. F. Hollver,
Mr. F. M. Sutcliffe, and Mr. J. B. B. Wellington, and, as scientific
experts, Mr. Chapman Jones and Mr. Pringle. Great credit is due to
the Hanging Committee for the excellent disposition of the pictures,
September 29, 1893]
THE BKITISH JOUKNaL OF I'HOTOORAPHY.
021
little room being left for complaint either on the part of exhibitors
or spectators.
Analysing our impressions of the Exliibition in comparative and
qualitative senses, we must come to the conclusion that, though un-
doubtedly good, it falls behind its immediate predecessors, whether
considered from general or particular standpoints. Portraiture does
not shine at its best, lan(?;icape remains virtually where it was, no new
advances being appar<'nt, while in the domain of genre studies, archi-
tectural work, enlarging, photo-mechanical process work, and photo-
graphy in its purely scientific u.ses, altliough each department is
occasionally well represented, the aggregate effect is slightly dis-
appointing. We do not envy those who may undertake the task
of selecting a series of pictures of the year for reproduction,
as, in that sense of tlie term, there are none which stand out with
sufficient distinctness from their surroundings to warrant the appel-
lation. It is gratifying to find, however, that, while most of the
old supporters of the Society have preserved their allegiance to
the Exhibition, several comparatively new men have come to the
fore and secured recognition of their efforts. But the awards of the
Judges constitute a puzzle wliich it would probably baffle even them
to solve now, at least four of the medals having been given to ob-
viously indifferent photographs as photographs, and which, considered
a.< art studies, could not possibly appeal to anybody as such, unless so
labelled by the Judges. They remind us very much of the juvenile's
attempt at animal drawing, under which, in order that^his intentions
should be understanded of his critics, he obligingly writes, " This
is a dog."
Thb Medal PiciniiEs.
Nos. 3 and 72. — A series of thirty-five prints in all, depicting life
'nionffst Mines and Miners, for which Mr. J. C. Burrows deservedly
gains an award. They are taken with a combination of magnesium
and limelights, and are interesting as showing various phases of mine
life. But, besides this, they are equally noteworthy as triumphs over
abnormal difliculties in applied photography, being well exposed and
carefully printed on gelatino-chloride paper. Photography shines
here in its most useful educational aspect.
No. 18, Study of a Child, by Mr. W. A. Cadby.— This is a weak
bromide enlargement of a seated child in slight drapery. The pose of
the figure is undeniably good, but it is wanting in modelling and
roundness, for which the very subdued tone and delicacy of treatment
scarcely compensate. All the same, it is an able piece of work.
No. .''0, Vn Harem en Dijplacement, by Emile Frecton. — One of a
splendid series of highly refined collotypes, showing a group of well-
loaded cameU in progress across a piece of desert-like country. Clever
alike in selection and execution, the process chosen exactly suits the
subject, and the whole is an unconventional study, well worthy of
the distinction it has received.
No. 40, Omeijna, Lake Orta, by J. A. Sinclair. — A pretty view,
with .sepia-like tone, tlie introduction of the figure of a woman in the
foreground materially aiding the effect. Mr. Sinclair is a prolific
contributor to the Exhibition, and, to our taste, is more successful in
many of his other studies, to which we shall presently refer.
No. 55, After Sundown, by Charles Moss. — This is a small study,
in warm carbon. The sun has set behind a mill, and the night
shadows are creeping over the rugged country towards an irregular
sky line. The picture is quite in the recognised style of those whose
aim it is to imitate by photographic means effects obtainable by
brushwork, and is clever and successful — of its kind.
No. 103, T/ie Proud Turk, by Mr. J. S. Bergheim.— The head of a dis-
tinguished-looking Mohammedan, tolerably well posed and Ughted. The
photograph appears to have been printed on some textile support, to
which a tone of a bilious yellow baa been imparted. If we take away
this striking characteristic, there is probably nothing left to entitle
the work to higher rank than many other portraits on the wall. As
to the "yellow tint," it is, doubtless, meant for something which, after
forty-eight hours' cogitation, we have not discovered, so we give it
up. But it is the reverse of agreeable, at any rate.
No. 241, Figure Study. — One of about twenty figure studies from
the nude, with (where necessary, which is frequent) classical drapings
and surroundings. The artist. Count W. Gloeden, has evidently de-
voted a lot of time and trouble to the work, and is, in the main, to be
congratulated on his results. The poninga and group) ogd are, in moat
cases, evceedingly skilful, while the rendering of th« ftesh ii ex-
cellent, both in lighting and texture, no coarseness or flatneM being
apparent. The prints are of a warm tint, which, of coune, hinniiiiinrn
with the subjects.
No. 248. — Mr. Howson has chosen poetry for the title of his pietare.
It is a study of sea-craft before an imminent storm, and in active pre-
paration to resist the same. The picture was enlarged by Mr.
Howson from a small negative, and is in sepia on Alpha paper. Tha
tone was happily chosen, gives realism to the effect aimed at, Mid i*
well printed and framed.
No. 254, Waiting and Watching, by Miss Emma J. Fitz. — A femab
figure, possibly that of a French peasant woman, is seated in tha
gloaming, apparently in an attitude of expectation, waiting tuA
watching, we suppose, for some person (or persons) unknown. Bat,
as Ibsen says, " they don't do these things." Her place should haTe
been indoors, preparing supper. Had that been the case in this in-
stance. Miss Fit; would have spared us and many more a great deal of
wonderment as to what the picture really meant. If it be in the
province of pliotography to produce effects which leave everything to
the imagination, while violating the essentials of technique, we sup-
pose we ought not to grudge Miss Fitz her medal ; but, candidly,«veB
the risk of being dubbed unchivalrous shall not stop us from sayiiif
that, while five photographers think she deserved it, there are probably
as many hundreds who would not have awarded it her had they lud
the opportunity of doing so.
Thk Unmkdallkd PicxrKRs.
Let us now pass to the general exhibits. Earliest to arrest atten-
tion among a lot of commonplace work, are four views (No?. 6-9), by
Colonel Gale: The Rippling Brook; Sunrise on Salisbury Plain:
Down by the Mill Ford; Ploughing and Twitch Burning. What a
pity these gems were not in competition ! They exhibit Colonel Gale'n
faultless art to perfection and obviate criticism. In The Postman (No.
10) Mr. Terras shows the useful public .servant at the door of a cottage,
the female occupants of which are betraying interest in the contents
of his bag. It is a nice piece of work, but a hackneyed subject. Mr.
F. Downess' platinum portrait of Mr. Goodall, R.A. (No. 11), is strik-
ing and out of tlie common in posing. Passing by a careful bronide
enlargement (No. 14) of clouds descending the Zermatt Valley, by Mr.
W.England, and a Mont Blanc by Moonlight; (No. 15) taken at
10 p.m. on '.Jan. 7, by Captain .\bney, we come to (No. 17), an un-
constrained Stitdy of a Girl's Head, by Mr. C. Beadle, soft and har-
monious in lighting, and a rather chalky bromide (No. 19) study of a
lady seated with distended bare arms, by Mr. W. Grove. Mr. Terras's
study (No. 20), the head of a wrinkled old lady in a cap, is apassableone.
Dr. Emerson is represented by two large carbon enlargements by the
Autotype Company (No. 29), Buckenham Ferry, a not very interesting
subject in the earlier Emersonian style, and (No. 33) The Wherry.
This represents one of those popular craft on a river in the morning,
and the light which strikes across the picture is cleverly rendered,
while the distant mist and reflctions in the water are also ably caught-
Mr. Lewis Cohen's large platinum study (No. 32) of cloud, water, and
mountain, with the sun striking a bright path down from the latter,
is very effective, and in No. 35 Mr. H. K. Stephens shows a skilful
instantaneous picture of Football: Blackheath v. Kensington, Stoddart
kickingaOoal. Mr.W. Dawes in Dibbling {"So. i\) portraystwoorthree
men engaged in that occupation ; but, although they are apparently
working in a row, the face of one of them is quite indistinct. The
Nine Interiors (No. 38) of Miss Weaver Arding, taken on multiple-
coated plates, are excellent, at least two of the subjects having the
maximum of difficulty. Mr. Henry Stevens shows (No. 31) Chryt-
anthemums, (No. 44) White Lilies, both in his usual style, and (No.
251) a youngster looking disagreeable because Daddy wouldn't iuj
him a Bow-wow. By the way, we do not see Mr. Stevens' well-known
fo.\-terrier on the walls this year ; we hope nothing has happened to
him. A Bivouac (No. 45), by Mr. Cohen, is a thoughtful study of two
horsemen making preparations for the night in a lonely spot. Captain
Abney shows (No. 47) another -Alpine moonlight view, Mr. Stewart
Smith (No. 48) good yacht bits On the Clyde ; and Mr. B. Gay Wil-
kinson a study of sheep coming Doxon from the Hills, apparently to
avoid a storm.
622
THE BUITISH JOUKNAL OF PHOTOGRAPHY.
[September 29, 1893
Mr. W. M. Warneuke's large picture in platinum (N'o. 51) of Satids
■of lona—TwiHght, with the figures of two women on the shore ; his
I'onquest (No. 97), a rencontre between two young lovers in a glade ;
Kelp Gathering (No. 11;3), in which figures are again skilfully intro-
duced; and At the Well (No. 182), a study of a lady with charmingly
rural surroundings, are all beautiful examples of sound work. We
.-hould have liked to have seen some of Mr. Warneuke's portraits,
however. In Nos. 53, 54, and 6o Mr. Charles Moss shows similar
wiirk to his medal picture, but we prefer Mr. G. Ardaseer's delicate
study (No. 59), A Calm Erening, where there is evidence of the
lighest artistic feeling, allied with brilliancy of treatment. We
thought at one time Mr. Ardaseer was going over body and soul to
the " blurrers," but he is saved ! Mr. II. D. Warner's Ice Storm
(No. 02) is well done, the contrast between the wintry-clad trees and
a d irk house in the view being not over accentuated. Mr. George
McDonald has a small photograph (No. 63) purporting to represent
Brnnibles and Gone. It is difficult to tell which is which. En
recanche, Mr. McDonald has some excellent photographs of flowers
on the other walls. Nos. 69, 70, 114, 118, 180, and 184 are chiefly
hHud-camera studies in Italy by Mr. Sinclair, showing a wonderful
degree of tkill in treatment, the detail being ideally crisp and their
whole effect most charming. One of them is evidently the original
from which his medal picture is enlarged. On every ground we prefer
the original, and so does everybody else, save five.
Good portrait work is shown by Messrs. Lutzel (No. 71), Mendels-
sohn (>fos. 75-8, rich, warm-toned pictures), Mowell and Morrison
(No. 78). -A series in different coloured carbons by Messrs. Lutzel
aie Tory attractive. A selection of rather muddy land and water
.«cap^s (Nos. 74, 82, 83, 92, 93, and 94) on sepia platinum are probably
intended by Mr. J. McGrove to illustrate the utmost extent of
d ffiissed treatment to which a lenticularly produced picture may be
s'lbj-cted. We are agreeably surprised to find how well the same
>/f rtlemnn can use a pliotographic objective in (No. 128) Dinner Time,
)i little child beating the dinner gong, a natural and amusing bit of
humour. As examples of the printing process (silver and gelatino-
cliloride platinum toned), Mr. J. Kidson Taylor's four contributions
are technically perfect, while pictorially he shows that the best
riffinition is not inimical to artistic effect, his Low Tide (No. 8S),
Gleam of Sunshine (No. 91), A Snug Berth (No. 98), and Welsh
Farmyard (No. 99), being among the best in the room. Mr. T.
Hirtles is represented by half a dozen interesting progressive views of
the Manchester Ship Canal, and Mr. Herbert W. Hughes by a series
(No. 106) representing life in Coal Mines. Mr. R. H. Lord has two
studies, both inferior to How's That? Good Neics (No. 9.5) shows
an old couple seated at tea, the wife placidly listening while the
husband placidly reads a letter, presumably from an absent son.
Both faces are singularly destitute of emotion, so that we must take
Mr. Lord's word for it that the news is good. We should not have
known it otherwise. Mr. Lord's other effort shows a schoolmaster
rebuking (No. 116) A Stujnd Boy for having made a mistake in his
sums. Mr. E. B. Wain, with a rustic twilight scene (No. 102), spoils
the poetry of it by introducing a boy with a round felt hat, but is
•entirely successful with a tender study of (No. Ill) Quiet Waters.
Mr.W. Thomas has a number of hand-camera studies of river life, &c.,
and which are as good as those Mr. Thomas usually 'turns out ; and
in Nos. 61, 129, 132, 304, and 310, Misa Emma Justine Farnworth
shows variations in the posing of the female figure which betray
great artistic skill and poetical insight, as well as sound'photographic
knowledge. Mr. R. Keene's Interiors of G\cdyr Castle (No. 136) are
beautiful examples of this kind of work, and Mr. W. Snell Anderson's
hand-camera studies (No. 135) would be difllcult to beat. Mr. Karl
■Gregor has eight views (Nos. 147-150 and 159-162) of pastoral sub-
jects, better if anything than those which gained him a medal last
year, as several of them have more sparkle.
This is a '•' warm " corner of the room, as there are quite a number
(f pictures in red carbon, notable among them being Mr. G. W.
Webster's Jacl;, portrait of Henry Talbot, Esq. (No. 1 53), a portrait of a
ittle lad in an unaffected standing position, and with an equally natural
expression of face, which so many photographers strive after and so few
obtain. Messrs. Russell (No. 154), and Messrs. Byrne (No. 154), and
Mr. Bullingham (No. 156), also show capital portrait work. There
are some excellently rendered clouds in Mr. B. G. Wilkinson's Blmoing
up for Bain (No. 157), but there is no effect of wind, as given by
trees, so we will take the title on trust. Of Mr. Cembrano's exhibits,
we prefer his large carbon picture of A Moorland Mill (No. 107) ; but,
in the Evening Glow (No. 168), the effect sought is very good. Nos.
173 to 179 are familiar Darwentwater scenes in platinum by Mr.
Pellet; and Mr. Bernard Lintott (No. 183), shows creditable examples
of the same kind of work. Mr. Sandland's Animals at the Zoo
(Nos. 189 ond 197) are always worth studying, but we do not like
Bing a Ring of Soses (No. 190), by Mr. C. E. Whitaker. The
children are playing the game in a village street, and consciousness of
being photographed is reflected in each of their faces. Mr. R. L. Kidd's
carbon enlargement (No. 193), Ecening, a riverside study, is an
admirable piece of work, and here, too, is a delightful portrait group
by Mr. Mendelssohn (No. 202), Mrs. Waterloio and Sisters, a quite
easy and unrestrained piece of grouping. Worn Out (No. 212), by
the Rev. R. C. Macleod, is badly named; the old fellow it shows,
notwithstanding his bleached locks and wrinkled face, is good for
several years yet. In Such a Treat (No. 225) Mr. Fred Boissonas,
delineates a series of instantaneous portraits of the same child —
studies of expression taken in about fifteen minutes ; and in (No. 226),
An Artist's Rise and Fall, two children at play in full liberty, taken
in about twenty minutes. As specimens of instantaneous work, and
cleverness in catching the varying attitudes and expressions of
children, the two series are notable, but the humour of them is not
very clearly brought out.
Commendably good work is also contributed by Messrs. R. J. Fry,
J. H. Avery, A. R. Dreiser, A. J. Golding, T. C. Hep worth (a
rugged but effective blacksmith's forge), J. N. Hignett (excellent
landscape), T. M. Brownrigg (painstaking as usual), Bedford Lemere,
G. T. Harris, and many others.
Messrs. Marion show a series of studies, by Mr. W. E. Downey, of
artistically posed ladies, well printed in collotype ; Mrs. Main, a col-
lection of Alpine. studies, taken just as Mrs. Main knows how to take
them. As for the rest of the Exhibition, at this part of the room,
which comprises prints other than those made by photo-mechanical
means, we can only deal with it in the briefest possible manner for
two reasons: 1. We have not much more space to spare this week.
2. Many of the pictures do not deserve any space at all, either here or
on the Society's wall. We must, therefore, content ourselves with
passing a word of praise to Mr. F. IloUyer for his admirable photo-
graphs of flowers applied to decorate the new lantern stand, which
looks uncommonly like a pulpit; to Mr. W. H. Grove for three nice
portraits of a lady ; to Mr. E. D. Stern for an interesting picture of
the Caravel " Santa Maria " leaving Santa Cruz on its way to New
York ; and to Mr. G. Renwick for some frost studies.
The final section of the Exhibition includes a colossal direct carbon
portrait by Mr. A. Werner; some comparative tests of tele-photo-
graphy, as against enlargement, by Mr. W K. Burton ; a tele-photo-
graph of the solar eclipse, by Mr. L. Malein ; some balloon views of
Philadelphia, by Mr. W. N. .lennings, taken with tele-photo lenses,
and resulting in, perhaps, the finest balloon views we have seen; and
reproductions after Holbein, by Mr. llollyer. There is a vast but
admirable carbon enlargement of the West Front of Exeter Cathedral,
made from a quarter-plate hand-camera negative of Mr. Birt .Acres',
by Messrs. Elliott & Son, who also contribute one of th^ most inter-
esting exhibits in the room (No. 334), A Yacht Race, a carbon enlarge-
ment in colour, the effect being obtained by a series of different
printings in coloured carbon. The picture where it hangs looks like
a water-colour drawing, and is exceedingly effective. Coloured carbon
would be a dangerous rival to heliochromic processes for certain kinds
of work, and we should think easier to control. Lastly, reference
must be made to the exhibits of the Autotype Company, which, as
usual, are very numerous, and well illustrate the excellence and the
variety of the many methods of reproduction practised by the
House. In addition to numerous carbon enlargements from negatives
by Major Nott, F. Bayley, M-ndelssohn, Harold Baker, and others,
the Company are represented by three gravure reproductions from
paintings, which, especially the Neichaven Packet, after Henry Moore.
are extremely fine.
We shall deal with the lantern slides, &c., and several other matters
September 20, 189.3]
THE BRITISH JOUKNAL OF PnOTOQRAPHY.
62a
of interest connected with the Exhibition, noxt week, and in, for the
present, closing this pnrt of our notice it is our pleasing taslc, as was the
case last year, to acknowledge the courtesy and readiness with which
the Assistant Secretary, Mr. K. Child-IJayley, afforded ourselves and
other members of the Press such information as was sought after.
Apparatus.
The " Number 2 Frena," exhibited by Messrs. R. & J. Beck, is in
several respects a very decided improvement upon their former one. Like
it, this one when charged contains forty cut films, but the size of
these is larger, being quarter-plate, whereas the original is for lantern
size. The mechanism, too, differs materially from that of the other,
and is much more effective. Films and card-backings with notched
edges are used, as in the "Frena No. 1,'' but they are all cut to an
exactly identical shape. The alternating notches in the Frena pack,
which are necessary to the working of the Frena system, are obtained
by packing the consecutive films in opposite directions. These notches
are so arranged that the films and card? can ba placed upon each other
so that they ax'e exactly superimposed and the notches coincide,
forming, as it were, a solid block of films and cards, with notched
channels running through the entire block. When packed for use,
however, every other film, together with its backing card, is reversed
end for end, the notches being alternate, so as to form the Frena pack.
If a non-actinic backing were applied to the film, which, we think,
could very ea^ily be done, nearly twice as many films might be stored
in the camera, as the use of the interleaving cards would be done
away with. There is a chamber at the back of the camera, into
which the films are shot after exposure. In the new Frena all springs
and ratchets are absent, and every element of uncertainty is removed.
The focussing adjustment is ingenious. Assuming that the lens is
one of five and a half inches focu?, and that the focus is fixed for
objects beyond twenty feet away, a few supplementary lenses are
provided, which, when inserted in front of the principal one, shorten
the focus in a very slight degree, by which objects within the twenty
feet mentioned, even to only three feet, can be sharply represented by
the insertion of a suitable lens. This system is much to be com-
mended.
The same firm exhibits a negative store album, a cycle carrier, and
a developing clip, this last permitting of a film being developed with-
out wetting the fingers.
Holmes & Watson exhibit a portable optical lantern. In this a
light metal casing fits over the limelight, and prevents all leakage of
light. The space between the condenser and the objective is left
uncovered. Lantern-slide printing frames are shown by Mr. C. S.
Scott, and oil and water colours, for transparency painting, by Barnard
& Son.
Four cameras, for studio, hand, and field, the last being an
improved form of the well-known " Acme," are exhibited by
T. P. Watson (Watson & Sons). This has its fittings made of alu-
minium. The others include the " Vanneck " and " Alpha " hand
cameras.
Adams & Co. exhibit three cameras of the " hand " variety ,'together
■with one for lantern slides, a pantoscope with chromoscope attach-
ment, aluminium view meter, and other apparatus. These, with the
apparatus of Messrs. Watson, have only recently been fully described
in these pages.
The Unilux Biunial lantern, by Archer & Sons, suggests two
lanterns placed back to back, but having only one lime cylinder
common to both, though each has its own gas jet playing on
opposite sides of the cylinder. The light is directed on the
screen by a rectangular prism or mirror placed at the outer end of
each object-glass, in manner like to the lanterns of Beechy or
Keevil.
The '• Allendale '' lantern is contributed by an anonymous exhibitor,
and Mr. Thomas Samuels exhibits a changing back, in which the
lifting frame is attached to the bag and draws right up.
In the " Psycho " camera of Mr. J. E. Gotz we have the rack and
pinion of a spiral form, similar to those of many microscopes now in
use. This greatly conduces to smoothness of action.
Lenses are exhibited by Swift & Son and Taylor, Taylor, & Hobson.
These are locked up in show-cases.
THE DAILY PRESS ON THE PHOTOORA,PHIC SOCIETfS
EXHIBITION.
The Daily New$ sayi : — " If the collection now arranged is oot of more
than average interest, there is plenty of work that U laftlciently Impor-
tant, either artistically or scientifically. Novelty is not a conspicooni
feature, though it is noticeable that there is an increasing tendency
amongst both landscape and figure photographers to make their produc-
tions as much Uke those of the painter as possible."
The Daily Telegraph says : — " Karely has a more attractive show been
held, the high pitch of perfection to which many of the worki are
brought giving visitors a first impression that they gaze upon delicately
finished water colours or artistic crayons rather than products of the
camera. Every branch of skilful development receives fall representa-
tion, and where so much is delightfnl and clever the Judges must have
found it a hard task to allot their favours."
The Morning Post says: — "The collection of photographs is a very
fine one, and considerable care has been taken in their arrangement."
The Times says : — " The Photographic Society ie not an artistic bat
rather a scientific society. Its principal aims are eminently to foster
the researches of science in the advancement of the optical and chemical
investigations which result in the triumphant discoveries with which
photography from time to time startles the world ; to encourage perfe:-
tibn in the instruments and apparatus employed ; and to preserve the
standard of perfect technique so necessary for the successful application
of theory to praotica. To the scientific photographer the terms perfect
negative and perfect technique have absolute and definite meanings.
Qualities such as clearne.-a and brilliancy would appear to be essential.
On the other hand, in the production of results which would appeal
more strongly to the eye of an artist tlian the ordinary topographical
view or commercial portrait, negatives would probably be used and
methods employed which it would be the duty of a jury of scientific
photographers to dismiss as imperfect. On the whole, it is a very good
exhibition ; the best, perhaps, that the Society has yet given us."
The Daily Chronicle says :— " The collection of photographs inclndeS'
every variety, and was of considerable interest."
FILM WORKING.
[London and Prorincial PhotORraphio Association.]
In introduction it may be remarked that the celluloid films of to-day
are the outcome of various endeavours made from time to substitute
as a support for the sensitive film something lighter than glass and
less liable to breakage, and so to reduce the weight of the photo-
grapher's outfit. From its special suitabihty for the purpose, celluloid
has come to be almoit universally used as a support for the gelatine
emulsion in the manufacture of negative films. That it is in all
respects as perfect as glass for this purpose can hardly be con-
tended ; but it represents our present stage of advancement in this
direction.
The exact composition of different makes of celluloid probably
varies, but, broadly speaking, the sheet of celluloid as coated (the
solvents employed having then evaporated) consists mainly of con-
verted pyroxyline and camphor, both of which are inert to the chemicals
used in photography.
It may here be noted, for the benefit of those persons who labotu
under the impression that all our photographic improvements come
from abroad, that the two essential items in the celluloid film are the
result of English research and invention, celluloid being due to tho-
late Mr. Parkes, of Birmingham, and gelatino-bromide emulsion to
the labour of English experimenters.
Among the prmcipal advantages obtained by using films are the
saving effected in weight and bulk — points of great importance, not
only to the amateur travelling, but also to the professional photo-
grapher doing outdoor work of any kind. The gain on these points
IS very apparent in the case of magazine hand cameras, it being
po.ssible to carry so many more exposures. A comparison between
the weight and bulk of films and plates respectively will illustrate
this more freely. A gross of quarter-plates weighs thirteen and n
half pounds, while the same quantity of films weighs two pounds ono
ounce ; a gross of half-plates, thirty and a half pounds ; films, four
and a quarter pounds, in each case inclusive of packages. Again, a
gross of plates packed will measure sixteen inches in height, while the
same quantity of films measures only four inches ; so you see, bulk for
bulk, films take only a quarter the space, and weigh considerably less
than a sixth of tho same quantity of plates.
Other points of advantage which films possess are the non-liability
to breakage, the small amount of room required for the storage of the
negatives, and a lessened tendency to halation.
A considerable amount of want of coafidence seems to exist in
the minds of many who have tried to ma'te their negatives on film?
624
THE BlUnsH JOURNAL OF PHOTOGEAPHY.
[September 29, 1893
instead of glass in the early days of film photography ; some of these
defects -were, doubtless, defects in the manufacture, due to want of
ezperience in the use of a new material, while other, and perhaps the
larger number of, failures were due to the fact that the manipulation
wtueh answered perfectly with glass phites required to be modified
to 8ome extent when using a material of such a different character.
The defects of manufacture have mostly been overcome by im-
proved processes, and very little extra care is required to avoid the
defects arising from errors in manipulation.
The question is frequently asked whether films keep as well as
glass plates, and I have heard many condemnatory remarks concern-
ing films in this respect, not at all justified by my own experience of
them. An emulsion which keeps well when coated on glass will, so
far 88 my obeervation goes, keep equally well on celluloid.
With regard to the suitability of the material, from a chemical
point of view, to take the place of glass, I have already stated that
the celluloid film is, when the solvents have evaporated, composed of
substances which are photographically inert. We know this to be
the case as regards the pyroxylme so long used as a vehicle in the
wet-collodion process. With regard to the camphor, some of which
imdoubtedly remains in the film, and is supposed to tend to deteriora-
tion, with a view to set this matter at rest, I have made a few ex-
periments, of which I now show you the results : —
No. 1 is a plate exposed as taken from the box, without being
treated in any way.
No. 2 is a plate from the same box. A slab of camphor three
inches squre had one face carefully scraped over a straight edgeto
make it as level as possible. This was pressed closely in contact with
the emulsion side of the plate, and allowed to remain in this position
for thirty-six hours.
No. 3 is also a plate from the same box. It was placed in a
grooved box with a quantity of broken camphor, and left for thirty-
six homrs.
These plates were all exposed on the same subject, for the same
time, and developed together in one dish, and there is no evidence of
any effect produced by the camphor.
1 have here also some negatives taken on films treated to ascertain
the effect of pressure. A packet of six half-plate films in the paper
envelopes only were placed in the ordinary letter-copying press, six
pennies were laid singly on the package, and the press screwed down
Tery tightly; after thirty-six hours the films were taken out, exposed,
and developed, and, although the pressure was sufficient to cause a
perfectly glossy circular mark on the face of the film, where the
penny had rested, no difference is observable after development.
There is an idea prevalent in the minds of some that an emulsion
coated on celluloid is less sensitive than when coated on glass. I
frequently try films and glass plates coated with the same emulsion,
and do not find this to be the case.
We now come to the question of exposure. Celluloid films may
easily be exposed in ordinary dark slides by placing black cardboard
d the same size at the back of the film to keep them flat and take
the pressure of the spring. This method works well when the rebate
of tne slide is fairly wide ; but, with narrow rebates, some difficulty
arises, and film -carriers to hold the film are certainly more generally
convenient. The films should slip quite loosely into the carrier, as, if
they fit at all tightly, this causes a buckling of the film and there is
also a danger of strippring the emulsion from the celluloid by the
sharp edge of the metal grooving. Several patterns of film-carriers
are in the market, and which, I dare say, are known to you. I
have here one recentl;^ introduced by Messrs. B. J, Edwards & Co.,
which you will see is very simple and can be easily worked by
following the directions printed on the back of the card.
Jn this way films can be worked very conveniently in ordinary
slides ; but, to gain the fullest measure of advantage from their use,
^des specially designed for films should be used, as these can be made
much lighter and less bulky.
Here is a dark slide specially designed for films, but which can also
be used for plates. This, like the film-carrier I have just shown, is
the invention of Mr. B. J. Edwards. It will hold two films or plates,
asd two of these slides take up about the same space as an ordinary
wooden one, and weigh considerably less. The shutter is of xylonite,
coloured black on one side and red on the other. Black outside indi-
cates unexposed films or plates ; this draws right out, and after ex-
poeure is replaced, red outwards, which not only shows at a glance
exposed and unexposed films or plates, hut the red side can be written
on with lead pencil, and thus affords space to make memoranda in
reference to exposure, &c. Afterwards the writing can be erased
with a damp sponge or cloth.
The development of films may be conducted in the same way as
plates if it is only required to do one at a time, It is, well, however,
to have a full quantity of developer, and the use of a brush to ensure
the absence of air bells is certainly to be recommended ; but, even
when developing them singly, films are less convenient to handle
than glass plates, and, unless some contrivance is used to prevent them
floating over one another, several cannot satisfactorily be developed
at once. I have utilised for this purpose the metal frame of the film-
carrier I have just shown, after giving it a coat of varnish. The
films are simply slipped into the groove, without the card backing,
in which they remain during the operations of developing, fixing,
washing, and drying. The opening in the frame allows you to judge
of density during development.
This is, however, somewhat of a makeshift contrivance, and I hope
on a future occasion to be able to show you a more perfect holder
which Mr. Edwards has recently designed.
In this way a film becomes as easy to manipulate as a glass plate,
and several may be developed at the same time.
Developers. — -With respect to the developers most suitable for films,
it is best to use the developer with the peculiarities of which you are
best acquainted ; a developer suitable for plates will answer equally
well for films.
Personally I have always given pyro and ammonia the premier
position as regards the quality of the negatives obtained.
Pyro and soda has, to a considerable extent, superseded it of late
years, but the pyro and soda-developing formulte generally in use
appear to me to give negatives lacking something of the quality ob-
tained with pyro and ammonia.
In order to arrive, if possible, at a pyro and soda formula equal to
pyro and ammonia, I have recently made a somewhat exhaustive
series of trials, with varied proportions of soda and sulphite, in this
developer, and have also tried various modifications of it. The fol-
lowing formula is the outcome of these trials, and I believe it to be
decidedly superior to those generally in use. It is the only one I
have employed that gives negatives quite equal to those developed
with pyro and ammonia.
No. 1 Solution.
Pyrogallic acid 1 ounce.
Metabisulphite of potassium 1 „
Water 80 ounces.
No. 2 Solution.
Carbonate of soda (crystals) 12 ounces.
Water 80 „
No. 3 Solution.
Bromide of potassium 1 ounce.
Water 9 ounces.
To develop, mix equal parts of Nos. 1 and 2. For most purposes
the addition of five minims of No. 3 to each ounce of the mixed de-
veloper is recommended (or one and a half ounces of No. 3 may be
added to the eighty ounces of No. 2). For instantaneous exposures,
where under-exposure is probable, the bromide may be omitted, and
also for studio work. This point, as to the addition of bromide, must,
in fact, be left to the discretion of the operator.
If the colour of negative given by this developer is not considered
grey enough, a greyer image may he obtained by adding two ounces
of sulphite of soda to the No. 2 solution.
Fixinr/, — Very little need be said on this point. If the film nega-
tives are manipulated without holders, it is advisable to fix in a deep
dish, and to see that the films are well under the surface of the solu-
tion, otherwise stains may result. An acid fixing bath may be used ;
a ready method of mixing this is to add two ounces of metabisulphite
of potassium to each pound of hypo crystals. One ounce of the meta-
bisulphite will answer, but I prefer the larger proportion.
Washing. — When a holder is not used, it is best, in placing the
films in the washing tank, to place two back to back in one groove.
Drying. — After washing, they are best hung up to dry by means of
spring clips ; the clips answer very well. The method of hastening
the drying of negatives by immersing them in alcohol must not be
practised with film negatives, as the alcohol attacks the celluloid.
Varnishing. — It is certainly advisable to varnish the film negatives,
and this can be readily accomplished by means of this varnish, which
is specially prepared for the purpose. Some of the varnish is poured
into a dish, and the film is immersed for one or two minutes, and
then hung up for the varnish to dry and harden ; no warming of the
negative is required.
Cleaning the Varnish off a Negative, — Should the removal of the
varnish from a varnished film negative be necessary for intensification
or other purpose, this is best effected by soaking the negative in some
of the varnish for five or ten minutes, rubbing the surface with a
pledget of cotton-wool, and then w^ washing it under the tap.
W. H. Baenbs.
September 20, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
025
THE PHOTOGRAPHIC CONGRESS AUXILIARY OF THE
WORLD'S COLUMBIAN EXPOSITION.
Th» following additional papers were read :—
PHOTOGRAPHY FOR ILLUSTRATING THE PRACTICE OF
MEDICINE AND SURGERY IN A GREAT HOSPITAL.
■WiiitN the sturdy manliood of our forefathers led them to the declaration
" that all men are created free and eijual, with certain unalienable
rights," they publicly recognised the brotherliood of the entire human
race. They had unwavering faith in theit belief and the justice of their
cause. They established the broad principle of public right to do the
greatest good to the greatest number. In their customs and declared
principles they recognised the imperative law that the physical well-
being of a people is an important factor in its progress ; hence they
made public provision for the treatment of public disease, and their
descendants, imbued with the broad classitioation of public good in
private welfare, have nobly extended the priaoiple of public treatment to
private ills. This principle has made it possible to establish and main-
tain great hospitals at public expense, and has engendered that wide-
spread feeling of philanthropy which leads to the ample endowment of
the many noble institutions, almost yearly added to the list, for the
better treatment of those not blessed with the requisite means for home
treatment. In each of these great gatherings of human pain, and its
large staff of skilled practitioners of the healing arts, are found oppor-
tunities never seen in private practice, and, until the discovery of that
universal panacea with which the ancients hoped to effect a cure for all
the ills of life, there will be cause for study and comparison in the treat-
ment of disease in its almost innumerable varieties.
What affects one member of a family may affect all. A neglected ill
may engender a pestilence. A deed for the relief of a single individual
may effect the delivery of a whole people from impending calamity.
That which first attacks the lowest and weakest often pulls down the
highest and strongest. Disease is a condition in the life of every indi-
vidual. That knowledge is the forerunner of power, and tliat the best
lessons for our guidance in the future are learned by a careful study of
the past, are as true now as when first promulgated. When the facilities
for communication have become so vast that the history of yesterday
is read on the printed page of to-day, and the means of recording facts
are so simple, our followers may reasonably expect to find help in the
record of our work. From long observation it is known that certain ills
are' almost sure to follow certain modes of life. Natural traits are found
to produce certain deformities and diseases. Many proofs soon change
an hypothesis to a well-established fact. A properly illustrated record
of the facts thus established is of great value in the treatment of future
cases of like character. The advantages and disadvantages of methods
of treatment are clearly indicated. Mistakes and successes are readily
recognised. The what, how, and why of certain lines of treatment are
pliunly shown. Shall they be followed, modified, or discarded, are the
questions with which the succeeding practitioner has to deal, and, in
order that he may be successful, the word and picture record should be
correct even in the most minute detail.
Hasty sketches are not sufficient for such purpose. The importance
of the subject demands the use of the best means available, and to this
work photography is most admirably suited. Photography gives correct
location, form, and size, with an amount of detail otherwise unattainable.
Ho human hand can rival the work done by actinic light and the lens.
In cases requiring colour for their proper representation, that element
can be added by hand and the printing-press, as seen in many recent
works. In the early days of photographic work at Bellevue Hospital
more than a quarter of a century ago, only the most marked or pro-
minent deformities, dislocations, tumours, and operations were illustrated
in the photographical department.
As each succeeding year made the work more widely known, and its
importance as an auxiliary in the treatment of disease received more
general recognition, the field of operation rapidly extended. At first
the members of the staff having in charge the surgical wards were
the only ones calling to their service the assistance of photography.
Their cases before, during, and after treatment were so successfully
illnstrated, that the members having in charge the medical wards soon
began the illustration of their prominent cases. Skin diseases, changes
in outline and enlargements of various members of the body, position
and expression, resulting from derangement of the nervous system, the
effects produced by stimulants and various exciting causes, were added to
the list passing tlirough the photographical department. Outline draw-
ings in crayon, charcoal, or other easy removable pigment are made upon
the skin of the patient, for the purpose of (howlng in the photogrspb
the exact location, extent, and so forth of the internal diseaae nndar
treatment. liy placing in front of the node or partially nude patient
especially conatrncted wire screens, with fixed acalea reading both hori-
zontally and perpendicularly, it is quite possible to record cbangei of
outline by inhalation and exhalation, and peculiarities of posture occa-
sioned by certain diseases or modes of treatment. In much of this work
very rapid plates and instantaneous exposures are required. After long
experience in ordinary and general photographic work, and twenty- five
years of continus hospital service, it has been found that, in order to
treat all this great variety successfully, certain conditions and appliances
not seen in ordinary photographic establishments are necessary. These
have, as far as possible, been supplied and utilised at Bellevue. The
operating or exposure-room is on the seventh floor of the central or
administrative portion of the main building, and is easy of access by
elevator from all parts. The walls of this room are about eight feet
high, and painted a light grey without gloss.
The floor is covered with heavy cork-surfaced cloth, painted light slate
colour, also without gloss. The operating window reaches from the floor
up the north wall of the room and across the entire top to the south wall.
The angle of inclination is with that of the roof and just enough to shed
water. It is situated just below the great dome of the amphitheatre,
which protects it from direct sunlight most of the day. The glazing of
the window is plain clear glass. All necessary controlling in direction
and amount of light is done by curtains, screens, and reflectors of cloth,
paper, and glass. The heating and ventilation of this room is as perfect
as possible, and so arranged as to be under ready and complete control
of the operator. Neither a broiling nor freezing atmosphere are conducive
to the successful photographic treatment of living matter. Upon a low
platform, mounted on castors, is placed a rotating disc, which carries the
operating chair. This arrangement admits the patients being moved in
any direction without leaving their first position. Reclining chairs,
couches, and tables in necessary number are ready for use. Special
rests for hands, arms, feet, and various parts of the body are easy of
access. Plate-glass tanks for photographing under water or other fluids
are at hand. The photographic apparatus is of the best procurable, and
ample in variety for all sizes, from microscopic to full size of the human
figure. What is best for one class of illustration may be almost value-
less for another. A series of quick-acting lenses, provided with adjust-
able exposure or " shutter " appliances, prove to be of paramount im-
portance. All the exposures in the department are made by this means.
Many patients are in almost constant pain, and more sensitive to sur-
rounding influence than those in health. Hence the temperature of the
room should be well regulated, and as little time occupied in their treat-
ment as is consistent without apparent haste. The cameras are easy to
adjust, and modifications can be quickly made to suit the case in hand.
Several dozen double plateholders are kept filled with various sizes used.
These are stored in a case near the camera. The backgrounds, of various
shades, are mounted on self-acting spring rollers, carried on a frame so
arranged as to be easily placed where desired.
In the illustration of important cases before a class or when a large
number of assistants are required, either the large square operating-room or
the amphitheatre are utilised. In the first-named the operating window
in the north wall is thirteen feet high and eighteen feet wide, while in
the latter the light is from a top window twenty feet square, and a side
window ten by fifteen feet. Among the articles less frequently found in
photographic workrooms, but which are almost indispensable in a
practice like that at Bellevne, are the electric-signal clock, which never
allows the workman to forget his duty at a prearranged time, and the
mechanical motor in the chemical room can be implicitly trusted to
keep the developing pans in constant motion during any chosen
length of time less than two hours. The tentative method in develop-
ment with a liberal use of ice in warm weather is practised. Most
of the exposures are on subjects which will not admit any risk in
result, as the conditions are often greatly changed soon after the patient
leaves the photographical department. Some capital operation or treat-
ment may make the appearance quite dissimilar. The developing-room
is so constructed that natural or artificial light may be used, or, if neces-
sary, it can in fifteen seconds be made totally dark, and yet permit
free entrance and exit while work is being done, while it can by the
large door and window be as freely opened, in a moment, to air and
view, as any other room in the series. The entire surface of this room
— floor, walls, and ceiling— together with all the fixtures in it, are painted
a dark tint of " Indian red," which effectually prevents the reflection of
actinic light, in case such should by mistake be admitted from outaide, or
the artificial illaminants used. The other workrooms are a general shop
626
THE BRITISH JOURNAL OF PHOTOGRA.PHY.
[September 29, 1893 .
with benches, lathes, and mechanical appliances for the repair and con-
Btraction of the many special devices found necessary in practice. The
printing, mounting, and finishing-roora on the south side o the dome
contains such apparatus and furniture as is usually found m like places.
One peculiarity of the printing-room is a sliding window four feet by six
feet put in flush with the wall. This window is so arranged that the
ordinary sishoan be slid away, leaving a clear opening of four feet by
six feet In cold, or windy, stormy weather a single plate of glass is shd
into the space usually occupied by the ordinary sash. For direct sun-
light effects, or for reflecting light into deep cavities, this window is con-
venient As the photographical rooms are all situated in the highest
part of the building, the light is not obscured by any surrounding ob-
jects, a distant horizon is seen in all directions. 0. G. Mason.
{To be continued.)
PHOTO-MECHANICAL PBOCESSES IN ENGLAND— HALF-TONE
BLOCKS FOR TTPE PRINTING-
To England must be given the honour of being the home of photo-
mechanical photography, and a casual glance at the publications using
photo blocks will show that good use is made of such productions. The
gauze used by Fox Talbot in 1854 has given way to perfect ruled screens,
which, as a general rule, are made in America.
The old wet-collodion process has no rival for the production of the
grained negatives, and at present there is little chance of having any.
The prints on the metal are usually made in bitumen, some operators
using bichromated albumen, especially in dull weather ; but this requires
great skill both in the preparation of the film free from dust, as well as
in the subsequent rolling up with a sufliciently strong ink resist. Printing
the ink image on prepared paper and subsequently transferring to metal
is also practised, but this method requires great lithographic experience
to get a good image. The metal used is generally zinc, but some firms
use copper.
Line Blocks for Type Pkintinq.
This branch of photo-mechanical work is nearly all done by the
etching process, the swelled gelatine method being worked by one firm
only, who, however, turn out splendid results. The wet-coUodion process
is here paramount for making negatives, the silvered mirror being used to
get the necessary reversal, one or two films only adhering to the method
of turning the plate in the dark slide, stripping the film is very seldom
practised ; when a number of small images are to be put on one sheet of
metal, separate exposures are made, the metal plate being resensitised
for each print.
Line blocks are produced very cheaply, but there is a constant demand
for them ; hence they pay in spite of the low price ; they are used by the
square yard in halfpenny papers as well as in very high-class ones.
Photo- Lithography in Line.
Photo-litho transfers are getting into very general use all over the
country ; firms who a few years ago would not hear of such a thing are
now using large numbers of them ; but there is one drawback in the
diSiculty in obtaining good transfers, so few operators know, or will be
told, how important it is to keep the ink spare instead of thick, especially
in fine work.
The best method of inking up these transfers is to use a glue roller
charged with transfer ink thinned with turpentine, a method which I had
the honour of first introducing; and, as it is simple, easy, and efficient,
some operators prefer to use the old and clumsy methods of rubbing over
the ink with a sponge, or else ink up a stone, place the exposed print upon
it, and pull through the press ; the sponge method yields heavy and
uneven transfers, the inked stone gives rotten lines and dirty whites.
In chromolithography, photo transfers are much used when different
sizes of one subject are required ; then one drawing or set of stones only
arc prepared ; then from each stone a black pull is taken ; this is photo-
graphed, put on the stone and printed.
PaoTO-LlTHOGRAPHY IN HaLF-ToXE.
This process is not very extensively practised; but, where it is, very fine
work is produced ; the best work is done by transfer from a collographio
plate, the necessary grain being obtained by using either ferrocyanide of
potaseinra, or calcium chloride, or both.
Collotype.
Thi'i process has been very exSensively taken up within the last three
years, but there are only about four firms who turn out really good work,
simply because the process is starved in initial stage, viz., the negative ;
money is lavished on machinery, &c., good wages are paid to platemakers
and printers, but any one is considered capable of making a dry-plate
negative ; now and again by a fluke a good collotype is turned out, but as
for ninety per cent, it is stale, flat, and unprofitable.
This process is essentially a photographer's process, and only those
who are capable of constantly making good negatives can ensure good
collotype prints ; the process is simplicity itself, given a good negative,
but not without.
Photogravure.
England was a short time back very backward with this process, simply
because of the difficulty of getting men capable of producing the prints
from the intaglio plates ; now, thanks to the pluck and enterprise of
firms like Annan & Swan (London), English photogravure prints hold
their own in comparison with any.
Some firms use the Talbot-Klie process, in which the grain is obtained
by dusting with finely powdered resin, the resist being a carbon negative,
i.e., a pigmented gelatine print from a transparent positive, mounted
upon the copper plate and developed thereon.
Other firms use the method of dusting over a gelatine image with
resin in fine powder, and when the image is dry obtain the grain by dis-
solving out the resin, and then obtain an intaglio plate by electrolysis.
Others, again, prepare gelatine films with plumbago, dc, of varying
degrees of coarseness, which, when exposed to light and developed, yield
a granular-surfaced image, from which, by the electrotype process, a
printing plate can be obtained in copper or steel.
Taken altogether, England has no cause to be ashamed of her photo-
mechanical work, and it does not require any great stretch of imagination
to say that in the future this satisfaction will be maintained.
W. T. Wilkinson.
FRILLING.
DuBiXG very hot weather there may be expected complaints of
the frilling of gelatine negatives. Some years ago this was by no
means an infrequent occurrence ; possibly improvements in manufac-
ture, and a series of average summers, have liad something — a good
deal, in fact — to do with an almost total cessation of grumblings on
this ground. But such things are still possible, and it is well to con-
sider what is the best thing to do in the event arising of a necessity
to guard against a series of " frillings."
I'ersonally, I don't think plates are so liable to frill as they
were in the days of, well, seventy-nines and eighties, but I have
had painful experience lately that the thing is by no means to be
disregarded.
Although a " water famine " is not without the bounds of practical
possibilities, still we may suggest, to start with, the advisability of
u.-ing the aqueous fluid in as frigid a state as possible. Ice is obtain-
able, and the profes-ional will, no doubt, take care that the developers
are kept at the proper temperatures by the use of either ice or a
freezing mixture.
On page 461 of the volume of this Joubnal for 1881 will be found
some observations by an anonymous contributor, which, though
scarcely applicable to the workers of to-day, still throw light upon a
subject which at that period was of considerable interest. We read
that " there are two causes of frilling caused by gelatine — one where
a large amount of hard gelatine is employed in making emulsion, the
other is where a very soft gelatine is used." The latter-day worker,
although he doesn't make his own plates, may still appreciate the
significance of the above extract. Again, " Hard gelatine frills on
account of its rapid expansion when moistened on one side only."
Causes of frilling are mentioned as follows, which are not entirely
due to the gelatine, viz., "imperfect elimination of the soluble salts"
— i.e. in making the emulsion ; " the imperfect drying of the plates ; ''
" by decomposition being set up in the negative by imperfect washing
between the applications of the alum and hypo baths, or vice versa,
thereby liberating gases ; " lastly, in " the changes of temperature in
developing, washing, and fixing solutions." " If a plate which has
frilling tendencies be removed from a cold solution to a warmer, the
chances of frilling are increased ; yet you may allow a plate to remain
in the colder solution till it becomes considerably warmer, so long as
the change be gradual, without frilling taking place."
We have no longer anything to do with the manufacture of dry
plates, therefore our interest will lie naturally with the above con-
cluding quotation only. It is well worth considering, and amounts
to this, that we have only to keep our developers and fixing baths at
normal temperatures in order to escape the bugbear of frilling. The
manufacturers may be given credit, no doubt, for a great deal in the
way of immunity from this trouble experienced during past years.
Septeml)er 20, 189b]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
027
but we can't be too sure, and, of course, our 6rst endeavour should be
to use, if requisite, ice or freezing mixtures for the purpose of ensuring
" equable temperatures."
Chrome alum in solution, two ounces to a gallon of water, may be
(■ffectively used after developing, and prior to filing, to prevent
frilling. Chrome alum is cheap, and a little of it goes a long way.
I recommend this to be used during the " dog days."
The strength of the " fixing bath " is of importance, ride "Editorial,"
Thk British Journal ok Photooraphy, 188.'}, page S.iS. "By the
«se of a weak fixing bath, or by allowing the negative to drain an
hour or two after being fixed in a strong bath, a constant source of
trouble and worry (frilling) is greatly reduced, if not entirely removed."
A point worth mentioning is, the advisability of using a freshly
prepared hypo bath ; this will naturally be, if fresh, cold. 1 have on
many occasions made a fresh bath in a large dish, and used it as a
■" cooler " for the developing tray, allowing the latter, an ebonite tray,
to float upon the, in this case, freezing: mixture, care being taken of
course to avoid any risk of contact. The deep ebonite dishes are the
best to use.
If the developer, preferably pyro-sulphite and ammonia, or pyro-
glycerine and ammonia, or amidol, be used properly reduced in tem-
perature, followed by a freshly prepared, therefore cold, hypo bath,
then a bath of chrome alum, one in fifty, may be used for five minutes
or 80, finally washing in water, not prolonged either, the alum acting
somewhat as a hypo eliminator. This method may be reckoned on to
prevent frilling.
A suggestion of Captain Abney's, viz., a preliminary coating with
plain collodion, should not be forgotten. I have used collodion many
times with success when having a batch of plates showing a tendency
to frill, as also an application of grease, rubber solution, varnish, or
wax, to the edges of the plate previous to developing.
" Frilling," on a wholesale scale, would he a serious matter for the
professional, but can, with care, be prevented. It is to the amateur
and student sometimes an interesting occurrence. If a film starts to
"frill," encouraye it to do so, and, with a camel's-hair brush, remove
it altogether from the glass; transfer to clean water, thence to a
larger piece of glass, and allow it to dry, which it does sometimes on
a larger scale than before. The application of methylated spirit
quickly puts a stop to an incipient " frill." And here, finally, I may
remark, with reference to the possibilities of a water famine men-
tinned before, that frilling having hitherto been always associated
with water, would it not be possible to initiate a method of develop-
ing and fixing in which " spirits " might take a mere important part ?
Total abstinence doesn't suit every one, and may not be quite the
best thing in hot weather for gelatine dry plates.
While on this subject, it may be well to mention a few simple
methods of cooliny solutions. Of course where ice is obtainable, a
few lumps of this will be found the best to use, a small piece being
immersed bodily into the developer. In the absence of this, I have
found nothing better, working in a small way, than to make a freezing
compound, l-'ill a test-tube, cork the same, and carefully cleanse the
outside, and place the tube in the mixed developer, using a mixture
of sulphate of soda and hydrochloric acid in the proportion of
«ight parts soda to five of acid. I have in this way frequently
lowered the temperature of the developer ten degrees in about
four minutes. For cooling larger quantities of fluid, I put the acid
and soda into one of the thin glass beakers sold in various sizes by
many chemists ; pyro bottles may also be used for this purpose. I
have suggested soda sulphate, and acid, these being very cheap
«hemicals. In a retail list at hand I find the former (Glauber salts)
quoted at \d. per pound, the latter (common spirits of salts) at 2d. —
prices reasonable enough.
A freshly made (with cold water) hypo bath is well known to be
8ome degrees below the normal temperature. I have, therefore,
utilised this fact, by making a fresh solution in a large glass-bottomed
tray, a piece of plate glass to cover this being used as a developing
bench. Every little incident of this kind tends to coolness, and is
therefore not to be despised. A marked difference is noticed, too,
where the bottles, &c., of solutions are kept on a shelf where they
are exposed to a good draught of air.
It will not be passed over by readers of a valuable paper lately. On
the Washing of Prints, that something similar will apply to gelatine
negatives suspended vertically in water ; a negative will, without an
inordinate quantity of water, and without agitation or prolonged im-
mersion, become quite sufiiciently washed, the process being much
assisted {i.e., for gettin? clean negatives) by the application of a wet
pledget of wool carefully rubbed over the surface. Far more water
19 used than is necessary for the perfect washing of negatives, and as
it is easier to cool a small bulk of water than a large one, if frilling
is feared the fact may be borne in mind. J. Pike.
ia-etD0 ant» jflotes.
Northers Photoqrapbio ahd SciEsmi'io Associatios.— September 30,
Hyde Park.
PoTHBY Photographic Socibtt.— October 2, Introductory Meeting at 116,
Upper Richmond-road.
Stanley Show. — The apparatus section thU year h to be ia the nisln
gallery, whilst the pictures will be hung in the Arcade Gallery ai before.
Several -firms have already secured space.
Erratum.— tu Mr. Driffield's paper, published last week, the symbol
" C M.S." (candle-metre-second) was converted into" cm." The anther's mean-
ing, however, will doabtlesi be understood.
Mkssrs. Adamson & Son, of Rothesay, have sent ns two most interentlng
views of Rothesay illuniinate<l on the occasion of &/lte. One of lliem loutains
rockets bursting, showing their path through the air with singular distinct-
ness.
Emkry's Dry Plate Varnish.— Mr. W. Emeij, of 24, South-street, Baker-
street, has sent us a sample of bis Premier Dry Plate Varnish. It is applie<l
to negatives after the latter are wanned,drie9 quickly, and answers well for the
purpose.
Mb. II. B. Constablk, who for some time has performed the dutie.s apper-
taining to the Secretaryship of the Lewes Photogrjphic Society, has resigned
that post in consequence of his leaving the town. All communicntioos should
be sent to G. Carpenter, 81, High-street, Lewes.
Leytosstone Camera Club. —September 30, Se'vardstone and the Valley of
the Lea. Leader, Mr. G. H. Cricks. The Club will proceed by the train
leaving Liverpool-street, G.E.R., calling at Stratford at thirty-six minutes past
two, arriving at Chingford at one minute past three. Open Social Evening at
Headquarters at eight o'clock.
Keei'INO Properties of Collodio-bro.«[DB Plates. — We have received
from Mr. H. R. Robertson, Wavertree, two prints which interest us as showing
the keeping qualities of collodio-bromide plates. The negative was taken last
month on a stereoscopic plate prepared by Mr. Maudsley, of the Liverpool
Dry Plate Company, in June, 1870. The prints are perfect.
Wheeler's "Mancunicm" Mounts and Recording Neoativb Enve-
lopes.— Messrs. George Wheeler & Co., of Manchester, are bringing out two
specialities which should be useful to amateurs. The ".Mancunium" mount
is a species of duplex mount made so that the unmounted print may be easily
slipped into its proper position. It is a very handy form of mount. The
" Recording " envelopes have spaces on their faces for inserting details as to
exposure, &c.
The late Jlr. W. H. Morley, whose ileath we announced last week as having
taken place at his residence, The Shrubbery, East Finchley, on the 19th inst. ,
was born in the year 1818, and was thus in his seventy-fifth year. He com-
menced business in Upper-street, Islington, in 18i3, and was assisted by bis
son, Mr. W. Morley (the founder of the music publishing business in Regent-
street), from 1866 to 1882. In 1886 -Mr. Morley's son-in-law, .Mr. Henry
Cooper, became his partner, and, through Mr. Morley's failing health, has
practically had the sole management for some years. We understand that the
photographic business in Upper-street will in future be carried on entirely by
Mr. Cooper, under the style of Morley & Cooper.
Hackney Photographic Society's Kxhibition, Morley Hall. — Arranee-
ments: Open at 7.30, Tuesday, October 17. Judges, Lieut. -Col. Gale, F. P.
Cembrano, W. E. Debenham. Results of awanls known at opening. Orches-
tral performance by string band. Wednesday, 18, open at twelve midday.
Distribution of awards by Captain Abney at eight. Orchestral performance.
Thursday, 19, open at twelve midday. Organ performances by Messrs. S.
Moore and W. Fenton-Jones (Hon. Sec). Lantern sliiles through lantern.
Will exhibitors please note that last day for receiving forms Is Sei'tember 30,
and that we have still a little space left for trade apparatus, for the liest of
which a silver medal is awarded ? Messrs. Marion, Platte i Witte, Kuerst,
Wray, and others, are exhibiting. Arrangements for October, 1893 : — 8,
Lenses, by Mr. E. Wall. 10, My Italian Campaign, lantern lecture ; an ac-
count of my trip vid France and Switzerland, by Mr. W. F. Fenton-Joncs.
(Ladies' Night.) This lecture will be given in the Drill Hall, entrance through
Club premises. Owing to extreme length, it will be necessary to commence
punctually at eight p.m. 17, 18, 19, Annual (Exhibition at Morley HalL
Prize distribution on 18 by Captain Abney. Lantern on 19. 24, Open
Night. 31, Paget Prinling-oul Processes, by Mr. S. H. Fry. Albumen,
Emulsions on Opal, Colour, Gradation, Tone, Surface, Permanency, Combined
versus Single Baths Demonstrations, &c. Important Exhibition Notice.
Members are requested to note that, with respect to the condition on " Exhi-
biting," attendances couut from date of last Exhibition, not from the Annual
Meeting.
The South London Photographic Society's Fifth Annual Exhibition will be
held at the Peckham Public Hall, Rye-lane, Peckham, S.E., on Tuesday,
Wednesday, Thnrsday, Friday, and Saturday, November 7-11, 1893. The
following classes are open to members only :— A. Portraiture and figure study,
including animals. B. Architecture. C. Landscape and seascape, above
half-plate. D. Landscape and seascape, half-plate and under. R Enlarge-
ments. F. Lautern slides. Medals will be given in the above classes according
to the number of competitors aud the quality of the work. In addition
a silver medal will be given for general excellence. Open clxsses ; — G.
Pictures which have previously receivel an award. H. Pictures not pre-
viously medalled. I. Lantern slides which hiive previously received an awards
K, Lantern slides not previously medalled. The silver and bronze medid.
C38
THR BRITISH JOURNAL OF PHO'lOGRAPHY.
[September 29, 1893
competed for in tlie above classes will be awarded at the discretion of the
Judges. Entry forms and further information respecting the Exhibition can be
obtained from Charles H. Oakden, Hon. Secretary, 51, Melbourne-grove, East
Dulwich, S.E.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
Na 17,685. — "Improvements in or relating to Photographic Shutters."
Complete specification. J. T. Clarke. — liated Septemher 20, 1893.
No. 17,701.— "An Improved Adjustable Limelight Burner for Magic Lanterns
and similar purposes." A. C. Jackson and H. L. Toyi?,.— Dated September 20,
1893.
No. 17,702.—" Improvements in Photographic Camera Stands." E. Bishop.
—Dated Septemher 20, 1893.
No. 17,816.— "An Improved Limelight Apparatus and Saturator for use in
connexion with Biunial, Sideby-side, and other Optical Lanterns." Complete
specification. J. Riley and W. Lawson. — Dated Septemher 22, 1893.
No. 17,875.— "Improvements in Photographic Shutter Mechanism." C.
HAsfeLER and C. E. Haseleb.— Ca^cd Septemher 23, 1893.
No. 17,913. — "Improvements in Screen Stands for Magic Lanterns and
Dissolving View Apparatus." J. Pepper. — Dated September 23, 1893.
SPECIFICATION PUBLISHED.
1892.
No. 19,251. — " Photographic Cameras." Micklewood.
PATENTS COMPLETED.
Improvemexts is axd Apparatus for the Production of Oxygen and
Nitrogen from Atmospheric Air.
No. 19,078. Leonard Chapman, 232, Camberwell New-road, Surrey.
August "IQ, 1893.
The object of my invention is to provide means whereby oxygen and nitrogen
can be obtained from atmospheric air by a continuous process, avoiding the
waste of oxygen which t.akes jilace when the operation is carried on intermit-
tently as hitherto, and ensuring a product of greater purity. According to my
invention, I provide a pair or a series of vessels or chambers in which the
material by which oxygen is absorbed, and from which it is liberated, is con-
tained in a liiiuid form, or suspended in a liquid, the said material, after it
has been peroxidised by absorbing oxygen from the atmospheric air supplied
thereto, being caused to pass into the vessel in which the deoxidising takes
place, and afterwards to pass back again to the preceding vessel to again be
peroxidised. The apparatus, in which my invention may be carried into prac-
tical effect, consists, in its simple form, of two vessels which conmiunicate
with each other by passages in such manner that a circulation of the material
throughout the two vessels is obtained. The communications consist prefer-
ably of pipes, which ascend centrally from the bottom of the vessel, and open
at top below the level of the liquid therein, the lower ends of the pipes com-
municating each with the other of the vessels.
An equal pressure above the material in the said vessels can be maintained
by means of suitably weighted outlet valves, that of the peroxidising vessel
leading to the open air, or to the place where nitrogen or unabsorbed gas or
gases is or are to be stored or employed, and that of the deoxidising vessel
leading to the conden.ser or sep.arator, and to tlie place of storage of the oxygen.
A current or circulation of the oxygen-.absorbent material is maintained through-
out the two vessels, that from the peroxidising vessel, after having absorbed
oxygen from the air which is caused to pass therethrough, descends the central
pipe and passes into the deoxidising vessel, in which the oxygen is withdrawn
or liberated from it by the aid of steam, and then the material flows down
the central pipe of the deoxidising vessel, and passes back into the peroxidising
vessel, to again absorb oxygen, and this is continuous whilst the apparatus is
at work. In order to control the speed of movement of the material, I may
use controlling valves to render the movement slower. To hasten the move-
ment, I employ either an injector arrangement for air for the passage be-
tween the upper part of the deoxidising vessel and the lower part of the
peroxidising vessel, or an injector arrangement for steam for the passage be-
tween the upper part of the peroxidising and the lower part of the deoxidising
vessel, or I use both such injector arranaemeats together.
The air and .steam used in the said injector arrangements can, in whole
or m part, be the air which is used for peroxidising and the steam which is
used for deoxidising.
The inlets for air and for steam may be provided with automatic pressure
regulating valves.
The vessels are heated by any suitable means, such as by an external furnace
or furnaces, and the oxygen-absorbent material may be of any suitable character
which will pass from vessel to vessel as described. The two vessels may be
heated to the same or to different temperatures.
Although I have uamed two vessels in the foregoing description, I may con-
duct the process in a series of .iny suitable number, having communications from
the one to the other for the purpose described.
IMPROVEMESTS IN AND IK C05IIBX10N WITH PHOTOORAPHTC CAMERAS.
No. 19,251. Edmund Hawthorn Micklkwood, 5, St, Michael's-terrace
Plymouth, Devonshire. — September 2, 1893. '
My invention relates to a means 'of exposing sensitive plates or films in a
photographic camera so as to give a due ratio or balance of exposure to all
parts, and refers to the invention described in the specification of my Patent
No. 9042, dated May 28, 1891. In that invention I effected the desired rasult
by means of a rising and falling shutter in combination witli a dark chamber
between the lens and the slmtter. I now simplify the mechanical details, and
produce the same result by having the shutter, still in combination with the
said dark chamber, but with a motion in one direction only, under which
condition the result may be attained in either of the following methods.
1. The opening in the shutter, which, by passing vertically across front of
dark chamber, effects the exposure, may move at a uniform speed, but the
actuating mechanism to be so connected with*an iris diaphragm on the lens,
that the several parts of the sensitive surface shall receive the desired variatiou
of exposure by the expansion or contraction of the diajihragmatic opening.
2. The said opening in the shutter is so controlled by suitable mechanism,
th,at its motion across the exposing aperture shall be one of uniformly accele-
rated or retarded speed, according as its passage is in an upward or downward
direction .
The above result may be attained or enhanced by combining with the
actuating mechanism a brake which comes into action during the slow part
of the motion only, or allows a graduated speed by a graduated degi'ee of
friction.
The slot in the shutter may pass in front of opening of chamber in a hori-
zontal direction at a uniform speed, and the graduation of exposure may be
attained by having the slot of a V shape, whereby the wider jjart exposes the
foreground and the narrower part the sky.
It will be apparent from the optical considerations involved that the dark
chamber may be formed before or behind the lens, the motion of the shutter
being reversed in the latter case on account of the crossing of the rays of light
after passing through the lens.
In every case the combination of the dark chamber with the moving shutter
at opposite end thereof to the lens is essential, for reasons fully set.forth iu the
specification of my Patent, No. 9042, of 1891.
mentnsjS of Smtittit^*
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of Meet-lnR.
October 2
„ 2
>. 2
„ 2
,. 2
2
3
,. S
„ 3
.. 3
» 3
» 3
3
" 3
» 3
3
** 4
If 4
,, 4
** 4
» 4
» 4
** 5
I) ^
5
M 5
„ 6
.* 5
5
.. 6
M 6
» 6
** 6
» 6
,» 7
Namo ol Eccitty.
Camera Club
Dundee Amatear
Peterborough
Riclimond
South Loudou
Stereoscopic Cltib
Birniing-hiiiu I'i:oto. Society ...
Bolton Photo. !>ociety
Brixton and Cliipham
Exeter
Hackney ,
Herefordshire (Aunual)
Keighiey aud Lietrict
Lewes ...
North London
Oxford Photo. Society (Annual)
Paisley
Rotherham (Annunl)
Sheffield Photo. Society (An.)...
York
Edinburgh Pbolo* Society
Leytonetone
Photographic Club
Southport
South^ea
Wallasey
Birmingham I'hoto. Society ...
Camera Chib
Dundee and Ea^it of Scotland ...
(41ossop Dale
Hull
Leeds Photo. Society
London and ProTincial ....
Oldham
Tnnbridge "WhUb
Cardiff
Croydon Microscopical
Holboni
Leamincrton
Maidstone
Hull...
Place of Meeting.
Charing- Cross-road, W.C.
Asso. Studio, Nethergate, Dundee.
Museum, Minster Precincts.
Greyhound Hot«l, Richmond.
Hanover Hall, Hauover-parfc, 8.K.
Brooklands Hotel, Brooklandg.
Club Room, Colonnade Hotel.
10, Rushton-sti-eet, liolton.
3713, Coldharbonr-lane, Brixton,
City Chambers, Gandy-st., Kxeter.
206, Mare-street, Hackney.
Mansion House, Hereford.
Mechanics' Institute, North-street,
Fitzroy Library, High-st., Lewes.
Canonbury Tower, iBlinKton, N.
Society's Rooms, 130, High-street.
9, Gauze-street, Paisley.
6, Frederick-street, Rotherhanu
Masonic Hall, Surrey-street.
Victoria Hall, Goodramgate, York,
38, Castle-street, Edinburgh.
The Assembly Rooms, High-road.
Anderton's Hotel. Fleet-street,BI,C
The Studio, 15, Cambridge-arcade,
3, Kiiig's-road, Southsea.
Kgi-emont Institute, Egremont.
Club Room, Colonnade HoteL
Charing Cross-road, W.C.
Lamb's Hotel, Dundee.
71, Prospect -street, Hull.
Mechanics' Institute, Leeds.
Champion Hotel, 15, Alders gate-et.
The Lyceum, Union-street, Oldham.
Mechanics' Inst., Tuubridge WelU.
Public Hall.George-streetjCroydon,
Trinity Church Room, Mortoa-rt.
"The Palace," Maidstone.
71, Prospect -street, Hull-
PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN.
September 26, — Teclmic;il Meeting. — The apparatus on view at the Exhibition
was explained, soveral of the exhibitors being present for that purpose. Moat
of the exhibits will bo found described either in back numbers of the JouENAli
or in our notice of the Apparatus Section of the Exhibition.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
September 21, Mr. Thomas Eeddiug in the chair.
Mr. P. R Salmon was unaniTnously elected a member.
The Hon. Secretary drew attention to the dinner of members of affilUted
Societie!^ to be held at the Frascati Restaurant on Friday, October 13. The
tickets {Qs. each) may be obtained from hon. secretaries of those Societies.
Film- WORKING.
Mr. W. H. Barnes read a paper on this subject [see page 623].
September 20, 1803]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
630
In the conne of a ilisciission that followed, the Cliairninn said that he had
recently been using a few films, the remainder of a batch he had employed
about eighteen months ago, and could not detect any degradation of quality.
As to the drying of films, where only a few were used, he ttbought it a good
plan to place their b)>cks in contact with plain sheets of glass, and place them
sideways against the wall, in the same manner as glass plates. He nad fonnd
some liluis had a gri'ater tendency to curl than others, so that a much greater
depth of fixing or other solution was necessary to cover them.
Mr. Bahnks showed a reversed negative taken through the Imck of the film,
in which there was no jierceptible loss of sharpness.
Mr. W. E. I)K»i:\HAM commented on Mr. Barnes' statement that pyro-
ammonia ^;ave greater distinctness between the high lights and the lights that
came next to them, and said that, if it were so, it would be contrary to Messrs.
Hurler & Drifiield's contention.
Mr. B. J. EinvARDS said his experience was that there was no develojwr that
would give the ditl'crenie between the high lights and the next highest lights
so well as I'yro-ammonia. Photographing a white patch against black velvet,
different develojiers would give a difference in the amount of detail. A large
e.xce.s.s of carlxinate of soda would give the high lights black compared with a
dilute ileveloper.
Mr. J. S. Teape, speaking of the use of cut films, said he had not had
much experience of them, but what he had had, did not give him much confi-
dence in them.
Sir. T. E. Freshwater said that films had had an advantage in weight when
it was desired to send them from place to place.
Mr. Barnes said tliat, as regards films not being as reliable as plates, they
would be found better a-s the manufacture of them improved.
Mr. A. JIackie thought that the advantages of films ended with develop-
ment.
The C'HAmsiAN said there were occasional difficulties in the manipulation of
film negatives as compared with glass, and instanced the fact that that day he
was making some stereoscopic transparencies by copying, and, desiring to use
some film negatives, could not do .so on account of the carrier not being adapted
for them.
Mr. Edwards pointed out a particular advantage of always varnishing film
negatives, as minute surface scratches on the film would be got rid of.
After other discussion the meeting terminated with a vote of thanks to Mr.
Barnes.
Morth Loudon Photographic Society.— September 19, Mr. Douglas in the
chair. — Exi'eriments were made in the development of Xikko paper, the
members bringing the developers preferred by tliem respectively in working
bromide papers. The best and very similar results were obtained by the use
of eikonogen and metol, only half the exposure being given when metol was
used as the developer. The following formulae were liked best : — liikonoyen
Developer : Eikonogen, 4 grains ; sulphite of soda, 16 grains ; carbonate of
lithium, 2 grains ; bromide of potassium (10 per cent, solution), 1 minim ;
water, 1 ounce. (This is the formula first introduced, it is believed, by Mr.
Cowan.) Melol beveloijer: The stand.ird metol-soda developer of Haufi's
diluted with 7 parts water. The pink colour of the paper will restrict its use.
In answer to a query as to how the name came to be selected, it was suggested
that the manufacturers, with transatlantic modesty, had named it after Nikko,
a spot in Japan, so charming that the Japs have a proverb, " He who has not
seen Sikko (sun brightness) must not say Kekko (beautiful)." As there is
plenty of .shine and colour in the paper, some may contend that the appellation
IS appropriate.
North MlddleBer Photographic Society.— On Wednesday, September 20,
another of the series of Instruction Evenings was held, Mr. C. Beadle being in
the chair. Tlie subject, Lantern Slides by Contact, was dealt with by Mr.
A. J. Golding. He described briefiy the modus operandi, explaining the kind
of negatives which would give the best results, the method of obtaining the
range of tones from red to black by a difference of exposure and restrained
developer, Hie fixing, clearing, &c., and then demonstrated his remarks by
developing two plates. After this the members were set to work under his
supervision, the result lieing that many really good slides were made, to the
pleasure and profit of the workers. On October 9 Mr. W. E. Debenham will
demonstrate U'et Collodion. An interesting evening is anticipated, to which
visitors are welcome.
Sbitember 25,— Ordinary Meeting, Mr. W. B. Goodwin, A R.I.B.A., in
the chair.— Mr. Thomas Bedding lectured on Stereoscopic Photography. [This
will appear in our next.] Mr. Traill Taylor, who accompanied Mr. Bedding,
produced several stereoscopes and some hundreds of slides, and kept the
members interested and amused for some time by tlie wise j^nd witty remarks
and comments he passed upon them. Mr. H. Smith took first place for pic-
tures taken at West Drayton. Next meeting, October 9, Wet Collodion, by
Mr. W. E. Debenham. Visitors welcome.
Haclmey Photographic Society.— September 19, Mr. W. Houghton (presi-
dent) in tiie chair.— .Mr. S. J. Beckett showed boards for holding prints flat,
held together by means of a leather strap. Members' work was shown by
Messrs. Sodeau and Grant Mr. Barnes showed an under-exposed negative
developed for half an hour in metol, and asked for a remedy. The general
opinion was that it was useless. Messrs. Holmes and Watson showed
"Matthews' " (wrtable lantern ; its weight is only ten pounds, and is carried
in a box 13J x 6 x 5. It wa4 a very ingenious arrangement, and had many
improvements to aid the lantemist in exhibiting slides. A report of the
Society's outing (under the leadership of Mr. Gosling) was rea<l. The dull
weather rather interfered with hand-camera work ; however, a few good snap-
shots were obtained. The excursion was to Kew and Richmond by steamer
from Old Swan Pier. The Latter part of the evening was devoted to an exhi-
bition of members' slides with the lantern (under the management of Mr.
Rose). Slides were shown by Messrs. S. J. Beckett, Carpenter, Cross, Grant,
Hankins, Hensler, W. Fenton-Jones, Nunn, Roofe, Rose, Sharman, and Sodeau,
from whom some excellent work was exhibited.
South London Photographic Society.— September 18, ilr, P. W. Edwar.U
in the chair. The evening was devoted to a demonstmtion of lonlera-tlUU
Making by Mr. H. E. Farmer. Several Ilford special lantern plates were
exposed under negatives of different characters, and ftfterwardit d«velope<l
befj)re the members. He sketched the apparatus used by him for maklUK
Biules by reduction, and explained the method of using the same. Some slide*
wliich were too dense for use by over-development were reduce<l by the om of
sulphocyanide of ammoninm and ferridcyanide of potassium, which the lec-
turer considered preferable to hypo and ferridcyanide. Slides rtqniring more
pluck and density were intensified by using a bath con.sisting of uranium
nitrate, red prussiate of potash, acetic acid, and water. In the event of the
slides becoming too den.se by this method, the red colour can be dlschaned by
""'"S aliath of carbonate of soda, and the toning, after washing, started
afresh, but not carried so far. Several methods of rectlfyinz various faults
were fully explained by the demonstrator. On October 2 Mr. &. 3. Lester will
read a paper on Outdoor Portraiture.
Brixton and Clapham Camera Club.— September 18, the President, Dr. J.
Reynolds, F.R.G.S., in the chair. — A demonstration upon carbon printing was
fr™_i^ one of th(8 members, Mr. F._ W. Levett. Four names were given in
•** *-"—'"»-"** »v*"^cv* iwi Luu uiiipust: ui assisting memoers, anfi a ^com-
mittee of Cnticism for the purpose of examining and criticising members' work.
^ext meeting, October 3. Paper by Mr. E. Dockree on Oelatino-chluride
J'apers.
Birmingham Photographic Society.— .September 19, Mr. J. T. Mousley in
the chair.— This was the first of the so-called one-man exhibitions inaugurated
by the Club, which it is proposed to hold through the winter. The gentleman
showing, Mr. J. H. Pickard, had staged for inspection a large number of fine
photographs, r.anging from the lordly 15 x 12 to the humble half-pUte, and the
Exhibition was very much appreciated. Mr. Pickard kindly made the tour of
the room, giving interesting details of processes, &c., and answering the
numerous questions put to him.
Newcastle and Northern Counties Photographic Association.— The la-t
out-door meeting of the season was held on Thursday, the 2l3t inst, Ridley
Hall Woods and Staward Pele being the places selected for the day's ojiera-
tions. There was a large muster of members, who were reinforced by contin-
gents from the Hexham, Sunderland, and Durham Photographic Societies.
The day's work was done under almost perfect conditions as to weather, and
many good pictures will, doubtless, result Mr. J. Pattison Gibson, of Hexham,
acted as leader of the expedition.
Wlgan Photographic Society.— September 21, Annual meeting.— Annual
report and balauce-.sheet presented showed a balance in hand of 2?. 134. All
retiring officers, with one exception, were re-elected as follows : — President :
Mr. J. A. E. Lowe. Vice-Presidents: Rev. J. S. Barnes, M.A., and Messrs.
R. Wardman and G. R. Newman. Ordinary Members of Council : Messrs. J.
Smith, J. H. Atherton, B. B. Hartley, S. Richardson, H. H. Hill, P. Clark,
and C. R. S. Kirkpatrick. Bon. Secretary and Trea.mrer : Mr. Fred. Betlev,
10, Ashland-avenue, Wigan. Meetings held fortnightly on Thursday "at
Y.M.C.A. Rooms, Rodney-street, Wigan.
♦ ■
FORTHCOMING EXHIBITIONS.
1893.
September29-NoT.I5 *Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. Assistant Secretary, R. Child-Baylev,
50, Great Russell-street, W.C.
October 1-31 'Hamburg. Das Ansstellungs Committe des Amateur
Photographen Verein, Schwanenwik, 33, Hamburg.
•I 2-14 Midlanil Camera Club, Botanical Gardens, Moseley,
Birmingham. Hon. Secretary, C. J. Fowler,
i, Woodstock-road, Moseley, Birmingham.
„ 9-Nov. ... "Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesburj'-avenue, W.C.
,. 17-19 'Hackney Photographic Society, Moriey Hall. Hon'
SecretfU^-, W. Fenton Jones, 12, King Edward-road,
Hackney, N.E.
,, 30, 31 *East London Photographic Society, New Tabernacle,
Old-street E.C. Hon. Secretary, W. R. Gould,
61, Gibraltar-walk, Bethnal Green, E.
November 7-11 *South London Photographic Society. Hon. Secretary,
C. H. Oakden, 51, Melbourne-grove, Dulwich, S.E.
„ 20-25 *Leytonstone Camera Club. Hon. Secretary, A. E.
Bailey, Rose Bank, South-west-road, Leytonstone.
December "Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
„ 18-Jan. 22, 1894 'Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Corn-
street, Bristol.
* Signifies that there are open classes.
♦
ALUMINIUM VERSUS MAGNESIUM.
To the Editor.
Sib, — Tonr correspondent, Mr. J. T. Hsckett, will be able to obtaia
the fine aluminium powder from Mr. W. C. Home, 2, White Horse-alley,
630
THE BRITISn JOURMAL OF PHOTOGRAl'nV.
[September £9, 1893
Cow CroBS-street, London, EC, and, I believe, the price of an ounce,
post free, would be Is. 6rf. No. 2 fineness should be asked for.
As regards removing the greasy matter, the method which I recom-
mended—viz., heating to about the temperature of melting zinc — was the
result of several experiments, which included the treatment of the powder
with neutral fat-dissolving liquids, as suggested by Mr. Haekett, the
heating method being more convenient and economical. Methylated
spirit is not solvent enough of fat to be useful, but ether or benzole may
be employed. Even after treatment with one of these, a sharp drying at
a temperature over the boiling point of water is desirable, indeed, almost
■essential. This drying is substantially as much trouble as sufficient
heating to drive off the original oily matter, so there is scarcely any in-
ducement to employ the fat-solvent. Treatment with alkalies is not
practicable, as they dissolve the metal, and a mere trace remaining will
set np oxidation.
If any considerable demand should arise for aluminium for flashlight
purposes, no doubt it will be sold quite ready for use. To tree it from
the trace of oily matter would not cost one penny a pound on a large
«cale, but the trace of fatty matter is no disadvantage, but rather the
reverse when the metal is used as a dusting bronze. — I am, yours, Ac,
Tbouas Solas,
Chemical Laboratories, Chiswick, September 25, 1893.
AMATEUR VERSUS PROFESSIONAL.
To the Editok.
Sir, — I am sorry Mr. Blair does not approve my tone and conclusions
in reference to the subject he writes of. But he neither eomprehends
clearly, nor represents fairly, what I wrote, and which seems to have
called out his ■• regret." I did not say that the professional had done
nothing to make outdoor photography a practical affair, but very little in
comparison with what the amateur has done. All the dry-plate processes
were formulated by amateurs, and, if the commercial manufacture has
been more successfully carried out by men who were formerly profes-
sionals, that is nothing to the point. When I say that out-door photo-
graphy is made a practical affair, I mean that it has been made possible
by improved processes to use any plates with certainty, and to depend
on their keeping for considerable periods and working with a trustworthy
regularity. And this was, in the case of the great step of gelatine plates,
the work of amateurs; who afterwards takes up the process and furnishes
ns with plates commercially has done comparatively very little. And, so
<ar as I can remember, every step in the development of the dry plate of
to-day, from the Taupenot, through the dry collodion, coUodio-bromide
of Major Russel, and coUodio-bromide emulsion of Sayce and Bolton, to
the gelatine of Mr. Bennett, has been made by amateurs, every one of
whom has given the general public the benefit of his brains. The plates
of Mr. Carbutt or Cramer, and of Edwards, Sandell, Fitch, and all the
list of commercial manufacturers, are probably better than I could make
tor myself, and much cheaper, but if I had them not I should make them
myself, as I did the other dry plates for glass before there were such
things as commercial plates. These amateur disoverers collectively
" made outdoor photography a practical affair."
As for cameras, Mr. Kinnear made the first really portable field camera,
and the next advance beyond that, a folding camera, which always had
all its parts in thek proper position, shutting up like a book, and extending
at pleasure, was mine, and nearly every modern extending camera has
borrowed the principle I made practical, and have improved it in
details.
When, therefore, the benighted professional, straightened in his circum-
stances, begins to abuse the amateur as the cause of his straightness, I
have only to say to him, as I said in the letter to which Mr. Blair objects,
"What have you and your fellow professionals attributed to practical
photography which will compare with what the amateurs have done ? and
where would photography be practically if we had waited for professionals
to work out the processes, and spend their brains and money in doing
what amateurs have done without compensation and (so far as the pro-
fessionals are concerned, who get their bread by the results) without even
a thank-you, but, on the contrary, with great abuse, and proposals to put
them on a licence to work their own inventions ? "—I am yours &c
Rome, September 20, 1893. W. J. Stillman!
— — ^
PHOTOGRAPHIC SOPHISTICATION AND PERSPECTIVE.
To the Editor.
Sib,— Your contributor, " Free Lance,"— who is generally accurate in
optical matters— in criticising my " illustration of a block of buildings
viewed in perspective, and a model, one-tenth scale, viewed at one-tenth
the distance " implies that the vanishing lines in the two cases would be
very different. Will he be good enough to demonstrate this proposition,
or admit that for once he has made a mistake'?
There is one other point on which I cannot agree with him. He says
that, if photographs are taken at a distance of thirty or forty feet, no one
will complain of distorted hands and feet. In single-figure pictures
taken in such poses as photographers usually adopt, the difference of size
of parts due to perspective is so little, between a figure taken at the
distance I mentioned (anything over twenty feet) and of the same figure
taken at thirty or forty feet, that I believe few people could discover it.
Moreover, if people complain that their heads and waists come out too
large — parts not usually enlarged by perspective in a photograph — the
mere taking of tlft picture from a greater distance will not satisfy them.
Photography and modern painting have done much towaids destroying
the conventional ideal which people liked to see themselves resemble. I!
photo-optical sophistication should ever become at all general, much of this
good work would be undone. — I am, yours, &c., W. E. Debesham.
September 25, 1893.
PHOTO-MICROGRAPHT.
To the Editok.
Sib, — Every expert optician knows that achromatic objectives may be as
perfectly corrected for the light of a narrow band of the spectrum, as the
apochromatios are for a wider band. Every real expert in ortbochromatic
photography knows that photographs can be made by the light of any
part of the spectrnm'at will, by the use of colour-sensitive plates and colour-
screens. It follows that every expert photo-micrographist should know
that, except in rare instances, where the colour of the objects affects the
conditions, achromatic objectives should be capable of giving as perfect
definition in photo-micrography as apochromatic objectives give visually.
I recognised this fact, proved it experimentally, and called public attention
to it, in a few words, years ago. Mr. Pringle, after writing fifty times as
much upon the subject, even now recognises only a part of the facts.
" A word to the wise " should be sufficient, and I have far more important
work to do than to repeat experiments for the purpose of convincing Mr.
Pringle of what I know many experts already recognise as obvious
facts.
Mr. Pringle's assumption that I " certainly have much to learn about
apochromatic glasses," as he " suspected from the first," is justified only
by an altogether wrong interpretation of my reference to low-power
achromatics. I meant to make it clear that a flat field with good defini-
tion over a large area 'n more valuable for low-power photo-micrography
than better colour correction with a less flat field, provided that the re-
solving power is more than sufficient for the magnification. There is no
advantage in resolving details too small to be seen in the photograph. I
gave the preference to an American one-inch objective over an apochro-
matic of similar focal length only after making actual comparative tests,
and because the American objective had the flatter field ; but it also had
a greater angular aperture.
I also tested some high-power apocUromatics, and was the first to con-
vince a sceptical microseopist, the son of a well-known maker of micro-
scope objectives, of the advantages which these objectives actually do
possess over even the best possible achromatics. If Mr. Pringle had not
been pleased to " suspect from the first " that I was ignorant of the capa-
bilities of the apochromatios, I do not believe that he would have been so
easily persuaded to that effect.
With regard to the American objectives Mr. Pringle is sceptical about,
I can only say that besides seeing the published testimony of others, I
have been assured by two expert mioroscopists that they saw "A. pellu-
cida " unmistakably " resolved by a Gundlach objective, with ordinary
mirror illumination ; and by another, that he had seen A. pelliicida re-
solved by a Jolles "dry " objective, after sitting by for two hours while
Jolles himself worked to secure the necessary conditions of illumination.
It is recognised that both of these feats are quite possible in theory and
although I believe neither of these makers claimed to have succeeded in
making another objective of the same kind that would do the same thing,
the testimony as to these two appears to be fairly conclusive.
Mr. Pringle thinks getting to " beads " on .S". Gemma is not getting very
far aJiead, but that S Gemma in "dots" may be regarded as "high-class "
photo-micrography. I am made to realise that I used the wrong word.
My photograph showed S. Gemma with rows of black dots.
There is really no evident reason why Mr. Pringle should assume that
I need to be told that apochromatic objectives are of different glass and
different construction than achromatics. Nor do I find it pleasant to be
charged (unjustly as I believe) with making careless statements, by one
who himself explicitly credits me, when he has my letter before him,
with an assertion which I never made or would make. I never asserted
that " there are achromatics equal to apochromatios." What I did say
was that, assuming certain things, supported by certain testimony, " it
seems to me to follow that one achromatic objective may be better for
high-class photo-micrography than another apochromatic objective," &o.
I will now go BO far as to say that some achromatic objectives will certainly
give better results with yellow light than any apochromatios will with the
ordinary white light and ordinary gelatine bromide plates which Mr.
Pringle formerly thought were suitable for " high-class " photo-mioro-
graphy with apochromatic objectives.
I confess that when I obtained notably fine photographs'of all the more
difficult subjects reproduced in Mr. Pringle's book, besides others still
more difficult, I thought I had fairly demonstrated the posibility of doing
" high-class " work with achromatic objectives. If Mr. Pringle denies
that such a test proves that possibility, I ask, why did he not see fit to
include a single example of " high-class " photo-micrography among
many illustrations in his book ? And how should I know except through
September L>9, 1893]
THE BRITISH JOCJKNAL OF PHOTOGRAPHY.
631
the *' ordinary journalistic criticism," that he had ever done any " high
clais " plioto-microgr.iphy ? — I am yours, Ac, F. E. Iveb.
116, Charing Cross-road, W.C, Stptember 26, 1893.
SPOTS AND PINHOLES.
To the Editob.
Sir, — The above have recently been discusaed in your columns by Mr.
Danmore, who refers only to dust and bubbles as being the sources of pin-
holes in tlie negative. Experience leads me to conclude that to these
two causes, which it is within the power of the photographer to avoid,
may be added a third which is beyond his control, because it is a fault
existing within the plate itself. In July, 1887, a yeir aboun ling in dost,
I was using plates of three different makers ; these were all treated in
precisely the same way, so far as the avoidance of dust and bubbles was
concerned, j-et plates of one brand gave negatives full of pinholes, equally
distributed over the surface, whilst those of the other two makers were
practically free from this defect. The same camera was used for all, the
slides were filled indiscriminately, and as the trouble was met with in
one set of plates only, and the pinholes were not more abundant on that
part of the plate which was placed downwards during exposure (where
dnst etTects most usually are found), it would appear that the mischief
must have been owing to defect in the film. I thought that a probable
explanation was that during the processes of making the negative minute
blisters were formed, that these arose from the glass surface being im-
perfectly cleaned before it was coated, and that as the gelatine dried and
contracted the blisters split into the pinholes which ruined my negatives.
The films also tended to frill at the edges, another symptom of imperfect
cleansing of the supporting surface. I tried the same make of plates on
a future occasion and met with the same defect.
This year has been a.s prolific of dust as was the never-to-be-forgotten
" Jubilee year," but so far I have been quite undisturbed by the appear-
ance of pinholes on my negatives. This desirable condition, I believe, is
due to the observance of two precautions. First, beyond the usual dust-
ing of films and slides after the latter are filled, the shutters are puUed
in and out two or three times, and the face of the film again dusted as it
lies in position. Second, the plates are firmly wedged in the slides so
that no rubbing can take place between the edges of the former and the
rebates of the latter. I may add that changing of plates has been done
in the dark without the aid of light of any kind. — I am, yours, <fec.,
September 19</i, 1893. F. R. Fisher.
*•
WARMING THE DARK ROOM.
To the Editor.
Sir, — In reply to Mr. J. Tilfor's inquiry, there is not any better gas
stove made than " George's Calorigeu " for either dark room or any other
place ; it gives a constant supply of pure warmed air, and does not emit
any light — bat it has the drawback of requiring two openings making in
an outer wall, one for inflow of air to be heated, and one for outflow of
the products of combustion. If this requirement can be complied with,
it is a perfect stove. It is years since I bought mine, but I think the
depot was then in Regent street, but any ironmonger would supply one.
They will not answer connected with an ordinary chimney.
If the stove must be placed where no communication can be had with
the outer air, then I recommend a " Clark's Syphon Stove ; " they can be
had fitted with a ruby chimney, which, however, is not by itself a " sate "
light, but becomes perfectly so if an outer casing of canary paper be
added. These stoves are also made quitedark, but I find it a convenience
to have a little light on the floor ; if one happens to drop anything it saves
a good deal of unparliamentary language during its recovery. They do
not require any Hue whatever, and all the products of combustion (except
caibon dioxide) are carried oil into the water-trough.
I do not recommend them to be placed in a room without any ventila-
tion, because of the carbon dioxide, but if there be a reasonable access
of air they are in my opinion to be preferred to those stoves that have
a flue led into an ordinary chimney, in which very frequently there is a
down draught.
Damp and sulphur , fumes are great enemies to the photographer,
and very few are aware of the enormous quantity of water manufactured
by gas, an ordinary single gas jet, consuming five cubic feet per hour,
will throw into the atmosphere of a room a pint and a half of water
per twenty-four hours. The Clark Syphon Stove condenses all this, and
with it the sulphur and other fumes.
My dark room is 13 ft. x 9 x 10, and was satisfactorily warmed
last winter from November 18 to February 17, night ami day, at a
cost of U. '}s. lOd. (We are blessed in the North with cheap gas, 2s.
net per 1000 cubic feet. )
There is a great advantage in using gas and having the heat on all
night, no frozen pipes, no ice-cold solutions, no dust, no trouble of any
sort.
Clark's address is Park-street, Islington, N., but the stoves can readily
be procured through any dealer.— I am, yours, &c., Edward J. Smitu.
Purl; Boyd, Halivix, September 19, 1893.
RETOUCHERS' TROUBLES.
To the Ei>iT0B.
Sir, — It ii a loarce of wonder and amazement to many an old pboto-
grspher to notice the readiness with which his younger cmfrkret lettto
off-hand doubtful questions and give equally off-hand advice. Take the
case of Mr. Pike's letter in a recent issue, under the above heading.
A writer has complained of a simple dini3ultv of a gtaasxnfn on the lur-
foce of a gelatine negative rendering it ditlieult to use the pencil. Mr.
Pike seems to see that the ncg'itive wants cleMsing, and forthwith recom-
mends the use — presumably for all negatives, thick and thin —of a power-
ful reducer and cleanser. Does he happen to know that this reducer i»
one of the most dangerous to the gradations of the neg itive that can be
used, and that Messrs. Hurter A: Driffield specially caution photograpbers
to beware of its effects ? Does he also know that no reducer gives a
more shiny and toothless surface to a gelatine film than this, so that, if a.
film fairly rich in gelatine is used, every negative reduced by it can be
instantly seen by the glossy surface amongst a batch of others ? If your
correspondent had searched industriously for a remedy that should be
worse than the disease, he could hardly have hit upon a greater success
than m advocating ferridcyanide and hypo as a cure for a greasy inrface.
— I am, yours, <fce., A.s Old Haxo.
-•-
THE PHOTOGRAPHIC EXHIBITION.
To the Editor.
Sir, — May I ask you to find room for the following correspondence in
your columns, in order that I may not have any credit which is not dtte
to me?
My part consisted in enlarging to the spaeial colour I thought best
suited to the subject, inventmg the title, and choosing the method of
mounting, making the exhibit a harmonious whole, my object being to
enforce views which I have freijuently expressed as to the great necessity
for adapting the colour of a print to the subject, and the advantages offered
in this respect by Alpha paper. — I am, yours, iSrc, John Howsok.
Canitra Club, Charinj Croas-roid, W.C., Septem'ier 25.
" TeU'jram to Child-Bayley, 50, Oreat Rustell-ilreet. W.C.
"Just discovered that I omitted to state in entry form that my Alpha en-
largement was from a quuter-plate negative by Mr. Howell, of Barbadoes, and
I hasten to disclaim any credit not due to me, in case it aSects the awanl.
"Howsos."
"50, Oreat Russell-sf net, fV.C.
" Dear Sir, — In reply to your telegram, the omisfsion from entry form will
not affect the .iward in any way.
" You might, of course, niaKe the announcement through the press if yon
wish. — Yours faithfully, " R. Cbild-Bayley, Aai^aiU Hec.
"J. HOWSON, Esq."
lExctange (ZTolumn.
%* No charge is made for inserting Exchanges of Apparatus in this column;
but none wi'i be inserted unless the article wanted is definiteli/ stated. Those
who specify their requircTnents as "anything useful " will therefore understand
the reason of their non-appearance. The full nams of the advertiser must
in all cases be given for publication, otherwise the Exchanges will not be
inserted,
Will exobani^e 5x1 set complete tor tripod dark slides (doable half-plate) and shatter.
—Address, R. S. Winterbub», 1 Aleiander-torraoe, W"aldstone, R.S.O.
Wanted, a 12x10 modem camera, with slides, ko , in exchansfe for a Boss No. 3
improved portrait Uns. — Address, H. Bartholomew, Great Linford, Newport
Fa^ell.
Wanted, 15x12 stadio camera in nenr condition in exchange for 10x3 bmas-boand,
Bqnare, leather bellows camera, doable swin^ and reversing back, rising front — three
doable book slides nearly new ; cost lU. — Address, H. Bnxocc, Is, Leicester-
streec, Leamington Spa.
• -♦
anslMerjs to (fforresponlientB.
•,* All matters intended for the text portion of this JorRNAL, including
queries and Exchanges, must be addressed to " Thb Editor, Thb Bbitisb
JouRNAi, OF Photoorapht," 2, i'ork-street, Covent Garden, London. In-
attention to this ensures delay.
*,* Corresjoondents are informed that we cantut undertake to answer eoM-
munications through the post.
%* Communications relating to Advertisements and general business affairt
should be addressed to Messrs, Hbsbt Gbkkxwood & Ca, 2 Tork-street,
Covent Oarden, London.
%* It would be convenient if friends desiring advice respecting apparatus,
failures in practice, or other information, would call at the Editirnai Ojfice
either on Wednesdays from 4 to 6, or Thursdays from 9 to 12 noon, wntn
some oru of the Editorial staff will be present,
Pbrplexed.— We have forwarded your letter to the gentleman named.
ToRBAY. — You would require a lens of sixteen inches equivalent focus.
633
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[September 29, 1893
Threaten an action
J. E. G.— We do not think that there is a better one than Hare's automatic.
E. J. Smith.— Thanks. We shall investigate the matter, and correct where
necessary.
J. E. P.— The firm have no right to detain the negatives.
for illegal detention.
Teaxspakext.— Any waterproof material would do for covering the tent, so
long as it is light-tight.
J. Davies.— A cement formed of a solution of celluloid in amyl acetate may
be used to mend your tray.
A. E. G.— Messrs. Tunny & Co., Maitland-street, Edinburgh, produce buint-in
opals. Apply to that firm.
Mounts.— We fear that this is one of the mysteries in photography that will
remain unsolved for perhaps several years yet.
A. M.— Sucli classes as those to which you refer are held at the Polytechnic
Institution, Regent-street, London. Write for a prospectus,
H A G.— Inasmuch as the markings appear to be on both sides of the film,
we' should imagine the plates to be at fault, but we cannot hazard the cause
of the markings.
NlTCHEGO.— Both articles mentioned have been made and sold for many
years ; the stand by the Scovill Manufacturing Company, and the lens shade
by Eoss & Co.
W. BiBBELL.— Our correspondent wishes to know the address of any finn
who manufactures articles in glass— glass-blowers, in fact. Can any reader
give the information 1
A. KiBKWOOD.— By all means employ a condenser. It is immaterial whether
you use coal gas or an oil lamp for such a small degree of enlargement, but
only one light must be used.
Opesatob. — In the formula named we should think the quantity of sulpho"
cyanide insuflicient. The precipitate should be redissolved, otherwise, as
you note, there is a loss of gold.
F. B.— We cannot quite recommend such a course as that suggested, nor do we
know of a competent teacher in your part of the country. There may be
several, only we do not know them.
Anxious.— The only thing we can suggest as likely to be useful in increasing
the light is to employ corrugated mirrors fixed outside the window, on the
same system as Chappuis' refiectors.
Amateub. — Directions for making blocks will be found in our last Almanac.
We do not know where lessons can be obtained. The electrotype process for
making surface blocks has proved too slow for this high-pressure age.
Tf.eba.— 1. The markings are verj- singular, and, if elsewhere, would be con-
sidered beautiful. We cannotgive an explanation of the cause. 2. Terra-
cotta tones may be obtained by printing deeply and fixing without gold
toning.
Light. — Erect a large sheet of white card at an angle behind the negative,
.and illuminate this by any powerful light. Place the camera at a suitable
distance in front, and the large negative can thus be reduced to the small-
sized transparency required.
B. H. R. — You are by no means the first that has been told by the country
druggist that hyposulphite of soda and sulphite of soda are the same thing.
No wonder thsit the plates were spoilt 1 and it is verj- annoying. Sulphite
of soda is rarely kept by the village chemist.
P. Ecu. — We do not recommend particular makes of hand cameras. See the
advertisement pages of the Almanac and Jouenal for particulars of innu-
merable varieties, among which you should be able to find one to suit you.
The " Hawkeye " camera was described in last week's Jouknal.
T. Kelsev. — In copying the water-colour drawiigs a better result will be
obtained by employing plates that have been treated with the ortliochro-
matisiug mixture referred to. With the monochromes, ordinary plates will
answer quite as well, if the paper upon which they are is, as we assumed it
to be, white.
1. KiRBT. — Tlie majority of the lantern slides seen in the shop windows are
by the wet-collodion process. Very few iire now made in albumen, or, at
least, in this country. If they were made, we imagine that a higher price
would be charged for them, as by that method they are more troublesome to
make than collodion slides.
G. Yemanb.— The zinc plates employed at the Ordnance Survey Ofiice are not
supplied ready for use, but are smoothed and planished on the premises, or,
at least, they were two or three years ago, and we have not heard of any
change being made since. Zinc, as well as copper, plates are now supplied
ready for use by all the dealers in lithographic materials.
C. W. C. sends some prints in which there is a decided blurring or doubling of
the image. He says, " The camera was used on a stand, and the .shutter
worked by a pneumatic release, so that he doubts if the blurring is due to
movement."— It certainly is, however. Evidently there is a jerk on the
shutter, when it reaches the full opening, or as it begins to close.
H. S. W. — You are under an entire misconception in the matter. No one is
entitled to style a thing " patented " that is not. .A.ny one doing so renders
himself liable to a heavy penalty. The mere fact that a provisional specifi-
cation has been lodged does not confer the right to use the word patented.
All you can legally do is to say in the prospectus, " patent applied for."
Colse. — So far as we know, the orthoohromatised collodio-bromide plates re-
ferred to have not been put on the market. Tlie method was not patented
noi; do we see how it could be, as the earliest experiments in orthochromatic
photography were with collodio-bromide emulsion ; indeed, the process was
really brought up to its present state in conjunction with drj- collodion.
E. T. Jones inquires if there is any objection on the score of permanency to
using the fixingbathfor P.O. P. for twoorthree days in succession, the same
as is done with the fixing bath for negatives ? — Yes, there is a grand ob-
jection to such proceedure if stability^in the prints is a consideration. A
fresh solution should be made for everj- batch of prints. Hyposulphite of
soda is a very inexpensive salt.
D. Ceaig.— As the collodion splits off the glass as soon as it is dry, it shows
that it is of too contractile a character. This may be got over by the
addition of a very small proportion of castor oil. Do not use more than is
absolutely necessary. One or two experiments will determine tlie quantity.
Methylated ether and alcohol will do very well for enamel collodion pro-
vided they are tolerably strong.
Alf. Evans.— 1. If the paper has become as brown as described, it will not
yield pure whites, whatever toning bath may be eraployeil, the vendor's
assertion to the contrary notwithstanding. 2. The sulphocyanide bath
can be used for albumen paper, but there is no advantage in doing so, as the
latter tones evenly in any of the ordinary baths. 3. The best strength for
fixing solution is half a pound of hyposulphite of soda to the quart of water.
London, E. asks it there "is anything that can be mixed with kerosene oil
that will avoid the unpleasant smell given off when it is burnt in the lantern,
as it is only in that th.at it is offensive ? The same oil used in an ordinary
lamp does not smell."— Different things, such as camphor, have at times
been suggested, but they are not really efl'ective. The smell complained of
is generally caused by oil outside the lamp. If the lamp .and wick tubes be
carefully wiped with a clean cloth just before the lamp is lit, there ought to
no smell.
B. Scott wishes to know if he makes up a silver btith for negatives according
to the formula given in the sixth edition of Hardwich's Photographic
Chemistry, and gets Mawson's collodion, he cau develop with any of the new
developers made according to the formula supplied with them, ^or the
ferrous-oxalate developer, with the working of which he is familiar?" — No,
they will not answer. If our correspondent desires to work the wet-
collodion process, he will h.ave to employ the developer suited to it. Dry-
plate developers are of no use for wet collodion.
T. C. Bbnn. — The print shows the lens to be a very good one, although it
bears no maker's name. The lack of marginal definition is due to its being
worked on too large a plate. A lens of five inches equivalent focus, and an ,
aperture of /-5 -6, must not be expected to cover a five by four plate sharp .
to the corners, unless it is somewhat stopped down. With a small stop it
will, doubtless, cover a larger plate than that mentioned. We should say,
taking the aperture and focal length into account, there is nothing whatever
to complain about. If that size plate has to be covered sharp all over, with
an aperture as wide as that named, a lens of greater focal length must be
obtained.
Saxon.— This correspondent writes as follows:— "I send herewith four
copper phtes and prints therefrom. The plates were produced by the
method described by Mr. Dennison some time ago. If you will kindly
examine them, you will see th.at the etching is quite as deep as an ordinary
mezzotint plate (of which I possess two or three), and yet the impressions
.are poor and Hat. In fact, in one of them, the half-tones print stronger than
the shadows. The proofs were printed by a professional copper-plate
printer, so that I do not think the printing is at fault, I shall be obliged
for your opinion on the subject, and also for the return of the plates, for
which I enclose stamps ? "-'The etching is quite deep enough— indeed, much
deeper than is necessary— bnt it has no ink-holding power, owing to the
absence of grain in the deepest parts. Hence the ink wipes out as the ink
is cleared off the surface. This is not the case with the lighter tones. We
can only assume that the etching was carried too far in the first instance.
Plates and prints returned as requested.
H. H. C. says : " I have to make some negatives, copies of engravings,^ and my
customer particularly wants them by the wet-collodion process. Now, this
is a process I have never actually worked, though I have an old manual on
it. I think it would scarcely pay me to learn the process, unless it is an
easy one to acquire, on purpose to copy these few pictures, less than a dozen,
as probably I shall never have to use it again. Will you please answer the
following queries for me ? I. Is the wet-collodion process to be easily learnt
by one of seven years' experience with dry-plate photography — say, in two
or three days? 2. Can the plates be bought partially prep.ared, that is,
for dipping in the bath < 3. Failing collodion, what dry plates and developer
will give negatives most like collodion in character ', ' — In reply : I. Tlie
collodion process is not diflicult to work by those au fait with it, but the
necessary ability is not to be acquired with only a few days' practice. 2.
No ; the plates must be prepared at the time of sensitising. 3. Any of the
slow plates, specially prepared for photo-mechanical work, developed with
formulas supplied with them, will yield negatives somewhat approaching
collodion in character.
OONTIiNTB.
Faqb
HOW THE EXHIBITION STRIKES
ONE 017
RAPID INTENSIFICATION 617
PHOTOORAPHING HIGHLY POLISHED
SURFACES 61S
EXHIBITION OF THE PHOTOGRAPHIC
SOCIETY OF GREAT BRITAIN 620
THE DAILY PRESS ON THE PHOTO-
GRAPHIC SOCIETY'S EXHIBITION., C-23
FILM WORKING. Bv W, H, BABNES. , G23
THE PHOTOGRAPHIC CONGRESS
AUXILIARY OF THE WORLDS
COLUMBIAN EXPOSITION 625
PHOTOGRAPHY FOR ILLUSTRAT-
ING THE PRACTICE OF MEDI-
CINE AND SUBGEBY IN A
GBEAT HOSPITAL, Bv O. G.
MASON 6SS
PaA
THE PHOTOGRAPHIC CONGRESS
AUXILIABY— conliiiiicif.
PHOTO • MECHANICAL PBOCESSES
IN ENGLAND — HALF ■ TONE
BLOCKS FOR TYPE PRINTING"
By W, T. WILKINSON K"
FRILLING. By J. PIKE cai
NEWS AND NOTES ''•■'
EECENT PATENTS <^'^''
MEETINGS OF SOCIETIES "S"
FORTHCOMING EXHIBITIONS 62?
COBBESPONDENCE ''"
EXCHANGE COLUMN '-'l
ANST>'EB8 10 COBBESPONDENIS Ml
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1744. Vol. XL.— OCTOBER 6, 1893.
PHOTO-CERAMICS.
We invite attention to a report on another page, in
which an account is given of a demonstration at the London
and Provincial Association last week, by Mr. Haddon, on the
preparation of enamel plaques on which to produce ceramic,
or burnt-in, photographs. As Mr. Haddon has confined himself
to the production of the enamels, we will take advantage of
the mooting of the subject to carry it a stage farther, and
describe in what manner such tablets may be used for pro-
ducing those beautiful, and undoubtedly permanent, photo-
graphs which charm all by whom they are examined.
But, previous to doing so, let us state that the production of
ceramic photographs is very far from being a new thing,
although so little known, for it dates so far back as 1854, in
which year a patent was obtained, in this country, by Peter
Armand le Compte de Fontainemoreau, whose invention
consists " in fixing, vitrifying, and colouring photographic
images taken by the collodion process upon enamel, metal,
stone, porcelain, glass, china, and all kinds of earthenware."
This, it will be observed, is moderately comprehensive. His
method, when boiled down from the technical terms in which
it is couched, consists in making a proof upon a plate of glass,
and, after fixing, washing, and subjecting to a bath of
bichloride of mercui-y, afterwards placing the film upon one of
the substances above enumerated, and baking it in a porcelain
furnace. There may, perhaps, be earlier notice of the invention,
but this is the first of which we are aware.
This application has by several persons been usually attri-
buted to Lafon de Camarsac, but his first publication was made
some time after the other, being June 11, 1855, in Comptes
Bendvs, and in this he seems to be careful in avoiding the
giving of such information as would enable any one to produce
practical results.
There are now several methods by which photographs may
be made upon or transferred to enamels or plaques for subse-
quent vitrification. Of these the simplest is that of collodion
transfer. A plate of glass receives a coating of bromo-iodised
collodioa This is then immersed in a thirty-five-grain solu-
tion of silver nitrate for two or three minutes. A transparency
is developed upon this, but it must be carried to a farther ex-
tent than would be the case were it intended for a lantern
slide.
The image thus obtained must now be toned, for, if the
picture were to be burnt in without this, it would prove
of a yellow colour, and not at all pleasant to behold. But,
previous to toning, the picture must have been fixed with
cyanide of potassium, washed well, and the collodion film re-
moved from the glass plate. This removal is effected by plac-
ing the plate in water which has been acidulated with a few
drops of sulphuric acid. I^ will not have been long in this
before it is found to have had its hold upon the glass loosened,
when it will soon be floating in the water.
The selection of a toning agent is one that involves judg-
ment and the exercise of taste, and it is possible that no two
photo-ceramists will employ exactly the same substances.
Chloride of platinum has long been a favourite toning bath,
used sometimes alone, and sometimes modified by the presence
of gold, iridium, and other metals. It is in the selection and
proportions of these that the ultimate colour of the burnt-in
picture depends. We possess enamels of a rich dark violet
tone, made with platinum alone as the toning agent. The
tones obtained by iridium are warmer, but there is no difficulty
in getting almost any tone desired. Whatever bath be ulti-
mately selected, it is of importance that the toning be carried
to such an extent as to obliterate the details of the silver image
and bury them in a mass of blackness. The necessity for this
will appear when it is borne in mind that the silver which is
allowed to remain in the image, and which, as above stated,
burns in of a yellow colour, conduces to modify the tone. Let
any one who desires to satisfy himself as to this transfer an
ordinary collodion positive or negative to a piece of white
porcelain dish, and, in absence of a furnace, push it between
the bars of a clear coke fire until it becomes red. When
removed and examined after it has cooled, the negative or
positive, as the case may be, is found to have been burnt in
in a yellow colour.
To effect the complete removal of the silver, the services of
a solvent are occasionally had recourse to ; but this is not
always necessary, especially when a toning agent is selected
that is not adversely affected by any trace of silver remaining,
and when the toning has been carried to the extent suggested.
The enamel tablet having been cleaned, it is placed in the
vessel of water in which the film is being washed, and by a
little dexterous manipulation the film is floated in position and
the water decanted. Pressed close up against the surface,
the film then is tucked up around the edge, and, as it were,
plastered around the back to prevent it from becoming displaced.
It is then placed aside to dry, frfter which the plastered-down
portion that was overlapped behind should be removed by
means of a pad wetted with ether, or by a scraper.
The fire-clay furnace to which it is now transferred need
only be small, and is most conveniently heated by gas. Ex-
perience alone can tell when the picture is properly vitrified,
but such experience is quickly attained. A convenient way is
to insert the blade of a long and otherwise worthless table
634
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[October 6, 1893
knife under the enamel, which, when in the furnace, rests on
the top of a plaster of Paris block with a convex top, and lift-
ing it out subject it to a brief examination. It will probably
now be found to be bright and full of clear detail when con-
trasted with the black smudgy appearance it had previously to
the heat having been applied. We have seen them returned to
the furnace more than once after examination, in order to ensure
the desired effect being obtained.
Good vitrifications are also produced by the dusting on
process, fusible enamel powder, which can be obtained in com-
merce in a variety of colours, being dusted on- to form the
image, which is afterwards fused by heat.
By means analogous to carbon printing, a vitrifiable powder
being used in the tissue instead of carbon, ceramic pictures
can be produced without difficulty.
An advantage in the employment of the two methods last
mentioned is found in the fact of uniform tones being obtained.
There are some charming example of ceramic photographs
in the Pall Mall Exhibition at present open to the public, to
which we would invite attention. The absolute permanence
of this clas3 of picture is undoubted, and from the hasty
outline of proceeding w^e have now given it will be seen that
it is not attended with any inherent difficulty, or one which
cannot be overcome by ordinary care.
HEATING THE DARK ROOM BY GAS.
Some correspondence on this subject, which has recently
appeared in these columns, renders it probable that a further
elucidation of the subject will be of use to some of our readers.
It is very difficult to lay down a general rule, inasmuch as dark
rooms vary so much in size from the mere cupboard of the
tyro to the magnificent laboratory of some workers. The first
consideration, one of paramount importance, is the health! ulness
or otherwise of gas as a heating agent This subject is not usually
fairly looked at. Most of us are familiar with the lighted gas
burner used for illumination, and any remarks about any un-
sanitary qualities it possesses are taken little heed of. A gas used
for a stove, under ordinary conditions, is neither more nor less
hurtful than an equal quantity of gas used for lighting pur-
poses. Where the danger comes in is that stoves being only
lighted up to produce heat that is just the time when ventila-
tion is most interfered with by closing all doors and windows.
We then get the products of combustion in the atmosphere,
and experience their evil effects, but not more than if the gas
were burnt at ordinary open illuminating burners. There is,
however, the possibility of a larger amount of gas being used to
produce heat than is ever likely to be employed for illumina-
tion, and then the danger comes in. We believe that when
gas has been employed for heating water for a bath, the pro-
ducts of combustion have proved quickly fatal, at least one life
having been so lost. Hence, for dark-room heating, it will be
advisable as a matter of safety to have all products of com-
bustion carried away by a chimney. There are chimneyless
stoves sold, which are supposed to condense the products of
combustion. They condense the water produced and some of
the acid; but the more injurious product of burning of coal
gas, the carbonic acid, is practically untouched, and con-
taminates the air just as with any ordinary stove. We would
never advise such a stove to be erAployed for dark-room work,
though all the actual heat produced is, as it were, turned into
the room. It is, however, quite possible to have a stove which
permits a part of the heat to escape through the draught into
the chimney, but which at the same time is as efficient a
heater as the other. The efficiency of a stove depends not
only upon the heat it produces, but rather upon the way it is
distributed. Heat all in one spot is apt to cause a quick
upward current of air which fails to cause the whole apartment
to gain the benefit of what is really generated. The patterns
to choose from are of the most varied character, and should be
chosen for the mode in which they spread the heat and
prevent its being wasted up the flue. As a matter of fact,
the actual heat produced from the consumption of a given
quantity of gas in one or other burner varies only to an
insignificant extent in any maker's pattern. The vital points
are distribution and waste.
Formerly a very large proportion of the heat obtained went
outside through the chimney ; but of late years there have
been made patterns of stoves on the regenerative principle,
which utilise some of the heat left in the spent gases before
allowing them to pass into the chimney. It is, of course, not
for us to name a particular maker.
One well-known pattern of stove is a very important modi-
fication of the usual mode of utilising them. It has an egress
for spent gas and one for ingress of fresh air placed close
together, the result being to render it independent of ordinary
chimney or flue. These two apertures are to be connected with
the outer air.
The getting rid of the eflEluent fumes is the one difficulty with
gas stoves, yet it must be said that, when used with discretion,
they need cause little more trouble than a coal fire, the
"smoking chimney " being not an unknown phenomenon with
coal. It should be said, however, that no chimney which does
not possess a good draught should be used for gas fires. Tlie
fumes from the latter are invisible, while smoke tells its own
tale ; hence danger might lurk in heating a dark room through
the fumes conveyed into the chimney failing to rise and being
disseminated into the apartment.
There is difficulty in conveying the gas through a flue
directly into the open air through an aperture in the wall.
The draught will not always act. But we may inform the
reader that if he contemplates putting a gas heating apparatus
in his dark room he may be sure that, if he write for advice
direct to the maker of a stove proposed to be used, he will be
well advised on any difficulty anticipated by the maker, and
will have simple explanations courteously tendered.
REFLECTED LIGHT IN THE CAMERA.
Probably more negatives are ruined and plates spoilt by the
access of light into the camera than is imagined, even by those
who fancy themselves constantly on the alert to guard against
such accidents, and we should, perhaps, be not far from the
truth in asserting that the majority of the complaints made
about faulty plates are really traceable to the same cause.
There are, of course, many different ways in which stray
light may reach the sensitive film ; that is to say, light other
than that legitimately employed in the formation of the image.
Defects in the construction of the camera, badly fitting or
damaged woodwork, minute cracks or perforations in the
bellows, flanges not properly screwed up, and similar accidents
are sufficiently familiar, and are usually sought for when
there is reason to suspect that trouble is being caused by the
improper action of light. But, although these are the most
commonly recognised forms in which the evil is experienced.
October 6, 1803]
THE BRITISH JOURNAL OK PHOTOGIU.PHY.
6.V>
wo doubt wlicther more frequent and greater injury does not
arise from other causes less readily recognised or suspected,
namely, from light passing through the lens and suffering
f reflection from some portions of the interior of the apparatus ;
it may be of the lens mount itself, or it may bo of the body of
the camera.
Most instruction books direct the beginner to examine care-
fully the interior of the camera for such palpable defects, but
few go farther in calling attention to the possibility of an
injurious, or, we may say, ruinous amount of light being
reflected from the sides of the camera itself. Yet this is the
case, but more especially with wooden-bodied cameras, either
solid or sliding, the broken or zigzag sides of a bellows
camera tending in a measure to neutralise the ill etfects of
reflected light. In bygone days, when the wooden-bodied
camera was more in vogue, both in the studio and the field,
this danger was more palpable, and was, consequently, more
generally recognised than at present ; but that it still exists
in an estreme form was forced on to our notice a short time
back by an examination of a hand camera, with which, under
certain conditions, it would be perfectly impossible to take a
picture.
The instrument was one of fixed focus, the body being of
wood, and the interior entirely open from the lens to the focal
plane ; it was fitted with a lens of the modern rapid rectilinear
type, that is to say, one of large aperture, and when this was
used at full power it admitted a considerable volume of light,
much of which fell upon the smooth sides of the camera, from
which it suffered reflection directly on to the sensitive plate.
AVhat wonder, then, that almost every plate proved to be
hopelessly fogged. This camera, we say without hesitation,
was constructed with an utter disregard for the most elementary
rules of common sense.
Another instance of a similar kind was found in the case of
a sliding-bodied camera, with portrait lens, that was being
used ifcr outdoor portraits and groups ; the negatives were
invariably, more or less, veiled, and it was obviously from
extraneous light on the camera, although the latter was most
carefully and completely wrapped up in the focussing cloth in
order to cover up any undiscoverable leaks. It was not until
it was pointed out that the smooth floor of the interior of the
camera reflected a perfect "blaze" of light coming through
the lens from the sky that the cause of the trouble was
suspected.
It is only with such instruments that this trouble shows
itself in such an aggravated form, though oven with a bellows
camera, quick plates and lens worked at full aperture quite
sufficient reflected light will reach the plate to seriously
degrade the purity of the shadows, and we have no doubt
very many of the cases of fog laid to the charge of the plate-
maker are really due to this cause. It is, of course, with the
more rapid kinds of plates that the evil is most seriously felt,
such being more readily impressed by feeble rays of light, and
these are generally the plates that secure the greater share of
blame.
How to guard against the trouble is the question to be
considered. In the first place, the most obvious step to be
taken is to avoid as far as possible working under such cir-
cumstances as will conduce to it. Thus, never work with the
full aperture of the lens unless compelled to do so, and never,
when it can be avoided, employ a lens of the rapid doublet type
when there is a large volume of light from the front, whether
sky or n ater, or, when such a course is unavoidable, bo careful
not to permit the light to fall directly on the lens. In dealing
with subjects of this clasf, landscapes with a wide expanse of
sky, or with the sun almost in front of the camera, or more
particularly with seascapes, a single lens with the stop in
front is far preferable to the doublet with its large surface of
glass presented directly to the source of light. Not only does
the projecting tiibe shield the lens from the direct impact of
the light, but the stop itself, if in proper position, will, by
curtailing the field of view, cut off a great portion of the rays
of light that would otherwise fall on the interior of the camera.
There is no reason why lenses of the rapid type should be
used for the class of subjects we have named ; on the contrary,
they are just the ones that will most readily permit of the
employment of a comparatively slow lens, although a single
lens, with stop in front, need not be particularly slow ; they
may be used with very satisfactory definition with apertures of
/-ll, which is far more rapid than is required for seascapes.
A very useful lesson may be learnt by pointing the camera
fitted with a lens working with large aperture to an open land-
scape with a clear sky, and if the sun be in that quarter so
much the better. Level the camera in such a manner that the
sky line is almost at the bottom of the plate, the whole of the
subject being practically landscape. If now a small white card
or an envelope be laid inside the camera close to the focussing
glass, it will be found that an image of the clouds is thrown
upon the white surface, upon which it is perfectly distinct,
although on the black lining of the bellows it may pass
unnoticed. If a single lens be used with the stop placed at
such a distance in front that the field of view is restricted to
little more than the area of the plate, the araoimt of image
falling upon the card will be comparatively small ; hence the
recommendation to employ such a lens under those circiun-
stances.
If now the focussing glass be placed in position, and the
image examined under the focussing- cloth, a patch of bright
light will be seen to be reflected from the white card showing
distinctly in contrast to the black lining of the camera, and
demonstrating only too plainly the reality of the danger that
exists. If another card or envelope be taken and placed in a
perpendicular position inside the camera — it may easily be
propped between the folds of the bellows — a position will be
found in which it just cuts oflf these useless or superfluous rays,
and prevents their reaching the sides of the camera, and con-
sequently their reflection on to the plate. This gives the cue
for a very simple remedy against light reflected from the
interior of the body of the camera.
It consists of a simple screen of blackened cardboard, thin
wood, or metal fixed inside the camera at a short distance
from the lens, and having an aperture of such dimensions as to
permit the passage of only such rays as fall directly upon the
plate. All others, those which fall upon the front of the screen,
are confined in the narrow chamber formed between it and
the camera front, when they are lost or made harmless. This
screen also acts as a safeguard against any accidental flaws or
defects in the front of the camera, its weakest point. The
screen can be easily fixed, and can remain always in position,
as it interferes in no way with any of the ordinary functions of
the camera, or it can be made removable, if preferred, and
completely guards against any reflections from the camera.
But not so easy is it to guard against reflections from the
interior of the lens, which may be, and sometimes are, very
636
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[October 6, 1893-
serious. We have in oui* possession at the present time an old
portrait lens of French make which is capable of fogging
hopelessly any plate placed behind it. The internal blacking
has become with age partly polished, and if the camera be
turned towards a well-lit subject, and the inside of the tube
examined from the back, the focussing glass being raised, it
shines into the camera almost like a mirror. Not being fitted
with Waterhouse diaphragms, the whole of the tube is open,
which makes matters considerably worse, although any lens of
the rapid doublet form will thus reflect a very dangerous
amount of light unless the blacking be constantly kept in good
order.
The lens we refer to is easily cured by simply sliding in a
piece of black cotton velvet out to the proper size to line its
interior, and it is kept in position by the rather elongated cells
carrying the two combinations. These in turn are provided
with two rings of the same velvet, which effectually prevent
reflection and convert an otherwise useless lens into the reverse.
For smaller lenses we should use a good matt black varnish,
though we have yet to find one that will equal velvet in its
power of arresting reflection when the latter can be used.
In conclusion, we would suggest that any of our readers
who may be quarrelling with their results, and probably
blaming the plates, should make a careful examination of their
apparatus for reflected light as distinguished from leakage
light. Possibly a good many may be surprised.
school. It mar, however, be mentioned that the pictures in question
were perfectly sharp, or, at least, as sharp as the coarseness of the
paper would allow them to be.
Civic Honour to a " Ti.A." — A little while ago, it will be
remembered, we alluded to the generous gift by Sir John Gilbert,
R.A., of several of his works to the Corporation of the City of
London for their Art Gallery at the Guildhall. The handsome present is
highly appreciated by visitors at the Gallery and also by the Corpora-
tion. One day last week, at the meeting of the Common Council, the
freedom of the City was conferred upon Sir John, the presentation
being enclosed in a gold casket. This, we believe, is the first time
such an honour has been conferred upon an artist. It is generally
reserved for crowned heads, members of the Royal Familj-, and other
noble persons. It is to be hoped that the example set by Sir John
Gilbert will be followed by others, particularly as the Government
is so niggardly in the purchase of pictures for our national
collections. Still, after all, it may be men.tioned that the English
possess more pictures that cost the nation nothing than any other
country, not excepting France and Germany. It is somewhat to be
regretted, however, that so few good photographic copies of them are
available for art students.
Artistic VigTiettes.— More than once attention has been
called to the generally inartistic appearance of the majority of
vignettes issued by professional portraitists ; indeed, it may be said
that, in the matter of vignetting, we are no better off than we were a
couple of decades ago— it is still the same monotonous pear-shaped
picture. Some time ago we alluded to a great improvement in this
respect in some pictures we had just then seen. They were platino-
types on rough paper with hatched backgrounds, after the style
introduced by the late Mr. Oliver Sarony many years ago, but we
have not seen any like them since. We have, however, recently had
the opportunity of seeing some others very much after the same style.
These were large heads, cabinet size, on very rough drawing-paper of
various tints, with a slightly hatched background, and vignettes, of
course. The process appeared to be gelatino-chloride, toned with
uranium, as some of the prints were almost a Bartolozzi red, while
others wete of a sepia, and also of a good black tone. So good were
the pictures that they closely resembled the once famous Richmond
heads in miniature. It is just possible that, if this style of picture
were talcen up by some in the profession, it might give a fillip to
their businesses, particularly amongst clients of the impressionist
Effect of Photog-raphic Chemicals on tbe Skin. —
At a recent meeting of one of the London Societies, a member called
attention to the circumstance that, after working somewhat largely
with the new developer, metol, he found it produced an unpleasant
effect on the fingers, although no other member appeared to have had
a simOar experience. Others of the newly introduced have also been
charged with having a pernicious action on the skin, but only, as in
the instance referred to, in isolated cases. The skins of some persons
are peculiarly constituted as regard alkalies, and it is these, we fancy,,
that are the cause of the trouble. We well remember, when the
alkaline system of toning was first introduced, that there were many
complaints that the toning solution produced an eruption on the
hands of some workers. Some laundresses, we are informed, frequently
suffer from the action of the alkalies they use, causing a slight eruption
of the skin of the hands. The action of the alkalies on the skin is to
soften it, and, even in a very dilute form with some skins its action
is very marked, and, if it be allowed to dry on it, to afterwards have
the opposite effect, to harden it. If, after working with any alkaline
solutions, whether new developers or not, the hands were well rinsed
with cold water, and the solution never permitted to dry upon them,
we think no inconvenience would be anticipated with any solution-
employed in photography. The same remark applies also to the more
pernicious chemicals, such as bichromate of potash, bichloride of
mercury, &c. )
A Plea for the Photographers' Benevolent Asso-
ciation.— The report of the last meeting of this deserving Institu-
tion shows that there is a great necessity for it, and we fear there-
will be a still gi'eater as the winter advances. There are now between
two and three hundred Photographic Societies in Great Britain, and
the larger number of them are now arranging their programmes for
the winter season. We therefore take this opportunity of reminding
them of the suggestion we have made before, namely, that they
should follow the example of the Photographic Society of Great
Britain and devote a Lantern Evening to the benefit of the Assof iation,
who are in need of increased funds to carry out its laudable objects.
Much has been said of late of the alleged injury done by amateurs to
the profession ; and, as the majority of the Societies are largely com-
posed of amateurs, it is not too much to ask them, without consider-
ing as to -whether the allegation is well founded or not, to consider
the distressed among the profession, particularly when is is con-
sidered that a Lantern entertainment with a little music is an enjoyable
evening'', quite apart from the pleasure of contributing to a deserving
object. The report referred to is quite sufficient to convince every
one that the funds of the Benevolent Association are carefully ad-
ministered, so that those helping have the assurance that the money
is not wasted. If each of the Societies were, by the means suggested,
to raise but a single pound, the income of the Associa-tion would be
considerably more than doubled. Possibly a polite circular to the
difierent Societies would bring the subject more prominently before
them .
Beproductions. — One of the first things considered when ancient
manuscripts are discovered — and they are now continually being
found — is to have them reproduced by photographic means. Then the
question arises as to how they are to be rendered ; that is, as they
are in their present condition, or to reproduce them as nearly as possible
as they were when the writing was first executed ? This subject has
exercised the minds of the authorities of most museums containing
ancient documents, and is exercising them still in some quarters
where it is yet a vexed question. It seems that the majority are
in favour of having the copies as an exact representation of the
originals as in their present state with all the imperfections wrought
by time. On the other hand, some prefer to have the reproduc-
tions as nearly approaching, as they can be made, what they were in
their pristine condition. We recently had the opportunity of seeing-;
October 6, 189S]
THE BRITISH JOURNAL OF PflOTOGUAPHY.
«r
the same mnnuscripts reproduced both ways. The former were by
the collotype method, and the stains and discolouration of the parch-
ment and paper were exactly rendered. The latter were by photo-
litliofifraphy, as presumably by an orthochromatic method and also by
dodjjfin(f the stones all these were obliterated. Tlie contrast between
the two reproductions was f?reat, yet the writing itself was the same
in both cases, except that on the clean surface of the photographs it
appeared more distinct. In the collotype, where the stains on the
original were very strong, the lettering was scarcely readable. What-
ever may be the opinions as to this question as regards old manuscripts,
we imagine there is not a divided opinion as regards paintings. No
one, we surmise, would care to have copies of the old masters with all
the cracks in the paint conspicuously reproduced when by slsilful treat-
ment in the lighting they can be, and usually are, considerablj-
ameliorated.
CHICAGO EXHIBITION— AWARDS.
Thk following awards have been made in the Photographic and
Apparatus Sections : —
British Society for the Promotion of the Employment of Women,
photographs.
Mr. Henry Wilkinson, instruments to indicate the action of engine
valves.
Messrs. Riley Brothers, optical lanterns and slides.
Messrs. Ross & Co., lenses, field-glasses, and instruments of pre-
cision.
Messrs. F. Darton & Co., meteorological instruments.
Mr. J. Lafayette, photographs printed in carbon.
Mr. H. Mendelssohn, portraits.
Sheffield High School, photographs.
Educational exhibit (Mrs. Ayrton's line divider and Mis3 Gregory's
geodoscope).
Mr. A. Baker, photographs.
Mr. W. Byrne, photographic portraits.
Mr. J. Dore, photographic lantern transparencies.
The Esmail Enamel Company, miniatures on enamel.
Mr. Henry Flather, carbon photographs.
Messrs. B. Lemere & Co., architectural photographs.
Mr. Lyddell Sawyer, photographs.
Messrs. Symonds & Co., photographs of British ships.
Mr. Henry Van der Weyde, electric-light photographs.
Mr. ^^^ M. Wameuke, photographs.
Messrs. Alfred Werner & Son, photographic portraits.
Messrs. Window & Grove, photographs.
Mr. W. W. Winter, photographic lantern slides.
Messrs. W. Watson & Son, (1) mathematical, astronomical,
surgical, and English instruments; (2) lanterns: (3) photographic
lenses, &c.
Mr. W. Clement Williams, photographs.
Messrs. K. & J. Beck, photographic apparatus.
DENSITY AND COLOUR IN COLLODION EMULSION.
I HAVR before me a letter from a correspondent on the above subject,
upon which I wrote a couple of articles in these pages last November.
As my correspondent lias carried out the suggestions there made witli
only partial success, there may be others in the same position as
himself, for whom my reply to him may have an interest.
The gist of the present complaint is briefly as follows : Although
immediately after emulsification, the emulsion was of a rich ruby-
orange colour, and gave transparencies of good density and excellent
tone, after ripening for six to eleven days, the colour by transmitted
light changed from the rich red to a cold grey colour, and after pour-
ing out, drying, washing, and re-dissolving, it would only produce
images of a bluish-grey tone.
Bearing in mind what I have already said in my previous articles
on the subject of unsuitable pyroxyUne, I think there can be little
doubt in this case that the cause is too-prolonged ripening, combined,
it may be, with a partially unsuitable cotton— i.e., one that will not
bear \onft emu1<)ification. DifFerent sample* of pyroxyIin« rrj m
much in this way as in any otiier respect, but their behaviour dwing;
tlie progress of ripening may usually be taken m a pretty Mfe guide
ns to liow to act. Some specimens— and they are wholly unxuitable
for the purpose — will (five at the very outset an emuluon poflwating
a grey, blue or lavender colour by transmitted light, and uuder no
conditions whatever a red colour. ' Others may pre."ient more or leMOf
a yellow or orange tint at first, but rapidly los-i it, changing to tlie
cold blue or grey, and these should be rcgardod with suspicion, as they
will rarely' if ever pass the ordeal of washing, even if they ahould
prore of any use unwashed.
But when the pyroxyUne is of such a character as to give to tiw
emulsion the rich transmitted colour described by my correspondent,
it may, in nine cases out of ten, be relied upon to stand washing with-
out losing any of its good quaUties, if properly treated, and, in this
connexion, the period of ripening forms an important item. The
change of colour of the particles of bromide mark, in fact, the progrea*
of the ripening both in collodion and gelatine emulsion, and atthaagk
with the latter the cold grey or blue colour may be a desirable indi-
cation of great sensitiveness, it is to be avoided on all oounta with
collodion. It may be a sensitiveness, but it is an equally sure sign
that all the " body " has gone out of the emulsion — that, in fact, it is
over-emulsified.
But with regard to the question of sensitiveness, I doubt wlietlier
any greater rapidity is secured — that is to say, rapidity of a practical
character— by eleven days' emulsification than by one or two, if tke
emulsion be mixed in the proper way. In earlier days, when ax
excess of soluble bromide was the rule throughout, it was the ref^ular
plan to allow a very long period for the complete combustion of the
salts ; but when excess of silver came into vogue, not only was the
period of ripening considerably curtailed, but it became necessary to
employ a large proportion of restraining acid in order to preveat tog,
and to keep the emulsion from passing into the grey stage.
Prolonged emulsification in the acid state and in the presence of
free silver may perhaps result in the very highest degree of senaitire-
ness that is obtainable with collodion emulsion, but for all practical
purposes, and especially for lantem-slide work, a much better result
will be obtained by a very brief submission of the constituents of the
collodion to the action of free silver without the restraining acid, aad
then a further few hour's ripening after the excess of silver has bees
converted. Thus, if the plan I mentioned in the first of my artietes
last November be adopted, namely if a portion of the bromistyl collo-
dion be held back in sensitising and the remainder have added to it
the full quantity of silver so as to show an excess, the accessory re-
quirements will be fulfilled. The emulsion may remain in this state
for an hour, half an hour, or only two or three minutes — the period
is not very material, but perhaps half an hour is ample — and the
remainder of the bromised collodion is then added and well mixed.
The emulsion may be poured out to set at once if desired, or may
be allowed to ripen for a few hours longer, and will prove at the
finish to be just as sensitive as, and a good deal better in other
respects, than if it had been allowed to ripen for days. It must be
borne in mind that the ripening proceeds during the drying of the
" pellicle," and more especially during the latter portion when heat
is applied, and many an emulsion that is poured out in just the right
condition is spoilt by forgetting this fact.
I should advise this course in connexion with any sample of
pyroxyUne, though there are, of course, some sorts that require suck
treatment less than others. The only commercial sample I am aware
of at the present time that is altogether independent of any special
treatment, except care in not over emulsifying, is Rouch's. The best
kind I ever used in years gone by for washed emulsion was aa
American sample known as " Pary's Cream," I think was its name,
and there were two or three grades of it, what I used being " No, 2.'
I doubt whether it is made now, but Mr. J. J. Atkinson, of Liverpool
may know.
It is a hopeless task for an amateur to make his own pyroxylins
with any chance of uniformity, as working on a small scale it is abso-
lutely impos.sible to secure regularity of temperature, or, indeed, of
any of the conditions requisite to success. Otherwise, I should advice
those who want good results to make their own pyroxyline. It givat
638
THE BlUllSH JOURNAL OF PHOTOGRAPHY.
[OototerC, 1893
the best results as regards qualify of image and colour, but it has a
serious fault for lantern work— it is very apt to dry slightly opalescent.
This, however, is not a necessary characteristic, and when it does
occur varnishing removes it.
In conclusion, I may say that the kind of cotton that is best suited
for washed emulsion is one that gives a film that is neither " rotten "
nor " homy," but which when rubbed with the fingers after washing
has a " soapy " feel, and is rather short in texture.
W. B. Bolton.
ELEMENTARY STEREOGEAPH Y.
[North Middlesex Photographic Society.]
A Plea for Siebeoscopic Photoobapht.
A coKRECTLY prepared stereoscopic slide or transparency, when examined
in the stereoscope, shows us the original view with all the realism that
invested it at the moment we exposed our plate upon it. Stereoscopic
pictures, binocularly observed, take us one ttep further than does
the faculty of memory. The latter recalls to the mental gaze scenes in-
visible to the material eye ; the former re-create, if not the veritable
scenes themselves, at least transcriptions of them, perfect in all respects
but two, namely, movement and colour. Atmosphere, distance, solidity,
height, depth, and breadth are more than merely suggested in stereo-
graphs ; to the eye, or rather to the brain, they appear as though they
were really present in them. No single or monocular photograph, how-
ever skilful or cunning in the management of its lights and shadows,
suggests more than a faint similitude of the attributes of actuality I
have enumerated. The aisthetio beauty of good stereographs is inferior
to that of Nature herself alone ; their fidelity to that original can be
scientifically demonstrated, and yet, while they allow little rein to the
fads and freaks of your modern photographic impressionists, they are,
nevertheless, artistic, as most of us understand that indefinable yet
easily realisable term. The delight at viewing stereographs is so genuine
and lasting, they are so easily prepared, and the educational advantages
of stereography are so considerable, that there is room for wonder at the
comparatively few photographers who practise it. Stereography is an
art within an art, and it is readily acquired by anybody having an ordinary
acquaintance with monocular photography. I have called it a thing of
beauty. That it is a joy for ever, that its fascinations are of an enduring
nature, may be proved by broaching the topic to most veteran photo-
graphers. The deep aflfection they retain for binocular work, their regret
•t its decadence, their pleasure at its resuscitation, can only be under-
stood by stereographers.
Some Mistaken Ideas.
I have been extremely surprised, and just as much amused, at the large
numbers of photographers — professional and amateur, veterans and
novices— who are ignorant of the fundamentals of stereography, and whose
ignorance leads them into all kinds of blunders when they come to talk
or write of it. The supposition that stereoscopic effect is obtainable
from two similar pictures is a common fallacy, and quite recently has
formed the groundwork of articles and papers by people posing as
teachers of then: subject. As two dissimilar pictures are necessary to
obtain stereoscopic effect, the absurdity is manifest. The other day,
too, the novel property of " stereoscopicity of effect "was claimed for
negatives on multiple-coated plates. Then, not long ago a writer of
considerable scientific eminence said he had stood outside a shop window
filled with monocular photographs, and, at a distance of several feet, saw
them stereoscopically. Such a thing can't be done by any mortal man.
Consider : I am quoting photographic " authorities " who enjoy the profit
and dignity attaching to that agreeable reputation. I can the more
readily excuse the ignorance of a bystander (an amateur, I divined, by
his conversation) who, when I was recently using a binocular camera in
Norfolk, told a friend who was with him that the function of my two
lenses was to " unite the two images in the camera;" but even he, like
the supposedly better-informed gentlemen I have quoted, had two eyes,
and could not have known how, why, or what he saw with them.
Stereogbapht in a Nutshell.
For here— in the philosophy of eyesight, in binocular vision— lies the
whole subject of stereography ready cut and dried for assimilation by the
meanest capacity. With our two eyes we see stereoscopically— that is,
through them two dissimilar or unlike pictures of an object are carried to
the brain, which combines them to form a third, which is what we think
we see with the two eyes simnltaneonsly. Now, mark the analogy
between the eyes and the stereoscope. In the latter, two lenses are
placed side by side to enable us at short focus to look at two dissimilar
photographs — that is, photographs taken from slightly different points of
view — and these pictures are conveyed through the eyes to the brain,
which combines them to form a third picture having all the illusion of
reality. That there are two points of view in binocular vision necessarily
follows from the fact of the eyes being separated, but anybody can
practically test the point for himself by using, first, the right eye alone,
and then the left to look at a view or object, when it will be seen that the
right eye takes in more of the right side of the view or object, and the
left eye of the left side, while the picture seen, or supposed to be seen, by
the two eyes differs from both the monocular pictures. Furthermore, the
convergence of the optic axes upon near or distant objects enables us to
appreciate solidity, relative size, and relative distance, and when looking
through a stereoscope at two dissimilar photographs, convergence of the
optic axes by refraction again comes into play to separate the planes of
the subject, and to, in short, impart to the picture what I have already
termed the realism of the original view or object.
Now suppose a pair of lenses, mounted on a camera front and separated
by about the distance that separates the eyes, and a twin or binocular
negative to be taken. The point of view of each lens was different, hence
there must, in theory, be a dissimilarity in the two pictures, just as we
have seen that there is in the two pictures seen by the two eyes. Practice
agrees with theory in this. The right-hand negative has more of the
right side of the picture than the left-hand negative has, and the
left-hand negative has more of the left-hand side of the picture than the
right-hand negative ; and where the two negatives are joined the amount
of subject included on those sides is severally less than that on the corre-
sponding sides. Prints from such negatives having the same relation in
the matter of right and left, and inclusion of subject as the double view
as seen by the two lenses had, fulfil every condition necessary for
binocular examination. Put it in another way. Imagine the lenses to be
your eyes. They saw two dissimilar pictures of the view, and your positive
prints are, practically, what your eyes or your lenses saw. The stereoscope
lets you see the two views under the same angular conditions as they were
taken, the result is a coalescence of the dissimilar results in the brain, and
Nature herself over again, a perfect /ucstmi/e in miniature.
The Stereoscopic Camera and Lenses.
Although not essential to the production of binocular pictures, I shall
assume the use of a binocular camera in stereography — that is, a camera
fitted with a pair of lenses and a collapsible division extending from back
to front, and virtually making two cameras of one. The lenses must be
accurately paired as regards focus and diaphragms. For most kinds of
work single lenses are employed, although rectilinear doublets have an
advantage in the matter of extra rapidity and for short-focus work in
giving freedom from distortion. A focal length of five inches will be
most convenient ; but for confined subjects a pair of wide-angle doublets,
of about four inches focus, and for distant objects a pair of singles, of, say,
seven inches, are desirable. Beyond that focal length it is seldom
desirable to go, and I shall sliow you later that the occasions when even
a pair of seven inches would be found serviceable are not frequent in the
course of ordinary work. I do not wish to dogmatise on the debated
point as to the distance of separation of the lenses when mounted on
the camera front, but, from my own experience, would recommend
three inches from centre to centre. The acme of convenience is, of
course, gained by having the power of adjusting the lenses to suit near
and distant objects, the rule to follow being, the nearer the object the
less the separation, and the more distant the object the greater the
separation. Three inches, however, will be found to strike a hnppy
mean, and will obviate exaggeration of relief in most subjects. It need
hardly be said that such a shutter must be used as will allow of simul-
taneous exposure of the two halves of the negative. Some photographers
use a double cap.
A camera of the old-fashioned square bellows form is necessary, with
an extra front for the twin lenses, and the collapsible septum already
spoken of. A half-plate or larger camera is a stereoscopic camera per sc,
and can be converted for practical use at a small cost. As to size, I do
not recommend anything larger than 7J x 5 or 8 x 5 ; using whole-plates
and upwards for binocular work is a waste of plate area, and renders
contact work, either for lantern slides or stereoscopic transparencies, out
of the question if one wishes to have choice of the whole of the subject.
Briefly, anything larger than half-plate is unnecessary, and has its
drawbacks.
Mention of the camera gives me an opportunity of condemning the, it
is to be feared, still existent mania for taper-bellows cameras. These,
perhaps, have some slight advantage in lightness, but often put a barner
October 6, 1893]
THE BRITISH JOURNAL OP PHOTOGRAPHY.
6r»
in the way of the effective use of the rising and sliding fronts, and are
useless for stereoscopic purposes. For these and other reasons I would
strongly recommend the beginner to procure a camera of the square form.
Many of ray friends lament having sacriBced so much for the privilege of
knocking off an ounce or two's weight. Up to about ten or a dozen years
ago, such makers as Lane, Meagher, Spicer, and others, always sent out
their square-form cameras with a detachable elastic division, to be used
for binocular work. In those times, however, the division was rarely, if
ever, required, stereography being virtually a dead letter, and I remember
that, in the establishment of a well-known firm with whom I was then
connected, there was quite an accumulation of these useless' divisions.
By-and-by, the makers ceased sending them out altogether.
, Seliction of Subject.
As this is a branch of stereography upon which little has been written,
I enter upon it with peculiar pleasure. Most subjects are suitable for
binocular treatment. In exercising the faculty of selection, a safe rule
for the young stereographer is to split up his subject into several planes,
and to assume that, in the foreground, the middle distance, and the dis-
tance, some prominent object, or series of objects, is placed. Such a rule
simplifies the selection of subject considerably. Ninety photographers
ont of a hnndred working monocular cameras, would either despise or
overlook subjects capable of producing the most cliarming effects in the
stereoscope. Conceive a bank of reeds in your foreground, a stream of
water, with a gnarled tree overhanging it, a distance of shelving bank
studded with brake and bramble — each of us can recall dozens of such
rural vignettes, but most of us would not think them worth a plate in
the monocular camera. Yet how entrancing and riveting in its realism,
how astonishing to note eacli nodding reed standing out like life
itself, each bough, twig, and branch solid and round against the sky,
the liquid transparency of the water, the wonderful effect of distance
in this simple picture when binocularly treated, and how one is
tempted to stretch out one's hand — to look behind the picture as it
were — to grasp the substance of what, after all, is only a shadow? An
old cottage behind a rustic gate backed up with sheltering trees, a crazy
bridge over a willow-lined river, shipping, most architectural subjects,
interiors, tree studies, flowers, statuary, portraiture — all pay for binocular
treatment. Nevertheless, open landscapes and seascapes, and subjects
on one plane, however truthfully rendered, fail in binocular effect — indeed,
long-focus work generally is scarcely satisfactory, and in that category
possibly come instantaneous views of rapidly moving objects, though
street life, and scenes deriving animation from the presence of people and
other animals form capital subjects. Hand-camera studies of animated
life always convey to me the negation of animation, but binocular hand-
camera work gives me an idea of movement — of having a better approach
to visual effect. Some binocular street scenes of Plymouth, taken by Mr.
Seaman during the late Convention, struck me as wonderfully successful
in that respect. With a stand camera it is not always possible to obtain
such pictures, and therefore a hand camera must be used. Hence I
regard the stereoscopic hand camera as the hand camera of the future.
It will be a valuable adjunct to stereography. I refrain from saying
how much it will benefit its users physically and mentally, how much
it will increase the rapidity of plates, sharpen our nerves, add to
our weight and our banking account, assure artistic expression to all our
pictures, and decrease the distance between us and the photographic
millennium ; or I do not, alas 1 make hand cameras, do not sell them,
have not a mandate to boom the hand camera, and sing its praises on
every conceivable occasion. Hence this silence.
Reverting, however, to selection of subject, it will, I think, be found
that there are more subjects within the scope of the binocular camera
than the monocular — that is, there are subjects which are worthless as
single pictures which well repay binocular treatment. Of course , the
ideal amateur should be ready for both kinds of pictures as occasion may
arise.
Stereooraphio Printing.
Stereoscopic negatives should be well exposed, and, if anything, incline
towards softness, so that the prints may be without violent contrasts of
light and shade, and too prominent high-lights printing out white. In-
deed, flat-looking prints are preferable for binocular examination. I have
a daughter aged eight. When she first saw some stereoscopic slides she
thus summed up their principal charm and commonest defect, " They
look quite real," she said ; and of one of them, " Did it snow when you
took that picture?" This snowiness is fatal to the best results, and, if
unavoida'jle in the negative, should be obviated by a careful sunning
down of all white patches in the prints. A surface paper is essential, as
all rugosities are magnified in the stereoscope. Gelatine or collodion
prints are preferable to albumen prints ; enamelled bromide prints are
also suitable. Tone ia, of cottrse, a matter of individual taste, but wftrm
tones are, I think, more agreeable than cold onei, and contribnte better
to fidelity of effects.
We come now to a part of our subject which is very puzzling to the
beginner, that is the transposition, trimming, and mounting of the prints.
Still, all diltioulty vanishes if we consider for a moment what it if we
desire to produce in our finished print. We have taken two piotores.
The one taken with the right lens must come on the right side of onr
mount ; the one taken with the left lens, on the left side of the moont.
But in the print from onr negative the two pictures occupy reverse posi-
tions, so that the print must be out in two in order that the two halve*
may be made to change places. For the sake of brevity, I will summariie
the procedure necessary.
1. Both prints must have an identicsl base-line.
2. Kach print must be two and a half inches wide.
3. Three inches in height will be sufficient ; a little more or less is
immaterial.
4. Trim the prints so that on the left of the right-hand picture
and the right side of the left-hand picture a little more of the
subject is seen than on the other sides of the pictures. Or, to
put it another way, the sides of the prints which come together in
mounting should each show more of the subject than the outside sides.
A difference of from one-sixteenth to an eighth of an inch is asoally a
sufficient margin.
5. Allow a space of from one-sixteenth to an eighth of an inch (o
separate the prints.
6. Trim by foreground objects, and let a distance of not more than
three inches separate them.
Spots or other defects in one of the prints show in the combined image,
but if one print be printed a little deeper than the other it is hardly
appreciable.
Stereoscopic Tbansparescies.
We must concede that stereoscopic prints do not compare in beauty
of effect with stereoscopic transparencies ; but I do not go so far as some
in counselling transparency making alone, for in the preparation of prints
one can graduate in the small niceties of stereography, and let them find
ultimate expression in transparency work. Besides, sensitive paper is
cheaper to learn on than glass plates. In actual practice, transparencies
are easier to make than prints. What I have said of the desirable
qualities of stereoscopic prints as compared with monocular prints
applies, in a like degree, to binocular transparencies as compared with
lantern slides. The ideal brilliancy, clearness, and transparency of the
latter are not necessary ; indeed, they are In the nature of drawbacks.
Of the methods of making glass stereographs, commend me to that by copy-
ing in the camera. The following outline of a working method wUl
supply such details as will enable an amateur to undertake stereoscopic
transparency making at a very small outlay of ingenuity and money.
At the back of an open box, having a central partition, the negative is
placed in a suitable holder, inverted as regards top and bottom, film side
ont, and facing the light, which may be either direct or reflected. The
binocular camera used for the negative should be fixed to a rigid board
and register secured between negative and ground glass. The space be-
tween the objective and the negative holder should preferably be covered
in with opaque material. The two images, as seen on the ground glass, will
not be inverted, and will be in their proper positions as regards left and
right, and consequently will not need transposition. The same rules as
to identity of base-line and inclusion of subject must be observed as with
prints, but you will easily see that they are considerably simplified. I
myself use a special camera for the purpose. When the transparency is
developed and dried, it is masked and bound up in the usual way, ttnd,
being viewed through its glass support, is backed up with either plain or
ground glass.
For viewing slides and transparencies, a stereoscope of the familiar
Holmes form will be found convenient, but it is very seldom found made
in accordance with theory, as it should be so adjusted as to allow of the
separation of the lenses to suit degrees of separation found in the eyes of
individuals.
Tbs Stereoscopic Revival.
I quote this oft-used term only to anathematise it. It is time ve
heard the last of it, for stereography is well past the revival stage. For
a long time anterior to 1887 it was virtually moribund, bat in Tax
British Jocrnal Photographic Alsianac for 1887 appeared an article by
the Editor which handled the subject in a succinct and mstmctive form,
and was instrumental in rescuing stereography from neglect. Mr.
Chadwick, of Manchester, subsequently devoted a great deal of attention
to the subject. Some of his writings have been republished as The
640
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[October C, 1893
Stereoscopic Manual, which, with the Almanac named, will tell a beginner
all he need know at the outset. If he carea to dive into the profundities
of the stereoscope and binocular vision, let him consult Brewster's
8tereo>cop-e. I conclude with a question. Why do not promoters of
photogTaj)hic exhibitions have classes for stereographs ? A double end
would be gained. Photographic exhibitions which stand sadly m need
of novel attractions would possibly secure one, and stereography among
amateurs would receive an encouraging fillip. Thomas Bsdcino.
A SUGGESTED IMPROVEMENT IN THE CORRECTION OF
LENSES FOR PHOTO-MICROGRAPHY, PHOTOGRAPHY,
AND PHOTO-ASTROGRAPHY.
[New York Medical Jonmal.]
PniOE to the time of the late Col. J. J. Woodward, M.D., surgeon o*
»he United States Army, say twenty-five years ago, photo-micrography
•was in its infancy. It is true that photographs of microscopic objects
had been made, but they were crude and unsatisfactory, and were all
made with what we would call low-power objectives. Although the
objectives then made were of excellent construction and well adapted
to the revelation of the structure of minute objects to the eye, yet the
photographs made with them were greatly inferior in clearness and
sharpness to the virtual image appreciated by the retina. _ The cause
of this was not far to seek, and was due to the lack of coincidence of
the visual with the so-called actinic focus. At the period mentioned,
the art of photography was almost exclusively practised with the aid
of coUodio-iodide plates, which were very sensitive to the blue, violet,
and ultra-violet ^ore refrangible), and but feebly sensitive to the
«»reeii, yellow, and red (less refrangible) rays. Per contra, these
latter rays impress the eye so forcibly that the effect of the more
refrangible rays is almost obscured, that is, when mingled with the
others, as in ordinary white light. The practical outcome of this
condition was that, when the ground glass of the camera was in a
position that gave the sharpest image to the eye, this image could not
be duphcated as to sharpness in the developed photographic plate
occupying the plane previously occupied by the ground glass.
In order to obtain a sharp photographic image it was necessary
either to shorten the anterior conjugate focus, which involved the
veriest guesswork, and was practically unavailable, or else to move
the plate to a point nearer the lens where the actinic rays came to
their posterior conjugate focus. This was perfectly practical, and by
lepeated experiment the relation of the actinic to the visual focus in a
fiven lens could be ascertained. Although practical, this method was
ardly satisfactory.
In ordinary photography, the difficulty attending this difference in
the natural positions of tfie actinic and visual foci had already been
overcome by making the visual focus correspond with the actinic by
constructing the lens so that it should be left in a state of moderate
" under-correction," as it is termed by opticians.
Among the first to appreciate the value of this, as applied to photo-
micrography, was Colonel Woodward, and the first opticians to give
it practical form were, I believe, Mr. William Wales, of New York,
and Mr. Ernst Gundlach, then of Berlin, but now for many years a
practical optician in this country. This example was followed by
Tol'ss, of Boston ; Powell & Leland, of London, and others.
Woodward was one of the most accomplished microscopists, so far
M the manipulation of the instrument was concerned, that ever lived.
His skill in securing the virtual image, and in projecting the real
image, was at that time equalled by few and probably surpassed by
none.
With Woodward's skill, and the possession of lenses specially
adapted to his purpose, the results obtained by him were the wonder
of the scientific world.
Since his time, photo-micrography has, in the main, followed the
paths he marked out, and the improvements in the art since then have
simply kept pace with the gradual improvement of the objective, and
especially in the direction of increased apertures. One notable advance
in the technique, however, is Abba's happy conception of the projec-
tion ocular.*
The collodio-iodide gave place some years ago to the gelatino-
^romide plate, which, like its predecessor, is especially sensitive to the
blue and more refrangible rays, and almost wholly insensitive to those
which give the strongest visual impression.
* Peculiar advantages have been claimed on behalf of objectives constructed
according to the so-called " apochromatiu " system. These lenses, however,
possess certain disadvantages, which restrain me from giving them unqualified
coBuuendation.
In order to obtain the sharpest image on such a plate, the lens must
of necessity be under-corrected, as already stated. In accomplishing
this, however, there is a certain loss of visual excellence, which, how-
ever, is of little moment in ordinary photography. That this under-
correction of lenses for photo-micrography results in an impairment
of their visual excellence is well known to opticians, but has thus far
received but little notice from the actual users of the lenses in ques-
tion. A few recent writers, however, have directed attention to the
matter.
Londe {La Photographie MMicale, Paris, 189-3) says : " The first
and most important question is the choice of objectives. These
may be excellent for observation and more than mediocre for
photographv."
Mercer (Journ. Royal Micro. Sac, June, 1892) in speaking of some
of the objectives used by him in photo-micrugraphy, says: "The
Wales objectives are corrected spherically for the violet ray. 'The
violet image is therefore somewhat superior to the visual, with which,
however, it is coincident."
Czapski, in a letter published in Van Heurck's treatise on the
microscope (London, 1893), says:— "In every case the objectives
specially constructed by opticians for photography can never be
advantageously employed for observations and inversely."
From the foregoing it will be clear that lenses which were best for
visual purposes were not the best for photographic use, and it was
necessary, therefore, when the most perfect results were sought in
both departments, to have a double set of objectives, and many inves-
tigators did provide themselves with such an outfit.*
The inconvenience and lack of economy involved in this arrange-
ment are manifest, but how to obviate it does not appear to have
occurred to opticians or others interested in the subject.
Having been practically familiar with photography and photo-
micrography for upwards of twenty years, I have bad the opportunity
in that period to become reasonably familiar with the inherent defects
of their technique, but it was not until the latter part of 1891 that I
perceived that a way out of the difficulty might be readily found.
During the past five or six years the manufacturers of gelatino-
bromide plates have placed on the market plates which are extremely
sensitive to yellow light, and but feebly so to the blue, violet, ultra-
violet rays of the spectrum.
If, now, the objective be corrected for yellow instead of for blue or
violet light, the negative being made on one of these yellow-sensitive,
or so-called " orthochromatic " plates, there should be an exact corre-
spondence of the visual and chemical foci, and the resulting picture
should be superior to tlje one that could be obtained by the ordinary
procedures — that is, an under-corrected lens and blue-sensitive plate ;
and at the same time the objective would not have its visual ex-
cellence impaired, supposing, of course, that the optician performs his
part with care and skill.
In order to test the practical value of this theoretical reasoning, I
requested Mr. H. R. Spencer, now of the Spencer & Smith Optical
Company, of Buffalo, N.Y., to calculate the formula and construct a
lens which would fulfil the stated requirements. The result was a
lens of one-sixth of an inch equivalent focus, and possessing a
numerical aperture of P35. With this objective I have resolved and
photographed the Amphipleura pellucida in lines, and have photo-
graphed both the Navicvla rhomboides and the Van Heurclda cras-
sinervis in lines and beads.f
In ordinary histological work, with amplification ranging from 200
to 400 diameters, the results with this lens have been very much more
satisfactory than I have been able to obtain by any other combination
of lenses or plates.
With a qnarter-inch objective of the same construction, made by
Spencer & Smith on the order of Dr. J. A. Fordyce, of this city, I
have resolved the A. peUucida with white light, and have demon-
strated the resolution to him and to others. W^ith a one-fifteenth
of an inch of the same construction, the property of Dr. J. H. Kellogg,
of Battle Creek, Mich., I made the photograph of the podura which
accompanies this paper (see plate).
In order to f m-ther test the correctness of the principles involved, I
requested Mr. Turner, of the Gundlach Optical Company, Rochester,*
N. Y., to make a three-quarter inch lens of moderate aperture (n. a.
0'33). Considering the power, aperture, and price ($12), the lens
gave very satisfactory results, and wholly confirmatory of the theo-
retical demand.
* It must be admitted that some of the apochromatics of short focus (2 mm. )
obviate in a measure this difficulty ; but those of longer focus have not, at
least in my hands, proved satisfactory.
t As regards the last-named object, it has been previously photographed in
beads, so far as I am aware, only by Van Heurck with the aid of a lens of higher
power, one-eighth of an inch and much larger aperture (n. a. 1 '60).
October 6, 1893]
THE BKITISH JOURNAL OF PHOTOGRAPHY.
641
In using these lenses with yellow-aensitive plate-s, thare in s distinct
gain in definition and purity of image, both visual and photograpliic,
if the object be illuminated with light of corresponding rofrangibility
{\ 5892). This may be obtained absolutely by employing a sodium
flame, or approximately by intercepting the white lignt with a
medium capable of absorbing the rays of snort wave-length.
For the greater part of photo-micrographic work, and especially
that which deals witli histology, I unliositatingly recommend the
technique here described, which, briefly stated, consists in the use of
objectives whose correctness shall be adjusted to the D instead of the
G or II lines, and in conne.xion with plates specially S9n^itive to D
light, and having the object illuminated as near as may be with rays
of the same refrangibility.
If, however, we nave to deal with objects in which we must resolve
or optically separate particles, whose approximation to each other is
less than, say, xiiftnnr of an inch, the foregoing statements do not
The studies of Ilelmholtz and of Abbe have placed us in possession
of a formula which appears to bo theoretically and practically true, and
may be expressed as follows : —
R.-p.=
" R.-p." here indicates the resolving power of the objective ; " n." the
refractive index of the medium lying between the cover glass of the
object and the front lens of the objective (be the same air, water,
glycerin, or oil) ; " u." the semi-angle of the aperture of the objective ;
" sin " the natural sine of said semi-angle ; and " X " the wave-length
of the light employed. Now, the "numerical aperture" of the lens
is equal to n. x sin u., and the equation becomes simplified into —
R.
-p. =
From this it will be seen that, if we desire to obtain extreme resolu-
tion, it is necessary to employ objectives of the greatest numerical
aperture, and employ in connexion therewith such visible rays as
possess the shortest wave lengths. For tke photographic reproduc-
tions of such images blue-violet sensitive plates, witli under-corrected
lenses and approximately blue or violet illumination (Woodw^ard's
technique) will give the best results. At the present time Mr. E. M.
Nelson, of London, is devoting special attention to the development
of this branch of photo-micrography.
It will be noted that the formula above given does not take into
account the equivalent focus or magnifying power of the lens ; in
other words, that this factor has no influence on the resolving power
of theobjective. This is correct. A well-connected 1-inch objective
will resolve exactly as well as an equally good :i-inch, provided the
factors N. A. and X remain the same. I here allude to this matter, as
every few years some one imagines that he is on the verge of great
discoveries, to be brought about by the simple feat of increasing the
amplification of the image. Let us assume that a photograph be
made with an amplification of 3000 diameters, with n. a. the greatest
and X the least possible. This photograph may then be further en-
larged to 30,000 or yOOjOOO, but the enlarged pictures will not show
any finer or more intimate structure than was delineated on the
original smaller picture.*
Although orthochromatic or isochromatic plates have been regular
articles of commerce for several years, they are used by practical
photographers to a limited extent only. This is due to the fact that,
despite the acknowledged superiority of the plates themselves the
negatives made on them with the lenses ordinarily at command, have
not yielded as satisfactory results in some respects as were obtained
on the older blue-sensitive plates. The reason of this is almost self-
evident. All ordinary photographic lenses at present constructed are
under-corrected, and intentionally so, in order to make the visual
•Some months ago a friend, who is a sub-cfcief in one of the principal bac-
teriological laboratories of this city, remarked to the writer that the height of
his ambition was to possess and work with a Zeiss j^'^inch apocliromatic. I
replied that, if he fancied Zeiss lenses, he had better select a ^inch, as with it
he would be able to do more and better work in the line of research and dis-
covery than with the ^V'in'^h. My reply was evidently received with extreme
incredulity. If we refer to Zeiss' catalogue, we shall find that the numerical
aperture of the ^Jj-inch is given as 1'18, but the I'j-inch of the same maker has
aN. A. ofl'30. He makes still another ^'.j-inch,V. A. 1'40. Applying these
figures to the equation above given, and assuming for white light X 5269, we
shall find that the i^-inch will resolve or difierentiate particles that approach
«ach other .as closely as alwut 114,000 to the inch, while the ^-inch of ». A.
1'30 will resolve particles as close as about 125,000 to the inch, and the jij-inch,
ir. A. 1-40, will take optical cognisance of lines of particles that approximate
«ach other to within about n^^nt of an inch.
image agree with that formed by the shorter ware-lengths, to which
alone the old-style plates are sensitive.
If, for any reason, the photographer desires to use orthochromatic
plates, either for copving, for portraiture, or in general landscape
work, the only rational procedure is to use lenses that are specially
corrected for them. To carry out this idea, the GundUcb Optical Co.
kindly constructed an B x 10-inch " rapid -rectigraph " lena of 13-inch
equivalent focus, corrected for the D instead of the G line of the
spectrum. The performance of the lens has fully justified the induc-
tion that led to its construction.
When orthochromatic plates first came into general use, the
astronomers seized on them with avidity ; but it was not long before
they became dissatisfied with the results. At a recent astronomical
congress in France, the sentiment of the majority of those present
was that more faithful and satisfactory images of the heavenly bodies
were obtained on the blue than on the yellow-sensitive plates.
Little of value had been done in pboto-astrography until the late
llr. Lewis Rutherford, of New York, produced some photographs of
the moon which greatly surpassed any of the sort that naa been
previously accomplished with the refracting telescope.* Rutherford
used a telescope with the objective so extremely under-corrected that
it was almost useless for visual purposes. This lens, it is almost
needless to say, was specially corrected for the shorter wave-lengths,
to be used in connexion with wet-collodion blue-sensitive plates, the
only ones at that time available. Some astronomers employ a tele-
scope corrected for bast visual definition and a duplicate specially
corrected for photography, and it is the latter that they have usually
employed with the orthochromatic plates. The reason, then, that
these plates have fallen into disfavour with many of them is due to
the fact that they have used the wrong lenses with the right plates.
One of the principal advantages connected with yellow-sensitive
plates is their ability to record the details of distant objects in a more
satisfactory manner than is possible with the ordinary ones. Some
four years ago the writer called attention (Anthony's Photographic
Bulletin, February ,9, 18S9) to the graphotelic properties of these
plates in connexion with landscape photography. If this special
attribute of yellow-sensitive plates is of value in connexion with
distances limited by, perhaps, a score of miles, it certainly seems that
it should not be overlooked by those who work their lenses with the
anterior conjugate focus many millions of times greater than the
posterior. Hknuy G. I'iffaed, A.M., M.D.
PHOTOGRAPHY FOR ILLUSTRATING THE PRACTICE OF
MEDICINE AND SURGERY IN' A GREAT HOSPITAL.t
Tbe photographer in charge of the illustrative department of a great
hospital should at all times be attentive to his duties. He should be
respectful, and command respect from others. He should remember the
responsibilities of his position, and maintain the dignity of his profession.
Patients should be received in a quiet, respectful manner, and if in any
way reluctant to be photographed, which is seldom the case, they should
be led to understand that all is being done for their own and others' good.
They should be kindly and gently instructed how to do their part as to
position and immobility. In their treatment, age, disease, and personal
traits must be considered. In some cases where a time exposure is
required, it is advisable to momentarily suspend respiration, especially if
the part under treatment involves the chest or abdomen. With proper
instruction to the patient, and the use of a good pneumatic exposure
device under strong light, this is quite easy to accomplish. The
acquaintance of the photographer with peculiarities of various diseases
will enable him to produce better results than he is likely to obtain
through optics and chemistry alone. Hence his less crowded hours may
be profitably spent in study somewhat outside of the ordinary photo-
graphic curriculum. No little part in the successful illustrating of many
cases devolves upon the physician or surgeon having them in charge.
His opportunities for their study enable him to point out to the photo-
grapher the especitkl features of greatest interest to be shown in the
illustration. He should at all times accompany to the photographical
department, or send with the patien,t an instructed assistant who knows
something about the subject. All patients should be accompanied by a
written statement, giving name, age, nativity, occupation, disease, date
of admission to the hospital, number of ward or bed, and page of hospital
history book where the record of treatment is entered. Upon this state-
ment the photographer should place date of making negative, size of
* I am not unmiadfal of the magnificent work done by Dr. Henry Draper
with his refiecting telescope,
t C«ncladed from page 626.
C42
THE BRITISH JOURNAL OF PHOIOGRAPHY.
[October 6, 1893
plate nsed and its serial number, for future reference. The accompanying
form shows the method followed at Bellevue :—
u »
REQUISITION FOR PHOTOGRAPH.
Bellevue Hospital.
to ^
.189
% I Ward No Medical Division No Hospital History Book, 8 ^
jj^.2 Page No Name Ag(
g_ Occapation
Age Nativity o ^
g p.
I§
>3 "^
p to
a a
Date of Admission
*^ c' Disease
S'S Date of Operation
'? " Operation, by whom performed
g ° Number of Extra Copies Wanted »«'
B « House Physician. =" =
S g . Visiting Phvsiciao's or Surgeon's Copy (to be) mounted on Card- *g o.
^..ic board?" ^ g'-I
•§ S g HousB Physician',- or Surgeon's Copy (not to be) mounted on a =
Ja-e Cardboard? • I
"'/>§■ ^r One copy of the Photograph made on this requisition will 3-
■S &c >je furnished FREE to the Visilimj Physician or Surgeon of the S
2"°. 2 division whose autograph it bear.s. Also one copy to the ffoKS« g
-§ i'c. I'hydcian or Surqeon vhose autograph it bears, and one copy g
•S -^ £ for the Hospital Record Book, which copy is to be fastened in ^
0. g o the book, with the History of the case. (»
^ s'° All further copies made are classed as E.'ctras, and must be %
g £ paid for when ordered. 2-
The physician, assistant, or nurse in charge should prepare the patient
for photographing. Removing bandages, dressings and cleansing wounds
is not a part of a photographer's work ; all this should be done, as far as
may be, before taking the patient to the photographer. It is important
that patients who have been photographed before and daring treatment
bo a^ain photographed before their discharge from the hospital. Thus a
comparison may be made of the condition at the two or more periods.
The hospital stafE should be instructed that the preparation of patho-
logical specimens in any fluid of non-actinic colour Is detrimental to their
illustration by photography. Most such specimens submerged in fluids
of proper density are more successfully treated than in the open air.
The essentials to successful photographical work in hospital service are
suitably constructed and lighted operating, chemical, and printing rooms,
ample apparatus, order, and system, and a photographer who is
prompted in his work not alone by the small pecuniary reward which it
may bring. He should have an interest in the progress of science and
the relief of human sulfering. O. G. Masos.
THE CAMERA AND THE PULPIT.
Read at the Congreas of Photogrraphers.]
Tbb art of writing or recording by means of light, which we understand
by " photography," has come to be recognised as one of the most valu-
able instruments of modern civilisation. There is scarcely a line of
human achievement which has not found in it a servant whose assist-
ance has become indispensable in bearing old burdens and in assuming
new ones. Especially is this the case in the wide field of education.
Intellectual culture and moral culture both have found it profitable and
necessary to lay tribute upon the photographic camera and upon its
necessary adjunct, the optical lantern.
In all education the true method is to proceed from the concrete to the
abstract — from the objective to the subjective. This is true not only in
school life, but in the large education of the masses of the people. It is
interesting to notice the vast development of the illustrated material
now presented to the public in the periodical press as well as in the
stately volume. Hardly a daily paper do we find which does not boast
of its special artist, and every subject must have its appropriate woodcut,
engraving, or photogravure. This has been brought about, to a great
extent, by the use of the camera, by which the vast majority of this
illustration is made possible.
General science, the fine arts, commerce, the secular school, have all
invoked the light of heaven to shine upon them. Why should not the
teacher of religion also invoke the aid of this servant of God to render
vivid and clear spiritual truth ?
The camera has received a hearty welcome into the studio, the manu-
factory, the school-room, the lodge-room. It has also received a like
welcome in recent years into the Church. Religion has its basis in
history. It expresses its symbols in art. The earliest forms of archi-
tecture, as well as the highest expressions of art, are religious in their
motive. The temple became the repository of all that was most glorious
in sculpture and painting. The history of the religions of mankind can-
not well be studied without a knowledge of the monuments of past
civilisations.
In recent years there has been a great advance in the study of arch.T:-
ology. Here the camera has come in as a large factor. The growth of
the study of history has been very great, and the study of comparative
religions has been a part of the general historical movement.
In the teaching of the lite and history of the Church, the pulpit cmnot
do without the camera. Christian art and archaeology go band in hand.
The inscriptions are best copied now by the camera. Many places there
are where the use of the squeeze paper and brush are indispensable ; but
in most instances photography saves labour and accurately preserves the
record. In the study of the remains of the early centuries of the Church,
the religious teacher finds that the picture made on the spot is the best
means of rendering clear and vivid the thought he wishes to present.
The work done by the Palestine Exploration Fund and the Egyptian
Exploration Fund within the past twenty-five years has brought to light
a vast lot of material whose richness and importance as contributions to
the study of the religious life of these countries is simply inestimable.
Thus the study of the Christian evidences, from the standpoint of archse-
ology, the study of the religions of antiquity as preserved in their monu-
ments, the study of the development of Christian art as found in the
catacombs and elsewhere, is rendered possible and exceedingly valuable
by the rich fruits of the camera.
The Christian missionary to foreign fields now goes to his work armed
with his camera and optical lantern. He has found that the masses of
the people are attracted by the pictoral presentation of Bible themes.
In the great " melas," or fairs held in various parts of India may
often be found, in the midst of the thronging thousands, the tent of
the missionary, who attracts the attention of the people by his screen
projections and gains audience for the truth, which is thus carried
through the eye to the heart.
The teacher in the modern Sunday school has likewise added to hij
maps and charts the aid of photography to educate his fellow-workers.
To reproduce a map, to illustrate the life of our Lord or the journeys of
His apostles, to bring before the people the manners and customs of
Bible lands, the beam of light as a swift- winged messenger comes to his
aid. In studying recently the book of Nehemiah and his great reform,
during which he built up the dismantled walls of Jerusalem, discussion
turned upon the course of the walls and the general topography of the
city. From views taken on the spot with my own camera a few months
ago it became possible to illustrate the subject in such a manner as to
invest it with the utmost reality and vividness.
In the ordinary ministrations of the pulpit the camera is coming to be
recognised. Under certain circumstances, and on given occasions, the
use of the screen projection is assuredly a powerful adjunct. Its use
may, of course, degenerate into a mere spectacular performance which is
only a common show ; but, in proper hands, beneficent and lasting results
must certainly follow. A pastor in England affirms that, through one of
his illustrated sermons, delivered at various places, over three hundred
persons have been roused to lead a better life. The illustrated sermon
may have as real dignity and effectiveness as the illustrated volume, and
be more impressive because of the added element of personality.
The existence in England of what is called the " lantern service " is
well known. Ilhistrated themes are published and slides are rented.
Considerable space was given to this subject some months ago in the
Review of Reviews, the article being from the energetic pen of Mr. W. T.
Stead. In this country the interest in this kind of work has greatly
augmented within the last ten years. Some of our churches are now
provided with apparatus for this purpose. One church recently built in
Chicago has a laboratory for the manufacture of the gases, and the
pastor, who, it is needless to say, is a thoroughly live man, has great
success in presenting the truth thus illustrated to his people. Another
church, in Minneapolis, I believe, is provided with a screen, stereoptioon,
<i-c., all' at the control of the pastor by means of electric communications.
If he desires while preaching to illustrate his subject, he may, by
pressing the respective buttons, unroll the screen, turn out the lights,
and signal the operator for the picture. What is more, in many of our
theological schools may be found a complete optical outfit for the pur-
pose of teaching Christian art, architecture, paleography, and the latest
results in exploration and discovery in Bible lands.
All this serves to illustrate the statement that " science is the hand-
maid of religion," and none are so ready to acknowledge this as the
Christian tea'eher. Many clergymen are expert amateur photographers,
and are finding the camera a valuable adjunct in their work. It must
not be understood that the illustrated sermon is in any sense to super-
sede the ordinary service of the Church, but to find its place in specific
lines, as above indicated. The Church is more and more to use the
camera: (1) To teach Christian art and archfeology; (2) in work in the
foreign mission fields ; (3) in the Sunday school and normal work ; (4)
in special services to children ; (5) in evangelistic services among the
masses ; (G) in providing a high class of instruction along the line of
art and history. Eev. Db. A. W. Fatten.
SENSITIVENESS OF PHOTOGRAPHIC PLATES.
The extensive use of photography in science, art, and industry makes it
desirable to know something regarding the sensitiveness of the plate em-
ployed for any specific purpose. The subject, however, is one of great
difficulty, owing to the fact that we have not been able hitherto to secure
a satisfactory standard of light with which to compare plates.
October 6, 18!}3]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
Ota
The method now in use by the makers of commercial plates to indicate
sensitiveness is far from satisfactory, since there is no direct relation be-
tween the numbers nscd by the same maker, and still less when the plates
of different makers are compared. The No. 25 of one maker may indicate
greater sensitiveness than the No. .50 of another ; and, in general, the
numbers do not convey any definite information as to the time of ex-
posure required. It seems to me that it would be an important step in
advance if the makers of commercial plates would at least adopt a uniform
system in indicating the sensitiveness, so that the numbers (even if
arbitrary) would in all cases have the same meaning.
It appears now well-nigh impracticable to use sunlight as a direct
standard for illumination, unless a standard plate is adopted for com-
parison. But I think it is not impracticable to employ artificial light
which will give an absolute measure of sensitiveness for the hght em-
ployed. Artificial light, however, whether it be from the burning
magnesium, the electric lamp, or the flame of a candle, does not have
the actinic properties of sunlight, and hence different brands of plates,
which have the same sensitiveness for any particular artificial light, may
be quite different for sunlight.
It seems to be tacitly assumed, however, by most writers that the
standardising of a plate in one particular artificial light is all that is
necessary. On the contrary, the problem is only partially solved.
During the past ten years I have made hundreds of experiments on the
relative sensitiveness of plates in candlelight and daylight, from wnich it
is concluded that the plates of different makers do not necessarily hold
the same relation of sensitiveness for the two kinds of illumination. In
the standardising of plates, where the minimum visible is used as the
measurement of sensitiveness, we meet with a peculiar phenomenon,
which may greatly impair, if not entirely vitiate, our results. I refer to
the effect of extraneous light received by the plate in its manipulation.
When the wet-collodion plate was in general use, it was imagined by
many that the plate became more sensitive if subjected to preliminary or
supplementary exposure. In 188-1 1 experimented on an emulsion plate,
and found no change in sensitiveness due to preliminary exposure, and
hence inferred that the only effect was simply fogging, which would cause
the collodion or emulsion plate to start more quickly in development. I
subseijuently found that this view of the subject requires some modifica-
tion. The reason why no difference was noticed in 1884 in the case of
preliminary exposure was undoubtedly due to the fact that the plate had
already received, in the process of manufacture, all the prelimmary ex-
posure it would stand. In the early days of commercial emulsion plates,
they were frequently fogged so badly before they reached the consumer
as to be greatly impaired, and sometimes practically valueless.
Last year, in making experiments on the actinic effect of ordinary red
glass used for dark-room illumination, employing a lOcandle lamp, I
found such discordant values for different pieces of the same plate when
exposed and developed under similar conditions as to call for an investi-
gation of the cause. The statement has frequently been made that the
same plate, in its different parts, indicated great variations of sensitive-
ness. This idea is so directly opposed to every-day practical work in
landscape and portrait photography as to seem well-nigh incredible. In
fact, if it were a common occurence, one could not make a correct
negative. It occurred to me that the abnormal results which I obtained
were in some way connected with the manipulation of the plate during
the exposure and development. I accordingly made the following
experiment : A Seed No. 26 4 x 5 plate was cut in three strips, using a
very feeble light during the operation. Strip No. 1 was kept in the dark;
No. 2 received a preliminary exposure of two seconds in the dark room
at one foot distance from the red glass window ; No. 3 received a supple-
mentary exposure of two seconds in the same way. The three pieces of
plate were successively exposed in the seneitometer to the light of a candle
for ten seconds, placed at ten feet distance. They were then developed
together in total darkness. Strip No. 1 printed the figure 40 ; Nos. 2
and 3, 8 and 10 respectively. This experiment indicated that, when a
plate received a preliminary or supplementary exposure, it appeared to be
about five times more sensitive.
I had observed a similar phenomenon in the case of wet collodion in
October, 1891, but attached no importance to it at the time.
The most sensitive wct-coUodion plate which I have used requires an
exposure of 2 -o seconds for a naked candle at one foot distance to make a
legible impression ; but, by a suitable amount of preliminary or supple-
mentary exposure, the time may be reduced to 0'3 second, indicating an
apparent increase in sensitiveness of eight tin\es. A great many experi-
ments have been made with various kinds of emulsion plates in candle-
light, feeble daylight, and through red glass, all giving similar results.
In order to get the maximum effect, the plate should receive all the pre-
liminary exposure it will stand without producing dense fog. If there is
too much fog, the numbers will be buried under it.
This peculiar behaviour of photographic plates in light of feeble actinic
energy explains very clearly why experimenters have got such discordant
results in attempting to standardise them. The phenomenon probably
disappears when strong daylight is used, for we know by experience that
preliminary exposure does not make a plate more sensitive when used for
a landscape negative. The subject may, however, have an important
bearing in astronomical photography where the light has very feeble
actinic energy, as in the case of stellar photographs.
The following appears to me to be the expUnalion of tbo apparent
increase in acDsitlveness, doe to prelimioary oxpoiure. A photographic
plate may receive a certain amount of light, and when placed in the
developer show no visible blackening of the film. This fact is apparent
in using a slow plate like wet collodion. A plate, therefore, which ho*
had a certain amount of preliminary exposure, may be under suoh strain
that a small amount of additional exposure will enable the developer to
reduce the bromide of sUver. Under this conception the actinic efTect
should be measured by the intensity of the light multiplied by the time,
plus a constant, the constant being a function of the original (ensitive-
ness. In landscape photography the constant would be such a small
interval of time as to be entirely lost.
In view of what has just been stated regarding the behaviour of plates
in light of feeble actinic energy, it is readily seen that our present method
of standardising plates, by using the miuiraum visible, is open to very
serious objections, owing to the difficulty in manipulating plates in the
dark room. With the more rapid commercial plates a single second
exposure before the developing lamp is sufllcient to materially modify the
result.
After considerable thought on this subject, it has occurred to me that
we can most readily get a uniform system for designating the sensitive-
ness of plates by adopting an arbitrary plate as the standard of reference,
and making our compositions by daylight as well as artificial light. The
wet-collodion plate has frequently been suggested as a standard of refer-
ence ; but it has been objected to on the ground that the sensitiveness
would not be constant. As a matter of convenience, I presume a slow
emulsion plate would answer the purpose better, since such a plate could
be interchanged among the makers of commercial plates. By adopting
such a method we would at least have a homogeneous system.
I have at different times determined the sensitiveness of nearly all well-
known brands of commercial plates for daylight, candle-light, and for red
glass. My normal collodion plate is used as the standard of reference for
daylight comparisons.
The following are some general results for sensitiveness in daylight : —
Wet collodion 1
Slow lantern-slide plate 10
Rapid emulsion 120
Most rapid plate examined 220.
For candle-light, or any other artificial light, the absolute time required
to make a legible record can be ascertained. For a naked candle, at one
foot distance, the following are some of the results : —
Normal collodion 2 '5 seconds.
Slow lantern -slide plate -^ „
Rapid emulsion y^ „
Most rapid isochromatic j^, „
Professor Geobos W. Hodoh.
♦
THE PREPARATION OF TABLETS FOR VITRO-ENAMELLINO.
Bkfoiik the members of the London a- d Provincial Photographic A.<isociation
ou Thursday, September 28th, Mr. A. Hadilon read a paper, accompanied by a
demonstration, on this subject He hoped, he said, to show that plaque-
making was uot a formidable undertaking. With a little care, plaques could
be made quite as good as the bes^t that could be purchased, and cheaper. It
was surprising that so few photographers prepared vitrifiable images, as they
were permanent, and would stand any amount of magnilication without loss
of detail. Many amateurs never heard of a vitrihable image ; some fancy
that it required a life of study to produce passable results ; others would like
to try their hand at it, but they had been told that the wet-collodion process
must be used for it. No good book in the English language had been published
on the subject, and, if one had to buy all the plofiues required in one's early
experiments, it required a long purse, so that to many mere expense is a
powerful cause for uot taking up the subject. He would endeavour to remove
the last reason by demonstrating the preparation of plaques. Whatever
method ofjpreparing the positive image was employed, a muffle was necessitated.
Any one could build a small furnace at a cost which need not be a serious iteui.
Fire bricks could be purchased at about 3</. each.
Enamel was nothing more than very fusible glass with some oxides in it, in
order to make it black or white, .is occasion demanded. White enamel was not
worth making when it could De obtaineil commercially at a low Hgure. Mr.
Guilbert Marten, of Monkwell-street, sold it for 6Jrf. a pound for a bag of
twenty pounds, 7d. for a single pound. The enamel he (Mr. Haddon) had used
was given him by Mr. Bolas. It be bad had to purchase all the plaques he had
used in his experiments, it would have cost him over 20t, whereas it had
only cost him a few shillings for copper foil. A plaque 1 J x 1 J, making allow-
ance for the copper basis, held forty-three grains of enamel. Ten plaque.', of
the size named could be made from one ounce of copper, and 150 from one
pound. If one used a pound of enamel (7rf.) and a pound of copper {2s. M),
one would be able to produce 150 plaques for that snmll sum ; and, if they paid
Is. each, they would cost 7t 10s. The enamel should first of all be roduced
to a certain consistence by being pounded with a hanlened steel pestle in a
wooden mortar. It is then sifted through a sieve of a certain site of mesh, the
coarse particles being again .subjected to pounding. The enamel powder is
then soaked in a solution of nitric acid 1 : 4 for from three to twelve hours ;
this removes all metallic impurities, particles of wood, ftc. After further
treatment, the coarse particles of the jiowdcr are separated from the fine by
placing it in water and then separating it into two solutions. Thepjrticlcs
G44
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[October 6, 1893
will have subsided in two hours, ivlien the water is poured off, and the deposits
washed a third time to remove any acid left.
As to the basis of the plaque Mr. Haddon said copper was found to be the
best, as the enamel adheres to it more firmly than to other metals. Virgin
copper was best, and it was recommended to use it only recently rolled, but
he found that age made little or no difl'erence to its properties. Having
remarked that the thicknesses of the copper varied with the size of the plaque,
he said the copper foil should be annealed and then cooled, and next freed from
oxide with a nail-brush dipped in a one per cent, solution of nitric acid and
brush charged with powdered Hagstone. Deprived of all dirt, it presents the
appearance of pure metallic copper.
In determining the size and shape of the copper plaque a piece of zinc or
brass the exact size of the shape required must be used. The copper must be
a little larger than the zinc or brass, and the shape traced on the copper by
means of a small steel tool that has been previously hardened and tempered.
It is better to work to about one thirty-second larger than is wanted. The
copper plaque being trimmed, the edges are turned up all round, so that it has
the appearance of an oval tray. The shape is then placed on the copper, and
both .shape and form are gripped between the jaws of a small hand vice,
burnished over and the edge raised up. Burnishing enabled the plaque to
resist deformation in the vitrification ; if the edges were not raised, the enamel
would run off, and the curved copper would not remain true in shape. If
placed on a flat piece of wood, and the excess of edge filed ofi' with a fine cut
file (a coarse cut file would indent the edges). Generally the copper plaques
are filed on box wood ; copper filings should not be allowed to get in the
enamel, as black or green specks result.
As many boxwood shapes will be required as forms of plaques are wanted,
the shape being imparted by the use of curving tool, resembling a spatula,
being pressed over the back of the copper when in contact with the shape.
The copper plaques are pickled to remove oxide, &c., from the surface, in
sulphuric acid solution 1:5; then thoroughly rinsed in cold water, passed
through sawdust, wiped carefully, and dried.
The enamel powder having settled, the water is poured from the two vessels.
The copper shape is now placed with its concave surface upwards on some
concave support. The fine enamel is applied to the concave surface by means
of a hog's-hair brush. It should be of a creamy consistency, and should be
spread uniformly. The water is got rid of by the application of blotting-
paper. Tlie coarse enamel is applied in a similar manner to the front or
convex side of the copper form, and finally, when the desired evenness of
surface has been obtained, the moisture remaining is removed by evaporation
over a Bunsen burner. The plaque is then placed on a suitable support for
firing, some recommend a refractory eathenware, the latter being treated with
a coating of kaolin or rouge to prevent fusion. He did not know were this
earthenware could be obtained in thin sheets. He had tried platinum, nickel,
and iron for the purpose, and prefened the latter.
Muffles were of two kinds, open and closed. Generally .speaking, enamellers
preferred the open to the closed ; these were made of very refractory clay, and
open at both ends. When using white enamel, retort carbon is preferable to
ordinary coke, as it is much denser, and less likely to throw off particles of
carbon. He had had no experience with the open muffle ; it was practically
more difficult to use, in consequence of black specks being thrown off. Prefa-
tory to the introduction of the plaque, the muffle should be placed in a gas
furnace and raised to a cherry-red heat. To guard against black oxide of iron
being thrown on the surface of the plaque, he recommended the inside of the
muffle being smeared with red lead and water, red lead combining with the
silicates present to form fusible glass. The plaque must not be pushed in the
muffle suildenly. When in the muffle, and the temperature is sufficiently high,
the first thing observed is that the surface of the plaque resembles that of a
ploughed Held. It fuses in contact with the copper first ; then the little
globules gradually coalesce until a smootli surface results. If the temperature
13 not high enough, mottling results, but if raised high enough the enamel ac-
quires a perfectly glossy surface. If continued too long, oxide of copper will
enter into combination with the silicate, and a green colouration will result.
Generally speaking, there was one point in the muffle where the temperature
was highest, and the plaque should be turned accordingly. The best tool for
the purpose was one of thin steel, with the end turned over and having a
woodeu handle. Unevenness in coating can be remedied by rubbinf down
with Hagstone powder and water. Tlie plaque shouhl then be refired ° Black
specks are removed with a steel tool used tangential ly". Tlie holes are then
filled up with powder, and the plaoue re-fused.
ECONOMY IN PHOTOGRAPHY.
[Anthony's Bulletin.]
The most economical, and, at the same time the safest, mountant I know
of is simple starch well boiled, and not kept over from day to day. The
best way to make it is to rub the lumps of starch into a very thin' cream
with cold water, and slowly bring to the boil, stirring all the time.
When large amounts of the ferrous-oxalate developer are used for
bromide printing, the saving ot the oxalate of potash might be worth
while. The spent developer may be collected in a glass jar, and greenish
crystals will be seen to fall to the bottom. The jar and its contents are
warmed about as hot as the hand will bear, and the green crystals re-
dissolve by stirring. A strong solution of caustic potash being ready, it
is added to the spent developer until there ia no more precipitation' of
oxide of iron. The warm solution is then filtered to separate the iron,
and sufficient dry oxalic acid added to neutralise the alkalinity of the
excess of potash. A ready means of ascertaining the strength is to use
an hydrometer or " silver meter " which has been previously gauged by
the standard oxalate solution employed for developing. This operation
is neither troublesome nor mussy.
Though foreign to the purpose of this article, I will say that, in spite
of all the new and fancy developers for negatives, there are many points
of advantage about ferrous oxalate. I saw proof of this in the work of
one of my most expert friends who made an extended tour in the North-
West. He told me that all the photographers who saw him expose plates
laughed at him for the long time he gave. He knew his plates, however,
and timed them for ferrous oxalate. His negatives, including subjects
of the most varied character, are marked by a wonderful uniformity and
absence of stain, many of them resembling wet collodion, which I believe
to be the highest compliment I can pay to a photographic negative.
But our modern rapid gelatine plates have introduced one very im-
portant element of economy into the art. Formerly, certain kinds of
difficult work could only be attempted with very expensive lenses, and
lenses of commoner kinds could not be used at all. But now it is possi-
ble (though not advisable) to use almost any kind of lens, and depend
upon "stopping down" to get sharpness. The stops may easily be cut
to the required size out of thin lead or vulcanite, and, the centre having
been accurately located, the opening is bored with a countersink. AU
diaphragms or stops should thus present a mere sharp edge to the
entering rays of light, and not a surface more or less broad, as would be
the case if not countersunk. It the lead, when cut, reflects too much
light, apply a little lampblack mixed with spirit varnish. The sharpness
of the photograph, however, will depend upon other tilings than mere
focussing. If the achromatic corrections of the lens have not been
specially made with a view to the actinic or photographic action, it may
very well happen that no sharpness can be obtained in the negative, even
if the image on the ground glass appears perfectly focussed. Should any
one possess such a lens, whose visual and chemical foci are non-
coincident, it will be an easy matter to rectify things. Set up a pile of
books with printed titles on their backs in an incline before the camera,
as if on a flight of steps. Focus on the central one, and, having de-
veloped the negative, examine with a magnifier, to see which title is
sharpest. This being ascertained, carefully mark the position of the
ground glass on the tailboard of the camera, and then rack it in or out
until the title appearing sharpest on the negative is sharpest also upon
the ground glass. Note the distance the ground glass has had to move ;
then, removing the ground glass from its frame, insert or remove a thick-
ness of wood equivalent to this distance, and replace the ground glass.
The ground glass and the plate-holders are thus thrown out of register
by the exact distance which represents the separation ot the visual and
the chemical foci of the lens, and the pictures will be sharp. In the
early days ot photography this expedient was frequently resorted to.
Stereoscopic negatives are most conveniently made with a pair of lenses
of matched foci ; but the two lenses are by no means a necessity. Stereo-
scopic work ot excellent quality cau be made with one lens mounted on a
small camera, the whole being arranged on a board two or three feet
long, so that the camera can be shifted laterally a distance ot twelve
to twenty inches. The farther off the subjects photographed, Jthe
greater should be the separation between the points where the camera is
situated at either end of the board. Before exposing, the view is care-
fully focussed, and the camera directed so that the centre of the field is
occupied by the same object, no matter at which extremity of the board
the camera may be. Both positions ot the camera are then distinctly
marked, and two plates are exposed for the same length of time, one from
each position. The two negatives, after being dried, are trimmed down
to the proper size, i.e., three and a quarter inches between centres,
and mounted on a piece of glass. When landscapes are photographed in
this manner there is much greater relief and natural effect in the picture
than when the regular form of twin-lens camera is used. If groups or
portraits be attempted with the single-lens camera, the separation between
the exposing points should not exceed four inches at the maximum.
It is to be regretted that paper in the form of i>apier-mr'iche is not more
made use of. The French have numerous articles like developing trays
made ot this substance, and they are both cheap, clean, and durable, as
are also the large dipping-baths sometimes seen. The idea of construct-
ing a dark room in any convenient place with walls of stout pasteboard
squares let into light wooden frames, made of laths by the edges, is quite
an old one, as also is the idea ot an entire portrait studio suitable for a
lawn or garden made of the same cheap material. By setting the studio
(which would also contain the dark room) in a proper position, no sky-
light is needed, the opening to the north blue sky serving the purpose
instead. A mat, to keep dampness Irom the sitter's feet, and a bucket of
water with a " siphon-tap '' in the dark room, would pretty well complete
the list of necessary articles for such a useful help to outdoor portrait-
making. Ellerslie Wallace.
October 0, 1898]
THE BRITISH JOtJRNAL OF PHOTOGRAPHY.
64«
lletos anU i^otes.
Centrai. Photooraphic Club.— October 6, Lantern slides, 13, Smoking
Concert, Mr. .1. Traill Taylor in the chair. Musical members are requested to
bring up m\isie.
Sib CiiARi.K-s Kusseix opens the Hackney Exhibition on the 17th Inst, at
thirty minute.'! past seven.
Nk\vi-.»stlk-on-Tynk and Northern Counties Photoobaphic Associa-
tion.—Tuesday, October 10, 1893, Ordinary Monthly Meeting.
West London Photooraphic Society. — The opening meeting of this Society
takes place at the School of Arts and Crafts, Cliiswick (near Turnham-green
Station), on October 10, when intending new members will find it a good
opportunity for sending in their names for election.
Thk Infallible Exposure Meter Company, Wrexham, are preparing a new
edition of their book of instructions, and would be glad to receive two or three
plates of each of the different kinds manufactured to test the present S]>eeds
for their revised list of speed numbers. They will pay cost and postage.
I^EYTON.sTONK Camkra Club. — October 7, Along the River Roding (third
section), starting at George-lane. Leader, Mr. Tom Symmons. The Club will
proceed by the train leaving Liverpool-street (G.E.E.) at thirty-five minutes
past two p.m., calling at Leytonstone at fifty-two minutes past two, arriving at
George-lane at fifty-nine minutes past two. This will conclude the excursions
for the season. Open Special Evening at headquarters at eight o'clock.
Dt,VTH OK Mr. John Ho.mersham. — A once-active member of the Field
Club and for some time a contributor to our Almanac has passed away at the
ripe age of eighty-one. For several years Mr. Homersham had retired from
living in London, in favour of Dover, the climate of which better suited his
ileclining years. He was of a genial, although retiring, disposition, and
his demise will be regretted by many photographers of a bygone period.
The Hon. Secretary of the Hackney Pliotographio Society writes : " I
have to ask if yon will be good enough to correct an error made in your i.ssue
of two weeks ago in one of our reports. Mr. Sodeau was made to say that,
as 'caramel is slow in drying, he would advise a piece of slightly greased
paper to be applied to the back of plate before applying the backing.' This
IS wrong. It should have been ' to apply the backing first and the greased
paper after.' "
Ashton-under-Lyne Photographic Society. — October 11, Demonstration
on Lantern-slide Making, by Mr. J. T. Lees. Members are requested to
bring negatives in printing frames. Chairman, Dr. Hamilton. 18 and 19,
Instructions will be given to beginners in Lantern Slide-making in the Dark
Room by several members. 25, Lantern Exhibition of members' slides, each
member to be limited to twenty slides. Chairman, Mr. William Greenwood ;
Delineator, Mr. Jos. Hutchinson.
We have received the prospectus of the Borough Polytechnic Institute
together with the programme of the winter session of the Pliotographic Schoo'
held in connexion therewith. The lecturer in photography is Mr. A. W-
Dollond and the instructor in retouching Mr. George Elliott. The syllabu**
comprises Photographic Technology and Practice. The lectures will be illus-
trated by experiments and demonstrations, and will be given on Friday
evenings from eight to nine. The course commences on OctolJer 6, and is con-
tinued until the last week in April.
Cboydon Camera Club. — October 18, Lantern Night, exhibition of
Mathew's hand lantern. November 1, Various Methods of Making Lantern
Slides, illustrated with slides on the screen, by J. H. Gear. 15, Xatioiial
Prize Slides. 29, Modern lievelopers, by Mr. Leblanc. Meetings begin at
eight. Members should bring examples of work. Council Meetings October
11 and 25, and November 8 and 22. Tickets for the Pall Mall Exhibition are
now obtainable of Hon. Secretary at half price.
Photographic S'icikty ok Great Britain. — The Congress of the Photo
graphic Society of Great Britain and affiliated societies will be held on October
10, 11, and 12. The meetings, a programme of which we have already pub"
lished, will be held as follows: — Tuesday, October 10, eight i).ni., at the
Gallery, 5a, Pall Mall Ea.«t. Wednesday, October 11, threep.m. and eight p.m.,
at the Theatre, Society of Arts, John-street, Adelphi. Thursday, October 12,
three p.m., at the Theatre, Society of Arts, John-street, Adelphi ; eight p.m..
Special Lantern Night (admission by ticket only), at the Gallery, 5a, Pall Mall
East.
AuATtruR Photographic Association for Great Yarmouth. — At a
meeting held at the Two Bears Hotel, Southtown, Great Yarmouth, on
Tuesday, September 26, it was proposed and seconded that a club be formed
for the study of photography, which was carried unanimously. It was further
resolved that the club be called "The Great Yarmouth Amateur Photographic
Association," and that only those who practise photography be eligible for
membershiii. Subscription 5s. per annum, payable on election. "The first
meeting of the Association will be held oh Tuesday, October 10, at eight p.m.
sharp, at the Two Bears Hotel, when the subject of Negative-making will be
fully discussed, aud applications for membership considered.
"The Procd Turk." — It appears from a letter we have received from Mr
J. S. Bergheim, the producer of the picture, that we were wrong in stating that
it is made upon a textile fabric, as it is in reality a glass positive or transpar-
ency backed with blotting-paper of the nature and colour descrilwd. It follows,
of course, as Mr. Bergheim says, that there is no colour from coolest green to
warmest red that he cannot give the same picture by changing the backing.
"The model," he observes, "is not a Mahomedan, but a Viennese who has
never been to the East. I am gratified to know that the treatment has led
your critic to believe my model was, in fact, what I wished the picture to re-
present." We, too, are gratified to find that the once much-used process of
photo-crayon, so called, of the late Oliver Sarony, which has been so often de-
scribed and recommended in these pages, is not quite dead, but has such an able
«iponent as Mr. Bei;ghdm.
mtttixiQ!^ ot &octette)S.
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Data o( UMUBf .
October 0
9
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Nftina ol Bodatr.
Camera Clnb
Darlington
Dundee Amateur
Lantern Society
Norfolk and Norwich
North Middlesex
Putney
Iliohmond
Birmingham Photo. Society
Derby
Oreat Britain
Hackney
Manchester Amateur
N e wcastle-on.Tyne & N , Conn ties
Paisley
Rochester
Stockton
Ipswich
I^icestor and Leicestershire ...
Leytonbtone
Munster (Annual)
Photographic Club
Sonthport
Stockport
Birkenhead Photo. Asso
Camera Club
Cheltenham ,
Glossop Dale
Hull
London an-i Provincial
Manchester Photo. Soc. (An.)..
North Kent
Oldham
Bristol and West of England ...
Cardiff
Croydon Microscopical
Halifax Camera Clnb
Holborn ,
Ireland
Maidstone
West London
HuU
PlMtSlMMlllIf.
Charing OroM'nNu), W.O.
TreTelyan Hotel, Durlindtoo.
Aim. Studio, Nethergate, OandM,
20, HanoTer-iHinare.
Bell Hotal, Norwich.
Jubilee HonM, Homaay-roiul, TX.
Boyi' OymnMiam,01urIwood-road.
OreThoand Hotel.
Clnb Room, Colonnade HoteL
Smith'! Restannuit, Viotorl«.tt.
SO, Oreat Ruwll-tt. Bloomibnry.
!W6, Kare-ctreet, Hackney.
Leotnre HaU, Athenjsnm.
Central Eiohange Art Gallery.
9, Ganze-itreet, Paisley.
Mathematical School, Roebeiter.
Haion's Court, Biith-itreet.
Art Gallery, Ipswich.
Mayor's Parloar, Old Town HaU.
The Assembly Rooms, High-road.
School of Art, Nelun-place, Cork.
Anderton's Hotel. Fla«t-(trMt,K.O,
The Stadio, 15, C^mbridge-arcada.
Mechanics* Institute, Stockport.
T.M.C. A., Grange-rd.. Birkenhead,
Charing Crou-road, W.C.
71, Prospect-street, Hull.
Champion Hotel, 15, Aldersgate-«t.
36, G^rge.Btreet, Manchester.
Gravesend.
The Lyceum. Union-st., Oldham.
Rooms, 28, Berkeley-sq., Bristol.
Fnblio Hall,George-etreet, Oroydoc
Rooms, 15, Dawson-street, Dublin.
" The Palace," Maidstone.
Ohiswiok School of Art. Chiswick.
71 Prospect-street, Hnll.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
September 28, — Mr. T. Bolas in the chair.
Messrs. J. E. and R. A. Hodd were elected members of the Association.
Mr. F. K Ives, who was present, was welcomed to the meeting by the
Chairman.
A question from the box asked how the enormous amount of dust resolting
from the use of a flash lamp for interior work could be obviated ?
Mr. W. K Debexilvji replied that Scliirm, with his ribbon lamp, used a
tube immediately above the ribbon. Magnesium deposited very slowly when
diluted with air, but when concentrated deposits very rapidly. The object
should be to keep it undiluted with air as much as possible.
The Chairman stated that Mr. W.iroerke had described a magnesium lamp
which required a chimney.
Mr. Haddon gave a lecture on preparing plaques for vitro-enamelling [see
page 643] wliich was accompanied by a practical demonstration of all pomt»
except the firing, which was highly appreciated, being made exceedingly plain
to those present.
The Chairman said it was always interesting to follow a workman like Mr.
Haddon. It was a treat to listen to him, and note the careful and thoughtful
way in which he had gone to work.
In reply to a question by Mr. R. L. Kidd, Mr. Haddon said fusion usually
took about one and a half minutes.
Mr. P. Etkritt suggested that Mr. Haddon should undertake to give prac-
tical instruction in the subject to those desiring it.
Mr. J. S. Teape had recently attempted the preparation of plaques accord-
ing to Mr. Haddon's instructions, and showed several results.
After a short discussion, a cordial vote of thanks was passed to Mr. Hafldon
for the paper and demonstration.
Northern Photographic aud Scientiflc Association.— Ordinary Meeting,
September 28, the President (Mr. Robins) in the chair. — The following
alterations in the constitution of the executive were maile, namely, Mr.
Coehill resigned the Vice-Presidency, aud was elected Secretary ; Mr. Morrow
resigned the Secretaryship, and was elected Treasurer ; and Mr. Beagley
resigned the Trcasurership, and was electeil Vice-President. Mr. CooBILL
then explained the making of lantern slides by the wet-collodion process,
and was assisted in the practical portion by Mr. Simmons. The greatest
interest was taken throughout the whole proceedings, and the Prbsidsxt,
after thanking these gentlemen on behalf of the meeting for their services, said
he was authorised to state that those members who wished to co-operate for
the purpose of obtaining chemicals, &c., at a low rate and of nnifonn quality,
might send in their names at once. He also requeste<l those who wished to
join the beginners' class to send in their names at their e.irliest convenience.
The address of the new Secretary, Mr. D. P. Coghill, is 252, Whiteman-road
Homsey, N.
Hackney Pholographio Society.— September 26, Mr. Pattock presiding.—
Members' work was shown by Mr. Bentlt, and asked members' opinions as
regards exposures. These seemed fairly correct, but pictares eonld oe greatly
646
THE DIUTISH JOURNAL OF PHOTOOKAPHY.
[October 6, 1893
improved by better lighting and a little fuller development. Question was
asked whether any member had had any experience with toning Nikko paper
with hypo and alum. Mr. Smith said he had used the bath and found it much
easier to work after a few prints had been toned. Mr. Roberts had used it for an
hour and a half, and found no difference in tone. Mr. Magnus showed a print
with a red stain, and asked for a reason. Mr. Beckett, jun., said that its
appearance seemed to be due to contamination with other chemicals. Mr.
Beckett then gave a paper upon Bromide Enlargemfnl by Artificial Light,
which was appreciated very much by the members. He dealt with the various
leniies, lights, &c., which might be used in the process, and described the whole
procedure in a very lucid manner. With regard to negatives which ^yere a
very Important thing to bring about good results, he advocated a negative of
medium density with a slightly yellow stain as producing good results. Thin
negatives gave "fair results, whilst ghosts were useless. A demonstration was
given by Mr. Beckett, jun., in which amidol was used as a developer, and
some splendid results were obtained. There were numerous advantages given
in favour of enlargements, amongst them being alteration of character of
prints, which was sometimes needed, and larger pictures showing to more
advantage than small prints. A vote of thanks to the lecturer and de-
monstrator brought the evening to a close.
Weit London Fhotograpliic Society.— The following are extracts from the
Annual Report for 1892-3 : — "The membership has increased, by the absorp-
tion of the Chiswick Camera Club and partly by the accession of new members,
and it now stands at seventy-three as compared with sixty at this time last
year. This result appears in the face of several resignations. A change in the
Hon. Secretaryship has occurred, owing to the resignation of Mr. Lionel
Bennett, whose services, always performed with hearty good will, had earned
him a well-deserved popularity. It was with univers.il regret, therefore, that
the news of Mr. Bennett's enforced resignation was received. His place has
been filled by the promotion of the Assistant Hon. Secretary, Mr. Rogers,
whose place in turn has been taken by Mr. Stein. The work of the last Session
comprised eight papers, of which four were technical and practical, two de-
scriptive (with lantern slides), and two dealing with the artistic side of photo-
graphy. In addition, there were three evenings devoted to the Society's
business, one Lantern Evening, and thirteen Technical Social Evenings. 'The
Annual Dinner took place on May 9, and wound up the Session. The outdoor
meetings were arranged in districts nearer to headquarters than last year,
with a view to increasing the attendance, but this device has apparently made
no noticeable improvement, the attendances remaining practically as before.
The Fourth Annual Exhibition was held on January 10 and 11, 1893, at the
Chiswick School of Arts, with very gratifying results. The number of pictures
was 171 against 135 for 1892, and the number of slides was 128 against 76.
The Judges' report, which has already been in your hands, speaks for the high
standard of the exhibits, and it is hoped that the forthcoming Exhibition may
show a still further advance in the quality as well as in the number of pictures.
The Society sent a collective exhibition to the Crystal Palace Photographic
Exhibition, and was fortunate in obtaining the Silver Challenge Cup against
several strong competitors. The Cup will be on view at the Annual General
Meeting. The Society decided to embark upon a Photographic Record of
Objects of Historical and Archieological Interest within a radius of five miles
from headquarters, and Mr. Whitear was appointed to organize the work.
According to information he has laid before the Council, it appears that up to
the present the interest shown in the matter is confined to very few members,
and the Council hope that further attention will be given to this useful branch
of work. Through the good oflices of Mr. Winter the Society has become
possessed of a dark-room sink aud fittings, and the President has promised a
set of dishes for use with the same."
Sldimond Camera Club. — Extract from the report from the year ending
August 31, 1893: — "The Club, which is steadily increasing, now numbers
about fifty members. Three members have resigned during the year, and
eighteen new members have been admitted. His Highness the Duke of Teck,
G.C.B., graciously consented, in March last, to become Patron of the Club.
During the winter session weekly meetings were held. "There was a goDd
average attendance, and the programme comprised a series of practical and
instructive papers and demonstrations by members of the Club and friends,
who kindly gave their .services. In the summer meetings were held monthly,
and were better attended than the weekly meetings of previous years ; but the
monthly excursions, which were also arranged, commanded only a very meagre
attendance. The use which has been made of the Club library fully justifies
its existence, but there is need of a larger assortment of books, and the Com-
mittee hope that members will supply them. The conversazione, given at the
Theatre Royal on January 9, was very successful. The entertainment consisted
of an exhibition of lantern slides, with musical interludes, and a show of
members' work. Light refreshments were provided. Five hundred invitations
were issued, and the room w,as well filled. The arrangements, including the
catering by Mr. MouHet, were very satisfactory. An exhibition of slides and
pictures was also arranged in conjunction with the Lower Thames Valley
Branch of the Selborne Society, at Matson House, Richmond, on January
25 and 26, and was well attended. The press notices of both entertainments
were very eulogistic."
Bath Pliotog:raplilc Society.— The last of the summer outings took place on
Wednesday week to Claverton. The sun shone forth in all its splendour for
an hour or so after the start was made and some excellent pictures were
secured. But those who did not avail themselves of the first opportunity soon
found a change was taking place, and rain fell heavily, therefore the further
progress through Warleigh had to be abandoned. For the information of
tourist photographers it may be mentioned that the avenue from the top of
North-rood, entrance gate and lodge at the Manor, Claverton Church, the
terrace and steps and the old cottages, were among tlie subjects photographed.
At the first indoor meeting of the winter session, October 25, a discussion
will take place on the most suitable method of mounting and framing photo-
graphs.
Liverpool Amateur Photographic Association.— September 23, Mr. Paul
Lange in the chair.— Tlie business included the election of four new members.
Messrs. C. A. Rawcliffe, E. C. Lowe, John H. Burns, and R. F. Soper. The
event of the evening was a lantern lecture by Mr. Joseph Earp, A Holiday in
Normandy, illustrated by 160 slides from negatives taken by the lecturer and
Mr. J. W. Swinden, both members of the Association. The excellence of the
slides, and the really original description, enlivened by Hashes of quaint
humour, altogether made a most enjoyable evening, which was highly appre-
ciated by a large gathering of members.
Kelson Camera Club, Nelson, New Zealand. — The Fifth Annual Meeting
was held on June 21, 1893. — The report showed that the finances were in a
satisfactory condition, and that the membership had increased to nine honorary
and forty-two ordinary members. The usual monthly meetings have been fairly
attended, and the monthly competitions have always been an interesting item
in the proceedings. The Annual Exhibition was held on January 26, 27, and
28, 1893, and was in everj* way a success. Between 500 and 600 pictures were
on view, and crowded rooms testified to the public appreciation of these exhi-
bitions. A special interest .ittaches to this one, as it was the first held in New
Zealand in which three Clubs took part, the Dunedin and Auckland Societies
both sending fine collections of pictures to represent them. Lantern-slide
Exhibitions were given each evening, and, as usual, proved very attractive. A
marked improvement was visible in the work shown in this branch of photo-
graphy, some of the Auckland Club's slides being specially good. Flashlight
photographs of the audience were taken each evening and exhibited on the
screen during the following one. Mr. J. R. Sigley was the lanternist. The
general opinion of press and public seemed to be, " Not quite so large a show
as usual, but better ciuality." In November, 1892, an exhibit of fifty frames
was sent to the Dunedin Photographic Society's Exhibition, and in March,
1893, 108 prints and 108 lantern slides were sent to the Auckland Photographic
Club's Exhibition ; in both instances favourable comment was given to the
work of the Club. It is to be hopeil that the Wellington and Christchurch
Clubs will combine those of Auckland, Dunedin, and Nelson in their Exhi-
bitions for the coming year, as these friendly interchanges of work will, doubt-
less, be of great good to tlie cause of photography in New Zealand. The follow-
ing officers were re-elected for Session 1893-4 : — President : Mr. C. Y. Fell. —
Committee : Messrs. H. Brusewitz, R. Jackson, A. Pitt. — Hon. Secretary : Mr.
A. H. Patterson.
FORTHCOMING EXHIBITIONS.
1893.
October 6-Nov. 15... 'Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. Assistant Secretary, R. Child-Bayley,
50, Great Russell-street, W.C.
,, 6-31 'Hamburg. Das Ausstellungs Committe des Amateur
Photographen Verein, Schwanenwik, 33, Hamburg.
,1 6-14 Midland Camera Club, Botanical Gardens, Moseley,
Birmingham. Hon. Secretary, C. J. Fowler,
4, Woodstock-road, Moseley, Birmingham.
I, 9-Nov. ... 'Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretary of Organizing Committee, A. Maskell,
215, Shaftesbury-avenue, W.C.
I, 17-19 'Hackney Photographic Society, Morley HalL Hon
!^ecretary, W. Fenton Jones, 12, King Edward-road,
Hackney, N.E.
I, 30, 31 'East London Photographic Society, New Tabernacle,
Old-street, E.C. Hon. Secretary, W. R. Gould,
61, Gibraltar-walk, Bethnal Green, E.
November 7-11 'South London Photographic Society. Hon. Secretary,
C. H. Oakden, 51, Melbourne-grove, Dulwich, S.E.
,, 20-25 'Leytonstone Camera Club. Hon. Secretary, A. E.
Bailey, Rose Bank, South-west-road, Leytonstone.
December 'Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
,, 18-Jan.22,1894 'Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Corn-
street, Bristol.
' Signifies that there are open classes.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 17,957. — "A Stereoscopic Lens for Monocular Vision for the Examination
of Photographs." C. M. Bladkh.— Dated September 25, 1893.
No. 18,115. — "A New or Improved Electric Arc Lamp specially applicable
for Projecting Purposes instead of the Limelight." F. J. Borland. —/>a(ed
September 27, 1893.
No. 18,224.— "Improvements in Saturators and Jets for Producing Oxy-
hydrogen or Limelight." A. SviTEa.— Dated September 28, 1893.
No. 18,233. — "An Apparatus for Exhibiting Photographs, Advertisements,
and the like." W. R. Baker.- i>aterf Sejitember 28, 1893.
No. 18,237. — "Improvements in the Process of Making Photographic
Films." Communicated by R. Reissner and G. C. F. Hauser. E. Edwards.
—Dated September 23, 1893.
No. 18,270. — "Improvements in Display Cabinets for Photographs." Com-
plete specification. Communicated by T. E. Wood. W. P. "rHO-MrsoN. —
Dated September 29, 1893.
No. 18,294.— "An Improved Stand or Rack for Displaying Cords, Photo-
graphs, and other Articles." H. C. Hall.— Cn^erf September 29, 1893.
October 6, 1893]
THE BK[TISH JODKNAL OF PflOTOaRAPHY,
<M7
SPECIFICATION PUBLISHED.
1893.
No. 10,000. — "Achromatic Dispersing Lenses." Rudolph & Zeiss.
ON PHOTOGRAPHIC PEKSPECTIVE.
To the Editor.
Sib,— I adhere implicitly to all I have said, and I further say that,
granted a dog kennel, for simplicity sake, square, box-shaped, and six
feet each way, and, also, a square house (with flat roof), sixty feet each
way, the kennel to be six feet distant and the house sixty, tiien, under no
position conceivable, will the lines of the house photograph and the
kennel photograph (the position of lenses being unchanged) coincide if
superposed. If Kir. Debenham disputes this, will he please state accu-
rately a case with a position of these erections where he believes the
photographs would coincide, and then I will demonstrate where the error
is. I criticise not his argument, but his opponent's version of it.
As to distortion, it is a question needless to discuss where disproportion
ends and distortion begins. My remarks did not apply to anything
either Mr. Debenham or any one in particular had written ; they were
intended to apply to the topic generally. — I am, yours, &<:.,
Free Lance.
ALPHA PAPEE.
To the Editor.
Sib, — Tou publish a letter in this week's Jouenai. relating to an en-
largement on Alpha paper by Mr. Howson, which has induced me to
write to you upon the use of this paper for enlarging purposes. I have,
during the past eighteen months, made a number of enlarged prints on
Alpha paper, which have proved very satisfactory to my friends and myself.
The coldness of ordinary bromide enlargements is, to me, tiresome and de-
pressing, and, judging from the number of workers who resort to uranium
and other doubtfully permanent methods of toning, the feeling is some-
what general. The use of Alpha paper (which, I believe, is coated with a
washed gelatino-chliride emulsion) offers a simple method of ob-
taining either warm or cold-toned enlargements. Its greatest drawback
is its slowness. To those who are blessed with the use of the electric
light I do not suppose this is a matter of very great moment, but an
attempt to enlarge by means of an ordinary oil lantern is disastrous.
The only remaining method — daylight enlarging— is, to ray mind, by far
the best ; of course, the exposure is necessarily a long one. I have found
that, with the enlarging camera pointing to the sky (north), using stop
/■-ID, enlarging from quarter-plate (ordinary class negative), to 10 x 8 on
a bright summer day, the exposure needed is fifteen to twenty minutes.
I always aim at obtaining a red-brown image by development, from which,
by toning, I can get any colour down to blue. I use the Ilford hydroquinone
developer, as I find the acid bath, after ferrous oxalate, an abominable
nuisance and a powerful reducer of the warm image.
Like most other amateurs, I like to do most of my enlarging in the
winter, and, strange as it may seem, I find Alpha paper most suitable for
that purpose. First, I may mention that I always aim at getting rather
thin negatives for enlarging ; I think I may say it is an absolute necessity
for Alpha enlarging in the winter. Like most others, I have my business
to attend to during the day, so, before leaving home in the morning, I
erect my enlarging camera, and, having placed the paper in position, I
leave it exposing for the whole day, using a small stop, say f-io, and if
the day is fairly bright I find, on developing at night, a properly exposed
enlargement. The paper has great latitude. I have, on one or two
occasions, been unable to develop the same night, and the paper has been
exposed two whole winter days, and still a good print has resulted ; in
fact, with some negatives, such a prolonged exposure is a necessity. Of
course this, to a certain extent, is all guesswork, but I have arranged a
small table (compiled from Dr. Scott's Light Table), by which I can
gauge, to almost a certainty, the amount of exposure the paper needs or
has received. This table I will forward if you think fit. I invariably fix
and partly wash Alpha prints before toning. I do not much care for the
toning hath pubUshed by the Ilford Company, it is so apt to tone too
purple ; but of course this is merely a matter of taste, and will, no doubt,
prove a great attraction to some workers. I generally use an old Solio
combined bath. With this I get nice sepia and brown tones, and the
alum hardens the film. I feel sure that, if the Ilford Company could, or
would, increase the sensitiveness of the paper, there would be a huge
quantity used by amateurs. There is one point in relation to the pack-
ing of Alpha and also bromide paper to which I should like to call
attention. The method of selling cut pieces is a good one so far as small
sizes is concerned, but, when we get to 10 x 8, and over, I do not think it
is a blessing. We do not always want to make a dozen 12 x 10 enlarge-
ments ; but, it we buy a packet of that size, what must be done? .We may
with to enlarge to 1.5 x 12, but that means another packet of p'aper. I
think if these papers were sent out in two whole-sheet tubes, in the same
manner as P. 0. P., It would be a matter of great convenience for the
would-be cnlargors whose pockets will not stretch all at once to the price
of a ten-feet roll. By this means any size enlargement may be made np
to 24 X 17 (or whatever may be the size of the whole ibect) withoat a big
preliminary outla.v. I also think it woold condnce to the increaeed wle
of the paper.— I am, yours, 4c., W. Biolbb.
18, bruntwick-ttrett, H'<»' Gorton, Manchetttr, September 29, 1898.
PHOTO-MICROGRAPHT.
To the Editor.
Sir,— Mr. Ives's tiger seems to be gradually shrinking from bis original
handsome dimensions. We have now got to this from Mr. Ives : " Home
achromatic objectives will certainly give better results with yellow light
than any apochromatics will with the ordinary white light and ordinary
gelatino-bromide plates." This is a new importation into the discussion,
and, further, I very seriously question the accuracy of the statement. I
have not made any special experiments to determine the point, but I
have a strong impression that my apochromatics give better results on
ordinary plates than any achromatics I have tried on colour-correct plates.
I find the spherical aberration better corrected and the fields flatter
with the apochromatics than with the achromatics, but I have not bad
the advantage of using the American achromatics referred to by Mr. Ives,
my tests having been condned to a few of the best kinds of British and
Continental objectives.
I do not propose to continue this controversy, which must be aimless,
till I have seen the productions of Mr. Ives, on which he bases part of his
argument. I consulted one of the references given by Mr. Ives in a
former letter to yon, the only reference on which I conlJ easily lay hands,
the Photographic Times, April 2.5, 1890. Finding that the productions by
Mr. Ives there criticised were : Flea x 30, proboscis x CO, sting of Bee
X 70, diatoms x 130, and sections of wood, I was not tempted to pnraae
my inquiry into Mr. Ives's achievements.
Several British and foreign microscopists have privately expressed to
me a hope that Mr. Ives may be induced to give us the chance of seeing
his productions with achromatic glasses, that we may compare them with
results obtained with apochromatics. Personally, I should much like to
see them, so that I may get to the bottom of the question, for I am quite
open to conviction ; it must be well worth a sheet of paper and fivepence
in stamps to enlighten a whole hemisphere. Till I do see the photo-
graphs in question I can say no more. — I am, yours, &c.,
Andbew Pbisglb.
*
" WARMING STUDIOS."
To the Editor.
SiR,--Under the above heading, you inserted some years ago, in The
JouRSAL, a note from me strongly recommending " George's C'alorigen."
I have had nineteen years' experience of them, and at present have four
in use. Your correspondent in last week's number is wrong in one or
two points. The agents are Messrs. Parwig & Co., 4, Upper Thames-
street, London, E.G., and I have one put in an ordinary fireplace, the
grate having been taken out. It has been in use for over eighteen yeai'S
with perfect success. I advise your correspondent to apply to Messrs.
Farwig for one of their descriptive papers about the stove. I enclose my
card. — I am, yours, Ac, L. M.
October 3, 1893.
THE UNILUX.
To the Editor.
Sir, — We notice in your description or reference to our new Patent
Unilux Lantern, now on view at the Photographic Exhibition in Pall Mall,
that you say " the light is directed on the screen by a rectangular prism
or mirror placed at the out^r end of each object-glass, in manner like to
the lanterns of Beechy or Keevil.
Please allow ns to correct this, as ours is different, and we think new.
In our lantern the priiin is placed inside the object-glass, as it were,
is between the two combination lenses of the objectives, and fills np th
whole space between them. You can easily get at the prism for examina
tion by unscrewing the cap, when the prism will be drawn out.
We shall esteem it a favour if you will kindly mention this alteration
in your next, and oblige. — We are, yours, &c.,
Abcheb & Sons.
43 to 49, Lord-street, Liverpool, October 2, 1893.
GELATINO-CHLOBIDE MOUNTANT.
To the Editor.
Sir, — -V good deal has, from time to time, b3en written on the subject
of mounting gelatino-chloride prints. The nse of various moantanta,
the backing of the prints with some waterproof paper, the pasting of
the prints around their edges only, and various other devices, have been
in turn suggested, whereas, as a matter of fact, these prints are no more
difficult to mount than are those on albumenised or any other paper.
648
THE BRITISH JOURNAL OF PHOTOGEA.PHY.
[Octoljer 6, 1893
With your permission, I submit to the reader of The Beitish Jouhnal
OF Photography a mountant for gelatino-chloride prints, which leaves
nothing to be desired. The formula is : —
Gnm 2 ounces.
Gljcerine 4 ounce.
Methylated spirit li „
Distilled water to 8 ounces.
Dissolve the gum in 4 ounces of the water (cold), then add the glycerine,
and lastly, gradually and with constantly stirring, the spirit, making the
whole up to 8 ounces with water if necessary.
Gum arable being at the present time very dear, its place may advanta-
geously be taken by either Senegal or Ghatti gum, this last being very
good for the purpose, and only about a shilling a pound or less.
The advantages of this mauntant are as follows : — 1. It keeps in-
definitely. 2. It is always ready to use at a moment's notice. 3. It can
be brushed all over the back of the print. 4. It does not cockle the
mount. 5. It does not injure the print. 6. It is easy to use, cleanly in
use, and dries quickly.
I enclose for your acceptance and inspection a print mounted with
some of this solution, which has been made some five or six years, and I
have prints by me mounted the same length of time which do not show
any signs of deterioration.
Should any of the mountant accidentally get on to the gelatine surface
•of the print, either from the brush or the fingers, it may be rubbed oft,
before quite dry, with a clean cloth, without any mark being noticeable. —
I am, yours, dc, J. H. Baldock, F.C.S.
St. Leonard's-road, Croydon, September 30, 1893.
•*•
HACKNEY, SOUTH LONDON AND LEYTONSTONE EXHIBITIONS.
To the Editob.
Sib, — To meet the convenience of exhibitors wishing to compete at our
respective Exhibitions, arrangements have been made whereby the exhibits
will be transferred at the close of each Exhibition on to the next Exhibi-
tion, saving the large expense of carriage {i.e., they will be sent from
Hackney to South Loudon and from thence to Leytonstone) upon pay-
ment of Is. (id. for every three frames and Grf. for each set of lantern
slides in addition to the entry fees to the Secretaries of the last two
Exhibitions, by whom they will be received and carriage paid.
W. FENTo^f-JoNEs, Hon. See. Hackney Photographic Society.
Cbas. H. Oakden, Hon. Sec. South London Photographic Society.
Albert E. Bailey, Hon. Sec. Leytonstone Camera Club.
♦
aitgtoetjs to (ttorrespontrents.
Photographs Registbrbd :
Abraham Flatters, Opeushaw.— Su'fcm photographs of sections of Cotton.
Jabez Greenwood, Carlisle.— One photograph of Conisliroujh Cattle.
George Watmough Webster, Chester.— One pftotogroph of Rev. Caiiorv Achesm.
J. Bishop & Co.— Price-list received.
Gelatine.— Take a negative of the plaster ca.st on an ordmary gelatine dry
plate.
E. MiLLHOUSE.— The spot on the negative has not been caused by the lens,
but by a drop of ammonia.
■^ ^■~}- y,^"" '* * varnish con.sisting of celluloid dissolved iu amyl acetate
which will answer for the purpose. 2. Unable to account for it.
Collotype. --Tliere is, we believe, a class for collotype at the Polytechnic
Institute, 309, Regent-street. Write to Mr. E. H. Farmer at that address.
■^Y^?' j^/'''*-'"'^'''"'^'""'^*"'"' V^P<^T, suitable for coUotype printing, may now
be had from most of the houses that supply enamelled paper for lithography.
JAMEsLErr,JcN-.{Harrisburg, Pa.).— Noarticles on lens-makinghave recently
appeared in our pages. There is a series running through the English Me-
cAanw; just now. n ^■^
J. H. P.— Bath the selecting and the judging have this year given rise to an un-
usual amount of dissatisfaction. Your figures are admirable, although we
should have preferred them with fewer accessories.
Ln-EBPOOL.— The cause of the majority of the stains produced in intensifyhie
negatives IS incomplete washing between the different operations. There
IS no doubt whatever that it is the cause of them in the negative sent.
^ 9'»?'~?'^.^°" "\'° ""y ''°"''' ^ *° whether the mounts cause the fadine
of the pictures, why not test them by the method described in an article I
few weeks ago. It would be much better to do so than write askSg if a
certain maker s mounts always cause prints to fade.
^■f?^ ^•— The only difficulty in copying maps is to get the lines clear. As the
time of exposure is no object, use the slow plates supplied for photo-
Tn'Lww ''°*- lA/o'.'^ "P'"! P'**^^ "■>''«■■ *y conditions. It is ne«Uel
to say that a non-distortmg lens must be employed. "<:<:uie8s
E. LODEB.— If the negatives are so thin that they will only yield grev and flat
prints m platmotype try printing them on gelatino-bromide ™per By
ths means you w,ll, doubtless, be able to get vigorous prints, and ^ith a
little experience, of a tone very similar to th*e of platinotype
NoTTB. — Pyroxyline suitable for the purpose may be obtained of Messrs.
Hopkin & Williams, Hatton Garden, E.C.
W. H. HoRTiNOTON.— We should tliink that, in addition to the lights in the
hall, arrangements would have to bejmade whereby extra lights of, say, eight
to ten thousand candle power would have to be directed on to the platform ;
in that case, on the data you give, an exposure of about two seconds would
probably suffice.
C. A. S. — To make a solution of indiarubber, get some of what is known as
masticated rubber, and dissolve it iu benzol to the consistence desired. The
easiest way to get a solution of rubber is to take the solution as sold at the
indiarubber shops, and dilute that with benzol. This is much less trouble
than dissolving the rubber in the first instance.
T. Malony. — In all probability, and from what you say we have very little
doubt about it, the transfer ink is at fault. It should not be used as received
from the warehouse, but thinned down, and this has not been done
sufficiently. Try the effect of further dilution wth an equal bulk of
turpentine, and do not print the transfer so deep.
" Stobars " would be much obliged if any of the readers of The British
Journal ok Photography could tell her the best amateur club to belong to,
where the photographs are criticised, and exhibitions with prizes held now
and again. — See th« Society pages of our Alsianac. Possibly the Postal
Photographic Society would meet the first requirement of our corre-
spondent.
C. C. — As the mounts are lettered with bronze powder, it is more than pro-
bable that it is the cause of the spots on the pictures. Should they be the
source of the evil, you have no remedy against the one who supplied the
niounts. as you say you contracted for bronze lettering, and bronze powder,
it is well known to all photographers, is liable to have an injurious action on
the silver image.
M. H.— Unless you are going to work with the camera near the Franco-German
frontier, a passjiort is not necessary, and, even if you are goiug to, a passport
will not giveany advantages, (except, if you get into trouble, it will be of assis-
tance in helping you out of it. Our advice is, when travelling anywhere on
the Continent, to be provided with a passport, even in countries wher»
one is not required.
R. A. H. — As a rule, what are termed "Ordinary" plates are not rapid
enough for hand-camera work, with the lens with which the majority of
them are fitted, exce])t in an unusually good light. ■ At this time of the
year, in the streets of London, rapid plates must be employed, also a lens of
large angular aperture. With a lens /-ll and the plates mentioned good-
quality negatives must be expected with a hand camera.
W. Symokds. — In order to obtain deep, rich, purple-black tones, the pa]>er
raust be rich in silver, and what is of equal, if not greater, importance is,
that the negative must be of a strong and vigorous character, that is dense
in the lights and very clear in the shadows. With these conditions fulfilled,
if the print be somewhat over-printed, no difficulty will be experienced in
obtaining rich d^ep tones with any of the recognised toning baths.
A. X. Z. — Makes a general complaint of the cutting of dry plates. He says :
"Sometimes in the same packet one or two may be too large to go into the
rabbet of the dark slide, while others will be so small that they cannot be re-
tained in it ; and the nuisance is still greater when a chauging box is
used." This complaint used to be common enough at one time, but now it
is one we seldom hear of. Makers are now particularly careful in this matter.
We think our correspondent's experience is somewhat exceptional.
T. Burgen. — From the description, the camera is evidently a very old one,
made for the Daguerreotype process. The lens, being by Voigtlander, is
probably a very good one, but it is more than likely that it does not work
to focus, that is, the optical and chemical foci are not coincident. How-
ever, it is none the worse for that, if the necessary alteration be made after
the image has been focussed optically. It is very doubtful if the camera
and slide are suHiciently light-tight for the modern dry plates.
Robin asks if plates, orthochromatised according to a formula in the Almanac
and used with a yellow screen, are supposed to give true colour values
because he has found that they render the yellows perfectly white and the
blues nearly black! He says: "The elfect produced is too great. The
plates are too orthochromatic. " This is precisely the effect that will be ob-
tained by using too deep a yellow screen. This has been pointed out many
times in these columns during the past few years. In ihe choice of a colour
screen regard must be paid to the subject and the method by which the
plates are prepared. In working orthochromatic photography, three or fouf
screens, of different depths, should be at hand, to be employed as occasion
may require. Our correspondent should repeat his experiments, with the
same plates, on the same subject, but using a much lighter yellow screen.
It will be a good object lesson.
OONT
photo-ceramics 633
OAS IN THE DARK ROOM 034
reflected light in the OAMEIJA 084
CHICAGO EXHIBITION— AWARDS 037
DENSITY AND COLOUR IN COLLO-
DION EMULSION. By W. B. BOLTON 087
ELEMENTARY STEREOGRAPHY. By
THOMAS BEDDING 038
A SUGGESTED IMPROVEMENT IN
THE CORRECTION OF LENSKS FOR
PHOTO - MICROGRAPHY. PHOTO-
GRAPHY. AND PHOTO-ASTROGIUPHY
By HENRY O. PIFFARD. A.M., M.D ... 040
PHOTOGRAPHY FOR ILLUSTRATING
THE PRACTICE OF MEDICINE AND
SURGERY IN A GREAT HOSPITAL.
By O. Q. MASON 041
BNTS.
Page
THE CAMERA AND THE PULPIT. By
REV. DR. A. W. PATTEN 041
SENSITIVENESS OF PHOTOGRAPHIC
PLATES. By PROFESSOR OEOBQE
W. HOUGfl 64a
THE PREPARATION OF TABLETS FOB
VITRO-ENAMELLING. By A. HADDON 643
ECONOMY IN PHOTOGRAPHY. By
ELLERSLIE WALLACE 644
NEWS AND NOTES 645
MEETINGS OF SOCIETIES 64S
FORTHCOMING EXHIBITIONS 646
RECENT PATENTS 640
CORRESPONDENCE 647
ANSnilBS 10 COBBESPONDENIS 019
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1745. Vol. XL.— OCTOBER 13, 1893.
We are now engaged in the compilation of the Almanac for
1894, and will welcome short articles on practical topics
from those who have formerly contributed the results of
their experiments and experiences in photography to its pages.
This iuvitation w-e also extend to the younger readers of The
British Journal of Photograpuy and its Almanac.
In order to avert the chance of our having to omit any articles
from the Almanac on account of their lateness of arrival, we
would suggest that intending contributors send us the copy
of their articles at the earliest possible moment.
Secretaries of Societies, and especially of those established since
the appearance of the last Almanac, if they have not already
done so, will oblige us by at once forwarding lists of officers
and other details for inclusion in the directory of Photo-
graphic Societies, in order that the list may be made
complete.
The Publishers desire us to inform intending advertisers that
copy for their advertisements cannot be received after
Monday, October 16, on which date they intend closing up
the announcement pages of the Almanac.
PHOTO-CRAYON.
The fact that there is a photographic printing process capable
of proving such a "sell" as did that by which Mr. J. S. Berg-
heim's medalled picture. The Proud Turk, was produced, is
warrant sufficient for giving some account of its history,
capabilities, and modus operandi.
In 1869 the photographic world had its interest roused by
an announcement that the then well-known photographer, the
late Oliver Sarony, of Scarborough, was about to introduce
quite a novelty in portraiture, one by which excellent and
wonderful effects could be obtained by a minimum, of trouble
and expense ; not only so, but that portraits which might
fairly lay claim to be artistic could by its agency be produced
by photographers devoid of art culture. In due course speci-
mens were shown to the public, and were everywhere greatly
admired. They were vignettes of 15 x 12 inches in dimensions,
were delicate in gradation, and surrounded or partially !>•> by
crayon hatchings, which merged from the figure into the coarse
drawing-paper on which they appeared to be produced. In
brief, there was a singular charm about these photo-crayons, as
they were designated, and, as the process had been patented,
mauy photographers obtained licences for making them, in
most instances to their financial advantage.
These pictures were nothing but enlargements produced by
the wet-collodion process on plates of glass. They were, of course,
transparencies, but so thin and delicate were they that the half
tints could scarcely be seen until the glass had been dried and
a sheet of paper brought in close contact with the image, which
then appeared as if it were on the material placed behind it.
In truth, so deceptive were they in this respect, that the most
minute examination failed in establishing the fact that the
image was not on the drawing-paper employed as the backing.
If what we have now to say aids in resuscitating this process,
improved as it may be by greater knowledge than prevailed a
quarter of a century since, we feel sure that it will conduce to
the pleasure of many, and possibly to the profit of not a few.
We have said that the photo-crayon of the past epoch
was an enlargement. It was made by placing an ordinary carte
negative in a lantern, and projecting the head and shoulders
upon a large plate of coUodionised glass. The exposure was
brief, a strip of magnesium ribbon being usually employed as
the source of illumination, although any other light might be
used. The glass was prepared by coating it with bromo-
iodised collodion, and, after allowing it to set, laying it face
upwards in a flat dish containing a solution of nitrate of silver
of about the strength of thirty-five grains to the ounce of water.
While this was becoming sensitised, which occupied two or
three minutes, and a cover placed over the dish, the portrait
was being adjusted and foouSsed on a plate similar to the one
which was to bear the picture, but faced with white paper.
This was supported in a vertical position, a simple easel, in our
own case, sufficing for this purpose.
The lens is covered with a cap in which is fitted a disc of
yellow glass, the sensitive plate made to take the place of the
paper-covered one, and any final adjustment effected by the
yellow cap, the removal of which permits of the exposure being
made, which, with a single strip of magnesium, requires thirty
seconds more or less. But, during exposure, it must be
vignetted by the interposition, immediately in front of the
sensitive plate, of a large sheet of cardboard, having in it an
aperture about the size of the head and shoulders of the
enlargement ; and this must be kept gently moving all the
time in order that the vignette shall have a very soft margin.
The image is developed by —
Pyrogallic acid .....'.' 2 grains.
Citric acid 2^ „
Water 2 ounces.
This ought to be poured on in such a way as not to wash off
the solution of nitrate of silver with whicli the surface is still
covered. If it does not flow smoothly, the addition of a few
drops of alcohol will impart this needed property. The de-
velopment will proceed slowly, but on no account must it be
allowed to proceed beyond the formation of an exceedingly thin
image. Those who try this process for the first time invari-
650
THE BlUliSH JOURNAL OF PHOTOGRAl'IIY.
[October 13, 1893
ably make the mistake of carrying the development too far,
producing a heavy, black-looking picture. It is fixed in hypo-
sulphite of soda, washed and dried.
The image is examined by pressing the film side against
a white sheet of paper. The margins and high lights ought to
be quite white, or as white as permitted by the interposition of
clean glass. If there is any degradation of tone, it indicates
fog, which with such a developer ought not to be present.
This fog may be prevented by using an older or riper collodion,
or by adding to it a few drops of tincture of iodine. This, in
almost every instance, will ensure the absence of fog. Should
the half-tones be heavy and smudgy, over-development and
possibly over-exposure are indicated.
It is in the mounting that the effect which gave the special
name to the process i.s produced. Instead of backing with
plain paper, Sarony employed drawing-paper on which had
been printed by lithography peculiar, sketchy, crayon-like lines
which, intermingled with and extended beyond the soft out-
lines of the vignette, gave it the appearance of freedom and
artistic effect. In many instances, tlie photographer produced
these hatchings himself by a blacklead pencil ; but, in any
case, it was impossible to say by examination that they were
not highly finished and artistic crayon portraits executed by
skilled artists. They created a furore, and the journals and
societies of that period devoted much attention to the process.
Why, then, did they fail to secure lasting recognition "!
The public had not in those days been educated to relish black
tones, preferring those of warm tint ; and the fatal mistake
was made of toning them with bichloride of mercury, followed
by hyposulphite of soda ; and, while by these agents the most
beautiful tones were obtained, the photograph itself faded to
an unpleasant light yellow colour, but as the crayon hatchings
still maintained their original darkness, the ultimate effect
was most incongruous. Hence the decadence of the photo-
crayon.
Tastes have changed since the days when the photo-crayon
reigned with such supremacy, and we know that, if untampered
with in the way indicated, there is no reason why it should not
be 1 er nanent. Again, the backing of the transparency may
be of any material and of any colour. If one of dark colour
be selected for the sake of a special effect, touches of high
lights may be put in by the crayon or otherwise.
There is a question of optics involved in this process, into
which we cannot now enter, beyond saying tliis, that it is
not only necessary, while there is the closest possible mechanical
contact of the backing paper with the transparency — which,
by the way, must have been varnished— that they should not
be placed in optical contact, else will the whole effect be lost.
A film of atmospheric air must intervene.
We own our indebtedness to Mr. Bergheim for affording us
an opportunity of directing attention to a nearly forgotten but
excellent process.
SUPPLEMENTARY EXPOSURES.
Our article in last week's issue on Reflected Light in the Camera,
has drawn forth two communications from correspondents who
seem to be of opinion that the presence of a small amount of
extraneous light is not altogether disadvantageous, inasmuch
as it plays the same part as the supplementary exposures that
were at one time recommended for the purpose of shortening
the time of pose in portraiture. One of our correspondents
also alludes to the remarks of Professor George W. Hough,
reported ia the same issue, which go to show that supplemental
exposures, under certain conditions, increase the rapidity of a
plate some five times.
Looking back to the days when such suj plementary or
auxiliary exposures were, if not fashionable, at least seriously
looked upon and carefully tested, it is very doubtful whether
any real benefit can be said to have been derived from them.
There were instances, undoubtedly, where a close examination
of a negative that had been subjected to this treatment ex-
hibiteil, perhaps, faint traces of detail in the deeper shadows
that did not exist in the corresponding plate similarly treated,
except for the auxiliary lighting ; but, in all such instances, it
was claimed by the opponents of the system that the ad-
vantage was more apparent than real, that the additional detail
was of no practical or printing value.
This was in the days of wet collodion, when the supple-
mental lighting was performed in a variety of fanciful wayp,
such as exposing the plate to the feeble light reflected from
black velvet or to that transmitted through a coloured trans-
lucent screen. Some, again, coloured the interior of the camera,
so that it might reflect light of a feebly actinic character, which
acted simultaneously with the camera exposure proper, while
others applied a certain amount of what was termed "judicious
fogging " by directly exposing the plate to the action of a feeble
artificial light. In one and all of these methods the result
was practically the same, namely, the production of a slight
veil over the whole of the plate.
But the supporters of the supplemental lighting theory
claim something more for the system than a mere general
veil. That, we can well understand, can be applied in a
variety of ways, by staining the negative film, by the applica-
tion of a matt varnish, or by printing through tissue paper
and similar media. But none of these are capable of doing
more than, perhaps, slightly alter the ratio of gradation and
prolong the time required in printing, while the true supple-
mentary lighting is claimed to bring out more detail.
Some years after the first agitation in favour of supplement-
ary lighting, the question was studied by Messrs. W. K. Burton
and W. E. Debenham amongst 'others, and this time in con-
nexion with gelatine plates and the sensitometer. The fanciful
and uncertain methods of lighting by means of coloured glasses
and reflected rays were relinquished in favour of direct exposure
for a determined period to feeble artificial light. By careful
and repeated trials the minimum time was ascertained in which
a visible fogging of the film could be produced by exposing it
at a distance of several feet from an ordinary candle ; and, this
period having been found, it was easy to graduate the preliminary
exposures in such a manner as to bring about the supposed
action of light that precede.? the formation of a visible image.
The theory of the supporters of this system — and it is a
reasonable one — is that the light must act upon the plate or film
for a certain time, in order to, so to say, overcome its vis inerti^e
before it can produce a developable impression ; and that the
function of the supplemental exposure is to just overcome that
vis inertiw, and leave the film in a condition to form a develop-
able image, with the briefest possible exposure in the camera.
The theory, we repeat, is reasonable enough, and is in accord-
ance with what actually occurs whenasensitive surface is exposed
to light, since, unless the latter be very powerful, an appreciable
time elapses before any palpable eflect is produced.
Working upon this theory, Messrs. Burton and Debenham,
in the experiments we have referred to, showed that, when
October 13, 18U3]
THE BRITISH JOURNAL OF PHOTOOIIAPHY.
661
carefully and judiciously applied, the auxiliary exposure did
undoubtedly conduce to the production of an increase of sensi-
* tiveness to the extent, if we remember rightly, of two or three
numbers of the sensitometer. But they also showed most con-
clusively that it ended there, and was of no practical value in
camera exposures.
Some fifteen or sixteen years ago the preliminary sunning of
I albumenised paper in order to hasten its printing power was
< recommended in America; in other words, the application of
I the system of auxiliary lighting to the formation of a visible
1 image, as distinguished from a developable one, was made.
' Here it is possible to follow more closely and accurately the
working of the system, for with the comparatively slow-printing
surface the paper may be exposed for a very considerable time
to a -weak light without the production of any visible change.
' If, we will say, a jiiece of albumen or gelatino-chloride paper
be exposed to feeble diffused light for a period of one minute
without any visible change, and two or three seconds later a
change becomes visible, it is impossible to believe that that
capacity for change has sprung suddenly into existence. It is
most certainly the result of some invisible change produced by
the first sixty seconds of the light's action, a preliminary
change that must precede the formation of a visible impression.
If we ascertain the period wliich is required under certain
conditions of light to set up the first sign of a visible change,
and then expose a piece of paper for three-fourths or seven-
eighths of that time, a portion of it baingi protected by an
opaque mask, we may expect that paper to be in a condition
to form a visible image more rapidly on one portion than on
the other, and such in practice proves to be] the case. If a
piece of paper so partially exposed ba placedTbehind a nega-
tive, and re-exposed for a few seconds in a good! light, the
image will, in all probability, make itself visible on the exposed
portion before it does on the other. But — and here comes
the practical point — the difference is so slight, and the second
portion of the image follows the other so quickly, that, before
the printing can ba said to be fairly started, any distinction
between the two portions is completely lost.
The experiment may be instructively varied by exposing a
piece of paper under a star, or other shaped mask, in the
feeble light of an ordinary room for a period short of that
found to be necessary to produce a visible impression. If, now
the mask be removed, and the exposure continued, we ought
presently to see an image of the mask in white upon a faintly
tinted ground ; but, as in the previous case, the very greatest
care and the closest observation are needful, and even then it
is very often much a case of individual eyesight. We have
often, when trj-ing this experiment, found perhaps one indi-
vidual claim to be able to recognise an image that was invisible
to ourselves and others. A graduated sensitometer screen
forms perhaps a better mask for use in such trials as these
than one of opaque paper.
The result of a series of experiments of this kind, if care-
fully conducted and closely studied, will be to convince the
inquirer that, although there maybe an apparent advantage in
the preliminary or supplemental exposure, it is so slight in
comparison with the total result as to be practically inap-
iireciable. In fact, in order to secure any apparent benefit at
all, the auxiliary exposure must be of the very shortest, other-
wise the general action or fog will be sufficient to hide any
partial action that might otherwise be there.
Turning back, then, to the suggestion that reflected light in
the camera can be of any practical use in shortening exposures,
we most strongly deny it. In fact, as we have endeavoured to
show, the evidence is all against the pra?tical utility of
auxiliary lighting in any form, but especially with geUtine
plates. All who have had practical experience in rapid work
are well aware that better results are obtainable by careful and
prolonged development than by rapid forcing. Every plate
has, more or less, an inherent tendency to fog, which is only
brought into stronger prominence by increasing the energy of
the developer whenever it may lie dormant for a long time
under a weaker solution, and so permit of the gradual de-
velopment of the feeblest impressions of the lens. By
purposely exposing the films to light, however feeble the in-
herent tendency, it only heightened, and the prospects of
success from protracted development correspondingly de-
creased.
How slight an auxiliary exposure is necessary is shown by
the figures quoted by Professor Hough in his article in last
issue. Plates that were exposed for only two seconds to the
red glass window of the dark room were said to be increased in
apparent sensitiveness five times ; that is to say, the sensitive-
ness by the sensitometer showed five times greater, though, as
Messrs. Burton and Debenham showed years ago, such readings
are utterly fallacious. If, however, the " red window " is any-
thing like those in ordinary use, the result should set us
thinking on the subject of the importance of shading our
negatives during development.
As a practical test of the value of preliminary lighting for
shortening the camera exposure, a plate was placed in the dark
slide and the shutter partly drawn, when it was exposed for a
fraction of a second to the light of a common Swedish paraffin
match at the distance of about eight feet. The exposure made
in the camera, as usual, was purposely curtailed, and the
development was conducted on the slow-and-sure principle,
with the view of getting out as much as was possible from
both portions of the plate. So far from the preliminary ex-
posure proving beneficial, it was, in every case where an
ordinary plate was used, the reverse. At no stage of the
development did the supplementary exposure place that portion
of the plate in front of the other ; on the contrary, very early
in its progress the image became veiled, and long before the
unassisted half was completed the remainder of the plate was
hopelessly fogged.
The experiment was repeated several times with slight
variations of the exposures, both supplemental and in the
camera, but with practically the same result, except when a
double-coated film was used, and then a novel feature of the
multiple-coating principle made itself apparent, inasmuch as
in this case the supplementally lighted portion of the plate
began to show its image several seconds before the other ; but
after a very short time all difference between the two portions
disappeared, and at the finish there was no distinction what-
ever, the remarkable point being that the fog that accompanied
preliminary exposure in the other cases was entirely absent
from the double-coated film.
PHOTOGRAPHING HIGHLY POLISHED SURFACES.
Reveuting to the previous article (see page 618, ante), we shall
here describe some of the methods or dodges frequently resorted
to by those who make a feature of the above class of work, pre-
mising, however, that what was said a fortnight ago with re-
652
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[October 13, 1893
gard to the method of illuminating the objects to be copied
■will be borne in mind.
Taking first by way of example a silver or gold vase of the
usual hypo — highly burnished in parts, and in others frosted.
One very excellent way of dulling the surface for photographic
purposes is to take a lump of tolerably firm putty and lightly
dab over the burnished portions with that. Thi.s, if care-
fully done, will not be at all perceptible in the photographs.
After the negative is secured the putty can be cleaned off with
a platc-brKsh, whiting, and benzol. Another method is to place
a piece of ice in the vessel, this by cooling the metal quickly
causes moisture to condense upon it and thus dull the surface
without at all interfering with the finest detail in the chasing
or engraving. To be successful with this plan, one or two pre-
cautions have to be taken. The ice should not be put into the
vase until everything is arranged and the plate is ready for ex-
posure, and it should be taken out directly after it is made,
the reason for this being that the moisture will continue to
condense on the cold metal and soon run down as tears, which
would be reproduced in the photograph. If a second negative
has to be made, then the ice can be replaced. If the atmo-
sphere is very dry, it may be requisite to sprinkle the floor of
the studio with water to provide the necessary moisture.
Another point in connexion with this system is that the tem-
perature of the room must be tolerably warm, for, if it be
very cold, the condensation will be correspondingly slow, if
at all.
Silversmiths, and others, who make a practice of having
their goods photographed, generally have the negative taken
before the things are finally polished. This materially aids the
work of the photographer.
By taking advantage of the condensation of moisture the
copying of china and glass articles can be greatly fiicilitated, and
the same applies to jewellery ; but it is obvious that ice cannot
always be used in the manner just described. However, the
difficulty may be got over in another way. The articles may
be kept for some time previously in a cold place. Then, when
they are brought into a warm atmosphere, moisture will con-
dense upon the surface as dew, as is frequently noticed when
cold tumblers or wine glasses are taken into a warm room
where the air is moist. In the case of small articles they may
be cooled by putting them for an hour or so in a refrigerator,
or, if that is not at hand, a packing-case with a few pieces of
ice at bottom will answer the purpose quite well.
Furniture should always be, and usually is, photographed
before it is polished. The best start for our present purpose
is when it is finally glass-papered ready for the polish. In
this condition the surface is quite dull, though it does not
show the grain of the wood ; but this is fully developed by
slightly oiling it, as the polisher does before commencing his
labours.
Some persons are much surprised at the excellence of the
photographs of machinery usually to be seen at most in-
dustrial exhibitions, and often wonder how they are done. The
matter is very simple. The machines are painted over with
flatting colour, of a slate hue, before the negatives are taken,
as the lettering for the maker's name frequently is painted
in black. In photographing machinery in factories this dodge
should always be resorted to, otherwise it is next to impossible
to clearly delineate many of the bright parts under some con-
ditions of lighting. If the flatting be done with a mixture of
tm-pentine, white lead, and lamp-black, the colour can be
quickly cleaned off with a piece of " cotton waste '' charged with
benzoline. It is often important that the name of the maker
of machine be conspicuously shown ; a little chalk, if it be in
an ill-lighted portion, rubbed over the letters, is all that is
necessary to obtain this end. Distemper has sometimes been
recommended for coating machinery prior to photographing
it, but flatting is far preferable, as it " takes " better on the
metal, which is always more or less greasy and repellent of
water, while with benzoline it is quite as, if not more, quickly
removed than distemper would be.
Among the many odd jobs a photographer is often called
upon to do is to take a photograph of a grave or tombstone, when,
of course, the inscription is one of the important features.
This is not always an easy thing to do, particularly when the
stone is of some coloured granite and the lettering is gilded.
The best thing, under these circumstances, is to make a past©
of whiting in water, and with it fill up the cut-in letters,
using a palette knife for the purpose. It is easily done, and
readily brushed out when the negative is obtained, and in no
way injures the gold.
Recipients of medals who make use of them for business
purposes frequently require them photographed, and, when
they get the pictures, are sometimes disappointed with the
result, owing to its not being equal to those frequently to be
seen in the possession of numismatists and others. The reason
for this will be obvious when it is mentioned that the photo-
graphs issued in the numismatic publications are not taken
from the originals at all, but from casts of them made in plaster
of Paris ; and, to aid the photographer, the plaster is slightly
tinted with a dark pigment, such as umber, for example, to-
take off the excessive whiteness. Most of the medals utilised
for advertising purposes are reproduced by electrotyping, and,
when this is the case, there will be no difficulty in obtaining
plaster casts from the original moulds from which the electro-
types are made. When gold, silver, and bronze medals are to
appear in the same picture, the plaster of Paris should be
tiuted according to the metal ; for the silver a very slight tint,
for the gold a shade or two darker, while for the bronze it may
be somewhat deeply coloured. In illuminating the cast a
strong side light should be used, as mentioned in the former
article, so as to bring out the relief in the strongest manner
possible.
It often happens in the case of presentation articles, such as
clock ■<, inkstands, and the like, that the inscription is on a
separate plate affixed to the article, and it is important that it
should be distinctly readered. "When this is the case, the-
plate should be removed and talcen to a copper-plate printer,
who will ink it in — that is, fill up the letters with printer's ink,
leaving the surface perfectly clean. By this means the letter-
ing will be obtained perfectly clear and distinct in the negative.
After a satisfactory negative has becu obtained the ink can be
cleaned out with either turpentine or benzine.
Photography on Itlount Ararat. — Our readers may re-
member the details of a hoax, which was accepted as truth by many
of our newspapers, some little while ago, to the effect that the remains
of the Ark had been siglited and photographed ; but at last it would
appear a view of the mountain itself has been secured by the aid
of the camera. Mr. H. F. B. Fynch, with his brother and a French
guide, are credibly reported as having, after seven and a half hours'
climb, succeeded in ascending Mount Ararat on the 19th ult. He
has promised interesting information upon his return to England, and
he states that he has taken some photographs.
October 13, 1893]
THE BRITISH JODRNAL OF PHOTOGRAPHY.
MS
Orlndlng- and Pollshlngr Ziensea. — The usual explanation
of tho prcliminarv process of grindincr lenses is that a series of
" scratches " are produced by the abrading material, but Lord Ray-
leigh showed that this is an error. The normal process is the pro-
duction of isolated detached pits, not scratches. The g\iu» gives way
under the emery, and at the same time the latter suffers abrasion
from tho glass. Our renders will be surprised to learn that an imajife
seen throuj^h pla^s which has been finely ground, but not polished,
has perfect definition. His Lordship stated that a glass lens finely
ground gives very good definition, but there is a great loss of light by
irregular reflection, and it is to avoid this that a lens is polished. He
believed the process of polishing was not continuous with that of
grinding, and that it consisted of the removal of a molecular layer
from the glass surface. Grinding is easy and rapid, polishing tedious
and diflicult. By various interesting methods he measured the
thicknes.s removed, and found that, when a thickness equal to two and
a half wave-lengths of sodium light was removed, the polish was
sufficiently good. Four wave-lengths removed gave a perfect polish.
The Action of Xilgrht on Dyed Fabrics.— .Vmong the
singular results observed in cannexion with the fugitiveness of cosine
colours may be moptionod the fact, stated by the Committee lately
referred to, that when there is added to an eosine dye such a colour as
methyleosin, a particular phase of fugitiveness is destroyed. It does
not prevent the fading as a whole, but, when the colour has faded to the
" pale-faded tint," no further alteration occurs. That the conclusions
of this Committee, however, must not be taken to be paralleled by
pigments of similar origin is evident from the fact that they say " the
number of very fast reds is extremely limited, but it includes both
natural and artificial dyes, namely, madder, cochineal, alizarine," &c.
Now, it is well known to artists and to the manufacturers of carbon
tissue that cochineal pigments— crimson lake, for example — are, in
the highest degree, fugitive, and the substitution of alizarine reds
for cochineal reds marked a distinct advance in the permanency of
the general colour of purple-hued carbon prints.
British Association memoranda. — The photography of
interference and diffraction phenomena has been rendered easy
of accomplishment by a new and simple apparatus devised and ex-
hibited by Mr. Croft. No bench is used, and the various pieces of
apparatus are mounted on the usual stands employed for holding
lenses, &c. One of these contained a thin aluminium plate with a
needle hole, or the slit of a spectroscope, on which the light of
a lamp was focussed by means of a lens. The eyepiece of a Beck
microscope was used for observing, and was placed about two feet
from the slit or point, the object being introduced between. The
stands are to be adjusted in such a manner that the light proceeds
straight into this eyepiece. The whole special apparatus required
need not entail an expenditure of more than a few shillings. It is
suitable for showing or photographing the usual diffraction pheno-
mena, and of Fresnel's bi-prism, sharp edges, perforated zinc, &c. Mr.
Croft proved the value of this simple apparatus by exhibiting a series
of curious phenomena, including an example of the bright central
spot in the shadow of a small opaque spot (shot) photographed by its
aid.
Xiord Rayleig'h's Substitute for Telescope Ob-
ject Glasses.— Considerable interest continues to be exhibited
in this suggestion (explained in these columns a few weeks ago).
Letters over the signature of "H. F. Newall," and "Robert
S. Ball," have appeared in response in the columns of Nature.
The latter says, "Accepting what Lord Rayleigh says as to the
present possibilities in the preparation of plates,! fail to see where
any considerable saving is to be effected in the cost of the apparatus,
as he appears to suggest.'' Also. " It is certainly easier to test the
qualities of an objective corrected for visual than for photographic
rays (if I may still use language which Lord Rayleigh has pointed
out as incorrect). On this account it would, therefore, be desirable to
have plates such as he refers to rendered available for astronoiaeri
engaged in photographic work." Profeaaor Newall doe* not apeak ao
strongly as Sir Kotert Ball, but dwells on the advantagea of tiol*
refractors (i.e., refractors corrected so that the minimum focus ia for
violet light). He sums up by saying that still greater advantagoa
would accrue if a means of avoiding the diiBcultiea of supporting,
adjusting, and maintaining a mirror could be devised.
THE PHOTOGRAPHIC SALON.
Thk Photographic Exhibition known as "The Photographic Salon"
was opened to the public, at the Dudley Gallery, on Monday last.
The circumstances surrounding its inception were of such a remark-
able piquant character that it is only the bare fact to say that its
opening has been awaited with great curiosity. The popular
belief, not altogether unsupported by weighty evidence, is that the
Salon has been started in opposition to the old-established Exhi-
bition of the Photographic Society of Great Britain, and, despite all
the sophistry and special pleading that may be adduced to prop up
the somewhat thin contention that it is intended to supplement
rather than to rival tho display in Pall Mall, we belieye that it could
only be with diflSculty ^that an impartial judge would lean to the
former view. There U, of course, the odd plea that the Saloa
affords scope for the Exhibition of purely " art " photographs whick
the older Exhibition does not ; but the irony of fate opportunely inter-
venes to demolisli any such fantastic theory, for at Pall Mall just now
there may be seen on the walk medalled exhibits as strange, as bizarre,
and as wishy-washy as the most conscientious Salonist coald possibly
desire. If, then, the Photographic Society has proved itself willing to
recognise the special variety of photographic production which it is
the aim of the Salon to nurture and encourage, the raiaon-d'etre of
the latter institution inevitably rests on the most slender support, and
the continuance of a second Exhibition, either in a rival or supple-
mentary capacity, is out of the question.
There are] nearly 300 pictures on the walls at the Dudley Gallery,
over 480 having been rejected by the committee of selection. The
300 exhibits are the work of about 110 persons, nearly half of whom,
singular to tell, are also exhibitors at Pall Mall. These figures
indicate that there is not, after all, a very large number of people
anxious to demonstrate the necessity of a second Exhibition, otherwise
it is difficult to account for such an even-handed support of the two.
It would probably be near the mark to assume that, except in the
cases of about half-a-dozen gentlemen whose names the reader caa
supply for himself, nobody cares two straws for the Salon as such,
save and except that it gives him an additional opportunity of chal-
lenging a verdict upon his powers from the critical public; and a
cheap opportunity, to boot, as the Salon does not charge for wall
space.
Coming, however, to the Exhibition itself, we must admit that the
promoters have done remarkably well, and have succeeded in getting
together what is, on the whole, an undoubtedly fine collection of pic-
tures, judiciously chosen and well hung. Indeed, we go further, and
say that, in the department of portrait work, there is on view a
number of examples we have never seen excelled, and the merit of
which is a revelation. Of what are known as composition subjects
and figure studies there are some capital examples, and in the way of
land and seascapes some really good efforts. But not all the pictures
are of the fuzzy kind ; far from it, thank Heavens ! A good propor-
tion of them would delight the soul of even a photographic optician.
With some, however, there is a strong need of what the Marchioness
described to Dick Swiveller as " make-believe " before you can be
tolerably sure that the producers of such low-toned, depressing, blurry
libels on Nature are not having a game with you. For the rest, the
appearance of the Exhibition is decidedly agreeable, warm and sepia
tones abounding, rough papers and fabrics being plentiful, and,
with few exceptions, great taste being shown in the framing. The
catalogue does not vouchsafe any particulars as to|the printing methods
employed but most of the pictures are priced, and for eight of his
characteristic views Mr. Davison asks the modest sum of forty
guineas, which, area for area, is lesj than half what Mr. H. P.
Robinson wants. On the whole, we should prefer Mr. Robinson's.
654
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[October 13, 1893
"We have already made the acquaintance of many of the pictures at
other Exhibitions, although their inclusion here is probably due to a
lack of omniscience, such as even committees of selection may be
expected to suffer from.
Songerie (No. 11), by M. Hector Colard, is the first noticeable
frame; it is that of a well-posed female figure in classical robes;
the face is half in shadow, and the deep sepia tone helps the effect,
which is most artistic. Mr. Calland has An Orchard in June (No. 14),
in which he is uncommonly successful with his fruit-blossoms. Such
subjects are generally disappointing. In A Still Delight steals o'er the
Earth (No. 16) Mr. J. B. B. Wellington has a richly toned study of a
bland landscape with the rays of an evening sun striking athwart it ;
there is depth, sparkle, and crispness in the treatment of the work,
which is probably as good as anything Mr. Wellington has done.
Only a Fisher-boy (No. 19) is the name Mr. Sutcliffe gives to a jolly
laughing lad, the best of the artist's exhibits, unforced and natural.
Mr. Lewis Cohen, in A Sultry Day (No. 21), successfully shows us a
rider on horseback pausing at a pool amid umbrageous surroundings,
and Mrs. Francis Clarke, in A Study (No. 2-5), has a good old man's
head. This kind of thing is getting a little overdone, since everybody
has found out what capital subjects old men's heads make. A word
of praise is distinctly due to Mr. F. W. Gauntlett for We Parted in
Anger my Lore and I (No. 27*), as it tells a story which is easily
understood. Have we not all had sweethearts, and have we not al
quarrelled with them ? Two young people have evidently just had a
tiff, and are going their several ways half regretfully, a rustic bridge
separating them. There are not many touches of nature in this
austere Salon, and this is one of them. Mr. Henry Van der Weyde
^how8 several of his familiar studies, such as Cardinal Manning
(No. 31), Ilypatia (Nos. 32 and 33), A Study (No. 34) of a pretty
Udy looking up at a caged bird, and a costume portrait of the hand-
some Lady Helen Vincent (No. 35).
Homeless (No. 36) is a woman's head with a sorrowful expression
It is a warm-toned picture, and its producer, Mr. G. M. Wane, is to
be congratulated on a sound piece of work. Mr. F. HoUyer, in Milli-
cent and Daniel (No. 37), has a charming unforced study of a girl
with a dog. The Foster Mother (No. 42), a young girl caressing a
Jamb, by Mr. T. C. Hep worth, is exceedingly good, but the lady's foot
looks uncommonly big. This is the kind of thing Mr. Van der Weyde
"vvould probably consider as coming within the scope of his photo
corrector. Mr. H. P. Robinson has seven large pictures in his best
style. In Preparing for Shrimping (No. 54) the figures are happily
disposed, and the lighting is good ; in Stormy Sunset (No. 56) the
artist successfully quits his favourite pastorals for striking cloud
effects. In Coming Boats (No. 61) a woman is looking out to sea,
while there is a boat with a man in it in the foreground, the effect
with- the sea and clouds being bold and striking. Morning Mist
(No. 64) is a sunrise picture with sheep in the landscape, &ni Declining
Daij (No. 71), another exceedingly fine evening effect. Perhaps the
jnost striking of Mr. Robinson's pictures is Wild Weather (No. 67), a
woman on the seashore battling against a strong wind. The veteran's
hand has not lost its cunning. Mr. Shapoor N. Bhedwar sends two
pictures, one In commune, a weird portrait of probably a Fakir, and
another. The Voice of Silence, a blind Fakir apparently in the act of
blessing his daughter. The latter is an extremely powerful study.
Two companion studies by Dr. Hugo Henneberg, Midsummer (No.
■62) and An Eoening in Autumn (No. 68), catch the eye by reason of
8 certain charm of naturalness, the former in particular, with a lady
in summer attire admirably assisting the effect aimed at in the view.
Nos. 73, 74, and 81 are delightful little Italian bits by Mr. J. A.
Sinclair in his own bright, incisive style, and close by them are six
exquisite views by Colonel Gale, of which A Roadside Pond (No. 79)
is a simple theme handled with masterly effect. The Dreamy Mill-
dam (No. 82), with a man pursuing the gentle art thereat, and the
groups of cattle in After a Summer Shower (No. 83) are also choice
examples of Gale's style. It is always a pleasure to contemplate work
hke this. Hard by is Toccata (No. 85), by Mr. Maskell, in quite
another vein. Perhaps Colonel Gale has spoiled us, but when we
were contemplating Mr. Maskell's picture we were induced to say,
with the man in Mr. W. S. Gilbert's ballad, that " we know it's very
clever, but we do not understand it." It is a landscape with a
melancholy tint, and it is out of focus, with the high lights looking
as if they were put in. A Fair Wind (No. 87), a tiny yacht study
by Tom Bright, is capital ; but On the Danube (No. 90) is an ordinary
river view, out of focus, dirty, yellowy-brown in tone, and by Herr
Watzek. Is it supposed to be after an old master, or is it a " goak ?'
Dr. P. H. Emerson shows a soft and pleasing Portrait of a Lady
(No. 92) ; Mr. T. Manley (No. 93), a delightful study of child life in
It takes such a Lot of Thinking over ; and Mr. Lintott, a miniature
view, O^ Greenwich ; and (Nos. 95-104) Count Gloeden, some more
of his nude Figure Studies, perfect in modelling and lighting, although
not perhaps always so in the grouping.
Mr. Ralph Robinson has ten exhibits, in which, however, he
hardly does himself justice ; certainly they do not come up to his
Camera Club work of last year. Probably the best are, Cooling
Stream (No. 112), some cattle in a stream ; and A One-sided Chat
(No. 127), a lady talking to a dog, the expression on the animal's face
being cleverly secured. Mr. J. Craig Annan is also a generous
exhibitor. In his Fishers' Wives (No. 117) several women are busy
at work, while a lout of a man looks on with his hands in his pocket 5.
One feels inclined to cuff hitn. The Beach, Zan-lvoort (No. 119), a
long nai'roiv view of the seashore, with numerous Dutch fisherwomsn
crowding round a fishing boat, is one of the best of Mr. Annan's
exhibits, the best being probably A Utrecht Pastoral, a flock of
sheep passing up an avenue of leafless trees. There is not much in
the subject, but it is handled with rare skill, the winter chill baing
cleverly suggested, and the whole effect bsing most realistic. This
must rank as one of the best landscapes in the room. Mr. Bernard
Alfieri has two realistic studies of A Winter Landscape (Mo. 125),
and Silver Birches (No. 126), as well as a large water piecj with a
mouldering Derelict (No. 129), enveloped in gloom and dismalness.
Wind (No. 130), is another of Mr. Alfieri's, the play of the reeds
and rushes being highly suggestive of atmospheric disturbance. A fine
Head of a Painter (No. 132), by A. Buschbek; a richly toned farm
scene, by Dr. Julius Strakosch, Children Playing (No. 138) ; a clever
Twilight (No. 142), a sombre scene of craft on a river (query the Yare
near Yarmouth Bridge), by Mr. Arthur Golding, all deserve mention
and notice. Mr. J. S. Bergheim is represented by twelve pictures,
chiefly large portrait studies, designed to suggest various effects and
schools of painting. They include Gipsy Queen (No. 143), a portrait
full of force ; Gazalleh (No. 144), a charmingly soft engraving-like
female head; Sybil (No. 147); Beatrice (No. 146); Helen (149);
Listening to the Voices (153), a simple study of a girl seated at a
window in a very natural, unconstrained, listening attitude; La
Juive No. 154), and Penserosa (No. 155), a lightly draped lady,
designedly taken considerably out of focus, sd as to avoid a too
realistic sharpness. Space will only permit us to speak in general
terms of Mr. Bergheim's 'exhibits, many of which, aside of what
they aim to be, are undoubtedly very fine from an ordinary photo-
graphic point of view. Good portrait work is shown by Mrs. Myers,
although, in a Portrait of Mr. Gladstone (No. 165), as well as in her
Boy's Head (No. 1), she makes her high lights uncommonly
prominent. Mr. Karl Greger is successful with large work, and we
like two Burnham Views (Nos. 165 and 184) by Mr. A. Horsley Ilinton,
as they are plucky and striking, but we altogether fail to appreciate
others of Mr. Hinton's landscapes here ; they have far too much
"breadth" for such unregenerate mappists as ourselves. Mr. W. Crooke's
portraits. Miss Gratton (No. 160) ; Professor Blakie (No. 178) ; and
David Bispham, Esq., as Comte de Neven, are strikingly good, par-
ticularly the latter, which is got up to resemble a fine steel engraving.
Two night views of The Thames Embankment (No. 192), and The
Eifel Tower (No. 193), by Mr. G. Loppe, show the lamps and lights,
and are clever sui generis. We leave them to take a prolonged plunge
into a bath of " pinhole," " astigmatic,'' " broad " and " diffused " effec'ts
by Messrs._Charles Moss, Rowland Briant, and others, to emerge for a
moment at an ably treated view of Carthagena (No. 206), by Mr.
A. E. Oakes. Then comes Mr. George Davison with fourteen studies
mostly printed on fabric. Of these Dedham Pool (No. (213), and A
Seashore Pasture (No. 223), arrest our fancy, as, while undeniably
" broad " in treatment, they do not appear deficient in some kind of
definition. Most of the others show the master of selection and com-
position, and exhibit Mr. Dawson at his best, or worst, as the reader
October 13, 1893]
THE BKITISH JOUKNAL OF PHOTOGRAPH Y.
6 m
pleases ; one picture, The Hedger (No. 235), beinj^ honourably entitled
to receive the entire contents of a confectioner's shop for " breadth
of effect."
Mr. Thomas Manly's Naughty Boxv-woic (No. 219) is an amusing
dog and child piece, and skilful withal, and the same exhibitor has
other work of a like kind (Nos. 22o and 232). Mr. Henry E. Davis
shows three small views shrouded in an intolerable deal of frame,
Fretful Spring (No. 239) a realistic little bit; Breaking Storm—
Moonlight (No. 240) and Bi»ham (No. 241) the last a delicate little
river view which would bear enlargement. Mr. F. Hollyer's portraits,
Walter Crane, Esq. (No. 2.58), The White Frock (No. 200) being the
full-length portrait of a lady ; Reo. Stopford Brooke (No. 263), Albert
Moore (No. 277) are just what Mr. HoUyor has long accustomed us to.
In H. E. Davis, E»q. (No. 277) the characteristic expression and
attitude of the original are well secured, and the portrait is a highly
successful one. Mr. H. H. Hay Cameron's portrait of Matter Harry
Hetherington (No. 262) shows the young gentleman's arm at right
angles witli his head, but Mr. Cameron succeeds better with Henry
Irving as Beckett : Mrs. H. E. Hoare, a graceful piece of work, and
Master Weltesley, a softly, harmoniously lighted portrait. Sweet
Kitty (No. -'71), by Mr. Arthur Burchett, is the picture of a smiling
girl in a delightfully natural and easy attitude, and Mr. AV. A
Cadby's portrait of a girl in Setting Sunlight (No. 267) has some
daring butstriking effects of lighting. Lastly, the effect of Mr. Rowland
Untiai'a Mellow Mists of Autumn (No. 272) is decidedly more con-
vincing than that of this gentleman's other contributions to the
Exhibition. We have only space now to add that in addition to those
named excellent work is shown by Rev. F. C. Lambert; Miss
Farnworth, Baron Rothschild, Messrs. R. Keene, C. Patterson, T. M.
Brownrigg, A. R. Dresser, Viscount Maitland, Messrs. Seyton Scott,
W. Thomas, H. ToUey, Major Nott, Messrs. Clarence Moore, F. II.
Evans, B. Gay Wilkinson, H. W. Bennett, and others.
The Exhibition remains open till November 11, and is well worth
visiting, as it contains something to suit all photographic tastes. But
take it all in all, the Salon does not differ in essence from a really good
Photographic Society's Exhibition except in its surrounding circum-
stances and its possession of perhaps a larger percentage of pictures
having a " more subtly suggestive style of treatment," which is
Salonic for badly focussed photographs. Ainsi soit-il!
JOTTINGS.
I AM sad at heart ! The most unhelpable individual is the man who
won't help himself, and nothing is more galling to one than to find
that one's outlay of time and trouble on behalf of a friend who
needed assistance has been rendered nugatory by a mixture of
stupiditj' and wilful blindness. Throughout all its recent troubles I
have been doing battle for the Photographic Society of Great Britain,
denouncing its enemies, exposing their tricks and manners, indicating
the traps and diificulties before it, solely with the object of helping
the old Society to profit by my warnings and emerge from its crisis
triumphant and successful. The Society's Exhibition is the very pivot
of its existence, and, if that goes wrong, the Society's prestige is
seriously shaken. This year, in the face of determined opposition, it
behoved the Society to put its best foot forward and have an Exhibi-
tion which should be worthy of the occasion and of itself. But what
do we find? Certain trifling improvements in the direction of
sumptuary detail, selection of apparatus, &c. ; but, for the rest,
failure and fiasco. The Exhibition, designed to be small and good,
is successful in the first regard alone ; and as for the judging ! I ! ! ! !
The notes of exclamation must supply what my language cannot
possibly convey, for, like the habitually profane waggoner, the tail-
board of whose waggon gave way at the top of a steep hill, thus
releasing a heap of potatoes which rolled away down the hQl, " I
ain't ekal to it ! " Then, on top of the Society's humiliation, I am
told that the Salon Exhibition is an extremely good one. Credit
where credit is due, i^f course, but for the sake of the old Society,
which is just now suffering from its own blunders, I am sad at
heart. So, strike the banjo's sweet and tuneful string, and let me
• soothe my wounded feelings with a little music !
Rumour says that a new photographic paper is shortly to appear
and rumour also says that it will eclipae anything of the kind
now in existence, that it will have a lot of miney behind it, that it
will, in a special sense, take art photography under its wing, that it
will, in short, play up Ancient Nicholas, and break things. The names
associated with the enterprise are not unknown to the photographic
eye, and are witnesses to the ingenious manner in which the gentle
art of advertisement can be practised upon an unsuspecting public
under all sorts of innocent but impeaetrable disguises. I wish the new
venture (if it appears) all the success it may deserve, but in the pre-
sent state of the photographic trade, coupled with the fact that the
journalistic ground is said to be already fully covered, I am not very
sanguine of its chances of setting the Tliames on fire.
Are outings a failure, and is the excursion played out ? I notice
in one or two annual reports of the Photographic Societies Utely
published that a falling off in the attendance of members on the
occasion of the Societies' outings is recorded. As the weather during
the past summer was above reproach, the explanation cannot take the
old familiar shape, so I suppose that the outing fever is on the
wane. This is rather a pity, inasmuch as to those who do not care
for the violent delights of cycling there are few more enjoyable ways
of passing a Saturday afternoon than with a camera amid beautiful
natural surroundings. Have all the show-places near the large towns
been exhausted by the older photographers, and are there no young
ones to take their places ? The reply to the last part of the question
would seem to be in the negative. I fancy, too, that just now the
growth of Photographic Societies is not so rapid as it was three or
four years ago. I don't know whether such small facts as these
can be taken as an indication of a lull in the spread of amateur
photography, but they are certainly significant of possible changes
coming over the spirit of our dreams.
May I ask whether it is the function of Judges at photographic
exhibitions, when sending in a report, to append criticisms of the
pictures they have judged, giving, by implication, their reasons why
awards have been bestowed or withheld; if so, I would recom-
mend such Judges to be quite sure their reasons will stand the micro-
scope of common sense before making them public. Personally, I
agree with you in your remark of September 29, " that a wise Judge
always withholds his reasons." On this showing, the Judges of the
Falmouth Exhibition, whose report on the Exhibition is published in
your pages of September 22, run the risk of being called the reverse of
wise. Of one exhibit, to which they gave a bronze medal, they say
the pictures " are cleverly told stories, but are somewhat too suggestioe
of the shop show-frame." To stigmatise work as of the shop-show-
frame kind, and give it a medal, is rather contradictory, isn't it?
Again, to say of an At Home Portrait that " it should have stopped
there " is very unjudicial, and savours of the partisan. Then Mr. F.
AV. Edwards' interiors of Westminster Abbey are called " perfect
work, printed in a most unpleasant colour." Is tliis loose writing, or
do the Judges know what they mean ? I don't. They first call a
thing perfect, and then proceed to discount its perfection, which, to
say the least of it, is a nonsensical proceeding. On the whole, the
judging at Falmouth seems to have been about as funny as that at
Pall Mall. Where, oh, where was my old friend Mr. William
Brooks?
How many more times, I wonder, are wo to have the suggestion
that boxes of plates and packets of sensitive paper should have the
date of manufacture stamped on them, so that the photographer might
know whether he was buying old or new material ? Your correspon-
dent who wrote the other day, and those who write so ghbly on the
subject, cannot be aware of the difficulties surrounding it. The prin-
cipal one is the old one of supply and demand. If a manufacturer
knew that for certain brands and sizes of his goods there was a con-
stant and steady demand, which obviated the necessity of the dis-
tributor holding them in stock beyond a given length of time, the
thing would be simple enough ; but this is a state of a&airs never,
under any circumstances, likely to happen. A dealer is largely at
the mercy of the capricious laws I have named. An article may go
656
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[October 13, 1893
off with a rush, or it jnay hang fire, there is no telling. Hence there
is only one thing that will prevent sensitive preparations from remain-
ing in stocli — say, for more than three months — and that is the wil-
Kngness of manufacturers to take them back and cast them into the
waste tub, which is an idea altogether too Utopian for further reflection.
I do not know whether the Kew Lens Testing System is much
availed of by opticians, but I have often thought that an institution
which could officially certify as to the good qualities of photographic
preparations generally would " fill a long-felt want," and be exceed-
ingly useful to producer and consumer alike. .Selecting one instance
out of many that occur to me, what trouble, loss, and vexation are
caused to the poor photographer by his mounts, the quality of which
he always has to take on trust, only too often to find that they
develop all sorts of ruinous markings on his prints. Could the manu-
facturer seU the photographer his parcel of mounts with an expert's
guarantee of their purity, much loss and acrimony would be spared
all parties. Here Is an opening for a clever chemist to start in busi-
ness as an expert in the anilysis of photographic preparations
Don't all speak at once ! Cosmos.
MATT EFFECTS ON ALBUMENISED PAPER.
Although for the production of matt-surfaced pictures, which are
aow becoming very popular, there are plenty of sppclally prepared
papers, it may occur to others, as it did to me recently, that none of
them are at hand or readily available when wanted. Under such
circumstances, the method I adopted may prove equally useful to
others. The plan is not my own, but was introduced upwards of
twenty years ago, by whom I really forget, but I know that I tried it
when it was first proposed, and got some results that satisfied me
very well in days when everything must have the albumen gloss.
The method consists in printing on the reverse side of the paper.
Well, not that only, because, if any of my readers try it on ready-
sensitised paper they will be disappointed. The paper must be sensi-
tised on the reverse side — that is, it must be floated with the albumen
surface uppermost. If this be not attended to, there will be no picture
at all, or very little on the surface at least, although a strong image
■will be formed in the body of the paper.
The sensitising solution is prepared in the ordinary way, though, if
strong, black tones are required, to resemble platinotype, it is desira-
ble to use a rather stronger bath than usual (certainly not less than
sixty grains to the ounce), and to have it neutral, or it may be slightly
alkaline ; the paper must be floated for a longer period than in the
ordinary way, as the solution has to penetrate through to the albu-
men, and draw the soluble chlorides to the opposite surface. The
albumen is coagulated in the same manner 'as if it had been in con-
tact with the solution, showing that the latter must penetrate
completely.
The printing goes on about as quickly as under ordinary circum-
stances; if anything, perhaps, a little more slowly, and should be
carried to a good depth, as it comes- down more in the toning and
fixing than when on the proper suftac'e of the paper. The washing,
toning, and fixing are conducted just as usual, and for platinotype
tones I use either carbonate or phosphate of soda. Better still,
perhaps, for that colour would be the old lime toning bath.
Prints made in this manner, if the tone is 'good, are difficult to
distinguish from platinotypes, especially when got up on "plate-
sunk " mounts. ' ''i
Another useful application of the method of sensitising from the
back of the paper is in the production of paper negatives. It very
often occurs that a negative has to be reproduced, and a very simple
way of doing it is to make an albumen print, and from that a paper
negative, the only difficulty being in getting sufficient density and
contrast for printing purposes when the image is wholly in the
albumen. By sensitising from the back this difficulty disappears.
For this last purpose gelatino - chloride paper may be used, for
^-'.Aough it might be supposed the image would be confined to the'
• unulsion surface, it will be found that, if the reverse side of the paper
be put next the negative, there will be little or no image on either
surface, but a very strong one between the two. W. Lindsay.
GELATIXO-CHLORIDE PAPERS.
[Brixton and Clapham Camera Club.]
In 1865 Wharton Simpson devised a process of silver printing in
which the sensitive salts were held in suspension by collodion, and the
process was called " Simpsontype." For some reason or the other
this process died out in favour of albumenised paper ; but in 1882
Captain Abney suggested a chloro-citrate or citro-chloride emulsion,
which contained chloride of silver and citrate of silver emulsified in
gelatine. This was the first mention of a gelatino-chloride printing
paper (Woodbury).
In 1885 J. B. Obernetter, of Munich, introduced, commer-
cially, a gelatine emulsion paper, and was followed, in 1886, by
Liesegang, of Diisseldorf ; but it was not till 1890 that the manu-
facture of gelatino-chloride papers was commenced, commercially, in
England.
Gelatino-chloride emulsion paper is a paper coated with an in-
soluble film of gelatine and either sulphate of baryta, chalk, &c., the
purpose of this film being to prevent the subsequent coating of emul-
sion of sensitive salts from sinking into the pores of the paper, and
thus forming a white or coloured impermeable support for the sensi-
tive emulsion (Woodbury).
It will keep for months under proper conditions. I have obtained
first-class results on paper two years old (specimen). It can be ob-
tained cut to sizes or in sheets for cutting. Gi-eat care must be
taken to handle the sensitised surface as little as possible.
It will suit almost all kinds of negatives — a thin negative in a weak
light, or a piece of tissue paper pasted over the printing frame, or a
piece of ground glass laid over the frame. The paper is able to give
good prints from such weak negatives better than can be obtained by
any other means, and also weak negatives can be made to give good
prints by printing under green glass (signal green, procurable at
Befries', in Houndsdltch), for the emulsion contains silver chloride and
silver citrate. The action of the light upon chloride of silver is
almost entirely confined to the ultra-violet rays, while the citrate of
silver is altered by the blue rays and some distance into the green,
which have hardly an effect upon the silverchloride. The silver chloride
gives more gradation than the citrate ; so, by printing through green
glass, we prevent the action of light upon the chloride, and confine it
almost entirely to the citrate, which gives much greater contrasts.
For dense negatives, print as quickly as possible, exposed to direct
rays of sun ; the blank whites can be softened down afterwards by ex-
posing to the action of the light after removal of print from printing
frame. Some strongly recommend varnishing negatives for use with
gelatino-chloride paper, as it contains so much free nitrate of silver,
and, therefore, very liable to silver-stain the negative. I am glad to
say I have found no such necessity.
The paper is more sensitive than albumenised paper, and care
should be taken to e.xamine prints (whilst printing) in a weak sub-
dued light. Print much darker than is required for the finished print,
especially if to be toned with platinum, for great loss takes place in all
after-operations ; but, if the combined bath (toning and fixing) is used,
it is not necessary to print so dark — no rule .can be laid down ; each
operator will be able, by experience, to gauge, tone, &c., for himself.
After removal from frame, and if about to tone, be sure and give
the prints a good washing, running water preferred, to remove all
free silver tested by looking through some of the last washing water
placed in any glass vessel, all the milkiness disappeared, all is well
for next part. Some place salt in final washing water, but I have
never found any such necessity. If the combined toning and fixing
bath is to be used, no preliminary washing is required. After last
washing, transfer print to solution of chrome alum, oue ounce to ten
ounces of water, for three or four minutes ; remove and wash well
again. To ensure even toning, do not buy cheap gold chloride ;
get the best, and make up into solution, fifteen grains to iifteen
drachms water — equals one grain to the drachm.
Toning Fobmul^.
.Sulphocyanide of ammonium 1 drachm.
Gold L'^ grains.
Water (distilled) .5^ ounces.
B.
Soda acetate 88 grains'
Gold 2^ „
Water .5J ounces.
For use, 3^ B to 1 part A.
(ktt>bBJS,180Sl
THE BRITISH JOURNAL OF PHOTOGRAPHY.
667
AU. TOKJtB FROM FOX-BKD BeOWN, TO BlIIB BlACK.
Socb phosphate 20 grains. I
GcW 1 grain. • Will not keep.
■W»ter 12 ounces, j
Givm pnrpli.'J] tones.
C«rfeoEnte lime US graia.,. 1 Extravagant,
^•^ JJ '• f keeps fairlv.
Water 10 ounces. ) '
GBres parpls tones.
Soda acetate 1 ounce. )
Water 20 ounco.s. (_ K„eM weU
Soaa Mcarbonate 40 grains. 1 *^®®P* '^*"-
Gdd ••..16 „ j
Giree rick porple-black tones.
To make this l)iith, dissolve the the soda in 18 ounces water, gold
in 2 ounces water ; mix, stand for (5 hours. For use take 1 ounce of
Eolntion to 10 ounces of water; after use filter and use to dilute next
bath when required.
Sepia Tones.
A.
Snipbocyanide of ammonium 1 ounce.
Sat. Sol." Garb. Amm 15 to 20 drop^^.
IVater 50 ounces.
B.
Gold 1 grain.
"Water 20 ounces.
Mix together until red colour disappears, then ready, not before »
tone to deep purple, wash well, immerse in hypo. Kesult : — rich
sepia black, suitable for rough or matt surface.
Black Toxes.
Eastmans Formula.
Acetate of soda 30 gi-ains.
Gold 1 grain.
Water 4 ounces.
Immerse, print, and tone just to a chestnut brown, i-emove at once, and
immerse in combined toning and fixing bath, and allow to remain
•with rocking, till desired tone is reached. Without rocking gives
grey tones.
C0M3rNBD To:»INCt.
Fixing Bath (Fastman's).
A.
Hypo 1 ounce.
Alum (potash) ^ „
Soda sulphate i „
Hj,0 10 ounces.
B.
G<^ 2 grains.
Lead acet 8 „
HjO , 1 ounce.
Vat me, take two ounces of A to two drachms of B, mix. Allow to
dear if necessary before use.
PiiAHNtiM Toning.
F(cst7na>is.
. Potass chloroplatiulte C grains.
Citric acid , 40 „
Salt (common) 40 „
Water 20 ounces.
Welford's Bath.
Gold 4 grains.
Soda bicarbonate 90 „
Water 6 ounces.
Hake Tfhea wanted. Over-toning is itopossible. Easy to make.
All toning baths to work A 1 must be sufficiently saturated with
chloride of silver, obtained by placing strip of unused paper in bottle
containing toning solution.
Tunqstate-Phosphate.
Ammonium sulphocyanide 140 grains.
Sodium phosphate 140 „
Sodium tungstate .y, 100 „
Wat«ar 24 ounces.
"Wbeii dissolved put scraps of untoned paper (a weak fixing bath is
advisable for this bath), 10 ]>er cent, only, into bottle, filter, and add
1>''> grains gold dissolved in 4 ounces water.
Ordinasv Fixing Bath.
Hypo, 2 ounces, to water, 10 ounces. Prints appear darker dry than
wet.
After fixing wash well. I have found three-quarters of an hour
ample. If for glazed surface, pass prints through alum solution again
then wash finally ; matt surface do not need second lot of alum ; for
glazed prints ab.solutely clean glass is necessarj', and not too heavily
squeegeed.
For matt surface clean ground glass or celluloid is necessary ; if
glass is preferred, a focussing screen is recommended, the grain being
so fine. Ordinary ground glass is of not much use, too coarse, and
gives shiny specks on dry prints.
Let all squeegeed prints get bone dry before stripping. I have
never found the necessity of waxing glass surface before squeegeeing,
as is recommended by some. Should any shiny specks show in finished
print, caused through the print not having come into contact with
ground glass or celluloid, the same can be removed by gently rubbing
with a little fine pumice powder. Trim in ordinary way.
MorxTiNG.
If for matt surface, ordinary stiff starch paste, removing all traces
of brush marks which may show through finished and mounted print
with fine pumice.
For glazed prints : Whilst drying on plate glass, paste with
mountant a piece of waterproof backing paper; allow both to dry,
then trim and paste (whilst on glass) on to the mount, allow to get
bone dry, then detach ; or, whilst print is drying on glass, paste a
piece of stout cartridge paper (smooth) on to the print, when both are
drj' strip from glass and paste on mount with gelatine mountant, as
follows : —
Gelatine 2 ounces.
Water 2 „
Alcohol 4 „
Glycerine i ounce.
Made thus : Soak gelatine in water for five or six hours, dissolve by
gentle heat, then add glycerine, and lastly the alcohol in small
quantities, stirring.
Or mount glazed prints b_v means of cut out mount, just touching
edges of print with adhesive, lay down on card, pasting cut-out mount
into card.
Paper used in manufacture of chloride papers is generally Baryta
paper or Kreidt? (German chalk, Woodbury). I have tried the
following makes and found all thoroughly satisfactory ; Aristotype
(Liesegang), Cellerotype, Obemetter (Gotz), can be had either glossy
or matt, Eastman's Solio.
I now purpose giving you a list of defects met with, and their
causes, which are soon got over by perseverance, care, and cleanUness.
Degradaf.ion and Darkening of High Lights. — Examining prints
whilst printing in too strong light.
Uneven Tones. — Paper damp, printing in damp atmosphere,
acetate bath being acid.
Yellow Prints. — Exhausted bath, bath too warm, excess of sulpho-
cyanide.
Greenish Half-tones. — Too long washing after fixing.
Loss of tone in Fixing Bath. — Insuflicent printing and toning, hypo
hath too strong.
Red Stains on Toned Prikts. — Traces of hvpo on fingers or in dishes,
touched print before toning.
Jlosg tints in Half-tones. — Weak gold bath.
Last advice, to get satisfactory prints is to exercise care, strict
cleanliness in all manipulations, and do not spare the alum washings
between each operation. E. Dockbeb.
*
To-night (Friday, October 13) the Central Photographic Clnb will have a
smoking concert by way of housewarmine at it.H rooms, Coleman's Hotel (late
Ashley's), Henrietta-street and Maiden-lane, Covent Garden, W.C. Visitors
will be welcomed.
Thb Hacksbt ExHiBinos.— This Exhibition will be opened by Sir Charles
Russell at Morley Hall, Triangle, Hackney, on Tuesday next, October 17.
The awards will be presented by Captain Abney on the following day. Pic-
tures will be exhibited bv, amongst others, Messrs. Wamenke, Toomts Fall,
Marshall Wane, F. W. Edwards, Birt Acres, J. B. B. Wellington. Dresser,
Brooker, Gottlieb, Elliott, Mrs. Catherine Weed Barnes Ward, ic., &a: and
in the apparatus section there will be exhibits by Messrs. Marion, Wiay,
Watson, Piatt & Witte, Powell, Hannam, Park, Fuerst, Donblet, Morris,
HawUngi, &c There will be concerts and lantern displays at int«rvah>,
archestn, organ, jcc
658
THE BRITISH JOURNAL OF PHOTOUKaPHY.
[October 13, 1893
THE ROCKET PLATE.
Ukder this name a new plate has been introduced by Messrs. Elliott &
Son, Barnet, who claim for it the proud position of being the fastest plate
made. The cut here shown is a reproduction from a negative obtained
by its agency in the middle of September last, and will show its great
sensitiveness. The stop was /"-ll, and the indicated exposure a six-
hundredth of a second. The plate gives a soft image, and will stand con-
siderable forcing in development, while the grain is so fine that it bears
enlarging to many diameters. Some other prints submitted show horses
in the act of jumping fences.
A PORTABLE STAND.
In this stand three things will be
observed from an inspection of the
cut. First it packs up in a small space,
being, in fact, of walking-stick form ;
secondly, it is extensible, as the
legs can draw out ; while, thirdly, the
legs are permanently attached to the
triangle or top, which is so con-
structed as to fold when being packed
up, as shown in the figure on the
top right-hand corner of the drawing.
Some degree of ingenuity has been
displayed in its entire construction,
and there seems nothing to prevent it
from being quite rigid when opened
for use. Messrs. George Houghton
& Son are the makers of this handy
and portable camera stand.
©ur iBUitorial Catle.
The Art op Projection and Complete Magic
Lantern Manual.
By As ExPEET. LoQdon : E. A. Beckett, Kingsland-road, N.E.
In tliis Manual we have a very complete account of thelTarious in-
ventions, discoveries, and manufactures of Mr. W. C. Hun-hes the
well-known lantern-malver of Brewster House, Kingsland, N.I;. '
In the course of his brief liistorical resmni we are glad to find that
' Expert ' gives credit to Marcy, of Philadelphia, for effecting the
revolution in mineral oil lamps, which he undoubtedly did. Several
pages are devoted to tlie construction, fitting^up, and working of the
Pamphengos, both singly and in pairr. Biunial lanterns, triple lanterns,
and oxy hydrogen lime jets receive a considerable degree of attention ;
while the directions for registering effect slides are very full and com-
plete. Gas cylinders and hag?, pressure gauges, ether saturators,
opaque and transparent screens, reading lamps and desks, all find a
place. The application of the electric light to tlie lantern ; the higher
departments of projection, such as by the polariscope and microscope,
not to spealt of the preparation of slides by photography, are all
highly suggestive to the student of the lantern. In the accotint of Mr.
Hughes's mammoth Aphengescope for Prince Town College, New
yt»rk, it is stated that '"there is a loss of eighty per cent, of the light
by reflection."' When we consider that the loss of light by reflection
from a well-polished silvered-glass mirror has been estimated at only
live per cent., it is possible that there may be some mistake in the
figure?, unless the object from which the light is reflected on to the
screen is a very absorbent one. The book throughout is well illus-
trated with diagrams.
PinoBiAL Effect in Photography.
By H. P. RoBisaos. London : Piper & Carter.
The fact of this w^k having gone through several editions (this is
the fourth) shows the extent to which it is appreciated by those who
take more than a merely technical interest in photography. It is the
first work that was devoted to the art aspects of the art science, and
it has taken its place as one of our classics. Since the work was first
written (in 1868, if we mistake not) much has happened in pictorial
photography. " Two events are " (we quote from the preface to this
last edition), " however, of cliiefest importance — the introduction of
very sensitive dry plates, and the almost universal employment of mat
papers of different kinds and various degrees of surface,"from smooth
to very rough." Mr. Robinson, in a few supplementary essavs, brings
his original teachings up to date, and amplifies subjects referred to
in the body of the work. We confine ourselves at present to merely
enumerating these essays, which are — " In Search of the Picturesque,"
" The Enjoyment of Photography," " Wind," " The Qualifications of
a I'ortrait Photographer," " A^'ithout a Camera," " So Natural ! "
I' The Use of Nature and Idealism in Art," " Originality." As all
interested in this department of photography will be certain to
procure copies of the work for themselves, we refrain from either
describing or quoting. We may, however, observe that in the main
work certain illustrations which have long done duty have been
superseded by others. No one can read the work without being, if
not instructed, at least much interested.
iaetos anJj i^oteg.
The address of Miss E.irdley, formerly of D.-ilston, is desired by Mr. E.
Stewart, Photographer, Elgin, N.B.
London and Provincial Photographic Association.— On Thursday,
October 19, Mr. T. 0. Hepworth will show his slides.
South London Photographic Sooibtt. — October 16, Members' Lantern
Night. Testing slides previous to being sent in for exhibition.
Central Photographic Clcb.— October 20, Open Night; experiments,
results, &c. 27, Carbon Demonstration by Messrs. Elliot & Son.
The Judges at the South London Photographic Society's Exhibition will be
Messrs. F. P. C'eralirano, jun., W. E. Deljenham, and Leon Warnerke.
Croydon Microscopical and Natural Histort Club Soirke.— The
twenty-fourth Annual Soirie will be held on Wednesday, November 22 next
WiDNES Photographic Society.— October 25, Open Meeting. November 8,
Flashlir/ht Photography, by Mr. W. Priestnall. 22, Open Meeting. December
6, C'hcintsiry of I'hoiography, by Mr. H. Wareing.
Mr. E. M. Nelson writes that the formuliu given by Dr. Piffard, in the course
of his paper on A Hagt/csted Improvement in the Correction of Lenses for
Photo-micrography, &o. (page 641), should be "R. -p= r ," and
■P =
2N.A.
' respettively, and not as stated by Dr. Piifard.
OctoVier 13, 1893]
THE BRITISH JOURNAL OP PHOTOORAPflY.
em
Messrs. Nbwmax & Giurdia announce that they liive o]i?neii new premisen
comiirising oIlUcs. show-rooms, stores, dark room, 4c., nl 92, Hhafteshury
avenue, London, W. This chtinge has considerahly increased the space avail-
able at tlieir factory, which, for the present, remains in Farrinjjdon-road. But
they are also making arrangements for removing their plant and machinery
to larger prenii.ses as soon as possible.
Lbttonstonh Caukba CLrB— October 14, Inauguration of the New Hall
and Studio.— There will be a cold collation served at half-past six, followed by
the opening address by the President. The remainder of tlie evening will be
devoted to music, and it is particularly requested that all members with vocal
ability will assist in the success of the evening. 18, Demonstration of the
Simplicity of Dr. M. Andresen's Dcrrlopinff, Firinri, and Tune-Jixinri Car-
tridges, by Mr. Eugene A. Leblanc. Chair taken at eight o'clock.
Mb. W. J. Stilluan writes : " In my reply to Mr. Blair, as printed in the
Journal of September 29, there are two misprint.s, which make nonsense of
the sentences in which they occur. I am made to say, in the end of the first
paragraph, 'as I did the other dry pUtes for glass," ic, where I wrote 'for
vears;' and in the third paragraph, 'What li.ive you and your fellow pro-
fessionals attributed," kc, where I wrote 'contributed.' I take the oppor-
tunity of saying 'Amen,' with all my force, to the note of Mr. Debenham in
the same issue of the Jocrsal with mine.
The second Annual Exhibition ami Competition of the Leytonstone Camera
Club will 1)6 held at the Masonic Hall, High-road, Leytonstone. on Monday,
Tuesday, Wetlnesday, Thursday, Friday, and Saturday, November :iO, 21, 22,
23, "24, 25, 1893. the Veronese Band, under the direction of Signor Con-
stantine Baga, has been engapied, and will play each afternoon and evening.
There will be lectures, demonstrations, lantern displays, and other entertain-
tainments at interi-als iluring each evening. The Judges are Messrs. F. P.
Cembrano, jun. ; Colonel J. Gale : .\ndrew Pringle ; and twenty medals .are
offered for competition. Extra entry forms and all further information can
be obtained from Albert E. Bailey, Hon. Secretarj-, Ro.se-bauk, South-wes;-
road, Leytonstone.
RECENT PATENTS,
APPLICA'nONS FOR PATENTS.
No. 18,412. — "Improvements in Detective Cameras." J. Marsh. — Dated
October 2, 1893.
No. 18,436.— "Improved Photographic Camera for Automatically Exposing,
Changing, and Storing Celluloid Films." E. H. Fitch. — Dated October
2, 1893
No. 18,595. — " Improvements in Folding Photographic Cameras." H. HiLL
and A. L. Adams.— Z»a(crf October 4, 1893.
No. 18,618.—" Lucidotype, an Improved Process of Photolithography."
G. H. ViKGvn.— Dated October 5, 1893.
No. 18,685. — " Improvements in or in connexion with Photographic Cameras
for Use with Flexible Sensitive Surfaces." H. Hill and A. L. Adams. —
Dated October 5, 1893.
No. 18,742. — "Improvements in Apparatus for Exhibiting Stereoscopic,
Panoramic, or Magic Lantern 'Views in Series." Communicated by E. Scheitlin.
J. 'Wetter.- Z*atoi October 6, 1893.
No. 18,82.3. — " Improvements in .ipparatus for taking Photographic Pic-
tures." A. A, Tomzi:.— Dated October 7, 1893.
PATENTS COMPLETED.
Improved Means fob Regulatixq the Rats of Light passing THnonoH
Photographic Lenses.
No. 13,373.— James William Fawcett, " Berthanga," 15, Argyle-street, St.
Kilda, near Melbourne, Colony of Victoria.— /ii/^^iwi: 26, 1893.
With the means at present in use for regulating the rays of light passing
through photographic lenses, it has been usual to make the apertures in the
stops and shutters in a line or concentric with the optic centres of said lenses.
With this construction, however, the major portion of the rays of light pass on
to the sensitive plate from the sky or upper portion of the landscape, whilst
only a small portion pass from the foreground, the effect upon such plate Ijeing
unequal, so that it has been found to be impossible under ordinary conditions
to correctly photograph clouds and other aerial effects at the same time as the
foreground or main part of the land or seascape.
Now the object of this invention is chiefly to enable these results to be
obtained, and partly to impart a stereoscopic effect to the photograph.
It consists in arranging the apertures in the diaphragms, stops, and shutters
of photographic lenses so that tneir larger area is below the optic centre of the
lens, thereby allowing a greater proportion of light to pass from the foreground
on to the sensitive plate than from the sky, thus tending to equalise the effect
upon the plate, as will be well understood by photographers.
According to my invention, Iraake the lens aperture of trian;,'ular or approxi-
mately triangular shape, with the base arranged horizontally, and t cut a
similarly shaped opening in a horizontally sliding plate or shutter, which may
1* actuated by hand or by any other convenient means.
By forming the spertnre in the horizontally sliding pUte or shutter, u jiui'
describeil, and by sliding it horizontally, a stereoMopic effect is given to the
tlniihed photograph by reason of the light being allowed to enter tint at one
bottom comer, then grailually being allowed to pass through the whole of the
lens aperture, and tlnally through a small opening at the oiipotite bottom
comer, thus as it were to a certain extent photographing t'le object from
two different pointi of view, and so pro<lucing the deeired effect.
In order to reduce the size of this lens aperture, a plate having a triangular
or approximately triangular hole or notch cut in lU lower end, may ba
arranged to sliile vertically through a slot in the broM mount of the lens in
the same way as the ordinary stops, said plate being capable of odjuttnient
to any rccjuired position so as to cut off more or less of the uppe"- part of the ^
lens aperture.
I prefer to make the lens aperture in the form either of an e<inilateral, or
else of an acute-angled isosceles triangle, and arrange it so that two-thirds of
its height is below the optic centre.
The jiriuciple of construction above described can be applied to detachable
instantaneous, or other shutters, such as are luually fitted upon the forward
part of the lens.
Improvements in Achromatic Dispbrsinq Lenses.
No. 10,000. Paul Rl'Dolph, Carl-Zeiss-strasse, Jena, Grand Duchy of Sale-
Weimar, Grerman Empire, and Carl Zeis.s, of the same place. — .September 9,
1893.
In optical systems (such, for instancj, as the Galilean telescope, and the so-
calleil tele-objective which has of late been used for photngrtiphic purposes)
which contain, besides the achromatic objective, and distinct therefrom, an
achromatic dispersing lens of a shorter focal distance than the objective, the
dispersing lens has hitherto always been achromatised in the same way as an
objective consisting of single lenses cemented to each other is achromatised
in order to correct the spherical aberration at the same time with the dispersion
of colours. Analogously the main lens (which in this case is negative) of dis-
persing lenses of this kind, has been made of crown gla.ss of low refractive
power, and the correcting lens to be cemented to it (which in this case is posi-
tive) has been made of Hint glass of considerably greater refractive power.
This difference or graduation of the refractive power is actually as necessary
and indispensable in a dispersing lens as it is in a collecting lens, if the dis-
persing lens is to be not only chromatically but also spherically corrected, and
consists at the .same time of single lenses cemented to each other ; for it is only
through the surplus or excess of refractive power of the positive constituent or
element over that of the negative constituent or element that the inner surfaces
of a dispersing lens obtain a spherical aberration contrary to and compensating
for that of the outer surfaces.
In combinations of lenses of the class described it is not advisable, however,
as we have found by theoretical and practical experience, for obtaining a good
total effect of the combination as a whole, to correct the dispersing lens by
itself or separately with regard to spherical aberration as has heretofore been
done either intentionally or otherwise.
If, as is the case with the aforesaid combinations of lenses, the focal distance
of the dispersing lens be considerably smaller than that of the objective be-
longing to it, and if the distance of the said dispersing lens from the objective
be at least equal to its focal distance, its spherical aberration can always be
easily neutralised or prevented from injuring the total effect by intentionally
leaving a small amount of uncorrected spherical aberration on the part of the
objective. In the usual arrangement for correcting these systems the surplus
of the refractive power of the positive element of the dispersing lens invariably
involves an objectionable increase in the degree of curvature of its outer sur-
faces, which is necessary in order to obtain a given focal distance. Moreover,
this surplus of refractive power causes at the cemented inner surfaces of the
lens (which have a comparatively great degree of curvature) effects of aberra-
tion which render it difficult to obtain an accurate adjustment of the total effect
0/ the combination, especially outside the axis.
These considerations have led the inventor to the discovery of means for
effecting the achromatisation of such optical systems by an arrangement dif-
ferent from, or contrary to, that heretofore employed, namely, an arrangement
in which no compensation or great reduction of the spherical aberration is
connected with the achromatisation of the dispersing lens, but this lens, al-
though perfectly achromatised, retains, as regards spherical aberration, the
character of a simple uncorr«cte<l dispersing lens.
This result is obtained by forming the positive part of the cemented system
of dint glass having a refractive power equal to, or only slightly greater or less
than, the refractive power of the negative part, but having a relative dispersion
of colours presenting a sufficient surplus over that of the negative part to admit
of the achromatisation, whilst retaining convenient degrees of curvature of the
surfaces of the two parts.
The chief advantages accruing from the employment of achromatic dispersing
lenses of this novel description in the optical combinations or systems herein-
before referred to are as follows, viz. : — (1) for any required focal distance a
considerably smaller degree of curvature of the outer lens surfaces is obtained
than is required with the arrangement heretofore employed, and this degree of
curvature is cnable<l to be even further reduced in case of need ; (2) the positive
spherical aberration (being of the same nature as that of a single convex lens)
which takes place at the inner cemented surfaces of the lens can be reduced or
transformed into a negative spherical aberration (which is of the same nature
as that of a single dispersing lens).
The first-named advantage is made evident by the following comparison : —
In all achromatic dispersing lenses heretofore employed the refractive index
n D of the crown glass is between 1'51 and r52, the refractive index of the
flint glass n> D is between 1-60 and 1-63. The surplus (n'-n) in the refractive
index of the positive element over that of the negative element is consequently
between 0 08 and 0°r2. Under these circumstances, complete achromatisation
— if the most favourable kinds of glass as regards dispersion of colonrs are
selected — requires * total degree of corvaturs K of the outer inrfoces of the
660
THE BRITISH JOUENA.L OF PHOTOaRAPHY.
[OctoTier 13, 1883
lens (K =algebraic sum of the reciprocals of the radii of curvature of both sur-
faces) at least equal to 2-4 times the reciprocal of the focal distance ly)°^ ^^^
lens, viz. : —
K=2-4xj.-
But if the aforesaid sur])Ius or difference n'-ii is reduced to a .smaller
amount, say 003 for example, at the same time retaining as great a difference
as possible in the relative dispersion of the two parts (from which follows in-
directly that the cemented lens, in the practically applicable forms, retains a
spherical aberration of the same nature as that of a concave lens) complete
achromatism can be obtained with the following kinds of glass, viz. :—
Crown: n D = lo74; « F-m C=0-01005.
Flint : «' D=l-603; ni F-«i C=001576 with a degree of curvature of the
outer surfaces.
K=l-9xi
If )ii - ;i=0 be taken, the required degree pf curvature is reduced to —
K=l-67xi
Again, if hI < « be taken (for which the kinds of glass available leave ample
margin without the complete achromatisation of the lenses being affected) the
proportion of K — may be reduced as may be required so that the external
form of the dispersing lens may be brought near to the piano-plate or to the
watch-glass shape without the radii of curvature of the inner surfaces (if a
triple cementecKiens is admissible) becoming excessively small in comparison
to the focal distance.
The following kinds of glass :—
Crown : n 0=1-6112 h F-;i C=0-01068
Flint : 7ii D = l-o366 «i F -?ii 0=0-01102
give for instance,
K=0-34x7
while the radius of the inner cemented surfaces of a .symmetrical triple lens of
these kinds of glass with the Hint glass situated inside is
r=0-094/.
As regards the second advantage mentioned, namely the reduction of the
spherical aberration at the inner cemented surfaces of the dispersing lenses, or
the transformation or conversion of the character of this aberration, it is
evident that in the same degree as the indices of refraction n^ and n approach
confonnity, the effect of refraction of the inner cemented surface or surfaces,
and in connexion therewith the spherical aberration, cea.ses more and more, that
is to say, greater degrees of curvature of these surfaces can be selected without
causing irregularities in the correction. If n'=n be taken, the cemented
achromatic dispersing lens considered apart from the achromatism acts as a
simple dispersing lens. Of special practical importance, however, is the
power of employing (in dispersing lenses of the kind in question) a positive
element (flint glass) whose refractive index is smaller than the refractive index
of the negative element (crown gla.ss), and thereby obtaining, in addition to
the aforesaid great reduction of the degree of the outer curvature, a conversion
of the character of the spherical aberration of the inner surfaces being a
different effect to that obtained with the constructions heretofore employed
for achromatic dispersing lenses. This conversion is extremely advantageous
in the lens combmations now under consideration (Galilean telescopes, tele
r^/.
,. ^^^
./»-f.
"^ j:.j:,^.i '
?^ -
objectives, and the like), for obtaining correcting effects outside the axis
through the dispersing lens which cannot be obtained with the ordinary com-
position of the latter.
According to the special requirements of the purpose for irftielt it is to bs
employed, the new dispersing lens is composed of two or three Kiugie lenses;
cemented together, the said lenses beiug composed of two, or in sanift cases
three different kinds of glass, and may be constructed either is £ sjmunctricai
or as an unsymmetrical lens.
The selection of the several separate elements of the coKVimtiait m^ost pf
the best effect possible is to be obtained) be governed by the eoitstriiction of
the objective with which they are to be combined, taking espe:«Uy mtt»
consideration its aperture and its spherical correction.
In order to more clearly explain the practical effects of the i&v<etttioit,wewill
now proceed to describe, by -tmy of example, several types af [ecsex suit2i)le
for different constructions of objectives, and for various purposes «f apptieatioo,
the said lenses being represented in section in figs. 1 to 6 of tte titnareii
drawing. The signs or letters of reference in the formula; hereinafter gi»a^
correspond with those marked on the figures, and the kinds of glzss are dfr-
termined by the indices of refraction n D » 0 and » F for the Fdunhofer lines
D, C, and F.
All the figures given refer to an imdetermined focal length whick ix cegurbd
as the unit of length. The radii of thickness and diameter which are requmd for
a lens of a given or determined focal length / are then obtaiuei ia. ineiies or
millimetres by multiplying the figures given in the formula by tbe tmmherf
expressed in inches or millimetres.
(1) Unsymmetrical double achromatic dispersing lens for CalSeitt tdescopes
with achromatic objectives of ordinary construction represented hf fig. 1 fijr
the focal distance of 50 mm. The part L is composed of Siat glis^ and His
part L.J of crown glass.
The following forraulaj correspond with a focal distance af 1-9 ref ervwi to a;
focal distance of +1 of the objective lens, this factor, — I'O, beiag amitted.
from the formula".
Radii.
ri = 0
ra=0-3303
Co =-f 0-6126
Thickness of Lenses.
= 0-151
Flint L, = 1-61-201
Crown L.,=l-61230
(Z.,='J-063
Kinds of Glass employed.
nC
1-60729
1-60912
Diameter of IcKses.
0-U
1-easss
I.-61S30
Degree of the Outer Curvature.
K=l-63xi
2. Symmetrical ti-iple achromatic dispersing lenses for Galilean teJ
with objectives of relatively large aperture. Focal distance of —1-0 :
(n) Flint glass L^ (fig. 2) between two glass lenses Lj and Lj for the focal
distance of 50 mm.
Ptadii.
ri=-l-S753
)•„= +0-2816
)•;= -0-2816
/-4= + 1-8753
Thickness of Lenses.
,;, = ,?..=0-055
(.'„= 0-137
Kinds of Glass.
Diameter of Leases.
0-36
n
Crown : L,=
Flint: L„
D «C
L.,1-57276 1-57017
1-02-294 1-51094
1-57891
1-53022
Degree of the Outer Curvature.
,- , ,- 1
K=i-r
(6) Croivn glass 1« between two Hint glasses L^ and L, reyresealed hg 6g.
3 for the focal distance of 50 mm.
Radii. Thickness of Lenses. Diameter of LenseK.
r, = - 1-0-247 J,=(?3=0-117
0-53
/• =-0-3-233 il.= 0-052
r,= +0-3233
r4= +1-0247
Kinds of Glass.
jiD »C
itP
Flint : L, = L.=l-53486 1-53169
I -54257
Crown L, "=l-5-2094 1-51871
1-£26I7
Degree of the Outer Curvature.
K=2-0xi
3. Double negative lenses of various focal distances for i. pkatognjgAie
combination, and which may be employed with any photogr»phic ol»-
jective, but are especially adapted for use with an achromatic objeetiyo of
three cemented lenses of -which the elements of construction are for the filed
distance of 1-0, as calculated for the focal length of the ydiitim laa
employed.
" '-■ Thickness of Lenses. Oiimeterof
,?,=t/3=0-016 0-28
d. =0-055
Fuidii.
A = +0-5474
r3= +0-2573
r3= -0-5474
n= -1-9433
Kinds of Glass.
nT> nC »?
Flint: L,=L.=l-57740 1-57338 1-587S4
Crown: La =1-51708 1-51456 1-52305
Elements of con.structiqn for the accessory negative lenses t
(a) Dispersing lens of a focal distances -1/2 and comiosed of oaa
October 13, 1893]
THE BRITISH JOORNaL OF PHOTOGRAPHY.
661
kIoss L, and one flint glass Lj represented in ftg. 4 for the focal distance of
75 mm.
Radii.
Tliickness of Lenses.
Diameter of Lenses.
ri=oo
rf, =0-022
0-20
ro=+0'1128
rfo=004i
rs= +0-2655
Kinds of Glas.<).
nD
«C
nV
Crown: L,=
1-57420
1-67124
1-58129
Flint : h.,=
1-60310
1-69858
1-61434
Degree of the Outer Curvature.
K=l-9x-.
/
(i) Dispersing lens of a focal distance= -1/3, and comjiosed of one crown
([lass Li and one flint glass h., represented in fig. 5 for the focal distance of
60 mm.
Radii. Thickne.is of Len.«es. Diameter of Lenses
r,=Qo rf,=0014 0-15
r.,= +0-0752 r?..=0-0-2y
r';= +0-1770
Kinds of Glass.
(The same as in the preceding formula.)
Degree of the Outer Curvature.
K=l-9xl
/
(c) Dispersing lens of a focal distance = - 1/4 composed of one crown glass
L, and one Hint glass L- as represented in lig. 6 for the focal distance of
3/ -5 mm.
Radii.
Thickness of Lenses.
Diameter of Lenses.
ri= -0-8065
rf, =0-011
0-12
r.,= +00699
d.,=0-024
!-:,= +0-1851
Kinds of Glass.
Crown : Li=
1-60954
1-60639
1-61707
Flint : L2=
1-62020
1-61531
1-63240
Degree of the Outer Curvature.
K=l-7><)
" Haviug now particularly described and ascertained tlie nature of our inven-
tion, and in what manner the same is to be performed, we declare that what
we claim is : — In cemented achromatic dispersing lenses employed in combina-
tion with a collecting lens of longer focal distance tlian the dispersing lens
obtaining the aehromatisation by constructing tlie said dispersing lens with
a positive constituent having a refractive power equal to, or but slightly
greater or less than, the refractive power of the negative constituent substan-
tially as hereinbefore described.
MntinQfi Qt Sjoctett>0,
MEETINGS OF SOCIETIES FOR NEXT "WEEK.
Date of Meeting.
October 16
» 16
,. 16
„ 16
.. 1«
„ 16
.. 16
„ 16
,. 17
>. 17
.. 17
.. 17
., 17
» 17
.. 17
.. 18
„ 18
„ 18
» 18
>. 18
„ 18
.. 18
.. 19
I. 19
„ 19
» 19
,. 19
„ 19
„ 1!>
„ 19
„ 20
., 20
.. 20
., X)
„ 20
.. 21
Kame ol Society.
Camera Club
I>undee Amateur
Fillebrook Atlienienm
Glasffow (fc West of ScotlandAm.
Haptinjrs and St. Leonards
Leeds Photo. Society
Ricbmoud
South London
Birmingham Photo. Society ...
Brixton and Clapham
Exeter
Hackney
Keiffhiey and District
North London
Paisley
Urechin
Bnry
Leytonstone
Manchester Camera Clab (An.)
Photographic Club
Southport
Southfiea
Birmingham Photo. Society
Camera Clnb
Glossop Dale
Oreeuock
Hall
London and ProTlnciaJ
Oldham
Oxford Photo. Society
Cardiff
Croydon Microscopical
Holbom
Leaminfirton
Maidiitone , ,,„.
Hull
Place of Meeting.
Charing Cross-road, W.C.
Asso. Stndio, Nethergate, Dundee.
Fillebrook Lecture Hall.
180, West Regent-street, Glasgow.
Mechanics* Institute. Leeds.
Greyhound Hotel, Rlohmond.
Hanover Hall, Hanover-park, S.E,
Club Room, Colonnade Hotel.
376, Coldharbour-lane. Brixton.
City Chambers, (Jaudy-st., Bzeter.
206, Mare-street, Hackney.
Mechanics' Institute, North-street.
Canonbnry Tower, Islington, N.
9, Ganze-street, Paisley.
14, St. Mary-street, Brechin.
Club Rooms. 13, Agar-strect, Bury.
The Assembly Rooms, High-road.
Victoha Hotel, Manchester.
Anderton's Hotel. Fleet-street.K.C.
The Stndio, 15, Cambridge-arcade.
3, King's-road, Sonthsea
Clnb Room, Colonnade Hotel.
Charing Croas-road, W.C.
Hnsenm, Kelly-street, Greenock.
71, Prospect-street, Hull.
Champion Hotel, 15, Alderagate-st.
The Lvccnm, Union-street.OIdbam.
Society's Rooms, 136, High-street.
Public Hall.Oeorge-streetiOroydon.
Trinity Church Room, Morton-st.
*• 'The Palace." Maidstone.
71, Prospect-street, Hull.
PHOTOGRAPHIC SOCIETY OF GREAT BRITAI.V.
OcTOBKR 10,— Ordinarv Meetinx.,— Tlie PresMent (CapUin W. de W. Abney
C.B., ill the chair).— The attendance, which wa? a large one, included mtctrI
lailies.
Captain Hills and Mr. OrenviUe were elected memhen.
The medals aw.-irded to them by the Judges of the Exhibition were pre-
senter! I)y the Prisideiit to Mr. Ca<lby, Mr. J. A. Sinclair, ami Mr. Chwlen
Moss ; the other medal winners w^ere absent.
PHOTOOBAPH of LaROK HAIUTONE.S.
A photograph of hailstones, natural size, taken during a tliim.l.rstonii at
Richmond, Yorkshire, on July 18 last, l)y Mr. Meti^aUc, of tljai town, was
passed round. Tlie hailstones were, if aiiytliiiig, larger than lien's eggi.
President's Ankual Address.
The Pbksidest, in the course of his annual adrlress, saiil the session jn»t
opening marked a new era in the history of the Society. As they were aware,
a Photographic Congress was to lie held on the two followi!i<„- days. There
was an aniiu.al Photographic Convention held in ditferii; and the
Camera Club also held .an Aiinu.al Coiiferciuie, liut the I' Congress
was a comliiiied movement of Societies affiliated to the I' - .lIV, which
would have the effect of liinding them to that Society. Referring to the open-
ing of the Photographic Salon, he saiil he thought it a natural outcome of
photographic art, and that there was ample room for two exhibitions. They
(the Society) should make their standard as high as possilile. A healthy rivalry-
was to be wisheil for. He wisheil good luck to their rivals ami good Inck to
themselves. Touching on the affiliated Societies, he said he was pleased to find
the movement successful, altliough at first he opposeil it. Tliere were forty-
seven Societies now affiliated. He hoped soon the Society would he in new
premises. For legal purposes the incorporation of the Society was to Ije de-
sired, but he thought a Royal Charter unattainable. Having reviewed
recent advances in heliochromy, Lippmann's "interference" photography,
photographic optics, and MM. Lumicre s e.\-pcrinients in printing with salts of
manganese, colmlt, and ceriiuu, the President concluded by remarking that he
was glad to see collodion looking up once more. Any one who liad workol
with collodion stdl loved it. There was something in the very smell of the
ether that was attractive.
A vote of tliaiiks to the President for his address was move<l by Mr. W. S.
Bird, seconded by Mr. W. England, and carried unanimously.
Professer Marshall Ward, who was to have reail a paper, tjeing unable to •
attend on account of illness, the remaimler of tlie evening was devoted to an
e.xhiliition of the lantern stereoscope.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
October 5, — Mr. Thomas Bedding in the chair.
Mr. A. Buchanan was unanimously elected a member.
Relative Quastitie-s of Sot-PHcnous Acid prbsbst r» Potassium Meta-
BISULPHITE AND SODIUM SULPHITB.
Mr. A. Haddon observed that at a previous meeting Mr. B. J. Edwards hod
stated that potassium metabisulphite contained seven times as much sulphur-
ous acid as sodium sulphite. This was wrong, as would be demonstrated by
the following. The chemical fonnula for potassium metabisulphite was
K.2S.JO5, and, by ascertaining its molecular weight, the percentage of sulphurous
acid contained in it could al.so be arrived at, thus : —
2K(39) = 78
10(16) = 16
2S (32) = 64 )
40(16) =64 r
128 weight of sulphuroos acid.
Molecular weight = 222
therefore the percentage of sulphurous acid = 57-6.
Treating sodium sulphite in the same way, the formula for which is -
Na,SO, + 7 H.01,
■ ■ 2Na(2.3)= 46
10 (16)= 16
IS f'Vi ^ Z^ )
00 (161 = 32 1 sulphurous acid = 64.
'h = 14
70 (16) = 112
Molecular weight = -252
and the percentage of sulphurous acid present = 25-4,
from which it would be seen that, instead of seven times, potassium metabi-
sulphite containe<l a little more than twice the weight of sulphurous acid tlrnn
sodium sulphite. Mr. Haddon also yiointed out that, in buying the latter salt,
one paid for more than half its weight of water.
VlTRO-ESAMELUmO.
The following question from the bo.'C was read : " Does the powder, or the
substitution process give the better result for making photographic enamels ! "
Mr. Haddon said that a variety of tone could bo obtained by the dusting-oa
process. The substitution process gave black tones.
Mr. J. S. Teapk said that the substitution process allowed no retouching,
the actual image having to be fixed as prodnceil. The dusting-on process
allowed artistic retouching, and an increase of brilliancy.
Mr. Haddon said retouching was possible with the substitution process,
using vitrifiable powders ground up in oil of lavender, and reflring. In reply
to another question, Mr. Haddon said that, in his experiments, he nsad a
Fletcher gas muRle, which took a plaque a little larger than those fa* had
made, viz., two inches square. Such a muffle cost between 2/, 10s, and 31,
662
THE BRITISH JOURNAL OF PHOTOGRAPHY,
[Oototer 13, 1893
Lantern Society.— October 9, first meeting of the Session.— The Hon.
Secretary announceil the reduction of the subscription and the accession of ten
new members. Mr. C. S. Scott showed his new lantern-slide printinij-fraine,
an ingenious arrangement for printing slides by contact, and adapted for use
with the new printing-out lantern plates. The set of slides being sent to
America by the Society were then shown on the screen. Members subse-
quently inspected the new lantern purchased by the Society, which is fitted
■with one of Mr. E. M. Nelson's double-crown condensers, the front lens of
which, on being reversed, enables parallel rays to be obtained, and a nine-inch
Wray projection lens. The performance of the lantern left nothing to be de-
sired, both as regards definition and entire absence of colours in the image.
The lantern is adapted for scientific work as well as for the ordinary work of
showing slides.
Northern Kiotographio and Scientific Association.— September 28. — The
Bubiect was the Preparation of Lantern Slides hy the Wet Collodion Process,
by Mr. P. D. Coghill. The lecturer described in detail the various stages in the
manipulation of the slides from the albumenising of the glass to the finished
pictures, each step being minutely gone into, and the various formulas for
developing, clearing, toning, &o., given. Mr. Coghill also illustrated his
lecture by preparing a lantern slide from a negative and finishing it off.
Octobers. — A lecture was given by ProfessorJ. MAcF.iYDEAN, Dean of the
Royal Veterinary College and Lecturer on Pathology and Bacteriology at that
Institution, on the .subject of Pathogenic Germs and Disease, Mr. J. G.
Robins (President of the Society) occupyii g the chair. The lecturer said that
bacteria were, in reality, minute vegetable jife, and were the most common of
all forms of life, abounding in enormous quantities. A great number were
non-pathogenic, or incapable of producing disease, but others were of a patho-
genic or disease-producing kind, and with these he proposed to deal. The
lecturer then proceeded to describe the germs of anthrax, glanders, tetanus,
tuberculosis, diphtheria, cholera, fee, photographs of the various bacilli being
thrown upon the screen by the aid of the lantern.
Hackney Photographic Society. — October 3, Mr. R. Beckett in the chair. —
Members' work was shown by Messrs. Barnes, Hudson, and Puttock. The
following questions were asked :— " What exposure was necessary for print-
ing in clouds on a lantern plate, nominal exposure for a negative being forty
seconds?" Presuming. the density of the negative to be the same as that
which is to be printed from, it would require about fifteen to twenty seconds'
exposure. Mr. S. J. Beckett used the cover glass to put the clouds upon.
Mr. Fenton-Jones used a printing frame, shading portion upon which the
Undscape would come with a book. A similar question was asked as above
for printing on clouds on bromide paper, the exposure would be about a
quarter to half of what the negative would require. Mr. S. J. Beckett
asked the best way to remove amidol stain from lantern slide ? Several
members stated it could not be removed. As a trial, nitrate of soda was
suggested. Mr. Grant asked the reason of black spots upon a negative
developed with pyro and soda ? Mr. Beckett stated it looked like an old
plate. Mr. Smith asked "whether any shorter exposure was required for
bromide paper, developed with Dresser's formula ? " Opinions seemed to be
that it should be the same, only a weaker developer would take longer to
obtain the same degree of density. With amidol, according to the strength
of developer, so you can make it a quick or slow developer, density being
obtainable with either. Mr. E. J. Wall then proceeded with a very instruc-
tive paper upon lenses, and dealt very largely with the subject, giving the
various kinds, their uses, manufacture, faults, "&c., illustrated with designs in
coloured chalks. A vote of thanks to Mr. Wall for his paper concluded the
evening.
Brixton and Clapham Camera Club.— October 3, Dr. J. Reynoldsf
F.R.G.S. (President), in the chair. — Four new members were elected, two o,
them being ladies. At the conclusion of the ordinary business, Mr. E. Dookree.
one of the members, read a paper upon Gelatino-Chloride Papers [see p. 656]t
Later in the evening the club decided to purchase an enlarging camera and i
is expected that sufticient funds will be forthcoming to enable the Club to
purchase the apparatus at an early date. Next meeting October 17, paper by
Dr. Reynolds on Diazotype Printing, i.e., printing in aniline dyes.
South London Photographic Society.— October 2, Mr. Maurice Howell
(Vice-President) in the chair.^— At the conclusion of the formal business, Mr.
E. J. Lester gave an instructive and interesting address on Outdoor Portraiture.
In his opening remarks he stated that the beginners' instruction books always
made a point of advising photographic novices to leave portraiture severely
alone until they had mastered, to some extent, the art of taking views. How-
ever good this advice might be, it was in nine cases out of ten wholly ignored,
and the beginner, as a rule, commenced his photographic career by attempting
to get pictures of his admiring relatives and friends. The speaker would,
therefore, endeavour to show how portraiture might be undertaken out of
doors with results that very often could hardly be distinguished from studio
work. The background was the first obstacle to be overcome, when a large
vignetted head was the desideratum. He found that a clean blanket, stretched
across a line, and fastened with pegs, acted as the best medium in this respect.
He always selected the wall of the house from the other side of which the sun
was shining, and then fixed his background at an angle ; the person whose
head was to be taken was seated (and this was most important, as in this class
of work long exposure was necessary, and, if the subject was made to stand,
the head would be almost certain to move), and a side face arranged for, the
tip of the nose was focussed, and the exposure made with an ordinary plate
(about four seconds in a fairly strong light) at/-ll, which stop will be most
useful. All darkness which would otherwise be noticeable under the chin and
at one side of the face was thus got rid of, and a nice shade on one side of the
face substituted, which gave the finished print the appearance of studio work.
If the eyebrows of the sitter were very prominent, the face should be slightly
• aised, and the camera tilted on a parallel with it. Heliotrope was the best
colour for ladies to bs photographed in. If a sitter was fair, light clothes
should be worn, but, if dark-complexioned, the operator should see that only
black, or very dark blue, clothes were put on. With regard to developing, he
was in favour of pyro-soda. As to a background for a group, he advised his
hearers not to attempt to improvise one, or it was almost certain to end in
failure, and, if they must have an artificial background, they would have to get
one made specially.
Croydon Microscopical and Natural History Club (Photographic
Section), October 5, Mr. K. JIcKean chairman. — Mr. J. H. Baldock read a
short paper on the treatment of " Nikko " paper, and demonstrated the process
of development with the ferrous oxalate, Thomas's hydroquinone, amidol and
metol developers, the two latter giving softer blacks than the former. The
after treatment, in order to obtain a warm colour by means of uranium toning,
was also shown. Mr. Sparrow then gave an account of his experiences with
niezzotype, a rough printing-out silver paper, and exhibited a number of
prints.
Croydon Camera Club. — The winter meetings were successfully inagurated
on October 4, when a large gathering assembled to hear the Pbesidext (Mr. H.
Maclean, F. G.S. , give an address on /'Aoto^i-ftpAic Novelties. Multiple-coated
films, lenses, developers, exposure meters, printing frames, "Nikko, " and
other things which were more or less new, formed the burden of a discourse
which seemed to be very acceptable. Much discussion ensued. Amongst
many points raised may be mentioned : Mr. Pierce advocated raetol for inteu
sifying negatives ; Mr. White and others considered exposure meters " worse
than useless, being misleading;" Mr. Wratten did not think any conclusion
as to the amount of silver in a dry plate could be drawn by the quantity o^
pyro recommended by makers as most suitable for its development. Mr.
George Garden showed a very complete series of about forty whole-plate
prints of " Condemned Croydon." A large portrait of Mr. H. E. Neeves (a
deceased member) was presented to the Club by Messrs. Isaac & Siadden.
Messrs. Bowen, Miles, and Burrough were elected members.
Birkenhead Photographic Association. — Octolier 3, Dr. W. H. Hunt in
the chair. — The result of the Annual Outdoor Competition was announced as
follows : — Silver medal, Mr. W. H. Davies (a new member) ; bronze medal,
Mr. W. T. Brigges. The business of the evening was an excellent lecture by
Mr. A. W. Beer (an ex-President of the Society), entitled A Glimpse of
Brittany and the Bretons, which proved a most enjoyable and instructive en-
tertainment. Mr. Beer's slides are almost all reductions from 10 x 8 negatives,
and are, consequently, very perfect in their detail. His subjects are prin-
cipally architectural, about thirty slides being devoted to Mont St. Michael
alone. The President announced that the Society's ordinary meetings would
be held on the first Tuesday in each month in- future.
Birmingham Photographic Society. — October 3, Mr. J. T. Mousley in the
chair. About fourty-five members present. — Mr. Smith, of the Platinotype
Company gave a practical demonstration of the working of the process in all
its branches. Mr. Smith developed prints on the hot bath, cold bath, aud for
sepia tones, which latter were especially admired. Prints made on various
textile fabrics were also developed, and some marvellously beautiful finished
results were shown, all present agreeing that this was a remarkable application
of the process. Mr. Smith also showed the working of the special printing
lamp, a proof being ready for development in ten seconds. The lecturer
having kindly answered numerous questions, a hearty vote of thanks was
accorded to him and to his firm.
Leeds Photographic Society.— October 5, Mr. Godfrey Bingley in the
chair. — After the ordinary business was concluded Mr. Herbert Dexisox
read a paper on Photogravure. In a very lucid manner he described the whole
process, from negative to the finished print. He passed round to the mem-
bers negatives, tissues, and copper plates in the various stages of manipula-
tion, and showed that this very beautiful and permanent process was withia
the reach of all. Mr. Bownes, one of the members who have taken up this
process, also showed some very pretty pictures, also Mr. Ramsden showed
one produced thirty-five years ago. Discussion followed, and questions were
asked regarding cost, &c., which Mr. Denison answered. A hearty vote of
thanks was given to Mr. Denison at the close.
Sheffield Photographic Society. — The Annual Meeting of the above Society
was held at the Masonic Hall on Tuesday evening, Mr. B. J. Taylor in the
chair. — After the election of two new members, the Treasurer presented his
statement of accounts, which showed a very considerable balance in hand, and
was considered satisfactory and duly passed. The Secretary gave a general
report of the proceedings for the year, showing in detail the work which had
been done each month. The excursions, although not numerous, had been
well attended, and resulted in gocd work being done, especially the one to
York. The Society was never in a more flourishing condition, and the pre-
ceedings were characterised by an amiable tone throughout, each member
being anxious to promote the general good of the Society. Tlie Secretary
also announced several important fixtures for the ensuing year. The officers
for the coming year were elected as follows : — President : Mr. Ernest Beck. —
Vice-Presidents : Messrs. B. J. Taylor, Bradley Nowill, and George Bromley
Council .—Messrs. J. Smith, W. T. Fiirness, T. G. Hibbert, T. Firth, and D. C.
Brooks. — Reporter: Mr. E. H. Pearce. — Treasurer: Mr. W. M. Toplis. —
Secretary : Mr. T. Camp.
Widnes Photographic Society.- September 27, Mr. V. C. Driffield pre-
siding.— Mr. George Kae gave a limelight exhibition of a number of his slides,
which were afterwards placed on the table for inspection and criticism. Mr.
J. Neuburn brought a number of P.O. P. prints, and other membei's brought
negatives, which were handed round and commented on. The meeting
assumed a conversational tone, and topics of interest were discussed. Two
new members were elected.
October 13, 1893]
THE BRITISH JOUKNAL OF PIIOTOGKAPHY.
683
FORTHCOMING EXHIBITIONS.
1893.
October 13-Nov. 15... •Photographic Society of Great Britain, 6a, Pall Mall
East, S.W. Assistant Secretary, R. Child-Bayley
60, Great Russell-street, W.C.
„ 13-31 *Hamburg. Das Ausstellungs Commltte des Amateur
Photographen Verein, Schwanenwik, 33, Hamburg.
,, 13, 14 MiiUanii Camera Club, Botanical Gardens, Moseley,
BIrniinjcham. Hon. Secretary, C. J. Fowler,
4, Woodstock-road, JIo.seley, Birmingham.
„ 1-3-Nov. 11... •Photographic Salon, Dudley Gallery, Piccaililly, W.
Hon. .Secretary of Organizing Committee, A. Maskell,
215, Shaftesbury-avenue, W.C.
,, 17-19 'Hackney Photographic Society, Morley Hall. Hon
"Secretary, W. Fenton Jones, 12, King Edward-road,
Hackney, N.E.
,, 30,31 *East London Photographic Society, New Tabernacle,
Old-street, E.C. Hon. Secretary, W. B. Gould,
61, Gibraltar-walk, Bethnal Green, E.
November 7-11 *South London PhotoCTaphic Society. Hon. Secretary,
0. H. Oakden, 51, Melbourne-grove, Dulwich, S.E.
„ 20-25 *Leytonstone Camera Club. Hon. Secretary, A. E,
Bailey, Rose Bank, South-west-road, Leytonstone.
December •Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
„ IS-Jan. 22, 1894 'Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Corn-
street, Bri.stol.
• Signifies that there are open classes.
♦ ■
ALPHA PAPER.
To the Editoh.
Sib, — It is with pleasure that I notice in your valuable paper a
correspondence on " Alpha Paper." I think to users of this paper some
practical information on the methods of working it will be of service to
many.
Your correspondent (Mr. Bidler) seems to have been very successful in
his work, whereas I, along with many others, have had just the contrary
result. My first attempt at enlarging to whole-plate from quarter-plate
with Alpha paper, using /-24 stop, giving eight minutes' exposure in
bright light, developing with the Universal developer, and toning with
Ilford's combined bath, proved successful with five papers in getting
nice brown tints ; but, alas ! since then, no matter what exposure I give,
I have been unable to obtain such results. I have written the makers,
enclosing at the same time two prints, and they kindly replied, stating
" over-exposure," although these two prints had only received seven
minutes' exposure, about the same light as the others, same stop, &c.
The prints came up after development nice red-brown cast, but as soon as
soon as they were immersed in the toning bath they turned all colours
bat the right one.
I have tried again, this time using their advertised Alpha paper
developer ; but, alas ! even with a good image after development, the
picture left the paper after being in the toning bath about ten minutes.
Under such circumstances, I think those of our photographic friends
who aje successful users of this paper might let us poor benighted crea-
tures into the secret of working this paper to a successful issue, and I am
sure, amateurs, we should be very thankful for such information.
I like the paper, and, if I could only work it satisfactorily, I should use
such in preference to bromide, which gives very cold tones.
I hope some of your readers who are users of this class of paper will
not be afraid to divulge their system of working, as I think we should be
glad to be of service to any friends who are trying to become thoroughly
acquainted with this class of work for their own personal pleasure, not
seeking to injure in the least their professional brother's position in a
legitimate trade. — I am, yours, etc., G. H. Stansfield.
40, Mountain-road, Bradford, October 8, 1893.
ENLARGING FOB AMATEUBS.
To the Ediior.
SiB,---Mr. Ridler, in your last issue, hits the nail on the head. He has
placed his finger, with unerring accuracy, on the sore point of enlarge-
ments by amateurs.
Why, Sir, we do not all possess rent-rolls of thousands a year coming
to us through no fault of our own and at no expense to ourselves, so it
can't be expected that our laudable desires to enlarge to all sorts of odd
sizes can be gratified, unless his suggestion, and a reasonable one too, is
acceded to. His suggestion of putting bromide paper up in two-sheet
tubes IS emmently practical, and should have been anticipated by the
manufacturers.— I am, yours, Ac, S. Wilfred Besse.n.
4, Pembroke-villas, Richmond, Surrey, October 9, 1893.
PERSPECTIVE.
To the Editob.
Sib,— In reply to the challenge of " Free Lance," let the »coomp»nT.
ing diagram repreaent a shed with open end. The line* of the outer
square ore the bounding lines of the inside at the near end, which ii in »
plane eixty feet distant from the eye (or lens), and the inner tquare ii the
far end, which is at a distance of 120 feet, the abed having » depth of
sixty feet. The eye is supposed to be at half the height of the shed, wid
opposite the centre. The lines at the far end, representing equal magni-
tudes with those at the near end, and being at double the distance from
the eye, they will— being in a plane parallel with those of the near end-
come out as of half the length of the.se latter's. and form a square con-
centric with the outer square, and of half its linear measurement. The
diagonals are the vanishing lines, whose positions are fixed by those of
the squares.
Now, let the diagram represent the interior of a box, having linear
dinjensions one-tenth of those of the shed, and at one-tenth of its dis-
tance, i.e., the front in a plane six feet from the eye, and the back twelve
feet. The inner square will again be concentric with the outer stjuire,
and of half the linear dimensions, and the diagonals must connect their
angles as before.
An interior is selected for simplicity of demonstration, but the saraa
rules will apply to exteriors, and, indeed, the sides of the shed and box
might stand for the exteriors of adjacent sheds and boxes. — I am,
yours, &c., \f, e. Debisbam.
THE SALON.
To the Editor.
Sir,— In the preface to the catalogue of the Photographic Salon it i s
said, "That photographers do not use their process to the best artistic
advantages may be true ; but, if so, the fault is with the worker, not the
method. . . . Perhaps the greatest curse of photography in the sense
now under consideration, is the fatal ease with which indifferent work
may be produced by its means."
Accepting this as a truism, it gave me great pleasure to find that, in an
Exhibition mainly promoted by our leading amateurs, no less than 145
of the frames hung are contributed by the mach-abused class to which I
belong.— I am, yours, &c., A Pbofessioxai,.
London, W., October 9, 1893.
-+-
MB. PRINGLE AND ME. IVES.
To the Editor.
Sib,— I am sure there is nothing in any of my letters to justify Mr.
Pringle in saying, " Mr. Ives' tiger seems to be gradually shrinking," &c.
My statements have been perfectly consistent from first to last, and the
last claim I made is the strongest of all.
It is unfortunate that I have not got my references by me, becaose I
am sure that I could readily furnish conclusive proofs of everything
I have asserted ; but the facts are so obvious, and have already been
recognised by so many, that I do not feel justified in importing my
library for the sake of obtaining these references. Nor do I know bow
Mr. Pringle would undertake, with fivepence for postage, to fetch a lot
of negatives which are now in a Safe Deposit in Philadelphia, and cannot
be removed by any one at present in America.
For the present I am content to have called attention to facts which
others may readily prove for themselves. — Yours, Ac, F. E. Ives.
Charing Cross-road, London, W.C, October 8, 189S.
•664
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Octolerl3, 1893
GAS COMPEESSOES.
To the Ediiob.
Sir, — la yonrLANTBBN ScppLEMENxto lastweek's issne of The British
JocRNAL OF Photography, there is a paragraph, in which such a serious
charge is made against gas compressors that I cannot allow it to pass
unanswered. Your contributor, " Eadiant," states that " in the rooms of
a well-known 'photographic society .... & twelve feet bottle of oxygen
was found to contain neventeeu feet."
If we are to read this statement in the light o? the context, it means
that a cylinder calculated to be filled to a pressure of 120 atmospheres
actually contained 170 atmospheres.
There is no reason to assume that the cylinder was charged by a Briu
Company, and, if the facts were as stated, there isjevery reason to conclude
that it was not ; but many of your readers will probably infer that we
were responsible for it.
Your contributor states that . . . . " for the credit of the gas com-
pressor, he is certain such a thing does not often happen, but it is neither
impossible nor unknown."
As a matter, not of credit, but of justice to the Brin Companies, I beg
to say that such experience, as far as they are concerned, /s impossible.
Our compressors are fitted with what are technically known as "dead
weight " safety valves, which blow off at five atmospheres above the filling
pressure, and there are other minor safeguards as well. I can therefore
confidently assert that no negligence on the part of a workman, or
inaccuracy of pressure gauges can bring about the overcharging of our
cylinders, and no one would, I am certain, venture to attribute over-
pressure to deliberate intention.
I feel sure you will admit the gravity of your contributor's statement
from the gas compressor's point of view, and oblige me by inserting
ihis reply — I am, yours, etc., Ken. S. Mdbrat, Manager.
Br'ms Oxygen Company, Limited.
a«!Stoer0 to ©orrespontientB.
Photographs Registered : —
Thomas Pringle, EdiDbnrgh. — 0?le 'photoi3Ya'ii}i of Queen Mary's Chair.
"Wm. Tick. Ipswich. — Six photographs of Hclmingham Hall Suffolk, showing Queen
Elizabeth's Roo'in, Droinng-rooiii, Dining-hall, and the Library.
MisB Sarah Angelina Acland, Oxford.— TVo jihotographa of ilr. John Rushinrone
photograph of Mr, Suskin and Sir Henry Wentv:orth Acland, Bart., K.C.B.; one
photograph of Mr. Ruskin, Sir Kenry Wentworth Acland, and Mrs. Arthur Severn.
Perplexed. — We have forwarded your letter.
H. A. A. (Basingstoke). — We know nothing of the firm named.
Albert Levy (Paris). — Thanks for your interesting communication.
Feux St. Claib.— Rochelle salts are the double tartrate of sodium and
potassium.
E. J. S.— Thanks ; letter next week. We shall be pleased to have the article
referred to.
F. B.— Sorry we cannot open our columns to a discussion on the Sunday
opening of museums.
E. R. W.— In our volumes for 1891 and 1892 are numerous articles on toning
bromide prints, to which we refer you.
H. Jancowski. — The case is a bad one, but of course we cannot make public
the man's alleged faults. We can only advise a legal remedy.
J. E. G. — The picture is extremely good. The stains nre difficult to account
for. Hypo, before toning, might perhaps cause them.
H. Deax.— You evidently require some elementary instruction in gelatine
emulsion-making. Consult an article on the subject in the Almanac for
ISSlt
E. Clements.— The engraving being copyright, it will be illegal to copy it,
notwithstanding that it is not your intention to sell copies, but only to show
them in the reception-room. A penalty is incurred by every copy produced
whether offered for sale or not. '
S. F. J.— We are not at all surprised at your want of success. Although
chrome alum will cause gelatine to become insoluble in warm water, it will
still be softened by it ; and, with a prolonged action of hot water, it will be
rendered very soft and tender.
G. Archer.— The carbon print has the appearance of having dust enclosed
between the image and the transfer paper. Probably the picture, after it
was developed, was allowed to dry in some place where dust settled upon it
and that was not removed before the transfer paper was applied. '
S. A. E. -Y'ou are certainly entitled to a week's salary in lieu of notice, or a
month's if you are a monthly servant. Trade being exceptionally bad does
not entitle an employer to discharge an employe without a proper notice
You can certainly recover what is due through the County Court.
Derby.— The cause of the milky appearance of the solution of oxalate of
potash is lime in the water used. The opalescence of the finished slide pro-
ceeds from the same cause— lime in the washing water. Thi.'i, however is
readily removed by immersing the plate in very dilute hydrochloric acid. '
N. W. — So far as we know, the frieuds of the lady cannot compel you to
destroy the negative ; but, as you obtained it surreptitiously, when the lady
was in diahabilli in her own garden, by ijointing the camera over the wall, it
would be most ungentlemanly, not to say disreputable, not to accede to the
lady s wish.
V. B. — It is very unfair for the paper to pirate your photographs, but we do
not see how you can move in the matter, as yon have no copyright in them,
even though they were duly registered at Stationers' Hall. The reason there
is no copyright is that the photographs were taken by an employe, who is
the author of the work, and registered in your name, who had nothing to do
with taking the views.
S. Price asks for a good medium with which to black the inside of a wooden
camera, that will not rub oft' when the camera is dusted with a damp cloth.
One of the best things for the purpose is lamp-black mixed with brown, hard
varnish, thinned with methylated spirit. The proper portions can only he
ascertained by trial— applying a little of the mixture to a board and letting
it dry. It is advisable to use as much varnish as possible, but not sufficient
to cause the work to dry glossy.
T. Giles. — The only way to obtain methylated apirit of the old kind — that is,
free from the mineral naphthas — is to obt.iiu the necessary permit from the
Excise authorities. Without that, none of the vendors of the spirit will
supply it. Any that may be obtained at the oilshops would assuredly con-
tain the objectionable matter. Indeed, no other is allowed to be sold by
them. When the requisite permit is obtaiued from the E.xcise, the spirit
must be purchased from a methylator, not from the oilman.
Z. Y. X. — The plant for working the Woodburytype process is somewhat
costly. The printing presses are not expensive, but the hydraulic press is, and
so are the steel plates, if the size be large. Then there is a powerful rolling
press required in preparing the paper and the polished plates to be used
with it, unless the paper can be ]nirchased ready for use, which we believe
is not the case in this country. Tlie cost of tlie necessary appliances for
working Collotype will be far less, and this process, we imagine, will answer
your purpose best if the prints are wanted as book illustrations.
T. A. B. says: "I have recently had supplied to nie a lot of photographic
mounts that are lettered in ordinary black ink. When the prints are
burnished the letters become smeared over the mount, and, when they are
rolled, the inlc comes off on to the roller, and so soils the next mount that is
rolled. Can anything be done to prevent this, as the thing is a great
nuisance?" — This is not an nnoommon experience with freshly printed cards.
The ink is not dry. The only tiling is to wait until it is. The drying may
be accelerated by spreading the cards out in a warm and dry place.
F. Cbokt says: "I often see it mentioned that more vigorous prints, and
more permanent ones, may be obtained by printing from strong negatives on
highly sensitised paper. Will you please tell me where this kind of paper is
to be obtained ? I have inquired at several .shops, and am told they only
keep one kind." — We imagine that, if our correspondent requires this sort of
paper, he will liave to sensitise it for himself, unless he requires it in suffi-
ciently large quantities to make it worth while for the manufacturer to pre-
pare it specially to his order. It should be borne in mind that, to obtain
the full advantage of this kind of paper, it should be strongly salted, as well
as being sensitised on a strong silver solution.
S. Benyon writes as follows : "Are the dark rooms, so obligingly supplied in
some hotels, to be relied upon .' I ask the question because on a recent
holiday I availed myself of several of them for changing plates, aud I found
that all the plates I changed at two places fogged badly on development,
evidently light log, while all the others — the same brand and, in one case,
from the same dozen — were perfectly right. It is very kind to provide
tourists with dark rooms, but it is Just the reverse if they are not safe to
use." — Whenever we use a strange dark room, we always make it a rule — and
most others do the same — not to expose the plates to the source of illumina-
tion more than can possibly be avoided. Following this course, personally
we have nothing of which to complain.
A. A. A. says : "I was apprenticed two years ago for four years, at a small
progressive salary, and a premium of 30?. was paid by my friends. There is
another apprentice besides myself, and between us we do all the work —
what little there is — that is, the printing, mounting, aud spotting, and
keeping show-case clean. Neither of us has received any instruction in the
studio, as the principal takes what sitters there are, and they do not average
one a day. It seems to me that when we are out of our time, and that will
be in less than a year with my fellow-apprentice, we shall know very little
of the business, except the printing. Ought we not to be instructed iu
studio work, which is the most important thing to learn ?" — Certainly you
ought. It is the old tale with apprentices. But a master can be compelled
to teach an apprentice the whole of his trade. Those who paid the premium
had better consult a solicitor on the matter. It is a great pity that friends
should apprentice youths in establishments where such a limited business
is done. What really practical experience can they acquire, particularly
when there are two or three apprentices at a time ?
*,* Several articles, letters, answers to correspondents, &c., are held over
till next week.
OONTBNTS.
Paob
PHOTO-CBAYON 619
supplementary exposures 650
photooeaphino highly polished
surfaces 651
the PHOTOQEAPHIO salon 653
jottings. By COSMOS 655
matt effects ON ALBUMENISED
PAPER. By W. LINDSAY 636
GELATINO • CHLORIDE PAPEBS. By
E. DOCKREE G50
Faoi
THE ROCKET PL.ATE 658
A PORTABLE STAND 658
OCR EDITOEIAL TABLE 658
NEWS AND NOTES 658
BECENT PATENTS 669
MEETINGS OF SOCIETIES 661
FORTHCOMING EXHIBITIONS 668
COERESPONDENCE €«
ANSW£BS 10 COBBESPOMDENIS 664
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1746. Vol. XL.— OCTOBER 20, 1893.
EQUABLE TEMPERATURE.
The time of year is approaching when, as a matter of course,
the photographer expects the various solutions he employs to
have an average temperature much lower than in summer.
To very many this variation, though it is felt to be the cause
of some diflPerence in working, is commonly disregarded, as
"things come all right in the end." It is our purpose to
endeavour to show that to attain, with the least expenditure of
time and material, uniform and good results, it is most im-
portant to deal with temperature, and the temperature of solu-
tions, in the dark room and laboratorj-.
These remarks will be less applicable to large establishments,
where every convenience exists for keeping the premises at a
fairly even temperature the year throughout, as they will be
to those who may start a day's work with " everything cold ;"
although it may be said that, oven here, there is room for im-
provement. We know of cases where the night temperature is
considered of more importance than the day ; and the differ-
ence in the mere question of comfort in handling bottles of
solution — in the one case almost freezing, and in the other at
as comfortable a temperature as in summer — has a strong
bearing upon the chance of successful re.sults.
Let us follow the various processes as they would occur in
€ very-day working at times when low temperatures might be
expected to prevail. First, there would be stock solutions
of sulphite of soda, hydroquinone, &c., to be overhauled. It
may be at once said that those who base their working on
saturated solutions — made by keeping a surplus of crystals
always in their bottle — ^will, when an equable temperature does
not prevail, be wofully at fault in their formulis in winter
■weather. Thus, hydroquinone crystals may be expected to be
found shooting through the liquid, from the bottom of the
bottle to the stopper, as the cold will have diminished the
solvent power of the water ; while sulphite of soda and other
salts may be expected to form a solid crystalline mass at the
bottom of the bottle, which will be exceedingly difficult of
removal, so much so, that too often the bottle gets broken in
the endeavour to disintegrate the mass. This argument alone,
by the bye, is a strong one against the saturated solution
principle altogether. It is often adopted in the endeavour to
save trouble, but this is not achieved in the long run. A mark
on a bottle to show a certain measure of liquid, and h definite
weight of crystals put in, is simple and reliable. The
effect of low temperatures on sulphite of soda solutions is very
quickly seen, and, indeed, when the dark room is not kept
heated, a twenty per cent, strength is the maximum per-
missible. Thirty or forty per cent, is often spoken of, but
even where the temperature does not get low our advice is, a
maximum of twenty-five per cent.
The solutions in good order, the next process to claim atten-
tion will be the development of exposed plates. We hold here
very strong opinions upon the value of equable temperatures.
One well-known successful photographer is reported to state
that he places a number of negatives in the developing solution,
leaves them exposed to its action five minutes, washes and
fixes, and gives no more thought to the development. He is
certainly an exception to a vast majority. Most photographers
closely examine the negative as the image first appears, and
then use accelerator or restrainer, or leave the solution un-
altered, according to the indications of the first stages of the
image production. We think the decision what to do with the
solution is rather a matter of experience combined with the
length of time the image takes in appearing and growing than
an actual judgment formed upon the particular gradation of a
negative under scrutiny. If this be so, the temperature of the
developer is a matter of paramount importance. A plate placed
in a developer at 40° will take a very considerably longer time
for the image to appear, and due density to be reached, than
would be the case with a developer at, say, 65°. These are
ranges of temperature commonly experienced at this time of the
year. Then, again, the mere loss of time, when many plates are
to be developed, is a matter for consideration, either for ama-
teur or professional. It may be said that to endeavour to work
at a uniform temperature would entail too much trouble in
practice ; but we have recently seen in a large studio a plan
carried out that is simplicity itself, and we here refer to it, not
necessarily as possessing any novelty, but merely to show how
simple it is to carry out what we have said we look upon as a
matter of prime importance. At this time of the year, as the
water is delivered from the main, its temperature is often not
far from 40°. What we saw was a youth pouring boiling water
into a large jug of water taken from the main, tiU it reached
a temperature — as ascertained by a thermometer — of 70°.
This was kept in the dark room while development proceeded
and the various stock solutions were reduced to the requisite
strength by dilution from this "warm water." We were
informed that, all the winter through, the temperature of the
developer rarely varied more than three or four degrees at the
outside, and we could readily believe, as we were informed,
that it greatly increased the certainty of good results. The
plan was simpje, feasible, and, there can be but little doubt,
utilitarian. The capabilities of usefulness in the simple u&e of
hot water are by no means exhausted, and at a future time we
propose to continue our consideration of an important and
neglected aspect of manipulation.
666
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Octoler 20, 1893
MATT-SURFACE PRINTS ON ORDINARY PAPER.
NoTWiTHSTAXDiN'G the great variety of choice that at present
ofifers in the way of printing methods, there al ways seems to be
room for anything that is new, or, if not new, at least out of the
common routine. Witness, for instance, the revival, in the
present Exhibition of the Photographic Society, of the old and
almost forgotten photo-crayon process. It is difficult to decide
what is, at the present day, the " prevailing fashion " in photo-
graphic printing ; for, while one section of the community pays
most attention to platinotype and matt bromide eflFects, there
are others who incline rather to the enamelled or glazed finish
and style, others who keep the happy mean represented by the
newer kinds of gelatinochloride or albumen papers. There
can, however, be but one opinion as to the rapidly growing
popularity of matt effects both for large and small work.
Comparatively few of the modern producers of matt prints,
whether on platinotype, bromide, or chloride papers, are at all
familiar with the charming results obtained on the plain papers
of forty years ago or thereabouts, some of which were produced
by development, others by the alternative process of " printing
out." As a rule, the productions of the present day partake of
the general character of platinotype, that is to say, they are of
the cool grey or neutral black tone, with here and there a de-
parture in the direction of sepia or brown, although the latter
tints are seldom or never equal to those obtained in days gone
by. But the rich purple-black tones and velvety softness of the
old plain paper prints are almost unknown now, although, when
seen, they never fail to attract the attention of even the most
ardent admirers of the more modern style.
And yet such tones are by no means impossible of attain-
ment with some of the matt printing-out papers at present in
use, although perhaps a departure from the usual course of
procedure is needful in order to get them ; with the develop-
ment papers ihey appear to be wholly unattainable, unless it
be by means of some more or less roundabout method of toning,
certainly not by development proper.
To produce them, with paper of home preparation is,
however, one of the easiest things in the world to any one
who will take the trouble to depart from the strictly beaten
track and, at any rate, partly prepare his paper instead of pur-
chasing it ready for use in the printing frame. One such
method was alluded to in our issue of last week, although the
results thus obtained are, perhaps, not equal to those derived
from a specially prepared paper.
The first desideratum is, of course, a suitable paper, which
should be not only even in texture, but free from any im-
purities likely to act injuriously in connexion with the salts
employed in sensitising. When a specially prepared paper for
photographic purposes is available, the difficulty, of course,
disappears, and it only remains to select a sample the texture
of which best suits the size and character of the pictures to be
produced. If such paper can be obtained in the salted state—
and we believe some of the dealers still keep it in that condi-
tion—so much the better, as not only will at least one opera-
tion be saved, but it may be accepted as granted that the
surface has been properly sized.
Starting with an unsized paper, it will be necessary to ascer-
tain by experiment, first of all, whether the preliminary sizing
h.as been performed. 'We do not here allude to the sizing
which necessarily takes place in the process of m'anufacture, but
to a special process, that with most samples of paper is neces-
sary, in order to keep the sensitive salts, as far as possible, on
the surface, and so conduce to brilliancy of image. This is
more particularly necessary for small work, exhibiting fine
detail and gradation,'^which would be utterly ruined or lost in
the sunken-in appearance resulting from an unsized or imper-
fectly sized paper. In this respect, the process referred to last
week is scarcely adapted to small work, although it answers-
very well for large bold effects.
The materials usually employed for this purpose consist
generally of arrowroot, gelatine, and sometimes we have used
gum tragacanth with advantage, the first and last being prefer-
able for purple tones, while gelatine answers best for brown
tints. The latter is applied in the liquid state, by floating the
paper for a sufficient period to allow the solution to penetrate
the surface uniformly without sinking too deep, and the strength
will be regulated by the texture and hardness or absorptive
character of the paper. The point to be aimed at is to close
the pores of the paper without imparting any perceptible gloss
to the surface.
Arrowroot and gum tragacanth require different treatment
on their application, and considerably more care. The former
is made into a stiff smooth paste by boiling, and must be
entirely freed from lumps and allowed to cool. The latter i'S
allowed to swell in cold water until it assumes the form of a
thick paste, which must also be rubbed perfectly smooth. To
apply eitlier of these to the paper, it is spread upon a smooth
surface, preferably of glass, and the size is then rubbed on well
with a soft turkey sponge, using only sufficient force to cause
it to spread evenly, and the treatment must be continued until
a perfectly even appearance results, and the paper lies uni-
formly limp and flat upon the support. It is then hung up
and allowed to become thoroughly dry.
Some operators combine the sizing and salting operations in
one by dissolving the salts in the size, but this method is
scarcely to be recommended except in very skilful hands. The
danger arising from the uneven spreading of the salted size
would obviously be much greater than when it is unsalted,
while, in the case of gelatine, the risk of the salting penetrating
into the paper instead of remaining on the surface would also
be increased. When, however, a hard and even layer of size
has been applied, it is comparatively easy to add an equally
uniform coating of salt by floating the paper for a short time
on a solution of suitable strength.
The salting solution consists mainly of one or other of the
soluble chlorides, bromides, or iodides, according to whether
the paper is intended for development or for printing out ; but
other ingredients of an organic character are often added, with
a view of influencing the tone or brilliancy of the resulting
prints. Thus citric, tartaric, acetic, lactic, and malic acids, or
their salts, are frequently used in combination with the
chlorides for printing-out paper, but for those intended for
development the utility of such additions is not so obvious,
sufficient variety of eflTect being produced by modifying the
combinations and proportions of the haloid salts.
If gelatine forms the basis of the size, the salting solution for
printing-out papers may consist of chloride alone, the gelatine
producing a sufficiently organic reaction to giro vigour to the
image, but with arrowroot it will be preferable to combine the
chloride with one or other of the organic salts. For a plain
salting solution nothing succeeds better than a ten or twelve-
grain solution of chloride of ammonium. Chloride of barium
is used by some on account of the less hygroscopic character of
the barium salts, which conduce to the keeping qualities of the
paper both after salting and sensitising, though it is more diffi-
cult to obtain purple tones when the barium salt is employed.
October 20, 1803]
THE BRITISH JOUK.VAL OF PHOTOGRAPHY.
667
Of the different organic salta of silver, the citrate seems to
combine best with the chloride ; hence, wliere an organic salt-
»^ ing bath is required, we prefer to use a mixture of chloride of
ammonium and citrate of potash, in the proportions of eight
grains of the former and ten of the latter to the ounce
of water.
The prepared (sized) paper is floated for a couple of minutes
on the salting solution, or a measured quantity may be poured
on to it and spread evenly by means of a small piece of sponge
or a flat camel's-hair brush ; but the floating method is to be
preferred, as giving an even coating without allowing the
solution to penetrate too deeply into the paper. When floated
sufficiently, the sheet is drawn over the edge of the dish on a
clean glass rod to remove the superfluous solution, and hung
up to dry in a warm room. The more rapidly the drying is
effected, the more will the salting be confined to the surface.
A method of combined sizing and salting may be mentioned
which gives excellent results as regards both tone and brilliancy,
the image showing little tendency to sink into the paper if the
various floating operations be too prolonged. The sizing mix-
ture consists of a solution of bleached lac in borax, one hundred
grains of the former being boiled with twenty grains of the
latter in an ounce of water, until completely dissolved. The
solution is set on one side for some days, until it deposits an
opaque sediment and becomes clear and bright. It is then
decanted or filtered, and ten grains of chloride of ammonium
added, when it is ready for use. This solution may be applied
freely to the paper by means of a brush, and allowed to soak
in until the paper becomes quite limp, when the surplus is
drained off. AVhen dry, the surface becomes insoluble, and the
sensitising solution shows little tendency to sink deeply. The
tone produced by the borax is a pleasing purple black. We
have not used this method of sizing for development paper,
but have no doubt it would answer.
White and Silvered Heflectors.— Opinions appear some-
•what divided amongst those who produce enlargements by daylight,
as to whether looking-glass or white reflectors are better, that is, if one
may judge from what one sees in every-day practice. Some use the
one and some the other, and they each, doubtless, think it the better.
We refer to this topic here, in reply to a correspondent, instead of in
the usual column, because the query put is not an uncommon one.
Now, each kind of reflector may be the better under certain conditions
of the light. For example, with a clear, blue, cloudless sky, if a sil-
vered glass be employed, very little light of value will be reflected,
and the image will appear lacking in illumination ; but, if a sheet of
■w hite paper be laid over it, the aspect is entirely changed. The image
is at once more brilliantly liprhted, and the exposure correspondingly
curtailed. Under these conditions the white reflector is the better. On
the other hand, if the sky be covered with bright, fleecy clouds, then
■will the better light be obtained with the looking-glass, because it
reflects them direct on to the negative. Therefore it will be seen
that both sorts of reflectors are the better under different circumstances,
and for this reason silvered glass is preferable as a fixture, because it
can at any time be covered up with a sheet of white paper or card-
board. Thus the advantage of either kind can be secured at will.
Clouds In Ziantem Slides.— Aprojms of the advent of the
lantern season, and a question asked at a recent meeting of one of the
Metropolitan Societies as to the relative exposure for printing in
clouds with a negative of given density, when one of the members
suggested that the better way was to print the clouds on a separate
glass, we would here remark that that is the system we have generally
advocated: in fact, it is the one usually adopted by the best workers
when clouds are utilised from a second negative. The advtntiigie* of
this method of procedure are manifest, for it requires very great
judgment to correctly time the exposures of the two negatives so that
the images develop in unison with each other. Many slide* are lost
through the clouds not being dark enough, or being too heavy for the
landscape ; more generally the latter. When both images are on the
same plate, there is no waj' of getting the clouds and landscape in
perfect accord if the two negatives, as is often the case, are of a
different character. When, however, they are printed on separate
plates, one being the cover glas.s, there is no difficulty in the way, as
the development of each plate can be modified according to circum-
stances. Furthermore, any slight outline from unskilful masking is
less conspicuous when the pictuie is on two plates than when it is on
one. As we have said before, much trouble maybe saved by printing
the clouds on the cover glass instead of on the same plate as the
landscape. ^^^^__^^^^_^^
SeverBlngr BKirrors.— It will be remembered that a few weekj
back attention was directed to the subject of reversing mirrors, and to
the fact that they should always be left perfectly free in their settings.
Since then we have been shown a mirror that had been condemned
as worthless because, so it was asserted, it was impossible to produce
a sharp negative with it. A casual examination sufficed to show why
this might be the case, and it was this : The glass was about six inches
by four, and was set in a brass mount, the flanges of which were
secured by metal screws, which clamped it tightly. These screws we
loosened, so that the glass could be shaken about freely in the mount.
A negative was now taken, and it proved to be perfectly sharp. The
tine definition of the lens was not impaired in the slightest degree.
This mirror was fixed, as the majority are, in front of the lens, but
we could not help, as we have done before, doubting if this is the
best position for it to occupy. So far as results are concerned, it
matters not whether it is placed before or behind the lens. For
several reasons, the latter would appear to be the preferable position.
Inside the camera it is less exposed to atmospheric influences, there
it is better protected from mechanical injury than it is when fixed in
front of the lens. Furthermore, the mirror fittings are liable to ob-
f-truct the light, or cast a shadow on the object to be copied when, as
is often the case, it is very close to the camera. We are quite aware
that mirrors are fitted in that way, but it is not general, in this
country at least.
Piracy. — Scarcely a week passes but that we have compl.iints
from photographers, more especially those in provincial towns, of the
piracy of their work by some of the illustrated press. It is pretty
evident that some, not all, consider a photograph common property,
and treat it accordingly, whether it be copyright or not, and that, too,
without any acknowledgment to the artist. Often the reproduction
is slightly altered, as by the Introduction of a figure or so, but this
does not evade the copyright. There is no question that, when a
copyright photograph Is pirated by any of these papers, very heavy
penalties could be obtained. Why then, it may be asked, are they
not enforced ? There are, we suspect, more than one reason. Many
photographers, in a small way of business, do not care to risk the
heavy law expenses sure to be incurred in attacking a wealthy paper,
who would defend the action at any cost. One of the objects of the
National Association of Professional Photographers, by the bye, was
to have been the protection of copyrights, but we have never heard
of a single Instance of their moving in the matter, and some flagrant
cases of piracy must have come under their notice. Some photo-
graphers do not think it worth while making their work copyright
until they find It has been reproduced : then, of course, there Is no
remedy, yet they complain all the same. We Imagine that the
majority of photographers whose works have been pirated would have
had no objection to their reproduction if their permission had been
asked, and an acknowledgment given in the paper of the authorship
thereof. The reproduction of the photographs In an illustrated
periodical we imagine does not injure the sale of the original. Still
the copyright is the property of the photographer, and it ought to be
respected. Some day, perhaps, an illustrated paper may be mulcted in
heavy p^n-ilties for piracy of a "common photograph.''
668
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[October 20, 1893
Outdoor SCeetingTB.— The summer season may now be con-
sidered at an end, and many of the Societies will be issuing their
annual reports. Some have already done so. It will be interesting
to note this year what will be said with reference to the periodical
outings arranged by the different Metropolitan ones. The two or
three whose report has been published contain the almost .stereotyped
sentence to the effect that the attendance at the outdoor meetings
has been very meagre notwithstanding that previously existing
arrangements had been modified, &c. Not infrequently a rider has
hitherto been added, that unpropitious weather has probably been
the reason. No such idea can possibly be entertained this year ; for
never before have we been favoured with such a summer for outdoor
photography. Why, then, the spare attendances ? One reason we
know which has tended to it is that meetings have been arranged in
districts where good subjects were inown to exist, but when the
members arrived there was no one to point out in which direction
they lay. Hence strangers to the neighbourhood often returned home
without seeing anything worth photographing, while they had been
within a short distance of most charming subjects for the camera.
Another reason, and perhaps a stronger one, is that many people who
are particular in the choice of subjects do not care to go with a large
party. They prefer to go alone or in company with one or two
others at times, and to places, more convenient to themselves than
those arranged by the Society of which they are members. Seeing
that, so far as the Lgndon district is concerned, outdoor meet-
ings are practically a failure, would it not be well for some of the
Societies to consider whether they should not be abolished ? Osten-
sible meetings that do not come off do not add to the status of any
Society, photographic or otherwise.
PHOTOGR.\PHY IN NATURAL COLOVRS— UX FAIT
ACCOMPLI.
O.v Wednesday evening, October 11, the first business of the Photo-
graphic Congress then assembled at the Society of Arts was to hear
an account from Mr. Leon Warnerke of tlie results in colour
photography obtained by M. Lumiere. There was a very large
attendance, and Captain W. de W. Abnej-, C.B., F.R.S., was in the
chair.
Mr. Warnerke read a paper descriptive of the modifications on
Lippmann's plan of preparing the sensitive plate arrived at by M.
Lumiere. This has already been given in the pages of The Britlsh
JoiTRNAi, OF Photography (see page 32-5, May 26, 1893) ; and to
that article, as well as to others in our volume for 1891, we may
refer the reader who may desire to be placed in possession of the
working details of the method employed by M, Lumiere.
By the kindne.ss of Mr. Warnerke, we have had an opportunity of
privately inspecting the photographs. At the meeting referred to he
would not let them go out of his hands, as they are regarded as too
valuable to be risked. A large number of learned societies are
waiting their turn to have them before them. The pictures are about
two and a half inches by one and a half inches, and are mounted
under common glass prisms and backed up with opaque material
such as paper. When viewed in the ordinary way, they appear some-
thing like an ordinary lantern slide would against an opaque material.
Held at their proper angle, however, they are seen in the full beauty
of their natural colours. On Wednesday night, Mr. Warnerke said
that, for viewing them, the best plan was to have sky light reflected,
or, when lamps were in use, to have the light reflected from the shade
or glass. For projection, a very powerful light was required. Look-
ing at these pictures was like looking upon nature on a bright summer
day, and tliey must all feel that they were in the presence of one of
the greatest inventions of the nineteenth centiirv'.
We have said that we had an opportunity of examining the
specimens privately. They have a certain metallic-like lustre, but
are notably true and realistic in most of the colours. One of them,
the first in the order of success, was a photograph of a chromo-
lithograph of a French soldier. This had an exposure of an hour.
It would be absurd to talk of fidelity to the original in the absence
of the latter or any means of telling what it was like ; but, knowing
what chromos generally are, we risk the assumption that it was
extremely good. The gems of the collection are, however, four views-
from nature. In these the blue of the sky, the play of sunlight on
the green trees, the marigolds on grass beds, the red tiles of a house
roof, zinc roofing, gravel paths — and, in fine, what we term the tout
ensemble of the colour effect are truly remarkable. The exposures
given to these five range from 40 minutes down to 4 minutes, the
last being an indoor picture representing a savant seated at his table,
upon which are his microscope, bottles of chemicals, &c. The flesh
tints of the gentleman's facj and hands are rather too pinky, but
the copper sulphate in a bottle, the yellow mount of the microscope,
some fluorescein and other chemicals are perfectly reproduced.
These pictures were projected on the lantern screen at the Society
of Arts, and called forth great applause. For ourselves, we can say
that on the screen nothing was lost in the way of colour effect. The
images were necessarily very small on account of a somewhat rough-
and-ready projection system employed. This apparently consisted of
the passage of a beam of light from an arc lamp through a lens on to
the picture, the prism mount of which reflected the light on to
another lens which transmitted the image to the screen. After some
of the pictures had been shown a second time, a discussion took
place.
Mr. J. Spiller said that for the first time they had had a satis-
factory demonstration of photography in natural colours, and they
ought to congratulate MM. Lippmaun and Lumiere, who had
brought it to this state of perfection. He would also like to thank
Mr. Warnerke, who had anxiously looked after the interests of the
Society in the matter, and had succeeded in getting the loan of the
pictures for exhibition. Nothing that had been done before
approached what they had seen that night.
The President (Captain Abney) said that what they had seen that
night was very remarkable : but it did not give him the idea that
we had yet achieved photography in natural colours, as natural
colours were pigments, so that we were as far off as ever we were.
Here they had photographs which gave approximately the colour of
nature seen by reflected light ; for, looking at it at one an^le, the
true interference phenomenon was seen. If we were going to take
photographs by this means, we should have to take the precaution
of having the light falling on them from one particular direction.
Still this did not make it the less wonderful. He had, himself,
experimented with the process, and had produced results superior to
anything of Lippmann's he had seen. In taking spectrum photo-
graphs, it was quite possible to get blue at the red end, and red for
blue. There was one weak part in the pictures shown, and that
was, the reds were not as good as they ought to have been ; that
was because the plate was sensitised to correspond with the colour
wi^hed to be reproduced. To get interference by photography, they
must lievelop for it, as, with a red light and a plate not sensitive to
it, one could not get the interference which was necessary. The
next step to be made would be to get a pure red which was necessary
to give the finishing touch to the process, and, for that, what was
wanted was something to enable u? to photograph the red end of
the spectrum in a satisfactory manner. There was a pure bromide
process extant, which might be utilised* for the purpose because it
was more sensitive to the red than to other parts of the spectrum.
He congratulated Messrs. Lippmaun and Lumiere for taking such
photographs as they had seen, in a reasonable time, for four minutes
was not a long time.
AMERICAN NOTES AND NEWS.
Frederick Kart Wilson.— It could not possibly fail of being a
severe blow to Dr. Edward L. Wilson when he lost his son, a young,
man of talent and promise, who had in some measure been educated to
succeed him in conducting Wilson's Photographic Magazine (nie the
Philadelphia Photographer). Born in 1864, he showed an early taste
for naturalist studies, on which was soon grafted a training in science,
literature, and art. After leaving college, where he graduated with
honours, he initiated a literary career by becoming a reporter on the
daily press, subsequently studying art in Paris and New York. He
Octoter 20, 1803]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
000
contributed to severnl periodicals, illustrating many of his articles by |
his own sketches, which were mainly of a humorous or satirical
nature. One of his best articles was the paper he wrote for the St.
Louis Convention in competition for the $100 prize offered, and from
which wc hope to give copious extracts on an early occasion. His
health gave way after having undertalten the editorship of Ohio in
Art, and on August 8 he died at Hygiene, Colorado, whither he had
gone for recuperation. Our sincere sympathies are tendered to his
sorrowing father and friends.
The Hand Camera of the Future. — It is the. opinion of
Mr. C. Ashley Snow (in Wilson's Magazine) that the hand camera of
the future has yet to be evolved. It will worli at about /-8. It will be
provided with a finder giving a view as large as the plate used ; and
it will, by a reflecting mirror, present the view rightly, instead of
upside down, as now. The lens will be so attached as to be easily
removed for tlie substitution of others often more suitable for the
kind of work in hand. The shutter will be wholly under control,
and the focussing device respond to any demands made upon it.
There will be an iris diaphragm, and a ball-and-socket joint to the
tripod head. There should be a swing back and a side swing. These
conditions are Mr. Snow's. Let us see to what extent English
manufacturers have anticipated then. Almost all hand cameras of
any pretensions have lenses working at /-8, and some exceed this
considerably in rapidity. We have, on more than one occasion,
described hand cameras, made and sold in England, in which the
finder is identical in size with the sensitive plate. Nay, some eight
or nine years since, this was a feature in cameras made by at least
one maker in New York, and this, too, by means of a reflecting
mirror, presented the view rightly instead of upside down. A
camera having this peculiarity was patented in England, so long ago
as August 20, 1861, hence this feature has long since been recognised.
The substitution of one lens for another is already effected in many
of our best hand cameras. The shutters are under control, and we
already have iris diaphragms to our lenses. Concerning the ball-and-
socket joint to the tripod head, what has a tripod to do with a
" hand camera,"' the species now spoken of ? True, a tripod is a
delightful, if not a necessary, adjunct to a hand camera, and we would
never think of going on a photographic outing without one ; but the
instrument becomes not a " hand," but a stand camera, when it has
to invoke the friendly aid of a tripod. Besides, ball-and-socket heads
are made and sold every day in London. So Mr. Snow's desiderated
hand camera of the future has already been evolved, and is the
camera of the present — that is, for those who prefer it to the simpler
kinds equally easy of access, a fact, of which he will become aware
if he will brave the fancied terrors of the Atlantic, and favour the
Mother Country with a visit. All the same, Mr. Snow's prospectus
is a good one, and, to render it absolutely perfect, his camera of
the future only requires to be made binocular. Then it would,
indeed, be the liand camera par excellence.
The American Photog'raphlc Press and the World's
Pair Congrress. — The Photographic Beacon administers a mildcasti-
gation to its New York brother, the Times, for a statement or prophecy
it was unwise enough to make a few weeks since to the effect tliat " the
Photographic Times is the onlij photographic magazine that will give
a complete report of all the most important papers read " at the
World's Fair Congress of Photographers, and asks : " How does he
know ? He was not there, and the editors of several of the^ther maga-
zines were." We ourselves were, and still are, unaware of any private
understanding with the Directors of this Congress in virtue of which
such a statement could have been made. It is the case, however,
that on the day on which we read this in the Tiines we were in
receipt of a first consignment of the papei-s referred to, which had
been kindly printed specially for the press with the view of giving
them the greatest publicity possible ; and, the Photographic Times'
prediction notwithstanding, it is only fair to ourselves and to the
Congress to say that we can point to our pages of the past few weeks
in corroboration of the fact that we, at any rate, have given a
complete report of the most important papers read. It is not safe to
prophesy unless one knows.
Another Xew nashligrht. — We learn from the Ba
that, in course of a meeting of the Chicago Camera Club, •■
adjournment was mode to the studio to witnes* a new syitem of
flashlighting a sitter. The Williams system cvintiats of a franu
supporting thirty-six small gas jets in four rows of nine each. Im-
mediately behind each burner is a small cup, into which are placed a
few grains of magnesium powder, and the cups are attached to rods
connected together, so that, by the turning of a crank, they are
simultaneously emptied over the flames from the jeta, giving s
brilliant mass of light spread over a comparativeJy large aorface. A
negative of a lady was taken by this agency, and that it waa soooe*-
ful was proved by a slide made from it being projected on the screen
a little later on in the evening.
How nxassey Photographed at the World's Pair.
— It puzzles us somewhat to know precisely by what means Mr. W.
E. H. Massey managed to snatch, under the very eyes of the eigir
lantes of the Chicago Exhibition, such a fine set of pictures as he has
obtained, judging from such samples as have been given in the
Canadian Photographic Journal. The subjects aresharp, well selected,
and fully exposed. The artist gives a graphic account of the petty
harassments to which he was subjected by the agents of the conee*-
sionaire; but, as we read, he eventually circumvented them by the
expedient of hiring a gondola, or an electric launch, and photograph-
ing therefrom while going, in some instances, at full speed past the
respective subjects which he has so ably snap-shotted. "The magnifi-
cent buildings," he says, "have been grouped with the greatest eara,
and with the surrounding landscape ^which is like a fairyland,
beautified with artificial lakes and canals, the latter spanned here and
there with handsome white bridges — combine to make up a veritable
paradise." ^
The Colours of Nature In Photogrraphs. — Mr.
Abraham Bogardus is evidently a conservative of the staunch old-
time type, at any rate in regard to those '' photographs in natural
colours " which are the outcome of the experiments of Lippmann and
Lumiere. That the colours of nature have, in the workj of tbe
latter, been produced, is a real fact, and has been demonstrated to
those assembled at the Chicago Congress over a month ago, aad
during the past week to the Congress of the Societies afliliated to that
of Great Britain in the Society of Arts' rooms. Mr. Bogardus, in the
St. Louis and Canadian Photographer, calls himself an "incorrigible''
on the colour question. He says : " I am ready to be convinced by
literal facts, but do not propose to be convinced by newspaper stories,
or by the reports of scientific men who seem to be easily deceived,
and who ought to know better." What evidence, then, must be
adduced before Mr. Bogardus will believe ? Suppose that he, him-
self, had an opportunity of seeing and examining the Lumiere pictures,
and, not being colour-blind, were to testify as to the reality of the
blueness of the sky, the yellowness and redness of the flowers, the
greenness of the grass, and so forth, and be met only by the cool re-
joinder from his neighbour, " I don't believe you, nor do I propose to
be convinced by newspaper stories, nor by the reports of scientific
men." " But," continues Mr. Bogardus, " it is not producing colours
to expose a chemical substance to the sunshine, treat it to another
chemical solution, hold it at a certain angle, and call the iridescent
effect seen photographing the colours. Countless substances can be
made to do that without a camera." Were we desirous of raising a
discussion, we might point out that the exposing of a plate coated
with a chemical substance to the sunshine (in a camera), and the»
treating it (in a dark room) to another chemical solution, aptly de-
scribes the method now universally employed in obtaining form ta
light and shade : and it is not logically impossible that, by a strictly
analogous method, iridescent colours, answering to the colours
radiated from these forms, might also be produced. Of course, as
regards the countless substances by which this can be done " without
a camera," we prefer to think that Mr. Bogardus has selected laagvage
which does not quite accurately represent what he intended to eo«-
vey. Is he, as an old and experienced Daguerreotypist, willing to
admit that colours— and not only colours, but those of nature — were
produced on Daguerreotype plates by Becquerel, Niepce de St. Motor,
670
THE BlUTlSH JOURNAL OF PHOTOGRAPHY.
[Octoter aO, 1893
and others, by means of the processes described in considerable detail
by those savants, or were they, Bnd numerous scientists and artists of
the European side of the ocean, deceiving themselves and others by
imajinin;^ thoy saw colours where none really existed ?
A PAINTER'S VIEW OF THE PHOTOGEAPHIC EXHIBITION.
The exhibitions in London, especially those of the fine arts, or arts more
or less allied to them, have now become so numerous and incessant that,
unless for people of ample leisure, it is impossible to keep pace with half
of them ; henc«, for several years I have not had the pleasure of visiting a
photographic Exhibition, but I have recently observed several notices of
the above, in which favourable mention was made of some highly artistic
figure studies by Count W. von Glueden, which induced me to go, a few
days ago, to see them. I was more than charmed by these and many
other beautiful works which now grace the walls. I expected to have my
knowledge increased and my eyes refreshed by a great deal that would be
new to me after a lapse of three or four years, but I cannot say that the
appearance of any great progress was very apparent; there was one nega-
tive progress, however, the carte-de-viaite and the frames full of com-
mercial specimens and shoppy advertisement pictures were much less in
evidence than formerly. Another negative progress noticed was that
greater facility of progress over the Exhibition was afforded by the removal
of the central screens, thus the gallery assumed a more spacious and com-
fortable appearance ; this also enabled me to stand in the centre and take
a general survey of the tout ensemble. The first thing that arrested my
attention was the spotty, cut-up, disjointed and inharmonious appearance
of the collection, owing to the discordant, and, in some cases, very bizarre
effect of the frames and mounts. This is a difficulty which cannot be
easily surmounted in a photographic Exhibition; the Society cannot, as at
the Eoyal Academy, make a rule that all pictures must be in gilt frames,
but they might at least announce that excessive width or unsuitable
character of frames and mounts might prevent pictures from being ac-
cepted, or from being hung in positions they might otherwise merit. This
question of framing photographs is one that should receive more attention
than appears to have hitherto been bestowed on it. The tone and colour
of the print depends very much upon the tone, and colour, and depth of its
surroundings. Captain Abney is one of the highest authorities on the
science of light and colour, and he could, if he cho?e, sketch out some
valuable suggestions on the subject of the harmony, juxtaposition, and
contrast of colours, as applied to the framing and mounting of photo-
graphs.
I then observed an unwonted variety of colour in the prints the cold
grey of the bromide and platinum pictures being relieved by a pleasing
variety of warm platinum tones, of carbon, and a few of the good
old silver prints, with their fine rich tones, which, though on glossy
surface, are still very pleasing for small work, and still popular if one
may judge by their predominant appearance in the shop windows ; in
this connexion I say nothing about permanency.
I shall now take a walk round, beginning with No. 1, a carbon enlarge-
- ment, called The Young Musician ; it is probably excellent photography,
but the composition of the figure and hands is arranged without either
character or grace. No. 2, Fruit, studies by J. T. Hopwood. Surely no
painter can look at these beautiful delineations without feeling grateful
that the glorious art of photography can preserve for him the drawing,
the light and shade, the modelling, the texture and the character of the
fruit and flowers, which in hot weather would have shrivelled up and
lost their drawing long before he could complete a perfect painting of the
subject. Then he could preserve the photograph intact for reference, or
for future use in other work. Or, better still, if he has not time to make
a finished painting, he could have a second print, a little lighter, and
rapidly dash in the colour effect from nature, either in oil or water
colour, the first print being preserved intact for reference to detail. Well-
defined photographu such as these would also be very useful in drawing
schools. No. 11, Frederic Goodall, Esq., R.A., looks very bright and
youthful here. I suppose his fine picture of the ViUa<te Festival in the
Vernon Collection wai painted nearly fifty years ago. It seems to me a
defect in this portrait that the face and the neck, from the rim of the
hat to the top of the collar, are both on one flat plane, thus giving the
appearance of an enormous swelling in the neck; from the slight line
which indicates the chin, the neck downwards should have been thrown
more or less into shade The peculiar curl of the end of his left mous-
tache gives him the appearance of having a ring in his nose ; that most
prominent p >int of the picture should have been toned down.
No. 14, Clouds Descending the Valley, Zermatt, by William England,
would be very helpful to a painter. No. 1.5, Mont Blanc by Moonlight,
from Coulter's Hotel, January 7, 1893, 10 p.m. {bromide enlargement), by
Captain Abney. This is a wonderful picture — a snow scene of great deli-
cacy, and perfect definition everywhere ; I could have believed that it was
taken at midday in .June, but there seems a weakness and want of depth
in the shadows. I imagine that, if it had been printed darker, it would
have gained the desired strength and richness without any loss of essen-
tial detail, and that it would have possessed more brilliancy and more of
the character of moonlight. Then, in my humble opinion, the art value
of the picture is depreciated by the unsuitable character of the frame and
mount. The print is cold, grey, and weak ; it is rendered still more so
by contrast with the bright, rich cream colour of the mount by which it is
surrounded, and by the rich, warm, dark brown colour of the common
varnished wooden frame, with a gilt slip, I think, which encloses the
whole. I fancy I should have tried the effect of a neutral-tinted mount
of much lower tone — perhaps a cool greenish drab or mud colour — and a
dull ebonised moulding. I'robably the savant could not spare time from
his absorbing scientific studies to see to the framing himself, and en-
trusted some one else to get it done for him. No. 23, Against the Tide,
W. Dawes. The composition comes out well for an instantaneous study,
but the atmospheric character of sky and the transparent liquidity of
water have been insanely destroyed by the absurdly coarse character of
the printing paper. What should have represented pure sky and water
are here presented the sky as coarsely granulated stone, the water as
some new composition of wool and mud, on the surface of which some
shaggy boats are making frantic efforts to accomplish locomotion — a
dirty, rotten result. No. 25, a legitimate photographic study by Robert
Terras ; head of a nice old peasant woman, about four or five inches,
printed in silver on plain paper, warm in tone, and much more like nature
than the miserably cold and grey bromides in the neighbourhood. No. 26,
Bonchurch Cliffs, by Herbert Young, M.A. A pearly, delicate study, but
the water is vapid and opaque ; yet it is a charming picture as compared
with the wretchedly grey, washed-out bromide enlargement next to it.
No. 33, The Wherry, a carbon enlargement from negative by P. H.
Emerson, possesses a charm on account of the luminous liquidity and
effect of transparency in the water, an effect greatly helped by the boat in
the centre. The atmosphere is hazy, hut that does not account for the
utter disproportion in atmospheric strength between that ugly clump of
branchless foliage protruding from the top left-hand corner, and the
large clump of trees immediately beyond it, which look as faint as if they
were half a mile away. Here, again, the warm mount and the gold make
the cold enlargement suggestive of a drawing made with washes of writing-
ink ; but the black moulding is much better than the white. Just above
this is No. 32, a large sunset picture (platinum), by Lewis Cohen. This
is a photograph of a high order, although it lacks transparency, and is
too dark and heavy in parts. Pai.eite.
(To be continiied.)
WET COLLODION.
[North Middlesex Photographic Society.]
Rbpobt of Lecture and Drmonsthation given by
Mr. W. E. Debbnham.
The wet-collodion process is tho one best adapted for preparing
plates to make negatives for line work or photo-lithography, and
where clear black and white and sharpness of line are necessary.
Wet collodion is also necessary for making enamel plaques, when the
film is toned with platinum or iridium and placed upon a plaque and
fired. Wet collodion is also used for making enlarged negatives,
lantern slides, and copying. There are some essential differences in
the collodion and gelatine methods. In the gelatine method the
image is developed from the bromide of silver, which forms the sensi-
tive surface ; that bromide 3-ields its silver to foim the image. In
the wet-collodion process the image is formed of silver, not from the
iodide of silver in the film, but from the nitrate of silver, which is
in the accompanying sensitising bath. Now, although the film in
the case of collodion is, as I stated just now, for the most part iodide,
there is an advantage in having a certain amount of bromide in it.
Formerly bromide was not used for negative processes, but it was
found that a little bromide gave a smoother surface, the plate was
cleaner in development and less liable to fog ; and, moreover, it was
more fit for development by the iron method than the plain iodide,
•which was, generally speaking, developed with pyro.
No%v to the actual work of ])ieparing a collodion plate. In the
first place, you must have glass which is clean ; glass which is only
apparently clean to the eye will not do, it must be really clean, or
else where there is a trace of dirt on the surface of the glas.« —though
it may be not sufficient to be seen — the silver will be deposited from
the bath under the action of the developer, and will make a stain
underneath the collodion between the collodion and the glass. That
stain is not only injurious as a stain, but the collodion will, generally
speaking, fly up off the glass when the plate is dry. The first thing,
therefoi-e, is to have your glass clean. We at one time used patent
plate, but that has now gone out of use for this purpose. Sometimes
you will find the glass covered with an apparently smoky stain ; if
you find this, do not use it, or else the collodion will fly off when it is
dry, even if it does not cause a stain during development. The glass
may be cleaned in various ways, according to the purpose to which it
has previously been put. If it is in a very bad state, or has been
used for negatives which were intensified with mercury, then you
should dip it in moderately dilute nitric acid, say one in five of water
October -20, 189-'l]
THE BRITISH JOURNAL OF PHOTOUllAPIIY.
671
But, (rt^nerally speaking, it is sufficient to take a piece of list, and
roll it into a tlat pad, then put a little whiting and water on the
surface of the plate and rub it pretty hard with the pad, after-
wards wash it under a tap, dry it with a cloth, after which it
must be thorouglily polished. Do not stand the plate up to dry on
taking it from under the tap, for, if you do, the water will settle and
form marks on the glass which you will not be able to get rid of ;
and you must on no account use glass which has anything tlie matter
with it. I have found the great secret of polishing glass successfully
and tolerably rapidly is to use a cloth which is not quite dry. With
a perfectly dry cloth it is almost impossible to get glass clean i the
cloth must not be so damp as to leave a smear; but, if that is avoided,
rubbing the glass with such a cloth will very soon bring it to a satis-
factory polish. I have known photographers to suppose that, if tlie
breath ilies off rapidly, the glass is clean ; but that is a delusion, it
merely shows that the glass i< warm from rubbing, the breath should
dry off smoothly, there should be no streaks. But there is one par-
ticular mark which you may see, and that is an appearance something
like dames that die away altogether; I do not know how to account
for it, but, when you see that, you know it is a glass in very good
condition.
Now, the glass b'ling clean, has to be coated with collodion. I
prepare my osvn collodion, and the following is the formula I adopt : —
A.
Pyroxiline 100 grains to 120 grains.
Ether '720 to •72o 10 ounces.
Alcohol abs o ounces.
That forms plain collodion. It is allowed to stand for a few hours at
least, so that it can be decanted from sediment. The iodising solution
is conveniently added afterwards, and not made with the collodion
itself. It is made thus : —
B.
Ammonium iodide 60 gi-ains.
Cadmium iodide 40 „
Cadmium bromide 10 „
Iodine 1 grain.
Alcohol "820 , . . . . 6 ounces.
These solutions are then mixed, and together make up a pint.
When the plate is coated with collodion containing iodide and
bromide, and placed in a solution of nitrate of silver, a double
decomposition takes place. The iodide and bromide form iodide and
bromide of silver in the film itself, and leave, of course, a certain
amount of nitrate of cadmium and nitrate of ammonium in their place.
You must, however, have a considerable excess of nitrate of silver,
or else you will have nothing to develop from, as it is that from
which your image is formed.
The sensitising bath is a thing which used to give old photo-
graphers a good deal of trouble, as it was so liable to get out of order.
Ordinary nitrate of silver will do to make the bath, and a bath
successfully made with it cannot be distinguished from that made
with triple recrystallised ; and, in order to make tolerably sure of
success, you can adopt the method which I will describe. The nitrate
of silver is first made up with about one-third of the amount of water
which is to form the bulk ; the strength of the bath should be —
Nitrate of silver 30 grains.
Water 1 ounce,
which is something like fifteen ounces of water to every ounce of
nitrate of silver. Suppose we have sixty ounces of water to four
ounces of nitrate; in the tint place, put in about one-third the amount
of water, add a little liquor of potash — a few drops — until it forms a
slight brown cloudiness which does not redissolve ; we know then that
the bath is not acid, but that it is possibly alkaline, just alkaline.
When in that alkaline condition, it throws down impurities which,
whilst in the acid condition, would remain in it. Then add a solution
of iodide of potassium, a few drops at a time, until no more of the
deposit redissolves. Now fill up with the remaining two-thirds of
water at once ; a quantity of iodide of silver will be deposited, and in
settling down it appears to carry down impurities with it.
Make vour bath, so far, some time beforehand, and leave it until
you really want it ; then filter it, and add to every pint one drop of
nitric acid ; the bath should then be in good condition and fit for u.se.
Wlien a bath is not in good con lition, the result is that, where the
shadows should be perfectly clear, no deposit at all, there is a certain
amount of deposit, sometimes so bad as to cause a fog, that spoils the
picture entirely.
An upright glass dipping bath is customary, with a dipper to hold
the plate. It is very convenient to have a naillboard cover made for
the bath, and the dipper, which may be of gutta percha, attached, so
that when the dipper is inserted the lid come.4 down, and when tb«
lid is removvd the dipper and plat-t are withdrawn.
The plate being properly cleantHl, as before expUioed,!* now coated
with the collodion. In coating the plate, number tb« comers in your
mind 1, 2, 3, 4 ; hold the plate by the thumb and flagera of the lefc
hand as near the corner of No. .1 as possible; pour on plenty of crtUo-
dion, so M to be sure it will go all over, run it first into corner No. 1 .
which is opposite the thumb, then 2 and •'< which is the thumb
corner, and off into the bottle again at No. 4. Now, if the plate
is left still, it will form marks; so keep the plate in one plane,
but raise alternately, the comer next the thumb and the opposite
corner, so as to alter the direction of the running-oS lines crossing
them, and thus get rid of lines altogether, or nearly so. Large plates
are best coated with a pneumatic holder, or by supporting them on a
pad of paper with the band flat underneath. After coating,
the plate must be left a short time to set'; it must not be placed
in the silver bath instantly. The time depends upon the time of year,
the quality of the collodion, &c. ; if any part is perfectly dry, it will
give a thin, useless image, and will ruck up in developinir ; if it has
not set sufficiently, the edge where it has oeen poured off will show
streaks coming down from it. In placing the coated plate into the
sensitising bath, it must go in without a halt, or there will be a line ;
it must not be hastily put in .so as to cause a splash, or there will be
marks where the splashes settle, but it must oe put in evenly and
quietly.
The plate should remain in the sensitising bath for an average of
three minutes. If, on taking the plate out of the bath, it snows
greasy-looking marks, it has not been in the bath long enough, and
must be put back. On removing it from the bath, it should be
drained for a minute or so to get rid of the surface moisture, and it is
then ready for the exposure, which, whether the plate is intended for
a negative or positive, must be made in the camera, as the wet plate,
coming in contact with a negative film, would ruin it at once. The
wet-collodion plates are some thirty or forty timjs slower than an
ordinary gelatine plate.
The developer consists of —
Sulphate of iron 10 to 20 grains.
Acetic acid 15 minims.
Water 1 ounce.
I use no alcohol with a fresh bath, and, on the whole, I find I get
clearer pictures without; but, if the b»th has had many plates dipped
in it, you will be compelled to use alcohol in your developer, otherwise
it will not flow smoothly, but will halt and make marks. After
washing off the developer, cyanide of potassium is used as the fixing
agent, of which a little may be poured on the plate, but I much
prefer a dipping bath where many plates have to be fixed. It is
much quicker to use than hypo, and is easier to wash out.
If the plate needs intensification, it can be done in several way*,.
but the usual intensifler is —
Pyro 2 grains.
Acetic acid 15 minims.
AVater 1 ounce.
Flow this over the negative and back into the measure, then drop into
the measure three or four drops of the sensitising solution. That
which has drained from the plates, if it has been saved, will do very
well. Pour it back on to the negative, and it will at once ^ve a brown
colour, and, by degrees, deepen to perhaps twice the intensity the
plate originally had.
Suppose you find that your picture is slightly marked from a dirty
glass, and you expect that the film will tty off when dry, but, on the
whole, it is so good that you would like to save it, in that case, while
it is still wet, flow over it some rather thin gum water, and then it
will probably stick to the glass as it dries.
A collodion negative must be varnished, as the film is so tender that
it cannot safely be printed from without this precaution. Any of
the negative varnishes on the market will do for this.
There is not so much latitude of exposure with the wet plate as
with the dry gelatine plates, as the developer cannot be modified to
the same extent. The wet-coUodion process is cheap to work,
the chemicals for a half-plate only costing somewhere near
a halfpenny. In case of a negative being spoiled, the film may be
cleanea off "easily, and the plate is then available for use again. If
the plate has been ramisbed, hot water will loosen the film.
>
NIKKO PAPER.
tOroydoa Microscopical and Natural History Clnb.)
This development paper, as distinguished from the printing-out paper,
has recently been introduced by the Eastman Company, and we pro-
67C
THE BRITISH JOURNAL OF PHOTOGRA.PHY.
[October 20, 1893
pose to-night to ky before the members of the Club our experience
kk the development and toning of Nikko paper, so far as they have
gcme vp to the present time.
Although the ferrous-oxalate development is the only one referred
to in the instructions issued with this paper, yet it is stated that any
of the other developers may be used ; and, if time permits, we shall
endeavour to show you the results, obtained with the following
developer, i.e., hydroquinone, amidol, metol, and glycin, any of which
may be used, the chief difference in the results obtained being the
colour of the developed image.
Following up an opinion we have before expressed, and which has
been endorsed by the editor of Thb British JorBNAL of Photo-
KKAPHY, we again reiterate the statement that development formula
ought always to give the quantities of each ingredient to each ounce
of developer used. The want of such information was abundantly
proved by the value set on the tables compiled with so much care and
trouble by Messrs. Clark & Ferrero, and yet we find formulae still
being published to make anything from a pint to a gallon of developer,
and, on endeavouring to reduce these to ounce quantities, some curious
and interesting fractions occur, which go far to throw discredit on the
published formulae.
The ferrous-oxalate and hydroquinone developers are probably
sufficiently well known ; but, for those who wish to try the newer
developer, we have reduced the quantities, as given in the formulse
sent out by the manufacturers to ounce proportions, as follows : —
" Amidol."
Pure sodium sulphite 21 grains.
Distilled water 1 ounce.
Amidol crystals 2 grains.
Dissolve the sulphite in the water, and add the amidol. As the
fetter is very soluble, it may, like pyro, be used dry at the moment
the developer is wanted. —
" Mbtol " Soda.
A.
Distilled water 1 ounce.
Metol 6| grains.
Dissolve and add pure sodium sulphite .... 65 „
B.
Distilled water 1 ounce.
Soda crystals .54 grains.
Dissolve.
"Metol" Potash.
A. ,
Distilled water 1 ounce.
Metol ^ grains.
Dissolve and add pure sodium sulphite. ... 45 " „
B.
Distilled water 1 ounce.
Carbonate of potash 45 grains.
" Metol " Stock Solution.
Distilled water 1 ounce.
Metol 6i grains.
Dissolve and add pure sodium sulphite 65" „
Soda crystals 54
" Glycin."
A.
glycin 17 grains.
Carbonate potash 66 „
Pure sodium sulphite 51
Distilled water 1 ounce.
Dissolve.
B.
Carbonate potash 43 grains.
Distilled water X ounce.
For use, mix one part of A with two parts of B.
These solutions are to be mixed in varied proportions, and some-
times diluted with water, according to the instructions issued with
«ach developer.
We will now proceed to expose and develop a piece of Nikko paper
with each of these developers faking them in the order given, when
we shall find that the ferrous-oxalate gives from a soft grey to a
velvety black ; hydroquinone more or less of a black ; while the
newer developers appear to give beautifully soft pictures of a colour
intermediate between these two. Some prints we have previously
prepared will illustrate this, and another print will show the effect
produced by squeegeeing on to a pulp slab previously prepared with
spermaceti dissolved in benzoline, and which we much prefer to
talc.
The exposures, which were all made at a distance of three feet from
a gas flame, varied from thirty to sixty seconds according to the den-
sity of the negative, and the usual device of shading some parts of the
negatives, where thin, during exposure was adopted.
Nikko paper appears to give a great latitude in exposure, and to de-
velop up slowly but vigorously, and shows no sign of fogging or stain-
ing with any of the developers we have tried.
Having developed the Nikko print, we can, if the colour is not
agreeable or we wish to alter it, resort to toning. And for this pur-
pose we have used two solutions, the results of which we shall demon-
strate to you. 1. There is the now well-known acid uranium toner
first suggested by Mr. Weir Brown, which gives very warm tones,
but which do not appear to wash out, as they do in the case of bro-
mide paper; this may be due either to a difference in the emulsion, or
to the fact the uranium toning with Nikko paper is much slower
than it is with bromide paper. Examples of this we show you.
2nd. The sulphur-toning formula issued by the Eastman Company,
which, as you will see by the example before you, gives nice warm
sepia tones. In using this process, however, two precautions are
necessary, i.e. (1) Not to use the bath before it has been made at
least twenty-four hours ; (2) to develop darker than the toned
print is required to be. If these conditions are not observed, the result
wiU be as in the print before you — it will be almost bleached out of
existence. Another point in connexion with this toner is that it
should be kept warm — that is, from 100° to 120° Fahr. — during the
toning process, as a print that was allowed to remain in it cold all
night showed no sign of toning the next morning.
We have now laid before you some of the methods of treating
Nikko paper, and we may say, in conclusion, that we believe there
is a future for this paper, as it appears to be very amenable to various
kinds of treatment. J. H. Baldock, F.C.S.
A NEW GELATINO-CHLOBIDE PAPER: DEVELOPMENT OF
PABTLY PRINTED PROOFS.
The Paget Prize Plate Company, after considerable experiment, are just
placing a new gelatino-chloride paper on the market, and last week we
accepted an invitation to attend at the Company's premises at Watford
for the purpose of witnessing a process they have worked out, whereby
advantage is taken of the circumstance that weakly printed images on
gelatino-chloride paper may be developed up to full intensity by ordinary
alkaline development, and toned and fixed in the usual manner. The
Company anticipate that where a number of prints are wanted from one
negative a saving of time may be effected, and thus a professional photo-
grapher would find it advantageous to utilise the daylight for rapid under-
printing and subsequent development in preference to printing right out,
which would take very considerably longer.
On the occasion of our visit a number of portrait, landscape, and
architectural negatives were used for making the exposures. These
latter varied from two minutes in the shade (approximately one-tenth of
the time necessary for printing out) to fifteen and twenty seconds in the
sunlight. Included among the prints made was a vignette, this being
selected in order to show that the paper does not give double tones. The
prints when taken from the frames just showed the finer detaUs. They
were then placed in a solution of potassium bromide 1 : 20, in which they
acquired a yellow tone, and were then washed in plain water. After the
washing they were treated with a developing solution as follows :—
Solution 1.
Hydroquinone J ounce.
Sulphurous acid J „
Sodium sulphite J „
Potassium bromide 60 grains.
Water to 30 ounces.
Solution 2.
Caustic soda „ J ounce.
Sodium sulphite 1 „
Water to 30 ounces.
Solution 3.
Bromide of ammonium _ 1 ounce.
Caibonate of ammonium... .„ 1 „
Distilled water to „ „._ 30 ounces.
The carbonate of ammonium should be in clear lumps. If from
exposure to the air it has become coated with the white powdery bicar-
bonate, the latter should be scraped off.
October 20, 1898]
THR BRITISH JOURNAL OF PHOTOORA.PHY.
87.'«
For use : Two parts No. 1 ; one part No. 2 ; two pirts No. .S.
Development was complete in about fire minutaa, the piotures then
presenting the appearance of washed, untoned albumen prints, rather less
in depth, the right moment to stop development in the gelatine prints
being just when the finest details are disappearing.
After about ten minutes' washing, the prints were placed in the toning
bath, the following " separate " bath being the one employed ; —
Sulphooyanide of ammonium 30 grains.
Gold chloride 2}" „
Water 11) ounces.
The toning action started rapidly and was ojmpleted in from six to ten
minutes, according to the particular peculiaritiej of the print. Tiie prints,
as was afterwards shown, did not lose iu the fixing solution, and they
were adjudged to be toned sufficiently by transmitted light, that is, when
so viewed, the yellow colour in them should hive disappeared. In all,
some thirty-six prints were exposed, "broraised," washed, developed,
washed again, toned, and fixed, and several of tl.9m dried off with spirit,
in about two hours and a half.
Some of the wrinkles that came out in the course of the demonstration
might be of service to others taking up partial development of gelatine
papers, which Jlr. W. J. Wilson anticipates will be largely done. While
two minutes in the shade may be accepted as the minimum printing
time, a little, or even much more, is not at all hurtful, as it comes to
this, that, provided the minimum exposure has been given, any stage of
under-printing, however slight, is amenable to development. Slow and
tolerably well-restrained development appears to be the best adapted for
the case. Washing between the various operations assumes the greatest
importance, particularly between development and toning, tiie more
thoroughly the print being washed the better ti;e toning action proceeds.
Another feature of the process is that if a print, when iu the toning bath,
should have been found to have been under-developed, the toning solution
can be removed, and the print well washed, redeveloped up, and toning
again proceeded with ; also that over-developed prints are easily and
harmoniously reduced in a very weak solution of cyanide of potassium.
Comparing several developed prints with those printed out in the
ordinary manner, no difference in quality could be detected, while the
whites of the former were as pure as could be desired in every way. The
demonstration was highly successful, in fact ; and tlie Paget Company
should receive the thanks of many a professional photographer for
having put him in the way of a useful device.
*■
THE PHOTOGRAPHIC CONGRESS.
The Congress of the Societies affiliated to the Photographic Society of Great
Britain was opened at the Society of Arts on Wednesday afternoon, the
President (Captain W. de W. Abney) being in the chair. There was a
very good attendance.
A paper on The Astigmatism remaining in Some Astigmal^f, by Herr
Emil von Hoegh, was read. Tliis dealt with the application of Dr.
IJudolph's method of testing for aberrations as applied to the double
anastigmat of Goerz and the Zeiss anastigmat.
The proceedings were continued with the delivery of an address by Mr.
Andrew Pringle on The Present Position of Phito-micrography , in which
he pointed out that scientific instrument-makers were giving their atten-
tion to cheap apparatus, so that photo-micrography could be taken up at
a moderate cost. Dividing the systems of apparatus usually employed
into two, he described and illustrated by means of lautern diagrams that
one in which the microscope was on one piece, and the receiving surface on
the other, pointing out that with it there was a danger of the non-
synchronous vibration of the parts. In the other system there was a
rigid connexion of all the parts of the apparatus. Having illustrated
Zeiss' and Swift's forms, he next showed a diagram of one produced by
Baker for himself, which, among other advantages, allowed of the head
being placed between the front of the microseope and the camera. For
photographing liquids or objects contained in liquids he spoke highly of
Van Henrck's arrangement. In this a box having a door at its side was
placed over the microscope, which enabled one to look down on the object.
A great many objects had to be photographed in a living or moving
state. In Nachet's arrangement there was an auxiliary tube, along which a
prism projected the image, so that an observer could watch it, and when
the focus was settled the prism passed aside and the exposure was
made. His own modification of this consisted of au inverted camera
over the microscope, with eyeholes at the side for watching the object,
and an arrangement of shutters for the exposure. Having noted recent
advances in the introduction of colour-sensitive plates and apochromatic
objectives, Mr. Pringle showed slides by Messrs. T. F. Smith, Comber,
Dr. Bousfield, and himself, and a series by Mr. Carnell illustrating the
advantages obtained by the use of colour-correct plates, and concluded by
insisting _on the advantages of photo-micrographs over drawings of
pathological specimens, and the value of photo-micrography to scientific
men.
Dr. Booafield referred to the sweating properties of the glasi of the
apocbromatics, and said that, white they gave exquiiite sharpneii in
the centre of the field, they fell off at the margins. They wanted lome-
thing much better than that before they could be said to have reached
finality. Absolutely the best objective he had used wai a "Powell A-
Leland." -
Mr. Pringle agreed that Powell & Leland produced objectives which had
surpassed those of Zeiss in flatness of field. With regard to correction.
Dr. Piffard had said that the future of photo - micrography depended
upon the light being near the D region of the spectrum, the objective
corrected for the D line, and the plates sensitised to the D line.
The President said that Mr. Pringle's remarks about tremors were
unfortunate, as the earth was always in a state of tremor. He did a
certain amount of photomicrographic work years ago. and was much
troubled by the want of achromatism of the lenses. He found that the
best way to cure it was by monochromatic light from a pure spectrum,
by decomposing a ray of light by a prism, and interposing a slit in the
path of the monochromatic ray, which was then taken up by a lens.
A paper by M. Weissenberger, of St. Petersburg, on A Process of
Photn-mcchiuiical I'riiitinri in Natural Colours, was then read by Mr.
Warnerke. This appeared to be the well-known process of preparing
three colour-sensitive negatives, and, by means of prints from three
gelatine blocks, superposing the three colours, yellow, blue, and red.
Mr. F. E. Ives said he had already published what he believed to be
very nearly the best conditions for arriving at results similar to those
shown. If he undertook to say what were the scientific errors in the
paper, it would take up a lot of time. He did not think it had been
demonstrated that it was not possible to obtain negatives which did not
require touching out. We could obtain three negatives of colour sensa-
tions, and those sensations existed in definite proportions, and each
negative is the one we require for reproducing the object. "The author
seemed to think that both ends of the spectrum were given. He once
thought that himself. In 1881 he devised a plan of working by cross
lines, and while he could reproduce with ordinary correctness coloured
photographs, he could reproduce nothing like landscape colour that was
not simply bad. He had made by gelatine printing reproductions of
landscapes which came near to nature, but still more satisfactory results
when the colours were combined by light. He concluded by warning
any one against investing money in such a process, as it was commercially
unworkable.
After other remarks, Mr. Warnerke took occasion to point out that
M. Weissenberger only had a scientific object, as distinct from a com-
mercial one, to serve, in bringing the process forward.
A paper on Phnlography in Compartments was read by the author, Mr.
Hector Maclean, F.G.S., and a short discussion followed.
On Wednesday evening, after Mr. Leon Warnerke bad discoursed on
Lumi(^re's photographs in natural colours, to which reference is made
elsewhere, the President read a paper on Chemical Action and Exposure,
which dealt exhaustively with the experiments made to confirm previous
statements of the author that the sum of excessively small exposures
was not equivalent to the same exposure given at one time, and that
feeble intensity of light also failed to give the calculated amount of
chemical action. In a brief discussion which followed, the Chairman
(Mr. J. Spiller) said he had been in the habit of considering that, if a
sitter were placed twice a given distance away from the camera, the
amount of light falling upon the camera would bo four times what it
would be «i the first case, and the exposure would be regulated accord-
ingly ; it was also a novelty to be told that two exposures of halt a second
each were not equal to a single exposure of one second. This ought to
have been discovered before.
Mr. H. A. Lawrance suggested that, as the subject covered a wide
field, discussion on it should be postponed.
Mr. W. B. Debenham said the paper was contrary to his views ; he
had tried the experiment by printing, and had found it impossible to tell
the difference in the exposures.
Mr. H. M. Elder thought the paper would have an important bearing
on many departments of scientific work.
The evening proceedings concluded with a paper by Captain Hills,
describing the plaotographic work of the recent solar eclipse.
On Thursday afternoon a paper by Dr. Rudolph was read on A System
»f Measuring and Xumljcring the Stops of Photographic Lenses, which dis-
cussed tlie existing systems of numeration, and concluded that it would
be rational to take.;-30 or /-SO as the unit, and, in order to minimise the
occurence of fractions, to let the number vary as the relative rapidities,
i.e., inversely as the corresponding exposures. Taking /.36 = 1, the
following convenient system is obtained : —
Relative aperture— r"-4o, /.G-3, /-9, /-12o, /-18, /-25, /-Se, r-50, /-7I.
^^iatvXll^} «•». 32. 16, 8, 4, 2, 1, 'o-S 0-25.
A demonstration of collotype was then given by Mr. W. £. Debenham,
and the meetings of the Congress terminated by the reading of a paper by
Dr. Miethe on The Practical Testinf of Phnto'traphic Objectives. This, to-
gether with most of the other papers, we shall produce in future numbera
of the JOUBNAL.
674
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[October 20, 1893
On Thursday night, at the Exhibition Gallery, Pall Mall, a largely
attended lantern entertainment was given, and on Friday evening a
dinner was held at the Frascati Restaurant. The Congress appears to
have been very successful throughout.
INTERNATIOSAL AMATEUE PHOTOGEAPHIC EXHIBITION
^ ' AT HAMBUKG.
{From a Special Correspondent.)
This Exhibition was opened on October 1 by the President of the Com-
mittee Mr Ernst Juhl. There are about 450 exhibitors from all parts of
the world,' who sent nearly 6000 photographs for competition. The
awards consist of fifty-nine first-class prizes and 170 diplomas, given
bv the Senate of Hamburg, several societies and clubs, and by
friends of photography. Besides exhibitors from Germanv, the repre-
sentatives of the following countries took part m the Exhibition :— The
United States of America. Chili, Ecuador, Japan, Australia, Belgium,
Holland, Denmark, England, France, Italy, Sweden and Norway, Austria
and Hungary, Eussia, Spain and Portugal, Switzerland, China, and
Tphotographie Congress was arranged for October 7 and 8 by the
Committee, to which all photographic clubs and societies were cordially
'" At the first meeting of the Congress the decision of the Judges was
published, the result being that the two first-class prizes were given to
foreign exhibitors. . „ „ , j i iu i u
Mr Rudolf Eiekemeyer, jun.. of New Tork. was awarded the large gold
medal given by the Senate of Hamburg ; Fraiherr von Rothschield, of
Vienna, the small gold medal given by the Society for Art and Industry.
The following English exhibitors were honoured with first-class prizes,
viz — Mr. A. R. Dresser, London (an oil-painting, given by the ladies of
Hamburg, as well as another prize consisting of a bronze plaque, size
7 X DA) ; Mr. Paul Lange, Liverpool (an oil-painting, given by friends of
^ Diplomas were also received by:— Eev. William Barlee, Cringleford
Hall, Norwich; Miss Alice H. Brown, Norwich; Messrs. Martin J.
Harding, Shrewsbury ; Oct. Langtree, Craigavad, Belfast ; John W. P.
Norton, Sheffield; Clare Parks-Smith, Bristol; and A. E. Segnitz,
Birmingham. ... t., ^ , .
It is only six months ago that the International Amateur Photographic
Exhibition was proposed by the Hamburg Amateur Photographers' Club,
and it is due to the kind assistance of the Senate of Hamburg,
the foreign consuls, the different societies and clubs, and last, but not
least, to the Committee, that the Exhibition has been such a grand
ia.cU)S anti i^otes.
Woolwich Photographic Society.— October 26, Annual Meeting at St.
John's Schools, Woolwich.
PHOTOGRArmc Club. — October 25, First Monthly Lantern Meeting of the
season.
NoRTHBEN Scientific and Photooraphic Association. — At the meeting
of this Association on Thursday, last week, R. W. Bowers, Esq., F.R.Hist.S.,
delivered an address on Darwin and Evolution.
Newcastle-on-Tvnk and Xorthern Counties, Photographic As.socia-
TION. — October 24, Annu.al Meeting and Exhibition of Slides at half-jxist
seven p.m. at the Association Meeting Room, Art Gallery, Newcastle.
Mr. G. H. Cricks, 11 and 12, Great Tower-street, formerly of Messrs. W. B.
Wbittingham k Co., is now the London representative of Messrs. Siutz & Co.,
the agents for the " Drum " brand of photographic papers.
The Ilford Year-book for 1894,— A very handy year-book in the form o*^
a comprehensive diary has been received from the Britannia Works Company,
Limited, It is on the same general lines as that of last year, which proved so
successful.
Levtoxstone Camera Club.— October 21, Open Social Evening at head-
quarters at eight o'clock. 25, Demonstration on the Collodion Process by the
President, Dr. W. Pickett Turner, assisted by Mr. A. J. Newton. Chair taken
at eiglit o'clock.
Me-ssrs. Arthur Schwarz & Co., of Dashwood House, E C, have been ap-
pointed the European agents for Hetheringtou's Backgrounds, of which
nave seen several excellent collotype reproductions that show them to be of a
highly artistic character.
The Bristol International Photographic Exhibition. — We understand
that ;i large number of entries for this Ediibilion have already been received.
It opens on December 17, and will be divided inio twenty-two classes, in which
forty medals will be awarded.
Photographic Society of Ireland. — This Society has removed from 15,
Dawson-street, Dublin, to larger and more convenient premises at No. 35, in
the same street. All communications to be addressed to the Hon. Secretary,
Mr. J. A. C. Ruthven, 40, Lower Sackville-street, Dublin.
Photographic Society of Great Britain. — Technical Meeting, Tue.sdav,
October 24, at the Gallery, 5a, Pall Mall East. Balloon Photoiiraphy, by
Captain Mantel), R.E. Lximiere's Experiments in Printing with Manganese
Salts. Mr. R. Child Bayley will introduce the subject and show specimens.
The meeting will not be "held at 50, Great Russell-street, as previously
announced, but at the Exhibition Gallery.
Central Photographic Club. — A successful inaugural smoking concert
was held at the Club's headquarters, Coleman's Hotel, Covent Garden, last
Friday evening. The premises arc now ready for the usr of members, and we
are pleased to observe that the Honorary Secretaries are busy in providing the
various Club conveniences for "social purposes." The residential value of the
Club has been already put to the proof^ several country members having stayed
there during the past week.
Metric Weights and Measures Adopted by Drcqgists in the United
States, — Following tlie seventh decimal meeting of the National Convention
for revising the Pharmaoopa;ia, the authorised revision has now been published,
.and will take effect as from January 1, 1894. It is noteworthy that the Com-
mittee of Revision was instructed to direct that all solids should be weighed,
and all liquids measured, by the nietric system. Throughout the Pharmacopeia
the metric weights and measures have therefore been adopted.
Photographers' Benevolent Association. — October 17, 1893, meeting at
the rooms of the Photographic Society of Great Britain, 5i, Pall Mall East,
S.W., Mr. A. Mackie in the chair. The Committee confirmed a loan of 15/.
granted on September 2S by a Sub-Committee in a case that was partially con-
sidered by a full Committee on September 15. The following other oases were
considered : — 1. A discharged soldier, who had been a railit.ary photographer,
and who, since his discharge from the army, owing to broken health, had been
working as a carbon and process photographer until disabled by bichromate
disease, applied for immediate assistance and a loan of sufficient money to pur-
chase camera and lens. Owing to illness and time spent in hospital, he was
penniless. 'The Committee granted a small sum in instalments for immediate
subsistence, and instructed the Secretary to purchase a second-hand whole-
plate camera and lens. Applicant had secured permits to photograph in
several police barracks and workhouses. 2. Applicant, who was assisted four
years ago with a grant of 51. , applied for furtner small assistance until he
should obtain situation. A grant of 21. was made. 3. An operator, to whom
a grant of 5/. was made on September 15 to enable him to reacli a situation,
applied for a further HI. in order that his wife and family might reach him, and
so reduce living expenses and enable him to repay the whole loan. Amount
was granted. 4. An operator, wlio was assisted last year, and who, during the
spring and summer, has been in several temporary situations, some of which
were found by the Benevolent, made application for further assistance.
Secretary reported that he had granted immediate relief to the extent of 1/. in
instalments, and that, as the applicant had obtained a month's engagement,
the application was withdrawn. Committee confirmed Secretary's advances.
Donations were acknowledged from the following : — London and Prorincial
and Photographic Club Outing, 9s. \d. ; Messrs. Henry Dixon & Son, 2/. 2s. ;
Brighton Photographic Company per Mr. Wicks, 1/. 16s. dd. ; a friend of the
Benevolent, 1/. Mr. Leon Warnerke was accepted as a subscriber.
Hackney Photographic Society's E.xhibition. — This Exhibition was
opened on Tuesday evening last, October 17, by Sir Charles Rus.sell, Q.C., M.P.,
in the presence of a crowded asseiublage. Sir Charles Russell, in declaring the
Exhibition open, said he was glad to hear that the Society was flourishing, and
that it was able to hold its own in open competition. Photography was now
one of the fine arts, and its pursuit had many attractions. It was an agreeable
means of association with neighbours, and of perpetuating pleasant memories
of days gone by, and it also served very useful jiurposes. It w!is hardly too
much to say that photographic science was the handmaiden of science itself, for
in the pursuit of that difficult and abstruse science, astronomy, the lens of the
photographer often revealed planets which even the most powerful glasses failed
to discover. He wished long-continued success and increasing prosperity to
the Society. A vote of thanks to Sir C. Russell was accorded, on the motion
of Mr. J. Fenton-Jones, seconded by Dr. Owen Smith, and supported by Mr.
J. Traill Taylor. We reserve a detailed notice of the Exhibition until next week,
but in the meanwhile we give the Judges' awards : — Class A (Members Classes).
—Championship Gold Medal, S. J. Beckett, 132 ; W. Houghton's Silver Medal,
W. A. J. Hensler, Silver Medal, C. H. Pollard, 88. Class B (Hand-camera
Pictures).— Silver Medal, Robert Beckett, 217 ; Bronze Medal, F. E. Roofe,
164. Class C (New Pictures taken at Club Outings). — Silver Medal, No
award ; Bronze Medal, F. W. Gosling, 276.' Class D (Members New Lantern
Slides).— Silver Medal, S. J. Beckett ; Bronze Medal, W. A. J, Hensler.
Class E (Unmediilled Pictures). — Silver Medal, J. B. B. Wellington, 310 ;
Bronze Medal, W. M. Warneuke, 360. Clas.s F, (Portraiture and Genre
unrestricted). — No awards. Class G (Champion Class). — Gold Medal, J. B. B.
Wellington, 428 ; Silver .Medal, No award. Class H (Lantern Slides. Open).
—Silver Medal, W. England ; Bronze Medal, A. Brooker ; Extra Bronze
Medal, W. Taverner. Apparatus. — Silver Medal, Henry Park.
Copying Pictures. — A contemporary has the following : — " We may be per-
mitted to express a hope that there is some mistake in the story told by the
Manchester Uuardian concerning the destruction of Lore Among the Ruins,
painted by Mr. Burne Jones in 1873. The account which has already appeared
credits a firm of art publishers, to whom the picture had been entrusted for
the purpose of being photographed, with a singular lack of discretion. They
mistook, so it is said, a water-colour drawing for an oil painting, and poured
upon it some substance intended to make it shine. The effect was, of course,
immediately disastrous. It is difficult to believe that any one accustomed to
handling works of art could have made such a blunder over a drawing to the
close examination of which tliere was evidently no impediment ; and it is still
more difficult to understand wliy any ph )tographer should try to impart to the
surface of the picture that shine which it is his habit to denounce as a draw-
back and interference. The tale seems to lack interual evidence." In a sub-
sequent issue the same journal thus comments on the matter : — " A letter
October 20, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY
«
075
which has aipear-'il from Mr. Philip Burne Jones conlirms the ninionr about
the destruction of hi« fiither's picture, /.ore Atnoiig the Rutmi. It won, it
^leeras, in Piiri.s tlmt the pluitographic firm committed the astonishing blunder
that has caused so much comment, and it also seems that such reckless handlinK
of importiiut works of art is an every-Jay occurrence. The immediate effect ot
this last ' accident ' will he to make the owners of valurible pictures exceed-
ingly unwilling to allow them to l>e touched by the reproducer; and the
tiltimate effect, let us hope, will be to put a stop to these ignoraut experiments
■with works of art. It cannot be too strongly urgeii that the owner of a
picture by any artist of real importance has no moral right — whatever his legiU
position may be— to expose that iiicture to any risk of injury. He possesses
temporarily an important link in the chain of evidence which establishes that
artist's reputation ; and upon the manner in which he and others like him deal
with their art possessions deiieuds the estimate which future generations form
of that artist's work. Had there been in bygone centuries many reproducing
firms with careless methods, and many owners as trustful as those of to-day,
we should have had few of the clas.sic canvases left to set the standard of the
art of the world. What the restorer spared would have succumbed to the
reproducer."
RECENT PATENTS.
APPUCATIONS FOR PATENTS.
No. lS,97."i. — " Image Finder for Hand Cameras and other purposes, Showing
the Image on a Plane situated at any Anglo round the Axis of the Lens by
Rotating a Mirror." G. Stokes.— fla/fd October 10, 1893.
No. 19,129. — " A Post-card for Photographic Use." C. Harbbbs.— Z)ntoi
October 11, 1893.
No. 19,199. — "Improvements in Photography." Communicated by R. E.
Liesegang. A. Zimmeb.mans.— Ca^crf October 12, 1893.
No. 19,206. — "Improvements in Chrono-photographic Apparatus." E.J.
HtLR^w— Dated October 12, 1893.
No. 19,239. — " Improvements in the Mode of and Means for Draining and
Drying Photographic Plates." J. FvntaREX.—Dale'i October 13, 1893.
No. 19,2S2. — "Improvements in Instruments for Calculating Photographic
Exposures. • A. Watkins.— />a(«i October 13, 1893.
No. 19,304. — " Improvements in Photographic Cameras." J. D. McKelles
and S. D. McKellen.— Ztrt^cfi October 13, 1893.
No. 19,330. — " Improved Adjustable Support for Photographic Printing
Frames." E. H. Hahviy.— Dated October 14, 1893.
No. 19,333. — "Improvements in, or connected with, Photographic Pictures."
A. A. Bahbatt and A. J. E. Hill.— Dated October 14, 1893.
SPECIFICATIONS PUBLISHED.
1892.
No. 20,253.—" Photographic Dark-slide Recorder." Thobxton &, Pickaed.
No. 20,679. — " Frames for Printing Magic-lantern Slides." Scott.
No. 21,622. — " Paste for Photograph Mounting." Vogel & Weinberg.
1893.
No. 40»]. — "Photographic Shutters." Thorntos & Pickard.
No. 10,196.— "Photo Printing Surfaces." Communitited by Stanford.
BOVLT.
PATENTS COMPLETED.
An Improved Appliance for Printing Vignette Photographs.
No. 16,481. JouN CouLSON Rowdothaji, 115, Thornton-road, Bradford,
Yorkshire.— &^)fe»!6«r 15, 1893.
This invention relates to an improved appliance to be used in printing
vignette photographs, and its object is to more perfectly soften or tone down
the outline of vignettes.
For this purpose I employ a zinc or other sheet metal plate having an
opening or aperture approximately the size and shape of the vignette. The
nia^n^ of this opening or aperture is raised or curved upwards so as to
"dish " that part of the plate, and the raised or curved portion is perforated
with one or more rows of holes, which may be reduced in size and number as
their distance from the edge of the said opening or aperture is increased.
By this arrangement the light admitted beneath the margin of the aperture
is admirably diffusetl and softened for vignette purposes.
Improved Solutions for Toning Photographic Prists.
No. 17,768. RfPERT Gkeville Willia.ms, Greenfield House, Heywood,
Manchester, Lancnahire.— September IS, 1893.
Mr invention relates to improvements in solutions and process for toning
Pn9tog»'aphic prints, and is applicable more particularly to that class of prints
which are known as gelatino-chloride, irrespectively of their having been printed
from the negative upon gelatino-chloride printing-out papers, gelatino-chloride
printing-out slides, or gelatino-chloride printing-out opals. I mean by the
foregoing term, "gelatino-chloride printiug-out,''^, a paper, a slide, or an opal
or other suitable surface prepared with a gelatino-chloride emulsion.
One of the objects of the invention is to replace the expensive salts of gold,
platinum, and the like metals, which have hitherto been generally used, by
potassium, soilium or ammonium sulphide.
The prints toned by my improved process are very permanent, and this per-
maiimce is the necessary result of the chemical reactions which take place
auring the said process.
The solution which I have found to be generally most useful for the pur-
pose of the present invention consists of a mixture by volume of forty parts of
Jther potassium, sodium or ammonium sulphide, "aii'l 600 parts of strong
ammonia li(|uor, which mixtort i< then mule np to 2000 ntrls by tha wldition
of water.
Tlie proportion!! given in the precetling paragraph may \te varied lo any ex-
tent without departing Irom the invention, nubjrct to the two following limiting
considerations ; —
With reference to the proportion of the sulphide :— The •mailer the |iro|ior-
tion, the longer will be the timi which the procem of toning will take.
With reference to the proportion of the ammonia ;— As its function ir< only
to keep the bath alkaline independently of the alkalinitv impart«<l to it by
the sulphide, any proportion cajiable of so keeping the bath alkaline will meet
the rei|uirenient of my invention, and, on the other hand, excess of ammonia
will not impede the process of toning, although too much will aoften or liliitcr
the printing out.
The method of using the improved toning solution prepareil ai at)ove de-
scribed will be understood from a description of the way in which it is apjilieil
to a gelatino-chloride print which has been obtained in the nsnal manner.
After the i>rint has been washed in cold running water for about half an
hour, it is immerse<l in a mixture of about one volume of a saturated solution
of sodium hyposulphite and three volumes of water containing a small quantity
of ammonia. The print rapidly turns a bright canary yellow, and in a few
minutes is fixed. All traces of the hyposulphite must then !« remove<l by-
thorough washing, when the print is transferred to the toning Ijath, which is
made up by adding one part by volume of the toning solution above descrilied
and fifty parts of water, in which it is moved to and fro for a few minutes, by
which time it will have assumed a tone varying from orange-brown to
chocolate-brown, according to the length of the immersion. The process just
described must not be carried too far, otherwise nnpleasing tones may l>«
produced. The colour of the print after it has been dried is tpiite different to
that which it had while wet. This Ijeing the case, it is advisable to keep a
print which has been satisfactorily toned according to the present inventif^ii,
and use a wetted portion of it as a guide. When the print nndergoing the
process of toning presents the same appearance in point of colour as the guide,
it is removed from the bath, washed thoroughly, and then draineii and ciried.
An additional alum bath, to harden the film, may often be used with ad-
vantage.
Having now particularly described and ascertained the nature o.f my said
invention, and in what manner the same is to be performed, I declare that
what I claim is : — 1. The hereinbefore-described process of toning gelatino-
chloride photographic print.s. 2. In toning solutions, the combination there-
with of alkaline sulphide solutions in place of solutions of gold, platinum, or
the like metals, as set forth.
MeettnsiEJ of SboctPtUjEJ.
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of Meeting.
Naqm ot SodMy.
Place ot Utting.
October 23 Camera Clnb i Charing Cross-road, W.C.
„ 23 Dundee Amatenr ' Asao. Stndio, Xethergate, Dundee.
„ M Lantern Society 20, Hanover-sqnare.
,. 23 North Middlesex | Jubilee House, Homsey-road, N.
„ 2;j Pntney ...i Boys' Gymnasium.Charlwood-road.
„ 23 Eichmond ' Oreyhoand Hotel.
,, 24 BirminKham Flioto. Society ...| Club Boom, Colonnade HoteL
„ 24 Great Britain (Technical) 50, Great Kossoll-st., Bloomsbory.
„ 24 Haokney 206. Mare-street, Hackney.
„ 24 Newcastle-on-TyneiJJ.Connties' Central Exchange Art Oailery,
„ 21 Paisley I 9, Gauze-street, Paisley.
.. 24 1 Hocbester I Mathematical School, Bocbeetar.
•25 1 Bath 1 Bo7.Lit.&ScInBt.,Terrace-waIks.
25 1 Burnley ] Ban4[ Chambers, Hargreayes-atteet.
The Assembly Rooms, Hif^h-road.
Anderton's Hotel,Fleet.etreet.B.O.
The Stadio, 15, Cambridi^e-arcade.
Charing Cross-road. W.C.
25 Leytonbtone
25 Photographio Clnb
25 - ■■ f
26
Gloesop Dale
Halifax Photo. Clab ...
HuU
Ireland
Liverpool Amateur
London and Proyincial
Oldham
Cardiff
Croydon Microscopical
Holborn
Maidstone
Swansea (Annual)
West London
HoU
Mechanics' Hall, Halifax.
71, Prospect-street, Hull.
Booms, IS, Dawson-street. DubKn.
Percy-bnildin^s, Kberle-streeu
Ohunpion Hotel, 15, Aldersgate-et.
The Lyceum, Union-st., Oldham.
Public HaU,Oeorge-ttreet, Croydon
" The Palace," Maidstone.
Tenby Hotel, Swansea.
Ohiswick School o( Art. Chiiwick.
71 Procpeot-rtreet, Hall.
North London Photographic Society.— October 3, Mr. Griffiths in the
chair.— At the hist meeting the subject of getting even toning results on P.O. P.
was referred to by several members, and jfr. Bishop now gave a demun.stration
of his manipulation of the paper. He used the coinbineil fixing and toning
bath made according to the original formula given by the Eiistman Company
for use with their Solio pajjcr. He found the No. Ihyiio solution improved
l)y keejiing. The gold solution should be shaken up before adding it to No. 1.
The prints should be printetl rather deeply from plucky negatives, and not
washe<l before Iieing put into the toning bath. The prints must be examined
by transmitted light, and when the brown colour disappears the prints are re-
moved to the washing wjiter. Mr. Bishop toned al>out a dozen prints with
goo<l results and the simplicity and rapidity ol the mnni]>ulation wat fullj-
676
THE BRITISH JOURNAL OF PHOTOGRAl-H V.
[October 20, 1893
appreciated. He preferred drying the prints on ferrotype plates m preference
to glass. The plates required no preparation, and he never had any faihirea
in consequence of the prints not coming off. If a matt surface is required, opal
was preferred to ground glass for drying the prints on.
Hackney Photographic Society.— October 11.— An entertainment was
given by the Hon. Secrktaut (Mr. W. Fenton-Jones) entitled ily Italian
Campaign, or a trip from England to Italy by way of Paris, Marseilles, Rome,
Nice. Geneva, Pisa, Florence, Venice, Naples, &c., which was illustrated by
about 150 slides put through the optical lantern under the management ot the
Society's Lanternist, Mr. Albert Rose. Notwithstanding the inclement
weather there was a numerous gathering of members and friends. Ihe
lecture was very instructive and interesting, and the slides, which .were ot
excellent quality, were nearly all taken in a hand camera, those of V emce,
Rome, and Mount V^esuvius calling for special comment, these being excellent
both as regards composition and finish. The variety of subjects which were
shown proves what a decided advantage and great range of subjects a hand
camera can produce, for many pictures, such as those taken from the tram
alone the route, would have been impossible to obtain with other than a hand
camera. A voluntary collection was taken up on behalf of the Photographers
Benevolent Association, which realised 1/. 13s. 9!?. A vote of thanks to the
lecturer, which was proposed by Mr. C. Kemp and seconded by Mr. Puttock,
brought a very enjoyable evening to a close.
EaUng Photographic Society.— The attendance at the Annual :Meetiiig,
held on October ;'. at the Public Buildings), showed that interest in the Society
was well maintained. The report and balance-sheet for the past year were
unanimouslv adopted. It transpired that there had been a gain of eleven
members during the year, making a total of fifty-one. A large and well-
appointed dark room had been provided at an expense of about 25/., more
than half of which had been specially subscribed. The room, with all neces-
sary apparatus and chemicals, was available for the use of members at any
time without charge. Lockers could be obtained, if desired, at a yearly rent
of 5s. Amongst the papers and demonstrations given during the winter
session were the following :— Photo-micrograph, Mr. Charles White ; Sandell
Pteies, Mr. S.Herbert Fry; Geto/mo-e/JoriWfPWji/in^, Mr. Mummery: On the
Improvement of Xeijatives, Mr. R. Whiting; Amidol as a IJeveloper, Mr. Mor-
gan ; Exposure, Mr. Howard Farmer. After discharging all liabilities, there was
a small balance in hand. The officers and Council for the current year were
elected as follows -.—President : Mr. H. W. Ve&\. — Vice-Presidents : Messrs. C.
.Jones, W. T. White. T. Simpson. H. C. Draper.— C'ou)!ci7 : Mes.srs. Wakefield,
Belt, Gregory, C. Whiting, and Drs. Gibbons and Phillpotts.— /foil. Lihrarian
caul Custodian of Dark Room : Mr. B. E. Peal— //on. Treasurer: Mr. A. F.
Taylor.— //on. Secretary : Mr. Murphy. It was decided to take immediate
steps to provide an enlarging apparatus in tlie dark room capable of enlarging
from whole-plate negatives and under up to 24 x 18. It was hoped that the
apparatus would ultimately be furnished with the electric light. It was also
decided to circulate portfolios of priuts for ;riticism. It was notified that at
the meeting on October 19 Mr. S. H. Fry would demonstrate the Paget
Printing-out Process.
Putney Photographic Society.— October 2. —The Vice-President ( Dr. W. J.
Sheppard), in a short introductory .address, briefly reviewed the progress made
in photography during tiie past year. Referring to the Society, he said that,
both in numbers and work, steady improvement had been made, and the
remark.ably good and enthusiastic meeting that evening showed plainly that
there was a bright and prosperous future before it. He hoped the members
would now shake off some of their modesty and compete at the open com-
petitions this winter, as he believed their work certainly gave them a right to.
The Society would hold an exhibition in December, and he felt certain if the
meinbers would all compete and send their liest work, the show would lie very
successful. He had great pleasure in announcing the result of the summer
competition for prints, the silver medal being won by Mr. Walter L. Colls, the
bronze medal by Mr. H. Faulkner, and the certificate by Mr. W. Martin, juii.
Three new members having been elected, were welcomed by the Vice-President,
who introduced them to the meeting. A Committee was elected for ilrawing
lip rules and arranging the details of the proposed e.xhibitioii. Mr. Zachariasen
introduced a hand camera, designed by himself. After liriefly st.ating some of
the disadvantages connected with nearly every form of magazine camera, and
the preference shown by many good workers for dark slides as being generally
more reliable and suitable for good all-round work, he proceeded to describe
his model. The only objections to the ordinary ilark sliile were, he thought,
their bulk and weight, and perhaps more particularly the danger of stray light
getting ill when nised in a hand camera, and frequently carried aliout for a
considerable time with shutter of the slide <lrawu. To meet these objections
he bad constructed douVile d.ark .slides weighing two and a quarter ounces and
three-eighths of an inch thick ; he was enabled to make this reduction in weight
and thickness by the novel ilesign adopted, in which the usual ilraw-out shutters
and partition lietweeii the pl.ates were dispensed with. But what he attached
still more importance to was that all parts of tlie dark slide would, except when
changing, be placed and manipulated in a light-tight chamber, so that the
chance of any plate being fogged was absolutely nil. The camera shown was
externally very like the ordinary box form, mea.suring five and three-quarter
inches wide by four and a half inches high ; it was made to hold twelve dark
slides, each containing two quarter-plates. Proceeding to show tlie working, he
opened a small lid at the back, inserte<l the slide in a groove, and shut the lid ;
when the slide is thus enclosed in the camera all that is required to make the
exposure is to give a small lever on the outside of tlie camera a quarter of a
turn. . As this need only be done immediately before exposure, the sensitive
surfaces are very efficiently protected against any dust which may find its way
into the camera when travelling or carrying it about. A great safeguanl against
carelessness has been introduced liere, as it was clearly demonstrated that it
was quite impossible to withdr.aw the slide until it was securely closed. On
examining the camera, it was seen that there was no delicate mechanism or
springs to get out of order, and that the system was simplicity itself, merely
consisting in inserting the slide and turning the lever. Mr. Zachariasen said
he had thoroughly tested the camera during a five weeks' tour in Norway, when
•about 150 films were exposed, without the faintest hitch or sign ot fog m any
one.
Richmond Camera Clut).— At the weekly meeting, held at the Greyhound
Hotel ^l'■ Zachar asen showed a hand camera designed by him which,
besides being light and compact, had some novel points. The plates are
exposed in double dark slides of a new form, which are about half the thick-
ness of the usual kind, and one third the weight. The slide is enclosed withm
a light-tight chamber in the camera, and the shutter of same opened from out-
side by means of a lever. Mr. S. H. Fry gave his lecture on Lantern Slides
villi Gelatine Plates, his remarks being chiefly concerning the Paget pnnting-
out plates. He considered that the essential characteristics of a good slide
were great brilliancy combined with great purity of tone. The shadows should
be quite transparent, and there should be some clear glass in the picture. 1 lie
question of colour was a most vexed one. At first, slides made on gelatine
were cold in tone, but the result of several years' exjierience with them had
made it iiossible to obtain almost any colour. For reduction purposes a fairly
rapid plate was desirable, bat to obtain the finest deposit the printmg-oat
plates were the best. True, they were .slow, but not as much as some believed,
while a good method of development greatly overcame that objection. They
could be slightly printed out and then developed, which, he thought, was the
method giving the best results.. He preferred a combined toning and fixing
bath It was essential to keep the bath either neutral or alkaline, hence he
recommended the addition of a lump of chalk to it. To obtain w.arm tones on
the ordinary lantern plates the exposure should be increaseil considerably, and
carbonate of ammonia added to the developer, as it acts as a restrainer and
colour-giver.
Ashton-vmder-Lyne Photographic Society.— October 4 and 5.— Dr. Hamil-
ton Messrs Thomas GlazebrooK, Samuel Woolley, and Robert T. Marslaud gave
an 'exhibition of stereoscopic views. Dr. Hamilton's contribution depicted
views taken in Norway, Switzerland, and places visited by the Society during
the sun'uier. Mr. Glazebrook's were from the Isle of Man, North Wales, &c.,
including one or two very fine cattle studies. Mr. WooUey's views were
mostly taken on the Society's rambles, and, as they were taken by his (own
made) hand camera, many of them were a source of much amusement. One of
the views, taken on the Marple ramble when at tea on the lawn at Joel
Wainwright's Esq. , was very good. It was one of the Society s Vice-Presidents
takiu" his Last cup of tea, on the srass with an empty plate beside him,
with a number of friends smiling around him. Another view was oue taken
on the Liverpool outing. It was at the time of the Liverpool assizt^s and was
taken from the top of the St. (ieorge's Hall steps as the Judge was leaving his
carriage and coming up the step?. Mr. Marsland's views were nearly all taken
on the river Dove, between Mill D.ale and Hartington, with a few on the river
Manifold. A large number of members and friends visitel the rooms of the
Society, and were very nnch pleased with the exhibition.
October 11.— Mr. J. T. Lkfs gave a demonstration on Laniern-slide
Makina There was a fair number of members ]iresent, and Dr. Hamilton,_
the President, in introducing Mr. Lees, said it ha.l often been a matter ot
much curiosity and surprise to him to know what became of all the negatives,
of photographs when so m,anv members of the different Photographic
Societies were having rambles weekly all through the summer. He could
not think that the whole of them were failures. One way of using
those results would be shown by Mr. Lees. Mr. Lees, before giving his
demonstration, had thrown on the screen a number of slides showing ditterent
faults in them, and pointing out where they could be improved. He also
showed -lides with clouds put on the cover glass, and then had the slide
separated and .showed the slide without cloud, thus showing the improvement
bv having a suitable cloud added to the slide. He then proceeded to expose
and develop a number of plates on negatives provided by different members.
He exiiosed six at once at difl'erent distances from the light, and after they
were developed and fixed they were put into the lantern and thrown on the
screen He advised all new t.ceinners to keep to one good brand of jilates and
oue .leveloper, and if they persevered they would in time become successful.
Gosport Photographic Society.— October 11, First Annual MIeeting.— The
position of the Society is regarded .as thoroughly satisfactory, and during the
year the membershiphas considerably increased. Special demonstrations and'
excursions have been held on various occasions, and were much appreciated..
The Treasurer's account showed a balance of 10s. \\d., and there were also out-
standing subscriptions amounting to 1/. 2s. 6rf. The heavy exfienditure this
year was caused by the purchase of apparatus, &c., which it was necess.ary to
have. After the usual votes of thanks, Mr. Mornsh jiroposed, and Mr.
Churcher seconded, the election of Mr. R. E. Froude as President for the
ensuing year. This was carried unanimously. The other oflicers elected
were •- Vice-Presidents : Rev. L. J. Matthews, Mr. George Churcher, and Mr.
T E Willi.ams R.H.— Council : Messrs. S. W. Furze-Mornsh, H. Fisher, A.
Fisher E Tucker. V. W. Misselbrook, and W. Moss.— //on. Treasurer : Mr.
W. B.' siiiith. — .ffo/t. Secretary: Mr. Reginald E. Green, 8, Chapel-row,
Portse.a.
Leeds Camera Cluh.— This Club, formed a few weeks ago, has already
attained most satisfactory dimensions, and promises to become one of the most
popular an.1 energetic Societies in the provinces. At the last meeting held in
the Club's rooms at the New Waverley Hotel, Call-lane, on Thursday the
l'''th inst ■seventeen new members were elected, and donations to tfie UuD s
Album, Question-box, Notice-board, Minute-books, &c., were promised by
varions members. The meeting gave its approval to a capital syllabus (which
includes lectures, demonstrations, lantern exhibitions, and musical evenings),
drawn up by the Committee for the coming session, after which a very in-
structive paper oti Exposure was read by Dr. Thresh, the President, which was
followed \>y an interesting discussion tuereon. Next meeting, Thursdaj,
October 28, at eight p.m. ; subject, Flashlight Photography, by Monsieur A.
Homburg.
October 20, 1893]
THE BKITISH JOUKNAL, OF PflOTOGRAPflY.
677
Leicester and Leicsstersblre Photographic Society,— The Winter Session
of lliis Society w;is very successliiUy opened on Tliursday evening, the l'2th
inst, wlien a higlily instructive lecture was delivered by Mr. H. CowDBLl,
one of the members of the Society, entitled Snap-shots in the East, illustrated
with seventy lantern slides depiiting scenes, manners, and customs of the
Eastern people, all taken from negatives obtained by Mr. Cowdell with a snap-
shot camera on his journey to Constantinople, Athens, Smyrna, and the
Levant. The slides a.s they appeared on the screen were described with that
piquancy and detail which can only be attained by personal acquaintance with
the various subjects. Tlie slides were mostly of a high-class character, as
might be e.\pecteil from an o[)erator who has made this branch of the art his
study, and altogether the lecture wa.s highly successful, and may be taken as
a happy augury for the progress of the Society during the ensuing season.
The .Mayor's Parlour, Old Town H.iU, was quite ttlled with an interested
audience, and at the close of the lecture a hearty vote of thanks was proposed
by Jlr. .Matthews (Wigston), seconded, and carried with acclamation. Before
the lectnre the usual formal business was transacted. Nine members were
proposed for ballot at next meeting, and one elected, and the members may be
congriitidated on the prosperity which Ls attending the efTorts of the officers of
the Society.
Rotherham Photographic Society.— October 3, Annual Meeting. Dr.
Baldwin (President) occupi>'d the chair.— The Hox. Secrbtaht presented the
fourth annual report, which stated that the Society had increased in member-
ship and local importance. It had become affiliated to the Photographic
Society of Great Britain, had received oftioial recognition from the Rotherham
Corporation, having, by invitation, furnished a room in the newly opened
public museum in Clifton Park, and h.ad inaugurated a photographic survey of
the district. As to the general work of the Society, there had been indications
of improvement. Members were, however, urged to furnish negatives and
prints for criticism, and to make fuller use of the question-box. The average
attendance at the fifteen ordinary meetings held had been nearly nineteen.
The papers and demonstrations had proved of great interest, while the four
excursions — Ingletou, Wyraing Broo'.; (Shefiield), Roche Abbey (Rotherham),
and Winijtield Manor (Derby) — were popular. The annual Exhibition in the
early part of the year was very successful from a photographic point of view,
and received a fair amonnt of public patronage. The opening ceremony was
performed by Lady Albreda FitzwilUani, herself a follower of the art-science.
Acknowledgment was made of various journalistic contributions. The
membership had increased to fifty-one. The report and balance-sheet (also
presented) were approved. The balloting for the Council resulted as follows : —
President: Dr. F. B. Judge Baldwin. — Vice-Presidents: Messrs. E. Isle
Hubbard, W. H. H.-iywood, and G. T. M. Rackstraw. — Hmi. Secretary : Mr.
H. C. Heramingway. — Hon. Financial Secretari/ : Jlr. W. H. Shephard ;
Messrs. J. Leadbeater, W. Mason, J. W. Whittington, I. Wright, and W.
Firth. Four new members were afterwards elected. The short time at the
disposal of the meeting after the conclusion of the business wat devoted to
lantern-slide examinations and criticism,
Wldnes Photographic Society.— October 11, Mr. V. C. Driffield presiding.
— A paper was read by the Vice-President, Mr. G. J. Warner. F.C'.S., on
PhotoyrniiJiy, Past and Present, and Hints to Beginners. He brietly described
the progress of the last twenty years, and compared the results of the collodion
process with the present, advising beginners to nse on'y slow plates, and to
endeavour to obtain an accurate knowledge of the exposures required under
varying conditions of light. He pointed out the objectionable yellowness of
many old gelatine negatives, rendering them unfit for printing, and showed
what were really tlie qualities of a good negative. The great advantage of
plates correctly labelled and their relative sensitiveness was dwelt upon, and
the necessity for the introduction of exact methods of work. The pajier was
illustrated by a number of prints and negatives extending over a long perioil.
Five new members were elected.
Glasgow and West of Scotland Amateur Photographic Association.-
October 16, Mr. Wm. J. B. Halk-y, President, in the chair. — Twenty-nine new
members were elected. After the formal business was disposed of, the
President addres.seii the meeting, referring briefiy to the satisfactory position
of the Association and the prospects of the session now opening. Mr. Stewart
Smith, Vice-President, read a paper on Enlarging, and exhibited his apparatus
suitable for daylight or limelight. At the conclusion of his paper, he made
some exposures by limelight, and showed how to print-in a sky from a separate
negative. Arrangements for the Annual Exhibition of members' work were
discussed, the opening day being fixed for December 22. In connexion with
this Exhibition, medals will be offered for sets of lantern slides with suitable
lecturettes, which must be delivered before the A.ssociation during the session.
The meeting terminated with the usual show of members' lantern slides.
Photographic Society of Ireland.— October 13, Professor J. A. Scott
(President) in the chair. — The Society removed from the old rooms at 15,
Dawson-street, Dublin, to more commodious premises at No. 35, in the same
street. This being the first meeting of the .session, and after the ordinary
routine of the busine.ss was gone through, the Prk.sident, in eloquent terms,
welcomed the members and visitors, who together formed a good gathering, to
the new premises, and in the course of his remarks referred to the past work
of the Society, its present position, and the work to be done by its members in
the future. After having touched upon many topics of interest. Dr. Scott
notified to those present that the meeting of the Photographic Convention of
the United Kingdom was to be held in Dublin next year, and further stated
that members should give every assistance and make themselves useful in
whatever way inclined towards making the Dublin meeting on a par with any
of the former ones, and making it of special interest in order that Irish photo-
graphers might extend a very hearty welcome to a large number of their
British brethren. Some very good slides were afterwards shown on the screen
by the following gentlemen :— Mr. Corry, Mr. J. A. C. Ruthven, Mr. J. WTiite,
also some coloured slides by the President. Messrs. Hargrave and Cooper
officiated at the lantern.
FOR'racOMINO EXHIBITIONa
1893.
October 20-81 *Haraburg. Da-i Atwstellnngs Committ* de* Amateur
Photographen Verein, Scbwanenwik, 33, Hamborg.
„ 20-NoT. n... •Photographic Salon, Dndley OaUery, Picca.nily, W.
Hon. Secretary of Organizing Committee, A. Ma«keU,
215, Shaftesbury-arenue, W.C.
„ 20-NOT.16... 'Photographic Society of Great Britain, 6a, Pall MaU
East, S.W. A.ssistant Secretary, K, Child-Bayley,
50, Oreat Russell-street, W.C.
.. 30,31 *East London Photographic Society, New Tabernacle,
Old-street, EC. Hon. Secretary, W. B. Oonld,
61, Gibraltar-walk, Bethnal Green, K
November 7-11 'South London Photographic Society. Hon. Secretary,
C. H. Oakden, 61, Melboame-grove, Dulwich, 3.E,
,1 20-25 "Leytonstone Camera Club. Hon. Secretary, A. K,
Bailey, Rose Bank, South-west-road, Leytonstone.
December "Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
„ 18-Jan. 22, 1894 'Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Corn-
street, BristoL
* Signifies that there are open classes,
♦
Corre^ponUence*
' CorresX'Oii'ients should never write on both sides oj the paper. No notice is takgn
of communications unless the names and addresses of the voriters are :}iwn.
PHOTOGEAPHIC PERSPECTIVE.
To the Editor.
Sib, — Mr. Debenham'a diagram is quite correct, and, indeed, represents
a truism. But I must say that, being familiar with dogs, and breeding
dogs, all my life, I cannot possibly conceive a six foot square kennel raised
thirty feet from the ground. When Mr. Debenham, after writing about
houses at a distance, likened them to " a row of dog kennels so near at
hand and at such an elevation as to bear the same relation to the eye that
the houses do in the first case," it never occurred to me that the parallel
as accepted by Mr. Dennis Taylor presupposed that, to fulfil Mr. Deben-
ham's conditions, the kennels were to be raised in the air and shifted to
the right or left, or else the houses sunk into the gronnd instead of the
observer's standpoint being altered. If that be granted, the rest is simple
mathematics.
I read Mr. Debenham's remarks to refer to a row of houses and a row
of kennels on a level plane. Certainly no more than this is involved in.
my original reference to the subject, and I repeat that under such condi-
tions no change of position of the observer or camera would enable
coincident perspective lines to be taken. — I am, yours, &o.
Fbee Laxce.
■WABMING THE DARK ROOM.
To the Editob.
SiK, — Under the above heading you inserted, in your issue of Sep. 20;.
a letter from me, recommending George's "Calorigen," and in this week's
JouRN.u, your correspondent "L. M." cautions your readers that I am
" wrong in one or two points," but abstains from enlightening us upon
what points. From the context, however, it would appear he falls foul
of my assertion, " They will not answer connected with an ordinary
chimney;" for he informs ns that, eighteen years ago, he had a grate
taken out and a George's Calorigen placed in the ordinary fireplace, and
that it has worked ever since with perfect success — presumably in the
same position.
It would have been better if " L. M." had stated more clearly where I
was wrong ; but, as the whole point of the paragraph lay in the statement
they require " tico openings making in an outer wall," the only legitimate
inference is that he has placed his Calorigen in an ordinary fireplace
without two communications with the external atmosphere; for obviously
I laid no restriction on the actual position of the stove, " if this reqaire-
ment " (two openings) "can be complied with." The chimney can be,
and is sometimes, used as one of the necessary openings ; but, for reasons
given later (see sub-paragraph h), this mode, if it can be avoided, is un-
desirable ; I much prefer to nse the chimney as an extractor.
I do not for a moment question that, placed as " L. M." leads ns to
suppose he has placed his, the gas will bum and the room be warmed —
indeed, heated more than if the stove be placed as I stated it shonld be.
But I do assert most emphatically it is putting a really scientific invention
to a degraded use, and one never contemplated by the inventor.
It reminds me of a case that came under my own notice a few years
ago in Leeds. The committee of an institnte bad gone to considerable
expense in putting in Tobin's tubes to ventilate their lecture hall ; the
result, at first, was all that cotild be desired, but presently the benefit
seemed nil. When I came to examine the place, I found every tube
678
THE BRITISH JOURNAJL OF PHOTOGRAPHY.
[October 20, 1893
stuffed up with brown paper. Upon asking the attendant for an explana
tion, he informed me had filled them up " because they let in such a lo
of air ! " „ „ i. ,
" L. M.'s" case is on all fours with this. For all practical purposes,
George'8 Calorigen is a warm-jacketed Tobin's tube, and certainly does,
when properly fixed, " let in a lot of air,'' which was the inventor's
intention ; but, perhaps, "L. M." prefers warmth to fresh air.
For the benefit of any one thinking of purchasing a stove, let me
explain : —
agent, but absolutely useless as a ventilator, the vitiated air of the room
merely passing and repassing through the coil.
If c, The position would be too absurd to contemplate, the foul air
from F merely passing into the chimney to be drawn back into the room
through G.
In all systems of heating and ventilating, there ought to be provision
made for both ingress of pure air and egress of foul ; unfortunately, so
far as I am aware, no gas stove is made that in itself provides both.
George's draws air in, Fletcher's and others draw it out ; but one being
provided (ingress or egress), the other is usually left to chance or to a
separate apparatus. It would be an interesting experiment to fix a
calorigen in all particulars as I have described, excepting that the tube I,
supplying air to the flame, should terminate in the apartment, the end
being closed by a delicately-balanced swing valve opening imi'ards, to
guard against back draught. Such a stove should keep the supply and
pressure of air pretty constant, as much vitiated air being drawn over
the flame as the coil admitted pure from the outside. >
You, Mr. Editor, in your leading article this week on this subject, " sit '
somewhat unmercifully upon my recommendation of the so-called
syphon stoves ; this letter is already far too long for me to trespass
further on your space, but with your kind permission I may have a word
to say in reply on a future occasion. — I am, yours, &c..
Park Hoyd, Halifax, Octoher 9, 1893. Edward J. Smith.
P.S. — Messrs. Farwig & Co.'s address is No. 1, Upper Thames-street,
not number 4.
The stove consists of a cylinder, T>, containing a ring of ordinary union
gas jets, I ; these are lighted through the door, J, which is then closed
air-ti<jht by means of an asbestos packing, the two openings in the side of
the cylinder supply the necessary air to the gas, G inlet, H outlet, both
these should be carried by pipes through the wall, direct to the external
air (these are the connexions sometimes made with the chimney, but as
explained later it is an undesirable mode). It will be seen that thus the
gas burns in a chamber absolutely cut off from all communication with
the apartment. A, and contamination of the atmosphere is impossible.
Inside the cylinder is a tube coil, for the admission of fresh air, the
coil being over the flame, the lower end passes through the bottom of stove
and the n-all of the apartment, direct to the external air, the upper
end opens into the apartment.
The action is this : — When the gas is lighted, an upward current is
established in the coil, fresh air is drawn in from outside, is heated and
passed upwards into the room. Thus, not only is the apartment warmed,
but one of the main difficulties of ventilation overcome, viz., fresh pure
air is introduced without the creation of chilly draughts and all other
currents are from ui(/un the room, outwards ; no mean advantage.
There has always been a difficulty in gas stoves drawing their supply of
air from the room, and discharging to the outer air; shifting windf,
sudden gusts, etc., so alter the balance of pressure between the inside and
outside atmospheres that instances are not unknown of the gas flame being
actually blown out, and most of us have at times seen a blowing forward >
of the flame from down draught. In the George's Calorigen, properly
placed,thi3 difficulty is ingeniously overcome by the outlet pipe, FB, being
placed inside the inlet pipe, J F, the area of both pipes being approximately
the same, with the result that whatever affects the pressure on one affects
the other equally, and leaves the gas flame perfectly undisturbed.
Now, what happens with L. M.'s stove ?
If it has no communication with the external air excepting by the chim-
ney, it must (almost) be set in one of three ways : —
(a) F communicating with the chimney, B and G, with the room.
(6) F F communicating with the chimney, H, with the room,
(c) B, G, H all communicating with the chimney.
It a, the supply of air fof the gas is drawn from the room, there is
risk of contamination by down draught, and the atmospheric pressure is
reduced, causing the balance to be restored by cold and often vitiated air
rushing in from chinks in the floor or skirting board, or under the door.
If (), there must be a double current in the chimney, up and down, and
very probably the gas is supplied with air strongly impregnated with
carbonic acid, the result being imperfect combustion and reduced duty
per cubit foot burnt. Also the ingenious arrangement of putting the
tubes, F and F, one within the other must be omitted.
In both a and b arrangement, the coil is useful as a warming
DEVELOPMENT OF PARTLY PRINTED GELATINO-CHLOEIDE
PRINTS.
To the Editoe.
Sir,— My attention has just been called to an article in the Photographic
Times of New York (September 29, 1803, page 544), by Mr. Walter E.
Woodbury, in which the writer describes the method of developing
gelatino-bromide paper recently shown and published by us, giving
exactly the same formula for development.
As this article is unfortunately, although no doubt unintentionally,
worded in such a way that the reader may suppose that Mr. Woodbury
claims the method as his own discovery, and as such supposition places
us in a position requiring explanation, I will ask you to kindly allow me
to state the following facts : —
The process was discovered by us more than a year ago, and Mr.
Woodbury being in our employment it was shown to him, under promise
of secrecy, some time last winter. I do not know the exact date, but
certainly before he left our service in February.
On February 21 we deposited a sealed paper containing a description
of the method with Mr. H. Sturmey, Editor of Photography, who, at our
request, recently published it in Photography, October 5 and 12, together
with a statement of how and when it came into his possession.
Why Mr. Woodbury has now published the process without our know-
ledge or permission I do not know, and can only suppose that in the
change and excitement of his new position, and after the lapse of so many
months, he had forgotten the circumstances under which he became
possessed of the information. This seems the more likely, as he appears
to have also forgotten an important detail, giving, as he does, " iodide "
of potassium instead of " bromide" for the preliminary bath. Iodide is
practically useless for the purpose. — I am, yours, &c.,
Wm. J. Wilson,
Paget Korks, Watford, Octoher 14, 1893. For Paqet Prize Plate Co.
ME. STILLMAN AND ME. BLAIR.
To the Editoe.
SiE,— I regret that Mr. Stillman feels compelled to say in your issue
of September 29 that " Mr. Blair neither comprehends clearly nor repre-
sents fairly" what he wrote in his letter published in your issue of
July 21. I always supposed that the judges of open letters were the
readers. If the first twenty or thirty lines of his letter referred to will be
re-read, I think it will be concluded, by those having a knowledge of what
it is " to make photography a practical affair," that I understood what he
lerote. Whether I understood what he meant or not is another matter.
It is quite apparent to me, from the reading of Mr. Stillman's letter in
the September 29 issue of your Journal, that he threw down the
gauntlet too vehemently, and I have no desire to follow further. If
Mr. Stillman was a producer of the articles which are relied upon " to
make photography a practical affair," it would be easier to discuss with
him. He would then realise the difference between a formula which will
make a plate or film for an amateur's own use and one that makes
photography by the masses practical. The same may be said regarding
apparatus.
Fearing that Mr. Stillman did not mean just what he wrote, I was
careful to say, in the commencement of my letter, what I understood
him to mean as follows : —
"By inakius 'outdoor pbotigraphy a priclical affiir,' I prrsumj Mr.
October 20, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
«79
Stillman means adapting it to be used by the masses ; (or photography
as practised by some of the best workers is not the result o( the apparatus,
plate, or paper maker. Nor do I understand Mr. Stillman to mean the
men who first conceived the idea of ii sensitive plate without the silver
bath. The knowledge of making a dry plate lay unused too many years
to give to its discoverers (if such gradual gathering of knowledge could be
called a discovery) the credit of the dry plate of to-day."
I will abide by the judgment of your readers, and regret deeply that
the question of to whom the greater share of honours belongs should
arise. — I am, yours, itc, T. H, BiiAIB.
London, October 13, 1893.
WOOLWICH PHOTOGBAPHIC SOCIETY.
To the Editor.
Sir,— We should like to inform your readers residing in the vicinity of
Woolwich that the winter season of the Society will commence the 20
inst., with the annual business meeting, and continued the second and
fourth Thursdays in the months to April inclusive. We have been en-
abled to draw up a good programme, and a cordial invitation to attend
the lectures, itc, is given to all who are interested in photographic work.
The Hon. Secretary will be pleased to receive the names of all who wish
to join us and to answer any inquiries respecting the Society. — I am,
yours, 4c. , John Bobthwick Parting,
3, Friars Villas, Old Charlton, S.E. Hon. Secretary.
October 16, 18'J3.
THE BENEVOLENT.
To the Editor.
Sir, — We have very many applications for the loan of a camera, or
money to purchase a second-hand camera, from men who are perfectly
willing to work, but who have been forced down by illness and other
circumstances. If any of your readers had old apparatus that is still
light-tight, though otherwise superannuated, we could make good use of
it ; and as our grants this year have far exceeded our income up to the
present, and as we have in prospect many urgent applications, owing to
the extremely bad photographic season, we feel loth to spend money on
even the cheapest of second-hand cameras, if we can obtain old disused
ones from sympathisers. — Yours faithfully, for the Committee,
H. SxowDEN Ward, Hon. Sec.
P.S.— Stout soled boots, clothing, and hats we can well dispose of if
any readers can spare them.
^Jemorial Hall, Ludgate-circvs, E.G.
THE ACTION OF A LENS SIMPLY EXPLAINED.
To the Editor.
Sir, — I am much surprised and pained at your remarks in the issue
of August 25, in which you practically accuse me of using Mr. Wm.
Taylor's article and appending my signature thereto. In reply, I would
inform you that my article on "The Action of a Lens Simply Explained "
was written partly from notes and principally from my article on lenses
in ray Encijclopiedia of I'hoto'iraphy, which portion was written some five
or six years ago. I have not a copy of Mr. Taylor's article, and therefore
do not know how far my article resembles his, but would say that, as it
is merely a written statement of the fixed laws governing the action of a
lens, it is not unlikely to be similar to another article exactly on the same
subject. With regard to the diagram, I discovered it among some scraps
and cuttings. I sent it to the artist as a guide, with directions for a
number of alterations to suit my article as first written. Except in one
instance, however, these instructions were not carried out, so that the
cut had to appear nearly the same. As it is an illustration of a ray of
light passing through a lens, I should imagine that there was not much
scope for variety.
With regard to my own article, I claim nothing original about it. The
subject has been written upon thousands of times, and, so long as there
are beginners in the art, will, no donbt, be written yet another few
thousand times.— I am, yours, itc, Walter E. Woodbcrt.
Hew York.
[Having drawn the attention of Mr. William Taylor to the matter
referred to in the preceding letter, we have received the following
reply. — Ed.]
Dear Sir, — I have to thank you for calling my attention to a paper
contained in the Convention number of the Photographic Times of New
York, and pretending to be written by Mr. Walter E. Woodbury.
As a specimen of cool and impudent plagiarism, this work of Mr.
Woodbury's is a model.
The paper, which is entitled The Action of a Lent Simply Explained,
is a garbled transcript of a paper entitled The Principles of a Lent Action
which I wTote several years ago, and which has been published in the
Amateur Photographer and in all recent editions of my firm's catalogue
of photographic lenses. (Taylor, Taylor, & Hobson.)
It is true that Mr. Woodbury hoa taken paini to i»y " the boy li not
so tall as the man '' where I have said •' the man is taller than the b«^,"
and that my diagram is shown witli black lines on a whit« ground inntcad
of with white lines on a black ground. Tbii is yery clercr of .Mr. Wood-
bury, and displays the character of IiIh sparkling originality.
But from first to last, with slight periods of digrenion, and where there
is embodied other matter whose origin is equally indisputable, the paper
reads side by side with my own in the following way : —
Original. Plagiari.m.
As sound is transmitted by wave- As sound is transmitted by »
like motion of the air, ao is light wavelike motion of the air, ao ia
transmitted by the wavelike motion light transmitted by the wavelike
of certain ether filling universal motions of this luminiferona ether,
space.
A surface capable of being seen Wavea of light meeting the aur-
must be to some extent rough, face of an object, provided it be to
The roughness acts in this way : some extent rough, are broken up.
Waves of light meeting the surface Each particle becomes a centre
and reflected from it are broken up from which waves of light are
by the rough particles. Each pro- reflected and spread out in all
jecting particle becomes a centre directions,
from which reflected waves of light
spread out in all directions.
The angle of view of a lens is The angle of view of a lena la
determined by the relation of its determined by the relation of its
focal length to the measurement of focal length to the measurement of
the image which it can usefully the image which it can best define,
define.
^ fancy the name of Mr. Walter E. Woodbury was not unknown to me
before, but it is a surprise to find him capable of such a thing as this.
It will be well for American Photographic journalism to purify itself from
such imposture and impostors.
We are accustomed to look upon America as the peculiar home of men
like Mr. Woodbury, but I cannot think that the responsible owners and
editors of American photographic journals contempUte with satisfaction
such conduct.— I am, yours, Ac, Wiluam Tatlob.
Taylor, Taylor, d Hobson, Slate-street Works, Leicester.
October 16, 1893.
THE PHOTOGBAPHIC EXHIBITION.
To the Editor.
Sib, — On myreturnfrom theContinent, and on looking through thecata-
logue of the parent Society's Exhibition, I find Messrs. Thevoz's book,
Zermatt, classified asan apparatus. Herewehaveanewdeparturealtogether,
and about the first successful attempt to combine photography and its
best application, " phototype," with letterpress. Nothing of the kind
has ever been seen in the Photographic Society's rooms, and, I presume,
because it cannot be hung on the walls, it is put down as an apparatus.
The book is a production of art, and was not intended to be exhibited as
" an apparatus."— I am, yours, &e. J. B. GoTZ.
19 Buckinahnm-street, Strand, London,
October 11, 1893.
THE MADEAS EXHIBITION.
To the Editor.
Sir, — Will yon kindly allow me to state, for the information of in-
tending exhibitors at our coming show, —
1st. That all pictures should be addressed to the care of the Hon.
Secretary, Amateur Photographic Society of Madras, Boyapurom, Madras.
2nd. That no forms of entry are reijuired, but a list of titles for cata-
logue should reach me by November 20, 1893 ; the list should also state
the particular prizes for which the pictures are competing.
Thanking you in anticipation for your courtesy, I am, yours, Ac,
Fred. Dcxstebville, Hon. Secretary.
Amatetir Photographic Society of Madras, Royapuram,
Madras, September 27, 1893.
THE FORFAKSHIBE FXHIBITION.
To the Editob.
Sir, — The Committee of the now permanent Photographic International
Exhibitions for Forfarshire for the advancement of photographic art for
Forfarshire are to hold a Lantern-slide Competition in December and
January next, and we shall be glad to receive slides from exhibitors.
Open to all classes of photography, and to the best sets of six. The
Forfarshire medal will be awarded. Particulars can be had of myself at
Arbroath. I may also inform you that you may enter us in your new
Year-book the officers of the above. Mi. James Watson Craik. is Local
Secretary. — I am, yours, itc, W. J. Asckorn.
680
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[October 20, 1893
THE SALON.
To the Ebitor.
SiK,— Will you kindly allow me space to correct a few inaccuracies
in your notice of the Photographic Salon? You say that "the
exhibits are the work of about 110 persons, nearly half of uhom (the
italics are mine), singular to tell, are also exhibitors at Pall Mall." The
real facts are that out of 108 exhibitors at the Salon, 27 are also exhibitors
at Pall Mall. Again, "We have already made the acquaintance of many
of the pictures at other exhibitions." Out of the 294 pictures, only 11
have been previously exhibited anywhere, and even this applies, in the
case of 9 of them, to the private exhibitions of the Camera Club. May I
also be allowed to say that the Photographic Salon is no more intended
to supplement the Exhibition of the P. S. G. B. than, for instance, is the
Congress of that Society at the Society of Arts intended to supplement
the annual Conference of the Camera Club held at the same place.
Ton state that " the raison-d'etre of the Salon rests on the most
slender support, and the continuance of a second Exhibition, either in a
rival or supplementary capacity, is out of the question." The predictions
of last year, which have already been falsified, entitle us, I think, sir, to
disregard such sombre prognostications, and, when we consider the support
•which the public have already given to our enterprise (a support far
beyond our most sanguine anticipations) and the very general chorus of
satisfaction expressed both by it and the public press, it is surely unwise
to prophesy concerning the continuance of a successful Exhibition which
has avowedly been instituted as the first of a series. — I am, yours, &c.,
Alfred Maskell.
Dudley Gallery, Piccadilly, 71'. , October 17, 1893.
aiDStoers to dorrespontients.
J. Dormer. — Thanks.
A. J. Griffiths. — Next week. Why not addiess your letter as directed ?
G. W. 0. — We fear that we cannot recommend any safe reducer for over-
printed platinotypes.
CoLLO. — You will find directions for working the collotype process at page 518
in the Aljlaxac for 1893.
W. T. M. D. — You may find the information in Mr. W. T. Wilkinson's book;
see also articles in back numbers of this Journal.
John Self. — Possibly Messrs. W. A. Mansell & Co., 0.\ford-street, can supply
you with oleographs and pictures of German production.
^Bavex. — A drachm was, doubtless, meant. Mix a portion of A with B ami
then redissolve the precipitate with the remainder of A.
J. G. RiTSON. — Let the prints stop short of being quite dry aud then pass
through a buniisher, the roller of which is heated, several times.
B. Collotype. — 1. Treat the prints successively with albumen and methylated
spirit. 2. Solution of hydrofluoric acid will answer for stripping the films.
C. P. P. — 1. Precipitate the gold by means of solv.tion of proto-sulphate of
iron. 2. We have found metol admirably suited lor both time aud instanta-
neous exposures.
Plate Trouble. — See the pages of the Almanac, where several clearing solu-
tions are recommended. It would appear that you do not use any preserva-
tive for your pyro.
D. S. — The white deposit on the Daguerreotype after cleating is, in our
opinion, caused hy not having completed the final washing by distilled water.
This is absolutely necessary.
F. W. R. — There are a number of magnesium flash'lamps on the market suit-
able for the purpose. We cannot recommend any particular one. Consult
the catalogues of the dealers.
Jelly says : " Will you inform me of any process by which gelatine can be
hardened and made insoluble in water ? " — Yes ; mix chrome alum with it
or bichromate of potash, followed by exposure to light.
Inquirer (York). — Aluminium powder may be obtained from Mr. Home, 2,
White Horse-alley, Cow Cross-street, E.G. The metal can be had from the
Phft-nix Metal Co., Stamford-street, S.E., but we do not know if in the form
of very fine wire.
T. T. Sims says he has a new leather camera case that smells very unpleasantly,
and asks if there is any way by which the smell can be destroyed. We know
of no better way than exposing it freely to the air. Try keeping it out of
doors, where the sun has free access to it, if possible.
ElCBABD.— 1. We cannot tell the cause of the discolouration — possibly the
albumen was in bad condition. 2. We should thiuk that if a Royal Prince
had specially allowed you to photograpli him you woidd be within your
right in using the words " Under Royal Patronage."
Hackney- Am atei;r. — Print a few sets of clouds on cover glasses. Let thera
be otdifferent forms and degrees of density. Superpose thera one after the
other on the lantern slide, and select that which best harmonises with the
subject of the picture. See also a note on this subject among our leaderettes.
T. Carpenter.— We should say that, from the behaviour of the solution when
it is spread on the paper, the gelatine contains grease. That is by no
means an uncommon fault with gelatines of foreign manufacture. Try a
similar preparation, but employing an English gelatine, say. Nelson " Jilo. 1,
Photograpnic."
A. P. — Possibly an unsuitable mountant was employed in the case where the
prints deteriorated. If it was the same mountant throughout, we fear we
cannot account for it.
D. W. A — Glucose can be had from any operative chemist. When obtained
from this source, a reliable article for experimental purposes can be relied
upon. Glucose, in the form of a syrup, is an important article of commerce,
and is largely used in confectionery, but it is not to be recommended for
photographic purposes.
C. RowE complains that last week he bought some gelatino-chloride paper a t
a photographic warehouse, and, upon opening it, he found it was discoloured
and spotted ; and from the date, or what was assumed to be a date, upon the
package, it had been made over a year. No doubt, if this were pointed out
the paper would be exchanged.
Alfred R. — If a satisfactory likeness, as per circular, is guaranteed, we don't
see how you can refuse a resitting'if the sitter and friends do not approve
of the portrait. The fact that the photograph is a good one in no way
ensures a "satisfactory likeness." Most photographers consider it a matter
of policy to please their sitters, although at times it is diflScult to do so.
J. Witherby. — In the first attempts at photographic engraving it will be better
to get the plates proved by a regular copper-plate printer. Although copper-
plate printing seems very simple work, considerable skill is required on the
part of the workman to get the best results from a given plate. A novice
might mislead himself, as to the character of his plates, by his want of tech-
nical knowledge in the printing.
C. Fowler. — Tbe fault is not in the paper, but in the toning of it. You have
taken the prints out of the bath as soon as they have acquired the tone de-
sired when looked at by reflected light only. The tone of gelatino-chloride
prints should be judged of by looking through them. The tones then seen
will be much the same as they are in the finished picture when viewed by re-
flected light. Under-toning is the only fault.
C. H. C. — It is no use attempting to work the collotype process in the way
proposed. A properly constructed drying box is an essential, as the plates
must be dried in a horizontal position and not standing upright. Tempera-
ture, during the drying, is an important factor in the process, aud means must
be provided for regulating it. Extemporised arrangements should be avoided
by the novice in his first attempts at collotype.
R. S. 0. — The print in question is a collotype of inferior quality, aud we should
say was produced at a very cheap rate in a power press. We judge this by
the coarseness of the grain. A coarse open grain can be printed from at a
much quicker rate than one that is finer. With regard to the second query,
machine collotypes can be produced quite as good as those by the hand
press, but they require greater skill in working, and the press must be worked
at a comparatively slow speed.
W. Master writes as follows : " I am experimenting with what I think is a
new method of making typographic blocks. I have hitherto been using lead
for the casting, but now I want to try with the same metal as that used by
the stereotyper. On inquiring at several metal shops in different parts of
London, I was told that I should liave to make it for myself, and this I have
no convenience for doing even if I knew how. Can you tell me anywhere
where the metal can be purchased ready for casting?" — Our correspondent
has beeu applying at the wroug places. He should have gone to a stereo-
ty|ier's. We have little doubt but that any stereotyper will supply a small
quantity of the metal he uses for experimental purposes.
1, 2, 3 says : " After developing some carbon pictures on the patent flexible
support, and drying them, I applied the double transfer jiaper, just as I did
with some pictures I produced on glass some years ago ; but, when the
transfer paper was dry, I could not get the picture to separate from the
support, not even after soaking in water for two or three hours. Can you
give me any reason for my want of success ?" — The cause of the picture
sticking is that the support was not waxed ; or, if it was, not sufficiently so.
In using the flexible support for the first time, it is a good plan to thoroughly
"wax it, according to the directions given with it, and, after it has stood for
an hour or so, to treat it a second time. After the first time of using, a
slight waxing only is necessary.
Sussex says : " I have a large glass dipping bath that was used in the
collodion days, but it was left during the winter with some water in it,
which froze and cracked the vessel from top to bottom. Do you know of
any means of so repairing it that it could be used as a fixing b.ath for dry
plates, as it would then be most useful to me I I may say that the crack is
not open enough to run any cement in it." — The bath can be repaired in the
following way : First stick a narrow slip of gum paper over the crack on the
outside ; then get a wooden case made three quarters of an inch larger inside
than the bath is outside. On the bottom of the case — inside, of course — put
a couple of strips of wood three-eighths of an inch thick for the glass to rest
on, and similar strips at the sides and ends. Then pour into the intervening
space melted pitch, or, better still, parafiin.
OONTBNTS.
EQUABLE TEMPERATURE 06j
MATT -SURFACE PRINTS ON ORDI-
NARY PAPER C6C
PHOTOGRAPHY IN NATURAL CO-
LOURS—6'.Y FAIT ACCOMPLI (iGS
AMERICAN NOTES AND NEWS 668
A PAINTERS VIEW OF THE PHOTO-
ORAPHIC EXHIBITION. Bv PALETTE 670
WET COLLODION 670
ON NIKKO PAPER. By J. H. BALDOCK,
F.C.S 671
A NEW GELATINO-CHLORIDE PAPER:
DEVELOPMENT OF PARTLY
printild PRoorg 072
THE PHOTOGRAPHIC CONGRESS 673
INTERNATIONAL AMATEUR PHOTO-
GRAPHIC EXHIBITION AT HAM-
BURG 6W
NEWS AND NOTES 674
RECENT PATENTS 676
MEETINGS OF SOCIETIES 675
FORTHCOMING EXHIBITIONS 677
CORRESPONDENCE 677
ANSW£BS TO COIlB£SFOND£NIS..,.., 660
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1747. Vol. XL.— OCTOBER 27, 1893.
AN IMPEDIMENT IN POPULARISING THE STEREO-
SCOPE.
The impediment hinted at arises out of the stupidity of photo
graphers themselves. There are numerous photographers who,
not certainly from any desire to do so, but from sheer care-
lessness or ignorance, act in the mounting of their pictures as
if they were determined to do all that lay in their power to
disgust the public with their productions, by trimming and
placing them on their mounts in such a way as to render it
•quite impossible to see them properly in a stereoscope of the
verage class.
We, and every intelligent writer and teacher on this subject,
have invariably taught that, if the distance at which the two
halves are mounted apart exceed three inches, such a difficulty
in getting the prints to coalesce will be experienced as may lead
to their unhesitating condemnation. We can sympathise with
the desire of those who, having obtained a negative replete
with beauty from side to side, are averse to having, as they
imagine, its beauty marred by a rigorous cutting down of its
sides ; but it is altogether a mistaken liberality which prompts
them to fill their mounts with pictorial subject, for this is
the kind of generosity which impoverishes not the giver, but
the receiver, as such a picture serves no good purpose, but only
strains the eyes of the unhappy owner, who vainly strives to
see the combination stereoscopically.
As we have often said, there is no limit to the vertical di-
mensions to which a stereoscopic pair of prints may be trimmed,
should the subject demand it, such subject being a tall building,
a ravine, or other object of like nature. But, as regards lateral
dimensions, the case is altogether different, and it is in this
respect where so many blimders are made.
We take it for granted that every photographer at least de-
sires that his friends shall be able to see and examine his
binocular efforts without trouble or pain — nay, more, that they
shall do so with such readiness as to be insensible of putting
forth any effort in doing so; and the object of this brief article
is to ur^e in bringing about such a state of matters, more
especially as this is so easy of attainment.
The condition requisite for the average human eyes seeing
the stereoscopic effect of a picture at first sight, and without
any straining of the muscles of the eyes, is merely to see that
the distance of an object hi the farerjronnd of one picture from
the same object in the duplicate does not exceed three inches.
It would still be better were this distance an eighth to a
quarter of an inch less. AVe say " in the foreground," be-
cause if a foot rule is passed over the near and the distant
objects embraced in a binocular photograph, it will be found
that similar objects in the foreground are separated to a greater
extent than those in the distance; and that, whereas the
former may be three inches apart, the objects in the extreme
distance may not exceed two and a half inches. As a general
rule, the nearer, within moderate limits, the elementary
portions of the stereoscopic pair are placed together, the more
easy is it for the eyes of the spectator to effect their
coalescence.
But, if three inches be exceeded, the difficulty of effecting
this is increased in a rapidly increasing ratio, until, when it
reaches three and a half inches, coalescence becomes impossible
to all but trained eyes, and passes even beyond their powers
when such distance is exceeded.
And yet this distance is frequently exceeded by some makers,
who fail to discover why there is evinced a disinclination on
the part of the public to purchase their slides. Let it be noted
that, although with a stereoscope having only a very small
degree of magnifying power, wide subjects can occasionally
be got to combine, this cannot be done with the better class
of instrument, in which the lenses or prisms are achromatic
and of considerable power, unless provision has been made
to effect their separation to their utmost limits, and not even
then if the separation of the pictures is much over three and a
half inches.
When we consider the great influence exercised upon a
stereoscopic picture by their trimming and mounting, it ought
to behove manufacturers of these prints, in their own interest,
as well as in that of the public, to pay some attention to this.
To those who possess slides of valuable or interesting subjects,
whether portraits or landscapes, which resist their efforts in
bringing them into coalescence, we would say, steep them in
tepid water so as to loosen them from their mounts, and retrim
them to the extent of taking a quarter of an inch, or there-
abouts, from the sides, finally remounting them.
Several years since we obtained a dozen slides of great
interest from a foreign maker, who sinned very greatly in
respect of the grievance we speak of ; and it was not until wo
had trimmed and remounted them in the manner here hinted
that we — or our friends — had any real enjoyment of the
collection.
DIFFUSED DEFINITION : METHODS OF
OBTAINING IT.
Some persons are apparently inclined to consider pictures of the
" fuzzy " order quite a modern idea. Such, however, is not the
fact, for over forty years ago, in the very earliest days of the
art, the excessive sharpness given by the lens was objected to
682
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[October, 27, 1893.
by some, and different ways of destroying it were suggested.
That advocated by the late Sir William Newton has been
utilised by modern " fuzzyists," namely, the interposition of
tissue paper, or other translucent media, between the negative
and paper while printing. Later on, Mrs. Julia Cameron pro-
duced her extremely unsharp pictures by employing lenses pos-
sessing a large amount of spherical aberration, such as a single
lenses with an abnormally large aperture. The object of the
present article is not to touch upon the question of the desir-
ability, or otherwise, of diffused definition, but rather to point
out some of the ways by which it can be, and at different times
has been, obtained.
It may here be explained that diffused de6nition produced
by one system may be widely different from that obtained by
another. For example, the diffusion in a picture caused by
putting the lens out of foci^, after focussing, is very different
in character from that produced by using a lens possessing a
certain degree of spherical aberration and worked at its sharpest
focus, as with a single lens with large aperture, or the lens of
Mr. Dallmeyer, in which spherical aberration can be introduced
at will. Unsharp pictures result in either case, but the effect
is quite different. The late Mr, Claudet introduced a very in-
genious way of destroying the excessive sharpness in any one
plane, or as it was termed, diffusing the focus. His method
was to alter the focus of the lens during the exposure. This he
did, not by racking the tube in or out, but by causing the
glasses themselves to approach towards, or recede from, each
other, thus altering the equivalent focus while the negative was
being exposed. The pictures produced in this way were very
pleasing, and, although they were not really sharp, they did
not appear to be blun-ed, or at all pertaining to the pictures of
the present fuzzy school.
Many years ago a novel method was suggested for destroy-
ing excessive sharpness. It was this : A cord was tied to the
camera and fastened tightly to the floor. Then, after a portion
of the exposure had been made, a violin bow was lightly drawn
across the string so as to produce a slight tremour in the
camera. The blurring produced in this was distinct from that
obtained by other means. Another plan was, during the
exposure, or during part of it, to place a lighted spirit lamp
some distance below the lens. This caused rarefaction of the
air, and thus produced motion of the atmosphere similar to the
heat haze so frequently seen near the ground on a hot summer
day. This has a marked influence on the sharpness of a
negative.
We have seen some very good effects produced by using a
lens of the old doublet form in the following manner : The
fixed stop had been removed and larger Waterhouse stops sub-
stituted. The exposure was commenced with a stop sufficiently
small to give sharp definition. Then, when the negative was,
say, half exposed, the stop was removed, and the exposure
completed with the full aperture, which, of course, gave an
unsharp image on account of the spherical aberration. Thus
was obtained a somewhat sharp image as well as a confused
one. Here, again, we had diffused definition of a different kind
from that obtained by the other methods indicated. This
system is also sometimes utilised in enlarging from small nega-
tives in which the retouching is painfully conspicuous, or the
face badly freckled. The exposure is commenced with a stop
in the lens, and completed with the full aperture of the instru-
ment. The character of the image thus obtained ia quite
different from that where the lens is put out of focus. Some-
times the lens is moved slightly in or out of the sharpest focus
during the exposure, but the fuzziness produced by this method
differs from that by the others. All the above methods of dif-
fusing definition were chiefly utilised for ameliorating the
excessive sharpness in large portraits, but it is obvious tO'
every one that they can be equally as well applied to every
other class of picture.
Reference was made at the commencement of this article to
destroying the sharpness of a picture by printing through a
translucent or transparent medium. That is often resorted
to, but not always, perhaps, to the best advantage. Our older-
readers will remember a then new style of portrait that was
shown in this country some quarter of a century or so ago —
the invention of Denier, of Russia. The pictures appeared to
be both sharp and unsharp at the same time, and were not at
all unpleasing even to those who look upon excessive sharpness
as an essential to a good photograph. The method by which
they were produced was offered for sale as a secret process, and
was never published authoritatively, though there was much
speculation at the time as to what it was. It was said to consist
of taking two thin negatives — identical — and printing from them
with one superimposed upon the other. Be that as it may, we
and others produced similar, indeed, identical and equally as
good, results in the following manner. The negative, a per-
fectly sharp one — indeed, an every-day negative — was takea
and placed in the printing frame with a piece of sensitive paper
upon it and exposed to light. When the print was about half,
or a little more, done, a sheet of thin glass, or, in the case of
small pictures, two or three thicknesses of sheet gelatine, was
interposed between the paper and the negative and the print-
ing completed. By varying the depth of the contact printing
and the thickness of the, afterwards, interposed medium, the
effects could be considerably modified. It is a little surprising,
considering the outcry that is sometimes made with reference
to the excessive sharpness in large portraits, that this method
of ameliorating it is almost, if not entirely, neglected ; for,
although the pictures thus obtained are not actually sharp,
they can scarcely be classed as unsharp, unless the contact
printing is too brief, yet they are quite distinct from the
class of pictures termed " fuzzitypes." The effect can be
further varied by making what may be termed the primary
printing through the insulating medium, and completing it
with the paper in contact.
MATT-SURFACE PRINTS ON ORDINARY PAPER.
As a matter of course, the choice of the method of sizing will
depend, in a great measure, on the character of the paper to be
used, for which any of the plans mentioned may be employed
with a smooth-surfaced sample ; it would obviously be un-
desirable to adopt either of the plans that involve rubbing in
the size with a sponge when the surface is at all rough.
Under such circumstances a very uneven coating would be ob-
tained at the best, and it is more than probable that the
surface texture of the paper would be ruined and rendered totally
unfit for the purpose intended.
With moderately rough paper, a rather thin solution of
gelatine, applied evenly with a brush or by floating and subse-
quent draining, will give the best results. The solution must
not be thick enough to confer any glaze when dry or to collect
in the hollows or inequalities of the surface, and one of the
kinds of gelatine that swell but little under the influence of
moisture will be found to answer the requirements best. For
October 27, 1893]
THE BRITISH JOUKNAL OF PHOTOOUAPHY.
688
▼ery rough paper, such as drawing-papara, the aqueous'shellao
solution has given us by far the best results, as it answers a
variety of purposes. It fills up the body and hardens the
texture of the somewhat porous paper, without any production
of gloss, better than gelatine, and is far easier of application
than such substances as arrowroot. It, moreover, more com-
pletely isolates any chemical impurities, such as so frequently
€xist in that class of paper ; but, where any special tendency in
that direction is found'to exist, it is advisable to apply a double
coating, the first being allowed to thoroughly permeate the
paper, the second, with which the salting may be combined,
being applied after the first has become perfectly dry.
The second coating, under these circumstances, will be wholly
on the surface, for, after the mixture of lac and borax has been
once dried, it becomes^insoluble in aqueous solution at the or-
dinary temperature. For this reason, although the salting
solution itself may be allowed to soak completely into the body
of the paper, the sensitising solution subsequently applied
penetrates only to a very slight depth, and the image is thus
kept well upon the surface. Bearing this in mind, we are en-
abled to secure beautiful evenness of sensitising on even the
roughest paper by adopting the following course : —
The combined sizing and salting solution described last week,
•consisting of the aqueous lac solution to which chloride of
ammonium has been added, is used, and may be applied with a
brush and allowed to soak well in, or the paper may be floated
on or immersed in the solution until thoroughly permeated, The
superfluous solution is then removed by dabbing with a sponge
or pressing gently between blotting-paper, leaving only that
•which has been absorbed into the paper, which is then allowed
to dry completely, in which state it will keep well for an in-
definite period. To sensitise it, the silver solution is applied to
one surface, either by floating or by means of a suitable brush,
and, after having been allowed a stated time to act', the surplus
is removed as before and the paper again dried. In this man-
ner an evenness of printing surface is easily obtained that it is
almost impossible to secure by other means, as, when the size is
only drained off, it is apt to collect in the irregularities of the
surface, which necessarily absorb a larger proportion of the
salting and sensitising solutions afterwards applied.
With regard to the sensitising very little need be said, if the
sizing and salting of the paper have been first properly per-
formed. The bath consists of a plain solution of nitrate of
silver, which may vary in strength from forty to sixty grains
to the ounce of water, according to the strength of the salting
and other circumstances, bearing in mind that, the stronger the
salting and sensitising, the richer wiU be the resulting prints,
and the easier will it be to secure pure black tones. For grey
or light tones the sensitising solution may be weaker, but it is
always advisable to let the salting and sensitising bear a direct
relation to one another. A sixty-grain silver bath answers well
with a salting solution of ten grains to the ounce, which is as
strong as is usually necessary ; but for very thin negatives, or
where great contrasts are required, both may be increased, or
the reverse when the negatives are hard.
The ammonio-nitrato bath was a great favourite with many
•workers in the old days, and is made by adding to the plain
silver solution, drop by drop, strong liquid ammonia, stirring
■well at the same time, until the precipitate at first formed is
redissolved. This bath fell into disuse on the advent of albu-
men paper, for which it is quite unsuited, on account of its
solvent action on the albumen. Its chief recommendations are
that it gives greater rapidity and more vigour with propor-
tionately weaker solutions. But the paper keeps only a very
short time after sensitising, which will prove an objection in the
eyes of many modem practitioners who have become accustomed
to ready-sensitised and keeping papers.
The ammonio-nitrate bath formed in this manner contains a
very considerable proportion of ammonia, but its advantages
may bo secured in a modified form — that is to say, with a
reduced proportion of ammonia — by dissolving only a portion
of the silver nitrate, and converting that into ammonio-nitrate,
as above described, and afterwards adding the remainder of the
silver. Or, it may not be generally known, if a small quantity
of nitrate of ammonia, or other alkaline nitrate, be dissolved
with the nitrate of silver, any quantity, however small, of
liquid ammonia may be afterwards added without causing any
precipitate, although, with a plain new solution, the first drop
of ammonia would cause a dense cloudiness. After using the
solution for sensitising, as old silver printers are aware, am-
monia may be added without causing a precipitate, owing to
the presence in the bath of the alkaline nitrate formed by
double decomposition.
Plain paper keeps better after sensitising than albumen with-
out any special precautions, but it is preferable to use it as
soon after sensitising as possible. If it must be kept, the ad-
dition of a minute quantity of nitric acid to the silver solution
will greatly increase the period in which it will retain its
whiteness ; and, though this addition raises some little difficulty
in the way of securing certain tones — purple, for instance — its
influence will not be seriously felt when black or grey tones
are desired.
So far we have supposed our matt-surface paper to be
prepared in the well-known old-fashioned style, by separate
salting and sensitising ; but it is equally open to apply the
more modern system of combining the two operations in emul-
sion form. We do not intend here to give any formula or
directions for the preparation of the emulsion, as these ■wiU
be found amongst the formula; in the Almanac. We wish
simply to remark that the matt surface is obtainable with
emulsion in ordinary papers with as much ease as by simple
salting, the glossy surface familiar to the users of commercial
gelatine paper being obtained by special means. When an
emulsion is used, there is in a general way less necessity for
the preliminary sizing, since the emulsion itself, owing to its
thicker nature, has less tendency to sink into the paper than
plain aqueous solution. Some papers, however, do require
sizing, but where such proves to be the case we should be
inclined to change the paper rather than resort to an additional
operation when thoroughly suitable papers are to be obtained.
When sizing is considered necessary, we remark that the
aqueous lac solution is not suited for use with emulsion, owing
to the fact that the alkali it contains combines with the soluble
constituents of the emulsion, and not only causes irregularity
in printing action, but entirely alters the character of the tone.
It must be borne in mind that in sensitising in the ordinary
way the salted surface has presented to it a practically un-
limited quantity of silver capable of combining, not only with
the soluble chlorides, but also the alkali, and still leaving an
excess. In the case of an emulsion, however, containing as it
does but a small excess of soluble silver salt, to which it owes
its special characteristics of tone, the presence of alkali (borax)
in the surface of the paper suffices to upset the balance and
utterly change the nature of the sensitive surface.
While there is no great difficulty in the preparation of
emulsions for printing purposes, we doubt whether many of our
684
THE BKITISH JOUBNAL OF PHOTOaRA.PHY.
[October 27, 1893
readers nt the present day will care to venture on the task.
bull, It they do, they will not find it an insurmountable one.
The chief difficulty will be in the application of the emulsion
to paper ; and this is, perhaps, greater in the case of the
printing-out emulsion containing soluble matter than on that
of a negative emulsion or one intended for development.
Floating the paper upon the emulsion will be found in
every respect the easiest plan for getting an even coating,
but it involves the necessity for keeping the emulsion liquid
without raising the temperature too high, which soon causes
discolouration of the organic salts in the preparation.
Pouring the emulsion on to the paper laid, either damp or dry,
upon slabs of glass, is altogether unsatisfactory without special
appliances for keeping it stretched tight, besides which it is
difficult to secure an even coating sufficiently thin to avoid
gloss. A rough-and-ready mode of coating, introduced by Mr.
T. G. Whaitc some years ago, answers very well for emulsions
free from soluble matter, but is not so satisfactory with the
printing-out preparations. It consists in applying the emulsion
in the solid or jelly state by means of a stiff brush, spreading it
evenly over the paper with a sort of dabbing or stippling
action, and then passing the paper over a hot plate to liquefy
the gelatine and cause it to form a homogeneous coating. But
even this requires a lot of care and proper appliances.
Perhaps the best plan will be found that recommended by
Mr. W. K. Burton a short time back, in which the sensitive
materials are applied to the paper by floating it upon a very
thin emulsion — thin, so far as gelatine is concerned, but rich in
silver salts. With chloride of silver, such an emulsion is easily
made of sufficient thinness to cause no trouble in keeping it
liquid, and will present the minimum of difficulty to the inex-
perienced.
XEzaxnlnation of Ether. — According to Herr G. Traub, good
ether, in contact with caustic potash for twelve hours, should
not undergo any change. At intervals during this time a few drops
should be let fall upon blotting-paper, and the odour scrutinised.
Also, if ether be slowly and carefully added to sulphuric acid, and
the whole kept well cooled, not the sliglitest discolouration should
take place.
Soap Bubbles. — As this subject lias lately been before our
readers, we may give the formula for a solution, recently given to the
Paris Academy of Sciences ; it is said to afford thin and very per-
manent bubbles. Yellow resin and carbonate of potash of each equal
weights, and water ten times that weight, to be boiled together till
solution is complete. Before use the solution is to be diluted with
four times its volume of water.
Quick Preparation of Kydrog-en. — Messrs. J. G. C.
Macdonald and John Ball have recently written to the Chemical Neios
stating that they have found the addition of a small quantity of solu-
tion of nitrate of cobalt to the zinc in making hydrogen leads
to a greatly increased rapidity of evolution of that gas. For those
lantern experimentalists who wish to use hydrogen in place of
ordinary coal gas, it is evident that this " wrinkle " will be of con-
siderable service.
nXonocIiroinatic Veiiow Xiig^ht. — Herr H. E. J. Q. du Bois
uses a ' Linneman burner, in the flame of which he introduces a soda
rod, preferably of a diameter of 0'4 cm. and a length of 12 cm. to
lo cm. The rods are made of a mixture of sodium bicarbonate,
sodium bromide, and tragaoanth gum. Herr E. Pringsheim uses an
Argand burner for white or monochromatic light at will. For the
latter he injects a spray of salt solution by means of a X-tul>e into-
the gas current. When the latter is put out of use, of course th&
ordinary white flame is given.
Patents' Abridg'ments. — The difficulty first besetting a
would-be patentee is the novelty or otherwise of his invention, and
to meet this the Patent Office is pubUshing a new series of illus-
trated abridgment classes. They have beeu arranged according to
subjects, and include all specifications of patents applied for between.
1877-83. They are excellently grouped by the Comptroller-General^
and will be found most useful. Optical instruments are a class of most
interest to photographers, and include improvements in telescopes,
microscopes, stereoscopes, magic lanterns, lenses, reflectors, &c.
Various tripod stands find a place in the volume.
Iiig'ht-dlspersion Difficulties. — In the course of his
treatise upon the photography of the most refrangible rays of the
spectrum, Prof. Schumann says that the " photographic result in the-
most refrangible ultra-violet would have fallen out far better if the
light which originates on the refractive phases, and in the interior of
the prisms and lenses, had not regularly illuminated the visual field
so strongly that on prolonged exposure the whole plate is coloured
more strongly than the spectrum itself. We might, indeed, as I
observed in 1883 with the spectrum apparatus of Simony, consider-
abl}' reduce the diffused light by shortening the slit length to a
minimum (02 mm.) ; but even here, on prolonged exposure, it over-
powered the delicate impression of the most refrangible rays to total
invisibility."
A. Mew Incandescent Arc Xiamp. — As the " glow lamp "
has little actinic power in ordinary photographic work, and the arc-
lamp requires more skilled attention, considerable interest will be
taken in the new electric illuminator described in the title of this
paragraph, the invention of Mr. L. B. Mark, M.E. The arc is
enclosed in a small envelope of highly refractory glass, closed at top
and bottom by plugs, through which the carbons pass. A safety
valve is placed in one of the plugs, to avoid undue pressure in the globe
through the heating and expansion of the inside air. Upon closing
the circuit, the oxygen is consumed and the gases brought to a very
high temperature, at which they maintain the carbon vapour comint'
from the arc. This vapour is deposited upon the internal surface of
the glass in a very thin coat. The glass globe must be small, and
then the heat usually dissipated in the air is conserved, and raises
the temperature of the enclosed gases and carbon vapour. Under
these conditions, the arc itself is almost invisible, but the entire
chamber becomes luminous, giving the appearance of a solid cylinder
of light. There is not quite so much light efficiency from a given
amount of electricity as with the ordinary arc lamp, but far more
than with a glow lamp.
SOME CURIOUS EXPERIENCES WITH METOL.
I SHOULD like to place on record some rather curious experiences I
have recently had with images developed with metol, and compare
notes with other workers, with a view of ascertaining whether such
occurrences are really due to some difference in the deposit or image
formed by the new developer, or to other unsuspected causes.
Some time ago, I think, I remember reading a complaint of some
difficulty or peculiarity in the behaviour of the image developed with
amidol, I think, in the fixing bath, and I set it down at the time
chiefly to imagination, or something like it. Possibly others may
attribute my " experiences " to the same cause, though I have most
carefully examined the whole of the circumstances, and can arrive at
no other conclusion than that there ia some difference — what, I cannot
say — between the composition of the metol image and that produced
by other developers.
The first case I shall mention, although it is the most recent
chronologically, more particularly stamps the difference between the
different developers, although, had the phenomena occurred indis-
October 27, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY,
«8S
criminately, I should, hare thought little or nothing of it — photo-
grapliically, at any rate. A number of negatives were left in the
printing frames for a period of some days — about eight or nine — in
contact with ordinary printed paper which had been used as the
baclring pads. It was precisely the same paper — in the same publi-
cation— in all cases, and the same paper liad been in the frames for
several months. The negatives alone differed in character, some
being developed with metol at different times during the past three
or four months ; one or two with hydroquinone, also recently ; and
the rest pyro-developed, four or five years old.
On taking the negatives out of the frames, it was found that
several of them had been bleached perfectly white, or rather a dirty,
yellowish-white in patches, just such a colour as is produced upon a
gelatine negative by any of the hypochlorites : and, if the occurrence
had been universal, and not strictly partial, as it was, I should have
set it down to the action of a considerable quantity of " antichlor " in
paper having been set in motion by accidental damp.
But, when I say that every one of the metol negatives was so
affected and not one of the others, it would appear to be too singu-
lar a coincidence, that just those particular frames should have been
touched by damp and no others. However, to test the matter, I took
the pad that had been behind the very worst affected negative and
placed it in contact with a recently developed hydroquinone film,
selecting that because it might be that the age of the pyro negative
had given them a protective hardness. Now, after more than a
fortnight's contact there is no trace of any impression. There I leave
that question for the consideration of others.
The next case is a most curious one, and offers absolutely no data
on which to proceed to explain it. Two portrait negatives of the same
individual were taken, as I can remember, amongst the first of those I
developed with metol several months ago, and they were amongst those
which from their quality first interested me in the new substance.
I linve other negatives taken on the same day, and about the same
day some developed with metol and some with pyro, but these two
are the only ones affected in the manner I shall describe. They have
been, with others, packed away for some time in the ordinary plate
packing boxes, simply placed face to face in couples, with nothing
betjween them.
On taking out the two negatives in question a few weeks ago, the
image in both cases had changed to a peculiar pinkish-brown colour,
where it had originally been black, and closely resembled in ap-
pearance, I remember so well, faded negatives that had been in-
tensified with iodide of mercury and hypo in years gone by, though
it is needless to say no mercury in any form had been near these.
Both, too, showed a considerable loss of detail, one being much worse
than the other in this respect, tlie half-tones and finer details having
been apparently completely eaten away, and represented by perfectly
clear glass.
Now, there is no reason to suppose that those two negatives re-
ceived any different treatment in the matter of length of washing or
other circumstances than the rest of the negatives taken on the same
day. If anything, they would have a slightly better washing than
many of the others, as they were taken in the morning, and would,
according to my habit, remain in the washing rack until the end of
the day's work. Otherwise, I might have set the result down to in-
sufficient washing and the consequent fading action of hypo, although
neither the colour nor the appearance of the film would in any way
lead to that conclusion. But these two out of many are the only
ones affected.
The curious part is that under treatment, one of them with bichlo-
ride of mercury followed by ammonia, tlie other with plain sulphide
of ammonium, the whole of the lost detail returned, and, though the
negatives are by no means " beauties " to look at, they print nearly as
well as at first.
The last instance I shall give is partly explainable, so far, at least, as
the fading is concerned, though it remains to be explained in this case
why only metol images are affected. Several negatives were found
to be, some partially, some wholly, turned vellow as if converted into
iodide of silver. Some time ago I tried the method given in the
JornKAL for detecting the presence of hvposulphites in the negative
after fixing by treatment with iodide of potassium ; but, not having that
salt at hand, I used iodide of ammonium, the remnaiit* of a bottle tkat
I have had for fifteen or sixteen years, and which had becoMe a ■•■
of yellow crystals saturated with a deep brown-coloured liqaor.
What the chemical action of this complex deoompoaitioa prodoet
had been upon the images to which it was applied I cannot My ; but
there was the result, but only on tliose negatives developed with matoL
Can any readers of the Joubnal throw any light on theae poizle* P
W. B. BoLTOjr.
♦
CONTINENTAL NOTES AND NEWS.
Thloslnamlne. — Tbiosinamine, which ourreaders wiUrememlier
was employed by Colonel Waterhouse in his reversal experiment«,li«»
been suggested as a fixing agent by Herr Liesegang, who thus
enumerates its advantages and properties. An aqueous solution of
thiosinamine (CS,NH2NH,C.Jl5) fixes gelatino-chloiide plates ■»
rapidly as hypo ; for bromide films it takes longer to act. Chloride
papers are completely fixed in four minutes iu a one per cent, solution
of thiosinamine. With gold chloride solution thiosinamine may be
used to form an energetic combined toning and fixing bath. Ariato-
totype prints so treated resemble pla linotypes. Concentrated aeidc
(HCl for example) do not decompose it or minimise its solvent
powers ; alkalies should not, however, be employed with it. It does
not injure the image in any way. Unfortunately thiosinamine i<
very costly— 120 francs per kilogramme.
Development of Partly Printed Proofs on Albu-
men Paper. — Herr. Valenta directs the usual exposure to light
to be reduced to a fourth or a fifth, and recommends the following
developer: —
Hydroquinone 10 grammes.
Alcohol 100 c.c.
B.
Sodium sulphite 100
Citric acid 6
Water 500 cc.
For use take 5 e.c. of A, 5 c.c. of B, and 100 c.c. of water. The
violet tone of the print rapidly passes to a yellow brown, and
development is finished in about ten or eleven minutes. The prtntc
are next washed and toned in a sulphocyanide bath. The following
combined bath, recommended by Messrs. Lumifere for their citrate of
silver paper, also answers : —
Water ''>00 grammes.
Sodium hyposulphite • 200 „
Ammonium sulphocyanide 26 „
Alum 30 „
Solution of acetate of lead (1 : 10) 40 „
Heat to sixty degrees and filter. To each 100 c.c. of the solution M.
.50 c.c. of water and 10 c.c. of a one per cent, solution of gold chloride.
This bath will tone in about ten minutes. The following pyro d»-
veloper may also be employed for the purpose : —
Water 1000 grammes.
Sodium sulphite 100 „
Pyrc^Uol 10 n
Citric acid H »
This developer, even after use, keeps well. The prints are washed 'ir
the usual manner when taken from the printing frame.
A Solder for Aluminium.— This aolder is the invention of a
Norwegian, and it is composed of cadmium fifty parts, twenty parts of
zinc, and thirty parts of tin. The zinc is Srst melted, the cadmium
ia added, and finally the tin in fragments ; the mass is melted and
well stirred, and then run into ingots. The solder may be emploved
for other metals as well as aluminium, the proportions of the ingre-
dients being vsiried to suit circumstances. A strong and tenacious
solder requires a large proportion of cadmium ; to obtain the greatest
possible adhesiveness, the proportion of zinc must be large; great
polish is obtained by increasing the tin.
THE BKITISH JOURNAL OF PHOTOGRAPHY.
[October 27, 1893
Ziong'evity of Aristotype Paper. — M. Hofimann has
recently printed and toned some Aristotype paper which he bought
in Moscow in 1886, and which had since gone through many climatic
vicissitudes. Excellent results, without degradation, were obtained.
AUXILIARY EXPOSURE.
Quits early in the days of collodion, a slight exposure, either before
or after the camera exposure, was advocated, but no very satisfactoi-y
results appear to have been obtained. Now and again the subject is
revived, apparently only to be put aside without coming to any defi-
nite conclusion. So long as the eye alone is trusted to estimate the
results, this must necessarily be so, for it is quite unable to correctly
estimate the resulting alterations, also the introduction of extra fog is
very misleading.
If only confined to an intentional exposure, few would be in any
way interested, but, as an auxiliary exposure may be given in various
ways unintentionally, its precise effect seems to need a little investi-
gation. It may occur thus : —
1. During the manufacture of the plates.
2. Light received when changing plates.
3. Reflection from the surfaces of the lens or camera.
4. Light received during development.
1. The exceedingly careful manufacture of the present day has re-
duced this to a very small amount, so small indeed that Messrs.
Hurter & Driifield, in their method of estimating the speed of plates,
found that the reduction of silver due to this cause might be simply
classed with the opacity of the glass and gelatine, and the reduction
due to the chemical action of the developer ; that is, that the total
opacity due to these three causes combined, might be taken as uniform
over the whole plate, the effect of which is simply an increase in the
time required for printing, the gradation of the photograph remaining
unaltered.
2 and 3. When, however, a considerable amount of Hght has
reached the plate, the action becomes important. Instead of a uni-
form reduction of silver all over the plate, we have now a uniform
time addition to all the exposures, the amount of which is, of course,
unknown. Its true effect is easily obtained by giving certain known
exposures and a known auxiliary exposure to a part of the plate,
afterwards comparing the opacities obtained.
On page 458, July 21, Diagram No. 2, Messrs. Hurter & Driffield
give all the necessary data by which the altered curve due to auxiliary
exposure may be plotted, thus, with, say, one-candle meter second
auxiliary exposure, the new curve would be found by taking from the
diagram the density due to 1'312 C. M. S. exposure and marking it off
upon the -312 C. M. S line. In similar manner throughout, 1'625
upon ■62.5, 2-26 upon 1'26, &c.
Notwithstanding that the densities are found to be greatly increased
where the exposures are small, nothing is gained, but rather the con-
trary, because the total range of density has been reduced, and the
shadow detail must therefore be less, seeing that the high lights
remain almost the same as before. Anything whatever that may
cause auxiliary exposure before development should therefore be
carefully avoided. (See also p. 634.)
4. Light received during development. This will be found to vary
greatly in its effect, because at first it begins by acting in a similar
manner to auxiliary exposure before development ; but, as development
proceeds, it is really printing through a partially formed negative
upon the sensitive portion still remaining. The ratios, both of density
and opacity, are now completely altered, and, if the auxiliary light is
excessive, not only is there much fog, but with some plates reversal
of the shadows.
In order to test the action fully, plates which had received the usual
test exposures for the determination of speed were partly developed,
and, after giving an auxiliary exposure, the development was com-
plete The period of correct reversal wich the best plates so far
found is very small, still it is sufficient to allow of a direct positive
being taken in the camera, instead of a negative, provided always
that both the camera and auxiliary exposures are calculated very
accurately.
It is necessary to arrange that the highest lights may come about
in the position where the shadows begin to be correctly represented
in a negative. Owing largely to the high lights being degraded by
the weak negative developed before the auxiliary exposure is given,
the results at best are poor compared with a transparency made in
the usual way from a negative. , ,
Only comparatively slow plates appear to give any available
latitude ; but, as the exposure required to obtain a positive is only '
about one-thirtieth to one-fiftieth of the time needed for a properly
exposed negative, an actinograph speed of about 600 has been
reached, or about four times the rapidity of the quickest plate yet put
on the market.
Any attempt to alter the gradation of a negative by auxiliary
exposure during development appears therefore far more likely to
spoil it altogether than to result in any improvement.
J. SlEBBY.
THE ENGLISH LAKE COUNTBY.
[London and Provincial Pliotograpliic Association.]
If any one should contemplate making a visit to the English lake district
he can hardly do better than go to Ambleside in the first instance,
making excursions from that picturesque centre as opportunity may offer.
I was, last June, led to take this course, and I obtained the hint by the
simple expedient of consulting a map, for the map told me that within a
short walk south of Ambleside was the Head of Windermere, about an
equal distance north was Rydal Water, Eydal Hall and Waterfall, and
that a short distance from there another lake, Grassmere, could be
reached. There were thus three of the English lakes within the compass
of a short ramble from one another, besides waterfalls, glens, and other
beauties, which seemed to make Ambleside a most advantageous centre.
To Ambleside, therefore, I went, and found no reason to repent my choice.
It is a quaint village beautifully situated in a valley, the hills rising all
round it except in a southerly direction, where they open out towards
Windermere. Windermere, although, I believe, the largest of the lakes,
is tame in aspect when compared with the others, moreover, it is so
narrow that it has more the appearance of a river than of a closed-in
piece of water. The hills surrounding it are not high, and they mostly
slope gently down to the edge of the water, park-like in appearance and
studded with private residences. Beyond a few sky and water effects I
did not attempt any photography on Windermere.
One of the oldest, prettiest bits in Ambleside is the mill, which I now
show you. It has been immortalised by Turner and by many other lesser
artists, and has evidently not changed much in appearance during the
past 100 years. At the time of my visit there was very little water, for,
though the lake district is generally considered to be a very damp
neighbourhood, it shared in the general drought of 1893, and the water-
falls were robbed of much of their usual grandeur. Ambleside is essen-
tially a tourist rendezvous, and there are coaches coming in and out of
the town continually, which run in connexion with small steamers on
Windermere. One morning, in a back lane, I came upon a pictu-
resque smithy. There is nothing very noteworthy about my picture,
save that it is taken with a hand camera. But the glory of Ambleside
is Stock Gill (a gill, I should tell you, is a narrow ravine, with a
rapid stream running through it). A bobbin mill stands at the en-
trance to Stock Gill ; but when I photographed it — again with a hand
camera — there was certainly not water enough to make it bob, or do
anything else. Turning our backs upon the bobbin mill, we can walk
for half a mile or so up one of the sweetest ravines in the lake country.
There is hardly enough water to make a connected stream. It is more
like a collection of deep pools, variegated by boulders. In the peat-
stained water of these pools you can see the trout playing about by
hundreds, and wondering when some rain is coming to refresh them.
This is a lovely stream, which affords a picture at every few yards.
Here, on a dull day, and in the absence of wind, with a short-focus lens,
stopped down, you have a photographer's paradise. You can either fol-
low the river-bed, or you can climb the high bank, which carries yon
sometimes fifty feet or more above it. The scenery is grand under both
conditions. But you do not reach the highest point of the glen
before you hear the sound of tumbling water, for yon are approaching
Stock Gill Force. The water here makes three falls, altogether seventy
feet in height, and you will notice that the principal fall is divided into
two by projecting rocks. After a few days' rain, I am told, the scene
here is of the grandest description, the water playing over the rocks in
a sheet of foam and amid clouds of spray. When I visited it, the water
was half-asleep.
I have already told you that Ambleside is a convenient centre from
which excursions can be made, and one of the first which I undertook
was to Eydal. The village has nothing interesting about it, save the
house called Kydal Mount, where the poet Wordsworth lived for so many
years. I did not go there, for the whole district is flooded with photo-
graphs of the place, and I was content to leave it alone. Close by is Ey-
dal Hall, the seat of Lady Le Fleming, and I was far more interested in
this place because the grounds contain two noteworthy waterfalls. On
my way thither I passed some rough ground, with a promising group of
October 27, 1893]
THE BRITISH JOURNAL OF PHOlOGRAPHY.
M7
oattle perched high ap on a granite hill. I stalked them, and had a shot
at them. But cattle are the most unsatisfactory models, and always
group themselves as badly as possible. Nor will thoy take a hint to do
better ; if yon pitch a stone at them, they simply move away.
On the main road, just outside the village of Bydal, is a mass of rock
with steps cut in it so that one can reach the summit. Wordsworth is said
to have chosen this point as a favourite resting place. It is now so over-
shadowed with trees that nothing can be seen from the summit. Doubt-
less It was different in the poet's time. It is noteworthy that yon are ta
liberty to climb these'steps without paying for the privilege. You have
to pay for most things in the lake district ; it generally costs you a
shilling to see a waterfall. This is certainly the case with the falls at
Bydal. You call at a cottage for a guide, and the guide solemnly un-
locks a side gate into the park and takes yon there.
The upper Rydal Fall is halt a mile from the one which we just saw.
You can only see it from one point, and from the nature of the surronnd-
ings I do not think there is any other choice as to the position for your
camera. If you want a more comprehensive view, you mast therefore do
as I did, and screw on to your camera a shorter-focus lens.
Bydal Lake is one of the smallest in the district, but at the same time
one of the most beautiful. It is not a mile in length, and scarcely a third of
a mile across, so that yon can make the circuit of it in little more than an
hour. But every step will open up to view fresh beauties ; and one
gets so satiated with the loveliness of nature, that you feel the same kind
of exhaustion as you do after an hour or two in a picture gallery. There
are one or two islands on the lake, small as it is, and here the wild fowl
congregate in peace, for no one can disturb them.
The guide-books to the lake district are most aggravating to read, for
at every third or fourth page they quote Wordsworth. The copyright on
that good man's works has ran out and such quotations are cheap.
Near to this spot, on the high road, is Nab Cottage, where Hartley
Coleridge lived.
In the lake country, if you want to take photographs, yon must do a
lot of trespassing. And this is not always easy work, for hedges, hurdles,
or gates, are replaced by very stony stone walls over which you have to
climb at the risk of breaking your neck.
Here, on the left of my picture, you will see the kind of wall I mean .
Bnt some of them have loose stones artfully arranged on the top, so that,
although you can climb up there, you find yourself on a very insecure
place, and feel as if yon and the wall too were on the point of tumbling
down.
Continuing on the road by the side of Bydal Water yon come to Grass-
mere, which is also a very beautifully situated lake. Far away at the head
of the lake lies the village of Grassmere and Grassmere Church. This is
one of the very ugliest churches in the kingdom, but the guide-books
rave about it principally because Wordsworth and Hartley Coleridge lie
buried there. It is so much photographed that I did not care to add to
the number of pictures. But I changed my mind when far away by the
side of a mountain rivulet I caught a glimpse of it through the trees.
Here distance certainly lent enchantment to the view. Besides, there
was no one to worry me with quotations from the deceased poet.
A conspicuous feature of the scenery of Grassmere is a strangely
shaped conical hill called Helm Crag, of which this is a distant view*
It is very beautiful on a cloudy day to watch the rapid changes which
come over a mountain like this, when the shadows chase one another
up the sloping sides, and foreground and distance are alternately bathed
in sunshine.
A good pedestrian has a great advantage over persons who have to
depend upon another animal's legs. He finds his way into nooks and
comers where the common tourist never thinks of wandering. I dis-
covered this years ago in the Highlands, and I rediscovered it in the
English lake country. As an example of what I mean, let me show you
a lew views taken of a small piece of water known as Loughrig Tarn.
"A tarn," says the guide-book glossary, "is a small sheet of water
usually high up among the mountains." Now, you know why the tourists
don't go there, it involves a heavy climb, and there is nothing but water
to drink when they get there. Bnt it is a beautiful spot, and well worth
the barking of your shins in the climb over numerous walls, before you
find yourself there. You run a chance of losing your way unless you
carry a map and compass, as every wanderer should do, for houses are
few and far between, smd yon meet no one among these solitudes.
Please observe the bit of disturbed foliage in this picture. I thonght at
first that this was a flaw, but showed it to a friend, and he raved about
it. He was an impressionist. He said that, if the picture were his, he
should destroy it, all but that bit in the corner ; this he would frame, for,
whenever he looked at it, he could hear the leaves rustUng.
It is the fashion, as yon all know, to Mt more store by a little flgnr*
stndy than by a landscape pnre and simple. I do not agree with this
notion. It is far easier to pose a figure by a cottage door, for exampU,
than it is to oonqner the diflioultiei of a view like the one bafora yoa.
Any one who has tried to take a landsoape like this, with dUtant bill*
bathed in sunlit atmosphere, will know what these difflcnltiss are.
Leaving Loughrig Tarn, I made my way to Grassmere, and so home to
Ambleside. On my way I passed throngh some exqnisite scenery.
Having spent a week at Ambleside and its sarroundings, I resolved to go
by coach to Ullswater. They charge yon 5«. for the trip, and make yoa
walk half the distance. Directly yon leave Ambleside, the ooaob bagiaa
to go up hill until you reach the Kirkstone Pass, 1500 feet abore, a(t«r
which yon come to Brothers' Water. The guide-book says that this
name is derived from the sad circumstances of two brothers having lost
their lives here, and it adds, " an accident which occurred twice." Now,
you can imagine a man losing his life onoe, bat he must be abnormally
careless to lose it twice. These guide-books are really not reliable.
[Mr. Hepworth then described how he arrived at UlUwater, and photo-
graphed the objectt of interut round about that beautiful lake, once more
returning to Ambletidi through the picturetque village of Troutbeck, xchere
he found many opportunitie$ for camera work. HU paper icai illustrated
by about sixty lantern tlides.] T. C. Hbpwobtb.
DEVELOPED GELATINO-CHLORIDE PRINTINQ-OUT-
PAPER.
(Photograpliio Beoord, Manobatter.l
Thk followinjf notes on my experiments in exposing and developing
gelatino-chloride paper refer, for the sake of simplicity, to amidol
alone. The other developers may be dealt with at some future time
by myself, or some other of our members may be induced to turn their
attention to it, and give us the results they may obtain. The subject
is full of interest and the difficulties surrounding it are but triflmg.
I prepared a stock solution as follows : —
Hot water 5 ounces.
Amidol (Hauff) 20 grains.
Sulphite of soda (Johnson's) 4 drachms.
Potassium bromide 20 grains.
Hydrochloric acid 20 drops.
When cool it is [ready for use, and is to be diluted with water as
required.
By varying the proportions of the solution by the addition of water,
in conjunction with the exposure, a variety of tones may be obtained.
Thus a short exposure, witn a strong solution of amidol, produces dark
tones; while a long exposure, followed by a weak solution, gives
warmer tones. It will be observed that the solution is distinctly acid
and strongly restrained.
Three different tones may be obtained as follows : — Procure a fresh
Eacket of Ilford P.O.P. (I have found that to act best so far), and,
aving selected a good quick printing negative, take them into the
dark room — for the paper must only Ibe opened in a ruby or orange
light. Place the negative in a frame, and insert a sheet of the paper
just as carefully as a bromide sheet or lantern plate is dealt with.
The exposure is now to be made by daylight. Expose the first
sheet, say, for four minutes, and, if on returning to the dark room a faint
image is visible, remove the print and put another sheet in its place.
Let the second exposure be for two minutes, and then follow on with
the third, giving it one minute. Mark the time of each exposure on
the back of the sheets with a soft black lead while they are in thd
frame. This will save confusion.
To develop take ^
Stock solution 1 ounce.
Water 1 »
First soak the sheet that has received one minute's exposure in a weak
acid-water bath (two drops of hydrochloric add to the pint of water),
and then immerse in the above developing solution. If the paper
begins to darken where there has been no exposure, it is an evidence
of under-exposure. If the exposure has been right, it will commence
to develop very slowly. When complete, pass it direct into the fixing
bath — hypo (saturated solution) one ounce, water three ounces. Over-
development will produce a veil on the surface of the paper. When
this is seen, the print must be placed at once in the fixing- bath, and
must remain there until it is removed. This may require half an hour
or so. Keep the print face down in the fi.xing bikth.
Now treat the second and third prints in the same way, using the
1 same developing solution, &c.
.?«■ .Ui
:■!!':( ^'11' ..»*■<
■gf
rS8
THE BRITISH JOtmNA:L OF .PHOTOGRAPHY.
[OctoI)er;27, 18^3
If nil has gone on ri^ht, we- 8h<juld have'thTee prints, exhibiting
three different tones. The one that has received one minute exposure
should be of a black tone,,tbe twominutes' exposure should be a warm
sepia brown, and the four niinutes'eiposure should be 'a light sepia
approachinf^ to red. ' ' .
I hare also been able to obtain vary good results with the following
comUned developing agents : — ; ,;,:J i :,'.■
Amidol .•:> . ..;. i . . . " 3 parts and pyro 1 part.
Amidol ...I... '••■•■ 3 „ „ metol 1 „
. Amidol ; ■. ; ... ; i . . ; 3 „ „ glycin 1 „
Any of these may be employed without using ail accelerator, but, if
development requires to be hastened, a few drops of a 10 per cent.
solution of carbonate of potass, or carbonate of soda, will accomplish
it.
The stock solution of acid-amidoM have-already given makes a very
good developer when reduced to half strengtli for the Nikko paper
just introduced by the Eastman Co, A good printing negative will
require from ten to twenty secogds' exposure at one foot from the
gas. ' fii: . • Henky Smith.
A PAINTEB'S VIEW OF THE PHOTOGBAPHIC EXHIBITION.
II.
Whes I commenced this desultory article I hoped briefly to notice the
most interesting pictures in the show ; but, as 1 find so many which are
both highly interesting and beautiful, I shall be compelled, from want of
time and space, to confine my remarks to the few wliioh demand special
attention.
No. 27, Sons Us Couriers Roses (collotype), by Emile Frechon. This is
the first of a set of five, Nbs. 30, 36, 65, 195. The subjects seem to re-
present native lite and scenery in Algeria. They are truly artistic in
treatment. The prints are about 12 x 10, mostly vignetted on large sheets
of drawing-paper, texture not coarse, and the part on which the print is
hupressed seems to have been smoothed a little. I almost forget what
the collotype process is ; I know very little of processes, or of the scientific
mechanism by means of -which photographers produce their pictures, but,
if these pictures have been printed by machinery in a printingpress, they
are very beautiful results. No.- 195 is the finest. It is on smooth paper,
with a glazed surface. The clearness, and transparency, and the perfect
definition are delightful. A medal has been awarded to No. 30, Un
Harem en Deplacement. It should have been awarded tor the five. It
represents an Arab caravan in full swing, the ladies of the harem, in
course of removal, being sacredly juarded from the gaze of profane eyes,
in large, tentlike arrangements oh the backs of the camels. As might
be expected, the definition of the moving objects is not quite sharp, but
it is sharp enough, and the motion is well represented. Neither is the
landscape beyond the figures sharp ; if the distailce had been left sharp,
it would have come forward against the softened figures, and have thrown
the picture out of harmony. M. Frechon probably blurred the distance
to prevent this. In such aft exceptional case blurring becomes a virtue,
not a vice ; it is neither photographic depravity nor unworthy trickery.
No. 40, Omegna, Lake Orta, by J. A. Sinclair. Medal. A print
destroyed by the extreme coarseness of. the paper used; the rough,
obtrusive texture is quite out of proportion to the small size of the print
and the nature of the subject ; it arrests the attention, destroys all feeling
of soft, delicate, and atmosplieric effect in the sky and distance — or such
distance as is left — and brings them right up to the foreground like
portions of a rude stone wall. What is called Lake Orta is actually
depicted as a rough field, the surface of which is slightly obscured by a
light fall of snow. A confused figure of a woman in the immediate fore-
ground, although it helps the composition, is placed too near, and comes
out too large in proportion to the trees, cfec, which it dwarfs. I observe
that these prints on very coarse paper invariably destroy atmosphere and
the hght and tender passages, and they destroy the clear, soft, liquid, and
transparent character of water, which is liot often obtained in photo-
graphic pictnres. The delicate and refined qualities have all suffered
from this epidemic of photographic small-pox, or measles, or both
combined. The injury to the darker ornearerparts is not so apparent,
but the finer qualities of good photography are wilfnlly destroyed ; its
great softness, and deUcacy, and harmony of gradation, its marvellous
wealth of detail, and its wonderful acciu-acy of definition, peculiar to
itself alone, and which cannot be approached by any other of the graphic
arts, are all cancelled. In support of my assertions I shall call the
evidence of an able expert, Mr. J. A. Sinclair himself, who shall prove,
by the admirable work of his own hand, that my protest is not uncalled
lor.
Now turn to the opposite wall and look at No. 184, Lago D'Orta,
three hand-camera pictures (platinum) by J. A. Sinclair. The central
picture is an exquisitely delicate and beautiful representation, on a
I'mooth surface, of Omegna, Lake Orta, apparently printed from the same
negative from which the small enlargement, No.-40, wa^ produced. la
the small picture we have not only the. soft atmospheric effect, but a
dear representation of the distant mountain on the left, and much
bfeautifnl detail which has been textured out of existence ih the llarge
copy. I quite admit that coarse paper may occasionally be hseQ, -rfiihout
much disadvantage, for large studies of a suitable chiraCter^^fdr in-
stance, Mr. J. A. Sinclair's fine study, Np. 204, An Ancient' iilarm^t-^a.n(l
I. believe he is well entitled to a medal for the general excellence ojt his
work in the gallery; but, for No. 40 ! No, it does not represent arijistic
progress, it is photographic retrogression.
■ No. 55, After Sunddwn. A poor little photographic .scrap oh coarse paper
-^an attempt to imitate' a sepia drawing by hand. Any landscape pajnter
could make a better sketch in fifteen minutes. The flat-streaky sky in
this nondescript thing looks as though it had been photographed from a
first attempt by a little boy. Medal awarded. No. 84 contains seven
admirable female heads (carbon) by Gebriider Liitzel, of Munich, each
in a different colour, and cleverly transferred on to one large sheet of
paper. No. 79, Portrait, a life-size bead of a girl,, injudiciously got up
in an enormous frame and mount. No. 80 is an atitotype enlargement
from a negativ/e by F'. Bayley. This picture is full of majestic solemnity
and poetical suggestion, but the beauty and harmony of the whole so ene
are marred by the tiimbledown appearance of a lake in the distant
mountains ; it may be in correct perspective, but it does not look so ;
the reflection is so white, and the outline so hard,, that it seems as if a
piece of paper had. been cut out and pasted on to the spot ; this is just
one of those inherent defects, which cause a mechanical photographic
reflection of a subject to differ from a work of art. It is printed rather
darkly, in a blue-black inky tone, which detracts from its value, which
is still more depreciated by contrast with the shine of the gold flat, and
the richness of the warm brown or maroon colour of the frame.
No. 103, The Proud Turk, by J. S. Bergheim. Medal. This looks
printed on one of those sketching boards for students, embossed with a
surface to imitate canvas (these imitation tricks are bad — they had better
pay a trifle more and get the genuine canvas mounted on boards), but
Mr. Bergheim says it is a transparency over yellow blotting-paper. The
effect would have been better if the paper had not been so ysllow. Tlie
background is too light — no outline of right shoulder visible; figure, face,
and background all same tone. Nevertheless, the study ismanifestly pro-
duced by aman with fine artistic feeling. A better effect might possibly have
been obtained by a tinted glass in front of the picture. Many>of these cold
bromide prints might be redeemed by a glass of a light amber tone, or a
moonlight effect, for instance, might be effected by a glass lightly
coloured greenish-blue.
No. 140, Fountains Abbey, bemarkable for- the definition of the archi-
tecture and the transparent purity of the shadows. No. 151, four studies
in red carbon, by W. J. Byrne, in a handsome, heavy, very dark green
and gold frame, which weakens and overwhelms the studies in the four
openings ; the red is made to look very hot, and, as the colour cannot
reach any depth in the shadows, the prints look poor and faded, although
they are not really so. There is a complete absence- of colour harmony.
A frame of this tone would have suited the Ceylon landscape* No. 80,
and vice vermj. If a photographer would take a print, say 8x0, of
neutral tone, and get three mounts several inches wide round the opening,
one blue, one red, one yalloivt atid place the' blue, then the red, then the
yellow over the print in succession, he would observe that the blue would,
by contrast, give it an orange tone, the red would give it a greenish tone,
and tlie yellow would give it a tone inclined to purple. Of course, no one
would use a positive blue, red, or yellow mount, but a light or dark
mount of a blueish, reddish, yellowish, or neutral tone should be selected
to suit the requirements of a print. If three prints of the same subject,
exactly of the same tone and strength, are used for the same experiment,
and the blue, red, and yellow mounts are applied simultaneously, side by
side, the effect of the contrasts will be more apparent. The eyes should
rest briefly on the colour of each mount before looking at the print.
No. 156, Portrait Study (direct carbon), about 10 x 14, by H. Bulling-
ham. I mention this pleasing portrait of a young lady because it
affords an instance of the judicious use of the texture. Here it is that of
ordinary drawing-paper — not rough — and nothing could be more appro-
priate to the character of the suliject and the size of the picture. More-
over, paper of this texture is well adapted for receiving water colour.
Nos. 189 and 197 contain some valuable studies of Animals at the Zoo,
by Henry Sandland. These are examples from a large collection of
animal studies whiQhthat gentleman has formed by great assiduity and
perseverance. In the case of some of the more shy and restless animals,
he has only obtained his negatives after years of patient . waiting and
watching for his opportunity. Many of the finest animals are now dead.
In some cases specimens to replace them can scarcely be hoped for. His
collection will probably form the nucleus of an important zoological
picture gallery, whicli would be of great service both to zoology and art.
Buffon said, " Le genie n'est autre chose qu'une grande aptitude a la
patience.^' If this be true, then does Mr. Henry Saudland deserve to be
regarded as a man of genius. ,
I now arrive -at the magnificent Figuxe Studies by Count W. von
Gloeden, -which I came specially to see. They are the finest examples of
pure and artistic photography that I have ever seen anywhere. Some of
them would bear comparison with classic works of fine art by such painters
as L. Alma-Tadema. There are twenty of them, commencing with
No. 213. Although it is a matter of no significance, I may as well mention,
enpafsant, that a medal has been awarded for No. 241. It would be
October 27, 189S]
TtlE BKITISH JOUKNAL OF PHOTOQRAPHY.
doing them an injustioe were I to attempt to describe the exoellenoe of
tlioir quality within a brief space. I must therefore content myself with
advising every artist who has the opportunitv to go and see them for him
or liersolf,
No. ■24H, by John Howson. Medal. A passable little picture, A
Calm he/ore a Storm — clouds, water, and boats, apparently (?ot op in
imitation of an oil painting. It is a silver print, very yellow. The
yellow lielps to give a glowing effect of evening light. It would have
looked bad had it not been saved by being harmoniously framed close up,
without any mount, in a gilt frame, such as would be used for an oil
painting. But— good gracious ! — what have we here in No. 254 ? A small,
miserable abortion of photography, a female figure in a sitting posture,
with a black face, and a dreadful something —meant for a hand, wrist,
and arm — in front of it, the ugliest representation of a portion of the
human form I ever saw. Mirabile dictu — medal awarded ! After this
shocker, how refreshing it is to look up at those exquisite lioies by
Cieorge McDonald, M.I).
No. 3011, Piirtrait (direct, untouched, carbon), by Alfred Werner, of
Werner A Son, Dublin. This is the grandest example of photographic
art in the Exhibition. It is a full-length, life-size portrait of a charming
lady, it is hung in a corner, and the large plate of glass renders it very
difticult to see it properly ; in some minor points it might have been
better — for instance, if the left arm had been slightly turned round to
show less of the back of the arm and more of the front edge, the outline
atid proportions would have been seen to more advantage ; and, if the
skirt of the dress on the same side had been drawn out a little, the lines
might have been better. But, taking the composition as a whole, if this
picture had been painted in oil colour, it would have been up to the
average of full-length portraits to be seen on the walls of the Royal
Academy or in Continental Exhibitions, j Of course, this splendid photo-
graph is passed unnoticed by the wonderful .Judges who were capable of
bestowing medals on scraps No. 55 and No. 254.
No. 322, Dr. Carlyli; from the painting by Sir G. Reid, P.R.S.A.
(gravure). Sir George is the leading portraitist in Scotland, but this is
not a happy example of his work. It is a side view of the Doctor, who
appears to have almost turned his back on the spectator, whom he is
taunting over his shoulder, with a disagreeable, sinister expression.
Now refer back to No. 268, Dr. Carlyle, of Langholm (taken direct),
a life-size head, by J. B. Scott. Observe what a much more pleasant and
genial character the Doctor looks in the photograph.
No. 323, The Lamh, from the painting by Fred. Shields (gravure),
apparently reproduced from an engraving. — The children afford a very
poor example of Fine Art, when compared to portraits, in the exhibition
of children about the same size, produced by photographic art. Nos. 319
and 333 are admirable reproductions of art, by R Keene ; they are
mounted and framed to perfection.
No. 32'J, The Newhaven Pacl'et. from the painting by H. T. Moore,
R.A. (gravure). A most successful Autotype reproduction.
No. 334, A yiai-ht Race. A carbon enlargement, printed in colour by
Elliot & Son. This is an interesting, e.tperiment, but I doubi if this
kind of printing can ever rival the results already attained by photo-
chromo-lithography. I must finally notice a beautiful example of artistic
furniture. No. 279, Photographs from Nature decoratirehj applied, by
Fred. Hollycr. This indicates a grand field for the direction of photo-
graphic enterprise. Palette.
FOREWORDS: ON PHOTOGRAPHY AS ONE OF THE
GRAPHIC ARTS.
[CatalORue of the Photographic Salon. J
Among the monochrome arts photography seems to hold a place nearer
to the copper-plate processes than to any others. Like them, it is a
negative process, a plate being produced from which positive impressions
are afterwards made. As in etching, the original plate is made by
chemical means ; as in mezzotint and aquatint, the drawing is in tones,
not lines; but, unlike any other process this drawing is accomplished by
the action of light, without the intcrposiliim o£ the hand.
Although not entirely limited by what is presented before it, the camera
is not much used to show its power of invention, being employed,
generally speaking, to reproduce more or less accurately what actually
exists before it at one time. The way in which it shall do tliis, however,
is a matter that is to a very great degree under the control of the user ;
to a degree far greater than is usually suspected by either artists generally
or by casual photographers.
The selection and use of the lens according as either special emphasis
or a generalising effect is required, the selection and relation of exposure
and development, the choice of printing method, including the varieties
of surface texture, and, perhaps more than all, an infinitude of devices,
selection, and modifications of effects by the skill and knowledge of the
handicraftsman in printing ; these allow a range of variations in treat-
ment, that is amply sulEcient for the expression of the worker's
individuality or idiosyncrasy, artistic and poetical, or otherwise.
.\mong the chief virtues possessed by photography as a medium for
artistic expression may be mentioned : —
Its great delicacy of tonal gradation.'
Ita ready secnring of aerial perspMtlTe, u ihown in moay caaM o(
twilight and miat elTecta, and in the rendering of atmotphera aod
distance.
Its means of fixing the forms and positions of rapidly changing anbjcctf,
as shown in the transient effects of moving water and cicada, ood in
so-called instantaneous pictures generally.
Its giving absolutely faithful drawing and perspective of any suhjeot,
however difficult, from an actual as distinguished from an imaginary
standpoint.
Its adaptability to very varied classes of snbjecta, and above all, and
through all these qualities, the wonderful naturalness of ita reialta, a
naturalness which must appeal to every observer and which ia oompelling
closer study and knowledge on the part of all draughtsmen and painten.
These and many other points might be named, to show the great range
of possibilities for the artistic employment of photography.
That photographers at times do not use their process to the best artistic
advantage may be true ; but, if so, the fault is with the worker, not the
method.
The dull diagrammatic prose of the earlier types of work is giving way
to a more subtly suggestive style of treatment ; and the initial blanlmesa
of wonder at its possibilities has been, or is being, gradually replaced by
a clearer perception of what it can do well, and can do, for certain classes
of subjects and effects, with a perfectness unapproachable by other
methods.
Perhaps the greatest curse of Photography in the sense now onder
consideration is the fatal ease with which indifferent work may be
produced by its means. But for the best work as much artistic feehng,
as much technical proficiency, and as much patience and care are requirnl
as in any other of the graphic arts ; among which, for the intrinsic beauty
of its products, it certainly deserves to bold on honoured place.
HACKNEY PHOTOGRAPHIC SOCIETY'S EXHIBITION.
Good though it undoubtedly was, we are inclined to think that this year's
Exhibition of the Hackney Photographic Society, which was held last
week at Morley Hall, N.E., hardly equalled its immediate predecessor in
point of average quality, particularly in those classes which were then its
greatest strength, viz., those open to non-members. Again, there seemed
to us to be room for improvement in the hanging of the pictures, while
their classification was, perhaps, not altogether snccessful. Still the
Exhibition was, on the whole, a very meritorious one.
Class A (members' pictures not previously exhibited for competition)
might with advantage have been much smaller, and we throw out a sug-
gestion that in such Exhibitions a restricted number of pictures from
members should only be admitted. Mr. W. J. Hensler had a series of
thirty New Zealand views, mostly showing great cleverness in selection
and treatment, especially in combining crispness with atmospherio effect.
The silver medal he obtained was well deserved. Mr. S. J. Beckett justly
obtained the gold medal for a fine Evening — Verona, North Italy, a most
effective sunset view, clouds and water being ably handled, the red tone
of the picture giving it a striking effect. Mr. S. Moore's two interiors of
St. Thomas's, Upper Clapton, Mr. S. J. Beckett's photographs in the
Polytechnic Schools, the same gentleman's bold Sunrise in the Uardanger
Fjord, all stood out prominently in this class. A word of praise is also
due to Dr. Roland Smith for a picture of Bricketwood Farm, in which the
commonest objects of the farm side were availed of to make up a fresh,
charming, and yet unconventional study. In this class the Judges
awarded a silver medal to an obviously poor piece of landscape work,
which had not even the now fashionable property of being out of focus.
In Class B (hand-camera pictures, enlargements permitted) Mr. S. J.
Beckett showed an interesting picture of the Fram (Dr. Nansen's ship) on
her way to the North Pole, and Mr. R. Beckett a fine Sumet — Trondhjem
(silver medal). Mr. Hensler's Ilfracombe views, Mr. T. E. Roofe's enter-
taining Pelicans at the Zoo, Mr. W. L. Barker's really admirable enlarge-
ment of Southend, and Mr. R. Beckett's other lurid-toned studies were
conspicuous.
In Class C (new pictures taken at Club outings) Mr. F. W. Gosling had
a view of the river Roding quite in Colonel Gale's style, and a delicate
view in Wanstead Park by Mr. T. H. Smith deserved notice.
Class Fi (unmedalled pictures) included good and bad work. Among
the former was Mr. Wellington's Still Delight (silver medal). Sighting
the Fleet, a large picture of a mechanically posed woman " sighting "
something " off," was an example of what to avoid in the way of con-
strained attitude. Other good work in the Class was shown by Messrs.
W. England (The Matterhorn), W. Thomas, W. M. Warneoke (landscape,
bronze medal — a clever unaffected study of ladies in a field cl flowers),
R.. Frost {Gladiolut and White Grapes), Dresser (No. 369, seascape, being,
however, too woolly and lifeless), Birt Acres (two admirable studies ot A
n'oodland Path and Beeches), F. W. Edwards (arcbitectore).
690
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[October 27, 1893
Class F (portraiture and genre) was a small and poor one. Mr. B.
Beckett showed a study of a head, that of an elderly gentleman, which
appeared as if somewhat over-touched. This year Mr. Beckett shines
rather in landscape, Ac, than in portraiture.
In the Champion Class Mr. Wellington easily won the gold medal with
Eventide, a river-side study of great feeling.
Besides two classes for lantern slides there were several pictures not
for competition, and among these was a series of clever Voqs, by Mr. Fall
(by the way, we must quarrel with Mr. Fall for, in a portrait of Mr. Glad-
stone, having made the Premier look nearer sixty than eighty), some
splendid large direct portraits by Mr. A. W. Wason, jumping horses by
Elliott & Son, Ac.
Quite a good show of apparatus was on view in the centre of the Halli
Mr. A. P. Chalke having a display of artistic picture frame mouldings ;
Messrs. W. Watson & Sons, a selection of theirj well-known specialities ;
Mr. F. E. Morris, miscellaneous; Messrs. Fuerst Bros., amidol, metoh
&c. ; Mr. W. Wray, a case of lenses ; Mr. H. Park, cameras and appa-
ratus ; Piatt & Witte, a fine show of lanterns ; Wm. Bawlings & Co. and
Messrs. Doublet also having stalls.
®ur IBlittotial sra1)I(.
Catalogites Received.
Newman & Guabdia, 92,Shaftesbury-avenue, W.— Messrs. Newman
& Quardia's catalogue is devoted to illustrated particulars of the
firm's specialities in shutters, hand cameras, changing boxes, &c.
The descriptions given are admirable in clearness and completeness.
M. W. DuNSCOMBE, 10, St. Augustine's Parade, Bristol. — Herein
are included details of a large assortment of photographic apparatus and
sundries, together with much useful, practical information on the
selection of a camera, development, printing, &c.
Chippbb's Double Dabs Slides.
Mr. W. C. Chipper, of 39, Highgate-hill, N., has submitted to us a
sample double dark slide which he is supplying singly or in quantities.
The slide is well made, has reeded draw shutters, and is light-tight. Its
strongest characteristic is its price, a half-plate costing 5s. 6rf., other
sizes being supplied at proportionate prices. The slides are cheap and
efficient.
i^ftos anlr i^otes.
Lewes Pbotooraphic Societt. — Next meeting November 7, Lantern
Evening of Members' Slides.
Photographic Club. — November 1, Annual General Meeting. 8, Members
Open Night.
Brixton and Olapham Camera Club. — Nejtt meeting, November 7,
Lantern Slides by Reduction, by Mr. Butler.
Lettonstone Camera Club. — October 28, Members' Lantern Evening,
Chair taken at eight o'clock. Members will please bring slides.
London and Pbovinclal Photooraphic Association. — November 2>
Demonstration by Mr. S. Herbert Fry, The Paget Lantern Plates. 9;
Lantern Night.
Putney Photographic Society. — Monday, November 6, at eight p.m., at
Boys' Gymnasium, Charlwood-road, Mr. S. Herbert Fry on Unconventional
Printing Methods.
By referring to our correspondence columns, it will be seen that au open
social meeting of the National Association of Professional Photographers will
be held at Coleman's Hotel on November 10, to which all photographers are
invited.
Mkssrs. Hobson & Co., Wellington, Shropshire, will shortly publish an
architectural account of The Churches of Shropshire, by D. H. S. Cranage,
B.A. It will be illustrated from photographs specially taken for the work by
Mr. Martin J. Harding.
Liverpool Amateur Photographic Association.— November 2, Lantern
Slide Making. Lantern Slides, Seduction with Magnesium Ribbon, also
Toninij Chloride Slides, by Mr. G. A. Can-uthers. Lantern Slides, Reduction
bji Daylight, by Mr. Harry Holt.
Central Photographic Club.— Friday, October 27, Demonstration of The
Carb m Process, by Messrs. Elliott & Son. We understand that "one man"
shows are contemplated. The rooms are now open all day, au attendant being
in charge. The iaxk room will be ready shortly.
Croydon Camera Club. — Fixtures : November 1, Harmonising Harsh
Negatives, by J. Macintosh, and A Chat on Lenses, by G. R. White, instead
of Mr. Gear's paper, postponed to December. 15, Special Public Lantern Dis-
play at Braithwaite Hall. Admission by ticket, price sixpence.
Redshaw's Backgkounds and Accessories. — Mr. W. H. Redshaw, of
Bourne, Lincolnshire, has sent us numerous photographs of a great number of
backgrounds and accessories prepared by himself. These, while being both
artistic and tasteful, are of sufficient variety to give photographers great choice
of selection, embracing as they do rustic scenes and seats, interiors, landscapes,
seascapes, in considerable assortment. Mr. Red.shaw's accessories and back-
grounds should be very popular.
Death of " Bella Solomon." — We are sorry to have to record the death of
Mrs. Abenheim, a lady at one time well known in London commerci.il circles
as Miss Bella Solomon, for many years the reigning spirit in the photographic
stores of her father, the late J. Solomon, of Red Lion-square. She was a
brilliant conversationalist, au accomplished linguist and musician, and a
woman of great natural parts and force of character. She died on Thursday,
last week, from blood poisoning, consequent upon a severe internal complaint,
from which she had long sufi'ered. She declined permitting the attendance of
a doctor till the day before she died.
The Influence of Photoorapht on Modern Literatuke. — Conversing
with a repre-sentative of the Daily Chronicle on the influences which conduce
to the realism by which modern literature is pervaded. Dr. Oliver Wendell
Holmes .says : " I spoke of the influence of the telegraph on literature. Now,
the photograph. It seems to me that the development of photography is
largely accountable for the development of realism — the modern realism.
You see, if a man wanted to be exceedingly realistic in olden days, to go into
large detail, he had to make much trouble for himself. He could not write
detail without examination ; he had to go here and there to examine his sub-
jects. To-day the photograph brings the fullest details imaginable on to the
very de.sk of a writer. He has merely to look and dip his pen, no matter what
the subject — a sewer or a laundry basket, if you like. It is realism made easy.
What's easv becomes ultra."
RECENT PATENTS.
APPLICA-nONS FOR PATENTS.
No. 19,518. — " Improved Means for Drying Photographic Films when on Cel-
luloid, Paper, or Other Flexible Substance or Material." J. W. T. Cadett-
and W. Neall.— Z)ffliled October 17, 1893.
No. 19,566. — " Improvements in Stands for Cameras or other Articles."
M. L. Macadlet.— Baferf October 18, 1893.
No. 19,715. — " Improvement* in connexion with Projecting Lanterns.'
Complete specification. W. C. Hughes. — Dated October 19, 1893.
No. 19,781. — "Improvements in and connected with Photographic Printing
Surfaces." H. Veahch.— Dated October 20, 1893.
No. 19,810. — "A New or Improved Process for Separating Photographic
Gelatine Films from Celluloid Sujiports or Bases." A. A. Barratt and A. J.
E. B.II.L.— Dated October 20, 1893.
No. 19,835. — "Improved Ajiparatus for Facilitating the Development of
Photographic Negatives by Dayliglit." J. F. Hammond. — Dated October 21,
1893.
No. 19,836. — "Improvements in Photographic Cameras." Communicated
by N. Hausen. H. H. Lvias.— Dated October 21, 1893.
No. 19,837. — "Improvements in Transparency Printing-out Frames for
Opals, Lantern Slides, and other Inflexible Substances." J. Wilkinson and
A. Wilkinson. —Dated October 21, 1893.
No. 19,845. — " Improved Means of Indicating the Depth of Water in Rivers,
Harbours, Seas, and the like, and Photographing said Depths to Scale or
otherwise." J. DlLLOii.— Dated October 21, 1893.
PATENTS COMPLETED.
Improvements in Photographic Washing Apparatus,
No. 16,477. FrankJAlston, 211, Ladypool-road, Sparkbrook, Birmingham,
September 15, 1893.
The object of this invention is to thoroughly wash photographic prints and
plates in an ordinary bucket or other domestic utensil. It consists of a-
straight tube with a taper nozzle fixed at a right angle to the bottom of it, and
a syphon, the short arm of which is just over a small hole in the upper side
of the nozzle, while the long arm hangs down outside, and the spring holds it
firmly iu position. When the tube is connected with the water supply by a
piece of rubber tubing, most of the water rushes out at nozzle and causes
water in bucket to revolve, whilst a fine stream from the hole causes water in
tube to rise above level of that outside. When this reaches top, it flows down
long tube and starts action of syphon. If, however, the water falls too low in
the bucket, the air is admitted through the hole, and the action ceases until
the water rises to a sufficient height to restart it. The bottom of the tube is
surrounded by a piece of perforated zinc, which prevents the prints being,
drawn into the syphon.
Improvements in Photooraphic Shutters.
No. 4081.— John Edward Thornton and Edgar Pickard, Altrinchamj
Vheahire.— September 23, 1893.
The improvements forming the subject of this invention apply to photographic
shutters of the roller-blind type that work close before the sensitive plate or
film generally known as foool plane shutters.
October 27, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY,
i»l
A shutter of this kiml is usually constructed with a narrow transverse slit
in the spring blind, through which the light is aduiitted to the sensitive jilate
during the passage of the blind from the winding roller on to the spring
roller.
The object of our iiiiprovoments is to so form the blind that the width of the
J.lit can he adjusted wlitu reiiuired, which we do as follows :—
The two slides of the blind, which form the edges of the slit, are turned over
and stitched (or otherwise fastened) a sufficient distance to form a hem or loop
through which a strut is passed. The strut is formed of a piece of thin
chanuellcd steel, like a halt tube, terminating at each end in a pomt. A short
piece of tube is fitted in or over each end of one of the said struts.
The two struts are connected together by light chains at each side of the
blind, which practically form the ends of the transverse slit. These chains are
permanently fastened to the two ends of one of the struts, and one of the
links of each chain engages with the point on the end of the other stnit. Tlie
ends of the two chains pass through the two short tubes into or along the
grooved strut, and are connected together by an elastic band.
To decrease the width of the slit, it is only necessary to shorten the chains
at each side by hooking the points of the strut into other links, the rubber
band inside the strut taking up the loose ends of the chains into the hem.
To increase the width of the slit, the chains are each lengthened by pulling
out more links through the tube, and hooking on to the points ; in doing so, the
elastic band is stretched.
We do not bind ourselves to the exact details of construction hereinbefore
described, as they may be varied without departing from the main principle
of the invention ; for instance, the strut may be formed of a light tube,
instead of a grooved strip with tubes on the end, and a spiral wire spring may
ie used inside instead of the elastic band. If found necessary, both struts
may be provided with elastic bands instead of having the chain pennanently
fastened at one end.
Improvements is or relatiso to the Production of Photo-mechanical
Printing Surfaces.
<A communication from Asa Phillip Stanford, 409, West 47th-street, New York
City, New York, United States of America.)
No. 10,196. Alfred Julius Boult, 323, High Holborn, Middlesex.
September 23, 1893.
This invention has for its object to provide means whereby printing surfaces
can be produced through the aid of certain characters which can be arranged
in any desired order, and from which photographs can be taken, and which
photographs can be transferred or transformed into the printing surface, and
this class of machinery is designated as the phototype machine. The inven-
tion consi.«ts in a machine in which the various characters can be assembled in
a line, .and the line properly supported in position while a photograph is being
taken of the line, when the characters can be quickly restored to their normal
positions, and by repetition of these operations a proper photographic plate
protluced, from which by any of the well-known processes a printing surface
can be made.
An Improtbd Photographic Daek-sude Recorder.
Na 20,253. Johs Edward Thornton and Edgar Pickahd, Altrincham,
near Manchester. — September 23, 1893.
The object of this invention is to provide a simple device for attachment to a
photographic dark slide, for the purpose of showing whether the sensitive
plate or plates in the slide have been exposed or not.
It is constructed of two thin plates of metal, or other suitable material,
about J" X i", hinged together at one side. The ends of the plates may be
slightly turned up, so as to form bearings for the hinge. A spring is so placed
at the hinged side that it will cause the top plate or lid to stand open, or at
right angles to the bottom plate. Any suitable form of spring may be used,
but we prefer a straight piece of steel wire, held at one end by the lid, and
the other end by the bottom plate. The word " exposed " may be printed on
the inner side of the lid, so that it is visible only when the lid is open.
The bottom plate is attached to the end of the dark slide in such a position
that the projecting part or top of the shutter of the slide (or a projection
attached to the shutter) will fit over the lid and keep it closed when the
shutter is pushed right in.
When the shutter is withdrawn to expose the plate, the lid flies open,
disclosing the word "exposed," and it remains in this position when the
shutter is pushed home again.
The lid may be closed oy the finger to " set " it at the same time that the
slide is charged with fresh plates.
The claims are :— 1. The combination with the dark slide of a recorder or
appliance for indicating when the shutter has been raised and the plate ex-
jiosed, consisting of a hinged plate, which is opened by a spring and held
closed by the top of the slide, or a projection or catch thereon, substantially as
described. 2. A recorder for the dark slide of photographic cameras, con-
structed of two plates hinged together on a spring wire or hinge, one to be
attached to the top of the slide, and the other, with the word " exposed "
inscribed thereon, to be held closed by the top of the shutter, or by a
projection or catch thereon, substantially as described and shown.
Improvements in Frames for Printino Magic-lantern Sudes.
No. 20,679. Claud Syms Scott, Braboume, The Drive, Walthamstow,
Essex.— September 23, 1893.
I IMPROVE the frames for printing magic-lantern slides from photographic nega-
tives by providing means whereby the position of the negative is adjustable
relatively to the slide, whereby the relative positions of the negative and the
slide can be readily and e.xactly reproduced at will, and whereby the adjust-
ment of the relative positions of the slide and the negative is made with greater
facility than heretofore.
My improved frame coiuiat* mainly and earcnttally of four parU ; Br»t, ■
frame of woo<I or other material bavins a front apertor* approximating tn tba
size of the sliile for the admisaion of light, andalao bariog a Mck rim l>rriri<)ed
with springs, catches, or other devicea of ordinary or fpaelal conatruction for
the purpose of holding the back of the frame, the negative, the slide, and other
parts sUadily in |>oflition. Second, a plate of brau or other suitable instertal
of about the tliickn«»s of the negative, sliding in the above-dea<'ribed frame,
and having an aperture to fit and hold the negative ; this ))late baa one or more
lugs or extensions formed on ita edges, said lugs or extensions paoeing through
the back rim of the above-described wooden frame, an<l serving to anaist in
tlie adjustment of the said braaa phite together with tlie negative, which fills
the aperture thereof ; the lugs or extensiona are marked off in diviaiona on their
outer ends, so that any position of the braaa plate and ita contained negative
relatively to the wooden frame and the lantern slide can be noted and repro-
duced at will. Third, a sheet of cardboard or other suitable material cut to lit
inside the back rim of the wooden frame, and having an aperture to At the
lantern slide so situated that the true and proper position of the aaid alide
opposite the light aperture is ensured when it la placed in the aperture of the
sheet of cardboard or other material.
Fourthly, a back piece of wood or other material, provided with a pad of
cloth or leather, and capable of being fixed and held Into the outside fnme by
the above-mentioned springs or catches.
The light aperture in the front of the woo<len firame ia chamfered, in
order to prevent the casting of any shadows on to the exposed ]iortion of the
negative.
I provide set screws in the rim of the outside wooden frame, which screw
down on to the lugs or extensions of the brass plate, and serve to hold said
brass plate in position.
Brass frames, having lugs or extensions as above described, may aUo be
advantageously applied to printing frames in which it is desired to a<lju»t and
reproduce the exact position of the lantern slide relatively to a fixed negative.
Further, I may employ two such brass frames, the Ing or extension of one
passing through the end of the outside wooden frame, and the lug or extension
of the other passing through the side of the outside wooden frame, so that the
position of the negative or of the slide, as the case may be, can be adjusted
and registered in two directions at right angles. By this means any relative
positions of the slide and the negative can be obtained and exactly repro<luced.
It is obvious that when two bra-ss frames are employed the aperture of each
must be lengthened or slotted in a direction at right angles to its lug or exten-
sion, in order to permit of the adjustment of the slide or of the n^ative in that
direction by the other brass frame.
When two brass frames are used, one of the two may be formed withont
.any lug or extension, but in such a way that it will conveniently slide in the
lengthened or slotted aperture of the other, and thereby reniler post.ible the
adjustment in two directions at right angles. In this case numbered divisions
would be marked on the side of the slotted aperture of the brass frame having
the lug or extension, and convenient means would be provided for fixing and
holding the two brass frames together and maintaining the proiwr position of the
slide or of the negative as the case may be.
It will be seen that, when the brass frames are used to adjust the slide
instead of the negative, some modifications of the parts of the printing frame,
described in the earlier part of this specification, will be necessary. In order
to ensure the proper action of the brass frame or frames on the thin glass of
the slide, it may be found advantageous to surround said slide with a narrow
frame of any suitable material, and of greater thickness than the glass.
When using this printing frame, all adjustments may be made in ordinary
light, and the glass plate, with its sensitive film, which is to form the lantern
slide, can then be placed in position in the frame in a totally dark room if the
usual photographer's dark room, with non-actinic light, is not available.
A New or Improved Paste for the Prevention op Discolouration of
Photographs Mounted upon Bristol Board and the ukb.
No. 21,622. Hermann Wilhelm Vogel, 124, Kurfiirsten-strasse, Berlin,
Prussia, Germany, and Jacob Weinberg, 50, Wasserthor-strassc. Berlin,
Prussia, Germany. — September 23, 1898.
It is a known fact that photographs mounted on Bristol board are liable to
become yellow, and all attempts to prevent this have up to the present failed.
Experiments we have made as to the nature of this discolouration show that
it can only result from the presence of impurities either in the photographs or
in the Bristol board. For matiioce, the silver prints are often treated with too
small a quantity of fixing salt, and the fixing is therefore defective, the
following insoluble compound remaining in the pictures : —
NajSjO.-fAgjSaOa
instead of the soluble double salt
(I.)
(U.)
2 NajSA+AgjSjO,
which can be easily washed out.
The compound I contains only half the quantity of fixing salts contained in
II, and soon decomposes in the air according to the equation : —
NajSjOj -1- AgoS-Oj -f aq = NajSjO, + Ag,;8 -(- SO3 -I- aq (III. )
Sulphide of silver is thus formed, producing discolouration of the picture.
Again, the fixed pictures are often insufficiently washed out, small quantities
of the silt being left, and also producing in time discolouration.
Then, again, pictures properly prepared and washed ont are often dried on
impure blotting-paper containing fixing salts, or hung on strings containing
various impurities, and in this manner again soiled.
The cardboard used for mounts c«n also contain impurities, the paper need
being often bleached with chlorine. This, and the reagent used to remove the
excess of chlorine, called antichlorine, (Na^SjOJ are according to the following
equation : —
NajSjOj-fS H,0 + 6 Cl=6 UCT-hNaAO,
not of themselves harmful to the paper, but unfottiuuitely a anpcHIaity of
692
THE BRITISH JOURNAL OF PHOTOGRAl'HY.
[October 2", 1893
hyposulphite of soda is often present, and, according to the above formula, III.
causes a precipitate of sulphur which produces discolouration.
Our invention consists now in overcoming the above defects by using a
means for removing the sulphurous impurities, thus preventing this dis-
colouration.
We attain this object by employing as a glue a paste of starch mixed with
iodine in varying proportions ; for instance, 10 c.c. of a solution cantaining
1 gr. of iodine in 10 c.c. of alliali, are added to 100 c.c. of freshly prepared
pure starch paste. This mixture is thoroughly stirred, the paste changing to
a darli blue mass, which may be coated on paper or on cardboard by means
of a brush.
Our improved glue is employed either for uniting the several layers of paper
of which a sheet of cardboard is composed, or for mounting paper photographs
upon paper or upon cardboard. This glue will prevent the cardboard and the
photographs from yellowing. This yellowing, which is a defect occurring
frequently witli photographs mounted with ordinary glue or paste, is due to
chlorides and sulphurous or other impure admixtures, either contained in the
paper or cardboard, or adhering to the photograph in consequence of the
previous operations, for instance, owing to defective fi.xing or insufficient
washing of the photograph. Now, iodine is a very efficacious agent for
destroying such compounds as are capable of yellowing the photographs.
Hyposulphite of soda is caused to combine with oxygen and thus to form
hyposulphite of soda, as is represented by the equation : —
NasSjOj+e 1 + 3 HjO=Na„S206 + 6 HI
Sulphide of sodium is converted into sulphite of soda according to the chemical
equation : —
NaaS + e 1+3 HoOzzNajSOa+e HI
Experiments have proved that iodine has no noxious effect upon paper photo-
graphs in which the sensitive part of the paper contains silver salts. The
experiments have also demonstrated the fact that our improved glue is
efficacious in preserving the photographs for any length of time. It has been
further ascertained that the addition of ten parts of tincture of iodine (1 : 10)
to 100 parts of stsrch paste is the highest proportion which it will be necessary
to employ when the paper contains as much as one^er cent, of impurities. It
will be obvious that the amount of iodine which is to be added will in each
case depend on the proportion in which impurities are admixed in the paper,
cardboard, or photographs.
It will be obvious that our improved glue may be employed with great
advantage for uniting the several layers composing a sheet of cardboard,
especially if such cardboard is to be used for mounting photographs
thereon.
It sometimes occurs that the paste or glue is squeezed out laterally off the
photograph to be mounted, thereby occasioning blue spots. In this" case we
take a small sponge and soak it in a solution of 1 part of chemically pure
sulphite of soda in 1000 parts of wattr. The sponge is pressed, so as to remove
the greatest part of the solution it has soaked, and is passed over the blue
spots : the blue colour will disappear very rapidly, and it will be sufficient to
wipe the moisture away with a clean piece of doth.
The following are the claims : 1. As a glue for uniting the several layers of
a sheet of cardboard, and for mounting photographs, a paste of starch to which
iodine is mixed in solution, for the purpose set forth. 2. As a means for
removing spots occasioned by a glue containing starch and iodine, the employ-
ment of a solution of chemically pure sulphite of soda substantially as
described.
ifJeettnss; of SboctnieiS.
MEETINGS OF SOCIETIES FOB NEXT WEEK.
D&te of Meeting.
October 30 ....
„ 30 ....
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IsoTember 1....
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Mamfl o( Soeietj.
Camera Club
Dundee Amatemr
Richmond
Birmingham Photo. Society ..,
Hackney
Halifax Camera Club ,
Lancaster ,
Leith
Paisley
Warrington
Edinburgh Photo, Society
Leytonalone
Photographic Clmb (innmal) ..,
Southport
Southfiea
Wallasey
Birmingham Photo. Society ..
Camera Clnb
Dundee and East of Scotland ..
GlaBgow Photo. Association
Glossop Dale
Hull
Leeds Photo. Society
London and ProvinoiAl
Oldham
Tnnbridge Wella
Cardiff :
Croydon Micro«copical
Holboni
Leaminfifton „
Haidstone
Hull
FlACe of Meeting.
Charinp Cross-road, W.C.
Asso. Studio, Nethergate, Dundee.
Greyhound Hotel, Riuhmond.
Club Room, Colonnade Hotel.
206, Mare-street, Hackney.
SpringBeld Barracks, Lancaster.
165, Constitution-street, Leith.
9, Gauze-street, Paisley.
Museum, Bold.street, Warrington.
38, Castle-street, Edinbargh.
The Assembly Rooms, High-road.
Anderton|8 Hotel. Fleet-street.B.C,
The Studio, 15, Cambridge-arcade,
3, King"8-road, Southsea.
Egremont Institute, Egremont.
Club Room, Colonnade Hotel,
Charing Cross-road, W.C,
Lamb's Hotel, Dundee.
Philoso. Soc, Rooms, 207, Bath-st,
71, Prospeot-etreet, Hull,
Mechanics' Institute, Leeds.
Champion Hotel, 15, Aiderscate-st.
The Lyceum, Union-street, Oldham.
Mechanics' Inst., Tunbridge Wells.
Public HaU.Qeorge-street, Croydon.
Trinity Church Room, Morton-st.
" The Palace," Maidstone.
71, Prospect-street, Hall.
PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN,
OcTOBEB 24, — Technical Meeting, Mr. W, E. Debenham in the chair.
Balloon Photography.
Captain A. M, Mantell, R.E. , read a paper on balloon photography'
applied to military purposes. He passed round a number of photographs
taicen from a captive balloon. The camera was placed in the wicker car, and
was capable of being tilted. It was a whole-plate Meagher, a rapid rectilinear
lens of 16 inches focus, and a Thornton-Pickard shutter being used. Views of
from one to two miles' distance were t.iken. No distortion was perceptible, but
in some of the views there was a decided blur, due to movement of the balloon ;
others showed blur due to the velocity of the wind. It seemed impossible to
give a sufficiently short exposure to prevent this blur. They could not,
however, expect sharp results in balloon photography. When the wind was
travelling at more than sixteen miles an hour it was impossible to take
views at all. It would be advantageous to reduce the exposure as much as
pos»ible, and therefore the lens must be very rapid and the focus should be
obtained with, say,/-16. A smaller stop diminished the chances ofgiving a good
exposure. Probably the best lens for the purpose was the Goerz Anastigmat,
which Messrs. Ross & Co. had informeil him they would soon bring out, so it
would be pos.sible tou.se/-ll for balloon work. He had not tried the tele-jihoto
lens as it included such a small angle and was not rapid enough. He had used
four different kinds of plates, rapid and ordinary, and found the latter give tlie
best results. The exposure, as a rule, was about half that for sea ami sky— that
is, witli /-16, about one-sixtieth of a second. The ordinary folding camera
was unsuitable. The car of tlie balloon swung and danced aljout rajiidly,
so that it had been sometimes found advisable to tie the camera to the edge.
The camera, therefore, should he strong, being box-shaped and not tapered.
It should have a swing back and a shutter capable of giving exposures from
one-thirtieth to one-hundred-and-fiftieth of a second. A changing-box .should
be provided, and sights on top of the camera used as view-finders. For develop-
ment he had used pyro-ammonia. He had found Nikko paper suitable for print-
ing purposes. When the wind's velocity was less than ten miles an hour,,
good results could be obtained ; but when the velocity was greater, many
failures occurred, and at sixteen miles an hour it seemed scarcely possible
to get good results. Photography from a free balloon was much simpler,
as the balloon moved with the wind without tossing aljout. The exposure
must be as short a.s possible, and there was not the risk of Ijlur that then-
was with a captive balloon, the rate of the wind making no difference. A
free balloon twisted about and rose and fell. Captain Mantell concluileil
his paper by referring to the work in the Exiiibitiou done by Mr. JenningN
from a free balloon, and passed round a few examples taken from a captivi-
balloon during the recent manoeuvres as showing the kind of workwhicli might
be done during an actual catiipaign.
Mr. T. Sebastian Davis inquired why a whole-idate camera was selected ;
he suggested a smaller one would have been more advantageous. He thought ;!
quarter-]>late camera could have been used and enlargements made.
Caiitain Mantell agreed tliat a quarter-jilate would have the advantage a>
regards portability. As regards steadying the camera by a weight, as suggests I .
he had not attenijited it,
Mr. H, Wjlmer suggested the use of a strong magnet to prevent the camera
rotating.
Tlie Chairman, referring to the use of the tele-photo lens for balloon purposes,
said it might be made to have a perfectly flat field, although, when used for a
great deal of enlargement, the field was curved. If the fiehi were limited, th.at
might be got over by taking three or four photographs in succession. Direct
images were better than enlargements, as in the latter the texture was enlarged
so as to oliscure fine details.
Mr. T. BOLAS said he did not think a weight would answer for preventing,
rotation of the balloon, and suggested Professor Piazzi Smyth's gyroscope system,
with a smaller wheel at less speed.
Cajitain Mantell said a magnet, gyroscope, &c., would be suitable for
the jiurjiose, if not too heavy, Tlie tele-jihoto lens might be of great u.sc-
under some conditions, but it only included a small angle. They required
to get in as large an angle as possible. Overlapping pictures, as suggested,
would be of no use.
Mr. W. England said the tele-photo lens was scarcely available for instan-
taneous work. His experience was that it required about six times the
exjiosure of an ordinary lens, magnifying ten times.
A vote of thanks was passed to Caiitaiu Mantell for his pai)er,
PHOTO-MICROGRArHT SIMPLIFIED,
Mr. W, I. Chadwick gave a discourse on this subject, explaining
apparatus he employed and exhibiting a number of specimens.
We defer our report of this subject until next week.
the
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION,
October 19, — Mr. P. Everitt in tlie cliair.
Mr. T. C. Hepworth delivered a lecture on A Photographic Tour in the
English Lake District, illustrated by numerous lantern slides (.see jiage 6S6).
Tlie lecture, which was of a liumorous and descriptive character, was highly
appreciated, and at its conclusion the Chairman, on behalf of the members,
thanked Mr, Hepworth,
Vjtro-enamelling,
Mr. A. L. Henderson made a few remarks on this subject, suggested liy
Mr. Henderson's recent demonstration on the preparation of plaques. He wa'*
sorry Mr. Haddon had not given the composition of the enamel he had used.
Arsenic was used to get whiteness, but it was a disagreeable substance. It vfn*
cheap, and was a flux in itself. He preferred oxide of tin as a colouring
matter, and would suggest, as a base, to take two parts of commercial tin
enamel, and one part of flux ground up. Tin gave warmtli to platinum, .and
he (Mr. Henderson) could get any sort of colour with it, from st^el grey up to-
October 27, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
098
almost hrick red. His tones wouM have b«on still warmer if he haj got more
tin in the enamel. For many years he liad used an oi>on mnllle ; bnt, upon
takiny up gas, his results were loss satisfactory, the blacks and whites both
being bad. As regards retouching, it was easier with the substitution proce.ss
tlian with dusting on. In reply to Mr. J. S. Teape, Mr. Hkndkhson .said that,
in aiiplyiug a portion of the same film to the enamel, it fired the same colour.
Mr. Tkapk said he found this was not always the case.
The Chairman asked Mr. Henderson if he would give a demonstration of
enamel work, especially as, during the past few years, a great many new mem-
bers had joined the Association who had not had an opportunity of witnessing
the demonstration Mr. Henderson Had already given. He (the Chairman) was
of opinion that enamel work opened np a most prominent field for professional
photographers.
Mr. Hbndkrsos regretted his inability to give the demonstration asked for
on account of his health, which, though better now tiian it had been for some
years past, was still not what he hoped it would be.
Mr. Haddon remarked that he had gone into the subject of plaque-making
in order to draw new people into the field of experiment, and bis object in
showing how the plaques could be made was to save the cost, of buying plaques,
which, at a shilling each, would come expensive.
Mr. Hkndkrson pointed out that, with spoilt enamels, the images could be
used, and the plaque used again.
After other discussion the meeting closed.
Atfillation of Fhotographlc Societies. — The tenth meeting of Delegates was
held at SO, Great Russell-street, W.C., on Tuesday, October 17, Mr. E. Clifton
(Photogriiiihic Club) in the chair. — The minutes of tlie last meeting were con-
firmed. The report of the Sub-committee appointed to consider tue question
of endeavouring to obtain from the railway companies concessions to photo-
graphers similar to those to anglers, in which the Committee stated that they
had made inquiries, but were unable to recomiuend any course which would
hold out a re.isonable chance of success, was adopted. It was proposed
by Mr. P. Everitt (London and Provincial Photographic Association),
seconded by Mr. HodsoU (North Kent Amateur Photographic Society),
and carried, "That the Secretary be instructed to communicate with the
principal railway companies with a view to securing for members holding
return tickets the privilege of breaking the journey at any intermediate
station." The report of the Conference of Judges was adopted unanimously,
and the Secretarj- instructed to print and publish the ilecisions arrived at by
the Judges. The question of certain additions to the Rules was taken up, and
it was decided to submit the following alterations to the Council of the Photo-
graphic Society of Great Britain for its approval :— 1. "That, after Rules 1 and
2 as at present standing, a Rule as follows be inserted : The object of the
Afliliation is to consider and suggest lines of action to photographic .societies,
and to take any steps it may think fit to encourage or otherwise benefit photo-
graphic societies and similar organizations, and their individual members."
2. "That, after Rules 3 and 4 as at present standing, a Rule as follows be in-
serted : The Committee shall meet at such time and place as the Chairman
shall decide. On the requisition of ten delegates, the Secretary shall call a
meeting not less than fourteen, nor more than twenty-one, days after receipt
thereof. At Committee meetings nine .shall form a quorum." 3. "That,
after Rule 7 as at present standing, two Rules, as follow, be inserted : a. A
balance-sheet of the accounts of the Affiliation shall be prepared by the
Treasurer up to the 31st December in each year, and shall be audited by two
auditors, b. The Annual General Meeting of the Committee shall be held
during January in each year. At this meeting tlie balance-sheet, duly audited,
and the Chairman's report of the year's proceedings shall be submitted, and
oflicers, consisting of a Chairman, Treasurer, and two Auditors, shall be elected
for the current year." 4. " Th.it tlie Rules be then consecutively numbered."
On the )iroposal of Mr. Everitt, seconded by Mr. A. F. Taylor (Ealing
Photogniidiic Society), it was resolved to petition the Photographic Society
to remit to members of affiliated Societies the wall-space charges at the Ex-
hibitions, pointing out at the same time that they knew of instances in which
other Exhibitions had received exhibits which would have come to the Photo-
graphic Society's Exhibition had it not been for the wall-space charges.
Brixton and Clapham Camera Club.— October 17, the President (Dr.
Reynolds, F.R.G.S.) in the chair.— At the conclusion of the ordinary business,
the PRE.SIDENT read a paper on the Diawti/jie Process, i.e., printing in aniline
dyes. About 1890 a new dye, named primuline, was discovered by Mr.
Green, of the firm of Green, Cross, & Sevan. This dye, which is very soluble
in water, and yellow in colour, has a strong affinity for all kinds of vegetable
fibre, and so strong is this aflinity that it is only necessary to soak the fibre for
a few moments in a dilute solution of the dye, and a perfectly fixed primrose
colour is the result. After the material is dyed, it is immersed in a bath of
nitrous acid, and a surface is then obtained which is of a deep orange colour,
•and very sensitive to light, and if this surface is exposed to the action of sun-
1 ight, or a strong light, the deep orange colour bleaches to a pale primrose, and,
after washing in water, remains at this tint. If, however, before exposing to
light, a portion of the surface is protected by covering with, say, a fern leaf, or
a dense carbon positive, it will be found that the portions of the surface so
protected are not bleached, but remain of a deep orange colour, which they had
upon removal from the nitrous acid bath. If now an alkaline solution of
one quarter to one half per cent, of, say, beta naphthol is applied, the por-
tions unacted upon by light will become of a splendidly red colour, the parts
acted upon reniaining simply a pale primrose colour, requiring only to be
washed and dried. Other aniline derivatives applied a.s developers give rise to
other colours, as blue, orange, brown, yellow, maroon. The process is admir-
ably suited for ladies' use, because such articles as tablecloths, curtains, cover-
lets, panels for doors, mautelboards, &c., of a most ornamental kind can be
readily produced. It is only necessary to print in sunlight for a few minutes.
It mu.sj, however, be remembered that this is a positive process, consequently
a positive must always be used to print from. If a material, such as a laver of
albumen, stained with primuline, is dried, heated to 212°, and then developed
with pyrogallic acid and sulphite, a deep clear sepia stain is produced on a
pale yellow ground, and this will l««r almost any amount of ampliftcation, and,
if a sensitive surface could b<r obuined quick enough for cami-ra exposun- the
negative could be enlarged to any extent without showing a trace of the
structure of the substance on which the actinic impn^ssioii wm pro.luced.
This would, indeed, l>e perfection in photography for a5tronomical or micro-
photographic purposes. A practical demonstration which followed proved
conclusively the simplicity of the jirocess, and the members present were
delighted with the results produced. On Iwiiig askeil bv the Pn^sident Mr
Cross, of the firm referred to, then kindly gave a thorougiily detailed account
of the chemistry of the process, pointing out also the chespneu and uaiform
success of the results to be produced. Ills firm would be ever reaily to aMift
those clesirous of taking up this lieaiitiful process. It may be meotioned that
the materials and necessary chemicals can be obtained from Herni. Wat«on
& Co., High HoUmm, W.C.
Croydon Camera Club.— There was a full attendance on the 18ih, when
Matthew's I'ortable Lantern was shown and explained by the Hon. Seeretarr,
Mr. G. R. White. The general feeling wa.s, that the inatrnnient is characterised
by several desirable features, and that it is worthy of high commen<lation. A
number of slides were shown on the screen, the work of Mewn. Ryan (A'or-
wegian scenery), Price (Hurlingham, kc), Packham White (The Chula, to.),
and Garden (froydon Cricketers, &c. ).
Ealing Photographic Society.— October 19.— Four new members were
elected, and two more nominated. Mr. S. H. Fry gave a lecture and demon-
stration on I'ai/el I'rinting-oul Processes. Comparing gelatiiio-chloride with
albumenised paper, he claimed for it the following advantages : Being made
by machinery, the silver salts were more evenly distribnted, it kept better, it
gave better results with poor negatives. Its chief disadvantage was, that there
was sometimes difficulty in getting even tones, especially when the print con-
tained sliarp gradations from light to shade. The methods of toning ami fixing
were then describeii. To secure even toning, it was essential to thoroughly
wash the print until all milkiiiess had disappeared from the water, if separate
toning and fixing baths were u.seil ; any toning bath would do, thongh the
Paget Company preferred the sulphocyanide bath. In using this bath, the
points to be observed were, not to exceed the quantity of sulphocyanide given
m the formula, and to give the requisite quantity of gold for the amount of
paper (one and a half to two grains) per sheet ; to place all the prinU in the
bath as quickly as possible, and to keep them in motion ; to judge the colour
of the image entirely by transmitted light, and not to stop the toning so long
as the slightest trace of yellow was visible in the shadows. The prints must
be thoroughly washed between toning and fixing, and no trace of hypo must
be allowed to get into the washing water, as hypo, in small quantities, caused
brown stains. For the combined toning and fixing bath, the following simple
formula was recommended : Water, 4^ ounces ; chloride of gold. 1 grain ;
acetate of lead, 20 grains ; hypo, 380 grains. It was most important that the
bath should not get acid, and, to prevent this, precipitated chalk or whiting
should be used in the bath. In no circumstances should gold be added to the
bath after toning had started. The methods of obtaining enamelled and matt
surfaces were explained, and a number of prints, opals, and lantern slides on
Paget plates and papers were shown. The meeting then adjourned to the
dark room, when Mr. Fry demonstrated the development of a partially printed
print, which is a speciality of the Paget Company, and afterwards toned the
priut, together with another which had Ibeen fully printed in the usual way.
He explained that development must stop considerably short of the required
density, as the developed image, unlike the printed one, gained considerably
in depth in the toning bath.
Leytonstone Camera Club.— October 18, the President (Dr. W. Pickett
Turner) in the chair. — The first demonstration in the new hall and studio took
place. Mr. E. A. Leblanc demonstrated the uses of Dr. Andrejien's rodinal
and glycin, also metol, amidol, eikonogen, fixing, and tone-fixing cartridges.
First, the different qualities of the ilevelopers was explained ; second, plates
and films were developed with rodinal and metol cartridge ; third, bromide
paper was developed with amidol cartridge; fourth, lantern slides were de-
veloped with eikonogen cartr. Ige ; and lastly, Eastman Solio, Ilford P.O.P.
and Paget P.O. P. chloride papers were toned with the tone-fixing cartridge. A
large number of negatives and prints which were passed round amply testified
the capabilities of Ur. Andresen's specialities, one of the most remarkable and
useful being the fixing salt, a quarter-pound solid bar, droppiBd into forty
ounces of water being dissolved in about thirty seconds. Mr. Lieblanc ietit
with his subject in a very able manner, and gave most lucid explanations to
the various (piestions put by the large number of members present.
Putney Photographic Society.— October 19, Dr. J. F. Farrarinthe chair.—
Mr. Baldwin, of the Eastman Company, gave a lecture and demonstration on
fk)lv> Paper. In the course of his remarks, Mr. Baldwin said the best results
were probably obtained from negatives with a tendency to softness, but good
prints could also be made from negatives suitable for any of the other usual
processes, as well as from some with which this was not the case. The paper
has considerable keeping qualities, but, as with all commercial printing papers,
it was advisable to use it when fairly fresh. Damp was a danger to be care-
fully avoided, and for this purpose the paper should be kept in closed tube5 or
boxes, and an indiarubber pad should be i)laced next to it in the printing
frame. Printing would be found to proceed rapidly — generally twice as fast as
when using albumenised paper, and it would not be found necessary to the
depth required by this process. The printing should be regulated with a re-
gard to the subsequent treatment— rather more deeply for prints to be toned
in the combined bath, or to be finisheil with a glossy surface, than for those to
be tone<l and fixed in separate baths, or to be finished with a matt surface.
The Solio being an emulsion paper, there was no danger of it staining thy
negatives when placed on them in the printing frame, as was not infrequentle
the case with other papers having free silver on the surface. Reference was
then made to the various toning formuhe given in the instructions issued with
the paper, and their action and characteristics explained. These baths were,
after careful experiments, recommended by the Company, but the raper oonld
also be succesjifully treated with others, and no doubt many workers would
find out for themselves a bath which would readily and with certainty give
694
THE BlUTlSH JOURNAL OF PHOTOGEAPHY.
[Octoter 27, 1893
them the tones which they most admired. With the combined toning and
fixing bath no preliminary washing was necessary, and it was also in other
Teipects convenient, but toning beyond the brown should not be attempted, as
a gi-eenish tinge would be the result. He recommended that this bath should
only be used once, a fresh bath being made for each batch of prints. When
working with the separate baths, a preliminary washing was necessary, and
upon its thoroughness depended largely the success of the subsequent treat-
ment. Temperature had great influence on the toning bath ; fortj^ to fifty
degrees had been found advantageous, and in hot weather it was desirable to
•cool the bath with ice. The use of alum was also recommended for hardening
the film. After toning, the prints should be thoroughly washed before being
passed into the fixing bath. This should be made up in accordance with the
lormnla, the sulphite of soda helping to preserve the purity of the whites.
The washing, after fixing, should be continued in running water for about an
Jioiir, and, where running water was not available, in about twenty changes.
The prints could be finished in various ways ; if simply dried and mounted,
they could be burnished, care being taken that the temperature of the burnisher
should not exceed 170'; for glossy surface, the prints should be squeegeed on
to carefully cleaned plate glass, or ferrotype plates, and, for matt surface, on to
finely ground glass. In either case it might be considered desirable to back
the prints with suitable paper to preserve the gloss or matt when mounting.
Gelatine was, perhaps, the best mountant ; any containing indiarubber in any
form or degree should be shunned for this paper. Mr. Baldwin went fully
into all details, and ably answered a large number of questions addressed to
him by the members, who throughout followed his lecture and demonstration
■with interest.
Biclmiond Camera Club.— The Annual General Meeting was held on the
16th inst. , Mr. C. H. D.ivis in the chair, when the report and balance-sheet for
the year ended August 31 were submitted and adopted, and the following
officers were elected for the current year : — President : Mr. Cembrano. — Com-
mittee ; Messrs. Alabaster (Lantemist), Ardaseer (Librarian), Gibson, Huddy,
Neville, and Williams. — Hon. Treasurer : Mr. Davis. — Kon. Secretary ; Mr.
Ennis.
South London Photographic Society. — October 16, Ordinary Meeting, at
Hanover Hall, Hanover Park, Peckham, the President (F. W. Edwards) in the
chair. — After the close of the usual formal business, the evening was devoted
to the exhibition of slides in the Society's lantern, to enable members to select
and make up the sets which they intend to send in for competition at the
Exhibition to be held early in next month. Messrs. A. H. Wall and E. J.
Wall were elected honorary members of the Society.
Woodford Photographic Society.— At the meeting on October 19, the
Rules, as passed at the preceding meeting, were confirmed. The President
then gave his opening address, speaking of the improvement both in methods
of working and in final results that always follows the intercourse among
photographers that a Society gives. He wished, too, that the members of the
new Society would freely bring their work for discussion at the meetings — not
their successes only, but their failures. There being no apostolic succession
in photography, the only road to success must be through failure, which should
never discourage, but be valued for the lessons that they teach. In concluding,
lie impressed upon the members the necessity of individual work if we wished
to be successful, expressing the hope that, by the co-operation and work of the
members, the Woodford Photographic Society might take an honoured place
amongst the foremost societies. The President then vacated the chair (which
was taken by Mr. Caird), and read a paper on Some Modern Printing Processes,
passing in review albumen-silver, gelatino-chloride, gelatino-bromide,
platinotype, and carbon. In regard to gelatino-bromide, he said that almost
any class of picture could be obtained, the strength of the light used in print-
ing exercising a powerful influence over the vigour of the finished print. The
results, too, miglit be considered permanent. Descriptions of the platinotype
and carbon processes, their simplicity, artistic beauty, and permanence, and the
principal points to be considered in order to ensure successful results, concluded
the paper. In order to illustrate the various processes, the President showed
some of his own bromide and carbon prints, bromide prints by Mr. A. E.
Dresser, platinotype by Mr. Frederic HoUyer, and carbon prints by the late
Mr. William Bedford, and by the Autotype Company. A discussion followed
on the practical working of the difierent processes.
Aston Natural History and Photographic Society.- The audience of
Thursday last had the pleasure of hearing one of the most interesting papers
as yet delivered to the Society. Mr. Cracroft was most happy in his descrip-
tion of the district around Cheddar, and the hints as to directions to take,
lenses required, and other "tips," were well received by one of the best
attended meetings of the session. The lecture was illustrated by some fine
mounted prints, and was rather novel after so good a run of lantern views. At
the subsequent Committee, the Secretary informed the members present that
the General Committee, to whom the hall belonged, had graciously granted
the free use of haU and rooms on the first floor for the purpose of the Exhibi-
tion on March 1, 2, and 3, which the Aston Photographic Society intend to
organize, and which will be rather novel in its way, including " Photographic,
Natur* History, and kindred manual work." There will be the usual awards
of medals and diplomas, and some well-known gentlemen are expected to act
as Judges.
Birmingham Photographic Society.- Octol>er 17, Mr. J. J. Button in the
chair,— About twenty members present. A number of fine photographs, lent
by tlie President of the Society, were on view. They consisted of enlarge-
ments made from negatives taken by him on his recent tour in the West
Indies and Brazil, which were very much admired, and of a very fine series of
Irish views, which were the work of a professional. These latter showed es-
pecially wonderful skill in platinotype printing.
Derby Photographic Society.— Octobsr 17, Mr. Keene presiding.— The
subject for the evening was, Photography, and its Application to the Detec-
tion of Crime, a paper by Dr. Paul Jeserich, and which was illustrated with
about forty lantern slides. The paper was read by Mr. A. H. Bennett in a
very able manner, while Mr. C. B. Keene kindly oUiciated at the lantern, and
at the close a vote of thanks was accorded to these two gentlemen for assisting.
Eastbourne Photographic Society.— A good muster of members of this
Society gathered to hear and see Mr. Fry upon Paget Printing-out Processes,
and especially to see the new and interesting process of development of
printing-out papers by alkaline development.
Lewes Photographic Society. — October 17, the President (Councillor
Wightm.an) iu the chair. — A demonstration of the process of preparing trans-
parencies for the magic lantern was given by Mr. S. Herbert Fry, who is
lecturing on behalf of the Paget Plate Company, of Watford, and demonstrat-
ing tlie use of their manufactures.
FORTHCOMING EXHIBITIONS.
1893.
October 27-31 'Hamburg. Das Ausstellungs Committe des Amateur
Photographen Vereiu, Schwanenwik, 33, Hamburg.
„ 27-NoT. 11... *Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretary of Organizing Committee, A, Maskell,
215, Shaftesbury-avenue, W.C.
„ 27-Nov. 15... 'Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. Assistant Secretary, R. Child-Bayley,
50, Great Eussell-street, W.C.
„ 30, 31 *East London Photographic Society, New Tabernacle,
Old-street, E.C. Hon. Secretary, W. R. Gould
61, Gibraltar-walk, Bethnal Green, E.
November 7-11 *South London Photographic Society. Hon. Secretary,
C. H. Oakden, 51, Melbourne-grove, Dulwich, S.E.
,, 17-25 'Stanley Show (Photographic Section), Agricultural Hall.
Manager, Walter D. Welford, 57 and 58, Chancery-
lane, W.C.
„ 20-25 *Leytonstone Camera Club. Hon. Secretary, A. E.
Bailey, Rose Bank, South-west-road, Leytonstone.
December 'Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
„ 18-Jan. 22, 1894 'Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Com- '
street, Bristol.
* Signifies that there are open classes.
♦ •
CotreiEfponlrence.
Correspondents should nevtr write on both sides of the paper. No notice is taken
of communications unless the names and addresses of the writers are given.
PHOTOGBAPHY IN NATURAL COLOURS.
To the Editoe.
Sir, — In your " American Notes and News " (p. 669), referring to
Abraham Bogardus' conservatism, you make one statement which I
think caUs for correction. You say, " that the colours of Nature have,
in the works of the latter (Lumi^re), been produced, is a real fact, and
has been demonstrated to those assembled at the Chicago Congress over
a month ago." According to my source of information (have I been
misinformed?), the photographs of objects shown at the Chicago Con-
gress were not by Lumi^re, but by Lippmann, and were some of the same
specimens that Mr. Cameron Swan and myself saw and carefully
examined in Paris last year. If so, they did not prove what has been
asserted, because the colours, besides appearing unnatural and metalUc
even in the absence of originals for comparison, were not even confined
to the coloured objects themselves, and the high lights of the objects
were rendered nearer black than the deepest shadows. In justice to
honest sceptics, attention should be called to the fact that there are
vitally important differences between the results of Lumi^re and of Lipp-
mann, and that scepticism as to the claims made for the Lnmiere results
was justified by knowledge of th« grossly inaccurate descriptions of the
Lippmann results which were published a year before.
There is stUl a certain amount of mystery about the Lumiere produc-
tions which makes it impossible to discuss them as intelligently as coul4
be desired, but I have observed some facts in connexion with them which
appear to me to indicate an important modification of Lippmann's
theory, and also to justify certain instructive comparisons with the
photo-ehromoscope process. These observations will be published before
long ; meanwhile, people who like to make comparisons will like to know
that the Lumiere pictures are more difficult to make than photo-chromo-
scope pictures, require a light twenty times as powerful to project satis-
factorily to a given size on a screen, and are not as true to Nature. — I
am, yours, *c., Feed E. Ives. '
116, Charing Cross-road, W.C, October 20, 1893.
THE ZEISS APOCHROMATICS.
To the Editor.
Sir, — I have this morning received from Herr Zeiss a letter in which
he expresses a strong and not unreasonable objection to my remarks, as
October 27, 18931
THE BRITISH JOURNAL OF PHOTOGRAPHY.
906
reported in your last issue, upon Mr. Pringle's paper at the Photographic
Society of Great Britain. I am therein made to comment in general
terms upon the bad ([ualities of apochroraatics ; and, for my own credit's
sake, as well as in common fairness to a firm whose lenses I use daily
and highly appreciate, I must ask you to allow me to say that my remarks
were strictly confined to my experience with one of the earlier apochro-
matics, the glass of which, having sweated, and it having been returned
to the makers for repair, I found on its being sent back to me that it was
no longer so good as formerly, its field being absolutely sharp only for a
small diameter in the centre, whereas it had previously given a field of
about two and a half inches available for photo-miorographic purposes.
The glass at present used for the apochromatios is free from the liability
to sweat which that used for the earlier ones evinced, and that lens only,
of all my battery, has ever shown a sign of it. — I am, yours, &o.,
363, Old Kent-road, S.E., October 23, 1893. EowiBD Bousfuld.
FILMS VERSUS PLATES.
To the Editor.
Sir, — Your readers may be interested in the results of trials of films of
various makers against plates during a trip in Switzerland, the trials
extending over a period of two months, and employing the films of the
highest reputation for rapidity as against two brands of plates. The
films in every case were so completely distanced by the plates that,
while I got fair printing negatives from the latter with the exposure
indicated by the Thornton-Pickard focal-plane shutter at ^J^ and ^jVu of
a second, the plates broke down utterly as ^^. With time exposures
the films gave admirable results, but the keeping properties seem to be
in an inverse relation to their sensitiveness, and the very rapid films
fogged irretrievably two months after they were received from the agents,
while the moderately slow ones show no signs of deterioration. The
conclusion is that, for the work requiring the highest rapidity, films, as
now put on the market and without regard to their make, are no substitute
for glass plates. — I am, yours, Ac, W. J, Stillman.
Rome, October 15, 1893.
WARMING THE DAEK ROOM.
To the Editor.
Sib, — With your permission I will endeavour brieflyto answer Mr. Smith's
letter. ;In his first letter in the Joubsal of September 29 he said,
with reference to " George's Calorigen," it has the drawback of requiring
two openings making in an outer wall, and they will not answer connected
with an ordinary chimney ; " I say they will answer connected with an
ordinary chimney. In 1874, wishing to warm a (painter's) studio, I had
the grate removed, closed the opening of the fireplace with a sheet of iron,
and connected the stove in accordance with Messrs. Farwig's printed in-
structions (fig. 3). I then required one opening " in an outer wall " to
bring in fresh air. If I had pierced the wall at the back of the stove,
I should have gone into my neighbour's studio, as the houses are
not detached ; I therefore carried the pipe " G " under the floor-
boards to the front outer wall, pierced the brick, and so it has been ever
since with perfect success. That is point one. Point two, I said that
Messrs. Farwig's address was in Upper Thames-street, they were there in
1874and have been there ever since; I saidNo.4,Mr.SmithBays "No. 1."
I copied the address which is stamped on a brass plate on the stoves that
1 have in use, and you will see it is so on the printed prospectus, and I
believe in their ignorance Messrs. Farwig have " No. 4 " on their prenises,
and will, no doubt, be surprised to hear from Mr. Smith that it is Nq. 1.
I can only hope that Mr. Smith will be more fortunate in his " facts " in
the future letter that he promises you on syphon stoves. I would never
liave a syphon stove fitted in a bedroom for use in case of illness, which /
I would unhesitatingly do with George's Calorigen, backed by the opinion
of Dr. Thome. — I am, yours, &c., L. M.
NATIONAL ASSOCIATION OF PROFESSIONAL PHOTO-
GRAPHERS.
To the Editor.
Sib, — With reference to our next Council Meeting, to beheld on Friday
November 10, 1893, three p.m., at the premises of the Central Photo-
graphic Club, Coleman's Hotel, Henrietta-street, Covent Garden, London,
I have received the following letter from one of our members, Mr. W. P.
Marsh, Waterloo-square, Bognor : —
"I venture to suggest that the meeting might be made a little more of a
social character.
" Let the members have an opportunity of meeting and making themselves
known to one another.
" It struck me, when at the meeting last year, that many of those present
were strangers to one another, some coming from a long distance, to meet
and part strangers to each other, not having had the opportunity of an
introduction.
" I am aware that there ti necessarilr a considerable arnonnt of buiatM to
he got through in one evenbig, Imt I think that half an >ionr'« intarval, to
enable inemlwrn to have a frlen<lly chat, would do much both to maka th«
evening i>a<i plea.<iantly and induce more to attend.
" I feel eatiafled that a stronger meeting might be got together if the " bill <it
fare " is more enticing.
" I am, dear Sir,
" Yours faithfully,
"W. P. MaJWH."
Now, Sir, I heartily agree with tie kindly remarks of onr excellent
member, Mr. W. P. Marsh. The writing of such a letter is itrong
evidence of the posMilities of the National Aaaociation of Professional
Photographers in its collective capacity.
No one can for a moment doubt that, if the Association were supported
numerously by the profession, as it deserves to be, we should find, month
after month, fresh subjects cropping up, suggestions made by memb«n,
and questions arising for the action or consideration of the Executive, in
the interests of the members and the profession generally.
•I beg to be permitted to inform your readers how gladly the profession
will be received at the meeting, November 10, three p.m., and that a
" General Meeting " of professional photographers will he held at
7.30 p.m. (same place), also that I shall be very pleased to entertain the
members of the profession who may desire to co-operate with as at a
"friendly tea," Ac.— say, five p.m.— if they will hononx me with their
company.
An early intimation of their intention to be present will contrihate to
the comfort and convenience of my brother professionals.
I am convinced that social intercourse will not only break down stiff-
ness, and promote kindliness, but that it will bring an accession of members,
to the mutual advantage of the entire profession.
I would also take this opportunity of pointing out the advantages offered
by the new Central Photographic Club now definitely established at Cole-
man's Hotel, Henrietta-street, Covent Garden, London. — I am, yours, Ac. ,
9, Baker-street, London, October 21. Thomas Fali.
WOODFORD PHOTOGRAPHIC SOCIETY.
To the Editor.
Sib, — May I ask the favour of space in your colnmns to call the atten-
tion of photographers residing in the neighbourhood of Epping ForeS to
the formation of a society at Woodford ? In commencing, we have nearly
twenty members, and shall welcome all who may be willing to oo-operate
in working to make our Society a success. Our meeting nights are the
first and third Thursdays in each month, and our officers for the first
year: President, Mr. H. Wilmer; Members of Council, Messrs. E. B.
Caird, Henry Crouch, and H. T. Malhy. — I am, yours, &c.,
Henby W. Bensett, Hon. Sec.
Dacre Hotite, Arundel-ttreet, Strand, W.C.
lExctiange (itolumn.
*,* ^0 charge is made Jor inserting Exchanges of Apparatus in tMs eobmnf
but none will be inserted unless the article wanted is definiteli/ stated, Thoie
who specify their requirements as "anything useful" vnll therefore understand
the reason of their non-appearance. The full name of the advertiser must
in all cases be given for publication, otherwise the Exchanges will not be
inserted.
Will exchange grass mat (Marion's) (or printing frames.— Address, 0. B. FlACOCS,
13, Baruiston-street, Hull
Dallmeyer's 2c fifteon-gninea lens to be exobangod for American organ.— Address,
JoHjf Weir, photographer, Moffat.
Will 'exchange Lancaster's whole-plate Le MiSritoire lens for burnisher.— Addr«*s,
Q. Qkimmett, 38, Bolls-road, London, S.E.
Will exchange circniar print-washer, porcelain, IS in. diameter, 6 in. deep, for land.
scape background.— Address, J, Allabd, 2, Wertor-road, Putney.
Will exchange Marion's embossing press, cost SI. 5>., (or Adam's binocnlar paotoscope
or camera (or making hintcrn slides.— Address, W. Waliee, Scotholme, Notting-
ham.
Will exchange a new OpCimus bnmishor, 8-in. bar, dippinf bath in wooden oaM,
(rames, dishes, kc., tor a good B. R. quarter-plate lens, or books.— Addnn, K. B.
Williams, Mallow.
I will exchange Dallmeyer's stereographic k-ns, or whole-plate wide-aagle landwmpw
lens aud other apparatus, (or 12 x 10 triplet lens.— Addrni, J. W. Hiliibb, Xatlook
Bath, Derbyshire.
Iron-(ramed backgronnd stand, will carry six backgronads, too large for studio ;
exchange (or one good background (se>»»po pre(eiTed) or nice studio aooeasory. —
Address, Octavius Carteb, Bonmeoioutb.
Dallmeyer's 2b lens, with Cadett's pneumatio shnttsr, in exchange for Home's eaatl-
levcr eight-and-a-ouarter-inch condenser or fi(teen-inoh globe-eoamellor. Address,
A. Smxoxs, 258, Wastminster-bridge-road.
Wanted, a portable half-plate square-bellows camera and six slides, in exchange for
modem bal(-plate camera, conioal bellows (all movements), aud thrive slides case. —
Address, E. Lloio, Mapesbury-road, London, N.W.
Half-plate bellows camera, I,an>boar's (ull-plate portrait lans, and mahogany studio
stand, in exchange for good three or four-wick magio lantern. Address, Aamm
WiLBiasOK, Photoitapher, Bradtord'«Md, Dewsbniy.
696
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[October 27, 1893
Will exchaniH! half-plata camera and Ions, three doable dark slides, Tyler's metal
slides, Lancaster Le Mi5ritoire, for a good half -plate lens and camera, with a litHe
oa«h.— Address, W. Cope, 88, Needham-road, Ed(fe-lane, Liverpool.
Wanted to cichange a first-class 12 x 12 mahogany wet-plato camera with one single
and two double dark slides, will take 12x10 plates both ways, in good condition,
for modern stereoscopic camera and lens.— Address, J. Sim.mons, 8, Springfield-lane,
Salford.
High class qnarter.plate camera, latest improvements, three double slides, walnnt
three-fold tripod, and Taylor k Hobson view finder in exchange for whole-plate
camera and slide, good condition.— Address, J. K. Smith, Little London, Eawdon,
near Leeds.
Exchange a graduated flatted oil background, seven feet by five feet six inches, for
three-quarter figure, lighted from the ri?ht, by F. Duran, of Handsworth, Birming-
ham, qnite new, for a good interior or exterior.— Address, W. .Tones, 272, Uxbridge-
fitreet, Bnrton-on-Trent.
ansstoer? to ©orrcsporrticnts.
*»* All matters intended for the text portion of this JomsNAt, including
5ueries and Exchanges, must he addressed to " The Editor, Thk Bkitibh
OUKNAL OF Photookapht," 2, York-street, Covent Garden, London, In-
attention to this ensures delay,
"*„* Correspondents are informed that vie cannot undertake to answer am-
munications throtigh the post,
*^* Communications relating to Advertisements and general busings affairs
should be addressed to Messrs, Henet Greenwood & Co., 2, York-street,
Covent Oarden, London.
%* It ivoidd be convenient if friends desiring advice respecting apparatus,
failures in practice, or other information, would call at the Editorial Office
either on Wednesdays from i to &, or Thursdays from 9 to 12 noon, when
some one of the Editorial staff will be present.
Photographs Registered :
Edwin Frere, Brighton. — One photograph of Rennj Frcdeyicli Plunkett,
Samnel Bererley, Blackpool. — One plwtograph of Blackro'^1 Tou-er, taken from north-
west; one photograph of No, 4 Section, Bastt Girder, North-Kest Leg of Blackpool
Tower.
T. F. F.— Mr. W. W. Winter, of Midland-road, Derby.
F. H. — Inquire of Mes.srs. Winstoue & Sons, Shoe-lane, E.C.
<jELATlNK. — Sensitise the gelatine by Immersion in the bicliromato.
J. F.JIammosd. — Our imj)re.s.sion is that the idea is of little practical use.
A. E. Smith. — The address is, Guilbert Martin, 1 and 2 Falcon - street ,
Aldersgate-street, E.C.
C'ymro (Cardiff). — The extra inch in focus accounts for the difference in
rapidity of the two lenses.
J. Allotgham.— Possibly Messrs. Rayner & Cassell, Cliancery-lane, W.C.
would meet your requirements.
Nemo. — The latest work on optics advertised in our pages is The Opitics of
Photography and Photoynqihic Lenses, by J. Traill Taylor (published by
Whittaker&Co.).
EXQUIRKR. — By all means protect the article. Ask .it any Post OtRce, and
you will get the necessary forms giving all the information you require. It
would take up a great deal of our space to reproduce here.
B. C. Wilson. — The bright planet seen near the east at night is Jupiter. This
you can ascertain for yourself by looking at it through a pocket telescope
or a good field-glass, by which the moons will be rendered lUstinctly visible.
Yorkie.— 1 and 2. See The British Journal Photographic Almanac
for 1893, in which ortliochromatising formute and methods of preparing
tinted screens are given. 3. Possibly the exposure is increased si.x or seven
times. 4. Ruby glass is preferable.
K. B. says : ' ' Will you tell me where I can find a detailed description of the
process for producing relief blocks in half-tone by ruled screens, that is now
in such general use for illustrating purposes ? " — Yes ; in Thk British
Journal Photographic Almanac for 1893.
M. Todd. — Send us two or three examples of the negatives to see. From the
description it would seem that some of the marking may be due to the plate
not being sufficiently rocked during the development. But that would not
account for the " straight line stains at irregular intervals."
J. E. Y. — If the mounts were guaranteed to be free from any injurious action
on the prints, and you can prove that they have, you have good cause for
action against those who supplied theuL As you were not supplied direct
from the manufacturer, or had any dealings with him, you must proceed
against the dealer.
R. C. S. — The discrepancy between the price of absolute alcohol here and
that on the Continent is fully accounted for by the duty that all spirit has
to pay in this country. If the foreign alcohol were imported, the duty that
would have to be paid upon it would bring the price up to that of English
spirit, if not higher.
Hypo. — The glass in the side of the studio can be of little or no use, owing to
the proximity of the adjoining building. The lighting would be improved
by a large side reflector, which, if necessary, could be placed outside in the
eighteen-inch space between the studio and the stores. A movable reflector
inside the studio might also be employed with advantage.
-A. (Essex). — At the village druggist's is not the best place to get photographic
chemicals, especially such as sulphite of soda and other substances that are
not improved by long keeping. Dry plates drawn from such a source are
not always to be relied upon as being of recent make. We should advise
having what is required from some dealer in a large town.
F. Wtllie.— Thanks ; we have forwarded your communication to our cor-
respondent.
C. S. S.— The beer and water-glass formula quoted is that generally adopted by
those who employ that substratum in collotype. It is not, however, now so
much used as it was Ibnuerly. The brand of gelatine mentioned is as uniform
in quality as most of the foreign gelatines are. It is a good plan to obtain a
large quantity at a time, so as to avoid the variation of different batches.
M. Wilson.— The marginal irridescent stain is due to the phates being old.
Some makes of plates, indeed most of them, have this appearance after
being kept so long as yours. Three years is more than most plates will stand
and yet be perfect. We do not see that you liave any valid complaint, un-
less, as is scarcely probable, the plates were guaranteed to keep good for so
long a period.
W. Young. — The fault in the portrait arises from the sitter being placed
directly opposite the window. This should always be avoided in taking
portraits in an ordinary room. The sitter should be posed at the side of the
window and a little distance behind it. Then the strong shadows must be
softened with reflected light. A table-cloth on the domestic clothes-horse
forms an excellent extemporary reflector.
A. X. 0. — There is no fixed price amongst London photographers for doing
outdoor groups and similar work, any more than there is for portraiture.
Every one fixes his charges according to his own idea of the value of his time
or that of his employl, and sometimes according to what the customer is
willing to pay. Some London firms even make no charge for taking the
negatives, but simoly rely upon orders of copies for their profit.
Great Yarmouth. — Albumen pictures can be toned in the combined toning
and fixing bath. Indeed, this was the original metliod by which prints on
albumenised paper were toned. But, to get good rich prints by this system,
strong negatives and strongly sensitised paper are necessary, and also con-
siderable over-printing. Un<ler these comUtions, extremely rich velvety
tones are obtainable. The combined toning and fixing bath was abandoned
because it was found that the results by it were not permanent.
T. Thomas asks if "there is any rapid method of drying negatives when prints
from them are wanted in a hurry without risk of injury to the film ?" —
Gelatine negatives can be dried very quickly — in a few minutes, if necess.ary
— without risk in the following manner ; First remove the surplus w.ater
from the surface carefully with blotting-paper. Next immerse it in strong
methylated spirit, keeping it moving about the while, for three or four
minutes. At the end of that time repeat the treatment with fresh spirit.
Then the negative may be placed in the sun to dry, or it may be dried at a
moderate distance from the tire.
F. Browning writes as follows : "I want a very hard and insoluble gelatine
to whicli I intend to add a large proportion of chrome alum so that, when the
thick solution is dry, it will form a hard and tough film for a new process to
be perfectly w.aterproof when finished ; that it is to be as non-absorlient of
warm water as celluloid. Tlic hardest gelatines we know of are " Coignet's
Gold Label," and Nelson's "Opaque," but a large proportion of chrome alum
caunotbe added to a thick solution of either without causing it to coagulate.
The effect of chrome alum on gelatine, although it renders it insoluble in
w.arm water, does not prevent its absorbing it ami becoming .softened with
long soaking.
Aq. Vit. — So far as we know, there is no law by which a magistrate can order
the withdrawal of a portrait from a show-case or a shop window. We im-
agine, however, as the exhibition of the picture under the circumstances is
causing pain and annoyance, an injunction from the Court of Chancery
could be obtained, and that might prove an expensive matter to the ex-
hibitor. If you are the exhibitor referred to in your letter, and we strongly
suspect you are, would it not be better, even from a business point of view,
to remove the picture than continue the annoyance ? In a country town
such behaviour is sure to be commented upon, and is sure not to conduce to
an extension of business.
Rembrandt asks how the bitumen used by process workers is obtained, which
is more sensitive to light than that as ordinarily sold? — The bitumen of
commerce is first reduced to a fine powder, and then shaken up in sulphuric
ether, which dissolves a large ])roportion of the insensitive matter. The
liquid portion is then poured off, and the treatment repeated with fresh
ether two or three times, or so long as matter continues to be dissolved to
any material extent. The powder is then emptied out on to blotting-paper
and allowed to dry in the dark. It is then ready to dissolve in benzol.
Messrs. Mawson & Swan used to keep this extra-sensitive bitumen in stock,
and probably do so now, and it would possibly be more economical to
purchase it than to prepare it for oneself.
»* Several answers to correspondents, articles, and other communications
unavoidably held over.
0ONTBMT8.
Paoi
AN impediment TN POPULARISING
THE STEREOSCOPE 681
DIFFUSED DEFINITION : METHODS
OF OUTAININO IT 6S1
MATT • SURFACE PRINTS ON ORDI-
NARY PAPER 68a
SOME CURIOUS EXPERIENCES WITH
METOL. By W. B. BOLTON 684
CONTINENTAL NOTES AND NEWS .... 683
AUXILIARY EXPOSURE. By J.
STBRRY 685
THE ENGLISH LAKE COUNTRY. Ey
T. C. HEPWORTH 686
DEVELOPED GELATINO - CHLORIDE
PRINTIKG-OUT PAPER. By HESRY
SMITH 687
Pa9K
a painters VIEW OF THE PHOTO-
GRAPHIC EXHIBITION.-II. By
PAL KTTE v; ''™
FOREWORDS; ON PHOTOGRAPHY AS
ONE OF THE GRAPHIC ARTS 689
HACKNEY PHOTOGRAPHIC SOCIETY'S
EXHIBITION 689
OUR EDITORIAL TABLE 690
NEWS AND NOTES 690
RECENT PATENTS *^
MEETINGS OF SOCIETIES 69»
FORTHCOMING EXHIBITIONS 694
CORRESPONDENCE 694
EXCHANGE COLUMN 695
ANSn'EBS 10 C0BB£8P0MI>£MIS 680
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1748. Vol. XL.— NOVEMBER 3, 1893.
FOCUS LAMPS AND OTHER ARTIFICIAL
ILLUMINANTS.
By a " focus " lamp we here mean an electric incandescent
burner wliich has been brought out under that name by the
Swan & Edison United Electric Light Company.
It is over a decade since we were asked by what sort of bur-
ner the electric light could be made to subserve the interests of
those who desired to employ the incandescent burner for such
optical purposes as recognise the concentration of the light by
means of a condenser. The arc light, as every one knows, does
this in a perfect manner, but the form of the filament in com-
mon use in the incandescent lamps is quite against it. The
suggestion we made was to the effect that the carbonised fila-
ment should be of a form similar to that of a watch mainspring
when released, its diameter being confined to about an inch,
and the number of coils limited to, say, four or five. At the
timethis wasproposedwewere told that it could not be done. But
electrical appliances are growing with a rapidity and in a state
of perfection undreamt of ten years ago ; and when a few days
since, and in course of conversation with Mr. E. P. Robertson,
of the Indian Civil Service, we learnt that he had in use such
a lamp as wc had long desiderated, we very gladly availed our-
selves of an invitation to witness its application to projecting,
copying, and enlarging purposes. The burner consists of a long
carbonised filament folded or bent in such a manner as to form
a zigzag surface of presumably an inch square each way,
presenting the appearance of a flattened spiral, or suggestive of
a small gridiron. The candle power is 100, which for lantern
parlour entertainments, with a screen of about eight feet, is
quite satisfactory, although Mr. Robertson expressed his
intention of having another burner giving an increased
intensity of illumination. Burners of this class, we learn, are
made up to a power of 200 candles.
We were charmed with the facility with which the lantern
was brought into operation. The house in which it was had,
like most of those in that district, the electricity " laid on,"
and gas, colza, and even petroleum seemed things of the past.
In some mysteriously hidden corner a wire from the lantern
had foimd a port of entry, and was instantaneously connected
with an equally hidden electrical main; a button or its
analogue at the side of the lantern was pressed and the light-
ning was poured forth in a dazzling stream. Several slides
were passed through the lantern and were voted to be suffi-
oiently illuminated, that is, sufficiently well for parlour or
domestic entertainments, although scarcely so for a school-
room or lecture hall. Although the candle power was
professedly 100, it appeared to us as if this figure
might have been somewhat increaaed without impairing the
fact.
Every house is not, alas ! yet fitted up with electricity,
although prophets, even of the tamest order, declare that
many years will not elapse ere at least every hall and public
building will be. In the mean time, what is to be done 1
Batteries are cumbersome, inconvenient things to have around
when one wishes to have a little electric lighting. A few years
ago, it was stated in a New York newspaper that preparations
were being made to deliver a supply of electricity each morn-
ing at houses not on the circuit, simultaneous with the morn-
ing milk. This certainly is within the range of practical
enterprise, thanks to the discovery of storage batteries. But
suppose one desires to give a lantern show at some little dis-
tance from home, what then? Storage batteries are heavy
things and are not amenable to easy conveyance. Hence for this
purpose compressed oxygen will still hold its own.
The application of electricity to enlarging and copying as
adopted by Mr. Robertson is simplicity itself. There is a back-
ground painted white, and on this is directed the light from
two burners of less power than that spoken of. The light
from these is cut off in all directions save that towards the
white background now strongly illuminated. Two cameras on
parallel rails are erected on the table ; one contains the nega-
tive that is to furnish the enlargement, the other and larger
one contains the lens and the paper or plate on which the en-
largement is to be made. It is much the same as if the
negative were directed against a bright sky, but is much more
convenient and reliable in practice.
Reverting to electricity for projection purposes, who among
electricians is to solve the problem of rendering it applicable
for those not so fortunately situated as to have it form one of
the regular fixtures in a house 1 ■ Fame and fortune awaits
him.
The light which we saw tested wa.s, as already stated, of
one hundred candle power. This power has already been
attained with some kerosene oil lamps, at the expense, how-
ever, be it noted, of some discomfort arising from great heat
and unfragrant smell. Messrs. Perken, Son, <fe Rayment claim
to have produced a triple-wick oil lamp in which the luminosity
is equal to the candle power mentioned, while the light is very
pure and the heat less than usual. The principle of construc-
tion recognises large air passages leading up to the level
of the wicks, and, the air being brought to play upon the
flames at their base, more perfect combustion is claimed. The
chimney, which is long, aids this combustion. We have been
present at trials made with it, and find that their allegation!
as to purity and intensity of flame are maintained.
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 3, 1893
TONING GELATINO-CHLORIDE PRINTS.
Although, in experienced hands, the modern gelatino-chlorido
printingout papers are capable of producing results in every
way equal to, and in many respects superior to, those obtain-
able with the best albumen paper, there can be little doubt
that in the ordinary course of practice there are a larger number
of failures or unsatisfactory prints turned out upon the new
than upon the older paper. We are not now referring to
failures arising from the physical character of the gelatine
paper, such as the softening or dissolving of the sensitive sur-
face or similar accidents, which, after a little practice, may be
completely guarded against, but more particularly to defects in
the colour and gradation of the image.
Indisputably, with gelatine, as with albumen paper, the chief
art in printing lies in the toning, just as in production of a
negative the result depends mainly upon the development, the
remaining operations presenting comparatively little difficulty,
or requiring an inferior degree of skill. But in conjunction
with gelatine paper it may be said, with certainty, that the
toning operation is surrounded by difficulties which do not
attend the working of albumenised paper, difficulties arising
from the paper itself, and not from any carelessness or want of
care on the part of the operator.
For instance, in looking througli a collection of prints by
the same operator, one cannot but bo struck by the great
variety of tones exhibited, ranging from any kind of brown to
purple, black, and grey; whereas with albumen prints the
work of any individual artist will vary but slightly from the
particular colour selected in the standard. Those who have
had any considerable experience will know that this uncer-
tainty and want of uniformity of tone increases with the
number of prints operated upon, and that, while it is fairly
easy to get uniform tones in a small batch of pictures, the
case is quite different when a large number are treated at one
time.
This does not appear to arise from any want of care in the
manipulations, but simply from some change in the bath itself,
or in its action on the prints, which causes the later prints
toned not only to take a much longer time to acquire a given
colour, which might be expected, but also to change to a
greater degree in the subsequent fixing than is the case with
the earlier ones. We have frequently noticed, and the same
thing has been remarked to us by others, that, although a batch
of prints before fixing may present an appearance of almost
perfect uniformity of tone, they will, after fixing and washing,
exhibit every variety of colour, from brown to the extreme
limit of blackness, that has been attempted ; and in such cases
close observation will reveal the fact that it is the later-toned
prints that have " gone back " most in the fixing bath.
Such results were often obtained, it is true, with albumen
prints, hue then there were other conditions to which they
might be traced. Thus it was a common practice to use the
toning bath in a tepid or even warm state, and, unless special
means were adopted to keep up an even temperature, the action
of the solution would necessarily vary as it got cooler. But
this condition is entirely absent in the case of gelatine paper,
since the bath is always employed, or should be, at the normal
temperature, and is, at least, not likely to vary very nmch during
the toning of a single batch of prints.
Of course the action of the bath must be expected to vary
as the toning proceeds, from mere consumption of gold, but
most carefd operators, in dealing with a considerable number
of prints, will take the precaution of gradually replacing tlie
gold abstracted by the occasional addition of small quantities-
of stock solution. This, in the case of albumen paper — unless
we except some brands of " ready-sensitised " that have come
under our notice — forms a complete remedy for uneven toning,
but unfortunately it does not with gelatine paper ; we have
ourselves more than once found the bath absolutely refuse to
tone after a while, although far more gold has been added than
could possibly have been abstracted by the prints toned, and
this kind of behaviour is what is generally complained of by
others. In fact, so great is the difficulty in this direction that
some operators persistently tone their prints in small batches,
using a fresh quantity of solution for each.
This, of course, adds very materially to the cost of toninc
gelatine paper, for, in order to secure the greatest economy,
it is desirable to use the same solution over and over ao'ain,
adding fresh gold as required. This was, and is, in fact, the
common practice with albumenised paper, the same solution,
with necessary additions to keep up the strength and volume
being often kept in use for months or years. But, so far as
our own experience, as well as that of others, goes, such a
course is not practicable with gelatino-chloride — under ordinary
circumstances, at any rate. Even with the acetate bath, if
used once for only a fractional part of the number of prints a
given volume will tone, if used again the next day, its toning
power seems to have altogether gone, and no amount of
strengthening will cause it to work satisfactorily.
AVe shall not deny that part of this result may be produced
by carelessness in washing the prints and similar causes, just
as would be the case under similar circumstances with albumen •
but it also occurs in spite of every care, and apparently in
consequence of some difference in the constitution of the
sensitive surface. If we consider for a moment the preparation
of albumen and gelatine paper respectively — independently,
we mean, of the organic portion of the films — the difference
is not far to seek, and suffices amply to explain the difference
in behaviour.
Take, first of all, ordinary albumenised paper sensitised at
home ; that is to say, not bought ready-sensitised. We have-
a sensitive film composed solely of chloride and nitrate of
silver imbedded in an insoluble layer of albumen. Albumenate
of silver is usually spoken of as forming an important element
in the composition of the film, but whether in this instance it
can be considered as a definite chemical compound need not be
argued, as it does not concern the question. We have, however,
undoubtedly chloride and nitrate of silver to deal with. la-
the case of ready-sensitised papers of unknown preparation, we
have in all probability, besides free acid, other organic silver
salts, and it is well known that these papers also present
toning difficulties which the freshly sensitised paper does not.
Turning to gelatino-chloride papers, these may be taken
with tolerable certainty to contain, besides chloride and a
small trace of nitrate of silver, a considerable proportion of
citrate, tartrate, or other organic salt of silver, which is un-
doubtedly the cause of the difference in behaviour. In making
that statement, we do not refer to any difference in the print-
ing behaviour of the paper, but to its behaviour in regard to-
the toning bath, as we shall attempt to explain.
In the case of the albumen paper,\when it comes to be im«
mersed in the toning bath, the film may be supposed to con-
tain, besides the reduced material forming the image, only
chloride of silver, the soluble salts having been removed by th*
November 3, 1893]
THE BKITTSH JOUKNAL OF PHOTOGRAPHY.
ow
preliminary washing. The action of the toning bath, then, is
confined to the image itself, gold being deposited thereon, and
the chlorine given off combining with the silver it displaces.
If, from imperfect washing, free silver remains in the prints,
chloride of silver in small quantity will be thrown down in the
batli, and a very slight reduction of gold will also take place ;
but this latter reaction could only occur in the event of great
carelessness in washing.
But in the golatino-citro-chloride film, although citrate of
silver is, to some extent, soluble iu water, it is so comparatively
slowly, so that it is not probable that it is removed from the
print before toning, except in the case of very prolonged wash-
ing, if even then. Consequently, the toning bath, while ex-
erting a portion of its strength in its legitimate function,
further weakens itself by giving up its chlorine to convert the
citrate, tartrate, or other organic silver salt, into chloride, a
corresponding quantity of gold being thrown out of use, while
the displaced citric or other acid goes into tlie solution. Here
we have at once a very serious weakening element, as well as a
cause of great uncertainty. But tliat is not all.
Some of the salts of the organic acids, as well as the acids
themselves, notably oxalic, have a very powerful reducing
action upon salts of gold in solution ; so we can without much
difficulty understand how and why the toning bath, after once
being used for gelatino-chloride paper, becomes so rapidly
useless. It is simply because the imused gold is reduced by the
organic matter taken into solution. The presence of tlie
organic salt also explains why the " combined " toning and
fixing bath containing hypo, and also those containing sulpho-
cyanide of ammonium, ai-e preferred by many operators for
the new papers although they are not perfect in their
action.
The simple way out of the difficulty is to ensure the removal
or conversion of the citrate of silver before toning. This is
easily done by means of a short immersion, after two or three
washings in plain water in a weak solution of common salt,
which converts the citrate or the salt of silver into chloride.
The prints, after this treatment, are again washed to remove
the salt, and if care be taken to do this the toning proceeds as
rapidly and more evenly than if the salt is not used. The
bath behaves with greater uniformity, and in the case of the
acetic bath can be used over again with perfect safety.
Not only are these advantages gained, but the total removal
of the soluble and partially soluble silver salts ensures a more
permanent tone, that is to say, one that changes less in the
fixing bath, and this in itself is an aid to uniformity.
EQUABLE TEMPERATURES.
Referring to our observations a week or two ago upon this
topic, we may say that we have heard quite a large number of
discussions upon the use of hot water in preparing the de-
veloper, some candidly avowing they had never thought of
using it in daily work ; others saying there was no novelty in
the idea (we expressly deprecated any supposition that we were
proposing something new) ; and others, certainly the minority,
again saw nothing to gain ; no one, to our knowledge, had any
objections to urge. We may now proceed with our batch of
developed plates, and see where heat again may be employed.
It is matter of common knowledge that the solvent powers of
hypo are greatly reduced when employed at low temperatures ;
hence, if the " fixing solution " be permitted to fall almost to
freezing temperature (and saline solutions may bo reduced con-
siderably below 32" without freezing), we liave two pouibls
evils ] to encounter. Firstly, an unnecessary expenditure of
hypo is entailed ; secondly, if the low temperature be not
counter balanced hj increased proportion of solution for each
plate, there is danger of ultimately stained or fading negatives,
for it should always be remembered that the result of fixing in
jjresence of an insufficient proportion of hypo does not neces-
sarily exiiibit its evil effects at once. The danger arises from
the i)roduction of an easily decomposable invisible salt of silver
which remains in the film. Our negatives are now finished,
and washing is the process next to be referred to. All that
may be said is, that the osmotic action takes place more
quickly in warm than cold solutions, so that, if the first wash-
ings (and all negatives are better with a preliminary " rough
wash" before placing in the final washing) be done with
slightly warmed water, made, say, by pouring a little boiling
water into the bulk of cold, the duration of the washing may
be considerably reduced without danger to the negatives. We
may dismiss this part of the subject by saying that such a plan
adds greatly to the comfort of the operator, especially when
there is much washing to be carried out.
We may next consider printing work. At once we will
point out that one prime factor, almost a secret, of goo<l print-
ing is to keep the silver bath at an equable temjierature. It
is impossible to lay too much stress upon this. Wliat a com-
mon experience it is in winter weather for printers to tell their
employers that the albumenised paper is " not so good as the
last," and probably the paper dealers could have something to
say on this subject ! Yet the true explanation is usually what
we have just referred to — temperature. If the silver bath be
reduced only a few degrees in temperature, the result with the
same time of floating is equivalent to reducing the strength of
tlie bath. Every one knows, when a certain point is passed,
what that means — difficulty in toning to a good colour, and a
muddy milky appearance in prints even from negatives of the
liighest printing quality. Of course the remedy, if tempera-
ture be disregarded, is to increase the strength of the bath, or
else tlie time of flotation. But, instead of proceeding iu this
hap-hazard fashion, especially when it is remembered that ex-
cess of strength is almost as great an enemy to good tones as
defect of strength, a far better, more workmanlike, and
equally feasible plan is to keep the silver bath warm. When
it is put away for the day, let it be kept in a warm corner, if
there be one. If even this convenience be wanting, the cost of
a small gas flame, either in a cupboard or used to heat a tray
of water, containing the bottle of bath, is an item of absolutely
insignificant importance, and ,to devise a plan to render it
available needs scarcely a thought. Some printers that we
have seen at work, knowing the importance herein of equable
temperature, endeavour to retain it by pouring successive jug-
fuls of hot water into the tray used for holding the silver bath,
and then, after draining, quickly pouring the solution in the
latter, when it becomes sufficiently heated to obtain uniformity
of temperature.
We will conclude by referring to one other important stage
where extra heat is almost essential. We refer to the fixing
solution for prints. Our remarks applied to fixing negatives
are applicable, but in a very greatly increased degree, to the
hypo solution for prints. They apply in a twofold manner. In
the first case, negative-fixing solution is not always made a&esh
each day, while with prints it is (or ought to be), so that in the
700
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 3; 1898
former case we have only to do with such differences of tem-
perature as are experienced from day to day. With fixmg
solutions made afresh each day in winter, the temperature may
be so low as to produce the highest possible retardation of the
process, owing to the well-known effect produced in the disso-
lution of hypo crystals, the great reduction of temperature.
Recently-made hypo solution should always be assisted by the
use of hot water, for even then, and in summer time, the tem-
perature of the solution may still be low. In winter, if no hot
water be used, the low temperature, it fixing is to be properly
performed, will go near to doubling the hypo bill ! We think
now we have shown good cause why every photographer should,
in his dark room, employ every possible and available means
to produce and retain an equable temperature.
SxpeditlouBxxess of the Collodion Process.— Some
modern photographers have been prone to decry the collodion process
without knowing anything whatever about it. However, the mem-
bers of several of the Societies have of late had the opportunity of
•witnessing demonstrations of its working, by those familiar with it,
for lantern slides and other purposes. The astonishment of most who
see the process worked for the first time is generally great that no
dishes are used, the developer and fixing solution bemg simply poured
on the plate and flowed backwards and forwards over it. But the
thing that usually strikes them most is the rapidity with which the
different operations take place. Many of those who have been inclined
to disparage the process for its slowness seemed to be quite unaware
that, so far as its manipulations are concerned, it is the quickest of
all proceses. As a matter of fact, a wet-collodion plate can be pre-
pared, exposed, developed, fixed, thoroughly washed, dried, and var-
nished ready for printing from or for the lantern in far less time than
is usually expended on the development alone of a dry plate. In less
than a quarter of an hour the whole of the operation, from cleaning
the glass to varnishing the negative, can be completed.
Photographic Dealers, beware I — At an inquest held a
fortnight back in the case of poisoning by cyanide of potassium, one
of the witnesses is reported to have said that " it was customarj'
in the army to take cyanide of potassium as a ' pick-me-up ; ' " also
that it could be bought " at any shop where they sell photographic
appliances." One of the jurors also remarked that he had purchased
cyanide of potassium for photographic purposes. The Coroner, in his
summing up, said he would lay the facts before the Pharmaceutical
Society. Whether the Coroner's action will have any influence on
that Society we cannot say, but dealers in photographic chemicals
need be very careful as to whom they supply with small quantities of
this chemical as well as other poisonous ones used in the art. Every
now and then the Pharmaceutical Society becomes very active in
prosecuting those who infringe the Pharmacj- Act. To obtain, say
half an ounce, of cyanide at the chemist's, one has to go through some
formalities, while, at the wholesale chemist's, he can obtain a few
pounds, or hundredweights, and no question be asked. It is a
little strange that in cases of poisoning with cyanide of potassium the
salt is always associated with photography, in which its use is really
very limited. Where a pound Is consumed in photography, a
hundredweight is used in electro-plating and gilding ; also in other
crafts.
Photogrrapby and Aioting'' — It is at times amusing to note
the ideas of the lay public with regard to photography — how it is
utilised by novelists, and how it is sometimes apphed on the stage.
Last week a correspondent in a daily contemporary, commenting on
a discrepancy between the evidence given by the two sets of witnesses
before the Cominissioners at the Featherstone Inquiry, suggests that if
the camera had been employed it would have shown beyond question
the state of affairs at the time — the peaceable attitude of the colliers,
the flight of missiles, and other acts of violence ; and, what is of
equal importance, it would ha>ve afforded the means of identifying the-
ringleaders. There is one important factor in the- use of the camera
that writers of this kind overlook, namely, hght. The firing by the
soldiers at the riots at Featherstone did not take place till just upon
nine o'clock p.m., and the light at that time in the month of Sep-
tember is certainly not suited for instantaneous photography. How-
ever, the suggestion is good, and one that has been made by ourselves
in connexion with previous disorderly gatherings, provided the hght
will serve. We have frequently expressed surprise that the authori-
ties at Scotland Yard make such restricted use of photography, par-
ticularly in the detection of crime.
REPORT ON THE NATURE AND CAUSE OF CERTAIN
YELLOW STAINS ON GELATINO-CHLORIDE PAPER.
{Photograp'hic Scraps.]
Ax the request of the Britannia Works Company, I have investigated
the cause of the yellow stains which at times appear on gelatino-
chloride paper.
The specimens sent to me showed a disagreeable brownish-yello-w
stain, which quite spoiled the prints, and which in some cases wa&
uniform, whilst in others it was patchy and irregularly distributed.
In many cases the stains were more or less apparent on the back of
the paper, as well as on the face of the print. The intensity of the
stain varied considerably in different cases. The accounts given of
the maimer iu which the paper had been manipulated threw very
little light on the origin of thes tains, and seem to indicate that care
had been taken in the washings, &e. It may be stated here, however,
that this latter indication is not confirmed by the result of the investi-
gation. The most remarkable point, however, and one in which all
the statements, with a single exception, agreed, is that the stains
ajipeared durinr/ the loashiny between toning and fixing. Their general
appearance indicated that the stains were due to the deposition of
silver sulphide. In all cases the ammonium sulphocyanide toning
bath had been used.
In my own experience of the paper, which has been not inconsider-
able, and has involved the use of various toning baths, no stains of
this kind have ever been met with, and the investigation was directed
with a view to ascertain not only to whart cause the stains are due, but
also to what causes they are not due.
Experiments were made with paper of the three ordinary colours,
white, pink, and mauve, and three distinct sa^nples of ammonium
sulphocyanide were used, two of these being obtained from well-known
dealers in chemicals, whilst the third had been sent to the Britannia
Works Company as being part of a sample that had been used in
making up a toning bath, with which the yellow stains had been
observed. Many experiments were made, but it will not be necessary
to refer specifically to more than a few of them.
Paper was carefully washed until all soluble silver salts had been
removed, and was then immersed for some time in solutions of each
of the three samples of sulphocyanide of the strength used in the
toning bath. Thepaper was afterwards carefully washed. No stains.
Paper without any lamhing was immersed in the sulphocyanide
solutions for some time, and then thoroughly washed. No stains.
Paper, part of which had been exposed to light, was thoroughly
washed, and then immersed in the sulphocyanide toning bath until
fully toned, three separate toning baths being made up with the three
samples of sulphocyanide. After toning, the prints were washed in
the usual way. No stains.
Paper, part of which had been exposed to light, was immersed,
ivithout any previous washing, in each of the three toning baths until
fully toned, and was afterwards washed as usual. No stains.
Paper, partly printed upon as in the preceding experiments, was
carefully washed, toned in each of the three toning baths, and then
washed, a very small quantity of hypo (sodium thiosulphate) being
added to the first wash water. The washing was continued in run-
ning water for some time, and at first the paper remained perfectly
white, but, as the washing continu 'd, dirty yellozv stains made their
appearance, and when dried the p- ints were precisely sitnilar to the
stained prints about which complaints had been made.
Paper partly printed upon was toned without any previous washhig.
No stains appeared whilst in the toning bath. The prints were then
placed in a dish of water containini^ a very small quantity of hypo,
and were then washed in several rapid changes of water, and after-
wards in running water. At first the paper remained white, but
gradually dark brownish-yellow stains made their appearance.
November 3, 1893]
THE BRITISH JOURNAL OF PHOTOORAPHY.
701
A portion of a toninff bath was sent to mo by the Britannia Works
Company as being part of a bath used by a customer on one occasion
on which bad yellow stains were produced. I toned in this bath
prints upon the three varieties of paper (white, pink, and mauve),
both with and without previous washing, but in no case icere any
yeUow f tains produced.
From these and other experiments, to which detailed reference is
unuece-ssary, 1 draw the following conclusions : —
(1.) The yellow Cor browniih-ijellow) stains are not due to anything
in the paper itself, and with proper manipulation no such stains are
produced,
(2.) They are not due to any impurity ordinarily presemt in am-
monium sulphocyanide.
(3.) They are not directly due to imperfect washing before toning,
but, at the same time, this washing should ahcays be carefully done,
for other reasons that will appear subsequently,
(4.) They are not due to acidity of the sulphocyanide toning bath,
even when it is sufficiently acid to turn blue litmus paper decidedly
red.
(■5.) The stains that appear between toning and fixing appear only
when the paper comes into contact with small quantities of hypo (sodium
thiosulphate) during the washing that follows toning. The quantity
of hypo required to produce bad stains is very small, and is such as
may easily be introduced into the wash water in any one of the ways
to which reference will be made presently.
The production of the stains in this way is easily explained. It is
well known that when hypo (sodium thiosulphate) comes into contact
with silver salts three compounds may be formed, namely, silver
thiosulphate, or a silver sodium thiosulphate, or another silver sodium
thiosulphate containing a larger proportion of the sodium salt. The
first and second of these compounds are insoluble, and are very unstable,
decomposing rapidly into dark brown silver sulphide, which when
spread out in a thin film appears to be brownish yellow. One or
other of these is formed when the quantity of hypo that comes in
contact with the silver salt is small. The third compound is soluble
and stable, and is not liable to decompose unless mixed with an acid.
It is formed when the hypo is present in excess.
If the water into which the prints are put when they come out of
the toning bath contains a small quantity of hypo, the change that
takes place is as follows : The hypo acts upon the silver salt in the
paper, and produces one of the insoluble and unstable thiosulphates,
and the latter decomposes spontaneously as the washing proceeds,
producing a small quantity of silver sulphide, which imparts a yellow
or brownish yellow stain to the paper, the depth of the stain depend-
ing on the amount of contamination. At first the change is not
apparent, but as the decomposition continues the discolouration be-
comes more marked, and this explains the statement, made by some
of the complainers, that the stain became worse the longer the prints
were washed.
There is also no difficulty in explaining the fact that in some cases
the first prints put into the wash water showed stains, whilst the
remainder show no stains. If the quantity of hypo with which the
water is contaminated is small, it is all absorbed and used up, as it
were, by the first lot of prints put in, and consequently, whilst these
may be stained, those that follow remain white because the contamina-
tion has been removed from the water before they get into it.
Several different ways in which the wash water may become con-
taminated with small quantities of hypo wUl readily suggest them-
selves. The following are amongst the most obvious and probable : —
(1.) Using for washing after toning a dish that has been used for
washing prints or negatives after fixing, or a dish that has been sued
for fixing prints.
(2.) Wiping the fingers on a towel or duster that has been used for
wipmg up hypo splashes, and afterwards putting the fingers into the
wash water.
(}i.) Putting the fingers into the wash water after they have been
in contact with crystals resulting from the drying up of hypo splashes
on the work table.
It should be borne in mind that a very small quantity o' hypo
indeed is suJjUcient to produce the stains.
In those cases where stains begin to make a frequent appearance,
although they have never previously been observed during several
months' work, the explanation is probably not so difficult as it might
seem at first sight. If, for instance, some hypo solution has been
splashed on the bench or table, and has not been wiped up quickly,
part of the solution will have been absorbed by the wood, and, even
after the table has been wiped down, the hypo thus absorbed will
slowly and gradually make its way to the surface in the form of an
effloresoence of minute crystals, and it is obvious that these crystals
may very easily get transferred into any dishes, &c., that may be
used. This gradual ooziog out of the aalt from the wood lometiine
goes on for several weeks.
In concluding thia part of my report, I can only repeat that I h«Te
failed altogether to produce the yellow atains between toning and
fixing in any way except by allowing the wa«b water to liecome cott-
taminated with small quantities of hypo.
Occasionally, though very rarely, yellow stains appear whibt the
priats are in the toning bath. These may be due, and, probably, in
most cases are due, to the accidental introduction of small quantities
of hypo into the bath. If this should happen when the bath has
been partially exhausted of its gold, the effect will be just the s»aa«
as from the introduction of hypo in the wash water.
Personally, I have been unable to produce yellow staina in the
toning bath, except by the introduction of hypo, but from the
evidence of others it would seem that if the same bath is used over
and over again, the gold being renewed from time to time, it may in
the end begin to decompose in such a way as to produce stains on the
prints. The probability of such decomposition is greatly increased
if the prints are not properly washed before being toned. The
practical conclusion to be drawn is that a new bath should be made
up at short intervals. Such a course involves merely a trifling
expense, since ammonium sulphocyanide is not expensive, and very
little is required. Moreover, it is easy to remove, practically, everv
trace of the gold from the bath by the action of the prints, and this
can, of course, be done before the old bath is thrown away.
It is stated that sometimes a toning bath begins to decompose so
rapidly that gold is deposited all over the surface of the print, from
off which it can be rubbed. If ever this should happen, it can only
be due to the toning baths having been prepared with very impure
materials.
The appearance of yellow stains either in the fixing bath or after
fixing is too familiar in the case of all kinds of printing-out paper,
and the causes are too well known to require any very detailed
mention.
The stains that appear whilst prints are in the fixing bath are
almost always due to the paper having been put into the bath whilst
in an acid condition. In other words, the prints have not been
properly washed between toning and fixing. Sometimes the stjuns
are caused by the prints being allowed to stick together. They are
thus prevented from coming freely into contact with the hjrpo solu-
tion, and, instead of the soluble .stable thiosulphate being formed, the
insoluble and unstable compound is produced and decomposes with
formation of silver sulphide.
The yellow or brownish-yellow stains that appear after removal
of the prints from the fixing bath are due to silver sulphide formed
by the decomposition of the unstable compound to which reference
has already been made so often. That is to say, the stains are the
result of imperfect fixation, which may be due to— (1) Allowing the
prints to remain for too short a time in the fixing bath ; (2) the use of
too weak a solution of hypo ; (3) the immersion of too many prints
in the same quantity of hypo ; (4) the use of an old (and con-
sequently a weakened) solution of hypo ; (5) allowing the prints to
stick together so that the fixing solution does not come freely into
contact with them.
It is perhaps scarcely necessary to point out that all the causes of
staining referred to in this report will operate in the case of any print-
out paper containing silver salts.
C. H. BOTHAMLBY, F.I.C., F.C^.
THE NAISSANCE OF ART IN PHOTOGRAPHY.
{The Sluiio, London.]
Since first the world developed a written language, vain attempts have
been made from time to time to define the term Fine Art. The reason
for this failure is not hard to find ; human minds are so variously consti-
tuted that no one definition of an abstract quality oonld be acceptable
to all intellects. That what we caU " Art " is an abstract or psychological
entity is sufficiently proved by this very fact ; the concrete we can always
define. Definitions covering some phases of art, or representing art as
it is accepted by the definer and those who are of his " turn of mind "
have, indeed, been formnlated. Such terms as " Beauty," " Good Taste,"
" Fitness," " Truth," "Naturalism," "Idealism," and so on, serve very
well to represent one or more aspects of art, but each and all are utterly
incompetent to express art as a whole.
Fine art appeals not merely to the senses, nor only to the intellect,
though it must not displease either. In music it must not offend the ear
by inharmonious discords ; in poetry it mnst not offend the intellect by
gross untruth or contemptible bathos ; in painting or sculpture it most
702
THE BlUTi«H JOURNAL OF PHOTOGRAPHY.
[November 3, 1893
not offend the eye by grotesque infidelity to fact or by inherent ugliness
But, provided it accept such restrictions, there remains in each of these
arts a wide field for imagination, for idealism, if you will ; and we take it
that in the something beyond mere fact or mere imitation lie the qualities
which constitute the essence of fine art. A poem which describes an
episode or a material sensation, however elegant the diction, however
forcible the expression, however sensuously pleasant the rhythm, is but
a triumph of words and no more, unless the indescribable "something"
lies behind to appeal to our heart. Although a musical work be com-
posed in strict accordance with every rule of the science, it will not be a
work of fine art unless it goes to the soul as well. And so a painting,
although it may have in it every element of truth, all the grace of form,
all the interest of a deftly depicted episode, will yet not be a true work
of art if it lack the " something " not seen, not even understood, which
must be present to make the painting a " heartfelt " work of art.
It is necessary to express so far our own opinions, be they right or
wrong, facts or dreams, to prevent misunderstanding of what follows.
There are many who by no means accept such a standard o! fine art ;
some because they are unable to comprehend it, some because they are
unable to act up to it, some because they honestly believe it to be false.
The truth or falsity of our idea is of no consequence provided we make
clear the claims of photography to rank as a fine art.
Accepting the highest sense of the words, photography has no part in
fine art. It has the power to select the fit, and to make the best of what
is actually and materially put before it, but when a. 1 is done it remains
simply a delineator. To photography is denied the capability of bringing
together diverse beauties from various sources ; we can photograph the
handsomest man, or the prettiest woman in the world, and we can even
make the most of the existing excellencies of their forms and features ;
but we cannot photograph a demigod with an aggregate of beauties un-
known in any one body, nor an angel, nor a devil. If any one were
bold enough to produce a fancy photograph of a " Christ," he would be
instantly and justly reproved. We have seen "fancy" studies of
Tennyson's heroes and heroines produced by photography ; these, even
had they not been ludicrous, would have been wholly unsatisfying to the
many who hold Tennyson to be almost more than human. If photo-
graphy could collect the beautiful, the fitting, the perfect, from various
quarters, and could endow its graphic productions with the simulacrum of
what we call art, even then the fact that we knew the production to be
a matter-of-fact rendering projected by a lens upon a plate, would of
necessity break the spell, and bring the whole performance down to the
level of a clever piece of copying. If the capability possessed by the
painter, who collects from various sources, and introduces into his work
beauties which exist only in his imagination, be called "idealism," and
if ideaUsm be the highest phase of fine art, then we say at once that
photography cannot aspire to the highest realm of fine art.
But is there any quality inherent in photography which places it for
ever and wholly outside the pale of the Fine Arts ? We reply without
hesitation. No. Much photographic work has been done, and more is
daily being done, which is beyond question artistic in the true sense of
the word. An exhibition of photographs at the present day consists
broadly of the following classes : — First, a great number of topographical
prints, technically good, but with no pretence of being pictures. Second,
a smaller number showing some intention of the worker to be artistic ;
occasionally these are more painful to behold than the undisguised
transcripts of bare fact, but at any rate they show a good intention.
Lastly, we find some few — but in a proportion that is daily increasing —
which are pictures in all but the highest sense of the word ; quite as
good, so far as they go, as the average of those to be seen on the walls
of exhibitions of paintings. Leaving out of the question what we have
called idealism, what have we to look for in in a graphic representation
of any subject ? Composition, chiaroscuro, truth, harmony, sentiment,
suggestion ? All these, and more, are quite within the scope of photo-
graphy. Photographs of the " impressionist " type have been successfully
produced, and this is perhaps the most promising class we have at
present. Colour is certainly denied to us ; but, on the other hand, we
have the power of catching fleeting effects, of securing truth in detail and
perspective, and of depicting with ease atmospheric phenomena which
can only with difficulty be reproduced at all, even by the ablest painters.
The question is not what photographers do, but what photography can
do. Photographers commit mistakes, without doubt, but the blame must
not be laid at the door of photography. If many who have been trained
to art were to express the results of their training by photography
instead of with the brush, the capabilities of the camera would soon be
better understood and more appreciated. And it is no part of our present
object to shut our eyes to the faults of photographers, or to attempt to I
excuse them ; on the contrary, we propose to dwell upon them at some
length. Only it must be steadily kept in mind that photographers, and
not photography, are thus attacked.
The very facility of the technique of photography has been one of its
greatest enemies. la a few days any one of average intelligence can
learn to make what is, so far as technical quality goes, a good photo-
graph ; consequently we have an enormous number of persons who have
no idea of the most rudimentary principles of art rushing about all lands
photographing. The science is so full of varied fascinations that it
procures many followers, and these become so much enamoured of it
that they do not lightly give it up. Every class of person seems to find
something congenial in photography ; the mechanical genius tak es to
devising hand cameras and instantaneous shutters ; the chemical student
wallows in strange combinations of " reduoing-agents ; " the globe trotter
who glories in his travels has a handy means of proving his peregrina-
tions ; in short, every one finds photography so easy and so interesting a
method to produce graphic and lasting results without lengthy or ex-
pensive preparation, that there is little cause for wonder that so many
more or less unoccupied persons, having taken to it, stick to it. There is
no reason why they should not do so ; picture-making is not one of the
cardinal virtues imposed upon mankind, and we have every right to
make topographic photographs if we see fit. But among the legion of
such those which are really pictures are apt to be overlooked. This is,
however, the fault of our societies and not of photography. It is true
that a few exhibitions have been held where artistic effect alone was
supposed to be considered ; but,,although these showed a distinct advance
in the quality of some exhibits, the others were in no way more worthy
to be called pictures than are those in ordinary exhibitions, unless we
find abnormal merit in mannerism and rechatiffaije of the ideas of others.
Yet, amid all the merely mechanical works, one must remember that
some " pictures," be they few or many, are also to be found.
There is no denying that not only the general public, but also many
who are well qualified to judge of such matters, find one photograph to
be " more artistic " than another ; it is notorious that on several occasions
several photographers have taken the same scene, and that one set of
operations resulted in a picture, while the others gave mere topographical
photographs. In such a case the artistic qualities can be compared, and
have been compared, and it is evident that comparison of non-existing
qualities is impossible. Further, there are a few men whose work
almost always claims attention as standing far above the average in the
matter of pictorial effect ; the quality in such work which compels
ackaowledgment is at least of the nature of fine art. Moreover, it is a
fact these men have, in almost every case, systematically studied the
principles of art, and can wield a brush or pencil as well as a camera and
•ens. Andrew Prinole.
(To be continued.)
THE ALUMINIUM FLASHLIGHT.
[Loudon and Provincial Photogrrapliic Association.]
Aluminiitm has a much higher kindling point than magnesium, and
consequently, when aluminium filings are blown or dusted througli
an ordinary flame, they do not ignite, as they are not in the flame
sufficiently long to become lieated through. Again, aluminium, if
heated in a crucible to a white heat, scarcely oxidises, as the metal
does not boil at this temperature, and a very thin film of oxide pro-
tects the surface. Magnesium would boil and blaze in a white hot
crucible, as the vapour would burn.
If, however, we take the fine powder of aluminium, now so largely
sold as a " silver " bronze, and blow or dust this through a flame, it
becomes heated to the igniting point, and, weight for weight, yields a
more powerful light than magnesium.
The commercial aluminium bronze powders contain, however, a
trace of greasy material, which prevents the grains readily separating,
and, if the powder contaminated with grease is blown through a
flame, or used in an ordinary flash lamp, it tends to blow through in
clots, and a large proportion escapes combustion.
This grease may be driven off or destroyed by heating the bronze
powder to about the melting point of zinc ; and, for operating on a
small scale, it is sufficient to heat it in a test tube over a spirit lamp.
The powder which I bring before you to-night has been thus heated,
and it is readily blown about by tlie slightest breath. It ignites
readily, and burns completely when used in an ordinary flash lamp ;
indeed, it burns more completely than does magnesium dust, as it is
impracticable to use magnesium in an extremely fine state of
division, owing to its tendency to oxidise spontaneously. Alu-
minium, on the other hand, can be stored in a minutely fine state of
division without fear of deterioration by oxidation.
November 3, 1898]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
Ono incidental advantajre of aluminium over magnesium is the
non-iritiiting clmrACter of tlio fumes of oxide, magnesium, on the
otlier hand, beinj; an irritating aliialine earth.
The sample of aluminium powder before you consists of scales
about a tive-thousandth of an inch thick, and it is manufactured in
Uermany, the English agent being Mr. \V. C. Home, of 2, White
Horse-alley, Cowcross-street, London. T. Bolas.
70S
SOME PU.\CTIC.\L RKM.VPtKS ON THE WOUKING OF
GELATINO-CHLORIDE PRINTING PAPERS.
Thrrk can be little doubt that, eince the efforts of several enter-
prising firms to bring before the general public gelatino-chloride
printing paper of excellent quality and at a moderate price, the
use of albumenised paper has, to a large extent, been superseded.
More especially is this the case on the part of a large number of
amateur workers who print their own negatives, and also by a goodly
number of professionals who aim at keeping pace with the times,
and who find that the highly glazed — or, as some choose to term it,
patent leather gloss — does go down with the general public, no matter
how inartistic others may deem it.
For small work, such as quarter-plate cabinet or half- plate sizes, a
more highly glazed paper is preferred by nine out of ten people on
account of the fine detail brought out by this class of paper, but for
larger sizes the employment of matt-surface papers, such as platino-
type or plain salted paper, are decidedly to be preferred, and the
leaning on all sides seems to be against albumenised paper. Nor
is it to be greatly wondered at when we come to consider tlie
numerous troubles casual workers had to contend with, such as
blisters, &c. ; hence it is not to be wondered at that so many should
hail with delight the introduction of such excellent qualities of papers
as the market is now supplied with by at least three prominent firms
in the photographic trade.
Notwithstanding the beautiful results obtained by the employment
of such paper for printing small sized negatives, there are a very large
number of workers who look upon the manipulations necessary to
obtain such results with a good deal of doubt, the opinion being freely
expressed that it is not so easily worked as albumen, and that, by the
employment of glass as the final glazing support, an element of much
uncertainty is introduced into the operation, for frequently they find
the prints refuse to leave the glass, and become, as it were, hermetically
sealed to the surface of the enamelling glass. But are such objections
to the working of gelatino-chloride papers well founded P 1 think
not.
I am quite aware that there is a marked difference in the treatment
necessary in the case of gelatino-chloride as against that of albumen,
and any one who decides upon working the former must make up his
mind to discard many of the manipulations resorted to in albumen ;
but, once the working of gelatino-chloride is properly understood and
carefully conducted, the results are perfect, and failures are almost
nil, for the routine is simplicity itself, and in no sense is it more
difficult or troublesome than in the case of albumen.
• From time to time, however, we hear of no end of failures and
other insuperable difficulties attending the glazing and mounting of
these highly enamelled prints, and judging from the numerous queries
constantly put forth in the columns of the various photographic
periodicals respecting the best way to overcome the trouble of prints
refusing to leave the glasses, &c., and the best means to employ for
the mounting of them, it would seem as if the nroper method of
treating these papers was but little understood. At least, I know that,
in my experience lately, I am more frequently asked questions re-
lating to these imaginary difficulties on the part of amateur workers
than on any other branch of photography.
In the following articles I shall endeavour to pen a few practical
remarks on what I know to be a subject of interest to a great many
amateur workers, and, perhaps, professionals also.
In the first place, the idea must be discarded that gelatino-chloride
■will yield good prints from bad negatives. I find an opinion generally
held Dy amateurs that, no matter how poor or thin a negative may be,
gelatino-chloride will pull off a good result. Now, this is a great mis-
take; in a sense, it is quite true that a thinner class of negative,
properly treated, will yield excellent results on gelatino-chloride as
against albumen, but the best negatives will yield the best results in
all cases. I don't know if my experience tallies with that of other
workers who, from time to time, pass an immense number of strangers'
negatives through their hands for printing purposes ; but I am com-
pelled tx) state that, since the introduction of the hand camera and
the indiscriminate use of very fast plates for all purposes, there has
been a sad falling off in the average quality of negatives turned out
by ninety-nine oat of every hundred workew who really pride them-
-iolve* on the superiority of their work. The great majority of
negatives are ^oor, thin production", very frequently almost entirely
ruined by fog in some shape or other, and from which many printers
turn away in disgust, when they remember the pleasure and tatisfac-
tion of printing such negatives as were generally produced on plates of
a much less exalted degree of sensitiveneea, ancf which were properly
timed in exposure and well developed. .\las I thij is entirely changed,
and the bulb-squeezer's, or button-presser's negatives of 180."! are a»
unlike such as can well be imagined ; but it pays the plate and camera
makers, and, so long as a moderato degree of pleasure is experienced
by those who practise it, I suppose it is all right, and will continue,
but do not let it be supposed that gelatino-chloride, or any other class
of printing papers, wdl yield satisfactory results from such produc-
tions. The best results are got from the best negatives, and at this
season of the year a word of warning is not out of place to those who
are about to undertake the printing of good negatives by means of
gelatino-chloride paper. In the summer season, when the atmosphere
13 drier, and the weather not so liable to sudden changes of dampness
and humidity, the same precautions are not so necessary, but in early
autumn or winter-time considerable precautions ought to be taken to
avoid bringing the surface of any gelatine negative, that is in the
slightest degree damp, in cantact with gelatino-chloride paper as a
printing medium. In all cases, wlien a negative that has been stowed
away for any length of time is brought out for printing, such should
be carefully warmed, and os-iimilated to the temperature of the
printing room, and on no account should the frame be exposed at a
window or outside all night, whereby dampness would bfs liable to
affect the surface of the paper as weU as the negative. With those
casual workers who are not able to give the necessary attention to
the printing of a negative during the business hours of the day this
is a practice very frequently resorted to, so as to get the benefit of
any morning light tliat may offer; but such practice, sooner or later,
will ruin the negative, and, on the other hand, tends to prevent the
best results in tone being arrived at. I have said that the best
negatives will yield the best results. .\3 a rule, however, negatives
tliat are judged too thin or weak for good printing by means of
albumen may be made to turn out fairly good results with gelatino-
chloride, and thin negatives may be further improved by a judicious
use of a ground-glass varnish, which has been caused to assume a
greenish hue by means of a suitable pigment or pigments.
In my practice, whenever a negative comes to hand that is judged
too weak or thin for good printing, it is treated to a coating of green
ground-glass varnish. This I make up by adding to a good'sampk of
ground-glass varnish a sufficient quantity of yellow and blue oil
paints (gamboge and Prussian blue) so blended, and in quantity suffi-
cient, as to yield the desired density of tint. Small tubes of these
oil colours can be bought for a copper or two from any well-appointed
artist colour shop, and any novice can strike a good green by
judiciously mixing a little of each on a glass slab, and afterwards
adding the green colour to the sample of ordinary ground-glass
varnish. This coloured coating is, of course, dowed on the glass side
of the negative, and if the proper quantity of colour is added the
varnish wUl set with its usual matt surface and of a delicate green
tint, that materially improves the printing quality of an over-thin
negative. The bottle should, however, be well shaken after standing
for a time. Sheets of green glass may be substituted for the varnish
in such cases, but the varnish applied to the negative is the most con-
venient form, and a golden rule to follow is not to over-tone a print
made from a weak negative. T. N. AnuSTRONa.
AMMONIA AS A FIXING AGENT.
Dbspitb the rapid advances which in recent years have been made in
the art of photographic reproduction in permanent pigments, and not-
withstanding the beauty of the results that in many cases have been
obtained, there is, nevertheless, no room for doubt that the old-
fashioned silver print on albumenised paper still occupies the leading
place in the popular favour and preference. Public taste, so fre-
quently founded on mere caprice, seems, in this particular instance,
to have formed a fairly just estimate of the merits of the case.
The question of colour apart, there exists in the silver print a
certain depth, a certain grateful combination of richness of tone
with clearness in detail, which few of the more permanent processes
have succeeded in imitating with any degree of sucoees. Indeed,
were only the resulting print of a lasting character, there seems
little reason to doubt Uiat the silver process would be the process
of the future, as it has been the process of the past.
The question of the want of permanence of the silver print leads
704
THE BRITISH JOUENA.L OF PHOTOGRAPHY.
[November 3, 1893
us naturally to the consideration of the subject of fixing agents, and,
from the very narrow range of fixing agents in general, it is but
a step to the consideration of sodium tMosulphate in particular.
The disadvantages of sodium thiosulphate as employed inthis con-
nexion are so widely known, and have been known for so long, that
it is somewhat remarkable that no one seems to have thought of
providing anything in the form of a substitute. It has always
seemed to the writer that such a substitute might be found were a
careful and systematic course of experiments instituted with that
object.
Since the date when this salt was adopted as a fixing agent, the
science of chemistry lias made gigantic strides, both in theory and
in practice, and in many of its applications has proved so beneficial
to photography that it may be confidently expected to render im-
portant service in any inquiries in this particular direction.
There is a singular absence of intelligible data on the subject of the
merits and demerits of fixing agents, and what little information there
does exist, being chiefly to be found in the scanty records of the
infancy of the art, is necessarily seldom seen and still more seldom
read by the average photographer. This being so, any inquiries
which may be made as to the feasibility of finding a substitute for
sodium thiosulphate must be almost wholly tentative.
The employment of liquor ammonise as a solvent for the unre-
duced silver salts remaining in the toned trint is probably no new
suggestion; but the writer, after considerable trouble, has not suc-
ceeded in finding that the results of any regular series of experiments
on the fixing power of that alkali have ever been made the subject
of communication to the photographic world.
In qualitative chemical analysis this solvent property of liquor ammo-
nisB has for long been taken advantage of in the well-known test for salts
of silver. Hydrochloric acid, in neutral salts of that metal produces a
white, curly precipitate of argentic chloride, readily soluble in liquor
animomes, and reprecipitated by the addition of an excess of the acid.
This important reaction suggested to the writer that application of
the article which forms the title of this paper, and a number of
experiments made by him at intervals during the last three or
four years have resulted in demonstrating the value of this reagent
for fixing purposes.
A brief sketch of these experiments and their results he now pro-
poses to lay before the readers of this Joubnal.
At the beginning of this inquiry, with the object of testing the
effect of ammonia on the untoned silver image, a print was taken in
the usual way upon sensitised albumenised paper. This, after pre-
liminary washings in several changes of water, was immersed for
twenty minutes in a fixing bath composed of equal measures of
concentrated liquor ammoniac and water. The fixed print was well
washed in cold water until it no longer showed an alkaline reaction.
The resulting picture was of that disagreeable orange-yellow colour
characteristic of an untoned silver print which has been fixed in a
solution of sodium thiosulphite. In addition to this, the strong
ammonia solution was found to have acted detrimentally on the
albumen coating of the print, which it rendered slimy and irregular.
Subsequently, a weaker fixing bath, containing only twenty-five per
cent, by volume of the concentrated ammonia solution, was employed,
and was found to have no sensible action on the albumen surface ;
but the prints so fixed still retained the former unpleasant orange
hue.
The action of ammonia upon the toned silver image was the next
branch of the inquiry. A priut, similar in all respects to the first,
was washed and toned in the ordinary manner, the borax bath being
employed. It was then fixed in the twenty-five per cent, ammonia
solutionfor twont;^ minutes. The resulting print, though agreeable
enough in tone — being of a shade of warm brown — was found to be
very weak, the ammonia bath having to a certain extent undone the
work of the gold solution. The obvious remedy, a prolonged immer-
sion in the toning bath, was then tried, and the prints so treated, after
fixing were found to resemble in all respects those fixed with sodium
thiosulphate. A corresponding increase in|the time of printing was
made at the same time, in order to maintain the strength of the
image under the lengthened reducing action during toning.
The results of these latter experiments, in so far as mere appearance
was concerned, were, as has been shown, fairly satisfactory ; but that
very important end, the permanence of the image so formed — which,
after all, was the real object of the inquiry — proved to be less readily
attainable. In the course of a few months a marked deterioration
was visible in the majority of the prints so fixed. It showed itself as
a reddish discolouration, appearing in the form of large irregularly
shaped discs, and extended over the greater part of the surface of the
print.
This discolouration was most apparent in the prints which had re-
ceived toning previous to immersion in the ammonia bath, but was
more or less visible in all. Careful examination of this phenomenon
disclosed a fact which seemed to give an important clue as to the
cause of the change. The original image in all cases retained its
purity of tone and depth of colouring. The discolouration seemed to
have no effect upon the finished picture otherwise than to show as a
red stain or fog superimposed, so to speak, on the original colour
foundation. This seemed to indicate that the markings were not due
to chemical changes taking place in the metallic image. That fact
being admitted, the inevitable conclusion presented itself, namely,
that the discolouration was due to the decomposition of the albumen
surface of the print. This conclusion the subsequent experiments
fully confirmed.
A thin and tough sheet of unsized paper was taken, salted on a
bath of sodium chloride, dried, and sensitised in an aqueous solution of
nitrate of silver of a strength of fifty grains to the ounce. Prints were
then taken on this paper, and, after washing, immersed untoned in the
ammonia fixing bath for fifteen minutes. As there was no longer
reason to dread the dissolving action of the concentrated alkali, the
strength of the bath was slightly increased, a thirty per cent, solution
of strong liquor ammonia) being employed. The finished prints were
of the same orange hue as those produced on albumenised paper by
the same treatment.
Pursuing these experiments on the same lines as before, the action
of the ammonia solution on the toned image was next investigated.
The borax bath was again employed, and the washed print (previously
rather over-printed) immersed therein until it assumed a deep purple
tone. It was then washed and fixed in the same way as was its un-
toned predecessor. The picture so produced could not be disting^shed
in appearance from a silver print on plain paper fixed in the usual
way.
After a sufficient number of toned prints had been so treated, they
were well washed to remove the free alkali, dried, and, when dry,
subjected to severe tests as regards their permanence. The method
of procedure was as follows : —
An unmounted print was fastened at the corners to a thick card-
board mount by means of little triangles of gummed paper. The
card was then placed in a situation where it was exposed day after
day to the full strength of the sun's rays, and was occasionally shifted
to the end, that the surface of the print might receive as much of the
light as possible.
This treatment was the means of revealing some interesting and
hitherto unsuspected facts, which may perhaps throw some little on
those much-discussed reactions of which the fading of the silver print
is the visible outcome. Certain of the finished prints had been a com-
paratively short time in the toning bath, and, after leaving the
ammonia solution, were of a warm shade of brown. These, after
continued exposure to sunlight, visibly altered. The purity of the
high lights became slightly tinted, and at the same time the shadows
suffered from a faint blurring, which was still more apparent on
further exposux'e to the light. On the other hand, the prints which
had been for a lengthened period in tlie gold solution, and which,
when finished, were of an agreeable purple tone, showed not the
slightest trace of deterioration. They were again subjected to the
full strength of the sunlight for a number of days. On examination
afterwards the most careful scrutiny failed to reveal any diminution
in the purity of the whites, or any detectable increase in the depth of
the shadows or half-tones. This exposure to light has been continued
up to the present time; but, so far, not the slightest change has re-
sulted. Time will, of course, be required to demonstrate the actual
permanence of the prints fixed in this way. All that can be said or
legitimately inferred in this matter is that, under certain conditions
easily complied with, toned silver prints on plain paper may be fixed
in a solution of liquor ammonias in such a manner as to resist the
severest tests that can he applied within a certain limited period.
It is to the conditions for the successful working of this process a
few words may be said for the benefit of such readers who may
feel inclined to devote their attention to the practical side of the
inquiry.
In the first place, in respect to the quality of the paper used, the
writer has found that one of a thin character is to bo preferred, as
being more readily sensitive to the solvent action of the ammonia
bath. Care must also be taken to choose a paper with a perfectly
smooth surface, as prints taken on a coarse-grained paper have been
found to require a prolonged immersion in the fixing solution.
For sensitising, a silver bath of not less than the normal strength
of sixty grains to the ounce should be employed. If the fibre of the
paper be sufficiently tough, the strength of the bath may be slightly
increased, say, to seventj' grains per ounce.
As has been already said, the operations of printing and toning (more
November 3, 1803]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
708
«apecujly the latter) must be prolouued bevoiid what is thought nnces-
eary in ortliimry circumstances. Tlpon the length of the toning pro-
<;ess till! permanence of the finished image seems, in a great measure
to depend, and, accordin(jly, prints should not be removed from the
gold bath until thev exhibit a deep purple tone in the shadows, which
remains unaltered by the subsequent treatment in the ammonia solu-
tion. I'rints which, when finished, are of a reddish-brown colour
should be rejected, as unlikely to resist the action of light. Tiie
fixing bath is made by adding to ten fluid ounces of water four and a
•half fluid ounces of concentrated liquor ammonia). Prints should
remain in this solution for a quarter of an hour.
Half an hour's washing in repeated changes of water, with con-
stant Hgitation of the prints, and a final rinse in warm water, has been
found amply sutRcient to eliminate nil free alkali. In this respect the
advantages as to saving of time and of trouble, which the new pro-
<»S3 presents in comparison witli the old, must bo obvious to all
photographers.
Such, then, are the few conditions which seem indispensable to the
obtaining of satisfactory results.
I'rints produced with due regard to these conditions have been
found to resist the few influences which, under the ordinary condition
of things, are brought to bear upon the finished image. Resistance to
these influences must ever be regarded as the most satisfactory test of
permanence. That term, being a strictly relative one, must always be
understood as referring to the normal conditions and causes which it
withstands. The abnormal, being capable of almost indefinite exten-
eion, must ultimately reach the degree beyond which the stability of
the print becomes endangered, and, accordingly, it has been considered
unnecessary to subject the finished picture to any severer tests than
those likely to be met with under the ordinary circumstances of wear
and tear.
liegarded from an artistic point of view, prints by this process have
a certain charm of effect which is lacking in prints produced by the
<;arbon and other pigment processes. On the other hand, it cannot be
denied that the absence of the albumen coating is, in some degree,
detrimental to the richness of the image. The greater advantage of
permanence should, however, prove to the photographer an ample
compensation for the slight loss in brilliancy ensuing from the non-
employment of the unstable organic body.
In conclusion, the writer desires to point out to those interested the
necessity for further experiments in the direction indicated in this
paper. By experiment only can any additional light be thrown upon
this rather obscure subject, and such a line of research is rendered
still more desirable by the fact that the question of the permanence
<if the silver print has not yet received that amount of attention
which, in the interests of photography, it seems to deserve.
Matthew Wilson.
ON THE PHOTOGRAPHY OF THE LUMINOUS BAYS OF THE
SHORTEST WAVE-LENGTHS.*
(Chemical News.)
The extension of the ultra-violet spectral region is in close connexion
with the invention of photography and the discovery of fluorescence.
The main region of the ultra-violet light was opened up with the aid of
fluorescence, but in its exploration photography has given brilliant evi-
dence of its superiority. The fluorescence method of observation has since
gradually lost ground, whilst the efficacy of sensitive^plates in the ultra-
violet legion has increased.
The first observations in the ultra-violet region were undertaken by
Edmond Becquerel (Bibtiothique Universelle de Geneve (new series), vol.
xxxix. pp. 341 to 3G7 [1842]), when he was studying the chemical action
of the solar rays upon Daguerre plates. The solar spectra of Becquerel
were formed, however, under the influence of the absorption of the glass,
and they extended, therefore, only to Franenhofer's P line.
Stokes, who recognised the greater transmissive power ol quartz for
light {Pliil. Trans., vol. cxlii. pp. 463 and 5.3'J [18.52]; vol. olii. pp. .599
tO'C19 [1802]), succeeded with prisms and lenses of quartz in following
the ultra- violet of the solar spectrum to an extent which, measured from
Franenhofer's H line, was twice as long as the total visible spectrum.
Still more surprising was his reBultJwith the electric light. The ultra-
violet of his spark spectra extended from six to eight times the length of
tlie visible spectrum. The most refrangible rays of all substances were
given by aluminium, the spectrum of which bounded the region of the
smallest perceptible wave-lengths with a strongly luminous pair of lines
•of the wave-lengths 1600 /</< and 185-2 mt. More strongly deflected rays
* From the Reports of the Session ef the Imperial Academy of Soieaces at
Vienna [Mallieimt, Aatur. CVdss., vol oil part -J, April, 1893}.
do not leem to have been ever reoogniaed in thi« region by Stokes and
his suooessors. On the same day (.luno 19th, lH6a), when Stokei tab-
mitted to the Royal Society of Ijondon his treatiae on the above lubjeot,
W. A. Miller gave in to the same Society his no leu important memoir
" On the Photographic Transparency of Varions Bodiea," dee. {Phil. Traiu.
vol. olii. pp. 8G1— 887 [1862]).
Both these memoirs pursued the same object — ucertaining of the
ultra-violet spectra of electric origin, and the behaviour of these ipeotra
with substances in all three states of aggregation. But, whilst Stoke*
made his observations with the aid of fluorescence, Miller utilised the
photo-ohemioal action of the rays and took photographs of his spectra.
The method of fluorescence showed itself strikingly preferable to the
photographic method in one point: Stokes arrived at the wavelength
183-2 /!/(, whilst Miller did not get beyond the wave-length 202-4 /.;i.
Miller afterwards, induced by Stokes, repeatedly attempted to photograph
the remaining rays, but always without the desired result {Phil. Traiu.,
vol. clii. p. 882 : 32 aluminium). The fluorescence spectrum retained
here and in the sequel an advance which extended to the considerable
extent of 1720 fift.
This photographic ill success in the extreme ultra-violet excites hesi-
tation if we see that L. Soret, Edouard Sarasin, and others, in their
extensive researches, observed this part of the spectrum only by means of
fluorescence. Hence it might seem as if photography was not suitable
for the observation of the most refrangible light. Such an assumption is,
however, completely refuted by the fact that Comu made use of pho-
tography for determining the wave-lengths of the most refrangible rays
of Mg, Cd, Zn, and Al (Archivei des Sci. Phyt. et Nat., Ill, P6riode, vol. u.
pp. 119—126 [1879]).
Comu, driven to photography by the feeble light of his grating, adopted
here the moist process, bat, in contradistinction to Miller, he used the
precaution of bathing the sensitised collodion plate in distilled water
before its exposure to light. In this manner he obviated the most im-
portant photographic hindrance which the most refrangible rays encounter
on a plate which has not been bathed, and secnred at once a better pho-
tographic result.
A further difference between the experimental arrangements of Miller
and Comu deserves notice. The apparatus of these two investigators
differed widely in then: focal lengths. The focal distance of Miller's
apparatus was by far the longer of the two. Hence the absorption of the
rays in the air must have come into play to a different degree whilst the
proof was taken. The experimental arrangement of Coma was con-
sequently preferable also in this respect.
The photographic result of Cornu for the smallest wave-lengths seemed
to open out a favourable prospect for the investigation of the ultra-violet
region which had hitherto been neglected. Unfortunately the future did
not answer this expectation. Experimental hindrances of an cmknown
kind have again estranged the region of the most refrangible rays of
aluminium (198-8 — 185-2 fift) from photographic spectroscopy. The
majority of all researches extends even at present to the neighbourhood
of the most refrangible lines of cadmium (226-55—214-41 /i/i), and only
occasionally the region of the most refrangible lines of zinc (214-41 —
198-8 ^fi) is taken into consideration. This phenomenon is the more
striking, as since Cornn's investigations spectroscopy has obtained, in
silver bromide gelatine dry plate, an auxiliary which throws into the shade,
in every respect, all the results of the collodion plates formerly employed.
The gelatine plate has for a series of years conferred invalnable services
upon spectral research. It is only since its introduction that photo-
graphic observation has made successful way in spectroscopy ; with it the
conviction has been secured that a study of the visible spectrum alone
does not suffice for the comprehension of spectral processes, but that there
is required as thorough a knowledge of the invisible spectral regions, espe-
cially the ultra-violet. In recent observations this necessity is taken into
account wherever possible.
In view of the fruitf uluess of the efforts in the ultra-violet regions which
recent years have matured, it seemed to me desirable and highly remoue-
rative to open up to photographic study the remaining ultra-violet, as far
as the wave-length 185-2 /ift, by means of a more suitable process than
those hitherto applied, and at the same time to consider tlie extension of
this region of observation in the direction of greater deviation.
For several years I have been approaching the execution of tliis thought.
My task resolved itself into two portions. The first was tlie photography
of the spectral region between the wave-lengths 281*35 and 185-2 fift ; the
second w-as the opening up of the unknown region beyond 18o-2 ftfi.
The present report discusses the first part of the work, and at the same
time the preliminaries for the second.
Its results, as also the representations of the apparata* nsed and of the
706
THE BRITISH JO URN AX, OF PHOTOGRAPHY.
[November 8, 1893
spectre obtained, will form the contents of a brief subsequent second
report.
Each of these portions has engaged a considerable time, and the second
portion still awaits completion.
If I now venture upon publicity with the results already obtained,
although years must probably elapse before the completion of my work,
the step has been induced, on the one hand, by the requests of a number
of eminent physicists to whom I have had the honour of submitting my
thief results; and, on the other, by my own wish to bring the facts ascer-
tained to the knowledge of the most extended circles.
Photography of the Spectral Region between the Wave-lengths 231--35
and 185 -2 /i/i.
A. With ordinary apparatus permeable for the ultra-violet.
Tlie Photographic Spectral Apparatus, with particular reference to its
Optical portion. — The photography of this spectral region requires an
apparatus of great permeability to light. Glass (G. G. Stokes, PIdl. Trans.
1852, cxlii. Art. 202), which keeps back most of the ultra-violet rays, is
unfit for the prisms and lenses of such an instrument. Calcareous spar
is not much better (L. Soret, Archiv. des Sci. Phys. et Nat., Ixi. 334
[1878]). Its availability for the ultra-violet ends where the above-named
region begins. The only media which can be taken into consideration are
quartz (L. Soret, ibid. p. 332, and G. G. Stokes, " On the Change of
Refrangibility of Light," Phil. Trans., 1852, Art. 204) and white floor
spar (W. A. Miller, " On the Phot. Trans, of Various Bodies," Phil. Trans.
clii. p. 865 [1862] ; A. Cornu, Archiv. des Sci. Phys. et Nat. ,111. Periode,
ii. p. 119).
Fluor-spar in its white variety — all other kinds of fluor-spar are coloured
and less permeable for the ultra-violet — is more transmissive than quartz ;
but it has hitherto been applied only in isolated cases on account of its
rarity and as it frequently contains defects in crystalUsation which imperil
the clearness of the image (H. Deslandres, " Spectres des Bandes Ultra-
violet des Metalloids avec une faible dispersion," p. 32. Paris : 1888).
In the photography of the ultra-violet region, quartz presents, upon the
whole, greater advantages than any other medium. It yields spectra of
faultless definition, and its lower transmissibility — just mentioned — is
according to present experience, not so important as seriously to impair
the photographs.
The Quartz Prism.— Hot every quartz prism is fit lor spectral photo-
graphy. Every prism whose refractive edge runs parallel with the optical
axis is unsuitable. The reason lies in the partial superposition of the
ordinary and extraordinary ray, and in the circumstance that the photo-
graphic result on the extinction of one or other of the two spectra, which
is certainly practicable with a Nicol prism, is destroyed by the non-trans-
missive character of the calc spar.
The relations are more favourable with a quartz prism, the refractive
edge of which is cut at right angles to the optical axis in such a manner
that the latter forms equal angles with the refractive planes. If the rays
traverse the quartz in the direction of its optical axis, they no longer ex-
perience the ordinary double retraction, but they undergo circular polari-
sation, and in so palpable a degree that, e. g.,in a prism of 60°, every line
of the spectrum is split up into two very nearly adjacent but clearly re-
solved components. It is plain that such a spectral image must be un-
certain even if the lines are mutually isolated, but must be completely
obscure in the case of crowded lines. This scission of the lines may indeed
be avoided if a system of lines is cancelled by a quarter-wave plate with
a Nicol inserted in the emerging ray. But the plate, as it consists of mica
(W. A. MUler, Phil. Trans., clii. p. 865 [1862]), is so impervious, that it
absorbs almost all rays beyond the wave-length 325 ^^, and, without con-
sidering the inconvenience in photographing occasioned by the impervious
nature of the Nicol, it renders any photographic result in the ultra-violet
at once impossible.
The only expedient to preserve the image from the disturbing effect of
linear and circular polarisation, without interfering with brightness con
sists in the use of a double prism (A. Cornu, Comptes Rendus, 1885)'eom-
posed of a laivo- and a dextro-rotatory quartz, each of an equal refractive
angle (30 ). In preparing such prisms care must be taken that the optical
axes of the semi-prisms are placed vertically to their common plane of
contact. To avoid the loss of light the semi-prisms may be joined to
gether with glycerine or distilled water; but this is not necessary Double
pnsms of this kind, whether single or when several are connected in a
circle, give spectra of a faultless definition.
Th^ Quartz Len^.-The lenses for the collimator and the camera are
best of a plano-convex form. They may either be of a like or of an
antagonistic rotary power. It is, however, essential that the geometric
axis has the same direction as the optical axis of the crystal, or, as the
opticians call it, are cut at right angles to the axis. Quartz lenses con-
sisting only of one part never double the image. Therefore double
biconvex lenses, composed like the double prism just mentioned, of Isevo
and dextro rotatory plano-convex quartz lenses, afford no advantage in
spectral photography.
The focal distance of the lenses must be equal, and not exceed one
metre. If larger, it may easily happen that the aperture of the apparatus
is too small. Although lenses of suflicient diameter can be procured
without too great difiiculty, the aperture of the prism still remains ; but
quartz prisms with a rather large aperture rank among rarities. In-
suflicient apertures easily occasion the formation of inflection fringes,
which appear on both sides of the brighter lines of the spectrum, and
may easily prove serious in interpreting the spectrum.
On the other hand, the focal distance must not be reduced too far, not
below three quarters of a metre, as the spectrum is otherwise too short. An
increase of dispersion by the application of several prisms is not to be
recommended. With a combination of several double prisms the spectrum
appears clearly defined only for a short extent. The greater the number
of prisms the shorter is the clearly defined extent. The simultaneous
photography of extensive spectral regions should therefore be effected at
the outside with a few, but preferably with a single double prism. This
applies especially to a general photograph of the ultra- violet region.
It will be understood that the selection of crystals from which prisms
and lenses have to be cut has to be effected with great care. Distortions,
which are not rare in quartz crystals, make every crystal unfit for use.
As great attention must be given to the nature of the refractive planes,
curvatures which, on account of their moderate size, have in glass prisms
no effect on the spectrum, may greatly interfere with the effect of a quartz
prism.
Quartz prisms with faulty planes always give an impure image of lines,
though less when used singly than when several are associated in a
circle. Such a circle is capable of bringing the spectrum into complete
confusion.
Excellent prisms and lenses of quartz are made by the optician,.
Bernhard Halle, of Steglitz, near Berlin. As a proof of the excellence of
his work, the fact may serve that a circle of nine double prisms supplied
to me by Herr Halle, in which the rays have to traverse thirty-six re-
fractive planes, gives in an extent of 3J mm. all the eighty-five lines which
H. C. Vogel's Atlas of the Solar Spectrum shows between the lines H
andK.
The moderate sensitiveness of the spectrum to certain defects of the
lenses is remarkable. This applies to the centering and the direction of
the optical axis of the crystals. I have been able to use continuously,
without disadvantage, a pair of quartz lenses which showed unusual
deviations for resolving dense groups of lines.
This circumstance deserves attention the more as the spectrum is yerj
sensitive to all kinds of faults in the quartz.
The adjustment of the prism and the lenses is effected in the same
manner as in the spectral apparatus.
The slit tube of the photographic spectral apparatus is of tha
ordinary construction. Only the photographic part of the apparatus-
differs from well-known instruments, and this only as regards the holder
of the dark slide, by which I understand that part of the camera which
serves for the reception of the dark slide.
The slide-holder is much more capable of being turned than in the
ordinary camera, for the following reason : — Quartz lenses, as their focal
lengths decrease considerably with the wave-length, require frequently, in
photographing the spectrum, a very unusually inclined position of the
photographic plate to the axis of the camera lens. If, e.g. , the focal
length of the sodium line, D (58'J ftfi), is 1000, the focal length for the
most refrangible line of aluminium, No. 32 (185 ;i;i), is only 806'2 (E.
Sarasin, Archives des Sci. Phys. ct Naturclles, Ixi. p. 109, 1878). This
oblique position is not constant ; it varies with the dispersion and with the
proportion of the focal lengths of the collimator and the camera. If the
focal length of both is equal (the usual case), the angle between axis and
plate, measured on the more refrangible side of both, varies from 22° in a
single prism (60°) to about 90° for twelve double prisms (two circles of
November 3, 1893]
THE BRITISH JOURNAL OF PHOl'OORAl'HY.
707
priams placed the one behind the other). But the angle la not constant,
even for one and the same prism-body. It varies here with the selection
of the rays (or which the prism is adjusted as at the minimum of de-
flection, also requirements made for the resolution of single parts of the
photograph. Under these circumstances it varies in a single double
prism from 28° to ^'i'. According to a circuit of the angle above named,
the plate, with the dark slide and the slide-holder, must be capable of
rotating on one of tlie middle lines of its sensitive side, and have such a
position that this medium line forms a parallel to the refractive edge of
the prism cutting the optical axis of the camera lens.
Victor Schumann.
(To be continued.)
©ur lEtiitorial CTatU.
Edwards' Nkw Dabk Slidbs fob Films.
B. J. EDWiRDS i Co., The OroTO, Hackney, N.E.
In the dark slide for films or plates which Mr. Edwards has in-
vented will be found many points of
novelty and utility, in addition to light-
ness and portability. The slides are made
to take two filmsi, or two thin glass plates.
The draw shutters are made of xylonite, one
>ide being black, the other dark red; the
latter, when facing outwards, indicating
that the film or plate next it has been
exposed, and also serving for the inscription
of memoranda.
The holder, too, containing the plates, is
easily removable. It has an end piece,
which folds back, thus allowing of the in-
sertion of the plates or films back to back, a
sheet of black opaque material being placed
between them. The end piece being re-
placed, the two plates are held in position,
and the carrier is then easily returned to
the sUde proper. The new slide is very
compact and small, and should acquire a
great popularity among those anxious to
reduce bulk and weight in camera impedimenta.
Mr. Edwards has also designed a simple film-carrier for ordinary
dark slides. In this, a thin metal frame, with turned-back edges.
holds a stout card, which, to insert the film, is removed by being
slightly pressed on the centre through the opening in the frame. The
film is then placed half way in the groove, the card put in under the
film, and both pushed home together. It should form a useful, as it
is, undoubtedly, a simple and effective film-carrier.
Burnet's Art Esbats.
Messrs. Percy Lund, & Co. have issued a reprint of these excel-
lent essays at a very cheap rate. The three essays comprise " Hints
on Composition in Painting," " Practical Hints on Light and Shade in
Painting," and " The Education of the Eye." These were originally
published separatelj- ; the first in 1822, the second in 1826, and the
third in 18-"i7. The original price was 2/. 18«. 6(/., while that of the
reprint, including the photo-lithographic illustrations, is half-a-crown.
Although written for painters, they afford invaluable information for
photographers, and we are glad to see a good book issued at so low a
price.
Nbgativk-making.
By Captain Abnet, C.B., F.R.S., 4c.
Messrs. Piper k Carter have published a second and revised
edition of this primer, which is written with Captain Abney's well-
known accurac;^, while it U couched in dimple Uogaage, for it wm
originally contributed in the nhape of articles to the Bw'n 0)on Paprr.
It IS eminently practical, and han been brought up to date. J'rice 1*.
An Intvschangbablx Scrap Albcm.
Marcus Ward & Co., Limited, hare published a aeries of glbuma
adapted for holding unmounted photographs, when properly
inserted, which can be done with great readiness. The accompanying
cut shows the appearance of one of those albums when the scrap
photographs have been inserted, in all but one from which will be seen
the mode of insertion. Its utility is undoubted.
^etos anil j^otcs.
November 9, Lantern Lecture, Old and Sew
•November 8, Flashlight Photography, by
Leeds Camera Clcb.
Flanders, by Dr. Thresh.
WiDSES PHOTOOBArmC 'OCIBTT.-
\V. Priestnall, at Bedford Cliauiliers.
Thi Bristol Exhibition. — Intending exhibitors are requested to note that
form A need not be sent in till December 1.
Liverpool Amatkuh Photooraphic Associatios. — Novemlier 9, Lantern-
slide Competition Slides.
Our readers will be pleased to linow that the Exhibition of the Photographic
Society of Great Britain has so far beaten the record, both in a financial sense
and m point of attendance.
We nnderstand that Mr. F. E. Ives will shortly address the Photographic
Society of Great Britain on the Subject of the recent advances in colour photo-
grai>hy by M. Luniierc.
Newcastle-on-Ttnk and Northern Counties Photooraphic Associa-
tion.— November 7, Ordinary Monthly Meeting. Discussion on Printing
Processes, opened by Mr. J. P. Gibson. 21, Lantern Evening. Exhibition of
prize slides.
Woolwich Photographic Sociktt. — The second annual Exhibition of this
Society will be held at the Polytechnic, Willuim-street, Woolwich, on
"riinrsday, Friday, and Saturday, February 8, 9, and 10, IS94. Eiitrj- forms
and prospectuses will be ready shortly.
Habringay and Finsbuby Park Photographic Soairr. — Novembers,
Metol Demonstration, by Mr. E. A. Leblanc. 23, Cresco-Fylma Demonstn-
tion, by Me.«srs. Hill Bros. December 14, Plwto-autocupyist, Americo-
European Company. 28, Conversazione.
Lbytonstonk Camera Club. — November 4, Open Social Evening at eight
o'clock. 7, Last day for receiving Entry Forms for Exhibition. 8, Demonstra-
tion, Wheatstone's Stereoscope, and how to make pictures for it, illastratetl
with models, diagrams, &c., by Mr. A. P. Wire.
Croydon Ca.mrra Club. — November 15, Prize Slides, at Braithwaite Hall
also Croyilon Cricket (Foss Challenge Cup Final), and various slides by
members of the Club. Tickets now ready, sixpence each. 29, Modem
Developers, by Mr. Leblanc. December 13, Lantern Night 20, Variout
Methods of Slide-making, by Mr. John H. Gear.
N.A. P. P.— Members are rcqueste<l to note following arrangements:—
Friday, November 10, 1893, at the Central Photographic Club, Coleman's
Hotel, Covent Garden, London, Council Meeting at 3 p.m. ; Fri»ndly Tern and
Social Meeting, by the kind invitation of the President, Mr. Thomas Fall,
London, at 5 ii.m. ; General Meeting at 7.30 p.m. The Photographic Society
of Great Britain, and the Photographic Salon, will Iwth lx> ojwn Joring this
period. All members of the profession will be welcome on presentation of
business address card. Early intimation of intention to 1* present is reqonted.
The Secretary is Mr. D. J. O'Neill, 47, Charlotte-road, Birmingham.
ro3
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 3,
Messrs. Eluott & Son, of Barnet, are issuing gratis, a pamiililet ou the
carbon process. It is capitally written, and conjprises, witliin a small .space, a
practical introductory guide to printing and enlarging by this admired process.
Ashton-undeb-Ltne Photographic Society. — November 7, Lantern Exhi-
bition. Delineator, C. E. Redfern, Esq., J.P. Chairman, J. W. Kenworthy,
Esn.j'J.P. 15 and 16, an Exhibition of Cameras at the rooms. They will
include Mr. S. Wooley's own made hand camera, the British, the Frena, and
several others. 22, A Demonstration by Mr. William Moss, entitled. Micro-
■photoijraphy. Chairman, Dr. Hamilton. 29 and 30, Exhibition of Negatives
and Prints by several members.
The Polytechnic— The twelfth session of the photographic classes com-
mences with Mr. Howard Farmer's introductory lecture. Can Gradations be
Varied : Can Incorrect Exposures he Corrected by Development, on Tuesday,
November 7. There are over twenty classes for all branches of instruction,
conducted by well-known men in the trade. There are also classes for
photogravure, collotype and process blocks.
Central Photographic Cldb.— October 27, a Lantern Evening by Messrs.
Acres & Wellington, when a large number of really good slides were shown by
these two gentlemen. To-night, Friday, November 3, there will be a general
show of hand cameras, and firms are invited to bring up their latest develop-
ments in this way. Messrs. Teape, Snowden-Ward, Wall, Acres, Wentworth,
among the members, will bring up the ones they use, which will be supple-
mented by well-known firms sending. The first "one man show" will take
place about the middle of the month, November, when Mr. Fall will exhibit.
Messrs. R. Keene and F. W. E<1 wards will follow suit at later dates. The
Club premises are now open all day, and the Hon. Secretaries are always ready
to enlist new members. November 10, Mr. S. H. Fry, on Print-outProcesses.
The Photographers' Benevolent Association.— Mr. A. Mackie in the
chair. Two applications for assistance. First case, the Secretary reported
that the applicant had called personally. He was resident in a London work-
house, had been out of work for some months, and seemed to have no definite
prospect of obtaining any. On making personal application he gave two
references, who had been applied to, and who had replied favourably of the
man. Secretary had given him food to the value of fourpence, and advised
him to continue in the workhouse till his case should be considered. Appli-
cant had been advised to attend the meeting, but did not appear, and had not
sent a written application. Case referred back to Secretary. Second applica-
tion, from an assistant out of work, who had been confined to the house for
five mouths through serious accident, and since recovery had had only one
temporary situation. The testimonials from recent employers were satisfactory,
but applicant, who had been advised of the meeting, was not present. The
case was refen-ed back, and Secretary empowered to grant immediate relief.
An advance of five shillings made by the Secretary to an operiitor to enable
him to reach a situation was confirmed by the Committee. The Secretary
reported re several cases that had been dealt with, and was instructed to press
for payment of two loans that were made some time ago, and which it was
thought applicants were now able to repay. Subscription of six shillings col-
lected in the box of the editorial ofKce of The British Journal ok Photo-
graphy was acknowledged. Final arrangements were made for the lantern
evening at the room of the Photographic Society of Great Britain, 5a Pall Mall
East, on November 10.
Is That the Law ? — Frank Smith v. H. Bown. On Tuesday, October 26,
before the Registrar at Southwark County Court, Frank Smith, photographic
assistant, of Hanley, Staffordshire, sued H. Bown, 43, New Kent-road, for it.
salary due, and salary in lieu of notice. The Plaintiff was represented by Mr.
Henry Philcox (Chipperfield, Ingham, & Philcox), and Defendant was also re-
]iresented by solicitor. The Plaintiff stated that he saw an advertisement as
follows in The British Journal of Photography, August 25, 1893 : —
"Wanted, a respectable Operator and Retoucher; must be good and quick.
Few hours on Sunday. Close at five on Thursdays. Wages, 40s. per week.
No duffers need apply. — H. Bown, 43, New Kent-road, near Tarn's." In reply,
he -wrote a letter on August 28 (produced in Court), stating his experiences,
giving particulars of his former situations, agreeing to the terms of the ad-
vertisement, and enclosing a sample of his work. On September 6 Plaintiff
received a telegram (produced in Court), which said : — "Yes, you can, at once.
Wire reply, Bown, 43, New Kent-road." The same day the Plaintiff ^vrote a
letter (produced), saying that the telegram was received too late to reply by
wire, as office closed at eight p.m., and accepting the situation. On Thursday,
September 7, Plaintiff called at Defendant's studio, and was told to commence
work the next day. On Saturday evening, September 9, Plaintiff received 12,?.
wages for two days, and Defendant told him to come to work on the following
day. On Sunday, September 10, Defendant came into the studio, stated that
the Plaintiff was no good, and ordered him to leave theplace, refusing to pay him
any salary. For the defence, the facts as stated were admitted, but Defendant
stated that when Plaintiff arrived on Thursday, September 7, he — Defendant —
had offered to give him a trial. It was contended that the advertisement,
letters, and telegram did not constitute an engagement, .and that, therefore,
there was no liability to pay salary or necessity to give notice. The Defendant
had not paid Plaintiffs fare from H.anley, and swore that he h.ad no idea that
"Hanley, Stafford," was very far from London. For the Plaintiff a witness
was called to prove the custom as to engagements. For the defence two
employes of the Defendant were called to prove that they heard him say to
Plaintiff that he should " have a trial." Verdict for the Defendant, with costs
of two witnesses.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
Na 19914.— "Improvements in or connected with Photographic Cameras or
Apparatus. " Complete specification. H. Gamwbll ami Ci Gamwell. — iJuted
October 23, 1893.
No. 20,042.— "Improved Sensitive Paper for Photogi-aphic Purposes." Com-
plete specification. A. Hesekiel. — Dated October 24, 1893.
No. 20,181. — " Improvements in or relating to the backs of Opaline Photo*
gi-aphs and Photogiaph Frames." P. Campbell. — Dated October 26, 1893.
No. 20,264. — "Improvements in Mounts for Photographs .and the like."
F. Wilkinson. — Dated October 21, 1893.
No. 20,277. — " Improved Camera, forming complete Apparatus for taking
.and finishing Pliotographic Pictures witliout aid of a separate Dark Room.
L. NiEVSKV.— ZJa^ei/ October 17, 1893.
No. 20,297. — " Improvements in Cameras." Communicated by J. ZiON.
A. J. Sovu!.— Dated October 27, 1893.
No. 20,342. — " Improvements in Half-tone Negatives for Photo Processes."
Complete specification. F. J. M. Gerland, W. C. Hespe, and M. Levy. —
Dated October 27, 1893.
No. 20,372. — "Improvements in Photographic Apparatus." J. H. Balfoub.
—Dated October 28, 1893.
No. 20,379. — " Improvements in Magazine Cameras." S. D. Williams. —
Dated October 28, 1893.
No. 20,405. — " Improved devices for Mounting Photographs or the like."
M. hKKE.— Dated October 28, 1893.
PATENTS COMPLETED.
Receptacle for Refilling Camkra Mauazines with Photogbaphic Plates
WITHOUT the use OF A DARK ROO-M.
No. 16,126. Ladislas Nievsky, 14, Gransden-road, Shepherd's Bush,
Middlesex.— &p(c«iJ)er 30, 1893.
The general object of this invention is to provide a simple and efficient means
for refilling the magazine in a magazine camera with plaques or sensitised dry
plates in broad daylight without the use of a dark room. Another .and special
object is to further expedite and facilitate the use of my so-called simiilex
jihotographic machine, described in the Specification of my Patent dated
October 19, 1891, No. 17,860. By that machine or apparatus each plaque
delivered from the magazine to the camera proper is, after being exposed,
opposite to the lens and the object to be photographed, conveyed into a tank,
where it is expeditiously and conveniently developed, fixed, and washed, and
can then be removed from the tank .as a finished photograph. But, by my
present invention, I do away with the necessity for going into a dark room
each time the raagaziue has to be refilled, and the machine can tlius do much
more work in the same number of hours than heretofore, because the speed at
which the machine works is so very great that the magazine has to be refilled
very frequently duiing a busy day.
I
meettnsjS of ^ocutt0iE{*
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Datf) of Meeting.
November 6....
6.. .
Name of Society.
9..
y..
9.
9 .
9..
10..
10..
10..
10..
10..
10..
10..
10..
10..
11„
Camera Club
Duodee Amateur
Peterborough
Richmond
South Loudon
Steieogcopic Club
Birmingham Photo. Society
Bolton Photo. Society
Brixton and Clapham
Bxeter
Hackney
Herefordshire
Keighley and District
Lewes
North London
Oxford Photo. Society
Paisley
Rochester
Rotherham ,
Sheffield Photo. Society
York
Ipswich
Leicester and Leicestershire
Xjeytoufctone ,
Munster
Photographic Club
Southport
Stockport
Birkouhead Photo. As&o. (An.)..
Camera Club ,
Cheltenham ,
Glossop Dale
Hull
London and Provincial
Manchester Photo. Society ,.
North Kent
Oldham
Bristol and West of England
Cardiff
Central Photographic Club' ..
Croydou Microscopical
Halifax Camera Club
Holbom
Ireland
Maidstone
West London
HaU
Place of Meeting.
Charing Cross-road, W.C,
Asso. StndiOf Nethergate, Dundee*
Mnsenm, Minster Precincts.
Greyhound Hotel.
Hanover Hall» Hanover-park, S.E,
Brooklands Hotel, Brooklands.
Club Room, Colonnade Hotel.
10, Rnehton-street, Bolton.
376, Coldharbour-lane, Brixton.
City Chambers, Gaudy-st,, Exeter.
206, Mare-atreet, Hackney.
Mansion House, Hereford.
Mechanics' Institute, North-etrect.
Fitzroy Library, High-st., Lewes.
Canonbnry Tower, Islington, N.
Society's Rooms, 136, High-street,
9, Gauze-street, Paisley.
Mathematical SchooV, Rochester.
5, Frederick-street, Rotherham.
Masonic Hall, Surrey -street.
Victoria Hall, Gflodramgatc, York.
Art Gftllcry, Ipswich.
Mayor's Parlour, Old Town Hall.
The Assembly Rooms, Hig^-jroad.
School of Art, Nelson-place, Cork-
Anderton's Hotel, Fleel-8treet,K.O.
The Studio, 15, Cambridge-arcade-,
Mechanics' Institute, Stockport.
Y.M.C.A.,Grange-rd.. Birkenhead,
Charing Cross-road, W.O.
71, Prospect-street, Hull.
Champion Hotel, 15, Aldersgate-sta
36, George -street, Manchester.
Gravesend,
The Lyceum, Union-st., Oldham,
Rooms, 28, Berkeley-sq., BristoL
Coleman's Hotel,Heurietta-st.,W.(y
Public HaU, George-street, Oroydoa
Rooms, 15, DawBon-street, DnUin.
"The Palace," Maidstone.
Ohiswick School of Art, Chiswick*.
71 Prospect-street, Hall.
November 3, 1893]
THE i..flTI8H JODBNAL OP PHOTOGRAPHY.
709
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
OnOBKR 26,— Mr. A. Haddon in the chair.
Mr. .J. T. Tniscott was unanimously elected a member.
The Hon. Skcbktary, in drawing attention to the forthcoming Lantern
Evening at the Exhibition Gallery of the Photographic Society of Great
Rritain, in aid of the Photoeraphers' Benevolent Association, stated that the
Assoc-iation was in great need of funds.
DRVKLOrED GKLATINO-CHLOBIDE PRINTS.
Jlr. K HECKETr showed a developed print on gelatino-chloride paper, the
imago having been just barely visible before development. It had from live
to ton minutes' exposure. He thought that a better print was obtained than
would have been the case by printing right out, and that the process gave a
tendency to greater softness. Control was obtainable over development by
diminishing or increasing the alkali. The prints were toned.
Mr. E. J. Waix had tried the development process with the Paget, Ilford,
and Solio gelatine papers, and found that it proved more successful than by
printing out in the ordinary way, as it gave greater command over the results.
Uevelopment with a brush enabled one to get almost any eflect one liked. He
had satisfactorily used the method with rough paper. One must be careful
not to develop too much, and to well wa-sh the last traces of the developer out
before toning. He thought that the " toning" should be called an intensifica-
tion process, iis he did not think in this case the action was entirely a toning
one. The image, when developed, was very faint, but, when put into the
tonini; bath, it developed np rapidly. The paper should not be exposed to
white light. In reply to a question, he said the process gave pure whites
with vignettes. There was besides a decided absence of double tones. By the
process he had printed, developed, and toned sL\ty-four whole-plate pictures
m one day from eight negatives.
ACKTATK OF LEAD IN A HtDROQUINONE DEVELOPER.
Mr. L. Medland referred to a published formula for a hydroi|uinone
ileveloper which contained acetate of lead, and .asked what its action was
supposed to be ? With ordinary water it gave a milky jirecipitate, but, with
distilled water, no such precipitation took place.
The Chairman said that it must be due to the impurities in the ordinary
water if a clear solution were only obtained with distilled water.
The ALtiMiNroM Flashlight.
AJpaper by Mr. T. Bolas on the subject was read [see page 702.)
Mr. J. G. Hudson pointed out that aluminium would ignite in an
ordin.ary Bunsen burner if blown straight through the centre of the tube. He
did not, however, see any .advantage in aluminium over magnesium. In reply
to a question, he said the magnesium fumes could be done away with by using
casing.
Sir. Wall alluded to some exiieriments which showed that aluminium was
decidedly inferior to magnesium in actinic power.
Mr. R. Child Bayley thought that .aluminium leaf bnnit in oxygen would
be better for photographing interiors than magnesium.
Mr. Hudson showed a portrait taken by magnesium light with three seconds'
exposure.
llie Chairman thought the paper showed the possibility of using metals
other than magnesium for illuminating purposes. It had been stated that
.aluminium did not tarnish, but that was a mistake, as, when exposed to the
air, it became covered with a very thin film of alumina, which w.a3 transparent,
anil allowed the metallic lustre to be seen through it.
"Ladies ,it the London and Provincial."
The meeting then became a special general one, consequent upon a formal
requisition asking the Hon. Secretary to convene it for the purpose of virtually
deciding wliethcr ladies were eligible for nomination as members or not.
Mr. W. E. Dedenham proposed the following addition to the rules : " That
ladies are eligible for all the privileges of membership. "
This was seconded by Mr. Steinmetz.
Mr. TH0.MAS Bedding proposed an amendment the efl'ect of which was to
make the rule read, " That gentlemen only are eligible for the privilege of
membership."
This was seconded by Mr. C. H. CoOKE, and, upon being put, was carried
by twenty to six.
Tlie inclusion of the word "ordinary" before membership having been
fonrnally moved and carried, the amendment was put as a substantive motion, I
and earned.
MANCHESTER PHOTOGRAPHIC SOCIETY.
October 12,— Annual Meeting.
T 'The ^°"o™'»g gentlemen were elected members of the Society :— Messrs.
.J. B. Pettigrew, W. Donyan, and W. T. Burrows.
The report of the returning Council recorded a quiet but generally successful
years work, many of the ordinary meetings having been devoted to the
exammation and discussion of the various brands of plates, &c., and newly
introduced developers, the social part of the evening .at tea preceding the
formal business, continued an enjoyable feature of the ordinary meetings,
ihe exhibition of members' work, held in March, was very successful, and
showed marked advances in technical work. The lantern meetings had all
been ojjcn to friends, the lecture and other sets of slides displayed I«ing of good
quality and well received. Tlie outdoor meetings h.a.l, with the exception of
one or two rambles, been disappointing both in attendance and results. The
Society had lost two members by the death of Mr. C. Duval, a local pro-
fessional, and Mr. J. Kershaw, of Buxton, one of the earliest members, and
well known as the inventor of the roller-blind form of shutter. Although
the membership remained about the same, the Council would welcome a few
more friends as a slight increase in the number of members would Ije an
un>Ionbte<I advantage Iq eiwbling them to proriiU b«tt«r (or th* gaaanP
requirementa of nil.
The Treaxurer's statement wa« a4loptetI, anil the election of officen for th»
coming year proceeded with. During the neceamry ioterral for coantina the
votes, the meeting resolved into a converiaxione for general dtacnaoion and the
trial of slides in the lantern. The election reealted u followa :— President :
Mr. .1. \i ooH — Viee-PresidenU : tAttnn. A. Brothem, K.RA.8., T. CMIton.
T. R Cobley, A. Heywood, and II. M. Wliitcfield.— C'»une«.- Meam. W.
Blakeley, J. Brier, C. H. Coote, S. L. Conlthurst, F. F^lwanls, H. V. Uwea,
J. Peddle, W. Tomlinaon, J. Warburton, andJ. Whlttaker.— //on. Li/rronant:
Messrs. C. H. Coote and H. V. I Jiwes. —//on. Curator: Mr. H. V. Lawea.—
Lantern Committee: Messrs. Coulthnrst, Edwards, Lawea, and Wbittaker.
—Han. Tnasurer : Mr. W. G. Coote.— /fo». Secretary ; Mr. W. H. Farrow.
Croydon Microscopical and Natural History Club (PtaotograpUo
Section), October 27, Mr. Sparrow in the chair. Subject, MmnU and'
Mounting.— \!i the annual soirfe of the Club would shortly lie lielil, when
there would l>e an exhibit of the work of members, the opportunity was taken
of assisting them in the mounting of their prints. An extensive selection of
the newest patterns of mounts for exhibition and general use was sent down
by Messrs. Adams & Co., and the evening was profitably spent in inspecting
and comparing them. A very effective mount, said to be an old pattern of
forty years ago now revived, was one consisting of a tinted cut-out mount, the
opening being surrounded by narrow strips of the same tint, but of a different
shade, edged with white or black. Several sp«<:iiiieiis were shown of the new
"slip-ill " albums, particularly adapted for gla/.e<l |irinta, as no mounting was
required. Mr. Gower showed some mounts tinte-I by spraying with a comb
and toothbrush, a plain centre being left for the print oy masking. An
example of platemaking on drawing-paper, produced in a copying press, wa»
also .shown.
Hackney Photographic Society.— October 24, Mr. K Pattock in the
chair. — Mr. Guest showed two bromide prints (enlargements), one at twenty
minutes' exposure with gaslight, and the other with half-an-hour. The former-
w.as developed with amidol, the latter with hydroquinone. The one develotwl
with amidol was stained, and the reason .asked. Several members stated it
w.as not due to the develop'.r, but contamination with dirty dishes or hypo.
Mr. Dean showed an over-printed view on P.O. P., flxe<l direct with hypo,
without toning, and asked the cause of black :;pot3 upon the face of it. Mr.
Beckett said that the jiriiit must have been imperfectly washed, and the citric
acid left in paper in combination with hypo produced sulphur toning.
Leytonstone Camera Club.— October 25, Mr. W. ,1. Parsons in the chair. —
The President (Dr. W. Pickett Turner), assisted by Mr. A. J. Newton (in-
structor, People's Palace), gave a very elaborate demonstration on the
Collodion or Wet-plate Process. Tlie lecturer having gone very fully into tlie
theory, giving all the formulie for the various solutions, and the neces.sary
appliances required, a negative glass was cleaned, coated, dipped, expoted,
developeil, intensified, and varnished, the whole of the o|ieration being
done before the members, making a most complete exposition of the
process, particular reference being made as to its atlvantages for trans-
parency work, and a large number of lantern slides passe<l round, showing
results of variou* defects, such as over-exposure, under-exposore, and
different conditions of the bath, and the resnlt of ilifferent mistakes ma<ie in
preparing the negative, the most noticeable being the coating of the plate, the
lecturer observing that the man who liesitates at this operation is lost.
Saturday, October 28, first members' Lantern Evening of the sea-son. A large
number of slides were put through the lanteni on the new screen, made by one
of the members, Mr. F. F. Weeks, who also showed a number of carbon slides
from his own drawings, those of the legend of the willow plate being very
beautiful. Mr. D. G. Riddick manipulated the lantern. The new studio only
awaits the painting of the background on tlie screen already prepared to be
ready for operations. Several new memliers were electeil. "llie meetings wil
be held in future twice weekly, every Wednesday and Saturday.
Richmond Camera Club. — The second " Ladies' Night " of the season took
place on Monday, the 16th ult., when the President de.scribed a Trip to Spain
loith tlie Camera, which he illustrated with a series of slides depicting scenes-
in Valencia, Cordoba, Madrid, Toledo, and Seville.
West London Photoe^aphic Society,— October 2-1, Ordinary Meeting.—
The President, Mr. J. A. Hodges, delivered his inaugural address. For a full
review of the year's programme he referred members to the address of Captain
Abney before the Congress of Photographers at the Society of Arts. He would
mention as of special interest the recent improvements in lenses, notably the
new anastigmatic lens of Goerz, which was a remarkable production, giving
marvellous defining power, with large aperture, compared with the older types of
lenses. His own experience of some recent new lenses of the anastigmatic tyjie-
was that their power was over- rated, and he considere<I that they show their
superiority only when the objects are approximately in one pltme, a condition
of things not usually met with out of doors. Mr. Dallmeyer s photo-telescopic
lens the so-called artist photographer would find a useful instrument, par-
ticularly in mountainous districts. Referring to the Photographic Salon at
the Dudley Gallery, at which was to he .seen the work of several members of
the West London Photographic Society, the President s.aid that it was apparent
that to the teachings of Dr. P. H. Emerson, once a member of this Society,
was to be a.scribed the present position of photography as a graphic art.
"Naturalistic" photography fell like a thunderbolt at the feet of photo-
graphers. Coming to the Society's own affairs, the President referred to its
success at the National Photographic Exhibition in obtaining the challenge
cup from a much stronger Society. The Society's own Exhibition had
succeeded in a gratifying manner, and he lookeil forward to still better thingi.
He hoped every member would send at Iea.st one print The present fine vaatlMr
was favourable to those whs bad neglected the op|)ortunitiaa of the late nunnMr.
The postponement of the date of ue Exhibition for a few weeks latar wonl<K
a^ assist them. He would snggest that th« proiiesal of' oaotlMr member^
710
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November, 3, 1893
that the technical social meetings be utUisedfor demonstrations for the benefit
of the yonnger members of the Society, be put into practice, and promised to
<»-operate by himself conducting one suet demonstration Referring to the
^rvey work being undertaken b/the Society, he said that the prints alreadj
contributed more than justified the starting of the scheme Already some of
the buildings photographed had disappeared. The work ffthfuly carried out
would redounS to the credit of the Society, and give it a status it could in no
■other way attain.
Woolwich Photographic Society.— Annual Meeting, October 26 —The chair
was taken by the President (Rev. E. Chettol) at eight p.m. The report of the
Council, together with tlie balance-sheet, were received and adopted. Ihe
officers and Council were tlien elected for the ensuing year, ami are as
foWows -.-President : Rev. S. E. ChMo\.-^ ice-Presidoit : M^OT C. D.
mvies.-CouncU .■ Messrs. Maskell, Penson, J. Calder, W. H. Dawson, P.
Hobson, and E. G. Kimber (the last four named were the retiring members ot
the Coimcm.-Treasurer : Mr. H. H. BiTker.-Hon Secretary .-Ui: J. B.
Pantiii". During the evening Messrs. A. Stone, Ludworth, H. Lawson, H.
Dalby,°Newman, and Harris were elected members of tlie Society.
Birmingham Photographic Society.— October 24, Ordinary Meeting, Mr.
G F. Lyndon in the chair.— Mr. Chubb read a paper entitled The Aaissaiice
of Art in Photonranhy, which was written by Mr. Andrew Prmgle, and
appeared in the Studw. He also read a number of letters by eminent artists
of the day in reply to a question addressed to them by the Editor ot the
Studio as to whether they considered photography had been on the whole a
•help to art or not. The opinions expressed were very various, and they may
be summed up by saying that photography is a help to the artist or not, just
according as it is properly used or not.
Hull Photographic Society.— A special meeting was held to receive a
<lemonstratiou and lecture upon Paget Lantern Plates, the piece de resistance
Ijeing printing-out slides and development of same. In the course of his
remarks, Mr. Fry stated the ch.-iracteristic qualities of a lantern plate to lie
<1) the stain like character of imas;e, (2) translucency of the shadows, (3) the
power of giving brilliant <lensitv and clear glass shadows if required. The
printing-out plates of the Paget Company give an image without perceptible
grain, and the shadows do not block up. In this they are fully equal to tlie
Ijest collodion, but they are not suitable for reduction in the camera. With
partial printing and development the result can be modified in the direction
of greater contrast l>y a preliminary bath ot five per cent, (ot each) solution of
carbonate and bromide of ammonia in jilace of the ten per cent, bromide batli
as given in the Paget Companv's instructions. Less contrast can be obtained
by using a dUute developer', or less of the actual reducing agent, in the
developer. Mr. Fry passed through tlie lantern some e.\-amples of the process,
and also an interesting set of slides, all from one negative, and illustrating
the range of colours from black through brown and red to yellow, whicli are
possible with the Paget lantern plates.
Leeds Camera Club.— October 26. — Mr. A, Homburg gave a lecture on
Flashlight Photography in tlie club rooms of the above. The lecturer, in a
most interesting, instructive, and amusing discourse, gave his e.Kperiences, his
successes, and his failures from his first commencement up to the present time,
and, in plainly worded terms, gave the flashlight aspirants some valuable hints
tow to go on and what to avoid as a means of success. Practical illustrations
•of methods, together with a collection of prints and negatives, the results of
his endeavours, were shown by Mr. Homburg, and received with interest. A
vote ot thanks to the lecturer was proposed by Mr. Irwin, and seconded by
Mr. Vevers, and was enthusiastically responded to by every member present.
The above Club, which has only been formed a matter of nearly two months,
may now be deemed a success, having on its list over sixty members, six new
-ones being elected last Thursday, and has every prospect of being one of
the strongest in this district. On Thursday evening, November 9, the Presi-
dent, Dr. T. Thresh, P.L.D., L.R.C.P., will give a lecture, illustrated by
cnagicdantern views, describing his recent trip to Flanders, and it is requested
that every member, in addition to attending himself, will bring a friend
interested in photography.
Liverpool Amateur Photographic Association.— October 26, the President
(Mr. A. J. Cleaver) in the chair,— Messrs. F. A. Schierwater and Benjamin
Cooksou were appointed Auditors for the year. Special mention was made by
the President of the success achieved by the Association in the recent lantern-
slide competition in London, and a special vote of thanks was accorded to the
six competitors who represented the Association, Messrs. Fred. Anyon (silver
■medal), Joseph Earp (bronze medal), 6. A. Camithers, Anthony Dod, Harry
diolt, and T. Sutton. Mr. Adolph W. Beer then gave a lecture entitled,
Jiy River and Hill, some by-ways among the Ardennes and in Rhenishe
Pnissia, illustrated by 130 lantern slides, made from negatives taken by the
lecturer and Mr. J. H. Day. The slides were of high quality and artisti.
merit, and were very graphically described by the lecturer.
Newcastle-on-Tyne and Northern Counties Photographic Association
— The Annual Meeting was held on the 24tli iust., Mr. T. P. Gibson (President)
in the chair. — The Secretary's report showed the Association to be in a
iflonrishing condition, the membershii) being 155, and the attendance at both
■outdoor and indoor meetings having greatly exceeded any previous year. The
Treasurer's report showed a small lialance in hand. The election of officers
resulted as follows: — President: Mr. .J. Pattison Gibson. — Vice-Presidents :
Messrs. M. Autv, W. Parr)', J. H. Robinson, and Lyd. Sawver. — Council :
Messrs. J. Arnott, J. S. B. Bell, W. E. Cowan, G. Hall, J. J. Kirkwood, E. G.
Lee, T. 0. Mawson, G. L. Snowball, L. Williamson, and John Watson.—
Treasurer: Mr. Frederick Park. — Secretary: Mr. James Brown, 31, Market-
street, Newcastle-on-Tyne. — Assistant Secretary : Mr. W. P. Brewis.
Wldnes Photographic Society.— October 25, Open Meeting, Mr. V. C.
Driffield presiding. — A large number of the members present brought negatives
and prints, which were handed round and commented on. The question-box
contained questions which gave rise to some interesting conversation and dis-
cussion. They were : I, ''What is the cau.^e of the yellowing of the whites
of gelatino-chloride prints in toning ? " Mr. Newbuen suggested that it was
cau.sed by traces of hypo in the wa.shiiig water. Mr. Warner did not conside
the reasoning set forth in the Britannia Company's publication, Scraps, satis-
factory, .as he had found yellowing of the whites to take place when usin^ the
combined toning and fixing bath. 2, "What is the best way to burnish llford
P.O.P., and what is the be.st lubricator?" A number of members expressed
tlie o))inion that P.O. P. prints needed no burnishing, and the Chairman saiil
that, if it was considered advisable to burnish, it was necessary that the jirints
should be perfectly dry, and he recommended wliite curd soap as a good
lubricant. 3, " What is the best method for illuminating, by artificial light, a
whole or half-plate negative in reducing to lantern-plate size ; and what ex-
posure should be given with this light, using a negative of average density with
a bromiile lantern plate?" Mr. Driffield pointed out that, no matter what
means of illuminatiou were employed, the exposure would depend on the density
of the negative and speed of the lantern plate, the value of the light being
ascertained. Illumination by condenser was the best method. 4, "What is
the rule for ascertaining the time of exposure to artificial light by reduction, the
time required for the same jilate by contact being known ? " No definite answer
to this was given, but the Chairman said it would be necessary, by means of a
jihotometrical observation, to ascertain the value of the light ui>on the sensitiw
plate, and measure the densitv of the negative. 5, " Does pyro and so<la make
the best developer ; if others are better, then, in wliat respect ? " This question
produced a lively discussion. It w.as consiilered by those who joined in it that
less exposure was required with amidol and metol developers. Mr. Driffield
advocated strongly ferrous oxalate. While admitting that pyro w.as a grand
old developer, he had found that, with diflerent plates, it gave difl'erent colours,
and even with the same plates behaved dift'erently with modified solutions, and
this occasioned much trouble when working by calculation, whereas, with
ferrous oxalate, the results were ahvay.-- constant. Question 6, addressed to the
President, "What is the ratio of exjiosure required for two negatives of equal
density, one develojied with pyro, the other with ferrous oxalate?" produced
the reply, as 0 '8 is to 1 -0. The President exhibited a print showing the relative
size of a pliotograph taken with an ordinary rapid rectilinear lens, and one pro-
duced by the new tele-photographic lens.
FORTHCOMING EXHIBITIONS.
1893.
November 3-11 •Photographic Salon, Dudley Gallery, Piccadilly, W.
Hon. Secretary of Organizing Committee, A, Maskell,
215, Shaftesbury-avenue, W.C.
„ 3-15 'Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. Assistant Secretary, R. Child-Bay ley,
50, Great Russell-street, W.C.
II 7-11 *South London Photographic Society. Hon. Secretary,
C. H. Oakden, 51, Melbourne-grove, Dulwich, S.E.
,, 17-25 *Stanley Show (Photographic Section), Agricultural Hall.
Manager, Walter D. WeUbrd, 57 and 58, Chancery-
lane, W.C.
„ 20-25 *Leytonstone Camera Club. Hon. Secretary, A. E.
Bailey, Rose Bank, South-west-road, Leytonstone.
December 'Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
18- Jan. 22, 1894 *Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Corn-
street, Bristol.
* Signifies that there are open classes.
♦
Corr^i^tionli^nce.
Correspondents should never vrrite on both sides of the paper, ifo notice is taken
of communications unless the names and addresses of the viriters are given.
THE BRISTOL EXHIBITION.
To the Editoe.
Sir, — In reply to an invitation to contribute to the Bristol Exhibition,
I have felt it necessary to send tlie following reply. As my letter may
have more than this single application, and be of general interest, I for-
ward it to you lor publication. — I am, yours, itc,
Wimcood, Tunhridge Wells, October 27, 1893. H. P. Kobinson.
[C»PY.]
To the Hon. Secretary, International Photographic Exhibition, Bristol.
Dear Sib, — I am obliged for your invitation to contribute to the Bristol
Exhibition, but I regret that among your very numerous classes I cannot find
one to which I, or those who think with me, could contribute. The loan col-
lection is out of the question. It is the uuiversal experience that, where there
is a large competition, the pictures marked " not for competition " are neglected
by the press and public, and, perhaps, rightly, for the hunt after medals is
the chief amusement for which recent exhibitions seem to be instituted. There
are some capable photographers who possibly may not object to contribute to
the Cliampion class, but are barred by your rules. No picture may be sent to
this class that has not already taken a medal, and none may be sent to the
other classes that has taken a medal. Nearly all the best pictures for the year
are shown for the first time in the Salon or the Exhibition of the Pliotographic
Society of Great Britain, and therefore they have little or no opportunity o
November 3, 18US1
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
711
(lualifyinii for eoiiipoting in the Champion class by taking medola elsewhere
and even if they hud lind time and op{>artunity very few or thoie who produce
really gooil work feel inclined to send in competition in the minutely a'(iiorte<l
classes into which some exhibitions are now divided. The present Exhibition
of the Photographic Salon seems to show that the best pictures are attracte<l
to those exhibitions wliich oflVr no me<lals. For these reasons, then, I must
decline to accept your invitation \p exhibit
But there are also other reasons for not exhibiting, and now I am on the
subject I may, perhaps, be excused for going a little further into it.
It is agreed by all those who give the matter sutlicient consideration that the
awarding of lai^ numbers of medals is encouraging bad work, and doing
injury to the best interests of the art Many attempts have been made to
check the evil with indifferent results ; at last the Photographic Society of
tircat Britain endeavoured to formulate a set of rules for the use of exhibitions.
Many who do not agree with the Photographic Society of Great Britain in
some things, heartily agree with them in this attempt The resnlt was that
twenty-four of those who have had practice in judging undertook not to act
when the rules and recommendations they formulated were ignored. The
almost immediate reply was the issue of your prospectus, in which nearly all
the recommendations are disregarded, and not even the usual discretion as to
the awards is left to the judges except in the apparatus department
Now I quite admit that you have every right to conduct your Exhibition as
you please, and, except for the regard I have for the progress of the art, that
I have no right to object ; but it will, of course, be impossible for any photo-
grapher who agrees with the action of the Photographic Society of Great
Britain to contribute to an exhibition which ignores its rules. — Yours truly,
H. P. ROBISSOS.
♦— —
FILMS.
To the Editor.
Sir, — Mr. Stillman's experience with films is so completely at variance
with mine that I venture to send you my experience. I have used films
almost exclusively since the time of Vergara films, before the introduc-
tions of celluloid, seven years or more. About four years ago I took a
large number of 's celluloid films to Egypt ; they were fairly rapid,
about 22 Warnerke. Some of these were brought back, and exposed more
than eighteen months later. They had not deteriorated in any way.
Other makes, the most rapid obtainable, after nearly or quite a year ,
were as good as ever.
In the last few months I have used several lUfferent makes, all very
rapid, and no perceptible deterioration in two months. Films developed
several weeks after exposure have been as good as ones done at once.
Negatives stored with no more than ordinary care show no alteration, any
more than ones on glass.
One word more as to exposures. I admit I have not given exposures of
one-thousandth of a second ; with double or more than double that ex-
posure, and developing with amidol, it is difficult to get fairly exposed
negatives on glass or anything else. — I am, yours, &c.,
H. G. M. CONYBEASE.
G, Courtenay -place, Teignmouth, October 29, 1893.
HEATING DARK EGOMS BY ELECTRICITY.
To the Editor.
Sir, — I observe that the subject of warming dark rooms and studios
is at present under discussion in your columns, it may therefore interest
your readers to know that electricity may now be employed with great
advantage for that purpose ; this i? a practical realisation of^electrio heating
which I have long hoped for. Two or three years before Prof. W. K.
Burton left for Japan, he gave a brilliant demonstration on the subject,
" Electricity the Light of the Future," before a crowded audience, at the
Kensington Town Hall, at which I was present by his kind invitation.
The Duke of Aigy\e presided, supported by Prof. Huxley and other
eminent men, and the lecture was received with great applause. Since
then, electric lighting has made gigantic strides.
I went yesterday to the " Cookery and Food Exhibition," which was
opened on Tuesday by the Baroness Burdett-Coutts, to see the demon-
stration of " Cooking by Electricity." At the tables a lady was engaged
cooking a dinner ; she looked as nice — and everything was as clean and
tidy — as if she had been entertaining her friends in her own drawing
room. There was a large cooking oven which can be heated up to 500°
or 600", and saucepans, stewpans, frying-pans, grills, and kettles, all at
work cooking the various dishes, yet not a particle of smoke or dust to
be seen ; the heat was under complete control, and could b« turned on
or off instantaneously, and the pans be moved easily about ; a great success,
Mr. H. J. Dowsing, M. Inst. E. E., presided, and afforded popular explana-
tions to those who desired them, on behalf of Messrs. Crompton & Co.,
the engineers, of Mansion-House Buildings; showrooms 148 Brompton-
road. He favoured me with the following information. The cost, he
said, would, on an average, be about the same as gas, but that would
depend on your district, as some companies charged less or more than
others. The electric light is the purest known, and does not bum or
contaminate the air ; it is also the safest when properly installed. It
does not injure our pictures or household gods, books, and decorations.
The current may be used for driving sewing machines, coffee mills,
ventilators, &e. ; the advantage to health is very great.
It is a well-known fact that electricity, i( obttrnotod in iM poMCM
through a conductor, will produce heat ; and thi* knowledge haTbeMi
turneil to account in causing electricity to generate heat in a moat eon*
venicnt form. With electric heating there is no combaition, and conae-
quently warming apparatus made on this principle require* no floe to
carry off prodncte of combustion and foul gases, which are given off by
all other systema of heating. In fact, heating by electricity revolutioniaea
our ideas of stoves and other heating apparatus, for, up till the preient,
no system has been employed which did not entail combustion. If the
cost 18 a little more than gas, less heat is required, as there is no waata
of heat in the room or up a chimney. Water for breakfast or te* mmy
be made on the table, without vitiating the air and with perfect rlnanrma.
The dangerous spirit lamp may then be discarded.
I think these advantages will give a great impetus to the sapplv of
electric lighting to private houses throughout the kingdom, which will
receive a still further impulse from the fact that the Edison incandescent
lamp patent expires on November 10, when the present price of 8». 9<1.
will probably be reduced to one-third that amount. The adTantaae to
photographers will be obvious. Personally, I have suffered dreadfoUv
from gas and other stoves in my studios.— I anr, yours, &c
October 26, 1898. ' rjjjsrn.
WARMING THE DARK ROOM.
To the Editor.
Sir,— A very few words and I have done, for the discussion between
" L.M." and myself has now reached a point where it can have no pos-
sible interest to the general reader ; and were it not for his open sneer at
my " facts " I should not now have thought it desirable to make any
reply.
Surely it is the veriest quibble to contradict my statement that these
stoves require " two communications with the external atmosphere," and
proceed to prove that he is right by saying he only required one opening
because he had used the chimney as the other. One and one usually
make two.
I am aware No. 4 is on the name plate, and is also printed upon the
prospectus ; but if L.M. had been as careful to substantiate hie statements-
as I have been to verify my facts, he would have learned that there is-
such a thing in this world as change, and that, when I courteously cor-
rected his slight error in the address, I only stated what is absolutely true.
As L.M. has sheltered himself under a rum deplume, I have no means of
communicating with him direct ; may I therefore ask you. Mr. Editor, to
have the kindness to forward to him the enclosed telegram, the date
stamp on which (October 7) will prove that before I made the correction
I had taken the necessary steps to be certain of the accuracy of my
" facts."— I am, yours, (Src, Edward J. Suith.
Parh Royal, Halifax, 30 October, 1893.
Copy op Telkgba.m.
" Calorigen Works 1 Upper Thames-street Loudon correct address will write
to-day Farwig."
NEWCASTLE-ON-TYNE & NORTHERN COUNTIES PHOTO-
GRAPHIC ASSOCUTION.
To the Editor.
Sir,— Will you kindly permit us to notify through your columns thab
we purpose holding an International Exhibition of Photographs in April
1894. We will offer medals in the following open classes : — Landscapes,
Portraits Genre, Architecture, Instantaneous, Enlargements, Hand-
camera work. Lantern slides and Stereoscopic slides ; and in a Champion
class we will offer medals in three sub-classes, viz : — Landscape, Por-
traiture and genre. Oar prospectus will be out in a few weeks, and I shall
be glad to forward one to any intending exhibitor.
I may say that we intend to observe the " Judges Conference ' Regu-
lations ' " in their entirety. — I am, yours, Ac, Jas. Bbowk,
31 ilarketitreet, Netccastle-on-Tyne. Hon, Secretary.
JUDGES AT LEYTONSTONE.
To the Editor.
Sir, — Will you please make known tlirough yoor colomns that, owing
to ill health (a fact which, I think, all who know him will deplore), Mr.
Andrew Pringle has been ordered abroad by his medical adviser, and con-
sequently will be unable to assist in the judging of the exhibits sent in to
this Exhibition. The Rev. F. C. Lambert has kindly consented to take
his place, and will act with Colonel Gale and Mr. F. P. Cembrano, jnn.
May I also call attention to the fact that Tuesday next, November 7, is
the last day for receiving entry forms. — I am, yoors, &c.,
Ai-bbbt E. Bailit,
Jiose Dank, South TVeit-Toa<i,Leytonttone. Um, Secretary.
712
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 3, 1893
iBxcijange (ttolumn.
"*,* ^0 charge is made /or inserting Exchanges of Apparatus in this column ;
but none will be inserted unless the article wanted is definitely stated. Those
who specijy their requirements as ' ' anything useful " will therefore understand
the reason of their non-appearance. The full natne of the advertiser m/usl
in all cases be given for puilication, otherwise the Exchanges will not be
inserted.
Will exchange lantern, SJ-inch condensor in ease, and 17 Newton's slides on
A(^icultu.ret for camera extending to 20 inches. — Address, S. E. Kelf, 189, South-
ampton-street, Beading.
T^anted oxygen gas bag, 8 or 10 feet, in good condition, in exchange for landscape
lantern slides of high class, values adjasted.— Address, H. Eael, 47a, Broad-street,
Worcester.
ian0toer0 to (ttorresponUettts.
*,• All matters intended for the text portion of this JouRifAl., including
aueries and Exchanges, must be addressed to " The Editor, The British
Journal op Photography," 2, Ybrh-street, Covent Garden, Loruiort. In-
attention to this ensures delay.
*,* Correspondents are informed that we cannot undertake to answer com-
munications through the post.
*,* Communications relating to Advertisements and general business affairs
should be addressed to Messrs, Henry Greenwood & Co., 2, Tork-street,
Covent Garden, London.
•»* It would be convenient if friends desiring advice respecting apparatus,
failures in practice, or other information, would call at the Editorial Office
either on Wednesdays from i to 6, or Thursdays froyn 9 to 12 noon, when
some one of the Editorial staff will be present.
H. G. MC. — Received ; thanks.
W. M. — We have forwarded your letter.
E. H. D. — Protosulphate of irou will precipitate the gold.
Tyro encloses no name or addres.x, hence his query is not attended to,
Calcics. — Messrs. Tunny & Co., Edinburgh, undertake vitro-enamelling.
lE. H. Booty and L. J, Steele. — Thanks for your suggestion, which we will
bear in mind.
^axon. — We do not think development of carbon ijriuts in an enamelled tin
vessel would injure the prints.
L. NiEVSKY asks, " Can you oblige by telling me what is the principle of
Elishau Grey's telautograpli ? "
C Carter. — Potassium chloro-platinite is listed in most dealers' catalogues.
We presume the sodium salt can also be obtained from them.
Jj. M. — Twenty-six feet approximately is the distance at, and beyond which,
using a tive-inch lens at/8, all objects would be in focus.
D. S.— In our last and the preceding volumes will be found articles on
copying Daguerreotypes which may possibly help you.
•Col. Spencer Nicholl.— Tlie solutions should be kept separate. You do not
specify tlie one in wliich tlie precipitate occurs. Kindly .say, and we may
be able to assist you.
Miss C. Parks Smith (Quarry Lodge, Lichfield).— We have no entry forms for
the Madras Exiiibition. Perhaps some con-espondent seeing this may be
able to siijpply one.
W. Rowland desires to know the address of the head-quarters of Green's
Landscape Photographers. They publish series of views of England, Scot-
land, Wales, the Continent, &t;.
A. M. L. Shields.— Such an adapter will be useful. It is not, however, a
subject for registering, but for iiateuting. Notliing in which there is " a
combination of parts can be registered.
T. Browning.— If the solution of pyrogallic acid, prepared with old sulphite,
works all right, that is all that is required. What matters it if it be a little
discoloured ; it is wanted for use, and not to look at.
Alpha.— 1. You had better obtain the 1891 volume, wliicli has numerous
references to tlie subject. 2. Divide the equivalent focus of the lens by
eight. The answer will be tlie diameter of a stop working at/-8. 3. No.
'R. S. 0. — Your Lerebour lens requires no alteration to enable it to be used
with the optical lantern, but a ten-inch focus lens will only give a small disc
nnles-s it is removed to a considerable distance from the screen.
Ajax asks : "Could you tell me by wliat means a tone like that of the ' Ferrier
et Soulier ' slides of thirty years ago is produced ? Of course I know they
are albumen pictures, but the tone I get by development with gallic acid is
not at all the thing."
A. W. W.— A varnish composed of dammar resin, dissolved in benzol, makes a
very good protective for negatives, and it can be applied cold. Dammar
varies much in quality, and only the finest should be used. Some are almost
'a» bnttle as common rosin.
H. C— Tliere is no definite position for the stops of a single lens, but the
deeper the curvature of the front surface, the nearer may the stop be placed
to it, and vice vers&. There is one position by which a Hare spot may be
produced, but this can only be discovered by triaL
Alk. Collins.— Eosine can be obtained from most of the drysalters or dealers
in dyers materials. There are many kinds of it. In one manufacturer's list,
now Iiefore us, nearly twenty varieties are quoted. If it is required for
photographic purposes, better get it from such a house as Hopkins &
Williams. The right sort wUl then be ensured.
Expeuisientalist.— Y'es, it is a fact tliat by far the larger proportion of those
who work photo-mechanical processes do very much prefer, in some cases
will use no other than, collodion negatives. It is not, as you infer, a
question of ecouomv at all, it is the fact that it is found in practice negatives
by tliat method answer the purpose better than those by any other.
T. C. H.— You have been correctly informed. Plates that have been acci-
dentally exposed to light can be restored by treatment with bichromate of
potash. But it will not pay, now that plates are cheap, for any one to go to
the trouble of treating a dozen or two of small plates. So far as we are
aware, there is no simpler method than th.at referred to of restoring exposed
plates.
S. 0. C— Yes, it is the same thing over again. Some of the illustrated peri-
odicals are very unscrupulous in the matter of photographs. They know
quite well that photographers rarely take the necessary steps to make their
work legally copyright, hence so much piracy by them. In your case we
doubt whether your copyright would, in a court of law, hold good if
contested.
H. H. H.— If you want a plate to cover the quarter-pl.ate size, with the full
opening, up to the corners, you must have one of considerably longer focus
than that you have, whoever may be the maker. No lens of four and a half
inches equivalent focus will cover a quarter-jdate sharply to the comers
with an aperture of /-6. Of course there is a great advantage hi a lens that
will work with such an aperture over one with an aperture of/-8 for winter
hand-camera work.
G. Simmons. — It is impossible to say what exposure will be required to make
an enlargement on bromide paper on such data as "fair light," "average
negative," " medium stop," &c. The simplest way for a novice to arrive at
the correct exposure is to make one or two trial exposures on small strips of
paper, giving difl'erent times to eaCh ]iiece. After a few exiieriments in this
way, sufficient experience in judging the light will be gained to time
exposures with comparative accuracy.
G. Edwards writes asking if one is allowed to photograph any of the objects
in the British Museum, and, if so, is sjiecial permission necessary, and by
whom is it granted ?— Sjiecial permission has to he obtained to photograph
anything iu the Museum. This is obtained by writing to the trustees, who
seldom, if ever, refuse. There is an excellent studio and dark room, the use
of which can be obtained. It is scarcely necessary to say that nothing can
be removed from the building, thnugh, upon application, some objects can
be taken from their place to the studio.
Provincial Amateur.— We cannot say how you can sell the negatives unless
by advertising them in the columns devoted to such puqjoses. In the mean
time you might communicate with some of the large publishing firms, such
as Frith, Valentine, and others. We, however, do not think the negatives
will meet with a ready sale if the prints sent are a fair sample. The work is
very second-rate, and the subjects, though good, are of no real interest.
Country lanes and woodland scenery may be had everywhere, and are very
similar all over the country. We note that you sign yourself an amateur :
but, in taking negatives for sale, you are not entitled to style yourself
.as such.
E. Bonner writes as follows :— " I have lately been practising the carbon pro-
cess, which I like very much on account of the variety of effects obtainable.
Up to the present, acting on the advice usually given to beginners, I have
only worked by the single transfer method, and have been fairly successful
on the whole, but I often meet with this difficulty : On attempting to de-
velop the picture, the backing paper will not strip off in the warm water,
even when it is very warm, and after ten minutes' soaking. On using force,
the tissue conies entirely away from the transfer paper. Of course I use a
safe edge on the negative. Can you help me at all ? "—The trouble is clearly
due to insolubility in the tissue, "from some cause or other — possibly from its
being kept too long after sensitising, or through its being dried too slowly.
The solubility of tissue can easily be tested before using by placing a small
piece in water at about 110° Fahr., when the pigmented coating should
slowly dissolve away. Unless it does so, it is useless to attempt to use it.
OONTBNTS.
P±am
FOCUS LAMPS AND OTHER ARTI-
FICIAL ILLDMINASTS 697
TONING OELATINO - CHLORIDE
PRINTS CiW
EQUABLE TEMPERATURES 699
REPORT ON THE NATURE AND
CAUSE OF CERTAIN YELLOW
STAINS ON GELATINO - CHLORIDE
PAPER. By C. H. BOTHAMLEY,
FIC. F.C.S 700
THE NAISSANCE OF ART IN PHOTO-
GRAPHY. By ANDREW PRINOLE .. 701
THE ALUMINIUM FLASHLIGHT. By
T. BOLAS 702
SOME PRACTICAL REMARKS ON THE
WORKING OP OELATINO-CHLORIDE
PRINTING PAPERS. By T. N. ARM-
STRONG "03
Paok
.AMMONIA AS A FIXING AGENT. By
MATTHEW WILSON 703
ON THE PHOTOGRAPHY OF THE
LUMINOUS BAYS OF THE SHORTEST
WAVE-LENGTHS. By VICTOR SCHU-
MANN 703
OUR EDITORIAL TABLE 707
NEWS AND NOTES 707
RECENT PATENTS 706
MEETINGS OF SOCIETIES 703
FORTHCOMING EXHIBITIONS 710
CORRESPONDENCE 710
EXCH-\NOE COLUMN 711
ANSWERS TO CORRESPONDENTS..,,,. 713
THE BKITISH
JOURNAL OF PHOTOGRAPHY.
No. 1749. Vol. XL.— NOVEMBER 10, 1893.
CHLORIDE PAPER FOR PRINTING OUT OR
DEVELOPMENT.
One of the most recent photographic novelties consists of a
positive paper which may be used either for printing out or
for development, as circumstances or convenience may decide,
and we have recently given an account of a visit to the Paget
Plate Company's factory to witness the working of the new
paper.
Although to the latter Company belongs the credit of the
first introduction of an article specially adapted to the dual
purpose, the idea is by no means a new one, as for several
months past formula) have appeared in these and other pages
for the development, up to proper depth, of prints that have
been accidentally under-exposed in the printing frame. But,
as a practical process for converting such under-exposures into
prints at all equalling in quality those produced in the legiti-
mate manner, development cannot hitherto be said to have
proved a conspicuous success, whereas those who have carefully
tested the newest method pronounce it to be equal in the
character of its results, if not, indeed, superior, to the direct
printing process.
Whether there is any radical diiference in the nature or
preparation of the new paper, we are, of course, unable to say ;
but at least a great portion of the success secured with it must
be set down to the method of after-treatment of the print when
it comes from the printing frame. The Paget Plate Company
must, in fact, be awarded the credit of having shown the way
to success, in the development, or partial development, of
print-out papers generally. For, while we are not yet prepared
to assert that we have produced results equalling the very
perfect specimens exhibited by the Company on their special
paper, we have, with the ordinary gelatino-chloride paper of
commerce, and even with sensitised albumen paper, succeeded
in developing images that it would be difficult to distinguish
from those printed out and toned in the usual way. A few
remarks on the modus operandi may not be out of place.
Developed positives on gelatino-chloride paper are, of course,
no novelties ; but such as have been hitherto produced have
been on specially prepared papers of the " ^Vlpha " type, whose
sole function is development. The " print-out " papers diflFer
from these in that they are prepared with and contain at the
time of printing a certain quantity of free silver, that is to
say, of a salt of silver in a more or less soluble condition,
without which the chloride alone will not give the necessary
vigour of image. The soluble silver salt also continues to form
more or less of an organic compound in the paper, which, under
■ the action of light, confers on the image qualities that cannot
be obtained with the chloride alone. This organic reaction may
take place between the nitrate of silver and the gelatine itself,
or it may result from the presence of organic salts purposely
added; but in any case the best results are only obtained when
the sensitive surface contains a trace of soluble silver salt.
It is this last circumstance that has formed the chief
stumbling-block in the way of the successful developmert
of such papers hitherto, the difficulty having been to pre-
serve the purity of the whites and half-tones. In our own
attempts, we have previously succeeded the best with
developers of the " physical " kind, that is to say, in which
a reducing agent, such as " pyro," gallic acid, or hydrc-
quiuone, is employed in the acid state, with the addition of
a minute trace of nitrate of silver. Under such treatment,
it is tnie that fair results may be achieved with care, but
they cannot be said to resemble in any way, either in
brilliancy or tone, those obtained by the ordinary routine ( f
printing out.
When the " chemical" methods of development have bee>i
resorted to, that is, when the reducing agent is employe^l
in conjuction with an alkali, the difficulty of entirely free-
ing the print from all traces of soluble silver salt, as wo' I
as the extreme ease with which silver chloride is reduced
under such circumstances, hav« combined to render the
production of a perfectly clean print almost, or practically,
an impossibility. The treatment of the print with a soluble
chloride to convert the silver salts availed but little, as tho
imreduced silver chloride retained its proneness to reduction :
but it is worthy of note in conjunction with the Paget
Platte Company's method of treatment that, when an old
spent negative developer is used, containing a large propo'
tion of soluble bromide, the purity of the half-tones ai-i
lights is vastly improved.
It is in the employment of the preliminary bath of bromi -
of potassium that the secret of success lies. This converts u.i
the soluble and organic salts of silver in the paper into bro-
mide of silver, and, although, unless the action is very pi •
tracted, it can scarcely be supposed to have the same acti >
upon the whole of the silver chloride, it must undoubtedly te .
in that direction, and by decreasing the liability to abnormal i
duction it renders clean development perfectly easy. A ' -
veloper heavily loaded with soluble bromide works in a simi
manner, but its retarding action is very much greater, with i •
consequence that, if there be enough brom'de present to j >
serve the purity of the lights, the half-tones suffer and hardu. -
results.
! If prints upon Solio or Hford paper be treated with a ten • •
I twenty grain solution of bromide of pota?s;unj, they will m
714
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 10, 1893
found readily ameuable to development by means of any of the
reducing agents commonly used for negative purposes of suit-
ably reduced in strength. It does not seem very material
whether the prints are immersed directly in the bromide
solution or subjected to a preliminary washing, nor does it
greatly matter how long the immersion is continued unless it
is sufficiently long, as occasionally occurs with a very feebly im-
pressed print, to almost remove the impression. Two or three
minutes' immersion in the bromide solution, followed by a very
thorough washing to remove the excess, will probably suffice in
all cases.
The immediate effect of this treatment is to change the
image to a bright yellow, and, in the case of light impressions,
to very considerably weaken them, to the extent, in some cases,
of nearly removing them. But whatever detail was visible
before the treatment with bromide appears to be capable of re-
production by the developer. Whether details not visible to
the eye when the print comes from the printing frame can be
brought out by subsequent development or not, we are not pre-
pared to decide, our own observation inclining to a negative
view, though we have heard others assert the contrary.
After careful washing, the print is ready for development by
almost any of the usual developers, though naturally those
which most recommend themselves for bromide-paper work
will be better for this purpose. Thus amidol, metol, hydro-
quinone, and ferrous oxalate are to be preferred to pyro,
although the latter may be used, if it be the favourite ; the
choice may rest with the individual, but we have succeeded
best with amidol and hydroquinone. The developer must,
however, be much weaker than for negative or even bromide-
paper work, though the conditions will vary to some extent
with the degree of exposure and the tone required. The ex-
posure does not, however, make such a marked difference in
the character of the developer required as might be imagined,
or as would be the ca.se with a bromide print. The action in
this case seems to be more in the nature of an intensification
of the image already produced rather than of actual develop-
ment, and the process is more or less protracted accordingly.
The chief effect of variation in the strength of the developer
is on the tone of the resulting image. If too strong, it will
be black and heavy, and incapable of satisfactory toning ; but,
if properly diluted, the process of development is easy and
gradual, and the colour will be practically indistinguishable
from that of an image printed out in the usual way. A very
careful washing must now follow, bearing in mind that any
of the developers named will promptly reduce the gold in the
toning bath if allowed to remain in the film, and the print is
then toned and fixed in the ordinary way.
So far as we have found, moderate exposure of the paper
to diffused daylight, in examining the progress of the printing,
has no effect upon the after-development.
GLASS POSITIVES.
The old, and by many despised, wet-collodion process has en-
gaged some little attention at Society meetings before which
it has recently been demonstrated. Ttiis has been chiefly in
connexion with negatives or the making of lantern slides.
There is another phase of the collodion process that is seldom
referred to nowadays, although it is still an important one
amongst a large number of humble workers. We allude to the
glass positive process. Those who only know this process in
connexion with the itinerant beach operator, or the man who,
with perambulator tent, stands at cross roads to photograph
'"An-ies and 'Arriets," traps, &c., on bank holidays, may be
sui-prised at such a process being alluded to here. But to such
we would say that the collodion positive process is not one to
be despised even now, as it is capable of producing exceedingly
beautiful pictures, and with this advantage, that the portrait
can be finished and delivered within a few minutes of the
sitting.
In America the positive process always assumed greater im-
portance than it did in this country, and, at one time, there
was in New York a society composed entirely of " positive "
workers. Here the process, after the earlier days of it, was
generally looked down upon as being infra dig. to work by the
better class of photographers, though there was really no reason
why it should have been. The pictures were good, and con-
siderable skill was necessary to produce them in high perfec-
tion. They were exceedingly soft and brilliant, while the
detail was much finer than can be obtained in a paper print.
We have in our mind just now a series of stereoscopic glass
positives of the Crystal Palace, interior and exterior, published
in its earliest days by Messrs. Negretti & Zambra. These pic-
tures were wonderfully fine in detail, and, by treatment in the
development, they had a metallic-like lustre not unlike a
Daguen-eotype. Indeed, we were shown some of these identical
pictures only a few months ago, and were told that they were
Daguerreotypes.
The collodion positive process is essentially the same as th«
negative process, but with slight modification in the working.
It may be mentioned that a glass positive is both a positive
and a negative at the same time. It is the former when
backed by any dark material and seen by reflected light, while
it is a thin negative when viewed by transmitted light. In
working the positive process the silver bath is usually made a
little weaker than for negatives, seldom exceeding thirty
grains of the nitrate of silver to the ounce of water. It is also
more strongly acidified, nitric being the acid used. The
collodion is also made a little thinner than that employed for
negatives, and requires to be tolerably ripe, that is, iodised
some time before it is taken into use. The exposure is only
about half that required for a good negative, so that it is a
more rapid method of taking pictures. The developer is very
similar to that for negatives, namely, an acidified solution of
proto-sulphate of iron. But the proportion of acetic acid is
less, from one to three or four minims of nitric acid being
added to take the place of a larger quantity of acetic. The
proportion of nitric acid in the developer has a marked effect
on the character of the image, the greater it is the brighter
and more metallic it becomes, and an excessive quantity
causes the deposited silver to assume almost a crystalhne
appearance, with a lack of half-tone in the image. The
development is very brief, for as soon as there is an indication
of the deepest shadows it is stopped; this is often only a
question of a few seconds. The picture is then fixed in a solu-
tion of cyanide of potassium, again a question of seconds only,
and after a minute or two's washing under the tap it is
finished.
The pictvire may be varnished or not. If it is varnished,
it is better protected, but some varnishes, to an extent,
deteriorate the purity of the whites. The best varnish for
positives is Dammar resin, dissolved in benzole, as this does
not degrade the picture as a spirit vai-nish is liable to do.
Xovember 10, 1893]
THK BRITISH JODKNAL OF J'HOTOGRAl'H Y
ni
A glass positive may be reversed as regards left and right
or not, at will. If it be backed up with black velvet or
black varnish on the glass side, the picture will be reversed ;
but, if the backing be applied to the film side, it will be
as seen in nature. The reason why this was not always
done was, that the delicate half-tones were not so well
preserved when the image was seen through the glass.
Sometimes these pictures were treated with a solution of
bichloride of mercury, either with or without the addition
of other substances. They then assumed a pearly whiteness
in the lights, whicii gave them an additional charm. They
were then termed " Alabastriue " pictures. Some of the most
successful workers, instead of using the proto-sulphate of iron
for development, preferred the proto-nitrate. This they formed
by adding a solution of proto-sulphate of iron to one of the
uitrate of baryta, and then filtering out the precipitated
sulphate of baryta. This developer certainly did give a
different character of image from tliat obtained with the proto-
sulphate, which in some respects was decidedly better, but this
developer was not extensively employed.
The above brief outline of the positive collodion process
is sufficient to indicate to those who have seen the negative
process demonstrsited wherein the two processes, though
identical, differ in manipulatory details. To those who are not
familiar with the fine positives that used to be produced five-
and-thirty years ago, we would say. Judge not the process
from the standard of the itinerant worker of it at the present
time.
Convention Finances. — We are pleased to hear that the
Photographic Convention of the United Kingdom, thanks to good
management, possesses a balance on the right side of the ledger. At
its last meeting the Council voted a sum of 10^. to be sent to Bir-
mingham as a contribution towards the deficit incurred there when
the Convention was held in that town five years ago.
Tbe Photographic Salon. — The Photographic Salon closes
to-morrow (Saturday) at ten p.m. Thanks to the energy displayed
by the executive and Mr. Maskell, the honorary secretary, it has
proved very successful. A considerable number of the best pictures
bear in the corner the pleasant word "Sold." The object of the
Salon-ists has been accomplished. They have emphadsed the fact
previously recognised by many, that pictures, real pictures, may be
made by photography.
The Photographic Club. — We understand that this old-
established and excellent body has decided in future to communicate
its technical proceedings to the photographic press. Such a step can-
not but redound to the advantage of photographic progress, inasmuch
as the Club numbers among its members some of the foremost men in
photography, while we also hope that it will result profitably to the
Club itself.
Xon-Shrinkable Wood. — One of the great difficulties expe-
rienced by the photographer in damp, hot cUmates is the swelling of
his camera or slides, which is apt to occur with even the highest
class of work. If, however, we can rely upon the statements of the
Indian Textile Joumai, there is a kind of wood named " billian "
which grows plentifully in Borneo, and is famous for its strength and
durability both on land and water, and is quite unaffected in bulk by
the action of water. It is exceedingly weighty, being nearly as heavy
as water (sixty pounds to the cubic foot). It is half as strong again
as oak, and still stronger compared with Borneo teak. It is deep red
when senMoned, and after 1on|r expoaare bMomes M black m abonr.
It resists the wliite ant, and i.m iilmoat indastractibk. If these ttato-
mi>ntg prove founded on fact, and the wood is of a workable texture,
it would bo simply invaluable tn th« camera-maker whose products
are to travel in the far Ea.st.
▲ Novel Vse of Ozygren. — If there is one point more
strongly impressed than any other upon the tyro in the use of oxygen
and hydrogen, it is that he must be most careful to prevent any possible
admixture of the two. The advice is most desirable, although it is
well known that for explosion to take place the proportion of the
mixed gases to each other must be within certain well-known limits.
Outside those limits no explosion will take place. The knowledge of
this fact underlies the novel application we refer to. At Hudders-
field, Brin's Oxygen Company have erected oxygen plant for
the purpose of supplying that gas to mix with the illuminating gas
to be issued to the public. About six per cent, is added just before
it enters tlie station meter, and is then stored in special holders. The
Corporation gas is enriched to the extent of five and a half candle
power by this addition, a fact which is most singular when it is
remembered that atmospheric air is looked upon as a deleterious
adulterant of ordinary coal gas.
Geoerraphical XK>ngitude by an Ordinary Camera.
— Ilerr O. Kunge, of the Ilaiiovor Teclinical High School, has recently
published an interesting account of his success in obtaining, by an
ordinary camera, furnished with a Steinheil group antiplanat lens,
of about ten inch focus and/-13 stop, and a watch as his time-keeper,
the exact longitude of a place. The camera was pointed to the new
moon (on June 17). Eight exposures were made, at intervals of
about two minutes. Then, in half an hour's time, the camera re-
maining unmoved, another series of exposures were made on the same
plate, the objects this time being some stars in the constellation Leo.
They were allowed to act on the plate for about an hour and a quarter,
with regular intermittent breaks of five seconds. The measuring of
the plates was done with an accurate micrometer, and the accuracy of
the method was such that the declination of the moon was given to
twenty seconds, and sometimes still more exactly. Using the same
apparatus, he obtained the local time and the latitude with excellent
results.
Novel Photo-astrononUcal Instmnients at BKanila.
— An important astronomical observatory will soon be eetabUshed at
this place, the chief instruments being a novel photographic
meridian instrument and a large 19'2 inch Merz refractor, the latter
being provided with a photographic correcting lens. According to
the October number of Astronomy and Astrophysics, as quoted by
Nature, the instrument will consist of two telescopes in the same tube
or what is equivalent to that. There will be object-glasses, one at
each end of the tube, their foci coinciding. These will be of the
same diameter (six inches) and focus (three feet), the tube being
equal to the sum of the two focal lengths. The sensitive plate is
placed in the focus of the two objectives, i.e., in the centre of the
tube. The upper objective throws the image of the first star on the
upper side of the sensitive film, while, by the help of a basin of
mercury below, and the lower objective, the trail of the second star
is recorded on the under side of the same film. Besides visual work,
the Men refractor will be used for photographic observations of
double stars, spectrographic work, photographic parallax, &c.
Possible Cause of Fire.— I^rofessor Vivian B. Lewes, in his
lecture on Spontaneous Combustion at the British Association Meet-
ing, gave some interesting data which reveal a Uttle-known danger of
fire. From stove pipes highly heated, high-pressure water pipes,
steam pipes, and so forth, it is not imcommon to see semi-charred
timber in the vicinity which is thought to possess no danger on ac-
count of the heat never approaching the ignition point of wood. But
716
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 10, 1893
Professor Lewes pointed out that it had been experimentally deter
mined that, when wood had been charred at a temperature of
500° it would take tire spontaneous!}- when the temperature was
raised in the presence of air to 080°, but that, when wood had
been cai-bonised at so low a temperature as 260", it was quite
sufficient lo raise it only to 340° to cause its spontaneous igni-
tion. He thus shows a very grave danger to exist, where, at first
sight, the charring might be looked upon as perfectly innocent. " If
a beam is in contact during the winter months with a heated flue or
even steam pipe, it becomes carbonised upon its surface, and during
the summer it absorbs air and moisture, and during the next winter
it again becomes heated and further carbonised, whilst the moisture
and air are driven out, leaving the pores in a condition eminently
adapted for the absorption of more air as soon as the temperature is
allowed to fall, and in many cases sufficient heat is generated to
cause the charred mass to smoulder, and when air is freely admitted
to it to burst into flame." It is enough to call our readers' attention
to these remarks to induce every one using heat in this manner
to look to a possible source of danger.
GREAT TELESCOPES OF THE FUTUKE.
[Congress of Astronomy and Astro-Physics, Chicago.]
I HAVE been asked by the local committee, through their secretary, to
prepare a paper for the Astronomical Congress, embodying my ideas on
the future possibilities in the construction of great telescopes. I accepted
the invitation somewhat reluctantly, for, while I appreciate the honour
extended to me, I feel that the subject chosen by the committee is a
somewhat delicate one to deal with, as I may say many things which do
not coincide with the preconceived ideas of some that may be present.
I beg therefore that they will regard the subject of this paper as simply
the embodiment of my ideas. I shall endeavour not to state anything as
a fact that has not been demonstrated as such by repeated experiments.
Much has been written and more said regarding the great telescopes of
the future. It seems to me that the best method of studying the subject
is by a careful consideration of what has been accomplished with the
instrnments already made. From my personal comparisons I find that
most of the important original discoveries in the truly visual line have
been made with the largest telescopes in use at the time. In making
this statement I would say that I do not include such discoveries as have
been made from observed irregular proper motions of stars, such as, for
instance, the companion to Sirius, which was known to exist some years
before it was seen, although this required the largest refracting telescope
then in existence to show it to the human eye. When once seen,
however, with the large glass, it was readily seen with small ones. Nor
would I ignore the many double stars discovered with smaller telescopes.
These discoveries have been made with instruments of superior defining
power, under fine atmospheric conditions, and are valuable contributions
to astronomy, yet I do not believe that a small telescope was necessary to
make these discoveries. I am of the opinion that, had the discoverers
had at their command the largest telescope, the discoveries would have
been more numerous and important. When the two 15-inch telescopes were
made in 184G, one for Pulkova, the other for the Harvard Observatory,
they were considered monsters. I believe it was thought by most
astronomers that the limit in size had been reached. No larger refracting
telescope was made for a period of more than fifteen years, the next
largest being an 18J-inch. I mention this fact to show how and at what
time the demand for larger telescopes came. I think that the order for
the 18J-inch was given in 1860. As soon as the companion to Sirius was
discovered with this glass, at once there seemed to be a desire for gome-
thing larger. The next larger telescope was made for E. S. Newhall of
Gateshead, England. Then came the aC-inch for the U.S. Naval
Observatory, and then Leander J. McCormick presented the University of
Virginia with one of the same size. After that, the 30-inch for the
Russian Observatory was eonstrncted, and, finally, the 36-inch for the
Lick observatory. Besides, there is now in process of construction, and
well lender way, a 40-inch telescope for the University of Chicago.
I have always been a believer in large telescopes for special work. I
have had great experience with them, and it is from testing these
instruments that I have been convinced that large instruments are needed
to make original discoveries, such as new satelUtes to planets, and faint
companions to bright stars, in fact to any stars, as well as for studying
the planets and nebuloe. For astro-physical work they are vastly superior
to smaller ones. The trouble that early opticians experienced in
procuring good discs of glass seems to have passed away, and we are now
able to procure discs of almost any size, the only obstacle being the time
required to make them, and the money to pay lor them.
Having given you some of my reasons for believing in large telescopes,
I will now proceed with the subject of this paper, via., my ideas of the
future possibilities in the construction of great telescopes. It is my idea
that the great telescopes of the future will be refractors, not reflectors,
and I shall confine myself entirely to the refractor. I would not wish to
say anything that might lead you to suppose that I under-estimate the
value of the great discoveries made with reflecting telescopes, or the great
minds that have made and worked with them, yet one person of eminence
did remark that large reflecting telescopes have never accomplished much
except in the hands of the opticians who made them ; and my own
experience has been sufficient to convince me that the reflector is
extremely sensitive to any changes, either of temjjeratuie or air currents,
or more particularly to flexure, and tliat, while the retractor is also affected
by these changes, it is by no means so injurious to the definition.
As I have said, I believe that good discs of any size, both crown and
flint, may now be procured. Having once procured them, all that is
required is an optician to work them. He must be an artist in light and
shade, and in colour also, for the very best correction of the chromatic
aberration. As in the light and shade we search for and locate the
spherical aberration, so we work among the different colours for the
chromatic corrections. It is a very difficult task, and, as the size is
constantly being increased, the difficulties also increase. Personally I do
not believe this work can ever be accomplished by machinery. Not that
machinery might not be made available for the rough work and the first
polishing, for we ourselves polish all our large surfac-es in a macliine in a
preliminary way. The fine grinding and smoothing, however, is always
done by hand. It is after the first machine-polishing is done, and the
glass appears to be finished, that what I have referred to as artistic work
begins ; that is, the work to locate the errors from observations, and
correct the surfaces of the glass by the tentative method till all the light
from a point at an infinite distance will be refracted to a point at the
focus of the objective so accurately that the image there formed will bear
the highest magnifying powers without showing any distortion. I believe
that this can be accomplished only by most careful study of the light
that has passed through the objective, and that all the errors must be
worked out by what is termed local corrections.
When the time is ready, I think the man capable of making the
necessary observations and locating the errors with precision, as well as
skilful enough to work them out on much larger objectives than have yet
been attempted, will be found. The simple preliminary grinding and
polishing of large lenses is not a very difficult operation ; this, with the
centering is purely mechanical ; but, if the glass itself has the slightest
unevenness in its densit.v, be it ever so small, the refraction will be different
through the different densities. Tliis cannot be determined with certainty
until the discs have been worked into an object-glass, or at least, ground
and polished for that purpose. If, after this grinding and polishing has
been done with the greatest care, we find the image produced by the lens
which is achromatic is not symmetrical, and that a star at the focus
is not round, but possibly is elUptical, rectangular, or in fact of any
shape, what is to be done ? After so much expense and labour, shall we
condemn the glass, and wait perhaps years for other discs, which, after
going through the same process, may give no better result ? I will state
here that of all the large glasses, that is to say, over 18J inches aperture,
that have been made by Alvan Clark & Sons, only one, viz., the Princeton
28-inch, came from the polishing machine giving a perfectly round image.
All the others we had to round by local work.
I believe the optician that is to make the large telescopes of the future,
as well as the present, must be able to do this work. In my opinion it is
not more difficult than the correction of the spherical aberration proper,
though, if much out, it may prove more laborious. Surely I beUeve this
work should be done rather than condemn the discs and try others.
Each glass can be rounded separately. For this purpose set the combined
lens in front of a coUimating mirror. An artificial star is produced from
a lamp by reflecting the light from a m-nute lens within the eyetube, and
close to the optical axis and focus of the objective. The light from this
artfficial star passes through the tube to and through the object-glass,
then on to the coUimating mirror, which should be as fiat as possible.
From the mirror the light returns to all portions of the objective in
parallel rays. There must, however, be a little off-set, so that the returning
ligh from the star will not fall on the minute lens where the star was first
formed, but the deviation from the true optical axis is but a mere trifle.
Of course it would be almost impossible to secure perfect definition under
November 10, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
717
these ciroamstances with a very large glass, as the combined errors or
imperfections are made to appear twice as great as they really are, from
the fact that the light has passed both ways throngh the objective, so
that the imperfections in the material, that is, the glass itself, and work-
manship also, are made to appeal double what they will be when used as
a telescope tor viewing celestial objects direct. Nor is this all, for we
have the imperfections of the mirror to contend with, and who can
conceive of a mirror of live or six feet in diameter resting on its edge
being perfectly symmetrical ? You may thing it strange if I say that,
while I should much prefer to have everything perfectly correct for this
work, I believe it impossible, and we must do the best we can under the
existing circumstances. I remember a time when a distinguished
professor was shown by my father our apparatus and methods of testing
lenses. The professor asked, " Which are you testing, the mirror or the
objective ?" My father's reply was, "We are testing both, and surely we can
test both by the method used."
After observing all the appearances in one position, the next thing to
be done is to give the whole or combined glass, that is, the crown and
flint together, a partial turn. If appearances are changed, it is certain
there is some error in the objective, for, if the glass worked perfectly, no
matter what imperfections were in the mirror, they would be the same
whichever way you turn the objective. Having ascertained that the
combined glass is not round, or rather does not give a round image of a
star a little out of focus, the next thing is to locate the error or errors.
Are they in the crown or flint lens ? Probably in both. This is, however,
ascertained by first revolving one glass. If an irregularity is detected
that rotates with the glass, it must be corrected by skilfully working the
surfaces, so that the portions that are of short focus shall be lengthened,
and those of long focus shortened, until the rays shall come together at
the general focus. After having rounded this lens so that no apparent
change is visible by rotation, this glass must remain fixed, and the other
must be examined and worked in the same manner. This work having
been carefully carried out on both crown and flint lens, they are surely
roand, though they may not give a round image from the mirror. After
the glass is rounded, the mirror itself may be corrected in the same way,
but this is not absolutely necessary, as we already know the errors. This
rounding of a large glass is very laborious, and sometimes requires months
to accomplish. Yet the party that is to make great telescopes in the fnturei
as well as the present, should in my opinion make himself familiar with
all these tests, and have the ability to work out the errors that I have
described, togetlier with those that may arise from concentric rings of
different foci.
Having stated my ideas as to the necessary requirements to make large
telescopes, I will now call your attention to my idea of the great telescope
itself. As before stated, I am of the opinion that it will be a refractor,
and that its size will progressively increase. It will be mounted equa-
toiially, and provided with the best driving clock that can be devised. I
am in favour of the long polar axis, known as the English plan, for such
an instrument, my reasons being, first, that a large driving wheel may be
applied without setting the telescope to one side of the axis. The polar
axis itself may also be braced in any or all directions, without interfering
with or obstructing anything. This axis can be made exceedingly stiff
by bracing, and the tube itself can be braced to the axis in any position.
Such mounting could be easily provided with all the clamps and slow
motions that are needed. To make it all complete, we should have two
telescopes, one for visual and the other for photographic work, so hung on
trunnions as to counterpoise one another, thus requiring very little or no
extra weight. I think an instrument mounted in this way would be much
more stable than the style Americans have generally adopted in the case
of great telescopes.
Now that I have spoken so favourably of these instruments, I must say
in conclusion that very much will depend on the localities in which they
are placed. To ensure the best results, the best places should be selected
as the result of thorough preliminary examinations. Doubtless there are
many places, both at ordinary and high altitudes, of fine atmospheric
conditions. A great telescope, even when used under ordinary circum-
stances, must be productive of great results, but under the very best
conditions of still greater. The increase in size of even our present great
refractors is not a possibility, but a fact, and with this wiU come large
acquisitions to our present stock of knowledge. The new astronomy, as
well as the old, demands more power. Problems wait for then: solution
and theories to be substantiated or disproved. The horizon of science
has been greatly broadened within the last few years, but out upon the
borderland I see the glimmer of new lights which wait for their inter-
pretation, and the great telescopes of the future must be their interpreters.
Alvan O. Clare.
ON THINGS IN GENERAL.
It is late in the day, perhaps, to make many comment« on the Photo-
graphic Society of Great Britain's show, but it teaches to many
leesons that I cannot refrain. Very much has been aaid of late yean
about the useleeanesa of awarding medals, and now we have the
Photographic Salon Exhibition to show the kind of collection that can
be brought together with no medals in prospect. Pall Mall has
adopted the very best plan possible to discredit medal-giving, for it is
an unmistakable fact that this year the awards are a complete fiasco.
There seems to be a considerable diffidence — or, should it be called,
fear to wound the adjudicators' feelings ? — displayed by those whom
all are accustomed to look up to as authorities in expressing in plain
language a fair judgment on the awards, some of whicft, in the
almost unanimous opinion of outsiders, are simply ludicrous. Medals
have been awarded to photographs which would cause any professional
photographer to discharge a junior operator if he had exltibited them
as a sample of his ability. Why have such awards been made ? The
nearest guess is, because the medalled prints have aimed at pro-
ducing something as unlike an ordinary photograph as possible.
Workmanship has been utterly disregarded, feeble attempts to imitate
a texture, or to copy the motif in a well-known painting, have been
crowned with laurel. Photography has been made a laughing-stock,
and any possible claim to a photograph being a work of fine art killed
by the ridicule that must fall on such medalled photographs as repre-
senting the utmost that photography has been able to attain in the
year eighteen hundred and ninety-three. In the " Forewords " of the
Photographic Salon catalogue may be read, " the dull diagrammatic
pose of the earlier types of work is giving way to a more subtly
suggestive style of treatment, and the initial blankness of wonder at
its possibilities has been, or is being, gradually replaced by a clearer
perception of what it can do well, and can do for certain classes of
subjects and effects with a perfectness unapproachable by other
methods." " The initial blankness of wonder'' will most truly over-
come most spectators when they see the magic word medal against
some of the Pall Mall photographs, especially upon one characterised
by " Palette " as a miserable abortion of photography.
It must not be understood that this condemnation applies to all the
awards. Some of the adjudications are very proper. I do not like to
mention names, still I cannot but express the pleasure I experienced
in examining some of the nude studies that are hung on the
wall almost facing the visitor as he enters the Exhibition
room.
Even the hanging must come in for severe condemnation. If we
take some of the trash that is hung as representative of a higher
class of work than the rejected, the latter must be very poor. Yet,
when we hear the names of the producers of these rejected pictures,
we know them to be incapable of doing bad work. What is the
moral ? I would rather leave that for my readers to decide.
I mentioned the name of " Palette " just now. I do not know if
he is the same writer who gives an interesting letter upon electric
heating. If so, I am afraid his sanguine hopes about the economy of
electricity for heating purposes will be doomed to disappointment.
He had been informed that the cost of heat from electricity would be
about the same as gas. This is moonshine. Let him turn on the
electric lights in any apartment for an hour, and then, after ascer-
taining the increase in temperature, burn at an ordinary gas burner,
ga.s costing, say, less than one-fourth the electricity, and see which
gives the greater increase. I am one with him in his praise of the
cleanliness and healthfulness of eletricity, but it is a toy for heating
when any ordinarj* comparison of cost is instituted. I should like
" Palette's " informant to tell him what it would cost to heat enough
water for a hot bath, and then to ask Mr. Fletcher what he would
undertake to do it for with gas.
" Is that the Law ? " is the heading to a paragraph in last week's
JouBNAL describing how an assistant went from Hanley, in Stafford-
shire, to a situation in London, and failed in the County Court to get
compensation for wrongful dismissal, without notice, after a few day*'
work. The employer, among other things, swore that he did not
know Hanley, Staffordshire, was very far from London! Of courie
from a brief report it is not possible to form a correct judgment as to
what really were the merits of the dispute, but my strong opinion is
718
THE BRITISH JOURNAL OF PHOTOGRAPHY.
LXovember 10, 1893
that it is a case not of "Is that the Law?" but of "Is it not the
absence of a lawyer ? " — on the assistant's side, that is to say.
I am very anxious to learn what the general verdict will be upon
the remarkably interesting process for treating gelatino-chloride prints
by development suggested by the Paget Company. If what we are
credibly told about the matter really turns out not to be an over-
statement of the case, it amounts to a great assistance in printing.
The question of permanency will, of course, have to be considered,
but there is no a prion reason to apprehend failure in that direction.
" As close an approach to permanency as possible " should be the
watchword for every photographer, hence I view with a certain
amount of disfavour all such silver^printing methods as that described
by Mr. W. Lindsay a month ago. Let it be understood I refer only to
doing such prints other than as an occasional thing for some special
pvirpose. For serious work they should be avoided. The plan is good
and practicable, as I can say from experience of certain enlargements
more than twenty years ago ; but, at its best, it never equals platino-
type, so again I would advise, " Leave it alone," except for a casual
experiment or trivial print. Free Lancb.
PHOTOGRAPHS IN NATURAL COLOURS PRODUCED BY
THE IMPROVED PROCESS OF L. LUMIEKE, AFTER
PROFESSOR LIPPMANN'S INTERFERENCE METHOD.
(Photographic Congress.)
Thanks to the great kindness of M. L. Lumifere, of Lyons, we are
able to examine to-night the latest results obtained by him. A few
explanatory remarks are necessary to make the method of their
production generally intelligible. About two years ago Professor
Lippmann, of the Sorbonne in Paris, succeeded m producing photo-
graphically a coloured image of the solar spectrum, based on the well-
known principles of interference. He used for that purpose a plate
coated with an albumen, collodion, or gelatine sensitive film. This
sensitive film was, during exposure, brought into contact with
metallic mercury, the image of the spectrum being projected on the
film through its glass support. The light, after penetrating through
the thickness of the film, was reflected back from the surface of the
mercury, the direct light-waves encountering the waves of reflected
light, producing the phenomenon of interference in the thickness of
the film. The waves of light propagating in opposite directions
cause the vibrations at certain intervals to be neutralised, while at
others they are intensified. If such a plate could be developed, fixed,
and dissected we should find it to consist of strata of the black
deposit of silver, produced by the developer in the parts correspond-
ing with the maximum of light succeeded by transparent strata,
corresponding to the minimum of light where the developer had no
action. The distance between the strata is equal to half the wave-
length, which is 600 ten-thousandths of a millimetre for red Ught,
583 for orange, 651 for yellow, 476 for blue, and 423 for violet. In a
film of ^ mm. thickness there will be about 200 such strata. It is
evident that, on examining such a plate by reflected light, we shall
observe the colours, because it is formed of a series of films of the
thickness requisite to produce colour sensations. Subsequent experi-
ments proved that, by using a gelatine film sensitised with a chromium
salt, a similar result is obtained, the action of interference producing
strata of soluble and insoluble gelatine.
The exposure of the plates produced by Lippmann was very long,
and, owing to the variation of sensitiveness of different rays of the
spectrum, necessitated the masking of the portions exposed to the
more actinic rays while the others are exposed. L.Lumiere succeeded
in producing coloured images in one operation, and in last May, in a
paper read before the Paris Acadfimie de Science, gave full paiticularB
cf the process as follows : —
Abstract.
To prepare the emulsion the following solutions are made :—
A.
J)i^tilled water 400 parts.
Gulatibe 20 „
B.
Distilled waf^-r 26 parts.
Potaetium broiuirle 2'3 „
C.
DIstille.l wa't-r 25 parts.
Silver nitrate 3 ,,
One-half cf A ia tddtd to B, aud the other half to C. These two
solutions are mixed by adding the silver to the bromide. A suitable-
sensitiser is added, such as cyanine, methyl violet, erythrosine, &c.
and, after filtration, plates are coated on a tourniquet at a tempera-
ture of 40° C.
When the emulsion is set the plate is immersed in alcohol for a
very short time, and washed in a continuous stream of water. The
film being very thin, the washing is soon effected. This emulsion
should not be washed in bulk, lest coarseness of the particles of silver
be produced by reheating results, and in order to have the films a»
transparent as possible ; for the same reason a great excess of bromide
is to be avoided. The plates are dried, and just before use are im-
mersed for two minutes in —
Water 200 parts.
Silver nitrate 1 part.
Acetic acid 1 ,,
This bath helps to produce brilliancy of the image, and to increase
the sensitiveness ; but the plates cannot then be kept long because the
sensitive surface soon deteriorates. When the plate is dry it is ready
for exposure ^ la Lippmann, viz., with a reflecting surface of mercury
next to the film.
For the developer the following solutions are made :—
I
Water 100 parts.
Pyrogallic acid 1 part.
M.
Water 100 partSv
Potassium bruiiiidc 10 „
III.
Ammonia D. 0-960 diluted to 18°.
Solution 1 10 parts.
„ II 15 „
-. Ill 5 „
Water 70 „
The degree of concentration of the ammonia has a great influence
on the result, even a slight alteration destroying the brilliancy of the
colours. For fixing, the plate after washing is immersed for from ten
to fifteen seconds in a five per cent, solution of potassium cyanide,
washed, and dried.
In order to lessen the action of the ultra-violet, violet, and blUe
rays, a parallel faced bath of Victoria yellow, uranin, or primuline is
used in the camera.
The pictures lent by M. Lumiere are 6 by 8 cm. in size, and when
seen at a certain angle show colours of unsurpassed beauty — beyond
anything we are accustomed to see in the way of the reproduction of
colours — somewhat metallic in appearance, but very bright and of a
very decided and definite colour.
To examine them direct the best plan is to use the reflected light of
a bright sky, or if a lamp must be used it is preferable to have the
light reflected from a white shade or opal globe.
To fully appreciate all the beauty of these photographs the image
should be Ut by a powerful Ught, preferably electric, and a projection
made on a screen by means of a portrait lens (four inches diameter).
The result is then of such beauty as to defy description — it is not like
an oil painting or a water colour, it is like real nature on a bright
summer's day. Seeing these first photographs in natural colours we
feel we are in the presence of one of the greatest inventions of the
nineteenth century, and we may sincerely congratulate our friends on
the other side of the Channel upon so splendid an achievement.
Leon Waenerkb.
"SOME PRIMARY CAUSES OF FAILURE.
DuBiNa the past few months, including some weeks of the finest
weather of recent years, I have made the acquaintance of some
amateur workers, who appear to have fallen on dismal times with
regard to their experiences of photography ; who, in fact, in spite (rf
the beautiful weather aforesaid, and, from a casual glance, averagely
good apparatus, have exhibited a crop of failures such as I have not
met with for a long whUe — failures which would be enough to make
most men give the thing up in disgust, and, it must be admitted,
failures for which, on the whole, they can hardly be held responsible.
If we look at photography as a serious pastime, as a healthy change
of work, designed to refresh the brain and to enrich our portfolios, we
shall take a serious view of our apparatus. From this standpoint it
is obvious that much of the cheaper varieties of outfits are, as sent out,
practically useless for the purpose of doing clean and satisfactory
November 10, ISttSl
THE BRITISIi JODRNAL OF PHOTOGRAPHY.
719
work. Tho design is usually good enough, but the outfit often ex-
hibits that condition of things known as " spoiling a ship for a ha'porth
of tar." The pity of it is when a good desi^ is spoiled for the want
of, say, a little more velvet in the construction of the apparatus.
One of my friends was working with " a guinea detective."' I need
hardly retaind my readers that a most excellent hand camera fitted
with three doidile ulides, is to be bought for a guinea ; but the one I
refer to just bow has an arrangement of sheaths. As supplied, the
back door of this set was very ill-fitting, letting', as any experienced
person could see, light in all round ; the result was foggy negatives,
until, at my suggestion, a velvet cover was made for the "hinder
quarters" of the camera; this done, more satisfactory results ap-
peared. I would suggest that the back door referred to would be
much safer, and would cost no more, if made of one single piece,
and made to slide in in velvet-lined grooves, and then buttoned.
I am doubtful as to whether the metal sheaths are as good as they
might be ; the principle is all right, but I have many reasons for be-
lieving that, where a lot of these loaded sheaths are exposed one after
the other, light often overleaps the foremost plate, and makes a slight
impression on the one behind. The plates would be much safer if
placed, in little wooden frames, shut in all round, securely buttoned
in. This method would mean, of course, a alijrhtly increased size of
camera ; but that is a trifle conapared to the risk of fog. I have lately
adopted a plan similar to this in a home-made hand camera of my
own. Laiicactpr's make an excellent quarter-plate carrier, which
takes two quarter-plates, back to back, a thin blackened partition inter-
vening. Six of these I have had c it down to within a quarter of an
inch or so «!! round ; The plates are secured with buttons let into the
wood and flush. The camera has at the back a long sleeve, and the
plates are shifted by hand in a well-known manner. When the six
front plates have been exposed, I turn the pile bodUy over, and start
away on the "backs." However, whatever we do, too much import-
ance cannot be laid on the necessity for every precaution against
" light," other than through the lens, reaching the plate. If the
camera on receipt shows any defects — and, unfortunately, only an
expert would be able to detect them — they can mostly be put right
by at once having a thick velvet cover made, which should be put on
tlie apparatus after loading and while in the dark room. The snutter
may prove a som-ce of trouble ; it will not always work when wanted
to, unless purely mechanical. Not only this, but we want to see that
it works, or can be worked, without exposing a plate ; in other words,
we want to be able to cover the lens at the back, during the time we
are trying the shutter. Of course, this is provided for in the better-
class and higher-priced hand cameras. It is no troublesome matter,
however, to make and fit, at home, what we want. I make a small
blind roller of suitable length, and fit this up inside the camera, then
adjust over the roller a length of American cloth, in which have been
cut two apertures. A piece of string is fastened to each end and
passes through the bottom of the camera, a tiny patch of velvet inside
and out making the small holes safe. When the strings hang down
the same length, the lens is uncovered. Pull one down, and it is
covered again. This little arrangement is also useful for time ex-
posures. It undoubtedly prevents failures from the shutter going off
in an untimely manner by the giving way of an elastic band or from
other causes.
Another of my amateur friends experienced the hardest luck with
a five-guinea set. He fitted his slides and started off. Arrived at
the scene of operations, he rigged up the apparatus — no easy matter
— focussed his view, then, with considerable trouble, inserted a dark
slide. This little business required so much strength that the camera
was quite put out of position, and consequently the operation of
focussing, &c., had to be gone through again. The next trouble was
to withdraw the shutter. This proved an impossible task. We had
not a bag of tools with us, and our fingers were quite unequal to the
effort. I am not exaggerating when I say that the shutter could only
be drawn by using a pair of pliers ! Now, I think nothing rouses the
" Old Adam " in a man so much as experience of this kind. To get
the most enjoyment out of photography, everything must be kept in
good condition for work; easy-working apparatus, made of hard,
well-seasoned wood, tried in the house and found perfect before going
into the field, is of paramount importance. We may think it a
simple matter, but this is where the error lies. Too much attention
cannot be given to details ; therefore, on purchasing a camera, see that
it opens out easily, without sticking anywhere. The front should
give a good range up and down; this is, I consider, of much more
importance than a swing back. The front should move up and down
over a strip of velvet inlaid on the fixed front. See that the struts
Jiold the camei'a back and reversing frame firmly in position ; the
latter should tit perfectly, and take out and put in easily. Try the
slides, which should move into place with easy pressure, and do not
forget the shutter. We want to be able ^l pull theae out and put in
again without disturbing the arrangement. Any " sticking " \a most
trying to the temper, almost fatal to any good result*, and, in ipite
of a liberal application of black lead, ia sooner or Uter (ore to be
troublesome. A reversing frame has now become aJmoit a necewity,
but I often think with regret of the beautifully made horizontal
cameras of little more than ten years ago ; there must be hundred*
about in old stores and places, scorned and despised maybe. Would
that many of our cameras of to-day were made of such stuff, they
would then be perfect, or as nearly so as we want them. The
ingenuity displayed on apparatus nowadays is really wonderful, but
no display of brass and French polish will make a bit of green wood
anything but a fertile source of failure. J. Pikb.
A PAINTEB'S VIEW OP THE PHOTOGBAPHIC SALON.
Wrrn we hear of " the Salon," we naturally think of the great national
exhibition in Paris of the fine arts of France, to which the best artists
from every civilised country in the world are glad to contribute, or of the
Triennial Exhibition, sometimes called the Brussels Salon, representing
the fine arts of Belgium and other countries. Having in mind the mag-
nitude, importance, and grandeur of " the Salon," I could not suppress
a smile when I heard that a new exhibition wa9 about to be opened under
the somewhat pretentions and arrogant title of the " Pbotographio
Salon." It does not appear that this show ia representative of any
society or club ; it seems to have been got up by a committee of eminent
amateur and professional photographers, animated by the very laudable
desire of promoting the study of pictorial quality in their art. They had
to find some sort of title, and, in the exaggerated, self-poffing fashion of
modern advertisement, they borrowed one of high-sounding, artistic
associations. They might have selected a more expressive title — one
more characteristic of their aims and more consonant with their status.
" The Photographic Art Exhibition," or " The Photographic Art Saloon."
Saloon is a good English word, meaning " a large, lofty hall ;" but that
would not have been sufficiently pretentious, so they must needs import
a title from Paris, and call their little show, " The Sahlong."
I found the exhibition in \a. room at the Egyptian Hall called the
Dudley Qallery, and a capital show it is. There are 285 prints on the
walls, most of them small, many displaying cultivated artistic taste com-
bined with the highest technical skill, resulting in splendid examples of
legitimate photographic art. The general average is high, but I regret
to observe the prevalence of that photographic epidemic which has
obscured the better judgment of many good operators, and caused them
to forsake the splendid qualities of photograpbio art in the vain attempt
to produce manufactured imitations of the mere technique of oil and
water-colour paintings — to neglect the substance for the shadow — in the
feverish pursuit of that rank in the fine arts wbiob must ever be to them
a " Will o' the Wisp."
The mighty services rendered by photography to science, to literature,
and to art ; its vast employment in commercial enterprise, in portraiture,
in pictorial delineation, and innumerable other fields, give photographic
art a high and distinctive character and a dignity of its own, which
place it above any necessity for demeaning itself by crowing in self-
assertion around the precincts of the Temple of Fine Arts, and ignobly
appealing for recognition and admission within its portals : —
" Ob, restles.'! spirit t wherefore strain
Beyond thy sphere V
A photographic picture is a production of the old-established and
lugbly respected firm of " Chemicals, Lens, Camera, Operator, & Co."
(limited), of which the Mr. Operator is the mana^ng director and ruling
spirit. No one of these partners could withdraw from the firm without
inflicting ruin and collapse on all the others. Mr. Operator would be
stranded and left utterly helpless without Chemicals, Lens, Camera, &
Co. ; he could go nowhere and do nothing, much less obtain a position
for the work of the firm— as representative of fine art— on the walls of
tho Bo^al Academy. Volumes might be written in discussing the various
theories which have been propounded in the attempt to give an abaolate
definition of the term " fine art," but for practical illustration it may be
enough to deal with the living fact.
The Boyal Academy represents the fine arts of the British Empire.
It embraces under the shadow of its wings the fine arts of painting,
sculpture, architecture, and engraving. On the titlepage of the Academy
catalogue for the present year is the motto and definition : " Fine art ia
thnt in which the hand, the head, and the heart of man go together." —
BcsKiN. No admission for mechanical products in that incontrovertible
definition of fine art ; it must be the pure aod unalloyed product of the
band, the head, and the heart of man— a definition under which photo-
graphy can never oome.
The spirit of art, or, in classic phraseology, the Muse, cannot be pro-
jected through a photographic lens, to be transfixed on a tianaparant
film within a camera, at the will of any operator ; the impalpable quali-
ties of poetical and artistic feeUng and sentiment would vanish before
they could undergo that ordeal.
720
THE BlUllHH JOURNAL OF PHOTOaRAPHY.
[November 10, 1893
I will venture on a wild hypothesis for the sake of argument. Suppose
the President and Koyal Academicians agreed to form themselves into a
little private photographic club with the object o£ practically testing the
value of photography as an auxiUary to art in the way of taking studies
and accessories, no doubt many finely composed and thoroughly artistic
works would be produced ; but would even the high artistic skill and
status of the Boyal Academy operators entitle even the best of these to
be regarded as works of fine art ? No ; they would at best remain the
products of mechanical art-science, of chemicals, lenses, cameras, and
printing frames, no matter what amount of technical skill and artistic
taste had been brought to bear on them. Even the great achievement
of securing the reflections of Nature in the natural colours would stUl be
the same — it would not be fine art.
I shall not here attempt to discuss the subjects of poetry and music as
branches of the fine arts, but I may appropriately mention that a few
weeks ago — shortly before his lamented decease — Gounod, in conversa-
tion with a writer on La Vie Contemporaine, remarked : " Artists are
men to whom God has given greater visual power ; they see more of the
infinite than others." But photographers are not the only aspirants to
rank as professors of fine art. I went last week to see a demonstration
of cooking and heating by electricity at the Food and Cookery Exhibition.
I have since read a long and ably written preface to the official catalogue
by George Augustus Sala, in which he remarks : " Naturally, being
myself a strong believer in cookery as one of the fine arts — and a
humanising and refining art to boot — a competent knowledge of which
can only be acquired by sedulous study and lengthened experience," &o.
Verily, good food well cooked is of far more importance to the human
race than good pictorial photography.
Turning to the catalogue, I find on the first page an advertisement,
commencing, " Take your pictures with the Kodaik, a most compact and
portable camera. No previous knowledge of photography necessary."
Over another leaf I find the preface, to which is (rather affectedly) added
a second title, " Forewords." It merely amounts to a very brief essay on
photography, containing nothing new, except some remairkable state-
ments which must be noticed. The last paragraph commences in these
words: "Perhaps the greatest curse of photography, in the sense now
under consideration, is the fatal ease with which indifferent work may be
produced by its means." This assertion is as incorrect as it is ungene-
rous. Ease of production is not a fatal curse, it is a vital blessing.
Everything must have a beginning. Did not the gentlemen responsible
for this statement produce indifferent work at first ? Did not the ease
with which they could produce it encourage them to go on until they
could produce better, and still encourage them to persevere until they
can now produce the excellent work which adorns these walls? Is it not
a fact that travellers, with no practical knowledge of art, with but slight
knowledge of photography, yet with cultured taste, can and do bring home
with them photographic illustrations of their travels in far distant, un-
known, and almost inaccessible regions — illustrations of the highest value
in the promotion of human knowledge ? The ease of production is not
the greatest curse of photography ; its greatest curse is the ease with
which it can be prostituted by bad people for the vilest of purposes, thus
becommg the instrument of unspeakable evil and wide-spread depravity.
I have heard Captain Abney say that, if you wish to give a boy a scientific
education, you cannot do better than start him with a lens and camera.
No better advice could be given. Provide an intelligent lad with a good
set of apparatus, the necessary materials, and half a dozen lessons from
a good operator ; he will be astonished and delighted by the ease with
which he can produce beautiful and useful results. He will not be con-
tent to do a certain thing by rule of thumb, but will want to know the
reason why he should do it. His mind wUl be opened ; he will be led
step by step to study the cognate sciences and arts, and may, in due time,
become a savant, or an artist, or both. This ease of production has led
hundreds of thousands of amateurs, all over the world, to take up photo-
graphy, much to their own happiness and the delight of their friends.
It has provided readers and supporters for numerous photographic jour-
nals ; it has sent visitors to the photographic exhibitions, and supplied
them with their welcome shillings, and it has created a new and a vast
industry, affordmg employment to hosts of artisans and assistants in the
various trades which eupply the requirements of the art. So much for
the " curse." Another great curse of photography is the ease with which
it ean be employed by photographic thieves for the purpose of piracv
to the immeasurable detriment of Fine Art and its producers
{To be concluded.)
Palbtte.
THE NAISSANCE OF AET IN PHOTOGEAPHT. •
Were we to get together a gallery of the best photographic pic-
tures, it would be found that almost every exhibitor had " studied art "
to some extent, and, of the illustrations chosen for this article, nearly
every one is by a worker who has been as painter, architect, or in some
way or other more or less intimately connected with art. This gives
* Concluded from page 702.
further proof that, when photography fails to be pictorial, the fault lies
with the manipulator rather than with his craft.
It may be well to inquire in general terms into the most salient faults,
not only in ordinary photographs as we see them, but in the art itself.
In the first place, we are confronted with a glaring defect depending on
scientific facts. We may call this false tonality, but this rather explains
our objection than defines what we mean by tonality. The constituent
parts of light which chiefly act on the eye are not those which chiefly
act upon a photographic plate. The brightest visual rays of the solar
spectrum are those in the yellow and yellow-green regions, but ordinary
photographic plates are comparatively insensitive to these, while they
are relatively much more affected by violet and blue. Tliis, of course,
under common conditions, often leads to false renderings of Nature ;
parts of a subject which ought to be represented as high lights appear-
ing as dark, and the subdued tones of Nature telling as the highest lights.
This grave defect is fully admitted by photographers, and to a consider-
able extent is being overcome by the use of what are called " ortho-
chromatic " plates, wherein the sensitiveness to yellow and neighbouring
spectrum rays, is relatively increased to a marked extent. This relative
increase of sensitiveness is, in our science, enhanced by the use of yellow
media in the camera, or in some part of the light way ; we can, so to
speak, eke out the discriminating action of the orthochromatic plates ;
for the yellow medium acts as a filter, and arrests a certain proportion
of the violet and blue which otherwise would exercise undue influence
on the sensitive salts in the plate. It is necessary to refer to this
common defect by way of noting the advance made lately in the art.
There is no reason to doubt that this defect of false tonality will be
eliminated in process of time. It is true that no graphic art is able to
represent the whole gamut of Nature's tone, and photography not only
falls short of painting in the extent of its colour scale, but it is very apt,
as we have seen, to render Nature with flat contradiction of her true light
and shade.
The next important fault which confronts us in general photography,
is redundancy of detail. In a photograph of a landscape of the usual
type, we may admire the precision of the optical instrument used, we may
admit the scientific accuracy of the rendering, but we revolt against the
" finicking " minutiaa of the details, and miss sadly the effect of breadth
of treatment and the satisfying result of massing. A print of this kind
is either exasperating from its spottiness or contemptible for its weak-
ness. One cannot call such a production " beautiful," nor even "rich,"
it is simply extravagant. If there is one defect which destroys all
nobility in a picture, it is " spottiness," and, as this is one of the faults
into which photographers are most prone to fall, we venture to state,
without dogmatism but with confidence, that the awaking of photo-
graphers to the evil of over-detail has chiefly given us the right to use
the word Naissance in the heading of this article.
It may be said, "Vixere fortes ante Agamemnona." But the word
" multi " cannot with justice be added in the present case. From almost
the earliest days of photography some were, indeed, found who used
the science as an art, but they were very few. None of these is better
known to fame than one who passed away some years ago, Rejlander.
He may be said to have been the first to produce photographs, crude
though their execution may sometimes have been, that, nevertheless, had
distinct claims to be considered pictures. In access of ambition, he
produced pictures which were made from many negatives, a task of
extreme technical difficulty, and still more difficult from an art stand-
point. The most noted of his productions in this class is the Two Ways
of Life, which might be compared in some respects to a conception of
Hogarth. It was composed of a great number of figures brought to-
gether in printing by a process which came to be called Composite Photo-
graphy. Eejlander was followed by Henry P. Kobinson, who has given
us a number of composites. Although there have been some much
applauded, there are not a few of his pictures by ordinary methods which
we must prefer. On the whole, his most successful composite picture
was Carolling. Mr. Eobinson, who at one time intended to follow
painting as a profession, did great service to photography by drawing
attention to some of the leading precepts of artistic composition
in a small book, Pictorial Eject in Photography. Mr. Adam
Diston, of Leven in Scotland, is also among the number ot our
old and good artists. Contemporary with Eejlander was Mrs. Julia
Cameron, who produced portraits and figure studies of large size,
and full of character, which are looked upon as models worthy of imi-
tation to this day. Some very fine figure subjects have been lately pro-
duced by Mrs. Myers, who has evidently and happily followed in the
steps of Mrs. Cameron. Mr. F. M. Sutcliffe, of Whitby, though a
comparatively young man, has been for a long time known to the
November 10, 1893]
THE BRITISH JOURNAL OF PHOl-OGRAfHY.
721
photographic world as one who is essentially an artist. Mr. Sutcliffe,
the son of an artist, and carefully trained in art, seems to have developed
highly the talent of snatching the " happy moment " for the beat aspect
of his subjects. Few would attempt, and still fewer would succeed, with
such a subject as that which forms our "tailpiece." Mr. J. Oale maat
also be included among the number of those who have long and success-
fully followed photography as an art.
We do not mean to say that here we have named the only men who
used photography as an art before our " Agamemnon," but we have
named the beat known, and we have omitted but few. Towards the end
of the " eighties " some works by Dr. P. H. Emerson attracted much
notice, partly on account of the novelty of treatment, partly because of
the boldness of departure from the beaten track. These photographs,
chiefly of subjects from the Fens and Broads, were severely criticised by
many, utterly condemned as pictures by some, but all thinking men
owned that here was something new and something good. For the first
time we saw detail ignored, and place given to impression and massing.
Dr. Emerson followed up practice with precept in his book. Naturalistic
Photography, which at once aroused no little excitement. In no
measured terms he pointed out what he considered the faults of photo-
graphers, and gave to the world his own ideas of true art. Many
objected to the tone of the book, which was considered offensive, but
there was much of value in its pages. The most important argument
was against " spotty-lighted, sharply focussed, brightly developed nega-
tives," which were stigmatised as "nois^, and garish, and inartistic."
In this book Dr. Emerson offended some, and by later actions he dis-
pleased others ; but he by no means always gets the credit he deserves
for his services to photography, for we firmly believe that his pictures
and his writings first drew serious attention to the most flagrant sins of
photography as an art ; and it is certain that very soon a school of
photographers sprang up whose leading principle was to avoid sharp-
ness of focus and to obtain increase in breadth of treatment. This
school, the outcome of Dr. Emerson's teaching, has been variously
dubbed the "Naturalistic," the "Impressionist," and the " Fuzzy." It
is not to be supposed that all our artistic photographers deliberately put
their lens out of focus to obtain the advantage of breadth ; but misty
effects, which previously would have been avoided, came to be much in
request ; simpler subjects are chosen, and we have thrown off many
trammels which took the form of rules for composition and lighting, and
were a bar to originality and expression.
This crusade against superfluous detail led to many follies and
extravagances. For a time we had quite a run on very rough papers for
prints, even of the smallest sizes. These prints were simply smudges in
most cases ; true texture was lost. We ran riot in fuzziness. Pictures
were, and are, made so much out of focus, that the outlines are doubled,
and spotty " areas of confusion " are seen with an effect almost sicken-
ing. One set of evils is eliminated at the expense of the introduction
of another set no less objectionable ; but it is to be hoped that in time
we may return to moderation. Many have accepted the example of Dr.
Emerson without rushing into extremes — none more successfully than
Mr. Davison, Mr. Horsley Hinton, Mr. Wellington, and Mr. Wilkinson.
In the hands of artists such as these, we believe that photography must,
and will, take its deserved place sooner or later in the world of Fine
Art.
The prevailing style of professional portraiture has always been a sore
point to those who wish photography well. We allude particularly to
the practice known as " retouching." A painter who should represent
in a portrait a lady disfigured by freckles would not be wise, and would '
certainly not be successful, in his profession ; and the same may be said
of a photographer. But, when the removal of accidental and evanescent
blemishes was carried to the extent of complete " modelling " of the
features, and when the result of this modelling was to produce faces
with the appearance of putty or dough, and to obliterate every trace of
character from the features, then, indeed, great damage was done to
photography. We have a perfect right to portray a face at its best, to
remove fortuitous blemishes ; but the line must not be drawn at falsifi-
cation, and the human face must not be represented as similar in
surface texture to a butcher's ball of suet. Portrait photography has
also been degraded by the use of commercial backgrounds and impossible
" properties." The best of these backgrounds and properties are not in
themselves objectionable, but from their frequent repetition. Among
professional portraitists who have discarded both " stock backgrounds "
and " properties," may be mentioned Mr. Croske, of Edinburgh, whose
studio is fitted up in the style of an ordinary room, or rather of several ordi-
nary rooms, with special arrangements for lighting the sitter. Mr. Grooke,
a few years ago, woke us up by a set of portraits, in the Kitcat style, of
Scots Judges in their robes, printed in platinotype on tinted paper with ft
plate mark ; in each portrait the oharaotm wm admirably preserved.
Mr. A. Burohett has also done good servioe in figure ttadiee,
some of them being on the borderland of pore portraitare. This
gentleman selects good models and paints his own baekgroanda. Hia
airl with a Violin is one of his simplest and, to ns, moat pleMlag
aohievements.
The Qse of hand cameras is at once a danger and a boon to photo-
graphy— danger in the abominable facility it offers for a vast amount of
careless work, and the consequent dulling of the artistic discrimination ;
a boon to those who use the instrument aright. By it a faculty of qnUc
observation is cultivated, and we are put in possession of many natural
effects which are lost to the tripod camera. We do not allude to the very
rapid exposures on quickly moving objects, bnt to exposorea having some
proportion to the physiological " persistence of vision." As an example,
we have the work of Mr. A. R. Dresser, who, in the course of a year,
makes an almost incredible number of exposures with a hand camera.
Many of these, when enlarged to about 12 x 10, or 15 x 12 inches, are
held in high esteem by those qualified to judge. The hand camera haa
given birth to a school of workers in small sizes, some of the prodoctiona
being gems in their own way. Among works of this kind may be
noticed those of Mr. Bamsay and Mr. Cembrano ; but, on account of the
minuteness of the detail, it is almost impossible to obtain suitable repro-
ductions of the originals by any mechanical process, such as required for
illustrating a book or journal.
When Mr. Willis introduced the platinotype process of printing, a great
stride was made in photographic art. The brown tones ani) glazed
surface of albumen paper are now replaced in our exhibitions, to a great
extent by images in the paper, rivalling the finest engravings, and, in
some respects, superior to them. Those who prefer glossy surface and
warm media, which undoubtedly have their advantages for some styles,
can now obtain gelatino-chloride papers, which bid fair to supplant the
albumen.
Photography is seen at its worst in a photographic exhibition, and our
critics ought, in justice, to remember this. The monotony of colour is
depressing to those accustomed to the variety of an exhibition of paint-
ings, just as we, accustomed to photographic collections, are confused
and almost bUnded on entering an exhibition in colour. Bnt we believe
that the unprejudiced will find, in every exhibition of photographs worthy
of the name, works which will prove the capability of photography to
stand, and entitle it to the credit of standing, as a fine art, juvenile
though at present it may be. Andrew Pruioije,
LANTERN-SLIDE MAKING.
[Liverpool Amateur Photographio Associstion.]
A PBAcncAii demonstration on lantern-slide making was given on
Thursday evening, the 2nd inst., by Mr. G. A. Carruthers and Mr,
Harry Holt.
Reduction by Daylight. — Mr. Holt pointed out that the first thing to
do was to settle down to one make of plate and thoroughly master the
manipulation of that ; each brand had some special feature which
required a little practice to understand. The reducing camera which
gave the best results in his opinion was the Pearson & Denham's, both
for simplicity of working and compactness. When once the focus was
ascertained for the different sizes of negative, these should be accorately
marked on the baseboard of the camera. Nearly all of his slides were
from whole-plate negatives, and he found the exposure was to judge by
the light at the time, and the question if it was necessary to use a small
stop was an open one. He was inclined to say that it did not improve
and make the slide sharper, it was only a question of seconds ; that it
was best to err on the ss^Ee side, usuig a sheet of ground glass in front of
negative ; this is only necessary when the camera is not pointed direct to
the sky, but is absolutely necessary if trees or buildings ore in the way of
direct light. North light, if possible, as a standard for the time of the
year, using a Mawson plate (really a very quick brand) reduction from
whole-plate, /-22, one minute's exposure was found to be the correct
exposure, using a fair negative, full of detail, bnt not over-dense.
Hydroquinone he considered the standard developer for transparency
work, and the same solution could be used for several plates. Aftn
answering several questions, Mr. Holt concluded by explaining the method
of putting in clouds as [follows :— Clear the slty off the slide with
ferridoyanide of potash, a few drops of saturated solation in two oonces
of hypo, and use a very fine camel's-hair brush, then expose another plate
for the clond only from opposite comers ; after the cloud is de-
veloped, place the slide and the clouds film to film, say about half on
inch apart, and trace the outline of the picture of the gloss side of
the cloud slide, then clear with the brush, wash well, and use clond as
cover glass.
722
THE BRITISH JOUflNAL OF PaOTOGRA.PHY.
[November 10, 1893
Mr. Cairnthers followed, generally agreeing with what Mr. Holt had
■aaid, but pointed out the great diifioulty experienced by the average
amateur in finding time to make slides by daylight ; where it could be
done, he strongly recommended it, but with the present speed of lantern
plates it required very little practice to get good results by artificial light,
■his plan of working being very simple, using a Pearson & Denham's
reducing camera ; it is a very easy matter to focus, a candle close up to
the negative is quite sufficient. A sheet of ground glass between the
negative and the light is necessary, close up to the negative is the best.
About nine to twelve inches of magnesium ribbon held about a foot from
the negative, taking care to keep the light moving about right and left,
np and down, so that you get an equal illumination all over the negative.
For weak negatives England's rapid chloride plates will require about the
•exposure.
The lecturer rather emphasised the use of fresh hypo, also the spotting
of negative and slide, and the introduction of suitable clouds ; this
appeared to be a simple matter in experienced hands, and success can
only be obtained after a little practice. Mr. Carruthers also gave a lot
of useful hints about chloride slides by contact, explaining that full
exposure will develop warm tones ; these can be toned any time after
fixing, a good bath being the P. 0. P. toning bath. A lot of excellent
slides were passed through the lantern, showing the most suitable
tone.
COBALT PRINTING.
Befobe the Leeds Photographic Society, on November 2, Mr. B. A. Burrell,
J".I.C., read a paper on Messrs. Lumi^re's process of cobalt printing.
This process is of very recent origin, the first notice appearing in the
Comptes Rendus, June, 1893. The method is based upon the unstable
nature of the cobalt salts, and their conversion into cobaltous salts by
the action of light. The formation of cobaltous and cobaltic hydroxides
•were shown, the latter being formed by the action of sodium peroxide
(NaOj) on a solution of cobaltous sulphate (CoSOjTHjO). The sodium
peroxide requires to be dissolved in water with care, otherwise great heat
is evolved, and decomposition ensues into sodic hydrate and free oxygen.
After precipitating, the cobaltic hydroxide requires careful washing to
free it from the sodic sulphate formed during the reaction ; it is then dis-
solved by means of saturated solution of oxalic acid (one part in 10'5
parts water). The method of calculating the amount of cobaltic
hydroxide (Co; Hj Og) formed from a given quantity of cobaltous sulphate
•was described, as it is important not to add an excess of oxalic acid. The
•oxalic acid solution is allowed to react upon the moist cobaltic hydroxide
for about three hours in the dark, the mixture being kept well cooled.
The resulting cobaltic oxalate is of a dark green colour, and is used at
once to sensitise the gelatine paper. This is done in the usual way, and,
after drying, the paper is used for printing under a negative. When ex-
posed to light under these conditions, the parts acted upon lose their
green colour, being converted into a pale rose colour, owing to the forma-
tion of cobaltous oxalate, a substance but slightly soluble in water. The
print now requires developing, this being done by means of a five per cent,
solution of potassium ferricyanide, leaving untouched the cobaltic oxalate
•still remaining in the print.
The resulting prints, which are of a deeper rose colour, require thorough
washing (about half an hqur in running water) in order to wash out all
traces of unaltered cobaltic oxalate. When this is effected, the prints
are put into a dilute solution of ammonic sulphide, and allowed to remain
for varying time, depending on the desired tone — a short time for sepia
tone, and a lengthened period for black tones, any desired tone being
obtainable, depending on the time of immersion. The prints should be
^washed for a few minutes and dried. The image consists of sulphide of
•cobalt, and is almost as permanent as one composed of platinum.
The process possesses the following advantages : — First, its extreme
cheapness ; second, the short time required for washing ; third, the
absence of toning and short time for printing ; fourth, the great perma-
laenoy of the prints, whilst its disadvantages are: — First, having to
prepare one's own paper (at present none is in the market suitable), and
to sensitise it, and using it almost as soon as it is dry, as it rapidly
•deteriorates. Specimens of the sensitised paper and prints in the
-various stages of development were shown, and several prints were
■developed.
SOUTH LONDON PHOTOGRAPHIC SOCIETY'S EXHIBITION.
Not merely in the quality of the work shown, but also in the classification
and airangements of the exhibits, do we congratulate that useful and
practical body, the South London, on a marked advance in this year's
Exhibition over its immediate predecessor. The Exhibition, which
•opened on Tuesday night, contains a great deal of really good work by
•members, while in the open classes there are some conspicuously meri-
torious examples by men of wider renown. About a hundred exhibitors
contribute between 300 and 400 photographs. There are four lantern-
slide classes well patronised, and the exhibits not for competition include
a choice collection of animal and architectural studies by such men as
Thomas Fall and F. W. Edwards (the President). The Judges were
Messrs. F. P. Cembrano, W. E. Debenham, and Leon Warnerke, and
their awards, we should imagine, must have given great satisfaction, as
they appear to have been carefully and evenly distributed.
In class A (Members : Portraiture and figure study, including animals),
the most noticeable frames were a large direct portrait of a girl by Mr. C.
F. Dickinson, some charming pastoral studies, Feeding Time, Haymaking,
and a Group of Sheep, (bronze medal) by Mr. W. E. Harman, and a clever
study of an old couple seated by the fireside. Peaceful Old Age, by Howard
Esler, for which a bronze medal was awarded. This is prmted on a very
rough paper and in lighting, composition, and sentiment does Mr. Esler
credit. Class B (Architecture) is a remarkably good one, contammg as it
does many fine examples of architectural work, in which members of the
South London have collectively no superiors.
Messrs. Harman, W. J.
Symes, C. H. Oakden, H. E. Farmer, E. B. Bull, and W. HoweU shine
in the class, the last three gentlemen securing silver and bronze medals
for Across the Octagon, Ely, Tomb of Edward the Black Pnru:e, and
The Choir, Rochester respectively, examplei of sound photography.
In class C (landscape and seascape), Mr. G. H. Cricks takes a silver medal
for a realistic picture of an Essex Swamp, and has other equally good
examples of his powers. Mr. H. E. Farmer's On the Essex Htlh, a 8''J_ ^
of trees on the hillside is a free and pleasing transcript of a simple but
effective subject. Class D (landscape and seascape half-plate or under) is
a large one, and, perhaps, the weakest of all, the dead level of mediocrity
obviating criticism. The most interesting exhibit to our thinking was a
small picture by Mr. W. Howell, A Smith's Shop, that seemed to breathe
the life and bustle of the smithy. The awards went to Miss Smyth
(silver) and Mr. W. F. Slater (bronze). In Class E. (enlargements) the
Judges make no awards, which somewhat surprises us, as Mr. C. I'.
Dickinson's enlargements from small originals of the Am.erican Bison,
Indian Adjutant, and the Martial Hawk Eagle, and Mr. Symes's enlarged
Portrait of a Lady struck us as extremely good. _ Mr. Dickinson obtained
the silver medal in Class F (members' lantern slides).
There were four open classes. In G (Pictures which had previously
received awards) many "old stagers" were entered, Mr. Wellington
taking the silver medal for Eventide and Mr. Oakden the bronze for his
North Aisle, Ely Cathedral. The latter gentleman by the way also
received the " general excellence " medal, and richly deserved it. Mr. A.
G. TagUaferro in this class shows a homely study of an old lady dressing
the Cut Finger of a smaU boy ; and other exhibitors are Messrs. Terras,
Byrne, C. S. Roe and E. M. Stone. Class H (for pictures not previously
medalled) is undoubtedly the strongest. Mr. E. M. Stone's cattle study.
An Evening Bath, is full of great charm. The rugged head of the old
fisherman Mending his Nets, by Mr. D. J. Scott, is one of the finest
portrait studies in the Exhibition— natural and above all lifelike. To Mr.
Byrne was awarded the silver medal for a large dkect portrait study
and a bronze medal for another portrait in red carbon, both in
Mr. Byrne's best style. A bronze medal goes to Mr. TagUaferro for
a devotional subject, a girl making A Humble Offering of flowers
to the statue of a wayside Virgin, presumably in some southern
country. This is an unaffected piece of composition, the treatment being
refined and the subject being unhackneyed. English photographers must
envy Mr. Tagliaferro the command of unconventional subjects which his
periodical flights to southern cUmes gives him. Mr. T. G. Hemery shows
good portrait work ; Mr. Terras, among other exhibits, a " study " of a
girl'shead, a well executed piece of work; Messrs. Charles Sweet, and West &
Son, yacht studies; Mr. E. A. and Miss GoUedge, some striking views on
the River Boding. Lack of space compels us only to mention the fact
that Messrs. C. S. Roe, Dresser, W. M. Warneuke, T. E. H. BuUen, H.
Avery (with an unconvincing "nocturne"), D. Pym, and other good
workers contributed more or less well-known pictures to this class. In
the class for lantern sUdes, which had previously received awards, Messrs.
G. E. Thompson and W. Taverner were successful with silver and bronze
medals respectively, and in the class for slides, which had not been pre-
viously medalled, Mr. G. Hankins obtained the silver and Mr. J. H. Gear
the bronze medal.
On the whole, a capital exhibition, supplemented by an interesting loan
collection, examples of carbon printing by Messrs Elliott & Son, and
stalls of apparatus by Mr. W. F. Slater (who has many choice things in
picture frames), Messrs. Howell, The Prosser Roberts Drug Co., Mr. T.
H. Powell, &a.
November 10, 1«03]
THE BianSH JOURNAL OF PHUTOQttAPHY.
728
®ut Blritorial ^SLhU.
Specimens of well-designed and well-printed Christmas and New
Year's cards have been received from Messrs. Percy Lund & Co.,
Bradford. They are, of course, intended to receive photographic
portraits.
Amateur Photogbaphic Kbquisites.
The London Stereoscopic and Photographic Company, Limited
(Regent-street and Cheapside), have issued a very beautifully printed
catalogue of 207 pages of requisites for amateurs. It comprises several
complete sets, hand cameras, including their latest novelty, the new
" Race-glass " detective ; Kodaks ; lenses of their own make as well as
those of other leading makers; dryplates and films; lanterns, chemicals,
albums, shutters, stands, and, in fine, everything that an amateur can
possibly require. This fine catalogue, which has numerous illustra-
tions, has, we learn, been printed in the Company's own works.
Price 6d.
A New Film Hand Cameea.
Mbssb£. Pbbkbn, Son, & Raymbnt have perfected, and are to have
on sale in January, a hand camera to carry forty-eight films on cellu-
loid, the important feature of which
is that the films will be used as
supplied by all manufacturers — i.e.,
without any notching or interference
with the films. The outside of the
instrument measures 9| x 5J x 5|
inches. We have had submitted a
sample for examination, and we find
that by moving a lever it acts auto-
matically without a hitch. It takes
plates as well as films — a fewer
number of the former, of course.
The movement of the one lever releases the exposed film, and sets
the next one ready for exposure. The mechanism is e.'sceedingly
simple and not likely to get out of order. We predict great popu-
larity for the new camera.
Intensity Cons : How Made and How Used.
By ' Dter.'
This little shilling manual, published by Perken, Son, & Rayment,
has now attained its eighteenth edition. It is not written for the
advanced electrician, but for the paterfamilias or the boys at home
who desire to spend the winter evenings in a rational and improving
manner. Various batteries are described, and instructions given in
the makmg and using of intensity coils. The electric light, electric
bells, the telegraph and the telephone all find a place in its pages.
The Magic Lantern : Its Constbttction and Use,
Feom the same firm we have received a new edition of this useful
little book. It supplies a capital introductory guide to the beginner
in optical lantern work, the chapters on lantern experiments and the
lantern microscope being extremely dear. The book is illustrated,
and at this season should be popular.
^etos antr jaotes.
West London Photooraphic Socntrr.-
by Mr. J. C. DoUman.
-November 14, Figure in Landscape,
Thk Exhibition of the Photographic Society of Great Britain will close on
Wednesday, November 15.
Lewisham Cahera Club.— November 10, Cmnmon DefecU i» Negatives,
their Cause and Cure, by Professor Carlton J. Lambert, M.A.
In the report of the Photographic Section of the Croydon Microscopical
Society, published last week, " Messrs. Adams & Co." should read "Means.
Hannam & Co. "
C'ENTBAL Protoobaphio CLua— November 10, Printing-oiU Proee—es, br
Mr. S. Herbert Fry. 16, Smoking Com-ert 24, Norwav Lnntcm Lcctarc, by
Mr. Paul Laiigejof Liverpool). 31, FUms v. OUus, by Mr. H- M. Smith.
27, Mr. Thomas rail will ^ve a one-man ibow.
The Polttechnio PROToaRAPHic School.— The following are the tffaog*-
nicnts for the photographic clomies during the winter aemioo :— Mondavi, at
eight p.m., Lectures: Art i» connexum with I'holography, by Mr. Valcnttn*
Blanchard ; Technique and Elementary, Practical, by Mr. Alfrnl W. Dollond.
Farmer. Pra<;tical Classes : Air lirusK-work, by Mr. W. H. Harrison ;
Lantern Slides and Lantern Work, by Mr. J. H. Q«ar. Wednesdays, at eiiibt
p.m., Lecture-s : How to obtain Pictorial MxceUence in Photographs, by Mr *■
A. Uorsley Hintou ; Elementary Practical Chemistry for Phi^ographers, by
Mr. Robert Avey Ward, F.C.S. Practical Classes: Photoframire, W Mr.
Howard Farmer ; Negative-making, Practice and Technology, by Mr. C. W.
Gamble. Thursdays, at eight p.m., Lectures: Photographic Optics and
Photographic Chemistry, by Mr. A. W. DoUond. Practical Ousses : Collotype,
by Mr. 6. HoHzhanseu. Fridays, at eight p.m., Practical Classes : Bntargmg,
by Mr. J. H. Gear : Process Blocks, by Mr. H. Colomels ■ CorAon andPloHno-
type Printing, by Mr. E. Beeson ; Ketouching, by Mr. Wolfgang Arndt
RiSCENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 20,474. — "Improvements in the Manufacture and Treatment of Photo-
graphic Papers." R. KrUgeneb.— Z>a<«(i October 30, 1863.
No. 20,609. — "Improvements in the Production of Photographic Prints."
Communicated by E. MeregaUi. H. C. BccKiHOHAic.— /)«««< October 31,.
1893.
No. 20,644.— "Automatic Camera and Apparatus for Exposing and Develcw-
ing Photographic Plate-s." M. Shearer and A. Bill.— Z>a<^ November \,
1893.
No. 20,836. — "Improvements in Well Developing-trays for Photographic
Use." W. TYhAS^— Dated November 3, 1893.
No, 20,877. — "Improvements in Photographic Cameras." Complete Specifi-
cation. Communicated by F. A. Brownell. A. J. BoCLT. — DcUed November
3, 1893.
No. 20, 950. — " Improvements in or relating to Photographic Hand Cameras." '
L. A. Franks.— i)««e(i Novenber 4, 1893.
PATENTS COMPLETED.
An Imfroveubnt in Photooraphic Cameras and Dark Slides for saxz.
No. 21,946. Lars Sbvebin Zachariaseh, 57, Charing Cross, London, S.W,
October 7, 1893.
This invention relates to an improved form of double dark slide and the means
of working it in a camera. The dnrk slides are, by preference, made to hold
two sensitive iilms or plates, and each slide is to consist of two folding part*
hinged together or to a back common to ix>tb, the joints between the two parts
and the back i)eing made light-tight by means of beads and grooves, or other
convenient manner.
Each of the two folding parts is to consist of a suitable framework, and of a
back plate, made of wood, cardl)oard, metal, or other suitable material ;
grooves are cut in the framework near the back plate, in which grooves the
sensitive film or plate is inserted and held in place against the back plate, the
sensitive surface being on the side away from the back, so that, when the
slide is closed, the two sensitive surfaces will be facing each other. When
folded, the slide is locked by means of suitable fastenings acting antomatically.
The camera to be used in connexion with this form of dark slide I prefer to
make with a parallel body, the lens being fixed on the front in any convenient
manner. The back of the camera may be made so as to bold any number of
the dark slides, and is to be fitted so as to hold one of them in position for
exposure, and with a door to cover in the slide or slides, which will thus be
entirely enclosed in a light-tight chamber, and therefore securely protected
against 8tr.iy light. When pushed home in the camera, the automatic
fastenings of the slides will engage with suitable projections, and are thereby
released, leaving the front part of the slide free to be swung on its hinKM by
means of a lever or levers operating from the outside of the camara. Whan
the front part is thus swung out of the way, the sensitive film or plate con-
tained in the back part faces the lens, and may b* exposed to the action of the
light through the lens. During the exposal*, the sensitive film or plate con-
tained in the front part of the slide is protected by a screen or curtain, made
of some opaque materia] and of a suitable form, hingsd to the front of the
camera behind the lens, and caused to movs into posiaon so as to aeraen the
sensitive film or plate from light The screen or curtain may be moved by
independent mechanism, but is by preference actuated by the same as that.
which is used for the double slide.
724
THE BRITISH jOUKNaL OF PHOTOGRAPHY.
Impbovements in and in connexion with Photographic Dark Slides or
Changing Backs.
No. 8122. Joseph Georgk Reid, Woodley Cottage, Bloomfield, Belfast,
Ireland.— Octoier 14, 1893.
A bos used as a dark slide, made of wood or other substance, to hold any
number of plates, in carriers made of sheet zinc or other substance. The box
is atted in front with sliding, light-tight, double-back shutter, to which is
affixed a spring pin, which acts on an indicator inserted in framework of box.
The indicator is for showing the number of the plate in position for exposure,
and consists of a barrel axle, round which are affixed or engraved numbers on
cog-wheel. The pin affixed to the shutter causes the wheel to revolve on the
shutter being closed. The wheel has cogs or teeth, according to the number of
plates the box is made to hold. The back is detachable for the purpose of fill-
ing the box with plates, and is light-tight, being fitted into grooves and held in
position by clasps. Affixed to the back, on the inside, are springs, whicli press
on the backs of the carriers, so that, when the shutter is ivithdrawn for
exposure of plate, a plate, by the action of the springs, comes into the position
which the shutter occupied. At one side of the box is affixed an opaque bag,
made of cloth or other substance, and in the side of the box to which the bag
is affixed there are two slits, one being to allow the plate which has been
exposed to pass into the bag. This is done by the closing of the shutter, a
plate having, by the action of the springs, been forced into its place. On being
closed, the shutter drives the plate forward, through the slit, into the bag.
The second slit is for the purpose of passing the exposed plate from the bag
f V *€*'" •'"'° "^® ^°^' *°'' '* *° arranged that the plate comes in at the back
of the box in a position between the springs and the last plate, thus ensuring
the full pressure of the springs and the safety of the plates. The bac is col-
lapsible, and can be folded over the box.
Improvements in Cameras.
No. 19,929. Thomas Charles Naylor, 13 Greek-street, Sdho-square,
London.— October 14, 1893.
This invention relates to improvements in camer.as, and is designed for the
purpose of enabling the respective parts of the camera, when closed, to instan-
taneously come into position ready for use, by merely pressing upon a spring
catch, or the like, with which the camera is provided. The act of pressing upon
said .spring catch, or the like, causes the baseboard and the front to immediately
fall into position ready for exposuB, this movement being effected by springs
connected to the stretchers and the baseboard, and by others connected to
the front of the baseboard. The lens and shutter being also ready, the trouble
and delay due to screwing, &c., are avoided.
The camera has a double extension, closes into a small compass, and is pro-
vided at each side of the back frame with a slot in which works a pin or stud
connected by a stretcher or link to the base, thus enabling it to be used as a
"swing back." By means of a stop, situated near bottom of said slot, the
back frame can be kept upright or perpendicular to the baseboard when the
camera is opened.
Improvements in Clamps or Rusts for Photographic Cameras and other
Instruments similarly supported.
No. 23,010. Thomas Binnie Ralston, 234 Buchanan-street, Glasgow.—
October 14, 1893.
This invention has for its object to aflbrd steady support for cameras and like
instruments upon walls, bars of railing or fencing, and similar situations,
where it is impracticable to employ an ordinary tripod stand or otherwise to
obtain a steady support for the instrument. The apparatus constituting the
invention consists of a horizontal bar, the underside of which has a series of
ratchet teeth made upon it. This bar may, in circumstances where a tripod
stand is provided in conjunction with the instrument, be a section of one of the
ordinary legs. At one end the bar has a pin or stop, against which a vertical
leg strung on to it abuts. This vertical leg, at its upper end has jointed to it
a stand or angled piece capable of movement through an arc, and to which the
camera or other instrument is screwed in the ordinary manner, the stand being
fixed in the required position by a thumb nut or equiv.alent device upon its
centre of movement, or the stand may have a ball-and-socket joint to enable it
to be moved in every direction.
On the horizontal bar there is also strung a clamping leg which has a tooth
engaging with the teeth on the lower surface of the bar, the said leg being
capable of movement backwards or forwards to suit the thickness of the wall,
railing, or other situation to which the rest for the camera or other instrument
is to be secured, and the apparatus is fastened in position by a screw passed
through the said chuuping leg, and having a head or flange at its inner end
which grips upon the source of support. The screw is carried in a slot in the
clamping leg, and is capable of adjustment vertically.
When the apparatus is to be attached to the top bar of a railing or other
comparative thin horizontal or vertical body, the clamping leg and the hori-
zontal ratchet bar may be dispensed with, the leg which supports the camera
or other instrument beiug provided with a jaw and pinching screw to fix it in
situation, and in some cases the said leg may have a stand or feet, and be
mwely rested upon any horizontal surface.
[November 10, 1893
Liverpool Amateur Photographio Association.— November 15, Lantern
Lectui'e in City Hall, Eberle-street, Life in Tripoli, by Mr. G. E. Thompson.
16, Lecture, Hand-camera Work, with Special Ref&rence to the Frena System,
by F. 0. Bynoe (Messrs. R. & J. Beck, London).
Photographic Society op Great Britain.— Ordinary Meeting, Tuesday,
November 14. at the Gallery, 5a, Pall Mall East. Photography in Coal Mines,
by Herbert W. Hughes, P.G.S., AR.S.M. On the Range of Light impinging
on a Plate during Exposure in the Camera, by Professor W. K. Burton, C.K
— »
MEETINGS OF SOCIETIES FOR ^BXT WEEK.
Date of Meeting.
November 13 ..
13 ..
13 ..
13 ..
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14 ..
14 ..
14 ..
14 ..
14 ..
14 ..
14 ..
14 ..
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18 ..
Name of Society.
Camera Club
Darlington
Duudee Amateur
Lantern Society (Annual)
Norfolk and Norwich
North Middlesex
Putney
Richmond
Birmingham Photo. Society ..
Derby
Great Britain
Hackney
Manchester Amateur
Newcastle-ou-Tyne&N.CoDntiei
Paisley
Stockton
Brechin
Bury
Leytonstone
Manchester Camera Olnb
Photographio Club
Southport
Southsea
Birmingham Photo. Society ..
Camera Club
Glossop Dale
Greenock
Hull
London and Provincial
Oldham
Oxford Photo. Society
Cardiff
Central Photographic Clnb
Croydon Microseopical
Holbom
Leamington
Maidstone
Hnll _
Place of Meeting.
Charing Cross-road, W.C.
Trevelyan Hotel, Darlington.
Asso. Stndio, Nethergate, Dundee.
20, Hanover-square.
Bell Hotel, Norwich.
Jubilee House, Hornsey-road, N.
Boys' Gymnasinm,Chaflwood-road.
Greyhound Hotel, Richmond.
Club Room, Colonnade Hotel.
Smith's Restaurant, Victoria-»t.
5^ Great Bnssell-st. Bloomsbnry.
'is, T-.-e.street, Hackney.
Lecture Hall, Atheuaanm.
Central Exchange Art GaHary.
9, Gfta/.e-street, Paisley.
Mas -ii's Court, High-street.
14, .St. Mary-street, Brechin.
O.ab Rooms, 13, Agar-street, Bnry,
ihe Assembly Booms, High-road.
Victoria Hotel, Mjiuchester.
Andertou's Hotel, Fl8et-street,B.C.
The Stndio, 15, Cambridge-arcade-.
3, King's-road, Southsea.
Clnb Room, Colonnade Hotel.
Charing Cross-road, W.C.
Mosenm, Kelly-street, Greenock.
71, Prospect -street, Hull.
champion Hotel, 15, Aldersgate-st,
The Lyceum, Union-street, Oldham,
Society's Rooms, 136, High-street.
Coleman's Hotel, Henrietta-3t.,W.C
Public HaU,George-streQt,Oroydon,
Trinity Church Room, Morton-st,
" The Palace," Maidstone.
71, ProBpect-Btroet, Hnll.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION!
November 2,— Mr. Alexander Mjickie in the chair.
Developed Gel,vtino-chloride Papers.
Mr. S. Herbert J"ry prefaced a demonstration of development of partly
printed proofs on Paget printii)i,'-ont i)aper by saying that the plan should be
useful to the professional in dull weather, and to the amateur who endeavoured
to get the best represeutation from his negative that could be got. The paper
had been put on the market as adapted for development, a very thin coating of
gelatine being the leading feature of its manufacture. A large quantity of
gelatine on the paper interfered with the chemical reactions. The paper would
tone more easily on account of the less amount of gelatine, while the tones
would also be more regular. He (Mr. Fry) had before now emphasised the
great objection to double tones in gelatine papers. He did not suggest that this
was the fault of the papers, but the fact remains that a large number of photo-
graphs had those double tones. Coming to the depth to which printing
should be carried, he said it was immaterial whether it was too much
or too little within certain limits. When developing by a yellow light,
a slight degree of printing out would do ; if the prints were nearly
printed out, it was easier to over-develop them. Tlie time recommended
by the Company was two minutes, or about a tenth of the time required for
printing out. When taken from the frame, the prints are passed into a ten per
cent, bromide solution. The older the paper the stronger the bromising bath
should be. He would recommend that the prints be left in it for about five
minutes. It was better to wash out the bromide well, but it did not appear a
vital matter. The toning had been called an intensification process, but it
depended on how it had been done ;JJif the developer were not well washed out,
the toning would be by intensification, so much so, that the print would go far
beyond the depth intended. If the ileveloper were well washed out, the depth
could be judged better. Solution 3, containing ammonium carbonate [see p.
672 ante], could be used instead of the bromising solution, as a preliminary bath,
for the purpose of obtaining more contrast. He recommended that the pro-
portions ot the solution be kept constant ; he got better results with caustic
alkali than with the other alkalies, a better image for toning being obtained.
As to light action on the paper, he said he got better results by being very
careful of the light ; a paraffin lamp or gas was a good light to work by. He
used the developer given diluted with an equal quantity of water.
Mr. Fry's remarks were followed by the development and toning of several
prints. He gave as the difl'erence between printed-out and developed prints,
that with the latter there was less loss of detaih
Mr. W. E. Debenham remarked that he considered the separate siJphor
cyanide-toning bath better than the combined bath as regards permanency. He
suggested that makers should supply two or tliree kinds of paper to suit different
kinds of negatives.
Mr. H. M. Smith said that with the combined bath warm tones could be ob-
tained, and, so far as the permanence of such pictures wiis concerned, he would
emphatically say that, if the combined bath were used in the proper manner, the
prints so toned were as permanent as anything made by separate toning and
fixing baths. Mr. Debenham's suggestion as to two or three kinds of paper
showed that he did not understand the commercial aspect of the matter.
Mr. Debenham said that, if the sulphocyanide bath took more gold to pro-
duce a good tone than the combined uath, it practically promised the most
permanence.
>OTember 10, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
730
Mr. Fry pointeJ out that Mr. Debenhaiii siixgosted that the sulphocyanide
li^ith roqnind inoru gold tlian the combined bath, but that the whole of the goM
went into the print had not been shown.
After further observations and duicussiOD a vote of thanks was passed to
Mr. Fry.
Croydon Camera Club.— November 1.— Messrs. WiiltiT Burr and J. Irvin;;
Dieksou were elected members A [)a])er on Jlarnummng llarah t^egalives,
by Mr. Macintosh, was reail by the Presi<lent, Mr. Vvhite's p,iiier being
postiioned for lack of time. Questions and answers elicited (1) that Welford's
rajiiil toning bath had not yielili'd satisfactory results to those who had tried
it ; (2) immersion of gelatino-chloride prints in methylated spirits was the
sorest safeguard against blisters : (3) no exposure tables or meters at present iu
use will entirely supersede judgment and exi>erience ; (4) 150 gelatiuo-chloride
prints may be safely and evenly toned together in a bath whase superficial
area does not exceed four times that of each print. This Mr. White offered to
demonstrate.
Croydon Microscopical and Natural History Club (Photographic
Section). — Xovemljer 3, 1'lVjet I'nnting-oiit Lanleni Plates, by Mr. S. H. Fry.
Mr. J. Weir Brown in the chair. — Mr. Fky contineil his remarks and demonstra-
tions to the lantf rn plates, stating, however, that the treatment of the ojials
and the P 0. 1', was practically tlie same. The image on these plates partook
more of the nature ot a stain, and density was easily obtainable without blocking
up the sliadrtws. There was no difficulty in printing them in an ordinary
printing frame, being sullicienlly printed when, on looking through from tjie
back, they hud a reddish appearance all over. If found over-printed, they could
I)e reduced in a weak — two-arain — cyanide bath. Mr. Fry then proceeded to
develop two partly printed plates. Stress was laid on the thorough
" bromising " and washing belore beiuK placed in the developer. He preferred
the ■■ liydroquinone " developer, as given for the paper, diluted, however,
with an equal i|uantity of water, as it was more easy to wash the developer
out before toning, and unless this was done, the i;old, in the presence of
hydroquinone, acted as an intensitier, and produced an enormous density,
whilst toning was very slow After development the plates were toned and
lixed in a combined bath. The appearance of the resulting slides was greatly
admired by the members, as also were a number of finished slides which were
sho^vll.
Baling Photographic Society. — November 2, Meeting in Princes' Hall,
Public Buildings.— Messrs. Koland Whiting and T. Stephenson were elected
members. A set of lantern slides, illustrative of Yorkshire scenery, contri-
buted by the Leeds Photographic Society to the Affiliation of Photographic
Societies, and lent by the consent of the latter body, was shown. The remains
of the once splendid abbeys, in which Yorkshire is so rich, were well repre-
sented, the slides including views of Bolton, Kirkstall, Rievaulx, Whitby, and
Fountain's Abbeys. Amongst them A Peep Thrmujh the Trmise]}t A rch at
Bolton Abbey, by Mr. J . A. Walker, and a view of the Orypt at Fountain' t Abbey,
were much admired for their e.\cellent lighting and stereoscopic etl'eot.
Beauties of wood and moorland, of lane and stream, were plentifully depicted,
and there were several views of the jiioturesque town of Knaresborough. The
curious rocks at Briuham, near Harrowgate, were thrice depicted, and there
were numerous speciiuens of the coa.st scenery at and near Whitby. Amongst
the seascapes Flamhoruvgh Head and Sunset o'er the Sea were most pleasing,
though the former sutfered from the absence of clouds. After the Yorkshire
slides, a number of home manufacture were shown. These comprised views in
Surrey, on the Thames near Marlow, flower studies, &c., by Mr. T. Crisp, and
views at Strand-on-theGreen, Brentford, in Scotland, &c., by Mr. Vallance.
The pictorial qualities and excellence of technique of these slides elicited nmch
applause. At the termination of the lantern display, an adjournment was
luide to the dark room to inspect the enlarging a])paratus, which is in process
of construction, from designs by, and under the superintendence of, Mr.
Charles Whiting.
Hackney Photographic Society.— October 31. Mr. W. L. Barker in the
chair. — Meiubers' work was shown by Mr. Henzler, viz., views taken upon
the "Rocket" and Cadet lightning plates. Owing to the wide range iu
subjects treated, a decided opinion was unobtained as to which plates yielded
the best results with an equal exposure. The Hon. Secretary showed the
Thornton- Pickapl automatic camera stand, which has many advantages, viz.,
automatic locking joints, lightness and comijaotuess consistent with rigidity.
Mr. Fry, of the Paget Prize Phate Company, then gave a demonstration upon
the new rapid Paget printing-out i)aper by partial development. Amongst its
advantages may be claimed thivt prints only require partially printing, the
rest being developed up to the necessary strength and detail. They are then
toned and fixed in the usual manner. To briefly describe the process, it con-
sists of taking the partially printed print and immersing, without washing, iu
a solution of pota-ssium bromide 1 ounce and water 10 ounces, leaving two
minutes or more. It is then washed in water for about live minutes, and then
developed with hydroquinone, according to formula given by the Company.
It shotdd then be washed for five minutes and toned witli the following
combined bath : — Make a stock solution of 80 ounces of water, 1 pound of
hyi^o, 1 ounce of acetate of lead, and about 1 ounce of chalk. Then take 5
ounces of this solution, after well shaking, and add 1 to 14 grains of gold,
which will be sufficient to tone the sheet of paper. The prints tone rapidly,
and give a large variety of tones, according to the taste of the operator. The
prints .are tlieu washed for a couple of hours in running water. The demon-
strator recommended not to carry the prints too far in development, as they
gained iu density in toning. The paper, although very sensitive to daylight,
may be maniimlated with a very fair amount of gaslight without having any
effect upon the finished print.
Leytonstone Camera Club.- November 1, Mr. Albert E Bailey In the
chair.— Mr. .J. C.vbpentkr gave a most interesting evening on Flower Studies,
and Iwir to make tliem. In opening he observed that, although he had made
flower studies a speciality, he found it much easier to produce a passable
picture than to impart to others the nccomiary ki. liow to prooead to
make them. All flowers were not suital>le, and, liad gone to gnat
trouble to secure kome of the moat tieautiful uoticx, lie tound th* wdl-kaows
flowers, such as the i)rimro««, lily of the valley, *c, wen more appreciated by
the general public. Light colours gave the beat rsenlt* ; airugeinrnt and
grouning were a most imi>ortant factor to snceess. No hanl-and-(ut Una
could be laid down, but mui:h nmst depend on the Individual tute. A number
of prints were paised round, showing good and bad grouping, Ughting and
backgrounds were next dealt with, widch required raryiog to suit tSe ntiject.
For plates he ])referred isocbroniatic, an<l was quite wtialied that they wtn
finite indispensable for this class of work. Pvro-snimonUi was his favonrite
ileveloiier. Some negatives were passed round showing the density re<iuired,
and a few hints as to exposure concluded a very interesting lectore. About
fifty of his well-known and beautiful lantern sUdea were next put throngb the
lantern, and, pausing over each, questions were asked and answers tnAj given
in an explicit manner, showing Mr. Car|>enter was a perfect master in Ue
sjieciality. All exhibits for the Exhibition must reaih the Clubs' heailnoartan,
the A.ssembly Room, High-road, Leytonstoue, on or before the 14th inst,
.addressed to the Hon. Seiretary.
Woodford Photographic Society.— November 5, Ordinary Meeting, the
President (Mr. H. Wilmes) in the chair.- Paper by Mr. H. Cboucb on Lenta.
Tlie lecturer said that his object was not to give information that could be
found in any elementary text-book, but rather to give reasons for lenses taking
certain forms, and .show the advantaees that difl'erent types had for specif
work. Specimens of Jena glass, grinding tools, and lenses in different stages
of manufacture were shown ; among others, the two elements of a single lens
not cemented together, so that the surfaces that would be cemented when
finished could be seen, the curves and the reasons for the form of the two
elements being explained with blackboard diagrams. It was stated that the
exterior surface of the lens controls its whole character, and that the flare spot,
which is rarely seen in modern lenses, could always be cured by altering the
position of the stop. Next meeting (informal), November 16. Subject for
discussion, W/uit Form should the Work of a Photographic Society taUe i»
order to be of the greaUsl Assistance to its Younger Members t
Aston Natural History and Photographic Society.- In the conne of
the practicid demonstration on the manipulation of the dry-collodion lantern
plate. Dr. Hill Norris said that exposures were, to his nund, more satis-
factory when made to a paraffin lamp, as the variation in the pressure of gas
often defied true judgment. Tlie guide given for reduction in the camera was,
mid-day, sun shining, facing north liglit, stop /-16, from thirty to sixty
seconds. Contact prmting was next dealt with, and the recommendation was
ten to twenty seconds at a distance of two feet from a No. 6 batswing. The
brilliancy of the negative is, however, always pro|>ortionate to the whiteness
of the light. The developing should be conducted in a temperature of 80* to
65° Fahr., and shouM be continued until sufficient density u obtained, which
may be judged by observing three rules, viz., (1) till all veil has disappeare<I ;
(2) that the image should be black ; (3) that it appear dense and black by the
transmitted light of the ruby lamp. In cases of over or nnder-exposuie
the results will be thin and Hat. Over-exposures may be remedied by catting
short the ilevelopment, fixing, washing, and then redeveloping with the sUvo'
and i>yro. The plate must on no account be touched or brushed when wet,
but the films are very tough when dry. Dr. Norris then passed round the
following formulie : — No. 1. Hydroquinone, 160 grains ; sodium sulphite,
2 ounces ; citric acid, 60 grains ; potassic bromide, 40 grains ; water, 20 onncee.
No. 2. Sodium hydrate, 100 grains ; water, 20 ounces. Take eqoal parts of
each to develop. Fixing : Potassic cyanide, i ounce ; water, 10 ounces.
Rinse well under tap. Or, hyposulphite soda, t ounces ; water, 20 ounces.
After immersion of plate, bring out of room into white light, and wash at
once as soon as all unaltered silver bromide has gone from film. If No. 2 is
used, more washing is required. Rtdeveioper : No. 1. Pyrogallic aciil, 10
grains ; citric acid, 25 grains ; water, 2 ounces. No. 2. Silver nitrate, 20
grains ; distilled water, 2 ounces. To ^ ounce of No. 1 add 30 drops of No. 2.
The Secretary then exhibited a new film slide byTylar, and a magazine camera
by Archer & Son.s.
Birmingham Photographic Society.— October .31, Mr. J. J. Button in the
chair. — Mr. Middleton gave a lecture entitled. The By-icayt of Warwick-
shire, He described, in a very interesting way, a great nuiny of the less-knowu
places of the county, giving many valuable hints. Mr. Sliddleton strongly
urged those |)resent to adopt a definite object in their work. Thus would they
add greatly to their own interest, and also be the means of obtaining valuable
records. This is well demonstrated by the work of the Warwickshira Surrey,
of which Mr. Middleton is an active member.
Brighton and Sussex Natural History and Philosophical Society
(Photographic Section). — At the onlinary monthly meeting, held in the
Librarians room. Public Library, Church-street, on Friday, November 3,
competition slides were exhibited, also a selection of members slides.
Honster Camera Club.- Annu.al Meeting. The President (Miuor Lvsa^ht)
occui)ied the ihair. — The report of the Committee showed the Clno to oe m a
flourishing condition. Mr. W. R. Atkins submitted a statement of accounts,
.showing that the total revenue of the Club was 272. Zs. 6d., and the ordiuory
expenditnre 19/. lis. \d. The exhibition account showed a loss of 8/. 19^. 11a.
The out-goin^ Coninuttee were re-elected, substituting Mr. L. ^an for Mr. D.
Franklin, resigned.
189a
f ORTHCOMINO EXHIBITIONa
November 10, 11 •Photographic Salon, Dudley Gallery, Pieotdilty, W.
Hon. Secretary of Organizing Committee, A. Moskell,
215, Shaftesbury-avenne, W.C,
„ 10, 11 *South London Photographic Society. Hon. Secretary,
C H. Oakden, 51, Melh«ume-grove, Dutwich, 8.E.
726
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 10, 1893
„ 10-15 'Photographic Society of Great Britain, 5a, Pall Mall
East, S.W. Assistant Secretary, R. Child-Bayley,
50, Great Russell-street, W.C.
„ 17-25 'Stanley Show (Photographic Section), Agricultural Hall.
Manager, Walter D. Welford, 57 and 58, Chancery-
lane, W.C.
„ 20-25 *Leytonstone Camera Club. Hon. Secretary, A. E.
Bailey, Rose Bank, South-west-road, Leytonstone.
December *Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
„ 18-Jan.22,1894 'Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Corn-
street, Bristol.
* Signifies that there are open classes.
€orr00j)ontrencf.
' Oorrespondents should never write on both sides of the paper. No notice is taken
•/ communications unless the names and addresses of the witers are given.
GELATINO-CHLORIDE PAPER YELLOW STAINS.
To the Editob.
Sir, — While I fully endorse all that Mr. Bothamley has stated in his
report on the cause of yellowing of gelatino-chloride prints, I do not think
he has quite exhausted the subject.
Undoubtedly hypo is the cause of yellowing betmeen toning and fixing
where separate baths are used, and the knowledge of the fact led me astray
for some time. Mr. Bothamley has probably not been asked to seek the
cause of yellowing after toning and fixing, whether by separate baths or
the combined one, and this, I think, is the ghost which so many are desirous
of laying.
Hypo has got such a had name for staining that anything in the shape
of a discolouration is sure to be attributed to its agency, and thus, I
believe, it has been credited with a much larger share of spoilt prints than
it deserves. Given a yellow stain, and hypo is hunted for high and low,
as a matter of course, and I must plead guilty to having joined in the
chase.
The practice at my studio is to wash and tone in one room, and fix in
another, using separate dishes for every operation. One sink is used ex-
clusively for fixing and washing prints, which are toned and fixed sepa-
rately. (Albumen ones have a bath to themselves.)
Despite all these precautions occasionally a crop of yellow prints would
appear, sometimes only one or two, at others a dozen or more, and then
all would, perhaps, go well for a week or two. This went on tUl I had
arrived at my wit's end to think of fresh fields for investigation, when a
waste bromide enlargement gave me the clue. This had been put to wash
with others early in the day, but, being a waster and intended only to
work by, instead of being pinned up to dry in the evening, it was left in
the running water and forgotten till the morning, when I found the once-
clear white paper stained to a dirty yellow brown. My conscience wouldn't
allow me to accuse friend Hypo of this, so I began to suspect the washing
water (direct from the main).
As a preliminary test I tied a bag of clean cotton-wool over the tap and
allowed the water to filter through it for several hours. Result — a filtrate
resembling slimy mud in character and strong coffee in colour. That, in
my mind, settled the colouring matter of the stains, it only remained a
account for their streaky character 1
Some prints were carefully prepared and put to wash in the usua
manner. Not a trace of stain was visible after two hours' washing. Two
prints were pinned together diagonally, and two more were crumpled and
allowed to jam at the point of overflow, the whole being left till the next
evening, some twenty-two hours in all. (I at that time practised the old-
fashioned plan of washing prints, chloride and albumen, all night.)
An examination of prints proved them all to be yellowed, the free ones
being slightly tinted all over ; of those pinned together the under one
remained fairly white in the part protected by the print in contact with it,
the upper one having a deep yellow patch where the pin was inserted.
The crumpled prints exhibited streaks of yellow corresponding to the
ridges facing the overflowing water, and in depth of colour according to
the angle each ridge presented to that overflow, proving that pressure has
some influence.
Here, then, was the cause. Remedy : — shortest possible washing to
ensure elimination of hypo. Two hours I found ample, and no hypo could
be detected after even one hour, provided prints were frequently taken
from one dish to another and well rinsed. Result — have not seen a
yellow stain since, now over twelve months.
I could not detect any difference in colour of stain by too prolonged
washing, and that purposely produced by weak hypo before fixing ; but in
the former the shape takes a more definite outline, mostly well defined
and following a crease or fold. Moreover, my experience of hypo stains
(fortunately very limited) is, that age accentuates them rather than not
while stains from washing certainly decrease in a strong light, and I'm
sorry I did not save some to see whether they would eventually disappear
altogether. I have found the same stains on albumen prints from the
same cause, and have no doubt others have done the same, and given, as
I did, hypo the credit.
It is well known that water varies enormously in different districts, and
this will account for the immunity of some fortunate workers from such
pests as the yellow plague.
If these remarks should help any one to convalescence, my time will
not have been wasted. — I am, yours, <tc., J. Thos. Pentney,
6 South-parade, Hitddenjield.
IRIDESCENT STAINS.
To the Editok.
Sir, — Referring to a complaint by M. Wilson in last week's Jouknax.
with respect to a " Marginal Iridescent Stain," a repetition of a complaint
printed a few weeks ago, it may interest him and others of your readers to
know that these stains, if not very deeply seated, may be removed by
placing the negative, direct from the fixing bath, in a dish of water tinted ^
straw colour, with perohloride of iron solution. This effects a slight re- V
duction in density, which should be allowed for in developing. — I am,
yours, &c., T. Stokoe,
Clare, Suffolk, November 1, 1893.
FILMS VERSUS PLATES.
To the Editob.
Sib, — Mr. Conybeare seems to have a very vague idea of what con-
stitutes a test in respect to the comparison of films with plates, and when
he says that his experience is so completely at variance with mine, that
he gives it to prove that I am wrong, I am tempted to show him that his-
experience is a very trivial one, and not at all in variance with mine.
He has not tried exposures of the thousandth of a second, and therefore
can say nothing of the difference between plates and films at minimum
exposures ; he has used slow films which had not deteriorated after
eighteen months, and I have just been using some of 's films
which have been lying in my cupboard more than that time, being
the most rapid which the maker of them sends out, and find them,
if slower, still clear and as free from defects as when I got them, so
that unless he has used the same films that I alluded to in my letter,
which are much more rapid than those I allude to above, he proves-
nothing opposed to my statement. I say that Mr. X's films fogged two
months after I got them from the agent. As he does not know who Mr.
X is, he does not disprove me. He lias evidently used Messrs. A, B, &
Co. 's films instead — he tries exposures of more than the double of mine,
and with amidol he finds it difficult to get fairly exposed negatives on>
anything — who advised him to use amidol ? He has not found rapid
films to deteriorate in two months ; what test has he applied ? Does he
not see, without straining his mental vision, that he has not made an
experiment with the precision which is necessary to give it any scientific
value? It is a fact, I suppose, generally admitted, that very rapid
gelatine emulsions lose their rapidity somewhat in proportion to their
sensitiveness, while the slow ones deteriorate as slowly. To prove an
exception to this rule, it would be necessary to compare such emulsions
with some plate of known constant qualities of fresh manufacture, and
to expose them with a mathematical precision, by a mechanical con-
trivance in a constant light, and to develop them with the same de-
veloper, and besides this, it is necessary to give a minimum exposure,,
because when a margin is allowed, it becomes Impossible to oalcalate the
extent to which that margin has been drawn on. Exposures made by
guess and on different days, developed according to the exposure, and
with developers which may differ materially from each other, have no-
value as indication whatever.
A correspondent of the Jouenal wrote, not long ago, to say that he had
found plates that had been kept for some years to be more sensitive than
when they were new, and the Editor asked the very sensible and, it
seems, unanswerable question, how he knew it ? It is quite impossible
to compare an exposure on one day with one made on the succeeding day,
sometimes one made on one hour of the day with one made on another
hour of the same day. What is the use, then, of comparing what we got
in July with what we got in October, or what was done in this year with
what was done last ? .Any such tests are utterly unscientific, and, except
as indications for general practice in a loose way, utterly worthless. If I
want to test two films or plates, I choose a day without a cloud, and
between the hours of ten and twelve. I expose them as quickly as pos-
sible, lay them side by side in the tray, and pour on the developer, and
in the exposure I employ some shutter which operates mechanically, like
the Bausch and Lomb, or the Thornton-Pickard, where the smallest frac-
tion of a second is required, and where there is not even the uncertainty
of an elastic band to lead to a doubt. Unless experiments are made in.
NoTember 10, 1893]
THE BRmSH JOURNAL OF PHOTOGUAPHY.
7*7
this manner, they are absolutely worthless for exact comparisons, whether
they be of developers or of plates and films. I am not so arrogant as to
say that my experiments and methods are better than those of any other
student, but my conclusions, drawn from a great many trials wth dif-
ferent brands of plates and films, are that no films have yet been so
coated as to give a sensitiveness equal to that which can be got with
glass, and that tlie more sensitive the emulsions, the more rapid will be
the deterioration, both in sensitiveness and in their tendency to fog. But
a photographer who depends on amidol for rapid work can have only
Jimitcd knowledge of what can be done. — I am, yours, *o.,
W. J. SntLiuN.
To the Editob.
Sib, — I have long had a lurking fancy that there is something in a
'Celluloid film which tends to impair the sensitiveness of an emulsion
spread upon it. Some years ago I was using Fry's ordinary plates for
landscape work, and when on a tour I took a packet of films of that brand
with me as well as the plates. The films proved to be hopelessly under-
exposed, while the plates were all right. More recently, a packet of
Edwards' medium isochromatic films proved to be less than half the
speed of the same brand of plates tested at the same time. In testing for
speed a number of different brands of celluloid films, I have generally
found them slower than I should have expected in comparison with
similar plates.
All this, of course, is inconclusive, because the speed of different
batches of emulsion varies from time to time, and I might have come
across unusually slow batches on the celluloid.
Within the last few weeks, however, I obtained from the makers a box
■of Edwards' special rapid plates, batch No. 5306, and a packet of the
same brand of films bearing the same batch number. On exposing plate
and film side by side in the camera and developing together, the plates
■developed much more rapidly, and had the appearance of greater rapidity
than the films, the latter giving a negative more brilliant in character,
just as if some strong restrainer, such as citrate of soda, had been added
to the developer.
On further tests I estimated the films to be only two-thirds the speed
of the plates. Mr. V. C. Driflield also kindly tested the relative speeds
of these same plates and films by the Hurter & Driffield method, and also
found the plates to be faster than the films in the proportion of 1'88
to 100.
Of course, it is quite possible that some celluloid films do not exercise
this infiuence over the emulsion, and I am not aware that celluloid films
generally are inferior in quality to plates ; it is merely a question of speed.
Early films were not always even in coating, but I think this failing is
now overcome. — I am, yours, <feo., Aifked Watkins.
Hereford, Xovember 3, 1893.
BRISTOL EXHIBITION.
To the Editob.
Sk, — Mr. H. P. Robinson's letter, published in the photographic press
of last week, would have elicited no reply whatever from me, had it not
contained such evident misrepresentations, such animus, and desire to
damage this Exhibition, and such a display of discourtesy in publishing
his letter without any intimation to me that he was about to do so. This
action has rendered plain speaking imperative.
Firstly, Mr. Bobinaon says, " I cannot find a class to which I or those
who think with me could contribute." If that be so, I am sorry ; but it
is evident very few " think with him," as is proved by the large number
of entries already received from leading workers. If Mr. Robinson cared
to send his exhibits, they would have been properly hung and fairly
judged ; he prefers not to do so ; weU, he must please himself ; we shall
simply have one exhibitor flie less.
His next reference, that to the Photographic Society of Great Britain,
is quite incomprehensible to me. The Photographic Society of Great
Sritain no more concerns my CouncU than would the Bristol and West of
England Association influence the Exhibition rules of the former Society
or any other society " of Great Britain."
I may here remark that our rules, which Mr. Robinson refers to as an
" almoEt immediate reply " to the deliberations of the Photographic
Society of Great Britain, are the same as were formulated thirteen years
since for our first Exhibition, and which gave then, and have since given,
universal satisfaction to aU, save Mr. Robinson himself.
With regard to that gentleman's reference to the Photographic Society
of Great Britain, it would interest us to know whether he is authorised by
ihem to write so, as in that case we should be pleased to reply to his
expressions at an early opportunity.
And let me say I write with no ill-feeling whatever towards the Society
in question, but as Mr. Robinson throws it in our teeth, I am compelled
to answer his reference thereto. As that gentleman kindly allows that
we have a right to make our rules as we please, we ought, I am sure, to
feel very grateful to him ; but when he tries to play " Sir Oracle " in the
last paragraph of his letter, and endeavours to coerce others, with such
-an evident and petty desire to injure this Exhibition, let me say be may
spare himMlt the tronble, u already, teUh a month to tpart, IM have tneh
a Uirge number of Jint-clau entriei that the eomplett tueeeet of the Ex-
hibition i» antured.
Mr. Robinson appears to have overlooked the pangrAphi in oar
schedule which have placed in the hands ot the jadaea the powar of with-
holding medals, and the awarding of extra medjuf at tbair diiention.
We are the more surprised at this, a« he ha* exhibited in Briatol pre-
viously, and has taken awards, and herein, apparently, lies the aon
point. Let me explain. Mr. Bobinion luM probably not forgotten MOM
unpleasant correspondence which originated with himself relatire to ana
of his awards, and which, if published, might interest yonr readers, m
throwing light on, and giving the reason for, his published letter ot last
week. Will Mr. Robinson oblige ?
Finally we shall, in due course, publish the list of the Jury, who will
in every respect command universal confidence, and who will — as hava
our Juries in the past — make their awards according to nxrit, and qoite
irretpective of tradition. We have every reliance on the grMt bnlk o(
exhibitors fully approving our rules and supporting the Kzhibition.
I regret, Sir, that Mr. Robinson's most unosnal prooednre should have
caused me to occupy so much of your valuable space, for wliieh many
thanks. — I am, yours, >S;c., FaECEBtcK Buua Bo!n>,
Hon. Secretary lirittol International Pliotographic Exhibition,
THEJBENEVOLENT.
To the Editob.
Sib, — Will you kindly, as in former years, direct the attention of yoni
readers to the Benefit Night of the Photographers' Benevolent Associa-
tion, which will be given at the Exhibition of the Photographic Society
of Great Britain, .5a, Pall Mall East, on Friday, November 107 At the
same time may I have a few lines of space for a very special appeal ? We
are just completing the twenty-first year of the Benevolent Association.
The calls are more numerous and more urgent this year than they liave
ever been in the past. We have already granted relief to the extent of
1342., and our income for the year to date has been 591. It is an unfor-
tunate feature of the Benevolent that it is supported by such a small
number of subscribers. The income almost entirely comes from ama-
teurs and the photo-material trade, and very little from those who really
benefit by the Association. The committee is most anxions to increase
the number of subscribers. The minimum subscription is only 2». 6<f.
There are few photographers or assistants who cannot afford this, and we
earnestly appeal to those who are not subscribers to become so. We are
specially anxious to celebrate the twenty-first birthday by instituting
run of greater usefulness than ever before. — I am, yours, Ac,
H. SsowDEs Ward, Hon. See.
Memorial Hall, Ludgate-circut, E.G., November 6, 1893.
OPERATOR'S SPECIMENS.
To the Editob.
Sir,— Allow me to protest against what I have found to be a common
practice amongst professional photographers, viz., advertising for an
operator, Ac, without disclosing their identity, and failing to answer
letters, or return specimens, which have been sent in the ordinaiy
business good faith, which is usually warranted outside photography.
As this practice not only causes disappointment and loss to a great
number of helpless assistants, but also tends to bring into disrepute the
unsuspecting medium of these unbusinesslike and dishonourable men, I
believe my protest is justifiable.
I know also that you, Su:, will not willingly allow a custom to exist for
one moment longer than is necessary, when you find that it casts a
shadow upon the respectability of the office of your highly valued
paper.
I am glad to be able to admit tliat I have written to some (though sadly
exceptional) photographers, who have not only replied, but that in a most
courteous and kindly manner. — I am, yours, Ac,
A Tcbsisg Wobm.
iBxc^angf OTolumiu
*,* No charge U made for inserting Exchangee of Apparatus i» this eolumm ;
but none will be imerted unless the article wanted is d^nUely stattd. That
who specify their requirements as "anything vt^ul' mil ther^ore >mdentamd
the reason of their nonappearance. The full tutme of the adoertiter mitit
in all cases be given for publication, otherwise the Sxehtmfei will not t*
i>iserted,
Will exohRnge a gnod imitaUnD itone se»t for rook-work sesA or a«t of slonM lor ttndio.
— Addreo, W. Hobbs, UoId-«tieet Studio, Skllron Waldon.
728
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 10, 1893
A juvenile Hamber safety, suit lad of twelre or thereabouts, new tMs year, for lialf-
plate outfit by good maker. — Address, J. Pike, dentist, 3, Hinckley -road,
Leioester,
One hundred and fifty numbers of Photography from No. 15, Guthrie's Electricityt
and Duchochois* Studio Lightiiuj^ for books, retoucing desk, or lantern slides. —
Address, Gr. Moore, Bnokfastleigh, E.S.O.
'Will exchange cameo embossing press, three cabinet, and two carte-de-visite brass
shapee, in new condition, for a half-plate rectilinear lens, with Waterhonse stops. —
Address, C. H. Hewitt, 4, London-road, King's Lynn.
I will exchange specimen case, background box, and Tylar's current- producer and
discharger for a graduated background, lighted from the left, or the specimen case
for a negative washing tank.— Address, F. C. D. Hdrd, Shepton Mallet.
"Wanted whole-plate square-bellows camera, three slides, and first-olass rapid rectili-
near lens, in exchange for Lancaster's stereo camera, three slides, and tripod. Also
rapid rectilinear and landscape lens for half-plate pictures, fitted to same in baize-
lined cases— an excellent lot.— Address, Wm. Babon, High-street, Golbome.
att!Stoet0 to (fforrcsponlrentB.
^* All matters intended for the text portion of this JouknaL, including
mteries and Exchanges, must be addressed to " The Editor, The British
Journal op Photography," 2, York-street, Covent Cfarden, London, In-
attention to this ensures delay.
'*f* Correspondents are informed that we cannot undertake to answer com-
muMicatwns through the post.
■•,* CoTnmunications relating to Advertisements and general business affairs
should be addressed to Messrs. Henry Greenwood k Co., 2, York-street,
Covent Garden, London.
%* It would be convenient if friends desiring advice respecting apparatus,
failures in practice, or other information, would call at the Editorial Office
either on Wednesdays from i to 6, or Thursdays from 9 to 12 noon, when
some one of the Editorial staff will be present.
PH0T0GRAPH8 REGISTERED :
James Leaoh, Carnarvon. — Thne ■portraits ofRev. John Hughes, D.D.
John McLaren, Larbert, Stirlingshire. — Portrait of Ecv. John McLaren.
Balph Starr, Cambridge. — Two groups of the Executive of theBighCourtof toresters,
1893-4.
Thomas Moixbrshead. — We will bear yoiir suggestion in mind.
P. C. — 1. Apply to the Platinotype Company, Southampton-row, W.C. 2-
Citric acid and alum.
W. H. W. — You would be safe in taking the relative values as 1 : 1 J ; but it
depends entirely on circumstances.
SuuM CuiQUE. — Sorry we cannot reopen the subject. It h.as already been re-
ferred to in our con'espondence colinnns.
E. K. Livingston. — Thanks ; we are much interested in the moonlight picture.
What you term lightning in it, however, is not such.
' G. Clavigo. — l.You would have to employ a method of spectroscopic examin-
ation. 2. Mr. Ives referred to rapid printing in colours.
En glishman. — It is probable that the indiarubber of the squeegee has perished
— that is, lost its elasticity, in which case the remedy is renewal of the
rubber.
Hadlet. — The most convenient solvent for amber, to make a photographic
varnish, is chloroform. It is somewhat expensive, but the methylated kind
answers as well as the other.
W. A. Brown. — 1. and 2. Probably the Wclsbach light would suit. Apply to
the Company, Palmer-street, Westminster. 3. Bromide enlarging is dealt
with fully in our back volumes.
Vebax. — It is difficult to say the cause of the markings without knowing more
about the manipulations. It rather appears, however, that they proceed
from the prints leaving the glass at the edges before the other parts are dry,
Sl2E. — We nmst confess we are not well versed in the practical details of
m.aking papier-machS goods. No doubt you will find them fully described
in .Spon's H- orkshop Receipts, or, at least, sufficiently for you to get a general
insight of the work.
C. H. Eeed. — We are not aware where the graduated measures in enamelled
ware referred to a short time back are to be had, but funnels, and cups, and
the little ladles may be obtained, we imagine, at any of the shops that
supply this kind of ware.
W. C. Norse. — The studio, according to the sketch, is good. It might, how-
ever, be improved a little by making the ridge a loot or eighteen inches
higher, continuing the glass to the top ; but much will depend upon the
aspect, which is not mentioned.
Inquirer. — Several formula; have from time to time been given both in the
Journal and in the Almanac. Those wlio supply the medium for sale do not
publish how it is compounded ; but, as a shilling bottle is sufficient for some
himdreds of negatives, you will probably find it cheaper to purchase it than
to make it yourself.
Constant ^yoRKER. — The difference in cost of building a temporary studio to
resist a windy and rainy season and a permanent one will not be great. We
should advise you to consult a horticultural builder in the neighbourhood.
He would possibly construct you a suitable building, and take it off your
hands at the end of the season, for a moderate price.
C. W. A. — White lac, when dissolved in spirit, is turbid ; but, by standing for
a time in a warm place, the undissolved portion subsides, when the cle-ar
solution can be decanted. We have, however, seen a white lac that dissolves
perfectly, and gives a clear solution at once, but have failed to obtain any in
this country. We are told this kind of lac is expensive.
Newcastle. — Unless the copyright is registered, it will be of no use to institute
proceedings. On comparing the engraving with the photograph, there can
be little question as to the piracy of the picture. The figures being your
own family would be convincing evidence if there were otherwise a doubt on
the subject. But, as we have said before, the copyright not being registered,
you cannot proceed.
T. Lloyd. — It is not necessary that the word "copyright" appears on the
mount of the photograph. There is no means of knowing if the picture is
copyright or not, except by searching the register at Stationers' Hall. As
the firm who ask you to reproduce the picture is a substantial one, we advise
you to get a guarantee from it to hold you harmless, in case the picture is
copyright and proceedings are instituted.
E. George says : "In preparing the etching ground for the Klic process with
bitumen, I find, after dusting the plate and heating it, that I do not get an
even granular- coating, but a uniform layer without grain, or mth very little
indeed, through which the perchloride of iron will not act. What is the
reason ;" — Apparently too much powder is on the plate, or that it is over-
heated. Or, possibly, the two things combined.
R. E. — The cause of the paper printing so unevenly and so faintly is that it is
not properly sensitised, the bath was much too weak. On exposing the
piece enclosed to the light, we had proof of that by the way it behaveiL
Although the solution was made forty-five grains to the ounce, it has become,
as is usual, weaker by use. Juilging by the paper, we should say the
solution is not more than half its original strength, if so strong.
T. Grossmen. — 1. Yes : a lens of /-16 can be used for instantaneous pictures
at the seaside, but not at this time of the year, unless, indeed, the light is
exceptionally good and very quick plates are employed. We are, of course,
assuming that fully exposed negatives are a desideratum. 2. You will not
improve upon the formula supplied by the makers, that is, according to our
experience. 3. Don't trust to " saturated solutions," particularly at this
season, but make up solutions of a definite strength.
H. Inwood. — The north light is the one more generally selected for enlarging by
when that aspect is available. The reason why it is preferred is that with it
the sun gives no trouble, and the light from that quarter is more constant
the day through than from any other. When, however, the solar camera is
employed, a southern aspect is to be chosen. We cannot recoiamend you to
adopt this instrument, for this reason, that, with it, sunshine is imperative,
and that is a scarce commodity in the large towns of this country.
R. E. X. asks how he can copy a painting tlie whole-plate size ; the
largest lens he has is a half-plate rectilinear. He says he is told that, if he
uses one of the lenses as a single lens (fifteen inches focus), the copy will be
distorted, and wishes to know if that is correct. — Yes, it is quite correct ;
but, with a lens of that focus on a whole-plate, the distortion at the margin
will be so slight that it may be totally disregarded in a subject like a
painting. It would certainly not be detected when the print is trimmed.
F. Wyllie. — The quarter-plate portrait lens cannot be made to cover eight
inches. Much better buy another of not less than nine or ten inches focus.
It is quite imm.'iterial that your other lenses are for dry plates, for they wil.
equally answer for wet-collodion plates. By removing the back cell mth its
lenses, and using the front lens only, with a small stop placed about the middle
of the tube, it will cover a larger field than it can do in its combined form.
But it will somewhat distort architectural subjects, although it will serve for
ordinary landscapes.
A New Subscriber. — 1. A copious outline of the different photo-mechaniea
processes is given in the Alniaxac for the current year. 2. Nelson's are the
most uniform gelatines in the market that are suitable for the purpose. The
" No. 1 sheet ' will answer well. 3. Use a five per cent, solution of bichro-
mate of potash, and keep this as a stock solution. Foreign writers are very
fond of giving "saturated solutions" in their formuli);, and they often
lead to trouble with a change of temperature. 4. We have no competitions,
periodical or otherwise.
S. E. W. writes as follows : " What do artists apply to photographs to cause
them to take the colour easily ? I get on very well with albumenised paper
and gelatine prints, but my trouble is with carbon. Directly the surface is
touched with water colour it is repelled as if it had been greased. I am told
this is only the case with prints that are done by double transfer. Can yon
tell me of anything to apply ;" — The repellent nature is due to the waxy
material applied to the temporary support upon which the prints are
developed. It is easily cleaned off by treating the print with a little benzole.
OONTBNTS
CHLORIDE PAPER FOR PRINTING
OUT OR DEVELOPMENT. TLS
GLASS POSITIVES 7U
GREAT TELESCOPES OF THE
FUTURE. By ALVAN G. CLARK .. 716
ON THINGS IN GENERAL. By FREE
LANCE 717
PHOTOGRAPHS IN NATURAL COLOURS
PRODUCED BY THE IMPROVED
PROCESS OP L. LUMIBRE, AFTER
PROFESSOR LIPPMANN'S INTER-
FERENCE METHOD. By LEON
WARNEEKE 718
SOME PRIMARY CAUSES OF FAILURE.
By J. PIKE 718
A PAINTERS VIEW OF THE PHOTO-
GRAPHIC SALON. By PALETTE 719
Paos
the naissance of art in photo-
graphy, by andrew prinole .. 720
lantern.slide making 721
cobalt printing 723
south london photographic
societys exhibition 73»
our editorial table 728
news and notes 72s
recent patents 738
meetings of societies 724
forthcoming exhibitions 72s
correspondence 726
exchange column 727
answers to cobbespondents 8
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1750. Vol. XL.— NOVEMBER 17, 1893.
CONSECUTIVE AUTOMATIC EXPOSURES.
To Mr. Ead. Muybridge, so far as we can ascertain, must be
accorded the position of having been the originator of the
valuable system of producing, by photography, pictures in a
series of extremely rapid successive exposures, by which it has
been rendered possible to analyse such motions as those of the
limbs and feet of horses and other animals in rapid movement.
Previous to the advent of ]\Iuybridge, the true actions of these
were very imperfectly understood, if understood at all, owing
to the impossibility of the eye being able to note the various
positions consecutively assumed. The first of these attempts
resulted in mere silhouettes, being all that were capable of being
produced at the time, owingtotheincapability of the wet-collodion
process to record the detail of objects taken with the inconceiv-
ably brief exposure required for the purpose in hand. This was
subsequently remedied on the introduction of the more sensi-
tive gelatine plates.
The original camera, with its battery of lenses, was rather a
formidable and costly affair, and was manipulated by electricity,
and, unless we greatly mistake, it is protected by patents, the
infringement of which we should be very sorry to encourage.
A few years ago, when in the establishment of M. Vanneck,
of Antwerp, we saw a portion of a rapid shutter in an unfinished
state, which gave us an idea for the construction of a camera
to carry twelve or any desired number of lenses. The principle
of the action is such, that when the button of the first lens has
been pressed, and an exposure made, the mere act of the com-
pleting of the exposure causes the uncapping of lens No. 2,
which in its turn, on its completing its exposure, acta in like
manner as the first one the part of a starter for the one next
to it, and so on till the last of the series has been exposed.
The time required for the exposure of the twelve lenses need
not, if the mechanism be well constructed, exceed one second,
but the duration of the consecutive exposures can be extended
to two, three, or more seconds, this depending on the nature of
the subject.
The camera must be sufficiently wide to be capable of re-
ceiving the number of quarter-plates for which there are lenses,
and it must be partitioned so as to separate one lens and plate
from its fellows, in a manner similar to what is adopted in a
stereoscopic camera. In brief, if one can imagine, more Iliher-
nico, a binocular camera fitted with six, nine, or twelve lenses,
he has got an accurate idea of what we mean.
A suitable class of lens for the purpose is that known as a
Sixth Size Portrait Combination, which is the size immediately
below that of a quarter-plate. It is one of the Petzval form,
and works with a degi-ee of rapidity considerably exceeding
that of the average rapid rectilinear class. The hoods should
be unscrewed and laid away, and the front ends of the lenses
inserted in, or, at any rate, placed close up against, circular
apertures cut in a board which extends the whole width of the
camera. Each aperture must be covered by a vertical sliding
drop shutter, and, by explaining the construction and action of
the first and second ones, we do so of all, for all are alike.
The second of the series is kept in position by a paul or lever,
the upper end of which falls into a notch, or other similar re-
sist at the side. The lower end of this lever, that at the other
side of the fulcrum, has its tail projecting, so as to be touched
and acted upon by a projection on the side of the first drop
shutter. Here is how it acts.
Premising that each of the series of shutters has a strong
downward tendency, owing to the tension of a rubber band,
the camera is directed to a point a little in advance of that
in which the trotting horse, the flying bird, or other object in
motion will presently be found, and, at a fitting moment, the
first shutter is released by any of the mechanical devices now
so well known. No sooner has the aperture in it passed the
lens opening than, in its fall, it liberates the second shutter,
which does the same for the third, and so on in automatic suc-
cession till the last has been e.xppsed. The duration of the
total exposure may be regulated by increasing or diminUhing
the tension of the rubber bands, several very weak ones answer-
ing much better than one of greater strength.
In the first camera of this kind we had constructed the
shutters were kept in position by a steel rod passing horizon-
tally through a metallic loop placed in each shutter. As this
was being steadily withdrawn, one exposure followed the other
with a rapidity determined by that of the withdrawal of the
rod. This forms the easiest way to effect successive exposures
but it cannot be said to be automatic in its action.
Of course, this successive principle is applicable to cameras
with less than a dozen lenses ; nay, for certain purposes, it may
be applied to an ordinary twin lens or binocular camera.
PAPER IN PHOTOGRAPHY.
Some of the earliest photographic results were produced on
paper, and at the present day nothing else is used for the vast
majority of photographs ; yet there is, perhaps, scarcely one
material in the whole range of photographic technics which
has received less attention than the subject of our article.
Possibly the reason may be that it is the one substance least
under the worker's control ; as regards its essential qualities,
selection must be exercised in chooeing it, but there the
matter ends. It cannot be said of paper that it must be
" ended or mended." We cannot do without it, and we must
730
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[November 17, 1893
take it as we find it. It is a little unfortunate that such
should be the case, for the result is, practically, thaj; for the
paper employed in the production of chemical prints we are
compelled to go to one district on the Continent — almost to
one single maker. If it were that such singleness of purpose
in paper-buying were owing to general excellence and superiority
of quality, there would be no cause to complain. If a man
make an article so excellent in quality that all the world are
his customers, he deserves the trade ; but the probability is
that the superiority of the paper for the purposes in question
is owing to its possession of certain mechanical properties
which no other paper manufactured has, so far, been able to
rival — this combined with general good quality also. The
amount of paper now required for various kinds of photography
is a hundred-fold the requirements of a score of years ago ; it
seems most singular that a reliable quality at a reasonable
price should not be produced in this country. Cannot our
paper-makers be roused ? We hope that something we write
may be the means of inducing them to experiment to a greater
extent than they yet have done, and see if a process essentially
British in its modern developments cannot be carried on with
British materials. Paper of almost every quality is made in
this country. Granted a paper of the right substance and
freedom from metallic impurities, surely a series of experiments
with sizings of various kinds might be made, the results put
into competent hands to report upon, and eventually a paper
equal, if not superior, to what we purchase out of the country
be manufactured at home.
Paper is essentially fibrous cellulose obtained from various
sources, purified, made into a species of felt, and ultimately
hardened by impregnating with various glutinous materials,
technically called sizes. The easiest mode of seeing the manu-
facture is, perhaps, to go through a small paper factory, where
hand-made paper is produced. We have comparatively recently
been in such a mill where none but hand-made paper is pro-
duced. We saw the rags cleaned and introduced in the usual
apparatus for disintegrating them into a fibrous cream. This,
transferred to a tank and kept constantly stirred, is made into
paper by the simple introduction, slightly below the surface,
of a sort of woven wire framework, which is withdrawn, hold-
ing on its surface the wet pulp ; the water drains away, a sheet
of wet paper is left, it is placed to dry, and there we have a
piece of pure white paper. Not a particle of bleaching material
was used, consequently no " antichlor," as hypo is called in
that trade, was needed to get rid of the chlorine, with its de-
structive action. The paper thus produced, however, was
practically neither more nor less than " blotting-paper." If it
were made wet, it could scarcely be lifted up without tearing ;
it was useless for any other purpose. It is after this stage
where the essential property which gives the superiority to
paper from Rives comes in— the material used, and the manner
of using is as " size."
For photographic purposes it is essential that paper should
really be pure— as nearly as possible pure cellulose and size.
One of the causes of the difficulty in rivalling the paper we
speak of consists in the fact that, in the race for cheapness, so
many materials are added, either to give weight or fictitious
appearance of quality, that a pure paper is rather an excep-
tional article. Much of the highly glazed printing paper we
see owes its gloss to the introduction of earthy materials-
kaolin, for example, and many other bodies being employed.
To obtain pure and white paper, either linen rags of first-
rate quality must be used, or inferior coloured rags bleached
with chloride of lime ; as this latter involves, as we have just"
said, the use of thio sulphate of soda to get rid of the free-
chlorine or chlorous acids, we are at once face to face with
another scarcely less insidious evil. It would be highly in-
structive if one of our Societies were to take this matter in
hand, examine samples of paper used for various purposes in
photography, and report as to how many were contaminated
with sulphur salts in such marnner as to render their use for
such purposes injurious. Of course, we know that hypo
exposed to the air gradually becomes converted to sulphate ; but,
even for this, some amount of moisture and some access of air
is needed to facilitate the action. If the material be im-
prisoned in the texture of a mount, packed away in large
heaps, little air wiU gain entry, and the actual result of the
decomposition there is doubtful, and certainly not likely to be
free from danger to photographs pasted upon them.
These, however, are not the only evils to be guarded against..
Another potent factor in the degradation of the purity of a
photographic print may be the use of wood-pulp in the paper.
Many samples of paper so made will turn brown, through,,
probably, the decomposition of the resinous accompaniment of
the fibre not sufficiently removed in the preliminary treatment.
It will be useful to collect a few methods for readily examining
a paper to be used for photographic purposes ; but, as to do so-
would unduly extend the length of our remarks, we propose to-
do this in a subsequent article.
THE RELATIVE PERMANENCY OF PRINTS.
It is customary to regard the carbon process and similar-
methods of printing as giving absolutely permanent results,,
while the various systems based upon the employment of silver
salts, but particularly in conjunction with albumen, are as
commonly set down as more or less liable to fade or change.
But a brief examination of a collection of old prints will often
discover anomalies in connexion with the usually accepted!
ideas as to permanency, and raise questions as to whether some
processes are so far above suspicion and others so little to be.
trusted as is usually supposed.
In turning over such a collection a short time back, our
attention was arrested by the remark, "How evenly these
prints have faded." The prints in question had the appearance
of having been made upon highly surfaced or double albu-
menised paper and were mostly of a warm brown tone, but the
whites and half-tones exhibited a palpable and uniform yellow-
ness which told an evident tale of sulphuration. Our friend
was not a little astonished, and somewhat incredulous, when
we assured him that the pictures were in reality photo-
mechanical prints, being, in fact, specimens of collotype print-
ing of a high quality, produced some twelve or fourteen years
ago in America, and sent to us at that time in illustration of
what could be accomplished in that style of printing.
Since they came into our possession they have been con-
stantly kept in the portfolio in which they now lie, and may
therefore be fairly said to have been well protected from the
usual vicissitudes to which photographs are subjected. The
change which has taken place, so far as we are able to judge at.
the present time, is solely confined to the yellowing of the
lights, the image itself being apparently perfect, and, it is.
scarcely needful to say, can scarcely be attributed to similar
causes to those that produce a like effect in albumen prints.
In fact, but for one circumstance, wo should have had no-
November 17, 1893]
THE BRITISH JOURNAL OF PHOIOORAFUX.
731
liositation in setting it down to simple discolouration of the
jjaper.
That this is not the cause, however, may, we think, be
aasuraed from the fact, that amongst the prints are some
possessing a matt surface, or at least are free from the high
^laze presented by the majority, which is, of course, produced
iy means of a varnish applied subsequent to printing. In
every case the matt prints are quite free from the discoloura-
tion shown by the others, and there can be little doubt there-
fore that it is to the varnish or glaze that the fault is really
attributable.
The discovery of these altered collotypes caused us to make
■a careful examination of the rest of the contents of the port-
folio, some of which are at least thirty years old, and the
results were of a decidedly interesting character. For instance,
amongst the pictures were a number of carbon prints by
various artists and of different periods, some dating back
almost as far as tlie publication of Swan's specification in
1864. One such print, produced as far as we can tell about
1865, presents very much the same appearance as tlie collo-
type already referred to, though the discolouration is more
marked ; but, in addition to that, the image itself has
■acquired a disagreeable greenish tone, more especially notice-
able in the half-tints, aud undoubtedly due to the presence of
'chromium compounds left in the print.
Other carbon prints of a much later date — from twelve to
fifteen years old — while still remaining perfect in gradation, as
well as pure in the lights, present an unpleasantly cold black
tone that was certainly not their original colour ; whilst others,
of at least the same age, still possess the warmth and freshness
of tone that we can imagine to have been theirs originally.
This is particularly noticeable in a couple of small prints
■received from abroad a dozen years back, the rich, warm brown
tones being apparently as fresh as if produced yesterday.
Platinotypes are usually regarded as representing the acme
of permanence, and such, no doubt, so far as the image itself is
concerned, is the truth. But amongst our collection are
several prints representing some of the very earliest produc-
tions in that process, and dating probably as far back as 1878.
The images present, no doubt, exactly the same appearance as
when the prints were newly made, but in all cases, or nearly
all, the whites are very seriously degraded ; but whether from
the effects of chemicals left in the prints, from natural dis-
colouration of the paper, or from simple dirt, it is impossible to
decide at a glance. The last is more than a probable cause, as
from the character of the surface of the prints they are more
likely to suffer from the combined effects of dust and friction
than would he the case with either albumen, carbon, or other
surfaced prints.
Several very early speciments of developed gelatino-bromide
prints exhibit, without exception, decided signs of yellowness —
in some cases of a very pronounced character — while others of
a later date are entirely free from any discolouration. The
change in the earlier prints can readily be traced to the want
of sufficient care in the removal of the last traces of the ferrous-
oxalate developer, then invariably used ; while the absence of
colouration in the later ones may be due partly to greater care
and the use of clearing solutions, and partly, no doubt, to the
■employment of other developers not so liable to cause the
yellow stain. In no instance is there any sign of deterioration
of the image itself, or of loss of the finer details by fading or
sulphuration.
The same remark applies to the earliest samples we possess
of gelatino-ohloride prints, although necessarily these do not
date as far back as the others mentioned. Many of those an
upwards of seven or eight years old, and, except for the wear
and tear of handling, show no signs of deterioration. The
oldest print by this process is one which the endorsement on
the back tells us was sent to us in an untoned condition, as an
example of what could be done with gelatino-chloride emulsion.
This was, we believe, in 188.3 or 1884, long before gelatino-
chloride paper was an established article of commerce, and the
print was toned by ourselves and put away as a curiosity.
Amongst the other curiosities is one worthy of mention, in
the shape of a collodio-chloride, or highly enamelled gelatino-
chloride, print — we are not sure which— that was sent to us by
Dr. Liesegang, some eight or nine years ago, to illustrate the fixing
power of common salt. The print, after toning in the usual way,
was fixed in a saturated solution of common salt, and at the pre-
sent day is as fresh and bright as when received. In this case, if
any change had occurred, we should naturally not expect it to
take the form of sulphuration, but rather of general discoloura-
tion from the presence of silver salts remaining from imperfect
fixation ; but there is not the slightest symptom of any such
change.
Lastly, strange as it may appear, some of the beat preserved
of Jhe old pictures in this collection axe upon the much-
maligned albumenised paper. A print of Mr. Francis Bedford's
well-known Brook at Kenilworth, that must be nearly, if not
quite, thirty years old, is only slightly yellowed, and that is
more from dirt and age than from actual fading. Another
print, of almost the same age, by Mudd, of Manchester, is
absolutely as fresh and bright as if printed yesterday, and
many others are nearly as well preserved. It is worthy of
note, in connexion with albumen prints, that those upon rough
or Saxe paper appear to have kept the best, probably from
some difference in the sizing.
A plain paper print, of the details of the production of which
we have no particulars, though it is over thirty years old, is
apparently as good as when newly made, proving again that
silver prints are not necessarily evanescent.
In conclusion, we may remark that, in estimating the pro-
bable permanency of any process, it seems that at lea.st as
much attention should be paid to the care devoted to the
manipulations and to other usually neglected details as to the
actual constitution of the image itself.
Judgrment versus Exposure Tables. — Amongst the
replies given to a series of questions at one of the provincial societies
was this : "No exposure tables or meters at present in use will entirely
supersede judgment and experience." With this every practical
photographer will agree. Exposure tables may be of some service to
a novice in his first attempts, but the sooner he learns to discard them
the better it will be for his future convenience, and often his work.
It sometimes happens, as in early spring, for example, when fleeting
clouds are rapidly passing, that, by the time the calculations are com-
pleted as to the exposure to be given, the character of the light has
completely changed, and a picture becomes lost, though a negative
may be obtained. " Rule of thumb " is no more to be relied upon in
exposures than it is in any other photographic operation. Therefor*
the beginner should, from the commencement, learn to judge of tha
exposure required from the appearance of the image on the focussing
screen, and the character of the light at the time.
Bursting- of a Gas Cylinder. — .-V lamentable and fatal
accident, w^hich may tend to shake the confidence of the nervous,
happened one evening lost week at Bradford by the bursting of a gas
732
THE BIUTISH JOURNAL OF PHOTOGRAPHY.
[November 17, 189a
cylinder. It appears that a boy, in the employ of a local firm of
chemists, was carrying a couple of cylinders of compressed gas to be
used for lantern purposes in the neighbourhood, when, according to
report, he dropped one, and it burst. The greater part of the lad's
chest, head, and arms were blown away. Fortunately, although a
considerable number of people were near at the time, no one else was
injured. In some experiments a year or more back, to test the safety
of charged cylinders, one was thrown from a considerable height on
to a hard surface without suffering any injury. But here is the case
of a fall which could not exceed a foot or two producing disastrous
results. Only a short time ago we were at a provincial railway
station when some twenty or more cylinders of extra size, accompany-
ing the paraphernalia of a theatrical company, were being transferred
from one train to another, and the concussion each received as it was
thrown by the " careful " railway porter on to the pile must have been
much greater than by the cylinder when it was dropped by the lad
who was killed.
Artificial Xiigrht for Contact Printing'. — In several
demonstrations of lantern-slide making by artificial light, the question
has been raised as to the best light to employ for contact printing.
Some advocate magnesium ribbon, some a gas flame, and others, and
not a few, a paraffin lamp. So far as result is concerned, it matters
not which is used, it is simply a matter of convenience. The principal
thing is to have the light always, as nearly as possible, under uniform
conditions. This is not always obtainable with magnesium, even when
it is carefully weighed or measured, as the metal is liable to oxidation,
which diminishes the light ; also, it is not easy to burn it always at
exactly the same distance from the negative. Gas has been ohjected
to on the ground of the constantly varying pressure on the mains at
different times of the day and evening. This may, however, be
obviated by the use of a governor burner. Then, with the cock full
on, the flame will remain the same, however the pressure of gas may
vary. The form we have used for some time past is what is known
as the " Christiana burner," and it answers perfectly. Paraffin is
excellent, provided the oil used is always the same and the flame
adjusted to the same height. This is not easy to accomplish with the
ordinary flat wicks, but with the circular ones a uniform height and
light is m ire easily obtained, as the length of the flame is readily
measured. We recently saw an excellent paraffin lamp for the pur-
pose. It had a flat wick and a circular burner, the wick being
pressed into the cylindrical form in its passage through the tube. The
burner was stamped as being made in Vienna, but similar ones are,
doubtless, made here.
Another Fatal Accident ftova. Etixer. — A brief tele-
gram from Berlin announces that a terrible accident has occurred in
the Russian province of Grodno. Owing to carelessness, it is stated,
of an employ^ at a chemist's, an explosion of ether took place, and the
entire building was blown in the air, while the houses in the vicinity
were seriously damaged, twenty persons were killed, and many others
were seriously injured. The above, even if the aceount may be some-
what overdrawn (and it is to be hoped it is) should serve to emphasise
the warnings we have so frequently given, when previous fatalities
have happened in this country, to those unfamiliar with the properties
of this material. Ether is frequently dealt with by artificial light, and
it is then that it becomes dangerous. Its vapour is infiammable like
coal gas, and when it is mixed with a certain proportion of atmo-
spheric air it becomes as explosive as does gas under similar conditions.
Not long ago we saw an ether saturator being refiUed by the light of
a paraffin lamp under most dangerous conditions, inasmuch as the
lamp was placed below the level at which the vessel was filled, and
this was done for imaginary safety. Because ether is one of the
lightest of liquids, it was assumed that its vapour was proportionally
so, whereas it is very much heavier than the atmosphere. The vapour
of ether can be poured from one vessel to another in the same manner
as the liquid itself. Therefore, in decanting ether in the vicinity of
an open flame, it should always be done at a lower level than that of
the light, and the precaution should be taken that there is no draught
that would waft the vapour towards it.
Offensive Smelling' Oil Iiantems and Keating-
Stoves. — Apropos of the coming season we have received three
or four queries relating to the above subject. One correspondent, irv
addition to the smell, complains of the excessive heat given off from
the lantern while in use. All the writers, curiously enough, ask if
nothing can be added to the oil to prevent the obnoxious fumes.
As the subject is just now of interest to more than the querists, we
reply here instead of in the " Answers " column. In the first, we
may say that various substances have from time to time been
sug-gested as an addition to mineral oils to prevent their smelfing
when burnt ; but, so far as our experience goes, they have very little,
if any, effect in practice, whether used in connexion with the lantern
lamp or the heating stove. We use both, and are not troubled with
smells because we always keep them scrupulously clean, and the wicks
in good order. When a well-constructed lamp or stove gives off
offensive smells, it may be safely assumed that the smell is caused by
vapourisation of oil on the outside of the burner and fittings, or,
perhaps, from an ill adjustment of the wicks. Many lanterns and
stoves have been standing out of use since last season with oil in
them, which, by capillary attraction, has become distributed all over
the fittings, and no amount of wiping will completely remove it.
Consequently, when it becomes heated, it is volatilised, and hence un-
pleasant experiences. In nine cases out of ten, when a paraflin lamp
or stove proves offensive, it is not from the oil consumed, but from
that which is allowed to exist on the outside of the lamp and the
burner. With regard to the excessive heat evolved by the lantern,
much of that can often be avoided by proper attention to the burners.
The wicks are frequently turned unnecessarily high, and, as a result,
although no more effective light is obtained, the heat is materially
increased. Lamps and stoves are frequently condemned ^^'hen the-
fault really rests with those who work them.
THE ILLUSTRATED PAPERS AND COPYRIGHT
PHOTOGRAPHS.
The following circular has been sent to a few London and country
photographers, and we have reproduced it for the benefit of the
profession at large, who, we hope, will not be slow in profiting by the
example set. In a matter of this kind, affecting the interests of so
many photographers, we should have thought the guiding spirits of
the movement would not have hesitated to give the whole of their
brethren an opportunity of participating in it : —
'' A Meeting of Photoghaphebs held at the Hotel Victobia,
NOETHUMBEHLAND AvBNTTE,
"A''or«mfe;- 1,1893.
" At a meeting held at the Hotel Victoria, on July 19, 1893, it
was resolved that a fee should be charged for all copi/nr/ht photo-
graphs reproduced in any illustrated paper or periodical, and that the
minimum charge should be one guinea; also that the name and
address of the photographer should te legibly printed under each
impression. The above has been given a three months' trial, and a
second meeting was held on October 19, 1893, when it was unani-
mously agreed to continue the original resolution. And' it was then
further resolved that this brief statement should be sent to our leading
provincial brethren, asking for expression of opinion on this or any
other subject of interest to tlie profession. — I am', yours faithfully,
" C. M. ScHOMBKBG, iTore. Secretary.
" 55, Baker-street, London, W.
" N.B. — A copyright photograph is one taken at the artist's §.xpense,
without any charge being made or fee received for the sitting, whether
registered or not.
" The following is a list of the Arms agreeing to the foregoing
resolution : — Mr. Bassano ; Mr. Frank Bishop, of Marion & Co. ; Mr.
Byrne, of Byrne & Co. ; Mr. Cameron, of Cameron & Smith ; Mr.
\Vm. Downey and Mr. Wm. Downey, jun., of Messrs. W. & D.
Downey ; Mr. Elliott, of Elliott & Fry ; Mr. Alfred Ellis : Mr. Fox,
of Maull & Fox; Mr. Grove, of ^^^ndow & Grove; Miss Alice
Hughes; M. Lafayette, of Dublin; Mr. Bedford Lemere ; Mr.
Mendelssohn ; Mr. Taylor, of Barraud, Limited ; Mr. Thompson, of
Grosvenor-street ; M. Walery, of Walery & Co., Limited; M. Van
der Weyde ; and Mr. Young, of Fradelle" & Young."
November 17, 1693]
THE BUITISII JOUllNAL OF rflOTOGRAPHY.
798
JOTTINGS.
A MONrH ago I vMoed a rumour concerning a projected new photo-
Hpnphic paper. The only hints that I gave as to the quarter of the
sky from wliicli it would burst upon us were (1) that it would taJte
art photography undor its wing, and that (2) its promoters had been
cultivating tJio gentle art of advertisenaent The editor of yi lur amateur
conteaij)CHiary thereupou delivers himself of sundry remarlw about
" another weekly photographic paper," *' English energy," and " re-
cently imported American gold," to neither of which did I make
direct or indirect reference ; and then, having told an awestricken
world that he is " somewhat more behind the scenes than others,"
says that the report is " merely a canard," and that " the American
eagle will not flutter eitlier weakly or weekly." Well and good.
]}ut what a pity it is that some people are so ready to trumpet forth
their highly privileged presence " behind the scenes " at the ezpense of
their reputation for common sense. I never said anything about a
weekly paper, and never for a moment supposed (or said) that
English energy and American gold would be the moving spirits of the
rumoured venture. The reckless precipitation with which the pro-
verbial bull is said to attack a five-barred gate is nothing to the
lightning speed with which some people jump at conclusions of an
erroneous, jootvie.
Mr. James William Faweett, of St. KUda, near Melbouwie, Colony
of \'ictona, the ^ecifujation of whose patent for " improved means
for regulating the rays of light passing through photographic lenses "
is published in the JoraxAi of October 13, is evidently a simple-
minded gentleman who started pliotography about the first of April,
1892. He not only " patents " the inverted V-shaped stop for giving
more exposure to the foreground than to the sky, but " partly to
impart a stereoscopic effect to the photograph." He says the latter
effect is obtained by sliding a shutter with a V-shaped aperture hori-
zontally across the lens, when " a stereoscopic effect is given to the
finished photograph by reason of the light being allowed to enter first
at one bottom comer, then gradually being allowed to pass through
the whole of the lens aperture, and finally through a small opening at
the opposite bottom corner, thus, as it were, to a certain extent photo-
graphing the object from two different points of view, and so pro-
ducing the desired effect." Holy Moses ! what next ? " To a certain
extent, photographing tlie object from two different points of view "
with a fixed lens is very funny, but it is a crying shame that the Patent
Office should batten and fatten year after yeai- on such ignorance as
this.
The London and Provincial Photographic Association has had the
question of the admission of ladies as members before it, and has, it
seems from your report, decided not to admit them as ordinary
members. What a pity it is that your reporter restricted himself to
a mere outline of this part of the proceedings. 1 feel sure that a
great deal must have been said pro and con, and, looking at the
nature of the subject, no doubt some wise, foolisb, and amusing things
were uttered before the vote was taken. I do not envy Mr. Thomas
Bedding, who moved the amendment excluding ladies from the
" L. and P.," the disagreeable reputation that must attach to him for
the part he took in the business, though, in the absence of his argu-
ments, it is impossible to condemn him and his majority so freely as
one would like. In these days of enlightenment and progress the
opposition to the admission of ladies to learned and similar societies
smacks of mediaeval tyranny and narrow-mindedness. The sex that
gave us Mary Somerville, George Eliot, Harriett Martineau, Angelica
Kauffman, Florence Nightingale, Caroline Fry, and Phillippa Faweett
has surely won its right to share in all the intellectual advantages of
men ; and I hope it will not be long before the London and Provincial
succeeds in obliterating the stigmata of boorishness which the selfish
action of the gentleman named and his friends has cast upon it.
Such negatives miut have been very yellow indeed. Rvery photo-
grapher knows that harshneaa and shortneaa of scale of contract ate
reduced by the presence of a certain amount of diacolountion in aome
negatives, and therefore what is in essence a defect becomes in prac-
tice an advantage. Of late years there has been a dead set made
against the presence of any developer stain in the negative, not
always, I fancy, to the advantage of the latter. To sysUmatically
clear all negntives is, I believe, a mistake, for in some initanoae one
may be taking away just the property which gives] the cUoM its
proper wished-f or printing value. Moral for my amateur readers:
Don't " clear " your negatives until you have taken a trial print fro m
them.
\et, again, the old complaint abont tiie detention of aftmagau.
" A Turning AVorm " in your last issue protests against photofprapkess
advertising for assistants not disclomng their identity, failing to
answer letters, and not returning specimens. The last item is tiie
only head under which complaint can be kgitimately made. Whgr
will not " .i Turning Worm " and those of his kind adopt the plan of
writing their names and addresses across their npafimiwtff. so often
recommended in these pages ? If this did not eosuie the letam of the
specimens, it would prevent their misuse by unscrupuloae advertisaw,
which would be something gained, at any rate.
Dearly beloved brethren, for many years past you and I have be«D
u^ng the alkaline sulphides for toning (or intenafying) silver images ;
but we may do so no longer, for Mr. 11. G. Williams, of Greenfield
House, Heywood, Manchester, has made the astonishing discovery
that " the expensive salts of gold, platinum, and like metals" mo^r be
replaced in toning by " potassium, sodium, or ammonium sulphide,"
the use of which he has patented for toning gelatino-chloride prints I
(see ante, page 675). The makers of gelatino-chloride papers will
be glad to know that " prints toned by my improved process are very
permanent." Mr. Williams, I wish you joy in your "invention,'
and would like to know your price for the patent rights ?
In passing, I noted among the Society intelligence during the last
month the remark of a lecturer as to the " objectionable yellowness of
many old gelatine negatives rendering them unfit for printing."
" Log-rolling " is one of the most prominent and disagreeable
features of modern literature. Lest my readers should not know
what it means, I will explain. In brief, it is the habit known as
" You scratch my back and I'll scratch yours." Journalists and
authors, who may be reviewers and critics, praise, puff, and paj(9graph
their friends' productions, and, in turn, secure for their own work
like recognition. I regret to find that this kind of thing is cre^ing
into photography, particularly in connexion with the public exhibi-
tion of pictures. Most of the principal exhibitors also happen to be
Judges and pressmen. In the latter respect, tlie amount of log-
rolling that has recently gone on is simply sickening. In some
instances critics have not hesitated to praise their own work. The
game of mutual admiration, as played by a small coterie of "art
photographers," ought to be exposed. Some pretty little revelations in
the way of exchange puffs for pecuniary ends would, I believe, come
out. Cosmos.
THE POSITION OF PKOFESSIONAL PHOTOGRAPHY.
[Prendent''! Address to the K,atioiul AsaociattOQ o( Profesuonal Photofniphen. I
Now that the time has come for mo to address you on the subject of
professional photography and the aims of our .tVssoctation, I feel a
degree of difijdence for several reasons. First, there is an amount of
assumption, which, in my position and capacity, I ought not to take
upon myself; but, feeling that something requires to be done, I
volunteer to make the attempt, and if I accomplish the object we
all have in view — objects far-reaching in their nature, and affecting
the best interests of us all— I shall feel satisfied I have not spoken in
vain. It is patent to every one that photography, as a profession, is
not what it once waJs ; but it is not alone in this, so many caoaes are
contributory to the prevailing universal depression. New studios, in
localities already congested, are being opened, the supply far e-xceeding
the demand. In addition to this, there are many uifluences at work
734
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 17, 1893
tendinf^ to reduce our chances of success; some of them may
be removed or lessened, and others we have it in our power to
modify.
How Business Sutfebs.
Now, we all know, in large establishments especially, that enlarge-
ments with a photographic base, also oil paintinp, crayon and pastel
portraits, and other styles painted direct, are the backbone of a photo-
grapher's business, and I ask, that being so, why have we allowed these,
especially the former, to pass into the hands of others ? Some few of
US, I admit, have from early days made our own carbon and bromide
enlargements, and, if photographers had been united in purpose, we
might have retained this industry, and still be obtaining remunera-
tive prices. Unfortunately, the trade generally rushed off to the
factory, and helped to build up colossal concerns, and held them
together till the advent of the amateur ; and now where are we ? I
will tell you. I some time ago photographed a child since deceased.
I carefully named and numbered the negative and stored it (the nega-
tive, not the child) in a room specially arranged for the purpose,
hoping it might be required for future orders. The parent, in good
circumstances, applied to me for prices of enlargements ; and, knowing
that he was associated with an amateur who obtained all he required
from the factory, I quoted low terms for a 24 x 18 bromide and three
duplicates, with the result that he ordered a plain, unmounted copy
of the picture for copying purposes, and a well-known firm agreed to
give him a finished portrait, 24 x 18, for 19s. Gd., and duplicates for
10«. M. each, a price a trifle beyond the charge to the trade, and less
than I could have produced them for. I know for a fact that the
person was prepared to pay considerably more had he been asked.
I give another case to show the facilities the public have for getting
their work done at trade prices. The amateur goes to headquarters
himself, and puts his non-photographic friends in the way of doing the
same. He carries about with him the dealers' trade list, which he
must have had given to him, and the poor professional is checkmated
at every turn. Here is an experience of my own. I made for a
client several 24 x 18 carbon pictures from landscape negatives,
charging not a great excess over factory prices. The account was
sent in, and my customer promptly produced his trade list, pointing
out the variation in prices, with the usual result — he paid his account,
and I saw him no more.
Amateue Capitalists.
There is one phase in connexion with our profession I think is dying
out. You will have observed what a many outsiders possess them-
selves of the idea that to open a studio in a good district is like
striking a gold mine — a perfect Eldorado — and capitalists have shown
themselves eager to ally themselves with an operating photographer,
and to back the idea by investing their capital in a swell concern.
They begin with a flourish ; then, having exhausted their sitters,
who are generally their immediate friends, the struggle begins.
Reducing prices, touting (which may be legitimate in a sense, but I
consider very demoralising), and iinally a dissolution of partnership,
with the usual finale — 1 hold all this has a tendency to degrade.
These amateur capitalists, before they get the experience of busi-
ness, simply calculate the cost of the plate and the piece of paper,
ignoring rates, taxes, wages, &c., and seldom place any value on the
hard-earned experience of the photographer.
An incident occurs to me of a lady whose collie dog I had recently
photographed, and supplied five proofs. (I believe I have the reputa-
tion of knowing something of dogs). She called to give her order,
and I heard an altercation with my attendant as to the excessive
charge of 31«. Gd. for six cabinets ; and, putting in an appearance I
politely asked her if she knew what she was paying for : — " I suppose
for six cabinets." ' Oh, no ! — if that was so, you would be justified
— you are paying for nearly forty years' experience ; or, as
Whistler puts it, ' the experience of a lifetime.' " And thus the
photographer goes on, each day bringing its cares and annoyances,
constantly assuming different forms.
One more experience. A lady brings in her carriage a well-executed
and framed carbon enlargement, and requests to have a companion
picture from the negative of a child I had recently taken, and she
quoted the price she had paid — viz., four guineas. 1 reply at once it
cannot be done for the money, and politely tell her it would be better
to go to the same man again. Sad to say, and thanks to her and
others similar, she replies, " The man is dead." And having killed
him — perhaps not her first victim — she tries her wiles on myself.
Fortunately I was equal to the occasion, and I got my price without
losing my self-respect.
MoEB Unitt Wanted.
These experiences, I am happy to say, are rare with me, but I give
them, because I am afraid the photographer too often forgets himself
by charging profit only on the bare material he uses, and placing in-
sufficient value on himself ; and how often does he do even worse
than this, in the form of giving a bribe and emulating the shopkeeper
who gives his customer a teapot with a pound of tea ! I admit rates,
taxes, and wages must be paid, and in depressing times it is a fearful
temptation to resort to practices which become played out and are
ruinous in their consequences. But, better far improve the quality of
your work ; but if we became united in membership, and the more
experienced in artistic excellence would give help to those around
them by showing examples and methods in the club-room, and by one
man exhibiting, &c., 1 bold that, if the artistic element and a higher
standard of work in the profession was raised, photographers would be
more valued and able to more than hold their own against the trading
amateur (some of them do trade by a side wind, notwithstanding all
that has been written). I feel assured the status of photography
would be higher, we should become more respected as a body and be
better paid for our work. The amateur question has long been a
vexed one. Are there not amateurs and amateurs ? I have for-
tunately and generally met with the genuine ones, and turned them
to good account, and found them genial and generous.
As to competitive exhibitions, 1 have had little experience, but on
one occasion I was asked by the respected President of the Parent
Society to exhibit my dog pictures — and, mark you, they were
not the result of snap-shots and hap-hazard exposures. I had visited
the dog shows, and consulted the Judges, scrutinising their judg-
ment, so as to secure the best points in my pictures. I thought I had
succeeded, and, as far as the opinion of dog-fanciers and the owners
went, I was satisfied ; but not so the Judges, they passed them over in
their class for some sharply, small-focussed snap-shot cabinet pictures
of circus animals— elephants standing on their heads, spotted hares
on their hind legs, and you know the rest — a frame of photographs, to
my mind no doubt mechanically good, but unworthy of such an exhi-
bition as the Parent Society. However, the series were awarded a
medal. We have seen pictures medalled over and over again so
worked on that it was impossible to tell where the photography ended
and the stippling began. I consider exhibitions are a powerful incen-
tive and a great help to the photographer ; he sees there something to
emulate and possibly much to avoid. The " Proud Turk " may not rouse
his ambition, but there are always specimens which he can study and
learn from.
I have given you some of the obstacles we have to contend against,
to prove that, if we as a profession would unite and at regular in-
tervals record our experience, and for the benefit of our brethren in
remote places have a trade journal confined purely to professional
photographers (there is an existing journal which we could utilise,
and arrangements could be made to have a supplement to ourselves),
and by reducing the subscription to the National Association of Pro-
fessional Photographers to os. per year, so as to secure the united help
of every photographer in the country, infinite good would ensue. Let
it be observed that merely subscribing is not all the assistance re-
quired, the Association needs what it has not hitherto had, viz., tlie
sympathy and advice of the many who are well able to give it. I put
the question. Why cannot photographers do for themselves what
every other trade and profession have done, viz., protect their own
interests from injustices which are constantly cropping up? The
desultory mode of fighting which some have adopted by firing off in
the journals — though the motive may be good, is not dignified ; better
far contribute to our Association and, by your presence at our Councils,
make the Association what it should be, then some practical good
would result.
The Copyright Question.
There is much to be done, the copyright question ought to be taken
up in earnest ; Mr. Snowden Ward, ever ready with his fertile brain,
and with a characteristic disinterestedness, has a scheme which, with
modifications, ought to work well ; he proposes that every photographer
should have a trade mark (registered) which would protect our photo-
graphs from being made the plunder of every journal (whether respect-
able or otherwise) in the country, and also secure to us a better chance
of keeping enlarging orders in our hands.
A select number of photographers recently met and arranged
amongst themselves a method of protecting their copyright portraits
by making a minimum charge of a guinea to all journals using them.
I protested to several of their number that I thought they ought to
include all photographers, and at their second meeting they agreed to
make a further edition to their numbers by making a selection of some
of our leading firms. I think it would have been better to have
started the movement on a broader basis, and let all photographers
share in the benefit ; at any rate, though limited, it is a step in the
right direction, and one which our Association are taking up for the
benefit of those left out in the cold.
November 17, 1893]
THE- AJmSII JOURNAL OF PHOTOGRAPHY.
788
1 will now spealt on a question ■which has long been on my mind —
Why have photographers l«t chemists, stationers (and I have heard of
shoemakers), being agents for photographic stores P I know a man
in a suburb of London who has increased his sales for our materials
that he makes more profit by tlieir sale than from his own legitimate
business.
Photogbaphehs should bkcomk Dealbbs.
I strongly advise the photographer everwhere taking up an agency
where amateurs abound ; he not only will get the full percentage of
material he uses, but, as the amateur is in our midst, and is inevitable,
it is well to fraternise with him, and make the best of him.
Again, in the great fight for patronage, and the tendency to lower
our price Usts in order to do any business at all (and here I must
admit some of the cutting businesses have been successful) we have
been creating a false position, as we all know low prices and good
work cannot run side by side, and must end in failure ; but, mean-
while, our assistants in many cases have had to suffer. I have always
held that an industrious, clever, well-paid assistant is by far away the
cheapest. I don't mean the man who, on a busy summer's day,
watches the clock strike the hour, forgetting the long winter fogs
when no man can work. The rent and wages go on as usual. Young
assistants must bear in mind that the success or non-success of a
business can be contributed largely to by their activityand forethought.
Then I argue that the young in our profession ought to make the ques-
tion of unity their own, and rally round any effort set on foot to esta-
blish and well found an association that has for its object the elevating
and maintaining of our profession on a higher level. Thus, by mutual
work, both master and assistants will profit, though it will not be by
paying the os. subscription only, but by taking some of the responsi-
bilities in hand.
Thb Training op Young Photographers.
Writing to the journals complaining of inertness is inexcusable,
because here is an association which can be moulded, as you, with
most of those on its Council, are men who ought to be set aside from
active responsibility, and only engage in the social part of the work,
dropping a word of sage advice now and again. The training of the
young in our profession has been left mainly to outsiders. I admit
apprentices have been taken by some, and this has not always been
successful.
The Polytechnic Institution has been doing good work, though only
about eight certificates of efficiency have been given yet, I may say large
number of assistants are avaiUng themselves of the excellent advan-
tages offered. I have had interviews with the Secretary and Mr.
Howard Farmer, who I am glad to see here to-night, and they would
welcome any assistance we can give them.
I should be glad if to-night we could secure a large accession of
town members so as to have a central working Council (so far it
has been our diflSculty having the Council scattered over the country,
making it a serious matter to get together). The social element has
been a great source of attraction and inducement. Our genial country
friends it has always been a real joy to meet, and some good has been
effected, but we have only touched the fringe of the work yet to do ;
but unless more interest and sympathy is forthcoming the whole, I
am afraid, must collapse. • -
The Photographers Benevolent Society next claims a few moments
of your time. It is a Society which has existed many years, having
gone through many vicissitudes. I have the more right to press it on
your notice, as I took an active part in its inception. It has done
much good in the past, and I may say at the present time it is more
active than at any time of its existence. It has considerably extended
its operations. It not only grants immediate relief in pressing cases
to all assistants connected with the profession, but it grants loans in
cases where an assistant would be benefited by help in going to a
situation which the Society, through its labour bureau, may have
secured for him. In some instances it has provided clothing for those
needing it. Of course, strict inquiry is made to avoid imposition.
Hitherto its funds have been augmented by subscriptions from the
amateur and the trader. The professional, as a rule, is not wanting in
generosity. I have known many instances where he has been called
upon for help, and not in vain, so that I am sure he will not forget in
the future the claims of this .Society.
It has been the practice lately at all exhibitions and social meetings
in London to make, say, a sixpenny lead, and may I suggest this to-
night. The nimble sixpence is not much in itself, but, when added
to, it may make a goodly sum. I may say the Secretary is present,
and any young assistant wilhng to join may do so by giving his name
and paying but his 2s. 6d. yearly subscription either now or when con-
venient.
I thank you for listening so patiently to my disjointed addreu. I
have exnr(!ssed my individual opinions, and the reaponsibilitr in
giving thein rests with myself. Thomas Fau,.
AMERICAN NOTES AND NEWS.
Tuition In Presslngr tho Button.— We read in the
Pacific Coast Photographer that the services of Mr. Archibald Treat
have been secured to write a series of articles on photography which
"will gradually advance up into the higher branches." This is all
right and as it ought to be, but is it quite wise in Mr. Treat to write,
as he does, in the first of these articles : " I will confess to you at
the outset that my own knowledge of chemistry is confined to the
fact that chloride of sodium means common salt ? " But Mr. Treat,
who, says the editor of our Western contemporary, " is well able to
handle a series of letters on photography," continues: "As with
chemistry so with the mechanics of the art ; technical knowledge is
convenient, though not necessary to successful photography." If
chemistry and other technical teachings are not to be considered
necessary in a course of lectures or letters on photography, are these
to be confined to the art of pressing the button, and getting some one
else to do the rest ? Is it not written. Who drives fat oxen should
himself be fat ?
Beath of Mr. C. OentUe.— We are sorry to learn of the
death of Mr. Gentile, editor, and we think, proprietor of the Photo,
(jraphic Eye of Chicago. The Eye, somewhere about twelve or four-
teen years ago, began to devote a large portion of its space to photo-
graphic matter, and eventually, under Mr. Gentile's management,
went in exclusively for photography. As a considerable period has
elapsed since we saw the paper, it is possible that it has succumbed to
the growth of rival publications. Mr. Gentile was a man of gentle-
manly instincts, and was well up in all that concerned photography.
Protection ag-alnst Piratic Publishers.— In view of a
good deal of photographic piracy that appears to prevail in America,
much as it does in this country, Mr. D. Bachrach suggests (in Wilson's
Photographic Magazine) that a provisional protection be given for five
years to every picture by stamping on the face or back with the
words " provisional copyright," with the month and year of making
the negative. In that time, if any should prove valuable enough for
the regular copyright, this right should still be open by payment of
the proper fees. In addition, infringement should be made liable to
either criminal or civil prosecution at the option of the plaintiff.
This would, in Mr. Bachrach's opinion, enable the producer of a
valuable piece of work to get the kernel instead of only the shell.
Now, he continues, for a pittance, the photographer has to use all his
skill and effort to get a pleasing portrait,|cabinet size, which is to be used
by some mere copyist for enlargement and profit, without any permis-
sion from the photographer. Under such a law as that suggested he
might have a chance to obta'm something proportionate to his skill,
unless a price was paid for the work in anticipation of such use of it.
In this country the fees for registration are fortunately so low —
one shilling, with a penny extra for a form, in contrast with those
which prevail in the United States of America — that the same objec-
tions to making every photograph copyright do not hold. But the
question to be settled first of all is the fundamental one. To whom
does the copyright of a commissioned portrait belong? Legislation
in both America and Great Britain is badly needed to settle this and
other matters connected with photographic copyright.
Drying: Gelatine Kegratlvea.— In the magazine previously
named, there is a translation from the Photo, Nachrichten, which we
had no difficulty in recognising as an editorial article that appeared
some months ago in Thi British Journal or Photography, on a
quick method of drying gelatine negatives and which need not occupy
more than five minutes. On this our American brother exclaims,
" What a job for a busy photographer ! In the United States we dry
736
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 17, 1893
our negatives at a hot stove in five minutes, after applying Helmold's
fireproof hardener, long since for sale by all stock dealers." On looking
up the directions for using this tanning fluid, we find that the plates
have to be immersed in it for a period of from ten to fifteen minutes,
which, with the subsequent drying of five minutes, say, nearly
twenty minutes altogether, as against our five minutes, represents
the percentage of loss of time sustained by the busy (!) American
photographer. By the way, we are glad to learn that some photo-
graphers are busy, as American papers and magazines have led us
to believe quite the contrary.
Tlie "I»lioto-Ailierican." — We have to thank the publisher
of the Photo-Avierican, Mr. Charles H. Loeber, New York, for a
bound volume of his beautifully illustrated magazine, which we
always peruse with pleasure. But we have searched in vain among
the illustrations for the portrait of the esteemed lady who edits that
department entitled "Our Women Friends." Our album of photo-
graphic brethren (and sisters) has still some vacancies. Perhaps
Miss Skeel will oblige.
ps
HOW LENSES ACT.
[Photographic Society of Ireland.]
The first thing necessary to the proper understanding of how a lens
acts is to get a proper idea of how light acts. Suppose we have any
small body, that body sends out rays of light m all directions. Whether
the light is from its own illumination, or is reflected light, matters not,
the rays depart just the same. A bundle of these rays entering our eyes
enables us to see the body, and, according to the character of the rays
thus received, we form our opinions as to what the body consists of, and
what is its shape and position. The thing to be remembered is, that
every body capable of being seen, and every individual point on it, is
sen^g out rays of light in every direction.
Now, suppose we have such a body, and we place a piece of tinfoil,
pierced with a small hole, in front of it, we will find that some particular
ray from the top of the body will pass through the hole and continue its
journey. Now, if we intercept it by a screen, the ray of light will fall
upon it, and form a little spot of light. If this ray be strong, weak, or
coloured, the little spot will be strong, weak, or coloured in proportion.
Now, the bottom of the object also sends one of its rays through the
hole, which will also form a little spot of light upon the screen, which
will be strong, weak, or coloured also. Every other part of the object
also forms its spot of light on the screen, so that we have an endless
number of little spots adjoining each other, and varying in intensity and
colour according to the rays sent from the object, and this aggregation of
little spots forms the image. This is, as far as I am aware of, the simplest
possible means of forming an image.
There are two things to bo noticed here : First, that the image is in-
verted— that is, turned upside down ; and, second, that the screen may
be at any distance from the pinhole. The effect of the distance being
greater or less is to make the image larger or smaller. If the distance be
twice as great, the image will be of twice the diameter, and consequently
four times the area. To illustrate this, suppose the screen be six inches
from the pinhole and the image of an object to fill a quarter-plate. If
the screen be removed to twelve inches, the image of the same object
will now fill a whole-plate — that is, four times the area for twice the
distance.
It might be thought that the smaller the pinhole the smaller the little
spots of light on the screen would be, and consequently the sharper the
image ; but this is not so.
If you watch waves in a heavy sea passing the end of a pier, you will
see them approach straight, and most of them pass on straight, but those
near the pier get bent inwards, and are deflected from their original
course. Now, rays of light, which also travel by waves, act in a similar
way, and, if the pinhole be too small, too large a proportion of the waves
will be bent out of their course, and will sadly interfere with the sharp-
ness of the spots formed by those rays which go straight.
The most suitable size of pinhole varies \vith the size of the picture,
and the best results are said to be obtained with holes varying between
jV of an inch and ^r, of an inch diameter. I recently saw a good way for
estimating the exposure to be given with a pinhole without having to
work out the angular aperture every time it was desired to make an ex-
posure. The pinholes in this case were made of different sizes, say, .1.
of an inch, and V^ of an inch, and therefore the same size that the stops
/-32 and /-20 of a lens, of an inch focal length would be.
If using the ,}^ of an inch pinhole, and one inch from the screen, we
would be workuig at /-20, and consequently should give the same
exposure as we should give with an ordinary lens working at /-20,
neglecting the very small difference due to there being no glass to
stop part of the light. If using the same stop, ^',7 of an inch, at two
inches from the screen, we should be working at /-40, and conse-
quently would have to give four times the exposure required with a
lens working at /-20. If using the same stop, J-„ of an inch, at three
inches from screen, we should be working at /-60, and should therefore
require to make the exposure nine times as long as for a lens at/- 20.
These are all tabulated here, and you will notice that there is a sort of
family resemblance between them, and that the multiple is the square of
the distance between pinhole and screen. Hence, to find the exposure with
pinhole j.r of an inch at any distance from the screen, you first estimate a
the exposure required for a lens at/-32, and multiply it by the square of
the distance betwen hole and screen.
Pinhole image are by no means so uncommon as is generally imagined.
You will all have observed when walking through a wood on a sunny day
a number of bright spots on the ground, and, strange, to say, these spots
are all circular. They are simply pinhole images of the sun formed by
interstices between the leaves. In very hot and bright climates, where
dark blinds are used to keep out the glare, similar images of the road
outside are occasionally to be seen on the ceilings, and indeed I have
once seen a similar image in Dublin, but it was not good.
But a pinhole is not a good means of forming an image, it does not give
good definition, it is very slow, you cannot see what you are taking, Ac. ;
so we use something else, and that something else, is a lens.
Now, when light passes from a medium of a certain density into another
of different density, it is bent, or refracted, as it is termed. Suppose we
are looking at an oar which is partially immersed in water, the ray of
light going from the end of the oar to the eye does not go straight, but
takes a bent course, as shown. The eye cannot recognise that the light
is thus bent, and we apparently see the oar in a higher position than it
really occupies ; every part of the oar which is under water similarly
appears to be higher, hence the oar appears to be bent sharply at the sur-
face of the water.
Light passing through glass at an angle does not go straight, and this
has some effect upon lenses, especially thick ones ; but how much it effects
them I cannot tell you.
If a ray of light be sentthrough a triangular piece of glass, called a prism,
it is bent on entering it, and again, on leaving it. Placing another prism
underneath, and drawing the corresponding rays through it, we find that
the outer rays meet in one place, and the inner rays at another, thus
partially forming images at both places. If the angle of the lower part
of the prisms be decreased, the refraction will be lessened, and the point
where the inner rays meet will move outwards to the other point. There
are other rays besides those, and, by altering the angle for them also,
they can be made to meet at the outer point.
But, as the number of rays are innumerable, so also must the changes
of angle be innumerable ; or, in other words, the surfaces of the prisms
must become curves, and such an arrangement is called a Icm, and is
such that all the rays from the object meet at a point, and consequently
form an image there. If we take another object, the rays from which reach
the lens parallel, these rays will come to a focu3 nearer to the lens at a
point called the principal focus, while the first object and its image are at
conjugate foci.
Now, a lens which will cause all direct rays to meet in a focus must be
ground to a certain curve, which, I believe, is a parabola, and for important
visual work I believe they are so ground. A photographic lens has also
to bring the oblique rays to a focus, and this requires a modification of
the curves. Again, lenses are ground in lathes, and it is cornparativelj-
simple to grind spherical curves, much easier than any any other curve,
hence all ordinary ijhotographic lenses are ground to spherical curves.
Now, I have just mentioned that a parabolic curve is necessary to bring
all rays to a correct focus, and, as photographic lenses are not parabolic,
but spherical, it follows they will not bring all rays to a correct focus ;
and this undesirable quality in a lens is called spherical aberration, nnd
it may be greater or less, according to the skill of the maker, in selecting
the glass and the curves, or it may be left there purposely, in order to
gain some other advantages, which the maker thinks more requisite. All
the good qualities cannot be put into one lens, so the maker has to make
either the best average or the best lens for a spherical purpose.
Spherical aberration is useful for the advanced school of photographers
and for portraiture. If a screen be placed about the focus, some of the
rays will form a sharp image thereon, bnt the other rays do not, and the
result is a certain blurring or softness, with no obtrusive sharpness any-
where to contrast with the blurring of other parts of the image, which
may not be in focus.
Spherical aberration also gives a sort of false depth of focus, to which
I shall refer later on.
Single lenses of long focus and large aperture have a large amount of
this spherical aberration, and hence are considered by some to be excel-
lent for portraiture. Mrs. Cameron, whose pictures were thought a very
great deal of, used, I believe, a lens of this description. Dallraeyer makes
a lens with an arrangement for diffusion of focus, which is merely an
arrangement for introducing more or less spherical aberration at will.
When we come to make negatives for lantern shdes, or for scientific
work, or to preserve records, all the sharpness procurable is desired, and
spherical aberration becomes a fault in the lens. Luckily, however, we
have a remedy for it in the shape of a diaphragm, or stop, as it is wrongly
called. If a stop which will exclude the extreme rays be placed before a
NovemW 17, 1893]
THE BKITISH JOOKNAL OF PHOTOGRAPHY.
787
lens, it will be seen that the remaining rays meet more nearly io a point.
If the stop be made smaller, so as to exclude still more outer rays, those
remaining moot still more nearly in a point ; so tiiat, by making the stop
small enough, an image can bo had free from abcriation, and conse-
<inently sharj). l!ut a small stop cuts off a large amount of light, and,
to make up tor it, the exposure must be longer.
Now, the amount of light which can pass through a stop depends upon
the size of tho opening; and if we consider two stops, say 1" and IJ"
diameter, the second, although of half the diameter, has only a quarter
the ana ot the first. Hence, if the first requires one second exposure, the
second will require four seconds ; in other words, the amount of light ad-
mitted, and consequently the exposure, vary as the square of the diameter
of the stop.
Now, from what I have said, if we have a single lens with a certain
size stop in front, a certain amount of light will get through, and conse-
<]uently it might be thought that the exposure would be proportional to
the actual size of the stop, as the lens behind the stop cannot affect the
amount of light which has passed through. This, however, is not the case ;
the amount of light passing through the stop is constant, but the amount
of work it has to do varies with the focal length of the lens. If one focal
length be double the other, the one image will also be double the other
lineally, that is, it is twice as long and twice as broad, and therefore four
times the area. The amount of light being the same, but the image with
the bigrjer lens tour times the area ot the other, the illumination of the
larger image can only he one-quarter that of the smaller, and therefore
four times the exposure must be given in order to enable it to complete its
work upon the sensitive film.
To equalise the illumination, and consequently the exposure, four
times the amount of light must be admitted, and to do this requires a
stop twice the diameter. This means that a half -inch stop in a six-inch
lens will give the same illumination and exposure as a one-inch stop in a
twelve-inch lens.
It will be noticed that each of these stops is one-twelfth of the focal
length of the lens to which it refers ; hence, stops which bear tho same
proportion to the focal length, or have the same angular aperture, give
equal intensity of light and equal exposure. The usual way ot expressing
this proportion is /-8, / 10, /-32, &c., and /-S in one lens will give equal
exposure to./"-8 in another lens, no matter what form or focal length that
other lens may have. J. H. Hargrave.
{To be continued.)
TEE'S VIEW OF THE PHOTOGRAPHIC SALON.*
Forewords commences thus : " Amoug the monochrome arts, photo-
graphy seems to hold a place nearer to the copper-plate processes than to
any others. Like them, it is a negative process, a plate being produced,
from which positive impressions are afterwards made. As in etching,
the original plate is made by chemical means ; as in mezzotint and aqua-
tint, the drawing is in tones, not hnes ; but, unlike any other process,
this drawing is accomplished by the action of light without the inter-
position of the hand." To say that, " in etching, the original plate is
made by chemical means " is a perversion of well-known facts. An
etching is made on a solid plate of copper {opaque, of course, whereas a
photographic negative is made on a transparent fdm), which is pre-
pared witli a highly polished surface, it is then covered all over wilh
the etching ground, chiefly composed ot wax, which is evenly distributed
by the dabber. It is next blackened all over by the flame ot a
candle or other means. The artist, having previously made a careful
drawing of his subject in black and white, makes a tracing of it, which he
reverses, and with red transfer paper he makes a red outline of the leading
parts ot his picture ; then he takes his etching needles of various thick-
nesses, and on the black ground he draws his picture, which is reversed
throughout; He can j udge of his progress by the coloured lines ot tlie
copper, which are seen through the black ground wherever his needle has
removed it in making the lines. It it is to be what is called a " dry-
point " etching, the lines are drawn more firmly and deeply, on the pure
copper, without any ground, then it is ready tor printing a proof. This is
most suitable for small, light, and delicate work. It it is to be an ordinary
etching, the lines need not be drawn so deeply ; it is suflieient it, in the
lighter parts, tlie copper is only scratched. The great advantage in this
is that tlie drawing can be made with almost as much feeling and artistic
freedom ot touch as with pen and ink. The artist next places his copper
plate in a flat dish containing about equal parts of nitric acid and water,
and allows it to remain about five or ten minutes, according to tem-
perature. The action is that the acid attacks the copper where it has
been exposed by the etching needles, and deepens the lines in proportion
to their strength. The black parts of the plate wliich are untouched
by the needle are preserved from the acid. The object ot biting in with
the acid is to avoid the necessity of drawing the lines more deeply by
hand, with less freedom. The etcher then takes theplate out, cleans off
the black ground, poUshes, and takes a proof in the printing press. The
light parts are generally deep enough, and are covered over again with
• Ctncluded jTOja page 720.
the ctehing ground or a Btopping-ont varaiih, wliich proteott the ooppe
from the further action of the acid. The plate is again immersed in the
di.-th tor the purpose of deepening the lines which require to be darker ;
it is again proved, and the jprooess is repeated again and again antil (be
desired effect is obtained. The parts which are too dark are hammMt*! sp
from tho back and soraped down even on the surface with Hat senKMis;
the dry point is also nsed for finishing up the finer shades in the light
parts. The value oi an etching (depends very maoh upon tho artistic
skill and fooling ot the printer, and the manner in which he may leave
tlie delicate nuance or soft tone ot a shade ot ink on the plate in addition
to the lines. So important is the printing that some of the best etchers
print their own proofs and keep their own printer. Etching is distinctly
a branch ot fine art ; it is the direct product of tho human mind and
hand. A fine and important etching sometimes requires months and
even years to produce. Tho above is merely a crude, general oatline of
the process, but it is suflScient to show the palpable absurdity of attempt-
ing to establish an analogy between the production ot such (ino-art work
as this and the making of a photographic negative and print.
Mezzotint engraving is another fine-art process, and is produced by
drawing and scraping on a copper plate ; it is frequently combined both
with etching and stippling. No mention is made ot the beautifnl arts of
lithography and wood engraving. Those also, in their highest develop-
ment, are branches of fine art, and they bear a closer resemblance in their
results to photography than etching does, although the processes are
entirely different ; they also are the direct product of the hand and mind
ot man.
In the second paragraph ot Forewords wo arrive at what is perhaps in-
tended to bo tho groat joke of the " Sahlong." Hero it is : — " Altbongh
not entirely limited by what is presented before it, the camera is not
much used to show its power ot invention, being employed, generally
speaking, to reproduce, more or less accurately, what actually exists
before it at one lime." We know the pretty poetical fiction about Galatea,
where tho sculptor fell in love with the beantitul young female form he
had created in the marble, and the gods forthwith endowed her with life,
and flowing blood, and soul, and brains ; but I cannot credit the sug-
gestion, thus gravely put forward, that they have ever bestowed any such
gifts on a photographic camera, bo it " Kodak," " Acme," " Snap-shot," or
any other sort, to enable it "to show its power ol invention," and I don't
believe they ever will — not in our time, at least. But as we are here dis-
tinctly given to understand that the camera does possess tlie power of inven-
tion, and can show it ^hen required, the authors must know of some new
and miraculous " power of invention," in which the intervention ot human
brains is dispensed with altogether. Perhaps Edison has given them the
wrinkle, or perhaps — as is more likely — this is only one of their little
jokes ; they seem to be ot a very jocular turn of mind, do some of these
gentlemen. In the course of my walk round the room I suddenly en-
countered a mysterious somethinfl in a little frame — No. l'J6, jestingly
denominated The White Robe of Winter. When I looked I nearly lost
my senses, and began to wonder where I was. I seemed to see a lot of
small photographs cut into strips, all jumping over the top of each other
in having a game at photographic leap-frog. My head seemed to swim ;
needles and ping seemed flashing through my eyes as they got dimmer
and dimmer. Before it was too late I had still sense enough left to
stagger to the nearest chair, into which I sank exhausted, stuck my bat
over my optical department, and gasped for breath. When I " came to "
I saw other people hurriedly rushing from " tho accursed spot " with ex-
pressions ot utter amazement and consternation. This, then, after all,
may have been " the greatest curse of photography," this abominable
freak. I gave it a wide berth ; I never looked at it a second time. I would
not enter that Sahlong alone at midnight — no, not for untold wealth
(at least, not tor less than half a sovereign down). 1 should expect to
see " the thing " phosphorescent, the leap-frog business still going on,
and goodness knows what else besides. Seriously speaking, the presence
ot " the thing" constitutes a daring assault on the public. I did not go
to Piccadilly to have my organs of vision assailed in that manner.
I suppose it has been placed here by the Fuzzyites as an intimation or
note of warning to this effect: — " Tliis is what we are coming to ! away
with your old-tasliioned prejudices — lookout!" Terrible fellows these
Fuzzyites — not content with blurring their own beautiful photographs out
ot all reasonable resemblance to anything in Nature or in art, they have
actually set about blurring and obtusticating the very eyes ot the visitors
who come to look at them. This new photo-wooly-graphic school may (?)
have a right to extinguish the finest characterisiic qualities ot their own
art in the unworthy attempt to make a mechanical imitation ot the mere
technique, the outward husk, of quite a different kind ot art, which is
not homogeneous to theirs, which they cannot assimilate, yet may
burlesque ; but they should leave the eyes ot the public alone. No. 171
is another ot these absurdities. It is a little bit of very coarse paper, on
which an ink bottle seems to have been upset, making an inky streak in
the middle and blotting over the lower part. It is a poor joke —a mere
affectation of eccentricity. The best work in the gallery is, of course,
produced by operators who endeavour to secure the reflections of Nature
in the finished style in which it is the natural function of photography
to present them, aided by their own taste in the selection ot subjects and
the artistic manner in which they treat them. On the other hand, the
least satisfactory works are those of clever operators, also with good
artistic tiste and feeling, who have got tired of the perfect work ol
738
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 17, 1893"
Nature as rendered by photography, and prefer to waste their talent
in the imitation of the work of other men — scene-painters and the
painters of unfinished pictures, called impressionists — in which spurious
imitation the mechanical labour involved in this branch of photographic
manufacture necessarily destroys the finest and most valuable qualities of
pure photography, some of which cannot be rivalled by any branch of art.
There are pictures here printed on canvas, and even on raw cloth, which
are far inferior to work which could be printed from the same negatives
on suitable paper. Cui bono ? More than a quarter of a century ago I
used to see photographs on canvas by various methods, much superior to
anything e^ibited here. Then a large proportion of the photographs
are sadly depreciated by the use of very rough drawing paper, which is
quite out of proportion for small work ; the delicate tones, sky, atmo-
sphere, distance, water, and all the light parts in landscape are destroyed
by the obtrusive, coarse texture ; and in portraits the subjects are made
to look coarse, and deeply marked with small-pox. That texture which
is excellent for the reception of colour in the free, bold handling of large
work is fatal to photography. Photogravure gives the very boldest render-
ing of the texture of pictures on paper which is perfectly smooth. It
would be ridiculous for a scene-painter to imitate the delicacy and detail
of a photograph ; it is equally ridiculous for a photographer to imitate
the breadth and boldness of scene-painting. Suum cuiqiie tribuito. These
photographic aberrations are the result of a desire to appear artistic —
they are art pretentiousness. The late C. E. Leslie, B.A., a most
refined and accomplished painter, in his Hand-book of Painting ennnci-
ated half a dozen words which should never be forgotten : " Pretence is
the essence of vulgarity." Palette.
«
NATIONAL ASSOCIATION OF PEOFESSIONAL
PHOTOGEAPHEES.
On- Friday, November 10, a meeting of the National Association of Pro-
fessional Photographers was held at Coleman's Hotel, Henrietta-street,
Covent Garden. The proceedings began with a Council Meeting in the
afternoon, and this was succeeded by a high tea, kindly given by the
President (Mr. Thomas Fall), and to which between thirty and forty sat
down. At the conclusion of the repast the Chevalier Latosse (Vice-
President) proposed a vote of thanks to the President for his hospitality.
This was seconded by Mr. W. Gill (Colchester) and supported by Mr. T.
Birtles (Warrington). The President, in|acknowledgiDg the vote, hoped
that no one would try to put down the Association by saying that it was
not succeeding. It had already gone through a lot of difficulties, and he
was certain that if they persevered, the future of the Association would
be all right.
In the evening the President again took the chair at a general meeting
of the Association, the attendance being extremely good. Among those
present were Messrs. H. J. Whitlock (Birmingham), James Martin
(New Southgate), Warwick Brookes (Manchester), Warwick Brookes, jun.,
F. Turner (Barnsbury), E. Howard Farmer, S. J. Beckett, J. J. Elliott,
Frost; (Loughborough), Spink (Brighton), Harold Baker (Birmingham),
W. Gill (Colchester), Crosby (Sheffield), G. V. Yates (Sheffield), HoUis,
W. P. Marsh (Bognor), W. T. Coombes (Plymouth), J. Martyn (Sonthwold),
W. Davey, G. Pendry (Nottingham), Chevalier Lafosse (Ilfracombe), C.
Lafosse, jun., Hogg (Eyde), E. Keene, jun. (Plymouth), D. J. O'Neill
(Secretary), Mr. and Mrs. Snowden Ward, Mr. Thomas Bedding, and
many others.
The President delivered an address to the Members [see page 733],
after which an informal discussion on the aims and objects of the Asso-
ciation took place.
Mr. W. Gill said the Association had started too ambitiously, and he
confessed himself rather disappointed with it. They were, however, he
thought, coming to a healthier state. They need not be too anxious to do
anything; if they only kept together, something would come to them to be
done. As to the subscription (10s. 6(7. per annum), he considered it
should be doubled. He would rather let people apply for membership,
which should be an honour, than endeavour to get new members.
Mr. Jas. Martin said photographers had a grievance against themselves
and the public. The public wanted them to render their services at too
low a rate, and did not accord them a due amount of consideration.
They looked upon them as mechanics, and ignored the more or less
number of years of experience which were necessary to enable them to
turn out the work which the public required from them at so low a rate.
He thought the causes of the grievance could be removed by imitating
the Pharmaceutical Society in the case of chemists and druggists, and
granting diplomas to photographers.
Mr. T. Birtles said tha last matter had already been under discussion.
It had been said that the public under-valued photographers' work.
Well, he thought the pubUc took them at their own prices, and if photo-
graphers sold work at low prices they had only themselves to blame for
it. What was wanted was more unity amongst photographers. Where
were the London photographers that night ? That room would have been
fiUed three or four times over if the London men had only come forward
as they should have done. Some of the country photographers there
had travelled hundreds of miles to be present to work for the benefit of
the whole of the profession.
Mr. Snowden Ward advised photographers to undertake process work
as a means of improving their positions.
Mr. E. Keene asked where the demand for process work existed iB'
small provincial towns?
Mr. Ward quoted the case of Colne (Lancashire), which in his ex-
perience was sending to London to have lantern slides made.
Mr. Crosby alluded to a professional photographer in a small pro-
vincial town who had recently returned from London with considerable
orders for lantern slides, &c. He was sorry the Association had not
fulfilled the anticipations that had been formed of it.
Mr. E. Howard Farmer said that he was practically " born in a dark .
room," both his father and mother having been photographers, while he
himself started in the profession on Ramsgate sands. His object in
speaking that night was to try and remove the prejudice which existed as
to the photographic teaching given by the Polytechnic. The object of
that institution was to educate young photographers, and it included
a large number of classes. If there were not enough young profess
sionals to start the classes, amateurs were admitted at slightly increased
fees. Photography had been rendered almost too easy by the introduc-
tion of dry plates. He strongly advocated professionals undertaking
processes giving results which the amateur could not approach, and
seconded Mr. Ward's suggestion that photographers should take up.
process work. There was an idea that collotype and other processes
were very difficult, but that was not the case. As to the demand for that
kind of work in the country, were not local papers frequently producing,
half-tone blocks ? Then, why should not the local photographer supply
them ? There was nothing to prevent him. He thought also that,
photographers should supply a sitter with his finished photographs the.
same day as the sitting, and not keep him waiting two months. There
was nothing to prevent the prints being delivered the same day. This,
would improve the business of the professional. In reply to a general'
chorus of inquiry as to how this was to be done, Mr. Farmer said it was
actually being done.
Mr. Whitlock pointed out that a cabinet head took two hours tO'
retouch and not a quarter of an hour, as Mr. Farmer said, so that he. •
failed entirely to see how the prints could be so quickly delivered..
No doubt Mr. Farmer was speaking of some quick process, of which they
would be glad to have information.
Mr. Farmer said that the prints could be made by the developed-ont,.
collotype or bromide processes.
The meeting closed appropriately enough by a demonstration of the*
new Paget Print out and Development Paper by Mr. S. H. Fry.
ON THE PHOTOGEAPHY OF THE LUMINOUS EAYS OP THE.
SHOETEST WA^'E-LENGTHS.*
The Source of Light,
The purpose of the photograph demands a source of light rich iij'
energetic rays of the shortest wave-lengths.
Only the light of electric discharges fulfils this condition. Hence I
had merely the choice between the arc light and the light of sparks. As
the latter promised the better result, all my photographs have been
produced with spark light. For its production there was used a Euhm-
koril inductorium arranged for a maximum spark length of twenty-five cm.
The primary current was furnished by six Grove elements. A Leyden
jar, of 500 square cm. of external coating, was inserted in the track of
the secondary current. In some cases an additional jar was introduced^
and even occasionally two more.
For the region of wave-lengths 198-8 /i/t to 185-2 /ifi, only aluminium
electrodes are available, according to the observations of Stokes {Phil.
Trans., clii. p. 606, fig. 1, 1862) and Cornu {Archiv. des Sci. Phys. et
Naturelles, III. Periode, t. ii. p. 125, 1879), and merely for the wave-
lengths 2300 fifi to 198'0 /t/i, which I could not leave unnoticed, I used
electrodes of zinc and cadmium. Zinc and cadmium deserve to be pre-
ferred to other metals, on account of the uniform distribution and
relatively powerful action of their most refrangible rays.
The Photographic Procedure.
I use dry gelatine plates of my own preparation. Commercial plates
are less suitable for the photography of spectra. When it is important to
support as far as possible the optical power of the photographic spectral
apparatus, where the sharpness of the image is a main condition, and
also where a strong contrast in the intensity of the images of the lines is
needed (photometry), the commercial plate is inadequate. It does not
work intensely enough to assist spectroscopy to the extent of the modem
dry plate.
The gelatine plate of my own preparation gives an intense and finely
granular image on a ground clear as glass. The emulsion is relatively
rich in silver iodide, containing, to 100 parts by weight of silver bromide,
four to five parts of silver iodide. Its preparation is effected exclusively oa
• Continued from page 707.
November 17, 1803]
THE BKITISH JOUKNAL OF PHOTOORAPIIY.
730
Eder** roeUioi}, with ailver-oxide ammonia (J. M. Eder, Autf. Hand. d.
l>lioto;iriiphie, Part III., pp. 208-211, 4th ed., Halle, 1890), which I have
Qsed (or more than ten years.
For developing the plates I nse the soda-pyrogallio developer, and for
fixation sodiam thiosulphate.
The Photographic Proof.
Before proceeding to treat of photographic proofs, it may be remarked
•that I have long occupied myaeK in a complete manner with the photo-
graphy of the ultra-violet region. My chief object was then the
development of the graphic portion of the proofs, the most refrangible
rays being overloolied. Only now and then, in a transitory manner, I
have attempted to photograph the most refrangible lines of aluminium,
but without success.
More favourable, then, with aluminium were the conditions of the moat
tefraotive lines of zinc, which precede the above-named aluminium lines
in the series of the most striking rays of the ultra-violet. But, though I
did not here operate unsuccessfully, the image which I obtained was
always pale and indecisive.
The most refrangible lines of cadmium, which are still less deflected
than most refrangible zinc lines, appeared regularly after a short exposure
to light. But in intensity they were decidedly inferior to the neighbouring
lines of smaller wave-length of the same spectrum.
In general the wave-length of the cadmium line No. 24 (226'55) formed
the limit of my earlier photographs of the ultra-violet.
The above-mentioned most refrangible lines of cadmium, zinc, and
aluminium have been marked by Mascart and Soret with numbers, and
generally in spectroscopy, where the wave-lengths are not necessary, this
system has come into use. I shall use it in what follows. Here follows
a list of these lines with the Mascart-Soret characterisation, the wave-
lengths as determined by Cornu {Archiv.i des. Sci. Phys. et Nat., III.
Feriode, t. ii. pp. 121-12C, 1879), and a design (fig. 1) taken from my
own photographs.
Cd, No. 23, 231-35; No. 24, 226-5.5 ; No. 25, 219-45; No. 26, 214-41.
Zn, No. 27, 209-88 ; No. 58, 20610 ; No. 29, 202-43. Al, No. 30, 198-81 ;
No. 31, 193-35 ; No. 32, 185-22. No. 28, No. 31, and No. 32 are double
lines.
The photography of the cadmium spectrum formed the beginning of
my investigation. Victor Schumann.
(To be continued.)
©ur IBtiitorial Caftle.
Dr. Andeesbn's Fixing Salt in Babs and Oabthidgks.
Arthur Schwarz k Co., Dashwood House, E.G.
Wr have before now spoken of the convenience of the fixing cart-
ridges issued by Messrs. Schwarz & Co. The latest adaptation of the
idea is to compre-ss tlie salts into small bars, which are handy in more
senses than one, being less bulky than the uncompressed salts. The
bars dissolve readily, the four ounce in thirty-six ounces of water,
and so on, and thus an acid fixing bath is easily formed which
answers perfectly. These fixing bars and cartridges should be
popular.
Ttbeb's Patent Postal Tube.
The GoTcmment Postal Tube Company, 70, Long-lane, S.E.
l)ouiiTLF.s.s this tube would be found useful for the transmission of
photographs, &c. It consists of an ordinary cardboard, towards one
extremity of which is a hole which so allows of the disposition of
the fingers that the contents of the tube can be withdrawn without
damage to them.
"Photosbaphy at Night."
liy p. C. DccHociiois, New York.
Wkll knowing Mr. Duchochois' thorough knowledge of all that
appertains to photography, we invariably read his writings with more
than common interest. In Photography at Night ho compresses into
its 108 pages everything that can be said on the subject, giving, as
might be expected, a primary place to magnesium, and full direc-
tions as to its employment m portraiture, including the arranging
-of the sitter, the lamps, and the developers to be employed. Printing
by contact on bromide paper, enlarging;, maWnff lantern slidn, and,
indeed, everything that can bt; done by artificial light fall under th«
category of topics treated. The work can be obtained from the
Scovill &. Adams Company, 423, Broome-street, New York.
fletDS anil J^otes.
Photooraphio Club.— November 22, Smokin(? Concert.
Lkwisham C.vukba Club.— November 17, Exhibition of Hemb«n' Work.
West London Photoobaphio Society.— November 28, TeU-pholography,
by Mr. T. R. Dallmeycr.
BiHXTON AND Claphah CAMERA Cldb.— Next meeting, November 21,
Skies, by Mr. W. Thomas.
WiDNES Photographic Societt.— Next meeting, November 22, at Bedford
Chambers. Members' Lantern Slides.
Leeds Cauera Club. — November 23, Demonstration, Lantern-dide
Making by Reduction, by Mr. C. Oray.soii.
London and Provincial Photoobaphio AsaociA-nON.- November 23
Demonstration, Carbon Printing, by Mr. Birt Acres.
The Manchester Amateur Photographic Society's Annual Exhibition of
Members' Work takes place on December 12, 13, 14, 15, and 16, 1893. Par-
ticulars of the exhibition manager, Mr. E. Ashman, 5 Blue Boar-court, Market-
place, City.
Liverpool Amateur Photooraphio Association.— November 23, Paget
Company's Printing-out Paper, Toning and Finishing ; also special remarks
anil practical demonstration on Part Print-out and Part DenelopmeiU of
Image, by Mr. S. Herbert Frj'.
Death of Mr. Thomas Mayne. — We learn with great regret of the death
of Mr. Thomas S. Mayne, which occurred at his residence, St. Hilary Brow,
Wallasey, on Thursday, November 9. He was an enthusiastic and very suc-
cessful amateur photographer, and was prominently connected with the recent
Liverpool Photogr.iphic Exhibition.
SociKTY OP Arts. — The new Session of the Society of Arts commenced
on Wednesday, 15th inst., when the opening address was delivered by Su-
Richaril E. Webster, Q.C., M.P., Chairman of Council. Amongst the subjects
before Christmas likely to interest photographers, are, November 22, Con-
formation of the Horse from the Artistic Point of Vie^o, by Capt. M. H.
Hayes ; and, December 6, An Artist's Vieio nf Chicago and the World's Fair,
by Mr. Freilerick Villiers. Mr. Henry Blackburn will deliver a course of
Cantor lectures on The Art of Book and Newspaper Illustration on Monday
evenings, November 27, December 4, and 11.
Halifax Camera Club's Conversazione and Musical Evening. — A tho-
roughly enjoy.-ibkentertainment wasjirovideJin the Mechanics' Hall, on Thurs-
day night, November 9, by the Halifax Camera Club. The Club's heailquarters
are in Crossley-street, where meetings are held and experiments conducted.
As Mr. J. Ingham Learoyd, the active President, explained to the lar^e com-
pany which assembled, the object of the gathering was twofold : to mterest
visitors in photography and so draw new members ; and also to add to the
funds of tlie Chib. The members had lontributeil a most interesting collection
of apparatus and work produceil by themselves. Mr. Thomas Illingworth, of
Crown-street, furnished a large number of well-fumisheil photogi-aphs, many
of large size ; and Messrs. Thomsis Illingworth & Co., of London, had also
sent some charming exhibits. These exhibits, together with examples of electro
blocks, photogravure, &c. , the most improved cameras, and hundreds of pic-
tures done by members, were exhibited on tables placed along the sides and
across the room ; while the tables were lit with lamps and decorated w-ith
plants, giving altogether a very pleasant effect. Members were present to
answer questions and give any information desired respecting any of the ob-
i'ects or the curious processes of photography ; and, more than this, a dark room
lad been fitted in which the work of developing, fixing, &c., was practically
demonstrated. During the evening two exhibitions of magic-lantern views, also
done by the members, were given. The proceedings were varied with selections
of instrumental music by Mr. E. J. Walker and a party of friemls, and songs
by Mr. J. C. Marchant and Mr. A. Munday. Mr. C. iliomas ably officiatwl
as accompanist. Mr. H. Walsh, of Tliornleigh, Halifax, is the Hon. Secre-
ary.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 21,071. — " Improvements in Photographic Shatters." Communicated by
E. Hanau. H. H. likKZ.— Dated November 6, 1893.
No. 21,127. — "A Combined Spring Catch and Lock for Photographic Dark
Slides." A. J. Dr^-si.— Dated Xoi^embei- 7, 1893.
No. 21,249. — "A New or Improved Method of Treating Canvas, Sliirting,
Silk, Paper, and like Substances for the PurjKise of Rendering the same Sensi-
tive to Light." Complete specification. G. J. Junk. — Dated November 8,
1893.
No. 21,258.— "Impro%-ements in Reflectors for Photographic Purposes.
F- R. BOARDMAN.— J5<i<«i Novembci- 8, 1893.
740
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 17, 1893
No 21276— "ImiiroTements iu Iris Diaphragms for Pliotographic Objec-
tives'and in Meclianisnis for using same as Objective Shutters. Complete
spedtiXn. Communicated by the Firm of C. Zeiss. J. Y. JOHNSON.-
Dated November 8, 1893.
Datea xnovemoer o, lofu. , . „ „
No 21282.— "Improvements in Dart Slides for Photographic Cameras.
J. *E. Thornton and E. Pickaed. — Dated November 9, 1893.
No. 21,371.— "An Improved Mount for Photographic Prints." H. F.
Stvbvs.— Dated November 10, 1893.
No ''1 379 —" Improvements in the Application of Electric Light for Photo-
graphic Purposes, and Apparatus therefor." A. G. Adaj.isos. — Dated
Not-ember 10, 1893.
No 21 476.—" Improvements iu and connected with the Developing of
Photographs." A. G. Adamson. —Z>ate(i November 11, 1893.
mmim^ of Sbociett^js*
— ♦- —
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of Meeting.
November 20 ..
20 ..
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20 ,.
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21 .,
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Name of Society.
Camera Clnb
Dundee Amateur
Glasgow (fewest of ScotlandAm.
j HastinBS and St. Leonards
Leeds Photo. Society
Richmond
Sonth London
Birmingham Photo. Society ...
I Brixton and Clapham
! Exeter
Hackney
Keighley and District
North London
Paisley
Rochester
Leytonhtone
Photographic Olub
Sontbport
Stockport
Camera Club
Glossop Dale
Hull
Ireland
London and Provinoild
Oldham
Cardiff
Central Photoji'raphic Club
Croydon Microscopical
Holborn
Maidstone
Swansea
West London
Hnll
Place of Meeting.
Charing Cross-road, W.C.
AsBO. Studio, Nethergate, Dundee.
180, West Regent-street, Glasgow.
Mechanics* Institute, Leeds.
Greyhound Hotel.
Hanover Hall, Hanover-park, S.B.
Club Room, Colonnade Hotel.
376, Coldharhour-lane. Bri'xton.
City Chambers, Gnndy-st., Exeter.
206, Mare-street, Haekney.
Mechanics' Institute, North-street.
Canonbury Tower, Islington, N.
9, Gauze-street, Paisley.
Mathematical School, Rochester.
The Assembly Rooms, High-roatL
Anderton's Hotel, Fleet-street, K.O.
The Studio. 15, Cambridge-arcade.
Mechanics* Institute. Stockport.
Charing Cross-road, W.C.
71, Prospect-street, Hull.
Rooms, 15, Dftwson-street. DabHn.
Champion Hotel, 15, Aldersgate-Bt.
, The Lyceum, Union-st., Oldham.
Coleman's Hotel,Heurietta-st.,W.C
■ Public Hall, George-street, Croydon
I ** The Palace," Maidstone.
Tenby Hotel, Sw.insea.
Ohiswick School of Art. Obiswick.
71 Prospect-street, Hull.
PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN.
November 14, Ordinary Meeting, Mr. J. Spillbr (Vice-President) in the
chair.
The following were unanimously elected members of the Society : — Messrs.
G. Ardaseer, 'Thomas Bedding, Mrs. C. W. Ward, Messrs. J. C. Burrow,
E. R. Co.\, jun., A. W. Dollond, C. Hipp ; Staff-Surgeon Preston, and Mr. G.
Stevens.
PHOTOaHAPHT IN COAL MINES.
Mr. Herbert W. Hughes, F.G.S., A.R.S.M., gave an adilress on this sub-
ject, saying that he was anxious to obtain some ideas which would iielp him in
tackling this difficult branch of ph jtography. The first series of mining photo-
graphs ever taken were by Mr. Arthur Sopwith, of Walsall, where the
seam was from si.\ to seven feet thick. Tiie methods that were perfectly
successful with Mr. Sopwith were useless with him (Mr. Hughes), where the
seam was thirty feet thick. The only other coal-mining photographs taken,
that he knew of, were by a Pennsylvania photographer ; the remainder were
metal-mining views. He did not wish to disparage metal-mining photographs,
but nearly twice as much light was required to get the same result in a coal mine
as in a metal mine. The soft, sooty variety of coal so often met with absorbed the
light instead of reflecting it, whereas in metal mines it was retlected with coni-
girative brilliancy. Alluding to the views in Cornish mines, taken by Mr.
urrow, and shown at the Exhibition, he said hi.'i remarks applied equally
to them, the only difference being in the lighting respectively employed by
him and Mr. Burrow. The latter gentleman used a triple magnesium flash
lamp ; he (Mr. Hughes) a Platiuotyjie Company's lamp, supplemented by an
Optiraus 1000 candle power lamp. As to lenses, Mr. Burrow and hiiaself tried
lenses of the rapid symmetrical and portrait type. Mr. Sopwith's pic-
tures had been taken with a portrait lens, but they lacked distinctness
in objects comparatively distant from the lens, which should not be.
Both he and Mr. Burrow finally used a lens of Zeiss, Series III., while for
lertain purposes, the Zeiss lens being of rather long focus, he had obtained
most excellent results with the Concentric lens of Ross. By using this lens at
/-22, he found tliat it ilid not require double the illuiuination that the Zeiss
did at /-18, ao, with a short-focus lens, one could get so much nearer the
object, and the conditions of lighting were so totally different that the light is
reflected back, so that one obtained more of it. In fact, with a short-focus
lens and a small aperture, he would burn the same amount of magnesium as
with a long-focus lens of larger aperture. In this kind of work the difficulties
to be overcome were not many, but they were hard. Smoke from blasting, a
moisture-laden atmosphere, water from the roof, supjilemented in coal mines-
by the presence of coal dust, which thickened the atmosphere and deposited
particles on the plate, were among the few he enumerated. Condensation of
moisture on the lens was difficult to get rid of. He obviated it somewhat by
always carrying his lenses in his pocket. The opening of a door in the mine
was sometimes sufficient to send in a stream of cold air, which would condense
moitture. It was impossible to properly compose the picture on the ground glass.
He generally arranged a series of lights round the principal objects, and moved
the camera about until he obtained the principal points on the ground glass.
Focussing h.ad to he guessed at. Sometimes one could bum a length of magnesium
wire for that jiurpose, but in the majority of cases, where it was burnt, it was
imiiossible to take a photograph that day. The air should ]iass from the
object toward the lens. He had found the light given by the Platinotype
Company's lamp more actinic than that of ordinary flash lamps. One scene
he took iiad 270 grains of magnesium burnt on it, and the same picture, taken
from the other side, had ninety grains ; the latter negative was, if any-
thing, the better exposed. The only instantaneous photograph he had got
underground was obtained by accident, the lamp stopping, as it were, in its
flash. The negative turned out one of the best lie had taken. For developer,
he succeeded best with pyro and ammonia. He never over-exposed, .and usually
took from two to three hours to develop, subsequent intensification being
always necessary. To show the difficulties of the kind of work, seventy per
cent, of the plates he exposed were failures, and of the remaining thirty per
cent, one-half only were good. Mr. Burrow said th.at, of his expo.^ures, seven-
teen per cent, were good. In his (Mr. Hughes's) case, nine hours' work under-
ground only produced three negatives, which, on development were valueless.
A large "number of slides, by Mr. Hughes, Mr. Burrow, and Mr. Sopwith,
were shown, illustrative of the difficulties of co.al and metal-mining photo-
graphy, as well as of points in Mr. Hughes's pajier. He pointed out that, in
pictures where very dark shadows occurred, .secondary lighting of them was
necessary, but care was to be taken in pi eventing direct light from the mag-
nesium entering the lens.
Mr. Brough, as a min'ing engineer, bore testimony to the value of the
photographs, which, he said, was hardly to be over-estimated. In teaching
mining engineering to ordinary students, diagrams conveyed but a very imper-
fect idea of the state of things that .such students would meet with. Such
pictures would also make teachers and lecturers' work more interesliing.
To the geologist the qne.stion was also a vital one. One of the most difficult
problems was, that which related to the formation of ore ileposits ; here the
mining engineer and the geologist had to work hand in hand.
Mr. Graves (also an expert) .said the raining photographs had given peoi>le
a wondeifully good idea of what underground workings were like.
The Chairman asked for an explanation of the fact that one of the photo-
graphs had been taken by magnesium light while one of the men had a Davy
lamp in use.
Mr. Hughes saiil an artist's licence had been taken. Mr. Sopwith (who took
the photograph) had satisfied himself that there was no gas present.
Mr. Debenham, in 1865, had taken photographs in a Cornish tin mine, using
wet collodion. As to an oxy-niagnesium lamp being more adv.antageous than
other flash lamps, magnesium burnt in oxygen was known to give more light
than the same quantity of magnesium burnt in air.
Mr. WiLMEB suggested that possibly condensation of moisture in the lenses
might be obviated by employing an oil or water j.acket.
After other remarks, Mr. Hughes briefly replied ; and a vote of thanks was
passed to him.
The Hon. Secretary gave a brief resumi of a paper by Mr. W. K. Burton,
On theHamje of Liglit Imping itig on a Plate during Exposure in the Camera;
and the proceedings terminated.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
November 9, — Mr. .1. S. Teape in the chair.
Attention was called to a statement in the Standard of a gas bottle having
burst.
Mr. HODD said he could not account for it ; if it had been a drawn steel
cylinder, it would not have burst.
Mr. R. B. Beard showed a new saturator called the " Gridiron." He had
tried it in various ways, but could not get any back snap . The saturator was
packed with asbestos. He thought a weak point in it was that there was no
means of stopping the evaijoration of the ether when not in use.
Being a Lantern Night, slides were shown by Messrs. Bayston, Steiumetz,
Hodd, Austin, Joy, and the Hon. Secretary.
Brixton and Clapham Camera Club.— November 7, the chair being
occupied successively by Mr. R. G. F. Kidson (Treasurer), Dr. J. Reynolds
(President), and Mr. F. Goldby (Vice-President).— The Club settled details
with respect to the forthcoming Club Exhibition, which will be held atthe
Clarence Rooms, Coldharbour Lane, Brixton, from Thursday, .January ih, to
Wednesday, January 31, 1894, both d.ays inclusive. There will be no open
class, and prints will not be divided into classes, as on former occasions. It
was decided to invite Messrs. Pringle, Cembrano, Colonel Gale, and Mr.
Warnerke to act as J udges, giving them full power to award or withhold
mediils as may seem best in their judgment, the only restriction in the matter
being th.at not more than two medals shiiU be awarded to auy one exhibitor.
Full particulars and tickets may be obtained from any member of the Club or
of the Hon. Secretary, Mr. B. E. Finder, 7, McDowall-road, Camberwell, S.E.
Subsequently a paper was read and a demonstration on Enlarging given by
Mr. Butler, one of the members. An enlargement 12 x 10 was successfully
made from a half-plate negative, the enlargement (on Morgan & Kidd's bromide
paper) being developed with the following formula : — Amidol, 2 grains ;
sulphite soda, 24 grains ; bromide of potassium, 1 grain ; water 1 ounce.
November 17, 1893]
THE BRITISH JOUKNAL OF PHOTOGUAPHY,
741
I I I
Hackney Photograpbic Society.— November 7, Mr. T. H. Smith in the
. liair.— Till! folliiwiiiR work wn.s shown by nii'mlivrs : Mr. Ooflling some liand-
uiura shots ; ui'gntivu iiml print by Mr. FaraiiT, nnd phiitiigraphfi of pen-
and-ink skitchi's by Mr. Huckett on arttentotyiw paper ili'velopcil jvith amiilol,
showin}? what nn intinsi' black this iU'velo|>er will give with a frcwlom from
stains. Mr. Unilson showeil a frame for enlarging portion of a (luartiT-plate
negative with fonrinch condenser of optical lantern, which had springs for
holding the negative perfectly vertical during exposure. Samples ofKlIiott fi
S.ins', "Barnel" lantern plate were distributed amongst tie members, reports
to be lodged at a subseriueut meeting. A discussion u[K5n tlxhiliition matters
brought the evening to a close.
Lantern Society.— November 13, Annnal Meeting.— The rejiort and balance-
sheet having been adopted, and the oificers for the ensuing year elected, the
set of lOO sillies received from America were shown. These slides, which are
of excellent i[uality and interesting subjects, are availalile for the use of mem-
bers until May next, application to be made to tlie Curator, who will book
dates in advance.
North Middlesex Fhotogrraptalc Sociel^f.— November 13.— In the regretted
absence througli illness of Mr. Horsley Hinton, who was to have aililressed this
Society, a general discussion on various topics took place. Mr. .\vkrv raised
the (piestion whether it was allowable, or true in art, to put a cloud into a
landscape whiih was photographed ujion a day when there were no clouds but
a clear blue sky, or whether such a sky should be simply toned down to re-
present a blue sky. .Mr. Makchant thought it would be instifiable to put in
any cloud that wns suitable, but it mnst be suitable. He did not think a painter
woulil stand at gmtting in a suitable cloud if it helped the picture, and why
should not a pliotograplier .' Jlr. Mattocks had seen many paintings with "a
cloudless blue sky, and if a photographer could convey the idea of blue sky he
did not know -why he should not do it. But it was admittedly dillicult, and the
next best thing was to put in a suitable cloud. Mr. GoLDtNCi thought that a
sky slightly toned down would, at any rate, in some cases, represent blue sky,
.and instanceil Mr. Calland's picture iii the Salon Orchard in June. Mr. Cox
thought a m,an must carry in liis mind the ultimate effect desired, and might
do anythin;; which would" helji him to gain that effect. Mr. Beadle thought
that anything which would tend to make a photograph more picturesque was
justifiable. Mr. Mu>rMEBY said it did not matter two straws whether clouds
were present when the landscape was 2ihotographed or not. Would any par-
ticular cloud improve the effect .' That is where a man must use his judgment,
and he -would jnit a cloud in if he thought it would be an imju-ovement. He
thought it possible to get the exact tone value of a blue sky if it were required.
Mr. Cox objected that you could not get the luminosity of the sky. .Mr.
MUMMSRY said you could not get the luminosity of the setting sun, but you
could get a tolerably correct representation of it by lowering the tone of the
picture to corres]>ond. The discussion wa.s continued by .Messrs. Forties,
Wall, Pither, Cheny, and others, the general opinion being, that if a cloud
wotdd helji the picture it might be put in.
Woolwich Photographic Society.— November 9.— There was a big muster
of members at St. John's Schools to see the lantern .slides that had been sent
in for criticism. About 160 were passeil through the lantern, after which a
set of sixty slides taken by members of the Manchester Camera Club were
shown, and greatly applauded. It added very much to the interest centered in
this set that Mr. W. H. Dawson, who acted as lanternist, was forced to
announce that he was a Manchester man, and, as the slides were put through,
gave the audience a lot of information respecting the spots chosen for
illustration.
BrooWanda (St. John's) Photographic and Scientific Society.— Ordinary
-Meeting held on Tuesd.\y. November 7, Mr. F. J. Simpson in the chair.— Nine
new members were elected. Mr. M. W. Thomi'stonk delivered a lecture on
I'hotographtc Printing Processes, in which he dealt with the methods of work-
ing the platmotype, carbon, Obemetter, Nikko, silver, and gelatino-chloride
processe.s, exhibiting several jirints done by each process. The growth of
photography was traced from the year 1835 to the present day, the latest im-
provement, and most interesting part of the lecture, being the development of
partially printed prints on printing-out paper. After briefly describing the
process, the members were treated to practical illustrations of this new method
of printing. Several prints were passed round, the image in some being just
visible, the length of exposure being stated as one-tenth of the full printing
time. It was .satisfactorily shown that, however much under-printed the image
might be, it could not be told from a fully printed one after development. The
prints were immersed in a solution of potassium bromide, the recommended
strength being pota.ssium bromide, one ounce ; water, half pint ; and left in
lor two minutes. Having been thoroughly washed, they were put in the
developer (as recommended by the Paget Company), when the image gradually
increased in depth until it re.sembled an ordinary print, care being taken that
the prints were removed from the developer just before fully out. It was
pointed out that a thorough washing was then necessary, as, if this was
neglected, development would continue and spoil the print. The prints were
tlien toned in a sodium acetate bath, and, when fixed, resembled in every way
a print done in the ordinary way on printing-out paper.
Oosport Photographic Society.— The ordinary meeting of this Society, held
on November h, wa,s .levotcd to an exhibition of lanteni slides. They were
greatly appreciated, especially the architecture and Hower studies. Next
meeting November 22, at the Society's rooms, 46, High-street, Gosport.
Newcastle-on-Tyne and Northern Conntlea Photographic Association.—
lUe monthly ineetiiig was held on the 7th inst., Mr. J. P. Gibson, President,
in tne chair.— The Chairman opened a discussion on iirinting processes, which
wiis continued by Messrs. Auty, Arnott. Brewis, Brown, Park, Parry and
Watson, who exhibited specimens of almost every process. The details of the
rortliconimg Exhibition were discussed and decided upon. Next meeting,
November 21, exhibition of prize slides.
II ^*'*i°n^- P'jotopaphlc Society.— November 8, the President (Mr. V. C.
JJiillicld) in the c lair.-Mr Piuesi.sall gave a demonstration on Flashlight
I (totography, and took a photograph of a group of their members by means of
magnesinm light. He uned an apparatus with twelve lampa, each buminff
three grains of magnesium )>owder. The ezponire wo* mode on a Marlon haIN
plate, Hurter k Driflicid actinogniph speed No. 70, using a Roes rapid sym-
metrical lens, eight inches focus, workins at /-H. The plate was arr«l<f«d
with pyro and ammonia, fixed, and handed round for inspection. It turned
out to be a good negative, and Mr. i'rieatnall promised to bring some prints of
it to the next meeting. The following cpiestions were discnssed: — 1 : Do rapid
plates take longer to fix than alow ones .' If so, why f lite ameral opfainn
was that the answer to this <ihould be. No ; and it was not at ailsafe to sssniue
that fixation was comidete immediately on the disappearance of colour from
the back of the film ; and it was advisable to allow plates to remain in the
hypo at least fifteen minutes, in order to ensnre all the silver Mdt behig dis-
solved therefrom. 2 : In developing plates out of the same box, some take
longer to fix than others. Is this a sign of over or under-exiKWnire ? The
answer to this was: Exiwsure does not affect the time in fixing; but some
l>lates were more thickly coated than others, owing to the glass u.ied not being
perfectly level, ami it took longer to ilissolve the silver salt from those. It
was agreed that next meeting be reserved for the exhibition of members' lantern
slides.
Dundee and East of Scotland Photographic Association.— The second'
general monthly meeting of the Session was held in Lamb's Hotel, Dimdke,
on Thursday, the 9th inst., Mr. .1. D. Cox (Presiilcnt) in the chafa-.— After
routine business, Dr. J. K. Ti'lloch read a paper entitled, Remarl.s on Hand-
camera Work iind Ilnnd Cameras [see next numberl Mr. Fkatiikrr, curator
of the Society's afbum, dVew attention to his ditriculty in procuring prints for
the album from the members, and hoped that in future they wonlrl conform to
the rule of contributing at least one print each. The ])rizes for the best pair of
Jirints taken at the As.sociation's excursions during the past season wen- awarde<l
to— 1st, V. C. Baird ; 2nd. Rev. K. J. Oough ; and, 3rd, J. Thow.
Photographic Society of Ireland.— November 10, Mr. Moroaw gare a de-
monstration on the new developers. Amidol, Metol, nnd iHycin (Hauff).
Some negatives were developed, and proved very satisfactory. Mr. Morgan
also exposed a few lantern slides in the presence of the members, and produced
first-rate results by the use of both amidol and metol respectively. The de-
monstration excited a deal of interest, ami terminated with a free discussion,
on the subject. Several new members were elected.
FORTHCOMING EXHIBITIONS.
1893.
November 17-25 «Stanley Show (Photographic Section), AgricnfturarHall'.
Mani^r, Walter B. Welfbrd, 57 and 58, Chancery^
lane, W.C.
„ 20-25 *Leytonstone Camera Club. Hon. Secretary, A. IS.
Bailey, Rose Bank, South-west-road, Leytonstone.
December *Madra9. The Hon. Secretary Amateur Photographic
Society, Madras.
„ 18-Jan. 22, 1894 *Bri8tol Triennial International Academy of Arts>
Bristol. Hon. Secretary, F. BBgh Bond, 86, Com-
street, Bristol.
* Signifies that there are open classes.
Cotre)S|Jonlrrnce.
OorretsKmimIs should noer vrriU on both iiits of tht paptr. No noHct is tdtOk
of comitiitnications unless the names and addresses of the writers are given.
THE QUESTION OF COPYEIGHT.
To the Editob.
Sir, — I have lately beard that it is not necessary to register a photo-
graph in order to secure the copyright. To state a case :— I ask a popular
clergyman to give me a sitting for his portrait ; he consents, and I duly
send, say, half a dozen cabinets for his acceptance. I am told that the
copyright of such a portrait is vested in myself alone, and no one has any
legal right to copy it without my consent. You will see no money passes
between us, and the clergyman's coming to be photographed is tanta-
mount to his consent. I shall be glad to know if this is absolutely
correct.
I have also been informed that it is now the custom of many pfaoio-
graphers in London to charge twenty-one shillings for granting permis-
sion to any pubUshing firm to reproduce any copyright photograph. Is
this also correct ? I hope it is, for the barefaced' way one's photographs
are reproduced without permission demands some kind of check, and the
photographer is only within his rights to demand a fee. I have had
scores of photographs copied, and they think they are very generous if
they purchase a photograph at two-thirds the price and attach your name
to the reproduction.
Some editors of papers are honourable enough to send a fee for photo-
graphs supplied, even unasked ; I have met with two such instanoes
lately. This is as it should be, and promotes a much more healtfajr
feeling. Kindly reply in your next issue.— I am, yonrs, <tc. ,
London-road, Ipsurich, Noventber 12, 1893. W. ViCK.
743
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 17, 1893
FILMS VERSUS PLATES.
To the Editob,
Sir —I notice in the Jocbnal of the 10th inst. a letter by W. J. StUl-
.man, and am not going into the question of "Films versus Plates, as
your readers all know by this time I am in favour of films ; but 1 must
-object to the last few lines of his letter, where he says, "But a photo-
grapher who depends on amidol for a rapid work can have only a limited
knowledge of what can be done." . -j j
Now, I strongly object to these remarks, as I have written, said, and
proved that amidol, when used by one who knows how to use it, is the
best developer I know for rapid work, and I am sure both you and your
readers have samples of really instantaneous work done by me and deve-
loped with amidol, that prove what I have said about that developer is
right. As to whether I work it at the ^U or the lU cannot matter a
cent as long as I am able to catch the object moving so as to be sharp,
and as to one having a limited knowledge of developing because he uses
amidol, well, such a remark I call absurd.
I do not say that other developers are not as good in the |hands of
those who can use them, as everyone has a right to have his own opinion
about such matters ; in fact, my opinion is, it is not the developer, but
the man who uses it, as one used to development ought to be able to get
good results with any developer. The only reason I have noticed these
remarks are that I have written one or two articles for the papers and
Year-books on amidol, and do not fancy being told that I have a limited
knowledge of what can be done.
Mr. W. J. S. is quite right to use any developer he may fancy ;
but certainly he must give others that right without making such remarks.
—I am, yours, &a., A. E. Dbesseb,
Springfield, Bexley Heath, Kent, November 11, 1893.
THE BURSTING OF AN OXYGEN CYLINDER.
To the Editor.
Sib, — I notice in to-day's paper that another lamentable fatal accident
has taken place with an oxygen cylinder, and I wait the arrival of a Brad-
ford paper for fuller details. The report that the cylinder was of cast
iron is surely a mistake ; but, it a steel cylinder exploded with the shook
of a fall of only two or three feet, it is high time that the Board of Trade,
the oxygen companies, the merchants, and the users of cylinders defined
the best and safest method of handling these dangerous goods. I called
a meeting of my staff to discuss the matter to-day, and it was suggested
•the cylinders might be cased in leather, stout American cloth, or thick
canvas sacking, and delivered home on a barrow instead of per bearer.
And yet our meeting was no sooner over than seven cylinders were
delivered from a lorry at our goods entrance, and laid down naked upon
the hard Whinstone kerb.
I maintain that the highest intelligence should be directed to the
minimising of risk to those called upon to handle such goods, who, like
the unfortunate messengers, carters, railway men, and others, may be
■quite ignorant of their dangerous nature. It would be interesting to
know whether there have been more accidents since the introduction of
compressed oxygen than with that made from a retort and filled into
gas bags. — I am, yours, <Sc., Arthub Seet.
November 'j, 1893.
ME. WOODBURY AND THE PAGET PROCESS.
To the Editor.
Sir,— la reply to Mr. Wilson's letter to you regarding my publication
of the Paget method of developing printing-out papers, I hasten to set
right the evident misunderstanding.
At the time the matter was divulged to me I was making experiments
in the same line myself, and had already succeeded by a preliminary con-
version of the free silver into chloride and iodide, using the Paget lantern-
plate developer.
I was then informed of the method devised by Mr. Wilson using
bromide of potassium. This I found superior to my own method, but
was asked not to divulge same, nor have I ever done so until the publica-
tion of Mr. Wilson's method in a recent issue of your magazine, when I
immediately wrote an article on the subject, which appears in the issue
of the Photographic Times now in the press. I send you an advanced
proof herewith, and you will see that I give the fullest credit both to Mr.
Wilson and the Paget Prize Company.
In the formula I gave in the Photographic Times, and to which Mr.
Wilson refers, an iodide is used. A similar process I tried nearly eight
years »go, the only difference being that I substituted the Paget lantern-
plate developer for an old ferrous-oxalate one. I am willing to give
every credit to the Paget Company for the perfection of a simple and
effective method of development, far superior to anything else I know. —
J am, yours, &c., Walter E. Woodbury.
New York, October 28, 1893.
MR. H. P. ROBINSON AND EXHIBITIONS.
To the Editor
Sir, The letter from Mr. H. P. Robinson in the British Journal op
Photography, of the 3rd inst., raises an important question relating to
Exhibitions, and that is, the right he assumes for a small body of photo-
graphers to dictate to societies and exhibition committees throughout the
country the rules and conditions under which their exhibitions should be
conducted ; coupled, too, with the suggestion concluding his letter, that
those that are not turranged in conformity with the regulations that these
men approve of for the time being, should be boycotted, that the ever-in-
creasing army of photographers should be persuaded to prevent such
exhibitions being successful by refusing to contribute to them.
Surely, it is time that those who have the management of Exhibitions,
and, still more, the far larger class, those who contribute to them, should
protest most strongly against the arrogance of a clique presuming to
regulate in such an arbitary manner all competitions, and, if consenting
to officiate as Judges, overriding at their own will the published conditions
under which photographers have been induced to contribute.
Mr. Robinson's reference to the Photographic Society of Great Britain
as an example to follow is, at the present time, singularly inopportune ;
its recent exploit in medal awarding could only be quoted as an instance
of what photographic societies should avoid at any cost if they have any
regard at all for the progress of photography, either pictorially or
technically. What would Mr. Robinson, or other leading workers, have
said if such a production as Watching and Waiting had been awarded
a medal at any suburban or provincial society's exhibition, even had it
been in a novices' class. In such an instance, instead of estimating work
fairly on its merits, the " judging " seems to consist in the judges airing
their eccentricities, and passing over meritorious work in order to favour
that that is treated according to their peculiar prejudices. There are
many men whose views are so warped and distorted by the extremes to
which they carry their " fads," that it is an absolute impossibility for
them to form a fair judgment on any work submitted to them.
Judging at exhibitions is a most difficult and delicate task, and no one
is more anxious than the writer than awards should only be given for
thoroughly good work ; but how can Mr. Robinson expect photographers
to respect the decisions and deliberations of these twenty-four when they
marked by such glaring inconsistencies? What one will extol as the
only true faith in matters artistic, others will consider rank heresy, and
even the same man will not always hold the same opinion for twelve
months at a time. There are many, who, if they are not so skilful as
photographers, are still equally competent to arrange conditions and rules
under which work shall be accepted for competition. The capricious
awards and decisions of many of these twenty-four whom Mr. Robinson
considers should lay down the law for all societies, are far more in need
of reform than the conditions and rules of the exhibitions that they condemn.
The remark that " the hunt after medals is chief amusement for which
recent exhibitions seem to be instituted,' might with greater propriety have
been omitted from the letter of a man who has taken so many medals as
Mr. Robinson has done; considered in conjunction with his view that the
" best exhibitions are those that offer no medals," it would seem that
they who have taken scores of medals in the past are those who would
have medal awarding abolished, as they are unwilling that the coming
generation of photograpers should share with them the honour and dis-
tinction that medals unquestionably give, although the conditions of
success are increasingly difficult each year, by reason of the larger number
of men producing throughly artistic work. Nothing teaches so much as
to see our own work side by side with that of others. Without medals
most suburban and provincial exhibitions would not attract the good
work that they frequently receive, and many would never have the
opportunity of seeing and learning from the productions of those who
excel in pictorial photography. — I am. Sir, yours truly,
Dacre House, Arundel-street, Strand, W.G. Henry W. Bennett.
THE PHOTOGRAPHIC EXHIBITION.
To the Editor.
Sir, — Will you kindly allow me to say a few words in reference to a
subject which has been treated in a strangely unjust manner? I allude
to some of the awards in the late Photographic Society of Great Britain's
Exhibition, and I particularly allude to Nos. 53 and 254.
To me it seems altogether strange that so many should get hopelessly
fogged in reference to these awards, and that so many otherwise intelli-
gent persons cannot see that the ordinary canons of photography are in
these cases euturely inapplicable, and consequently improperly applied.
The absurdity of some of their conclusions ought at least to make them
pause and consider whether there is not some error in their premises,
which, if true, would make the Judges of this Exhibition not only grossly
imeompetent, but simpletons and fools into the bargain. Dare these
gentlemen draw such a corollary as this ? I think not. Even the most
reckless amongst them should certainly hesitate to apply such conclusions
to men whose great merits have shed so distinct a lustre upon the pro-
fession. This being the case, it is certainly amusing to read the effusion
over the nom-de-plume " Free Lance " in your last issue. This gentleman
Norember 17, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
74e.
amply jastifiea his assnmed name, for he applies with linKnlar felicity
those principles to writing which governed the actions of that historically
notorious personage. Free he most certainly is in reoUess assertion,
without the slightest attempt to justify it by legitimate criticism or a fair
statement of facts. He certainly displays no modest diffidence in slash-
ing at the adjudicators' fcehngs, or in passing his cock-sure judgment
upon their decisions. Yes, certainly, photography would become a
laughing stock for the whole world it its dignity and character depended
upon such champions as this ; but, thank fortune, there are too many
good and true men in its ranks who can take good care of its well-being
without the assistance of rant or the reckless display of ignorance of the
fundamental principles of honest criticism.
.•\llow me also to make some remarks upon No. 254. I found it, to my
surprise, a modest, unassuming, and refined {)ioture, one in which the
principles of art are as successfully carried out as the materials and
controlling conditions will permit. I found neither dirtiness, ignorance,
nor want of experience displayed in its manipulation. On the contrary,
I found clearness of tint with knowledge in its lines, composition, and
treatment of its light and shade, in short, a well-conceived and har-
monious picture completely representing its title —
" Watching and Waiting, weary and sad,
Hope 8fem8 departintc in dim twilight clad.
Yet still she sits watching upon the cold stone.
While nioonbeains seem mocKiug that true heart so lone."
You can, therefore, infer from what I have already written that I
approve the decisions of the Judges, and, in addition, I must also say
that I admire the moral courage which can treat with disdain those critics
whose ignorance and conceit are so much more conspicuous than their
knowledge, discrimination, and taste.
In conclusion, let me congratulate those gentlemen who have inaugu-
rated and carried to a successful termination the Salon Exhibition.
They have demonstrated that art wedded to photography is now a recog-
nised fact, with full certainty that no man can sunder them. Let me
also advise those who have so thoughtlessly assailed some of the awards
in the Photographic Society of Great Britain Exhibition to gain a little
knowledge ot that art. It will save them from such folly in the future,
and will, to a considerable extent, atone for their injustice In the past. —
I am, yours, Ac, A. E. E.
November 13, 1893.
BRISTOL EXHIBITION.
To the Ediiok.
Sib, — Anybody who wants to improve the world, or contribute his little
mite towards that doubtfully desirable object, should proceed very
cautiously, or unlooked-for effects may be produced. In my desire to
see some reformation brought about in provincial Exhibitions, I wrote
what I thought was a very mild and innocent letter, explaining why I
could not exhibit, to the Hon. Secretary of the Bristol Exhibition, and it
seems to have sent that official into a " ten-knot gale of royal rage " at
sight, and he appears to be so pleased with his reply that he not only
sends what he apparently mistakes for an answer to the two papers in
which my letter appeared, but also to another, whose readers must
wonder what it is all about. He does not give me the least credit for
honesty of purpose, but, " in anger insignificantly fierce," Jiccuses me of
animus, misrepresentations, and evident and petty desire to damage the
Exhibition, also of discourtesy, a desire to coerce others, and to play
"Sir Oracle." Brave words, but not convincing. They neither confute
my letter, nor prove anything, except, perhaps, the ten-knot gale to
which I have idluded. I still maintain that, if photography is to be
advanced, the best work must be attracted to Exhibitions, and that will
never be done while exhibitors find medals are so numerous and cheap
as to afford no incentive to excel, and so easily won that no lasting value
can be placed upon them. The ease and number attract mediocrity, and
the diminished value produced by lack of rarity repels the best workers.
In a mysterious paragraph Mr. Bond refers to some correspondence at
a former Exhibition, which he says I must remember. I am afraid he
places more importance on this correspondence than I do, for I have
only a dim recollection of something of the kind with somebody at
Bristol, but 1 don't think it was Mr. F. B. Bond. On referring to my
register of pictures sent to Exhibitions, I find I exhibited at Bristol ten
years ago, and was awarded a medal for a (lenre picture for a landscape
photograph. It is possible I may have called attention to the absurdity,
just as I am now calling attention to the absurdity of offering a medal
to about every other exhibitor.
I must admit I overlooked the part of a paragraph empowering the
Judges to withhold medals for want of merit ; in the prospectus it is
mixed up in a paragraph about the Hanging Committee, and escaped my
attention.
Mr. Bond accuses me of discourtesy in not intimating to him that I
intended to publish my letter. I do not see the discourtesy (it was not
hU letter I was publishing without his permission), but I ought to have
seen the necessity of calUng his attention to it if I may infer, from a few
words in a letter I received from him, which he must excuse me for
quoting, that he never reads the phoU^aphic journals. He says, " I
don't remember to have seen the document you refer to as drawn up by
the Photographic Society of Great Britain." Thii wm the " Bales and-
Recommendations " which appeared, and were commented upon, in every
paper. Obvious moral : The photographer who neglect* ttie photo-
graphic press is liable to get into trouble. — I am, yoon, &o.,
Tunbridge Wellt, November 10, 1898. H. P, BoBlKSon.
To the EniTon.
Sir,— Mr. H. P. Bobinson's letter of the 8rd intt. is, to my mind, nothing
more nor less than a direct and premeditated attack on the Bristol Photo-
graphic Society and its exhibition. Mr. Bobinson's only reason (or
writing seems to be that, as the rules are framed, he cannot exhibit any
of his nnmedalled work, and therefore he wants to try and stop other,
workers from sending in exhibits.
To hide this reason, he makes the conference rales a cloak.
H Mr. Robinson had such great faith in the conference rules, why did
he not further back them up by exhibiting some of his pictures at I'all
Mall this year ? Mr. Bobinson must not forget that, in years gone by, he
was just as eager to gain awards, and sent to quite as many exhibitions,
as the so-called "pot-hunter" of the present day.
Possibly Mr. Robinson's "bmhel bcuket is full now," and therefore be
does not want any more.
Perhaps he would have been satisfied if they agreed to place his exhibits
in the centre of a wall and surround them with the less fortunate workers,
so that his work would have been shown to the disadvantage of others, as
notice the late exhibition held at the Dudley Gallery.— I am, yours, Ac,
Central Photographic Club, Coleman't HoUl, Johk H. Avzbt.
Henrietta-street, Covent Garden, November 14, 1893.
YELLOW STAINS ON P.O.P.
To the Editor,
Sir, — We gladly welcome Mr. Pentney's valuable contribution to our
information on this subject, and, with his permission, we will give it the
wide-spread circulation it desires by embodying it in the next edition of
our pamphlet on the working of P.O.P.
We confirm Mr. Pentney's view that Mr. Bothamley was not asked to
investigate the causes of staining after fixing. We limited the scope ot
Mr. Bothamley's inquiries into the matter, because all the correspondents
who wrote on the subject had found the staining occnr only in the earliet
part of the manipulations. — We are, yours, &c..
The Britannia Works Compant, Liuitxd.
Ilford, London, E., November 10, 1893.
OPERATORS AND THEIB SPECIMENS.
To the Editor.
Sir, — With reference to a letter in last week's Journal by an operator
whose specimens have not been returned, I may say, as an employer, that
on advertising some time back for a retoucher, I had some forty or fifty
replies, and among them about four did not enclose specimens with their
letters, but in a separate package by Book Post, with no name or indica-
tion of who the sender was. As several came from London, the post-mark
was of no service as a guide, and I had nothing to do but guess at the
handwriting. It is very possible that some of these went wrong, but I
never heard. Assistants in want of a situation might do well to remember
that a photograph of themselves with the word " self " marked at the
corner does not convey all that is needed to identify their work from
others. — I am, yours, &a., Ernst Lavbebt,
32 Milson-street, Bath.
THE ACTION OF A LENS SIMPLY EXPLAINED.
To the Editor.
Sir, — Were it not that Mr. Taylor's letter (published in your issue of
October 20) is an unjust and ungentlemanly attack upon me, I should be.
inclined to smile at the ridiculousness of his statements.
I entirely deny having copied Mr. Taylor's article (the use of his
diagram 1 have already explained), and challenge yon to reprint the two
articles in full in your magazine, and take the opinion of your readers.
The idea of comparing a sentence here and there, and taking such ones
as, " The angle of view of a lens is determined by the relation of its focal
length to the measurement of the image it can best define," is absurd in
the extreme. Does Mr. Taylor claim any originality for this statement f
That my own sentence is almost the same can only he regarded as a
coincidence — and not a very extraordinary one either, considering it is
one of the fixed laws of photographic optics, explained in every work npon
the subject.
Then, again, the sentence, " As sound is transmitted by a wavelike
motion of this laminiferous ether." The comparison of sound and light-
waves is surely not original with Mr. Taylor ? He will find it in almost
every elementary book or article on light.
744
THE BRITISH JOURNAL OF PHOTOGRAPHY,
[November 17, 1893
With regard to the explanation of the reflection of light from opaque
bodies, Mr. Taylor's comparison is, to say the least, very unfair. He
takes half of one of my sentences and compares it with a whole one in
his own article. The true comparison is as follows : —
Mr. Taylor's Article.
A surface capable of being seen
must be, to some extent, rough.
The roughness acts in this way :
Waves of light meeting the surface
and reflected from it are broken up
by the rough particles. Each pro-
jecting particle becomes a centre,
from which reflected waves of light
spread out in all directions.
Supposed Plagiarism.
Waves of light meeting the sur-
face of an object, provided it be to
some extent rough, are broken up.
Each particle becomes a centre,
from which waves of light are
reflected and spread out in all direc-
tions ; each point becomes, as it
were, the stone in the water, send-
ing out waves of light which reach
the eye, where they are brought
together again, and condensed to a
similar point on the retina ; and
in this way we see the object.
It will be seen that I am working on a different illustration altogether,
having previously compared the light undulations with those produced
on a still pond when a pebble is thrown in, an illustration by no means
new. Your readers will, I hope, at once see the injustice of the com-
parisons.
I will not take up more of your space, but only ask you, in justice to
myself, to print the two articles in parallel columns in their entirety, and
let others judge of the truth of your or Mr. Taylor's accusations.
With regard to the language and epithets Mr. Taylor has thought to
make use of, I will say nothing, but try, at least, to remain a gentleman.
— I am, yours, &c., Walter E. Woodbury.
New York, Octoher 30, 1893.
Exchange (ttolumn»
»* Jfo charge is tnade Jor inserting Exchanges of Apparatus in this column ;
but none will be inserted unless the article vianted is definitely stated. Those
who specify their requirements as "anythiny useful" will therefore understand
the reason of their non-appearance. The full name of tlie advertiser must
in all cases be given for publication, otherwise the Exchanges will not be
inserted.
Will exchange Watson's Premier 1.5x12 three donble backs, for Watson's Acme 12x10
three double backs.— Address, H. L. Morel, Market-place, Nottingham.
Wanted to ejcchiinge magic lantern by Newton 4; Co., with fonr-wick lamp and screen,
also sixty slides— subject. Holy Land— aud a few comic ones, for a whole-plate
portrait lens by a good maker.— Address, D. G. Thomas, 51, Hope-street,
Wrexham
Will exchanso quarter-plate camera, lens, double dark slide, and tripod for masic
tantem with four-inch condenser.— Address, W. H. Hemins, East Cliff Studio.
Whitby.
Dallmeyer rectilinear lens whole-plate, complete, list price, 6!. exchange for portrait
lens half-plate or whole-plate by good maker. Address A. J. Tiley, 203, Newport-
road, Middlesbrough.
anjsiMersj to (ttorrcsponUents.
»* All matters intended for the text portion of this Jourkal, including
queries and Exchanges, must be addressed to " Thk Editor, The British
JOURNAL OP Photography," 2, York-street, Covent Garden, London. In-
attention to this ensures delay.
*♦* Correspondents are informed that we cannot undertake to answer com-
munications through the post.
** .^'"'^'^'^^'^t'^o'^s relating to Advertiseynents and general business aftavrs
should be add/ressed to Messrs. Henbt Grkbnwqod & Co., 2, Ywk-street,
Covent Garden, London.
»* It would be convenient if friends desiring advice respecting apparatus,
failures m practice, or other information, would call at the Editorial Office
eiiner on Wednesdays from i to 6, or Thursdays from 9 to 12 noon, when
some one of the Editorial staff will be present.
A. W. Cartkr.— Messrs. Ross & Co. will .shortly issue the Goerz lenses.
NoN Plus.— There are no plates made by Pettit ta the market. The "Sandell "
ph-ite IS probably what you require.
^'••"•.^•.,T'^"=*™.— A •parabolic reflector luiiy be used for ordinary lauteru
exhibitions, but should never be employed for pliotoi^aphic enlarging.
Pyrc— 'The cause of the stains is that the prints were washed iu water that
^ was not clean, probably in a disli contaminated with hiiiosiUphite of so.la.
C. C. C:— In quoting the weight of cameras aud slides, it is not usual for
makers to include in the weight the plates they are to carry. If the appa-
ratus weighs only what the catalogue states, there is no cause for complaint.
6. W. E-— We fear the N. A. P. P. will not assist you, as you are not a
member. Even if you were, we doubt if it would be otherwise, as we have
never heard of their taking proceedings against any oue for infringement of
oojiyright. "
T. W. Stiles. — Enamelled iron dishes may be used with safety for toning
jjrints provided the euamelled surface is perfect. If it is not, the gold will
be precipitated. Porcelain or earthenware dishes are far more reliable for
gold solutions.
J. P. — The portraits are fairly good as portraits, but they are spoilt as pictures
by the light background, which is about the same tint as the faces. They
would have been better also if less front light had been used, so that they
would have had greater rotundity.
T. W. C. — Although the orthograpliic lens is a very good one for many
purposes, it has but a very siiiall commercial value. If you advertise it at the
price you suggest, it is very doubtful if you will obtain a purchaser. Indeed,
it is doubtful if you would" at half that price.
C. J. E.MENY. — By removing the Steinheil lenses from their present mount, and
setting them in oue shorter by half an inch to an inch the area of illumina-
tion will be increased to the dimensions required. A small stop will have
to be employed. Do not tamper with the original mount.
W. Jknkins. — All that has been published on chromo photo-mechanical
jiriuting has .appeared in our pages from time to time. No work specially
devoted to the subject has been published as yet, and we doubt if one will
be at an early date, as most workers — th.at is, those who work commercially
— treat the subject rather as a trade secret.
A Rogers. — It wouM certainly be illegal to make lantern slides from mwsic,
.although it may bear tlie intimation that the song may be sung in public
without licence. This does not give permission to make copies of it ;
indeed, on most works it is stated that making copies will be an infringement
of copyright, and will be dealt with as such.
H. T. — After starch has been made a few days, it becomes thin, so your
experience is not unique. In that stsite it should not be used, for it has
then lost much of its adhesive properties, and, furthermore, it is likely to
act injuriously on the prints. St.arch paste, when used for mounting
photographs, should be made fresh the day it is used.
B. Rexnie. — If the steel plate of the rolling press is as rusty as described, we
imagine that it will be better to obtain a new one. When rust has eaten
very deeply into a plate, it will frequently cost quite as much to have it
repolished as to purchase a new one. If, before the press was stored away,
the plate and rollers had been coated with beeswax, they would not have
been affected by the damp.
A. BEjrrON. — The best extemporary light for taking portraits at the fancy ball
is either the magnesium or the aUiiniuium flashlight. If the building is
illumined by electric light, cannot you arrange to have an arc light at your
service ? With that, and one or two extemporised reflectors and screw, more
satisfactory results could be obtained than with the fla.shlight, and the
sitters would feel more at ease.
John Dickie. — 1. Zinc plates ready for use maybe had from such firms as
Winstone & Co., Shoe-lane, E.C., or Hughes & Kimber, West Harding-street.
2. The former firm supply the paper. No cement is required to attach the
transfer ink to the metal, the pressure alone is sufficient. 3. Fine plaster
of Paris, suitable for the purpose, may be had from any of tlie stereotypers,
and plumbago from those who supply electrotyping materials, or philo-
sophical instrument sellers.
F. J. Quick. — 1. Ordinary sheet glass will suffice. Extra white glass may be
had at an ad<litional cost without corresponding advantage, and it is liable
to change colour. 2, Yes, if the curtains be thick enougli. 3. Quite a
matter of convenience. 4. No. Much on the subject may, however, be
found in the back volumes of the .Journal. 5. A very suitable material
may be h.ad from the tailors' trimming warehouses under the name, we think,
of"casb.an." (J. Suitable red glass can be obtained from any of the dealers
in jihotographic materials.
SuNUGHTsays: "Having a studio facing due south, I am anxious of obtain-
ing a subdued light ; in fact, it is absolutely necessary. I shall, therefore,
esteem it a great favour if you will give me your advice as to the best mate-
rial and means to obtain this end." — During the winter months thin muslin
strained on light wooden frames, so that they are easily removed when the
sun is not shining, will be the most convenient means. In summer the glass
itself should lie stippled over with starch paste, to which a little whiting has
been added. This is readily cleaned off when the dull weather again ap-
proaches.
O.MEOA wTites : " I should be obliged if you would tell me whether I am right
as to the quantity of acids used in converting a half-sovereign into chloride
of gold. I am not sure, but I think it was one and a half ounces muriatic
acid and half an ounce nitric acid with a small portion of water. 2. When dis-
solved, do I evaporate to dryness before diluting and neutralising?" — In
reply : 1. Two and a half ounces of the former acid to one of the latter, with
three ounces of water, is a better proportion, but a little more than a quarter
of this quantity will suffice to dissolve the half-sovereign if assisted by gentle
heat. 2. Theoretically, the solution should be evaporated, but in practice
it is not necessary.
OOMTHNTB.
Paox
CONSECUTIVE AUTOMATIC EXPO-
SURES 729
PAPER IN PHOTOGRAPHY 723
THE RELATIVE PEHSIANENOY OP
PRINTS 730
THE ILLUSTRATED PAPERS AND
COPYRIGHT PHOTOGRAPHS 732
JOTTINGS. By COSMOS 73:!
THE POSITION OF PROFESSIONAL
PHOTOGRAPHY. By THOMAS FALL 73.3
AMERICAN NOTES AND NEWS 73:,
HOW LENSES ACT. By J. H. HAIl-
ORAVE 736
A PAINTER'S VIEW OP THE PHOTO-
OBAPHIO SALON.— II. By PALETTE 737
Paok
NATIONAL ASSOCIATION OF PROFES-
SIONAL PHOTOGRAPHERS 789
ON THE PHOTOGRAPHY OF THE
LU5IIN0US RAYS OF THE SHORTEST
WAVE-LENGTHS. By VICTOR SCHU-
MANN 738
OUR EDITORIAL TABLE 7S9
NEWS AND NOTES 789
RECENT PATENTS 789
MEETINGS OP SOCIETIES 740
FOBTHCOMINO EXHIBITIONS 7*1
CORRESPONDENCE 711
EXCHANGE COLUMN 741
ANSWERS TO COBBESPOMDEIITS 714
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1751. Vol. XL.— NOVEMBER 24, 1893.
CURLEB GELATINE FILM NEGATIVES.
We direct attention to an article by Mr. S. Bourne, on another
page, in which this gentleman speaks of the inconvenience
«xperienced by the tendency of thin celluloid film negatives to
curl into a scroll when dried. This is a topic in which many,
ourselves included, feel much interested. Every allowance can
be made for feelings of irritation experienced by the individual
who, having developed and washed his pellicular negatives,
pins them up by one corner to dry, only to find next morning
that each one has in course of drying curled itself up as if
trying to rival the dimensions of a pencil case, and resisting
with all its springy power every endeavoiu: of the artist to get
it opened out and laid flat.
Fortunately, it is not difficult to reason from the evil to its
cause, and from that to the cure. While we write we have
•on the table beside us a number of negatives taken during the
last Convention at Plymouth on that particular kind of East-
man Tollable film made for the Kodak, in which instrument
the exposures were made. These are all bright and clear, and,
what is more to our purpose at present, they are all flat, in the
sense of there being not the slightest indication of curling.
On the other hand, we have negatives taken on a portion of
the same spool as those mentioned, and developed in the same
way, but which are now curled up like a cedar pencil, in which
state they were when dried. It is very evident that, aU the
other conditions being equal, there must have been something
diflFerent in the subsequent treatment of the two sets of nega-
tives, that is, their treatment after having been taken out of
the washing tank. Such was really the case.
Every worker with gelatine knows that, after having been
wet, it contracts with great force as it becomes dry, and
certain industries, not related to photography, are based upon
this property. When a thin film of celluloid has received a
coating of gelatine, which, in course of treatment, is softened
and surcharged with water, it naturally follows that, if during
drying there be no counteracting agency, the contraction of
the gelatine film must overcome the resistance of the celluloid,
which does not undergo any contraction. If the celluloid film
were thick and strong lenough to remain unaffected by the
shrinkage of the gelatine, then would the latter succumb,
as it were, to the resistance it met with, and dry, without
shrinking.
The application of this principle to the flat drying of a
roUable film negative is not difficult. On taking it from the
washing trough, remove all the surface water by a cambric pad,
as we described in an article recently on the quick-drying of
negatives, and then allow the drying to be effected under con-
ditions which wUl prevent the film negative from assuming
other than a perfectly flat position. Among these may be
mentioned placing it between the leaves of a folio, which m«8t
be kept closed under pressure, if necessary ; cementing by
the margins to a plate of glass, or anything flat and rigid ;
super-imposing upon it a thin and moderately heavy frame,
which shall rest upon the margins only. By employing these
or any like means for keeping the negative flat until complete
desiccation has taken place, the negative will ever afterwards
give no trouble in printing from any tendency it may have
to curl.
When not in the printing frame, film negatives should be
stored either between the leaves of a folio or between tw
sheets of millboard or stout card, round which one or two
Indiarubber bands have been passed.
What has been said applies to the prevention of eurling.
But it also effects a cure in the case of those that have alrea(^-
become curled. To this end it is only necessary that they be
opened out perforce and soaked in water until the gelatine
has absorbed as much as possible, when the treatment pre-
viously recommended for drying must be had recoui'se t».
We shall be pleased to hear the opinions of others relative
to the flat drying of negatives taken on thin, celluloid
PHOTOGRAPHIC PIRACY.
Complaints are frequently made that the existing law on
copyright is in a very unsatisfactory state. But, unsatisfactory
as it is, it is amply sufficient to reach a certain class of of-
fenders when it is put into force. Last week, one Walter Perry,
described as a picture dealer, was mulcted in penalties and
costs amounting to a httle short of three hundred pounds, with
the alternative of fifty-six weeks' imprisonment, for infringing
the copyright of several popular modem engravings and photo-
gravures, the property of different well-known publishing firms.
The negatives were also impounded. This exemplary sentence
was, doubtless, partly due to the.Jact that the defendant had
previously been fined for a similar offence some time back at
Manchester, and in connexion with some of the pictures in-
cluded in this prosecution. The works pirated included such
pictures as the Village Wedding, The Ruling Pasnon, The Day
of Reckoning, The Roll Call, <kc., the prosecutors being Messrs.
Agnew & Sons, Tooth, H. Graves, Arthur Lucas, Mendoza, the
Berlin Photographic Society, and others.
It is exceedingly hard upon publishers who have possibly
paid several hundreds of pounds for the copyright in a picture,
and perhaps a similar sum for the engraving of a plate, to
have the work pirated and its sale materially injured by un-
746
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 24, 1893
principled photographers. Although the piracies are often
publicly sold, it is, we are told, exceedingly difficult to reach
the real offenders — that is, those who actually produce them.
Not very long ago we saw a number of photographs, including
most of those enumerated, displayed against a hoarding close
to one of the principal railway stations in London. The prints
were about fifteen inches by twelve, were of excellent quality
and neatly mounted, with large margins ready for framing.
The price asked for them by the itinerant vendor was, if we
remember rightly, four shillings or four and sixpence per pair.
At that price, considering there must already have been one or
more profits on them, one would have thought that it would
not have been worth the risk incurred by the producer. In
cases of piracy of this description, the prosecutors usually try
and get at the principal delinquents — that is, those who make
the negatives, although the vendors of the prints are equally
liable to the penalties.
The law is just the same with regard to the copyright in
photographs as it is with engravings, and the penalties for
infringing it are the same in both cases ; yet photographs are
pirated daily, and we seldom hear of prosecutions in connexion
with them.
Under the present law the owner of a copyright has two
courses open to him upon its infringement. He can either pro-
ceed summarily before magistrates, as in the case just cited, or
sue in a superior court for damages, injunction, and forfeiture.
Not long ago a case of this kind was decided in the Queen's
Bench Division. It was this : A firm of Continental fine-art
publishers issued photographs of works in which they held the
copyright. A London firm, who advertise on a very large
scale, had one of these photographs reproduced by lithography,
to be used in connexion with one of their advertisements. An
action was instituted for damages, and an injunction to restrain
farther use of the pictures, and forfeiture of all copies, stones,
ifec, asked for. In the result the plaintiffs obtained substantial
damages and costs, an injunction restraining further issue of
the copies, and forfeiture of all the prints in the defendants'
possession, amounting, we were told, to some hundreds of
thousands. These proceedings were taken imder the Inter-
national Copyright Act, which confers upon foreign artists
the same rights in this country as they enjoy in their own.
Defective as the existing copyright law undoubtedly is in
some respects, it is manifest that it is equal to protecting the
general run of copyright works if put into force. This is,
however, seldom done by photographers, though, as we have
just mentioned, their works are being pirated right and left,
particularly by some of the illustrated periodicals. The
maximum penalty, according to the law, is ten pounds for
every copy sold. This would be no slight matter in the case
of a large circulation, if enforced.
A very flagrant example of the piracy of photographer's work
is many of the cheap varnished lithographic views, bound up as
albums, of holiday resorts, produced in Germany. In many
instances these are direct piracies of the local photographer's
productions, and from their being sold at such a cheap rate
they must necessarily materially injure the sale of the originals.
If proceedings were taken when this is the case, there is little
doubt that substantial damages could be recovered. In the
case of infringements by the illustrated press, it is doubtful
if sueing for damages would be the best procedure, inasmuch
as it might be diflScult to prove that the sale of the photo-
graphic printw had been seriously damaged by the piracies of
them in a periodical. Therefore, under these circumstances,
the better way would probably be the summary, and less
expensive, one before a magistrate.
It will be noticed that almost always, when proceedings are
taken for infringing the copyright in engravings, publishers
combine and work together in the prosecution. But this is
rarely, if ever, the case with photographers. They appear to
have very little unity amongst themselves, even when it would
conduce to their mutual welfare.
PLEA FOR AN HISTORICAL MUSEUM.
Very numerous indeed are the applications continually being
made to us relative to whether this, that, or the other thing is
new ; and nearly equally numerous are the inquiries made as
to where one can see apparatus, at one time well known, but
which have now fallen into desuetude, having been supplanted
by other and more improved forms of the same.
This implies the desirableness of establishing an historical
museum, one in which can be seen a liistory of photographic
advance from the earliest times up to the present moment.
We know that historical collections in a more or less perfect
form exist, or are being made in connexion with a few clubs
and societies, and are to be found in the hands of private
individuals ; but, in tlie former, the examination of these is, in
a large measure, restricted to such of their own members a;«^
have an archwological turn of mind, while the latter naturally
may not feel inclined to tlirow open the doors of their private
residences for the benefit of an inquiring public.
What we advocate is the establishment of a public museum,
to which all interested might have ready access, whether they
belonged to any photographic society or not, one which shall
be open at all times, and be placed under the selective manage-
ment of a small committee competent to deal with the matter,
and who, as such, should not necessarily be connected with
any photographic society.
It is possible that some of our public museums, e.g., the
South Kensington or Patent Museums, might be found to
willingly allocate a corner of the space at their disposal for
so worthy an object were proper representations made to the
respective authorities, and we feel certain that, were this
effected and confidence in the managing committee established,
many of those who now possess such objects of historical in-
terest as those we have in view would readily part with them,
even for a terminable period, for such an object.
We have often thought it a pity to see, at auction sales of
private scientific effects, objects replete with interest from an
historical point of view sold for almost nothing. For example,
a lens, guaranteed to be that by which Daguerre took many
of his pictures, brought seven shillings and sixpence ; a collec-
tion of prints, together with the paper negatives of the time of
Fox Talbot, only about half of this sum ; a Sutton's panoramic
camera, complete in every respect, including a costly spherical
lens for a dozen shillings ; and so forth with regard to other
articles which might fittingly stock a public museum, but
which private individuals could not afford space for in their
possibly already crowded shelves.
What an interesting collection might be made of cameras
and lenses from the earliest period, of panoramic and panta-
scopic cameras, of stereoscopic cameras and stereoscopes, print-
ing frames, stands, roll-holders, projecting lanterns, and the
thousand other things that are for years suffered to accumulate
on one's hands until by death or the removal into another
house the fiat goes forth to clear them all away. If a well-
NoTember 24, 1893]
THE BRITISH JOURNAL OF PHOTOOUAPHY.
747
accredited public museum existt^d, many who now break up
their apparatus, rather than send them to the luiction room,
where, as they say, they fetch only insulting' prices, would
gladly present them to such museum. AVo spoke with one of
this class only quite lately, and lie had actually broken up
some apparatus and given it to his servants to use as fire-
lighters for the reason given. As with apparatus so with
books. Fortunately, the Free Library of the Patent Office, in
Southampton-buildings, Holborn, contains a valuable collection
of books relating to our art, more particularly those of recent
and current date, and, as this is daily open to the public from
ten o'clock in the morning till ten at night, and contains all the
best works and serials devoted to photography, the necessity
for any other library of a public nature does not appear, except
this, that a museum would take charge of albums or portfolios
of pictorial works of a by-past epoch which could not find a
place in the Patent Office Librarj-.
We throw out this plea for an historical museum of photo-
graphy in the hope of some energetic and public-.spirited indi-
viduals taking it up.
VARIATIONS IN WINTER DEVELOPMENT.
Two or three weeks back we referred to the necessity that
arises at this time of year for the adoption of special precau-
tions in order to ensure Something like uniformity in the con-
ditions of working in the dark room, our remarks then being
mainly confined to the question of temperature. Although
this forms the chief point of difference between summer and
winter working, there are other circumstances that may be
examined, in which, if temperature cannot be wholly excluded,
it plays only an indirect part.
In our previous articles we alluded to the desirability of
preserving a certain uniformity of temperature in the dark
room, but more especially of the solutions themselves, and of
course, if this matter were rigorously attended to, there would
be little ground for further trouble. But, whatever may be
the theoretical possibilities in this direction, it is absolutely
impossible in practice, even in the most perfectly arranged
establishments, to maintain a really uniform temperature
throughout the year, or indeed, in view of the sudden climatic
changes experienced at all seasons in this country, from day
to day.
It may be found comparatively easy, in the manner we sug-
gested, to secure a constant temperature of the developing and
other solutions by the use of warm or tepid water in mixing
them, and to thus ensure that their work is at least com-
menced under fixed conditions. But it is obviously impossible
to keep the atmosphere of the developing room automatically
or otherwise at the same normal temperature, and consequently,
but especially in cold weather, the solutions exposed as they
are in open dishes must tend constantly to change. It is in
the cold season, when the outside temperature may be thirty,
forty, or even fifty degrees below that selected as the normal,
that the difficulty will be greatest, for under such circumstances,
even if actually hot when poured into the dish, the developer
will in a very few minutes have sunk far below the desirable
point.
In well-equipped establishments — that is to say, in the pro-
fessional laboratory, fairly well-heated and ventilated, and
where work is constantly proceeding with regidarity, the
trouble will be at the minimum, and is easily met ; but it is
the amateur, who perhaps only has occasion to go to work at
irregular intervals, and with inade(|uat« means of ■ocuring the
necessary conditions, who will be the greatest sufferer. Let
him be as careful as he will, say, in warming his BolutionH as
directed, he omits to take into account the rapid fall in
temperature that goes on in the chill atmosphere of the un-
heated room ; the developer acts too slowly, and, Iwlieving he
has done what is necessary, he wrongly attributes the result to
under-exposure, or to insufficiently energetic solution. He
strengthens it up with alkali, and presentlyjfinds he has got
all he can out of the plate, and that tlie result is far from
satisfactory. Then he proceeds to increase h\n exposures, and
so blunders on from bad to worse.
Now, under conditions such as these, although it may not
be prac-ticable to secure uniformity of temperature, it is
possible, by other means, to minimise the trouble that arises
from accidental variations. It is well known that developing
solutions behave very differently as regards ^the proportions of
their ingredients, but more especially the quantity of restrainer
required, when the temperature is considerably altered. Thus
a pyro solution may be used in winter with a proportion of
bromide that would be altogether inadequate in even mode-
rately warm or temperate weather, while some of the newer
developers may safely, if not indeed beneficially, be employed
without restrainer at all.
Some years ago we conducted a series of experiments with a
view of testing the effect of temperature in development, pyro
and ammonia being employed, and the solution ;jbeing used at
various temperatures artificially reduced to nearly the freezing
point. The result showed that as the temperature was lowered
the necessity for bromide was reduced, and ince versd, and that
the brightness and vigour of the image^increased with the cold,
while softness and a tendency to veil resulted ^from a warmer
solution. At the same time, the lowered temperature greatly
increased the time occupied in development, and almost
necessitated a considerable reduction in the proportion of
bromide, or a corresponding increase in the quantity of alkali,
the former course proving the preferable one.
During the next three months or so we expect to hear many
complaints of failure from under-exposure and insufficient
density ; but where such occur we would strongly counsel, not
an increase of exposure, nor a strengthening up of the de-
veloper with alkali, but a reduction of the proportion of bromide,
the temperature of the solution, 'it being always understood,
being raised to 65" or 70' to commence with. Where pyro is
used in conjunction with sodium sulphite the proportion of the
latter may also be reduced to' the lowest available point, as
this too has, especially in cold weather, a^retarding action in
development.
Hydroquinone is scarcely the developer that would be
selected for winter use — for negatives, at least ; but, if it
should be used, bromide must be altogether dispensed with,
and sulphite seems scarcely needful at any time. With this
developer, too, the temperaturejis of more importance than
with any other, a very few degrees^ making all the difference
between fairly rapid and altogether tedious development. For
this reason alone hydroquinone is scarcely a suitable agent for
winter use, particularly now that there are other equally
clean and, at the same time, more rapid ones.
Para-amidophenol and its hydrochlorate may be used with
advantage, without bromide, but the sodium sulphite in this
case cannot be dispensed witli, its function being apparently, as
with amidol and metol, of etiual importance with that of the
alkali. The very low degree of solubility of these substances
748
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 24, 1803
especially the former, renders it necessary to see very carefully
to the temperature of the solutions, otherwise much of the
active agent may crystallise out.
With amidol and metol, which appear to promise best as
winter developers, it is a question whether the bromide can be
safely omitted altogether. With some plates, no doubt, it may,
but with the majority it will be found safer to use it in
moderation. Thus, where in summer weather we have used
as much as one grain of bromide to the ounce of developing
solution, when the very cold season comes we shoidd not use
more than one-tenth of that quantity, or even less where the
plates are of a particularly clear character.
It follows, from what has been said regarding the increased
effect of bromide in retarding development in cold weather,
that at the present season the growing practice of using the
developer repeatedly is not likely to prove as successful as
during the summer months. It must be borne in mind that
each film developed adds a very considerable proportion of
bromide to the developer — a fact in itself sufficient to account
for a good deal of want of uniformity — whUe, unless the tem-
perature is attended to after each development, the gradual
fall added to the increased restrainer will prove fatal.
For negative purposes, where ferrous oxalate is used, the
bromide may be considerably reduced, if not altogether done
away with ; but for positive work both bromide and acid will
be better retained in order to keep the whites clear.
A Prize Sbutter. — The prize of 1000 francs has been awarded
by the French Society for the Encouragement of Industry to M.
Secaux for a Jiew photographic shutter.
Solubility of " Insoluble Salts."— Herr A. F. HoUeman
has been Investigating by an electrical method the extent to which
certain salts, usually termed insoluble, are capable of being dissolved
in water. Selecting from his lists those salts only which are of in-
terest to photographers, we find that silver iodide is soluble in
1,074,040 and 420,260 parts of water at 28-4° and 40-4° temperature,
respectively. For bromide of silver we have 1,971,650 and 775,400
at 20'2° and 38-4"', and chloride is set down at 715,800 and 384,100
at ISS" and 26-5°.
Removal of Pyro Stains. — These stains are really more
difficult of removal than silver from woven fabrics, and quite as
difficult with the fingers. For the latter, perhaps, the best plan
is to well wash or rub together with dilute acid — tartaric, oxaUc,
acetic, &c. — and then to well rinse under the tap. It the latter pre-
caution be omitted, the stains will reappear when the hands are
washed with soap. For linen, &c., the dye is too much fixed for
this treatment, and other methods have recently been under discussion
in our contemporary, the English Mechanic. The following method is
one of those recommended : — Immerse the fabric in a saturated solu-
tion of oxalic acid, and leave it to steep for some httle time. Next
place the material, now impregnated with the acid solution, in a ten
per cent, solution of bleaching powder (so-called " chloride of lime ")
till the stain disappears, and finally well wash in clear water. A
httle rubbing facilitates the removal of the stains. Another corre-
spondent describes a simpler method, which he states to be superior.
It consists in the use of a one-solution made by boiling together, in
vyater, bleaching powder and carbonate of soda.
Photographing' Sound.— This feat has actually been per-
formed by Dr. Kaps, as explained by liim to the Berlin Physical
Society. The method is based on the use of a Jamin's retractometer,
which produces interference phenomena by means of reflection and
refraction of a ray of light at the surfaces of two thio parallel glass
plates. When the air between these two plates is transmitting-
sound waves, the interference bands are displaced, and, by means of
a slip of sensitised paper, kept in motion on a drum and placed
behind a sht, the aerial vibrations are recorded. The first experi-
ments were made with a closed organ pipe, near whose end were
two openings facing each other, but covered with glass. Upon vary-
ing the pressure of the wind blown through the pipe, photographs of
different characters were obtained describing certain curves indicating
this pressure. Open-pipe experiments were more difficult, but even
with these successful photographs were obtained. Dr. Raps had
also obtained photographs of the vibrations from the singing of
vowel sounds, which exhibited several interesting relations of th&
component parts of the sound to one another. He also exhibited
photographs of the vibrations produced by the sounding of a hunting
horn. _^__^_^___
Photo-chrouogrraphic Work in Paris.— i« Mature has
a long article on this topic, showing how it is now employed in what
may be termed a State-recognised study. At the Saltpetriere
Hospital in Paris a special open-air laboratory has been fitted up for
conducting experiments, on a complete and extended scale, of the
play of the various muscles and parts of the body during various
phases of muscular exertion. The camera contains a dozen lenses,
and is mounted either on a studio stand or a field tripod. The ex-
posures are made by electricity, and aware of the fact that some
control of the duration of exposure is needed, so as to obtain
sufficient detail and not mere silhouttes, under varying lights and
distance of object, every provision has been made for carrying out
this requirement. With regard to accurate measurement of the time,
though Foucalt's metronome is valuable, it cannot be used for very
brief periods of time. Ultimately, a modification of Trouve's inter-
rupter was devised, and found to be excellent for the purpose. In the
article in question will be found excellent illustrations of the whole
arrangement, showing how very complete an installation has been
carried out. One view in particular gives a very good idea of what
the arrangement is capable of. It represents the apparatus at work
taking a series of photographs of a workman stripped to the skin,
striking an anvU with a heavy hammer. There cannot be a doubt
that such photographs taken in half-tone will be of the greatest value
in many physiological investigations.
PHOTOGRAPHY IN WARFARE.
The subject of photography applied to military purposes is one that
is now receiving a httle of the attention it merits. That photo-
graphy may be made of valuable assistance in warfare is a self-
evident proposition, but hitherto its applications have been limited in
extent, and it is only the scientific branch of the army — the Royal
Engineers — that has practised it. Much of the work done at the
School of Military Engineering at Chatham is familiar to us, and it
is here that many of the photo-mechanical processes have been
worked out, or, it might even be said, have originated. The Ord-
nance Survey Maps are testimony to the perfection to which our
" brave defenders " have attained in the photographic process by
which they are produced. In the application of photography to the
numerous uses to which it might be put in the field on a campaign, we
seem, however, hardly to have kept pace with the times, and the
paper recently read before the Photographic Society of Great Britain
by Captain Mantell, R.E., entitled Balloon Photography Applied to
Military Purposes, appears to support this view. It may be gathered
from the paper that, until recently, there has been little done in
experimenting in a direction which, it is evident, must be an impor-
tant one in warfare — that of obtaining maps or, rather, bird's-eye
views of the country at the seat of operations by means of a captive
balloon. The difficulties to be overcome are not few. The effects of the
motion of the balloon, even in moderately calm weather, are described
as being very unpleasant, and, in anything like a wind, as being far
worse than those experienced on a vessel in the heaviest sea ; so that,
in addition to photographic and manipulatory difficulties, the nausea
of sea sickness, or its equivalent, has to be contended against. The
actual photographic work is not the plain sailing it might appear to
be. The gyration of the balloon and its rolling motion render it ex-
ceedingly difficult to p<«nt the camera in the desired direction at the
November 24, 1893]
THE BRITISH JOUUNAL OF PHOTOGRAPHY.
740
moment of exposuvo, and, owing to the movement being in the
camera itself, the duration of the exposure must necessarily be very-
brief to obtain a sutBciently sharp result, ono-sixtieth of a second
being about the maximum possible, even under favourable conditions.
In a wind of the velocity of ten miles an hour, negatives could be
obtained showing no appreciable amount of blurring, but when the
wind attained a velocity of sixteen miles an hour, all work was
found impossible. With a free balloon the work was much simpler,
as, instead of tossing about, the balloon moved with the wind. It
will be seen, from these few facts, that balloon photography is any-
thing but play ; but Captain Mantell may be trusted to advance
matters if he has the opportunity afforded him. He certainly has
that valuable qualification in an investigator, that lie is not ashamed
to admit his want of knowledge and to ask assistance.
Another aspect of militarv photography is the subject of an ex-
tremely able article in the Pall Mall Gazette of the 30th ult. — an
unsigned article, but evidentfy from the pen of a practical photo-
grapner. The writer points out that, although photography has been
Uitnerto entirely the province of the scientific branch of the army,
the Royal Engineers, there is no reason why it should remain so.
There are, in all branches of the service, officers who are excellent
practical photographers, and whose attainments might be utilised in a
way which the existing system does not recognise. A photographic
contingent might be attached to every army corps, a body trained
in the use of the camera for the purposes of reconnaisance and
expert in map reproduction and all the branches of photography
likely to be useful in active service. The material for such a con-
tingent could be easily obtained from the non-commissioned officers
and the rank and file, for modern developments have rendered pre-
vious scientific training comparatively unimportant, and the service
would certainly be popular, owing to the great fascination of photo-
graphic work, whatever its application. The necessary technical
training might be conducted under the supervision of the Royal
Engineers, with the Chatham School of Photography as a centre,
but with local centres at the various military stations throughout the
country. The cost of this would be comparatively trifling, whereas,
as a set oS, there woidd be in a short time, in every corps through-
out the army, at least one officer and two or three non-commissioned
officers or men who could use the camera in a reconnaisance instead
of, or in addition to, the pencil.
The idea commends itself at once to photographers as one quite
capable of being carried out. It is obvious that, while photography
remains the exclusive prerogative of one department of the forces, the
extension of the uses to which it is applied is likely to be made but
slowly, and, as Engineers are not ubiquitous, on many occasions
when photography might be employed with advantage, it must neces-
sarily be dispensed with, on account of the absence of operators. For
military purposes in the field pictorial excellence is quite a minor
consideration ; the rapid production of prints is important, and of more
importance still is certainty, that is, that every plate exposed shall
result in a negative capable of giving prints good enough to tell the
tale intended. The utmost portability and simplicity of apparatus are
essential, but there is no reason to fear that a demand in this direction
would remain long unsatisfied.
Before the authorities at headquarters are likely to consent to the
" extension of the camera " in the direction indicated, they will have
to be fully convinced that photography, as a means of graphic ex-
pression, is better than the pencil, that its employment need not entail
any great addition to the provisions made for transport, and that the
expense to be incurred will not be great. However, we have learned
— happily from the experience of other nations — that success in war-
fare 18 largely dependent upon the advantage taken of arts which can
be cultivated in times of peace, and, whatever may have been our
errors in the past, we have every reason to believe that those to whom
we have entrusted the duty of providing for the defence of our
country are fully alive to the responsibility which rests on them, to
neglect no means available for the purpose. A. Mackib.
STANLEY SHOW PHOTOGRAPHIC EXHIBITION.
The second annual Photographic Exhibition in connexion with the
Stanley Show of Cycles at the Agricultural Hall, was opened on
Friday, November 17, and will remain open until Saturday next,
November S.^. The Judges on this occasion were Messrs. Henry
Sturmey, J. Traill Taylor, and E. J.' Wall, and medals were placed
at their disposal by the Committee with considerable lavishness.
The management of the Exhibition was in the hands of Mr. W. D.
Welford, who must be congratulated not only on the success of the
show as a whole, but in particular of the hand-camera clam, which
was a particularly strong and good one. If rather weak in the
champion class, other departments of the Exhibition suf-
ficiently atone for it, and the total display was undoubtedly good
and interesting. This year the pictures were wisely separated from
the apparatus, the latter being arranged in the outer gallery. In the
room devoted to the pictures we should have been pleased not to see
the tlags and streamers with which it was adorned, as to our thinking
such garish attempts at decoration are best omitted from a display of
photographs, which have nothing to gain from their presence.
In Class A (Champion), the gold medal went to Mr. C. S. Koe for
his Sedffe Oatherers, a crisp, forcible study of a man and two woitien
engaged in that occupation — easy and natural in its arrangement.
Mrs. Main, with her Alpine series, Frost and Hunshine, took the
silver medal, and Mrs. Marriott (somewhat luckily, we think) the
bronze medal for an Irish seashore view, carefully exposed and
printed, but otherwise not very striking. Messrs. Mendelssohn,
Byrne, and Pym exhibited good portrait work, which, to our fancy,
deserved recognition, particularly the first-named two. Mr. Burrow's
mining series were also passed over.
Class B (Landscape) was really so good all through that we are sure
the Judges must have had a tough job in coming to their decision.
The gold medal went to Mr. R. S. Webster for When the EoenintjSun
is low, a boat with two occupants near a rocky shore ; the silver
to Mr. Warneuke for one of his Pall Mall Landscapes ; the bronie to
Prince Barma for a pretty and painstaking view. On the River at
Tipperah, India ; and diplomas to Messrs. J. H. Anderson for Winter's
Morning, a riverside study, effective from a realistic point of view, but
not otherwise noteworthy ; and J. Kidson Taylor for A Smtg Berth, a
capital bit portraying a ship at anchor in a small bay, like all Mr
Taylor's work, sound in execution. A view of The Tmoer Bridge, by
Mr. W. Howell ; a bold Sunset and a tender Eventide by Mr. W.
Norrie ; a capital Sunday Morning, an old fellow escorted by a young
woman emerging from a church, by E. S. Baker ; and noticeable work
by Messrs. J. Avery, Hartley Bros., E. HanMns (an excellent hoar-
frost bit), E. Benson (a meritorious Mountain Stream), and others are
included in the class.
Class D (Figure Studies, Genre portraitxire) was also a remark-
ably good one ; indeed, although small, we go so far as to say that it
includes some of the cleverest work of its kind we have seen this
season. The gold medal is well won by Mr. D. J. Scott for Dividing
the Spoil, a humorous group of three schoolboys, one receiving a
bite from an apple held by another, while a third, over his slate, is
smiling unctuously. The youth holding the fruit has the attitude
and the expression of " Don't take it all ! " A very clever bit of work
this. Prince Barma takes a silver medal for a figure study of a
young girl, one of a series of princesses of the House of AnciSiit
Tipperah ; Messrs. Lutzel Bros., a similar award for a frame of
delicate and refined portrait studies, chiefly of ladies and children.
Mr. C. E. Wyrall the bronze for a large study. Is oo Cross? a little
lady asking the question of a dog whom she has dressed up in
fantastic garb ; and Mr. Byrne, a diploma for a series of charming
portraits in red carbon. Messrs. Werner, Terras, Treble, Count
Gloeden, &c., also exhibited in the class, Messrs. Lutzel's and
Byrne's other exhibits being particularly striking.
Class E (Hand-camera Studies) was, as we have said, particuliirly
strong, the gold medal going to Mr. J. A. Sinclair for a frame of four
of his now famUiar Swiss and Italian excerpts, well chosen, beauti-
fully defined, and technically admirable. Mr. Sinclair had three
other frames all in his best (or Continental) style. Awards also w«nt
to Mr. J. Kidson Taylor (delightful land and waterscapes, quite
worthy of a stand camera deliberately used), Charles Knight (shots at
soldiers on the march), J. H. Gear (sheep in a farmyard), Ohirfcs
Job (rustic studies). To this class, which we unreservedly salute as
a tribute to the potentialities of the hand camera as capable of the
highest artistic expresaon in photography, a great many other well-
known workers contributed good examples of their skill.
In Class F (Beginners since 1890) Mr. J. H. Gear (who seems a
very old "beginner") received the silver medal for a splendid interior
of Whitchurch Church; Mr. Stewart Smith the bronze for an interior
group of the Glasgow Art Club (very good) ; Mr. A. Kemp a bronze
760
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 24, 1893
for My First Love (portrait of a very old lady), and Mr. J. H. Ander-
son took a diploma. We have seen no better beginners' class than
this : it was good in landscape, portraiture and interior work, and
only the cruel exigencies of space prevent us from paying many of
the competitors some pretty compliments.
Class G was for pictures taken with apparatus carried on cycles,
and this contained some fairly good land and seascapes. Messrs.
Barron (silver), W. B. Dart (bronze), and Harry Wade (diploma)
were successful. In the Society Competition the Gosport, East
London, Midland, and South London competed, and the last two
secured awards, the South London being particularly strong in archi-
tecture and interiors. Take it all in all, the Exhibition was far above
the average of its kind.
The show of apparatus was remarkably strong, and we can conceive
that the casual visitor must lia\e been greatly gratified at the dis-
play. Handsome stands were occupied by Messrs. Adams & Co.
(hand cameras, changing boxes, lanterns, stands, &c., in profusion),
R. & J. Beck (whereon the philosophy of the " Frena " was expounded
in all its ramifications). Sands, Hunter &; Co. (cameras, lenses, &c.),
Cresco-fylma Company and JMorgan & Kidd (with an effective dis-
play of eulargements in carbon, collotype, bromide, &c.), Wormald &
Co., Morley & Cooper, Holmes & Watson, Piatt & Witte, W. Wray,
&c.
Now that so many photographers are cyclists, and vice i'ersd, we
are sure that followers of both pursuits must have visited the joint
Exhibition with considerable pleasure and as much profit.
CAMERAS AND FILMS.
LiKB your own, Mr. Editor, my photographic experience dates far
back into the past, embracing a period of nearly forty years. Having
passed through every phase of the art from the early days of collodion
through the various so-called dry or preservative processes, I can only
marvel at the wonderful developments of these later days, and the
facilities now afforded for the practice of our old and favourite
pastime. I compare the ready-made dry plates, their marvellous
.sensitiveness, the light, compact, and admirable cameras of to-day
with the heavy cameras, cumbersome tent, the f-ilver baths, bottles of
chemicals, and all the bulk and weight of the paraphernalia required
by the landscape photographer of the old days, and can only con-
gratulate the latter-day followers of the art that their lines are cast
in such pleasant places, and that they have so goodly a heritage.
One of the greatest strides that has been made, and one of the
most useful practical steps of modern photography, has been the
introduction of films to take the place of glass for negatives in land-
scape work. Even young men and strong, to say nothing of men
whose growing years have not abated their ardour, can, on a hot
summer day, appreciate the enormous advantage of a iilm-carrier
containing thirty exposures on a spool only a few ounces in weight
over the burden of six heavy plates in three double slides. But here,
I am afraid, my record of progress in this direction must stop.
Much as has been done there is still something wanting, and the
object of this communication is to call the attention of our camera-
makers to a matter of much importance, and to urge them to exercise
their ingenuity and inventive faculties a little farther, and make one
more addition to our present appliances.
These rolled films are exceedmgly light and easily developed, but
aft€r this our troubles begin. They are difficult to dry flat, soak them
in glycerine as we may ; but, when we come to print from them, then it
is that one's temper gets ruffled, one's patience exhausted, and certain
ejaculations hardly tit for ears polite are apt to escape us. No power
that I am acquainted with can keep these films flat or prevent them
rolling up to the size of a lead pencil, es])ecially in a warm room.
And the ditticulty of unrolling them, adjusting the paper, and getting
them into position in the printing frame, is tremendous, involving
much loss of time and temper. This is owing to the films being so
thin. With cut films the case is different ; being thicker, they do not
curl up in the same way. But with these cut films as used at present
we lose one of the great advantages of films, viz., the command of a
large number of exposures, with a minimum of weight and trouble in
changing.
What is wanted, therefore, is an arrangement not much larger or
heavier than the present roll-holders, which will carry, say, twenty-
four cut films, each of which can be easily displaced after exposure,
and another brought into position. But perhaps some one will say this j
has already been done, and I shall be referred to this or that hand |
camera for proof. This may be quite true, but I am not speaking of
hand cameras, with which 1 am not much in love, but of ordinary
sizes, say, up to whole-plate or 10 x 8.
Whoever will give us this boon will deserve and will receive the
grateful thanks of thousands of amateurs, and will also, I doubt not,
lay the foundation of a profitable business. If the problem has indeed
been solved as regards hand cameras, it needs, one would think,
very little ingenuity to adapt tlie principle to larger sizes. If
the inclusion of as many as twenty-four films increases the difficulty,
reduce the number to twelve, but twenty-four would be an ad-
vantage.
I have taken as many as twenty-four negatives in one day, notably
once at the Lakes of Killarney, which I could not otherwise have got,
and the last four exposures were amongst the finest things I have
ever done. This was, of course, by means of a roll-holder, as there
was no dark room handy for changing.
I commend this suggestion to our camera-makers as one most
thoroughly practical and useful, and trust by next summer the piece
of apparatus I am pleading for will be un fait accompli.
S. BOUBNB.
REMARKS ON HAND-CAMERA WORK AND
HAND CAMERAS.
[Dundee .and East of Scotland PhotograpMc Association.]
I CONFESS to having been for a long time a very great sceptic as to
the possibility of doing even decent photogi-aphy with a camera held
in the hand. The excellent slides shown at some of our meetings
from negatives said to have been done in hand cameras almost
persuaded me that the thing could be done, however, and I immedi-
ately set about a mild kind of inquiry into two or three points which
specially interested me.
Whether it be from use and wont, habit, prejudice, or what you
like, I am a " stickler " for definition. I go in chiefly for lantern-slide
work, and, however tolerable a 14 x 12 fuzzytype (as they have been
jocularly called) may be, want of definition in a little picture three
and a quarter inches square has always been singularly abhorrent
to me.
For this reason it wa9 a long time till I could bring myself to
believe that a hand-camera negative need not necessarily be blunt. I
have proved to my satisfaction now that a /liffh degree of sharpness is
attainable in a hand-camera negative. A good deal of the work done
by the hand camera is not sharp, l)ut it need not have this defect,
and this was the first question I determined to test, " To what extent
must one be prepared to sacrifice definition in taking to a hand
camera?"
Andrew Pringle, in his classification of amateurs, has a class of
mechanical amateurs. It seems that their hobby finds expression in
the designing and making of hand cameras. 1 plead guilty to being
of this class, and furthermore plead guilty to having made no fewer
than four hand cameras this season. When I say I have made four
hand cameras, I mean this in a certain restricted sense. For certain
reasons which may appear later on, I soon decided in favour of dark
slides as against a magazine arrangement, and it is to be understood
that in my home-made hand cameras I did not make the dark slides.
But, to begin at the beginning, wlien I first decided to take up hand-
camera work, I sought to make a camera having the following con-
ditions or qualifications. First, it must be small, liglit, and portable,
strong, weather-proof, capable of carrying eight to twelve plates,
easily changed. The shutter must be not over-fast, and not liable to
get out of order. Lastly, but most important of all, it must be well
within my power of construction.
I first of all sent to Mr. Wray, of London, for a simple stereo-
scopic lens of five inches focus. I decided upon a single lens for the
following reasons. First, as I only wanted the lens to cover a lantern
plate, a single lens of five inches focus is practically rectilinear even
under trying conditions upon this size of plate. Secondly, a single
lens gives a crisper and more brilliant image. Thirdly, this stereo-
scopic lens by Wray, working as it does magnificently at an aperture
rtitio of eleven, was abundantly fast for all ordinary purposes ; and,
lastly, a single lens even by a good maker is comparatively cheap,
this lens by Wray, for instance, costing but twenty-five shillings.
To have gone in for a rectilinear I would have had the advantage
only of working with a larger aperture, and this with the dis-
advantage of giving me less depth of focus, or requiring me to
arrange some focussing arrangement on my camera before I could
have taken advantage of the large aperture for near and far objects.
By contenting myself with an aperture of/-ll, I secured such depth
of focus as to render any focussing ari'angement on the camera un-
necessary— a huge point, I think. A single lens has other points of
November 24, 1893]
THE BRITISH JOURNAL OF PHOl'OGRAl'UV,
761
advantage which I need not advert to, such as the ease with whic)i a
shutter can be fitted on it, and so on.
The leM havinjf been duly received, I set about the construction of
camera No. 1 as follows :— A well-made pine plate-box with groovus
for twenty-four platos was procured. This box was divided into two
chambers or divisions by a thin partition of wood. The front half
was the camera proper, the back half the magazine. The lens was
placed on the end of the box, having upon it a shutter, which I need
not describe, as it did not turn out satisfactorily. The hinges and
hasp were blackened with chloride of copper, and the whole box
covered with morocco leather. It had quite a respectable appearance.
Although there had been no attempt made to disguise the true nature
of the machine, if one carried it under the arm (and it was small
enough for this), with the lens looking to behind you, not in front,
p(!ople pa.'ised by, like the Levite of old, and took no notice.
The plates were changed in a simple and certain way. I had a
small bag made of two thicknesses of black twill. The mouth of the
bag was opened, the camera dropped in, and the bag tightened by
means of a running string round the wrist. This done, the catch of
the Ud was turned, the lid opened, and the plate taken from the back
half of the camera (where were a dozen plates in the grooves) and
slipped down in front of the partition, where it was ready for
exposure. I used this camera some half-dozen times, but soon found
that it had two faults.
In the first place, while the plates were most easily and rapidly
changed, the manoeuvre was conspicuous and objectionable in streets
and crowded places, where one would most naturally use a hand
camera.
In the second place, the movement of the hand and arm to release
the shutter caused the camera to move, and my pictures were
blurred. At first I thought I had not set my lens to focus. I tested
this by setting ray cameni on a stand, and exposing with a cap. The
ficture was sharp. I then thought the shutter vibrated the camera,
tested this by liolding the camera myself and getting a friend to
release the shutter. The picture was sharp. I therefore concluded
that it was the movement of the hand and arm in the act of releasing
the shutter that did the mischief. I may remark here that I am
convinced that many of the blurred pictures got from hand cameras
are brought about, not by vibration of the shutter, not by unsteadiness
in holding in a general way, but from this special movement made
unconsciously in the act of releasing the shutter. Later on I will
describe some trials I made to determine how pi-olonged the exposure
might be without blurring, this movement being eliminated.
Seeing that the mode of the changing of the plates was unsuitable,
and the shutter difficult to release without movement, I determined
to make another camera. I cannot show you this first camera,
for the simple reason that I have used certain parts of it as material
in the subsequent cameras. In thinking over the question of an easy
release for a shutter, 1 remembered that I had a simple drop shutter,
which was all that could be desired in this respect. I hunted it out.
A simple unaccelerated drop shutter gives about the speed I like. It
is not prone to stick or get out of order, but it is cumbrous ; over
and above this, it adds considerably to its size to have it on the camera
in a set state. Still the drop shutter had so much to recommend it
that I determined to adopt it and bring all other conditions to suit it.
As I had no means of keeping the light from entering the camera
while setting the shutter, I abandoned the idea of any magazine
arrangement, and decided to have dark slides. Having little experi-
ence of magazine cameras, I can give no opinion upon them. All
that I can say is, that the dark slides have given me unbounded satis-
faction. You can carry one in this pocket, one in that, so that you
never feel them about you. You can fill Nos. 1 and 2 with quick
plates, and Nos. 3 and 4 with slow, and expose them how you like.
You can shp down to the harbour with only a single plate or with
eight, just as you like, and the changing is simple and rapid. I am a
great believer in the dark-slide system. As dark slides are not child's
play to make, I ordered four from Mr. Bimie, and meantime set
about devising camera No. 2.
I thought myself almost to distraction as to how I could contrive
to design a box with a drop shutter on the end of it to look tidy and
unconspicuous. While busy over this question, I remembered that
camera No. 1 had not proved weather-proof ; indeed, I was convinced
that it was not possible to moke a hand camera weather-proof, and,
if this were to be remedied by having a water-tight case of any kind
for the camera to be carried in, seeing that the camera would be only
exposed for a moment during the exposure of the plate, I might as
well have the camera any handy shape I liked, independent of
appearance altogether. This simplified matters hugely. I designed
11 simple box, of proper dimensions at the back to take the slides, but
getting narrower towards the front, to allow my hand to lie naturally
to the release of the shutter. The bodj of tbe CAineni I made of
stout millboard, attached with brass screws to a mabogMT front for
the lens, and a mahogany frame behind for the dark slides to work
in. The whole was covered with stout morocco leather, and, as rou
will see, is quite presentable. I thought I would require no Bndar,
but placed a circular spirit level on the top. Thin camera I thought,
at first, a g^at success. I got my saddler to make me a nice leatiier
case to hold it and the dark slides, and thought I bad come to my
journey's end. J. K. Tvllocb, M.B.
(To be continued.)
A COMMON DEFFX:!T IN PHOTOGRAPHIC DOUBLE
DARK SLIDES, AND ITS REMEDY.
A vbuy common defect in double dark slides of the ordinary book
form is the admission of light between the shutter and the top rail of
the slide framing when the shutter is drawn out to expose a plate.
It is none the less dangerous that it may not show itself for some
time. If the camera is kept carefully covered with the focussing
cloth while the slide is withdrawn, (dl may be right, but some day
the cloth may be blown off just at the critical moment, and the result
may be one or two streaks of fog across an otherwise good negative.
Having had some valuable negatives spoiled by this means, I speak
from experience, and it is in order that my experience may be of use
to others that I now explain the remedy, which is very simple. 1 ^CH
It is in those dark slides where the shutter is prevented from
coming completely out by two small screws that this defect is most
likely to occur. In order to permit of the entire surface of the plate
being exposed m the camera, there are pieces, B B (fig. 1) checked
out of the top part of the slide frame to receive these screws. :;tThi8
leaves only a small part of the frame to keep out the light, and it is
seldom so well fitted as to be quite light-tight.
The remedy consists of a piece of narrow black velvet ribbon glued
across the top of the frame, as shown at A (fig. 1). The shutter must
be entir^y withdrawn, first unscrewing the two small screws before
referred to. If it is prevented from coming out by means of a narrow
strip of veneer glued across near the bottom edge, which is also a very
common plan, this strip of veneer must be carefully chiselled off.
If the shutter is a very loose fit, as is often the case, the ribbon may
be glued right on the surface, but it generally requires a shallow
groove cut to take up some of its thickness.
The velvet ribbon may be got in a draper's, and cotton back is to be
preferred before silk ; a quarter of an inch broad is sufficient, bat
broader may be used with advantage if there is room for it. Fig. 3
represents the ribbon and its groove in section.
If three dark slides are to be done, and it is an improvement even
to the best, it will save both time and trouble to make the small tool
shown at fig. 2. A piece of hard wood about four inches long, one
and a half inches broad, and a quarter of an inch thick, has a check
cut at one end ; two small nails are driven in at^ suitable distances
from the check and from each other, to form a gauge for cutting the
sides of the groove ; the points of these nails project about a sixteenth
of an inch, and they are further sharpened by means of a file. By
using this tool as a carpenter's gauge is used, the sides of the groove
are neatly and easily cut. The groove is then cleaned out with a
narrow chisel, leaving it higher in the centre than at the edges. The
edges of the ribbon will thus be well under the surface of tne weod,
and, if properly glued in, will not be liable to be torn off by the
shutter. Kbntwkbjj.
♦
LEYTONSTONE CAMERA CLUB EXHIBITION.
A nio step in advance has been made by the Leytonstonc Camera Clab in
the Exhibition, the second annual one, which was opened last Monday,
and is to remain open all this week, not only in the iinality of the pic
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November
urea hung, but also in their arrangement and disposition. Last year we
felt it our duty to pass a few strictures on certain featiures of the Exhi-
bition, and we are happy to observe that they have been profited by, the
result being a thoroughly representative ooUeotiou of pictures illustrative
of photographic art up to date, presented to the public in a praiseworthily
careful manner, and one, moreover, which would do credit to much older
photographic organizations than the Leytonstone Club. At the same
time, we must temper our praise with one recommendation, and that is,
while the Club does its best to avoid skying frames, it should also en-
deavour to abstain from "flooring" them. On this occasion, what we
were informed the Judges considered one of the best photographs in the
room the hanging authorities had hung on the floor, as the Irishman
says, so that, in all probability, nineteen out of every twenty visitors
would miss seeing it. The Judges were Colonel Gale, Mr. Cembrano, and
Key. F, C, Lambert.
Class A (Landscape and Seascapes — members of the Club) was not, as
is generally the case with members' classes, too large. Mr. G. H. Cricks
took the silver medal with An Essex Swamp, which we have previously
noticed, and also showed A Sumvier's Eve at Convey, a characteristic
study on the Essex flats. Mr. D. G. Eiddick was prominent in the class,
securing the bronze medal with Where Twines the Stream — a soft,
pleasing study of river, wood, and meadow, skilfully composed. He also
showed The Silent Brook and By Mead and Stream — two similar subjects
ably handled. Messrs. E. S. Coleman, H. E. Farmer, E. A. GoIIedge,
H. H. Summers (bronze medal), F. W. Wates, and A. E. Bailey also
showed excellent work. Class B (Architecture — members) was a small
one, Messrs. H. E. Farmer and J. H. Gear being prominent, the latter
gentleman taking the bronze medal for a technically good view of
The Choir, Westminster. No awards were made in Class C (Portraiture
and Figure Studies, including animals) ; Mr. Tom Symmons was perhaps
most successful with a large picture of a young lady. Que Voulez-vous,
M'sieu, offering fruit for sale. In Class D (Enlargements — members)
Mr. Symmons received the silver medal for a fine enlargement, badly
hung — Winter, and Mr. C. A. Kussell the bronze for a study of a Sunset,
treated in the diffused style. Mr. Gear showed Whitchurch Church, which
was medalled at the Stanley Show. In the Members' Lantern-slide Class
Messrs. A. E. Bailey (silver) and W. E. Farmer (bronze) were successful.
There were three open classes. In the Champion Mr. W. Thomas
took a silver medal for a series of hand-camera river studies, and
Mr. Wellington a similar award for Eventide. The class though
small was good. In the open lantern slides a special silver medal was
awarded to Mr. P. Martin for a series of imitation statuai-y, Cliaracters
from London Streets, full of humom- and carefully made. Mr. Hankins
also won a silver medal for a series of slides from hand-camera negatives.
For Class G (prints of all kinds by any process) nearly 200 pictures were
in competition, the silver medal going to Mr. Bhedwar for The Voice of
Silence (which was shown at the Salon), and the bronze to Mr. J. H.
Anderson for an October Sunset, a study of sky and water. Tlys was
undoubtedly a very fine class indeed. Messrs. West & Son (yachts),
W. Thomas (hand-camera), Sandland (animals), S. B. Angle (a clever
flashlight photograph of a dancing lady), Cadby, H. P. Robinson,
Warneuke, Oakden, Howell, and Byrne (some remarkably good por-
traits) being among the prominent exhibitors. A loan collection of
photographs, in which work by Messrs. Elliott & Son, Horsley Hinton,
Ralph Robinson, the Autotype Company, Karl Greger, the Stereoscopic
Company, Waterlow, and the Platinotype Company was shown, consti-
tuted a fine exhibition in itself.
Altogether the Leytonstone Club may congratulate itself on having
organized a show of fine photographs which will surely not be beaten by
any of what are known as the minor Exhibitions.
ON THE PHOTOGRAPHY OP THE LtTMINOUS RAYS OP THE
SHORTEST WAVE-LENGTHS.'
With a slit of the width of 0020 mm., and an exposure of one minute
the Loyden jar spark of cadmium gave all the main lines but the two
most refrangible. No. 25 and No. 26, in contrast to the others, strikingly
pale. As it might have been expected, this difference in intensity did
not disappear, even on prolonged exposure, until solarisation became
perceptible in the more intense lines. The difference in intensity which
regularly followed on normal exposure would not have attracted my
notice if I had not had at my disposal several cadmium proofs of ex-
traneous origin— three original plates, for which I am indebted to the
* Continued from page 739.
kindness of Mr. W. N. Hartley, of Dublin — which have also been taken
upon silver bromide gelatine with a quartz prism and quartz lenses.
These proofs showed the difference in the intensity of the above-named
lines decidedly less than my plates. They therefore justify the assump-
tion that Hartley's experimental arrangement had in some manner
relatively assisted the photographic action of the lines No. 25 and No. 2G.
I was confirmed in this conclusion by three other cadmium photographs
by the same spectroscopist, good photographic reproductions of which
accompany one of his treatises {Scientific Transactiotis of the Royal
Dublin Society, " Photographs of the Spark Spectra of Twenty-one Ele-
mentary Substances," vol. i. series 2, pp. 231-238, 1882), and which, in
contrast to the above-named original plates, are in harmony with my
plates ; whence, therefore, the difference among Hartley's proofs ? This
question was of essential import for the continuation of my work.
Hartley, on the ground of the plates of his two negatives above named,
had marked with a diamond the date 1880 ; his treatise appeared in 1882
My investigation began in the year 1889. As regards the arrangement
in taking Hartley's plates above mentioned, I merely know that an
apparatus with quartz prisms had been employed. Hartley's treatise
explained his arrangements in taking the other spectra. From reasons,
the exposition of which would prove tedious, I have below, in the solu-
tion of the above question, kept myself exclusively to the proofs. This
was admissible, since they display a difference palpable for the present
case. The length of the spectra is different. If measured between the
cadmium lines No. 9 and No. 26, it amounts in the plates to 82 mm.,
and in the figures to 157 mm. As both spectra show no appreciable
difference in the re-solution of their crowded lines, it was permissible to
assume that the dispersion of Hartley's spectral apparatus was the same,
and that merely the focal distance of the lenses was different. There-
fore the lengths of the aerial transit of the rays of both apparatus must
have differed from each other approximately in the same proportion as
the focal lengths. It has been already proved by Cornu {D'Almedia J.,
X. pp. 5-17, 1881) that the transparency of the air decreases with the
wave-lengths of the rays, especially in the ultra-violet, though certainly
in strata of much greater thickness than those of Hartley's apparatus.
Still, I have felt compelled to uphold the resistance of the air as the sole
cause of the above-named difference in the intensity of the two most re-
frangible lines of cadmium. On tlie one hand, because Miller's proofs
already showed that a stratum of air, even of moderate thickness, may
prove an insuperable difficulty in the photography of the ultra-violet ;
and, on the other hand, because all further experiments which I instituted
to detect other causes for this phenomenon proved fruitless. An experi-
mental strengthening of this assumption, the necessity for which seemed
more urgent on every new photograph, had to be postponed until the
conclusion of the connected examination of the spectra of zinc and
aluminium, on account of procuring the necessary instruments.
The zinc spectrum in its most refrangible pai;t acted still more feebly
than the cadmium spectrum. For instance, an exposure of three
minutes was required for the appearance of the most refrangible line.
No. 29. Like the efficacy, the intensity showed a further decrease. Of
all the main lines of cadmium and zinc, none appeared so slightly as the
zinc line No. 29. The combined spectrum of both metals showed better
than any other that the intensity decreased with the wave-length as
yielded by a spark springing over between these electrodes. (When
employing three electrodes, I connect tlie pair of electrodes with the
current circuit, whilst the single electrode of the other metal was intro-
duced with its extreme end into the track of the spark, where it then
took part in the discharge in a normal manner.) Few metals are here
at all suitable like zinc and cadmium.
Contrasts in the intensity of adjacent ultra-violet lines are shown in
the inflection spectrum better than in the refraction spectrum, since the
deflection of the rays does not succeed progressively with the wave-
length as with the prism, but proportionally. Hence the lines towards
the more refrangible end are more and more crowded together, whilst in
the refraction spectrum they recede further from each other. Proofs
which I took with a concave grating revealed still better the decrease of
the intensity and efficacy of the lines in question.
According to Cornu's hypothesis (Gomptes liendus, Ixxxviil. pp. 1285-
1290, 1879), a stratum of air of the thickness of ten metres suflices for
the absorption of the rays of the wave-length 211'84 /i/i.
The rays Nos. 27, 28, and 29, the wave-lengths of which are smaller,
are consequently absorbed by such a stratum of air in a still stronger
degree.
I utilised this fact in order, even before the completion of the above-
named new apparatus (see ante), to procure a more certain basis for the
measurement of the absorption of the more refrangible rays in the air
than was afforded by the former observations. To this end I execute
November 24, 18U31
THE BRITISH JOUKNAL OF PHOTOORAJ'Uy.
788
some proofs with the quarts apparatus, in which the spaika and the photo-
graphic plate were distant from each other, not ten, but seventeen metres.
The light was conducted directly into the apparatus. Two quartz lenses
placed at the focal distance of the rays arriving at the plate in front of
the slit and the sparks oo-axially with the collimator, collected these rays
in the aperture of the slit of the collimator. After fifteen minutes' ex-
posure all the zinc lines appeared, contrary to expectation, although very
thin and devoid of expression, which, however, was this time unimportant.
The important part of the result was the fact that the atmospheric air, as
tested by brom-silver gelatine, is far more pervious to light than might
have been expected according to Cornu. In addition, the thickness of the
stratum of air employed by no means corresponded to the limit of trans-
parency. According to my firm conviction, a much thicker stratum of air
would have led to the same result. How did my assumption of the in-
fluence of the air upon the photographic efficacy of the most refrangible
rays agree with this result ? Little as I could bring them in harmony,
the cadmium phenomena furnished ground enough to uphold them
unaltered. That the numerical values which Cornu has given for the
aiirial absorption could no longer serve as a basis after they had been
found doubtfhlly trustworthy in my photographs of the zinc spectrum
need not surprise us. Cornu's statements are founded on the behaWour
of the wet-collodion plate, whilst my proofs were taken only with the
gelatine plate. The sensitiveness of both plates is fundamentally different,
and in that part of the spectrum which exclusively concerns us it is totally
unknown. How the sensitiveness of both plates may vary in the ultro-
violet we have hitherto no observations to show.
I next proceeded to take the spectrum of aluminium. The first experi-
ments were fruitless. Not until I had enlarged the slit to the unusual
extent of IJ mm. and had exposed for twenty minutes did I succeed for
the first time in recognising on the fixed plate at least traces of the line
No. 30, and the less refrangible components of the double line No. 31.
The image of lines was certainly so faint that under ordinary circum-
stances it was visible neither by transmitted nor by reflected light. To
perceive it distinctly especial precautions are required. In the same
manner I subsequently obtained, after an exposure of forty-five minutes,
the remaining aluminium lines. Thus I had arrived at the region of the
smallest wave-lengths, but had by no means attained my purpose. My
proofs certainly supplied evidence that the most refrangible aluminium
jays after traversing a stratum of air of two metres in thickness could still
exert upon silver-bromide gelatine an impression capable of development ;
but an application of such proofs in spectroscopy, at which I was aiming,
was not to be thought of. The clearness of the lines was insufficient.
An attempt to obtain better results by elevating the energy of the rays
failed completely. What I effected with an induction apparatus of un-
usual size, constructed by Keiser & Schmidt, of Berlin (length of sparks
50 cm.), expressly for these proofs, demonstrated merely that the object
could not be approached in this direction.
More for the sake of completeness than with a hope of success I executed
an aluminium proof with the above-mentioned grating apparatus. I neve,
obtained even a trace of a line. The grating was well suited for taking
the zinc lines, but with the aluminium lines of the shortest wave-length
it failed entirely.
Nothing remained but to take a photograph with a thicker air stratum;
Alter I had studied the behaviour of my plate in the aluminium light
under normal conditions, the thickening of the stratum of air seemed a
more suitable expedient for the direct demonstration of the influence of
the air upon the photographic efficacy of the most refrangible rays than
previously. I employed for this purpose the same experimental arrange-
ment which I had used in taking the zinc spectrum. The track of the
rays in the air up to the photographic plate measured consequently again
seventeen metres.
Not a single exposure now left an impression upon the plate, not even
when I exposed for an hour and a half with very energetic sparks. The
tliickening of the stratum of air had therefore caused all the light-rays,
which in the former case had left an impression, to become enfeebled on
their passage to the plate to complete inefficiency. Thus I had at last
obtained experimentally the confirmation of my supposition on the aerial
resistance in the most refrangible ultra-violet, and at the same time the
certainty that, if with the resources of the present day a further advance
is feasible, this can be effected only after sufficient diminution of the re-
sistance of the air. No apparatus in my possession could be adapted to
this condition. The continuance of the experiment was therefore effected
chiefly with newly acquired instruments, mentioned under " Cadmium,"
Ihe arrangement of which had been brought into accord with the e peri-
-ence collected in photographing the most refrangible rays.
B. With especial apparatus.
Tlie leading idea in the design of the new tpeetral »ipfmtna wbieh taj
next photographs raquUed wui the utmost poMible redoctioa of the n-
sistancc of the air. My reflections had led me to three different oon-
structions, according to which the stratum of air wm to be redneed, either
diminishing the focal distance or by exhausting the tubes of the colli-
mator and the camera, wliilst retaining the original focal distaDoe, or by
exhausting the entire spectrum apparatus.
The entire removal of the air from tlie track of the raya in the appa*
ratus would certainly ensure the most favourable result conceivable, if the
desired object is attainable in this manner. But the difficulties of ob-
taining such a spectrum apparatus, exhausted of air in the manner of
Qeissler tubes, seemed so considerable, that I even renounced the lee*
serious project of partial exhaustion, and decided on the diminntion o(
the focal distance.
A very short focal distance yields, if a single quartz prism is employed,
spectra of a minute length. Spectra rich in Unes, such as that of the
sun, are then no longer capable of resolution. For such photographs the
apparatus is almost useless. This applies more to the visible spectmm
than to the ultra-violet, and in the most refrangible part of the nltra-
violet, where the lines, according to their wave-length, are relatively
much more remote from each other than in the less refrangible part, the
conditions are still more favourable. Here, therefore, as I show below,
the resolution of densely crowded lines, which in such cases are decisive,
can be effected with microscopical minuteness, even with a very small
apparatus.
An increase of dispersion by means of a greater number of prisms can-
not be admitted, on account of the loss of light involved. The result of
the experiment depends, in the first place, upon preserving the energy of
the rays.
In order that the proofs, in spite of their smallness, might meet the
most severe demands, everything was done which could promote the
sharpness and distinctness of the image, both in the construction of the
apparatus and in the selection and arrangement of the auxiliary appa-
ratus required for taking the photograph.
Concerning the measurement of the focal distance I have remained for
a long time undecided, as all the data for the effects of a greater or less
reduction of the length of the tube were wanting. The numerical values
which Cornu has established for the absorption of the most refrangible
rays in the air were here unsuitable, from the reason mentioned. So
much only seemed certain, that a moderate decrease of the length of the
tube would scarcely lead to a decisive result. Proceeding from the as-
sumption that the greater energy of the rays, and in like manner the
complete sharpness of the image, were connected with a smaller length of
the tube, and that a small but sharply defined image was preferable to
one large but less clear, I selected a lens of only 150 mm. focal dis-
tance. VlCTOB SCHCaiAKH.
{To be continued.)
<©ur BUitotial CEatle.
A Photoobaphkb's Balance.
The cut shows a cheap balance just brought out, for weighing photo-
fraphic chemicals, which it does with a surprising degree of accuracy.
t has a glass pan which can be easily detached. The quadrant is
graduated to twelve drachms, apothecaries* weight(divided by scruple).
When we say that this really well-made balance can be obtainad
764
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[November 24, 1893
from any dealer at a shilling, or possibly a very little over tliis
sum, it -will evoke wonder how it can be made to sell at the price.
The "Lucbbna" Findbb.
Undeb this pretty name Mr. J. R. Gotz, 150, Shaftesbury-avenue,
"W.C., has brought out an elegant and well-made finder, which is capable
of being placed on the top of a hand camera to look down upon, or on a
camera'' brought up to the level of the eye when the view is seen by
looking through the finder. In either case the image is characterised
by conditions of luminousness quite equalling those uuder which the
view is seen by the eye. The principle of construction of the Lucerna
is that of the conjunction of a plano-concave lens and a plane-silvered
mirror which is capable of being erected at an angle, or allowed to
fall flat against the bottom of the finder.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 21,675.— 'Improvements in and Relating to Carriers for Photographic
Dry Plates." J. McL. Dobson. — Dated November 14, 1893.
No. 21,686.—" A Reflecting and Ventilating Devioeor Apparatus for Photo-
graphic Exposure by the Magnesium Light." Communicated by J. Kost-
W. Fairweatheb. — Darted Noiiemher 14, 1893.
No. 21,727.—'-' Improvements in Photographic Cameras." Complete specifica-
tion. Communicated by The Magic Introduction Company. O. Imbat.—
Dated November 14, 1893.
No. 21,880.— "A Portable Apparatus for Producing Enlarged Copies of Photo-
graphs. E. Clifton. — Dated November 16, 1893.
No. 21,890.—" A Safety Covering for Metallic Storage Cylinders, Cases, or
Bottles in which Compressed or Liquefied Gas or Air is Stored, such as those
Used for Storing Oxygen and Hydrogen at High Pressures for the Oxy-
hydrogen Limelight-burners and for Storing Condensed Carbonic Acid Gas,
Oil Gas, Coal Gas, and other Gas." A. hvPTOS.— Dated November 16, 1893.
PATENTS COMPLETED.
impkovements is plate or film-holding changing backs ob slides fob
Photographic Cameras.
No. 23,229. Thomas Samoels, Monken Hadley, Middlesex.— Oc^ofer 21, 1893.
My invention relates to multiple plate or film-holding changing boxes, or dark
slides of that kind, in which a number of sheathed plates or films are placed
in front of one another in a box-like chamber, and are transferred in succession
from one end of the series to the other through the medium of a flexible light-
tight bag enclosing the open side or end of the said box, the plates or films
either facing all one way or being placed back to back in double sheaths so as
to form a double series facing in opposite directions, according as the box or
holder has a shutter at the front only or at both front and back.
My present improvements relate particularly to the means whereby the
transfer of the sheathed plates from one end to the other of the series is
effected, and they have for their object to facilitate the operation of transferring
the plate and admit of the flexible bag bemg so reduced in dimensions that it
may be folded wholly within the open mouth of the changing box which it
encloses, and be itself enclosed and protected when thus folded by a hinged
lid. My improvements also have for object to guard against double
exposures.
According to my present improvements, the lifter or frame, whereby a plate
to be transferred is partially withdrawn and caused to project sufSciently into
the bag to enable it to be seized by the fingers, is adapted to act, not only
as a sliding lifter, but also (when it has fulfilled its purpose as a lifter) as a
lever to transmit a backward pressure to the whole series of plates, in order to
force them backwards sufficiently to make room in fror.t of them for the plate
which has just been brought from the other end of the series. This lifter is
constructed of a U-shaped frame having cranked and inwardly projecting legs
at the ends adapted to engage with the .sheathed plate to be withdrawn, the
side members of the lifter being guided by the sides of the plate chamber, and
when the lifter is drawn out to its full extent working on fulcra thereon, or the
side members of the lifter may be jointed and work on these joints as fulcra-
Tlie mouth of the flexible bag is affixed withiu the aperture of the plate,
holding box, and the bag is attached at a suitable point to the cross member of
the lifter, so that, when the lifter is drnwn out and .swung slightly backwards,
the bag will be distended and brought to the proper position to enable the
plate raised by the lifter to be seized through the bag, raised wholly within
the latter, and transferred to the other end of the series, without shifting or
relaxing the gi'ip until the operation is completed.
The means whereby the swinging of the lifter in the forward direction is
caused to transmit a backward pressure sufBcient to cant the whole series of
plates backwards to admit of the introduction of the plate to be transferred,
comprise intermediate levers pivoted to the sides of the plate chamber on
which the side members of the lifter act, and which levers, in turn, engage
with, or terminate at, their opposite ends, in presser pieces, bearing against the
front flanges of the foremost plate sheath, and presenting inclined surfaces to
the incoming plate, so that, after having made room therefor, they, as well as
the intermediate levers by which they are actuated, wiJ! be restored to normal
position by the act of introducing said plate.
In order to guard against double exposure, especially in the case of a
changing box or .slide having a shutter at both front and back, and containing;
a double series of plates placed back to back in double sheaths as above
mentioned, I proride an automatic or partly automatic locking device, whereby
a shutter having been once drawn cannot be drawn a second time until thc
hinged door, which closes in the bag, has been opened, which, of course, is
only done for the purpose of obtaining access to the bag and transferring an
unexposed plate to position for exposure. This automatic fastening consists
of a latch adapted to permit the withdrawal of the shutter a first time, but to
oppose a second withdrawal of the shutter on the latter being closed, and to
be itself locked or engaged by a latch or detent mounted on the inside of
the door, and which may be in such operative connexion with the fasten-
ing of the door that the act of unfastening and opening the door restores
the locking device to its initial condition of disengagement or freedom, so that
it no longer obstructs the withdrawal of the shutter. Each shutter would be
provided with such a locking device, both controlled in the same way and by
the same or by independent means.
mtHim^ ot soct^tt^is.
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of Meeting.
November 27 ,
27 ,
27 ,
„ 27 ,
27,
27
28 ,
» 28
28
28
29
„ 29
„ 29
29
» 29
30
„ 30
„ 30
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30
30
30
December 1..
1-
1..
1-.
1-
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., 2..
Name ol Society.
Camera Club
Dundee Amateur
Lantern Society
North Middlesex
Putney
Richmond
Birmingham Photo. Society ...
Great Britain (Technical)
Hackney
Halifax Camera Club
Lancaster
Leith
Newcastle-on-Tyne&N.Oounties
Paisley
Warring:ton
Bath
Burnley
Leytonstone
Photographic Club
Southport
Camera Club
Glossop Dale
Halifax Photo. Club
Hull
LiTerpool Amateur
London and Provincial
Oldham
Brighton and Sussex
Cardiff
Central Photographic Club
Croydon Microscopical
Holboni
Lcamintrton
Maidstone
HnU
Place of Meeting.
Charing Cross-road, W.C.
Asso. Studio, Nethergate, Dundee.
20, Hanover-square.
Jubilee House, Hornsey-road, N.
Boys' Gymna.sium,Cliarlwood-roatl
Greyhound Hotel, Richmond.
Club Room, Colonnade Hotel.
50, Great Russell-st., Bloomabury.
206, Mare-street, Hackney.
Springfield Barracks, Lancaster.
165, Constitution-street, Leith,
Central Exchange Art Gallery.
9, Gauze-street, Paisley.
Museum, Bold-street, Warrington.
Roy. Lit. & Sc. In8t.,Terrace-waJks.
Bank Chambers, Hargreaves-street^
The Assembly Rooms, High-road.
Anderton's Hotel. Fleet-street,E.C.
The Studio, 15, Cambridge-arcade.
Charing Cross-road, W-C.
Mechanics' Hall, Halifax.
71, Prospect-street, Hull,
Percy -buildings, Kberle-street.
Champion Hotel, 15, Aldersgate-st.
The Lyceum, Union-street, Oldham.
Librarian's Room, Public Library.
Coleman's Hotel, Henrietta-st,,^^.^.
Public Hall.George-street, Croydon.
Trinity Church Room, Morton-st.
"The Palace,'* Maidstone,
71, Prospect- street, Htdl.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
November 16, — Mr. G. W. Atkins in the chair.
Mr. EvERiTT asked for information as to getting vigour in the carbon proces.s.
He said that he had difficulty in obtaining a good Image with a good negative :
he thought that his sample of potassium bichromate might be in fault,
Mr. Debenham had given up the process on account of this difficulty. Tissut-
varied much ; as to strength of bichromate bath he considered three per cent,
sufficient and squeegeed the surplus solution off the surface as well.
Mr. Mackie judged the time of sensitising by the limpness of the tissue.
Mr. EvERiTT explained that he liad used three negatives of different
character, and yet could not get results ; he was using the Autotype Company's
Sepia tissue, as he liked the tone.
Mr. Debenham suggested that he should try their engraving black tissue.
Mr. Ohild-Bayley said that Mr. Burton had obtained great brilliancy witli
the tissue at the point of insolubility.
Mr. Rawlings asked for members' experience of Hill Norris's collodion dry
plates.
Mr. EvERiTT remarked that some samples gave weak images, and he preferret?
to do without intensification.
Mr. Child-Bayley said that the image lost in fixing.
Mr. Teape had found no difficulty in getting density, but the image was
rather hard. He found that a medium negative required for exposure half an
inch of magnesium at a distance of about seven feet ; an ordinary lanteri/
plate required the same amount at two feet distance.
Mr. Child-Bayley said a collodion dry plate wanted three seconds at
eighteen inches distance from a gas-burner. Pyro-soda developer gave violet -
black tones.
Mr. Debenham said that he preferred hydroqulnone. In answer to a
question, he stated that the reason of collodion emulsion setting into clots on
the plate was the absorption of water. The remedy was to dry off" the solvents
and redissolve. The new methylated spirit was injurious, giving veiled
shadows.
Mr. Parfitt asked how best to copy without showing the grain of the
paper.
Mr. Debenham said it was essential that the light should be low down, short
of getting reflections. Oblique illumination showed the grain, therefore it
November 24, 1893]
THE BRITISH JOURNAlj OF PHOTOORAPHY.
766
should fall ax nearly perjiendicular as pouible, and a light in the opposite
ilirection was useful.
Mr. Pahutt had heard of a cone of tissue napev b«ing used, and
Mr. Tkatk suggested a blacic screen with a hole tor the lens tlirougli it.
Mr. Woll'ord was thanlced for the preseittatiou of photographic literature
to the Association.
fif r. Rawlings passe<l round a print which was obtained from an enlarged
negative, a print from which was rephotographed and worked up with the
lir-lvrusli, a second negative 'wing then taken frotu it.
MANCHESTER PHOTOGRAPHIC SOCIETY.
NovKMBER 9, — The President in the chair.
Mr. Lawks reporteil results of the trial of " Una," a new toning meiliuni,
(lie general conclusion heiiij; that it gave no advantages over the usual golil
solutions, and, as no indication of its composition was supplied, any opinion
as to the permanency of the tones could not bo offered. It was certainly very
simple in application, and this was perhaps its only merit.
>lr. F. Edwards contributed some notes on the use of " Niklco" paper as
used by himself for enlarging, and he fonnd that for this purjiose it gave much
superior pictures to the ordinary bromide papers, and with fenous-oxalate
■ levelopment very pleasing tones. A liability to blister had to be guarded
^Sainst, otherwise he had no fault to find with the working of this paper.
The President opened a discussion on the recently introdiiced " Hill
Norris" collodion dry plates for lantern slides. Personally, he was quite
satisfied with gelatine, but considered the collodion plates good. In the dis-
cussion, the advantages over gelatine named were freedom from .stains and
the ease of intensification, and thus control over wrong exposure. The draw-
hacks were a difficulty of judging the right development, and a reduction
iluring fixing.
A fine collection of enlargements of photograph^ of microscopic objects,
kindly lent by Mr. W. I. Chadwick, were shown during the evening; these
were bromide enlargements from quarter-plate negatives produced by the
microscope.
♦.
Ealing Fbotographic Society.— November 16, Mr. W. T. White (Vice-
Presiilent) in the I'hair. — One new member was ele-ted. Dr. (Iibbons read a
paper by Mr. F. L. Pithcr, entitled A'otes on Landscape. The author of the
])aper strongly condeiuned mere mechanical work, and urged that the subject
.should be carefully considered with the view of producing the most artistic
result possible. The art of selection must be carefully studied, and too much
must not be reproduced in a given area. Individuality sliould be striven for, and
nature should be depicted, not in one phase only but in all her varying
moods. Whilst aiming at individu.ality, certain simple first principles must
not be neglected. No prominent line or feature should equally divide the
picture : as a genferal rule, no coutinuous line -houM run parallel to either
edge of the picture, and parallel lines should be avoided unless muih broken
up or counterbalanced. Two most important qualities were breadth and
atmosphere, and, if these qualities Were not jtroduced by the actual e.vposure
ill the camera, they should be indicated by the judicious application of light
washes of Indian ink to the negative. The paper provoked a lively disimssiou,
and regret was expressed that Mr. Pither had not entered into greater detail
regarding his methods of work. The rules drawu up by the Council for regu-
lating the use of the dark roorii were read.
East London Photographic Society.— Nov. 14, Mr. M. A. Wilkinson in
tile chair. — After the preliminary business had bc'-n disposed of, the Chairmas
called upon Mr. S. Herbert Fry for his lectiirette and practical demonstration
"11 The Paget Prize Printing-out Paper. The lecturer prefaced his remarks
by eulogising the great advantage that this paper wouUl confer on all those —
am.Titeur and professional alike — who had only a minimum of time to devote to
their printing .and showed a print as an example which had only received
(approximately) one-tenth of the ordinary exposure. This print he proceeded
to develop. He preferred to leave the print in the bromising solution .at least
ten minutes, although the printed instructions advocated two only, as he found
that better and more sure results were obtained. The thorough washing of the
print after this first stage in development was strongly advised, as the majority
iif the failures in using this paper were traceable to iusufliiieiit washing. If
greater contrast were desired in the print, a soaking in the No. 3 solution
liefore development (not omitting the nse of the bromising solution as in-
stnicted) wonld give the required result. Any form of gold bath would tone
the developed prints, but he preferred the following formula: — Hypo, 1
I>ound ; acetate of lead, 1 ounce ; common chalk, 1 ounce ; add water to
make bulk equal to 80 ounces, and, for every ." ounces of solution, add
one grain of gold chloride, allowing IJ grains of gold to each sheet
of paper. Use once only. In reply to a question troni one of the members as
to a good method of intensification for gelatine negatives, he said that after the
usual blacking, the negative .should be placed in a gold bath and then rede-
veloped. The usual courtesies were passed to Mi'. Fry for the lucid and
practical manner in which he had treated the subject. A sample of Beectiam's
jMteiit spotting and retouuhing medium and tran.-i)arent water colours was
lianded to one of the members to test and report thereon at the next meeting.
Hackney Photographic Society.— November 14, Mr. Robert Beckett in the
chair.— Members' work was sliowm by Messrs. Roofe & Sodeau. Several
members showed specimens of lantern slides printed upon the new Barnet
plates. The results were very good, and inclnded a gre.at range and variety of
tone. Mr. Roofe showed jirints of printing-out Paget and P. 0. P. papers, toned
with one ounce and a qnarter of an ounce acetate of le.ad respectively. There
appared to be no diflerence in results. The prints required a little deeper
printing than for sulphocyanide toning. Mr. S "lean showed i\ platinum
print torn in four pieces, toned with uranium to warm tones, three (inartcrs
being toned one and a half, three, and twelve h .ur< respectively. The tone
that pleased most was that subjeeteil to three horn-' toning. Mr. Smith asked
tf there was any remedy for reducing an orer-prhited P. O. P. jirint to a normal
print. Farmer's reducer was recommended. Mr. BABKKli askral how long
Alpha paper would keep under ordinary circamsUnccs. Mr. Bbckitt
stated ho had used it five to six yean old. Mr. RoBntTS Mid be fonnd the
edges turn yellow after keeping »ome time. Mr. H. M. Smith, of Messrs.
Eastman, then proceedeil with n pa|ier uihui enlarging generally, and dealt with
some very interesting jiointi in connexion with same, illustrated by diagrams.
A demonstration was then given, and some excellent results were obtained.
North London Photographic Society.— November 7, Annual (leneral
Meeting.— The report of the Council was received and approved, and the
following offlcers elected for the ensuing year -.—PretideiU : Mr. J. Traill
Taylor.— CounciT- Messrs. W. Bishop, J. Brewer, J. Dongia*, J. Oakley, and
E. W. Parfltt.— f wro/or.- Mr. W. Few.— flon. Seeretary and Treamrer: Mr.
W. T. Coventon, 50, Highbury-park, N.
Putney PhotograplUc Society.- November 18, Dr. J. F. Farrar in the
cliair.— Mr. S. Herbert Fry, having tieen unable to prepare the necessary
prints to illustrate his promiserl paper on ('nconventimrU Printing Melhodt,
was comiK'lled to postpone that subject until a subsequent meeting, substi-
tuting a demonstration on The Paget Pri-A Company's Print-out Papers and
Luntern Plates. Mr. Fry stated that, as the same emulsion was used for the
paper and plates, and the treatment was so very similar in both cases, he would
confine his remarks lehiefly to the plates. These, he said, had many advan-
tages over most others. Their chief qualities were, however, their great range
of tones, the toleralde certainty of b<;ing able to get any tint ( warm or cold),
absolute purity in the high lights, and, however deeply printed, great trans-
lucency in the shailows ; in fact, the.se slides were quite equal to the old
collodion. The plates could be treated in two ways, either printed out fully
and toned, and fixed, or, if prefened, they could lie only partially printed out
and the image developed to full depth, thesubsequenttoning,TOd fixing being the
same as when fully printed out. There might at first be some little difficulty
in printing to the proper depth, but generally it wonld lie found advisable to
print rather fully, as the image could re.adily be reduced by immersion in a
two to three grain solution of ferrocyanide of pota-ssium. This bath would
also have the additional advantage of clearing the plate. If under-printed,
there was a tendency to force the plate and to veil the high lights. As the
developer could be be modified, gieat power was given over the resulting image,
so that by this method good and artistic slides could be made from practically
any negative. The development presented no difficulties, and the chemicaht
were those usually found in any photographer's dark room ; the formula for
the paper wax the same as for the plates. Having brought an exposed plate, Mr.
Fry proceeded to show how it was developed. Without previous washing, he
placed it in a ten per cent, solution of bromide of potassium, explaining that
it should remain there at least three minutes, but that fifteen would not !«
too long. After having been well washed it was transferred to the developer.
As the image gathered strength, he warned the members not to allow develop-
ment to go as far as in the case of fully printed-out plates, as the developed
image appeared to stop more light. After <levelopment the plate mutt be
well washed — fifteen minutes at least in running water — for, should any
developer be carried in the film to the toning bath, the gold would be pre-
cipitated, and intensification as well as uneven toning might take plac<-.
Development should on no account be foned. If carried on slowly, the result
woulil be well under control, and also more satisfactory. Should the plate,
after being toned in the sep.arate bath (but, of course, before being fixe<l) it
could be redeveloped and retoned. Mr. Fry strongly recommended that the
instructions and formulse issued with the plates should be strictly adhered to,
as they had been thoroughly tested, and could be relied on to give good
results. This was specially so with the developer ; in the case of the toning
bath greater latitude was permissible, and any bath which hail been founrt
.satisfactory with print-out pajicr would do very well. A combined toning and
fixing bath should never be used a second time. Just sufljcient should be made
up for the work to be toned, and . having been used, must lie thrown away.
Stock solutions could, of course, be kept separately for a long time. Toning
should not be carried quite so far .as is desire<l in the final result, as both the
paper and plate dry of a somewhat colder tone. A good washing shonld be
given between toning and fixing, and after fixing the washing must l>e very
thorough, the result depending greatly on the thoroughness of the washing. A
hearty vote of thanks terminated a iile.asant evening.
West London Pbotograptaic Society.— November 14.— Mr. J. C. Doixmas
delivered an address on figure in Land-icape. After .stating that the dispo-
sition of figures in a picture is mainly a matter of feeling begotten of the
occasion, Mr. Dollman proceeded to ileal with the title subject under the
three headings, " Why," " Where," and " How." Why have a figure at all
the landscajie may possess a ch.arm apart from "human interest." If figures
be admitted into the pictnre they should be of secondary interest, subordinate to
the principal idea. The figure may assist in intensifying the meaning of the
subject, as a man struggling bi'fore the storm conveys the idea of wind, or a
figure or group may give balance or point to the suoject Turner is the source
of the highest instruction on this point. Where ?— <Jenius is often an instnu-
tive guide. In photography the relative value of the figure is sometimes mis-
calculated, and the focussing screen, giving the image upside down seriously
handicaps the photographer. A suggestion put forward by the lecturer was
that the landscape shonld lie photographed first, and a print taken. The print
could then be examined at leisure, and the question of where the figure should
come thought out. Subsequently the scene could be rephotographeil with the
figure in the position decided uikju. Though troublesome, this plan should
[irove efficient, and it would give photographers the opportunity of showing
what art they i>ossess. The Iiest place for figures is iu the spaie between the
mid-distance ami the near foreground of the landscape, though a figure quite
in the distance may be the making of a pictnrv if judiciously iiitroiIace<l.
Ilmo ;'— In po>ing your models, don't overdo it. Le.im the value of re-
strained powc-r, simplicity, and suggestion. Xever do it all. l«ave some-
thing for the spectator to do. Provoke inquiry, curiosity, fa.scination, and
gratify it. Avoid the commonplace. Seek for simple, unall'ei'ted o<'cupntion
for your figures. Figures in motion should have more space before tnan
756
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 24, 1893
behinil them. Study variety in posing your models. Rather let the models
pose themselves at your instruction, and seek for grace in disposing them.
If the pose i.s eas>/y it will be graceful. Shun the conventional. A sympathetic
model i.s alone the kind to employ. The lecturer concluded with some
hnmorous references to the conventional costume of the day, with especial
reference to men's clothing and the absurd persistency of the top hat.
Woodford PhotograpMo Society.— November 16.— Among the itenis of
interest were some lantern slides, shown by Mr. JIalby, wliicli very strongly
enj>hasised the inlluence of temperature on development. Two plates exposed
by artificial light under ordinary conditions of working refused to develop
satisfactorily, though development was prolonged for three-quarters of an
hour. On testing, the temperature was found to be about 47°. Two more
plates, similarly e.xposed, produced most satisfactory slides in a developer
identical in composition, Init at a temperature of 68°. The President showed a
bottle of pyro solution (witli sulphite of soda) mixed in April 1888, with some
plates exposed under a Wamerke sensitometer, and developed with this
solution and one freshly mixed respectively. When the temperature of
development was 70°, no difference could be seen between the two ; when at
55°, there was a slight diflference in favour of the freshly mixed solution. A
discussion on The form that the work of a Photographic Society should take in
order to be of the greatest assistance to its younger nievibers was opened by
Mr. H. T. Malby, who said that the first few steps in i)hotography presented
the greatest difficulty ; if initial difficulties were thoroughly mastered, a sure
step had been taken on the road to success. In development, it was useless to
lecture, and not of much value to criticise plates after they might be spoiled,
in order to teach a young photographer how to develop a negative, it was
necessary for a more advanced worker to take him patiently through the actual
work. A beginner could never tell when to stop development, and it was im-
possible to teach this other than by practical demonstration. He offered to
give such assistance to any of the members of the Society who desired it at
Saturday evening meetings, specially arranged ibr that purpose, the same
afternoons being utilised for outdoor work, when assistance in exposure,
management of camera, composition, &o., could be given. Next meeting,
December 7, Mr. H. T. Malby on Copying,
Birmingham Photographic Society.— November 14, Mr. G. F. Lyndon in the
ehair. — In continuance of the series of one-man exhibitions, Mr. J. T. Mousley
showed a large number of photographs illustrating his methods of working. The
prints, which were mostly of architectural subjects, showed great skill and
care in selection, and were of splendid technique. They ilhistr.iteil many
methods of printing, some fine sepia tones on gelatine paper being especially
admired. Mr. Mousley also gave hints as to mounting and framing, some
novel frames being laid on the table.
Liverpool Amateur Photographic Association.- ii/e in Tripoli.— This
was tlie title of a lecture delivered on Wednesday night, 15th inst., by Mr. G.
E. THOMrsON in tlie City Hall, Eberle-street, under the auspices of the Liver-
pool Photographic Association. Mr. Paul Laiige, in the absence of the
President, occupied the chair. Mr. Thompson paid a visit to Tripoli, in
Barljary, last April, and secured a large number of admirable photographs,
about 140 of which were shown on the screen by the aid of Messrs. Archer &
Son's fine limelight lantern. The lecturer gave an interesting account of a
week spent in the sunny oasis of Tripoli, among tlie Arabs, uegroes, camels,
fruit gardens, and palm forests. His views of the desert, with its boundless
stretches of sand, were most telling ; liere and there were seen camels coming in
from distant oasis, laden with esparto grass. This is a staple trade of Tripoli.
Views were shown of one of the chief grass yards, where one hundred negroes
are employed. The processes were described uj) to its shipment off to England,
where it is converted into paper. The homes of the negroes were visited, in-
cluding the huts and groups of the people.
On Thursday evening, November 16, Mr. Bynoe gave a lecture on Hand-
camera Work, with special reference to the "Frena" system ; he illustrated all
the working parts by diagrams on the screen, showing the improvements in
No. 2, the principal being the size, quarter-plate, and the alteration in the
shutter, also the use of magnifiers for near objects ; he explained and illustrated
the great luse and simplicity of the swing li.-icli. After answering some questions,
he exhibited some specimens of pictures taken with the camera.
Glasgow and West of Scotland Amateur Photographic Association. —
November 20, Mr. W. J. B. Halley (President) in the chair.— Twenty-one new
menibers were elected. Mr. Victoe L. Alexander deraonstnated printing on
" Nikko " paper, and gave his experience as to time of exposure for printing
and enlarging. He showed excellent enlargements made on this paper and
finished with a matt surface. Mr. William Goodwin read a paper on The
Factors that Affect Exposure, stating the limits within which these factors may
be expected to vary, and showing how tables of exposure are constructed. An
exhibition of members' lantern slides terminated the meeting.
Glasgow Photographic Association.— October 19.— The first popular meet-
ing was held in the large hall of the Philosophical Society's Booms, Mr. Willi.im
Lang, jun., P.C.S. (President), in the chair. Mr. William Lamond Howie,
f .C.S., delighted a large and appreciative audience with his lecture, The Scottish
Alps, the descriptions being illustrated with a large .series of views taken by the
lecturer during his ascents of the more important liighland bens. The pictures
of mountain scenery taken from the plains and from the snow-clad summits
were greatly admired. A number of views of the snow scenery on the summit of
Ben Nevis, photographed last Easter, were then passed through, the great
precipices from various points, the curious configuration of the surface snow,
and views of the Observatory on the .summit, 4406 feet above sea level!
The observers were shown at work, and one of the most striking being the
summit hotel and restaurant. One view showed Beu Aonacli withlwo figures
standing on the brink of the precipice, which drops 2000 feet into Glen Nevis.
The lecturer's experiences amongst the mountains were told in a racy and
interesting manner. In contrast to the many snow scenes were shown some
excellent landscapes of highland scenery, and also a few fishing and deer
stalking scenes. On the motion of Mr. John Stuart a very hearty vote of
thanks was awarded Mr. Howie.
November 16, Mr. William Lang, jun., F.C.S. (President), in the chair. — The-
President delivered his retiring address, and then after office bearers for the
ensuing year were elected, Mr. John Stuart succeeding Mr. Lang in the Pre-
sidentship, which he has held for eight years, a number of photographic
novelties, including new printing-out and developing papers, apparatus, and
a Dallmeyer focussing view Huder ibr attachment to a camera were shown.
Munster Camera Cluh. — The opening meeting of the session of the Munster
Camera Club was held last week in the lectm-e hall of the Crawford School of.
Science aud Art, when Major LvsAtrnT (late president of the Society) gave an
address on the subject of his visit to the Photographic Convention recently held
at Plymouth. Mr. John Day presided. Major Ltsaght, in the course of his
remarks, explained that the meeting at Plymouth was the eighth that had
taken place, and next year the Convtntion would be held in Dublin. He then
proceeded to exhibit many photographic views that he had taken during the
cross-channel trip and of places of interest in and around Plymouth. A group-
of the members attending the Convention was pliotographed and put upon the
screen. Numerous other .slides of a miscellaneous series were also shown, and
dealt with interesting subjects. At the conclusion of the discourse Dr. Ring-
rose Atkins proposed a vote of thanks to Major Lysaght, and refen-ed to the
services that he had afforded the Society during his presidency. He considered
that now the Society, having been so well established, should contiaue, and its
members should rally round their new President. The Chaik.man, in conveying
the vote of thanks, said the members felt that they owned a deep debt of
gratitude to Major Lysaght for the interest he had taken in the Society, and
the committee considered that they could not allow their late president to
leave Cork without presenting him with some token of their esteem. Therefore,
in jnitting the vote of thanks, he had also to ask Major Lysaght to accept the
illuminated address that had been prepared, and that it was the desire should
be presented to him on behalf of the Society. Major Lysaght, in replying to
the vote of thanks, assureil the members of the Society that the gift which they
presented him with on the occasion of his leaving the city would be always
appreciated by him. Though he would not be able to be amongst them in the
near future, still any assistance that he could render would be most cheerfully
given in the way of providing photographic lantern slides for the entertainment
of the members of the Society. His desire would be that the members should
fall in witli Dr. Atkins's suggestion, and to assist their new President for the
advancement of the Club.
Photographic Society of Japan.— Oct. 6 Mr.C. D West in the chair.
Mr. W. K. Burton showed comparative results of work done with lenses of
" symmetrical" or " rectilinear " type, and tlie new Zeiss auastigmatio lenses.
The most interesting comparison was between an aplanatic (rapid rectilinear or
rapid symmetrical lens) of exceptionally good quality and an an.astigmatic,
Series II. The diff'erence was remarkable. Briefly summed up, the anastig-
matic was with full aperture twice as rapid as the aplanatic. It gave the same
flatness of field with twice the angular aperture (four times the rajiidity) aud,
with a small stop, it acted as a wide-angle lens. Tlie absence of astigmatism
in the anastigmatic lens was remarkable. Aplanatic lenses of the same rapidity,
or even greater than the anastigmatic, were made, but, used stop for stop, the
roundness of tield w.as greater than that of the somewhat slow aplanat that has
been used for the comparative experiment.
1893.
FORTHCOMING EXHIBITIONS.
November 24, 25 ... *Stanley Show (Photographic Section), Agricultural Hall.
Man.ager, Walter D. Welford, 57 and 58, Chancery-
lane, W.C.
„ 24, 25 ... *Leytonstone Camera Club. Hon. Secretary, A. E.
Bailey, Rose Bank, South-west-road, Leytonstone.
December 'Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
„ 18-Jan. 22, 1894 *BristoI Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Com-,
street, Bristol.
* Signifies that there are open classes.
iB^etos anU i^otes.
Lewisham Camera Club. —December 1, Modem Plate-maiing, Ijy Mr. H.
O. Drake.
The PHOToaRAPHio Club.— November 29, Lantern Matters, Monthly Lan-
tern Meeting.
Liverpool Amateur Photographic Association.— November 30, Quiei
Corners in Fratvx and Italy, Lantern Lecture by Mr. W. P. Christian.
Bristol International Photographic E.xhibition. — The Judges already
appointed are Messrs. Valentine Blanchard, Payne Jennings, and S. P. Jackson
(painter).
Dark Rooms at Venice.— Mr. W. J. Stillman writes : " For the conve-
nience of amateurs of ]ihotography, who are working in Venice, I wish to say-
that they will find at the establishment of CeLso Mautovani & Co., Merceria.
del Capitello, Nos. 4861-2-3, well-titted and spacious dark rooms, with water
supply and electric light, as well as the ordinary chemicals."
The Thirty-eighth Annual Exhibition of the Photogi-aphic Society, which
closed at ten p.m. on Wednesday, the 15tli inst., has been, judging by the
support it ha.s received from tlxe paying public, by far the most successful
November 24, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
7«7
on rworil, no less than 11,376 having passed thu timistile (exclnsive of the
staff of those nicnibers and others who visited the Exhibition at times when it
was not open to the public) its aRninst 9931 last year, which was the largeat
total lip to the present. The Exhibition has been visited as heretofore by
many of the U'st-known artists of the day. The LanUni EveniuKS were even
more favourably attended than was the cAse laat year, the gallery cspeciallv
for the last few nights, being packed. '> < J
Ckovdon Camkra Club Lantkbx Show.— A densely crowded audience
.•ussend)lo<l at the Braithwaite Hall on the l.lth. when Mr. Cluirles W. Hastings
ihowed and explained a collection of lauteni slides. Kollowinj; the above the
Presiilent of the Cub, Mr. Hector Maclean, K.U.S., ai^ted aiTcicerune In ex-
plaining the r-'atures of a large neniber of views contributed by memljers of the
Club. The lifty cricketiuf,' snap-snot studies by George Cordeu pro<luced
much interest and laufjhter, especially Puzde, Find the Secretary, and another
which exhibited Mr. Sydney Edridge attitudinising at "the nets." A series
by G. K. White, who worked the lantern, of views at Boyton's Water Show
.ilso went well, and brought out prolonged applause. Other members to show
.slides were Mr. Frost, H. E. Holland (some capital views in Devon and
Cornwall), and Mr. Ryan, this last gentleman's Norwegian series giving great
satisfaction. Last on the list were the unusually fine set of Indian palaces and
other interesting features, by Mr. C.F. Oakley.
CorreiSponlrence.
C*)rr«si><m<J«ii(s should never write on both sides 0} the popcr. Wo notice is taken
0; commumootionji unless th.e names ond addresses of the wrilen me gwm.
KXHIBITIONS AND MEDALS.
To the Editob.
Sib,— I am pleased to find that my letter to the Bristol Executive,
which yon kindly printed, has elicited some correspondence, and I wish
we conld see the question thoroughly thrashed oat, and settled for a few
years.
Mr. H. W. Bennett will, perhaps, be surprised to learn that I almost
enturely agree with him, and I reply with pleasure.
To his first paragraph :— It is, I think, admitted all round, and sup-
ported by the press, that Exhibitions have been divided into too many
classes, and too many medals have been offered and are usually awarded.
It IS a good sign, and some evidence that I am right, that the promoters
of many Exhibitions are now reducing the number. Mr. Bennett ques-
tions the right of a small body to dictate, &c. But somebody must " bell
the oat." I am not a small body, but perhaps I have as thiok a skin as
any, which enables me to endeavour to perform that disagreeable office.
Mr. Bennett refers me to the recent judging at PaU Mall. He has
me there. I leave the defence of the Judges to " A. R. E.," who does so
with singular skill in the letter which follows Mr. Bennett's.
What I take exception to most in your correspondent's letter is when
he says that the objection to medals might have been omitted from the
letter of "a man who has taken so many medals as Mr. Bobinson has
mt' ^ opinion about medals has never changed.
The Salon, among its other successes, certainly showed that a large
collection of photographs could be got together without the assistance of
prizes, but I am m favour of medals jndiciously offered. I owe much to
medals, and am very proud of my collection, which was nearly all won
before medals were spread broadcast for every daw to pick at. Medals
have done a good deal towards extracting the best work out of me that
was there to bring out. This was when the medal was really a prize and
the work was done in competition for it.
Writing to you five years ago on this subject, I said, " There was a
time when winning a medal was an event, when the wonderful news was
flashed off to you by telegraph," and more to that effect. Are medals
so valuable now ? For many years that I competed, medal-giving Exhi-
bitions were so few that you could seldom take more than three prizes in
a year, if you took all that were possible, both British and foreign. One
of these medals was worth a score of those of the present day, when half
a dozen have been known to fall to one exliibitor at one time. Do they
induce photographers now to take more than a languid interest, or to do
special work for all they are worth ? Certainly not. To compete in the
many subdivided classes, photographers seldom take more trouble than
to select from what they happen to have by them.
.. 1 u ™n^ ^"° * letter dated from the Central Photograpliic Club, signed
John H. Avery." As the tone of this letter seems to be intentionally
offensive, I shall pursue my usual course, and take no further notice
.',''~T T' ^°°"' *•=• ' H. P. KoniNSox.
1 unbndje WelU, November 17, 1893.
THE SMELL OF OIL LANTEBNS.
To the Editob.
Sn'.— Your remarks upon the offensive smell when using oil lanterns
are so fully to the point that, whilst endorsing them entu-ely, I would
supplement them by reminding your [readers that, if they will take the
trouble to pour off all the oil remaining In the reierrolr when the Untera
18 done with, then relight the wicks and »Uow thetn to born out, all th*
residoe and the oil with which the wioks are latiuated will be eonaoiiMd,
and the lamp congequently will be perfecUT clean and free from iitaU eil.
which, as yon correctly say, is the caaie of the ofTensiYe mnell.
By no other means can you free the lamp and wickn. I have now been
using this method for the last two yean and find it most efBeaeiou. 1%
may appear to give additional trouble, bat each is not really the eaae, ■•
no perpetual wiping is needed, and the lamp is always ready for nae.
You may remember I notified you of this method some time a«o. Of
course the reservoir must not be recharged till the lantern i« in poeitioD
for another entertainment.— I am, youre, Ac, Frank Howabo.
The Chilterm, Wallinjford, November 18, 1893.
HiATES VERSUS FILMS.
To the Editor.
Sir,— I think Mr. Stillman's letter in your issne of the 10th iast. need»
some answer on my part.
In Mr. Stillman's letter of October 15, he writes as to " the results of
trials of films of various makers against plates," and winds up with the
sweeping statement that, " for work requiring the highest rapidity, films,
as now put on the market, without regard to their make, are no substitate
for glass plates."
I ventured to give instances in my own experience to show that films
were made equal in all respects to plates. Mr. Stillman now tells me
that I " have a very vague idea of what constitutes a test," and it is sug-
gested all my tests were made by guess with different developers on
different days.
In his letter of the 15th, Mr. Stillman says the very rapid films fogged
after two months, a statement apparently meant to apply to all the
various rapid films he had used ; he now says it applies to Mr. X's films.
The most astonishing, to me of Mr. Stillman's experiences, however, is
that even the very rapid films were less than one-fifth the rapidity of the
rapid plates, the plates, he says, being fairiy exposed in one-thousandth
of a second, and the films breaking down with one-two-hnndredth of a
second.
The experiences I gave were, like those of Mr. Stillman, made in
ordinary work. The following, however, may be of interest to some of
your readers, although I would not suggest that they are as conclusive or
as accurate as experiments Mr. Stillman may have made.
I obtained, more than a year since, samples of three makes of fihm,
A, B, and C, and plates of the same make as A, and bearing the same
speed number, 25 W. The B make was also marked 25 W, and C no
speed number, but the most rapid of the maker.
One of each make of films and a plate were put in a dark slide, side by
side, and exposed with a shutter, the exposure being made on the evenly
lighted front of a house. They were all developed together, in the same
dish, with ferrous oxalate. Eesult, none of them quite sufficiently exposed.
FUm B was the best. With the film and plate A, by the same maker,,
the plate was slightly the best. Film 0 was slightly the slowest of
the lot.
The difference between all of them was less than I expected, and in the
case of A and B no more than I should in any case expect between
different plates bearing the same number, W. The same experiment was
repeated with hydroquinone, with practically the same result, only the
hydroquinone did not develop any of them quite so far, due to either the
light having gone off between the two exposures, or showing it to be a
less powerful developer.
If there is any retarding action due to celluloid, I can only imagine it
is due to the camphor in the film. I put several lumps of camphor in
water, and left it for several days ; the water then smelt and tasted strongly
of it. I took two plates of the same batch as used in the other experi-
ments, and exposed them together ; they were then soaked for an hoar,
one in plain water, the other in the camphor water, and developed to-
gether. Result, no apparent difference whatever.
I have sometimes thought a plate ought to appear more exposed than
a film with the same exposure, due to the reflection of light from the
back of the glass. If this were so, a backed plate should be slower than
an unbacked one.
As to amidol, it is the most powerful developer I know for short expo-
sures, although Mr. Stillman does not think much of it apparently. — I
am, yours, Ac, H. G. M. Cosybbabe.
G, Courtetuiy-place, Teignmouth, November 15, 1893.
FILMS : CAUSES OF TIIEIB DETERIORATION.
To the Editor.
Sir, — We have noticed remarks in the photographic press from timelto
time about tlie action of free camphor in the oelluloid film on the sensi-
tive emulsion. We think we can now offer the real solution of the
troubles said to have arisen, and we desire to sound a note of warning.
The Continental films that have so far come under our notice, while we
admit they are most attractive in apgeaiance, we have fooud in every
758
THE BRITISH JOURNAi OF PHOTOGRAPHY.
[November 24, 1893
<3ase, that they are either acid, or have a tendency to become so, under
certain conditions taking (luite a long time to develop. This is tne
fault of nearly if not all material that we have ever seen made by parties
other than ourselves, and took us quite a long time in experimenting and
the expenditure of a great deal of money to overcome in our goods
Its prtsence is fatal in photonrapliic negatives. The cause of Mms
being bad is simply an acid tendency in the film acting on the photo-
graphic emulsion. , , . ,
As I have mentioned above, the sheets or films may not show any acid
by the ordinary tests when freshly received ; it is a peculiar property of
the material, when made by ordinary methods, to gradually develop its
own acid. It is to a very slight extent at first, although quite sufficient to
chemically affect the photographic emulsion, but once started keeps on
"rowing, until the material disintegrates and eventually takes fire by
spontaneous combustion. If English plate makers use this material or
in fact any material but such as ours, they will surely experience this re-
sult and ruin the reputation of their plates. As I say, they cannot detect
it at first, except in isolated instances, but, long after the plates are made,
they will commence to deteriorate and become ruined. The assurance
that ours are not the same in this respect is the fact that they have been
in use for six or seven years, and have shown by the only test which is
safe, namely, the test of time, that they are free from it.
If your readers do not believe all the statements that we have made,
there is a test which we can point out to them, although it is not an
absolutely certain one, and the material may still stand the test, and yet
contain the elements which will lead to the results referred to. Heat has
somewhat the same effect in developing the acid quality as time, although
in nothing like the same degree, and we feel satisfied, from our experience,
that in almost every case, it you take a piece of any film but our own,
and press it between plates heated to, say, about 210' to 240° Fahr.,
leaving it, say, fifteen minutes or so, and then scraping off with a knife
some fine shavings from the surface, and have them tested by a com-
petent chemist for nitrous acid (not nitric acid), that, if his tests are
sufficiently delicate, he will find traces of it. The traces may be only
slight, but, once started, they will progress as before stated.
We are, of course, aware that it will be said that our statements are
coloured by our own interests, but the facts, as given above, and as eon-
firmed by our own experience in a number of tests, are literally so.
As regards the appearance — that is, its clearness and transparency-
there is no trouble in accomplishing that. We can make it just as good,
and even better, in these respects than the Continental samples, but it is not
safe to do so, and we have always refused to make this class of material.
It is in trying to preserve this appearance that one of the greatest dangers
in producing an acid tendency in the stock is occasioned. — We are,
yours, &c., S. Gcitekman it Co.,
35 and 36, Aldermanhury, London, E.C., Norember 21, 1893.
CAN THE GRADATIONS IN OUB NEGATIVES BE VARIED, AND
CAN INCORRECT EXPOSURES BE CORRECTED BY VARIA-
TIONS IN DEVELOPMENT?
To the Editor.
Sir, — Permit me, through the medium of your Jocrx.vl, to call the
attention of your readers (doubtless many of whom were present) to the
deductions of Mr. Howard Farmer, as enunciated in his lecture at the
Polytechnic on Tuesday, November 7, entitled as above, which attacks
a universally accepted and foregone conclusion respecting which very
few, if any, of us practical workers ever had a doubt. I have studied
under Mr. Farmer, and take him to be a man of practical common sense ;
but I think that here he has made a serious blunder. He sought to
show, and finally made the statement, that gradation cannot be altered
by modification of developer ; and what really appeared to be such was a
more or less amount of fog present, according to treatment by a more or
less concentrated developer ; and that in some instances this fog was
graduated over the film, this bringing us to the conclusion that it was
variation in thegradation.
Never was I more surprised at any statement, and Mr. Farmer's
reasoning at the time seemed logical enough ; but it was not until a day
or so afterwards, when thinking quietly over the lecture, that it occurred
to me that Mr. Farmer, while arriving at his conclusion, had lost sight of
one fact, which would doubtless have had a very different effect upon the
final result of his reasoning. I refer to the fact that printing density
in a negative is reached long before the extreme limit of the action of
light is brought out by the developer.
Let us by a simple test explain. Take the case of an under-exposure
— presuming we know this before commencing development — and that the
subject is a lady wearing a white dress, with a background of heavy
foliage. If we start this plate with about a quarter the normal amount
of accelerator, the dress will first appear, and, the development going on
slowly, it will gain in density, and probably get as dense as it should be
in a sufficiently developed negative for printing purposes before more
than a bare outline of the features or trace cf the background is dis-
cernible. Now, let us take another negative of the same subject, similarly
timed, but at the outset treat it with dilute ammonia (or other ac-
celerator, according to developer), and, when it has penetrated the film,
pour it oS and replace by the developer containing the full amount of
accelerator, and dUuted with water to about twice its normal bulk, and
with the least admissible amount of restraining bromide. With this
treatment all the available detail in the negative will simultaneously flash
out, and as development is prolonged the lights build up proportionately
as the light has acted, and by the time printing density is reached we
have a negative entirely different in quality to the previous one, the
contrast being nothing nearly so marked, the face sufficiently dense, and
a fair amount of detail in background— in fact, a very passable negative.
Now, is this difference due to fog alone? I say most emphatically. No.
Agreed, there is a certain amount of fog in the forced negative, but not
anything like sufficient to account for the difference in quality and
gradation. In the one case we have a negative of a white dress ; in the
other an average negative with the proper amount of gradation. Accord-
ing to Mr. Farmer's arguments, there is the same amount of detail in
both, the difference being entirely due to graduated fog. Judge ye ! With
Mr. Farmer I could agree, provided that development in both instances
was sufficiently prolonged to bring out the extreme limit of the action
of light ; then we might get two negatives, the only difference between
them being due to fog. I speak from long and exceptional Jexperience,
having developed for several years in succession almost the whole of the
negatives of the leading— or, at least, one of the three leading— portrait
firms in the West, in addition to several years* experience previously and
since in business for myself. Should this come under Mr. Farmer's
notice, we trust that he will at once see his mistake. — I am, yours, &e.,
H. W. Bl'SBRIDOE.
41 Vanbrugh-park, Blackheath, S.K., November li, 1893.
EXPERIENCE, JUDGMENT, AND THE CALCULATION
OF EXPOSURES.
To the Editor.
Sir, — One of the provincial Societies has given to the world the dictum
that " no exposure tables or meters at present in use will entirely super-
sede judgment and experience," and you have touched upon the subject
in an editorial paragraph last week.
I, in common with probably all other practical photographers, entirely
agree with this very evident fact ; but the phrase seema to be written
under the assumption that all such "aids to exposure" do attempt to
entirely take the place of judgment and experience, and are therefore
failures.
Naturally I speak of the methods carried out in the exposure meter
invented by me, and I do most emphatically say that it in no way
attempts to supersede judgment and experience, save in the matter of
testing the actinic power of the light. On the contrary, the very essence
of its principle is that it provides terms for recording the result of
such judgment and experience, and utilises these records in subsequent
exposures. And there is the advantage in such systematic records that
beginners can have part of the experience (in the matter of exposure) of
older photographers communicated to them.
It is true that there is one factor — the character of the subject to be
photographed — which will always require the exercise of the judgment
of the photographer, and in my system the user of the exposure meter is
given full play in the exercise of such judgment, only this is kept
distinct from the more constant factors of size of stop and the relative
speed of plate.
In one detail I certainly attempt to supersede the usual method of
exercising judgment. The human eye is a most inadequate instrument
for estimating variations in the chemical force of the light, and in the
amount of light reaching a given subject, and in this matter of estimating
light I find the readings of an actinometer far more reliable than the
judgment of even an experienced photographer.
When, in the brewing trade, the saccharometer and the thermometer
were introduced to take the place of old rule-of-thumb methods of esti-
mating the gravity and temperature of the liquors, the cry was, no doubt,
raised that " nothing would take tlie place of experience." But brewers
now know that these indispensable instruments aid them by accurately
recording the methods of experience, and enabling the same results to be
obtained time after time. And so it will be with the use of the acti-
nometer for photographic exposures.
I find it continually assumed that an exposure meter is something
especially designed for a beginner. I must confess that I seldom thought
of the beginner in designing my instrument. My aim was to get an
accurate and simple instrument for the use of photographers who feel the |
need of help, more especially in difficult subjects, such as interiors, and
it is within my knowledge that a very fair proportion of my instruments
sold are used by photographers of experience.
There is a very funny assumption in the editorial paragraph on the
subject which I must refer to. It is jiresumed that when a man has
estimated an exposure by tables or meter, and the light changes just
before he makes the exposure, he is slavishly bound to give the exact
exposure just calculated. Surely he is in exactly the same position as if
he had estimated the exposure by his unaided judgment, and is perfectly
free to alter the exposure on the moment in accordance with the altered
November 24, 1803]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
760
light. In m; experience the ase o( an aotinometer qaickena rather than
dolls a photographer's perception o( the variations of light. — I am,
yours, Ac, Ai.kiied Watkinh.
Hereford, Noiembtr J 8, 1893.
MEDALS AND EXHIBITIONS.
To the Editor.
Bib, Not being exhibitors, we should like our humble opinion to be
considered impartial. We fail to see why the Bristol Committee cannot
make wkat rules they like independent of medal-hunters ; they have held
suooessful exhibitions in the past, and, we hope, will again. It seems
to have been the custom to give medal- receivers the best positions, and
award another medal mainly on account of prestige thus obtained, not
altogether the soperiority of their productions, passing over those of less
known but perhaps equal merit who do not send pictures all over the
kingdom, with the chance of being hung out of eight. The custom of
leoent years to give the same picture several medals in the same year we
consider, rightly or wrongly, most unjust to others. We have in mind
an extensive photographic business boasting of being awarded over forty
medals, many of them for two or three pictures that were produced
entirely by the employ) s of the person whose name they bear. We see
many suggestions from week to week for improving business ; one by a
teacher of photography, who evidently wants teaching, of sending home
pictures same day as taken. No one so far seems to have seen that what
has tended to lower the profession most in the public estimation, and
make it a hard struggle for many good men in a small way of business,
is the system known as canvassing, in many cases swindling, by which
big firms have reaped fortunes from every town, to great injury to their
smaller brethren. — We are, yours, itc, Rddd & Co.
DudUy.
MB. WOODBURT .\ND THE PAGET COMPANY.
To the Editob.
Sib, — In reply to Mr. Woodbury's letter, will you allow me to say that
I frankly accept his explanation ; but, at the same time, would like it to
be clearly understood that I was not aware of his experiments, and there-
fore derived no hint or assistance of any kind from them. Nor have I
since been able to succeed with iodide. The whole affair seems to have
arisen from a series of curious accidental coincidences, combined with a
little indiscretion on the part of Mr. Woodbury ; but, as he has now so
fully and handsomely admitted our claim to what I must still hold to be
the only practicable method. I trust that no more need be said. For my
part, I am quite content to bury the hatchet. B.I. P.
A somewhat injudicious friend of Mr. Woodbury, who has been making
a little sensational " copy " out of the incident, sees no novelty in the
process, because, in the year 1881, Dr. Eder described how gelatino-
chloride paper for development (not printing out) might not only be made
from a chloride emulsion, but also by the roundabout process of sensi-
tising chlorised gelatine paper on a silver bath, and then washing out the
surplus silver, or converting it into chloride by floating again on a bath
of sodium chloride.
There may possibly be some connexion between this and the new
process ; but I am somehow tempted to think of Tenterden Steeple and
the Goodwin Sands, or to wonder whether any modern shipbuilding
patents might be upset by showing that one Moses, a good many years
ago, published a description of how a gentleman named Noah built an
ark. — I am, yours, Ac, Wm. J. Wilson.
Paget Works, Watford, November 20, 1893.
ELECTRICITY FOR STUDIOS.
To the Editor.
Sir, — In his article last week " Free Lance " alludes to an article
which I wrote, and then goes on to say, " I do not know if he is the same
writer who gives an interesting letter upon electric heating. If so, I am
afraid his sanguine hopes about the economy of electricity will be doomed
to disappointment. He had been informed that the cost of heat from
electricity would be about the same as gas. This is moonshine." Now,
I cannot see how the question of heating by electricity can be in any way
affected by the question as to whether I did or did not write an article on
a different subject. I am the same writer, but how could my hopes be
doomed to disappointment when I wrote, " this is a practical realisution
of electric heating which I have long hoped for?" I felt gratified, not
about the " economy," but because electric heating had become an
accomplished fact. I said that the cost would be about the same as gas,
or, if it cost a little more, less heat would be required, as there is no
waste. He says, " Tliis is moonshine." Electric heating gives no shine
at all, it is produced and works in pitch darkness. Electric lighting by a
large and lofty arc lamp is the nearest approach to actual moonshine
that the world has ever yet seen. Who can forget those delightful
lummer nights at the old Horticaltaral Oardaoi at South Kauiflgton
when the coloured fountaini med to play, and all London had a ebanoe
of a few hoon of healthful eojoyment, enlivened by the oheerfnl etralni
of floeit moiio, and inspired 1^ pleasant rambles in tb« groaoda, lit np
by the retolanioe of parpetnal moonshine from the eUotrie globe, even
when the ni^te were dark and starlese, and Looa waa not dae?
" Free Lanoo " is very droll when he tells me to " torn on the electric
lights in any apartment for an hour, and then, after aeoertainlng the
inoreaw of temperature, burn an ordinary gas burner, gas ooeting.
say, less than one-fourth the electricity, and see which gives the greater
increase." Torn on the electric lighit to heat any apartment, and that
to test the suitability of the electric light Un heating a photographer's
(lark room! Why, it is one of the greatest advantages ai the elaotric
light that the amount of heat emitted is so slight as to be almoet
imperceptible. He is quite unaware of the fact that electrio heating is
produced on entirely different principles, and does its work in a state of
absolute darkness. You can easily cook a dinner by electric heat, bnt
you must have either electric, gas, or oil light to do it by. Extinguish
the light, the cooking will go on all the same. You can smell it and
hear it, l>ut you cannot see it ; there is not the slightest spark of light to
be obtained from the electric heating apparatus. The polished bottoms
of the saucepans, kettles, Ac, remain quite as clean as the tops.
" Free Lance " annotmces that electricity " is a toy for heating when
any ordinary comparison of cost is instituted. I should like ' Palette's'
informant to tell him what it would cost to heat enough water for a hot
bath, and then to ask Mr. Fletcher what he would do it for with gas." I
called on my informant, Mr. H. J. Dowsing, Member of the Institute of
Electric Engineers, Ac, of the firm of Crompton A Co., the acknowledged
pioneers of electric heating ; while waiting to see him I observed upwards
of a dozen full-size electric ovens for cooking a dinner, including large
joints, Ac, they were marked " Sold to the City of London Electric Supply
Company." I was told they formed portion of a sample order for twenty
to be let out on hire to their customers, and that other electric companies
were following in the same track. I showed Mr. Dowsing the challenge,
and asked him if he would prepare an estimate for heating a bath ; he
replied, " Certainly not, at the bidding of a correspondent of whom we
know nothing, and who himself knows nothing of the subject, but whoyet
can propose a test the most unreasonable and unfair that could possibly
be devised ; we are far too busy and our time is too valuable to be wasted
for the benefit of any rival firm. Electric heating is a comparatively new
thing, and we have only been working it out practically during the lait
nine months ; a bath has never yet been heated by electricity, bnt, if a
homljide application were made to us, we should set about making ex-
periments and calculations, and prepare an estimate. A " Fletcher's
Patent Water-heater " is a costly apparatus, specially contrived for
that particular purpose only ; the water passes over such an enormous
heating surface of copper, that almost the whole of the heat is extracted
from tiie gas before it passes into the fine ; it could not, therefore, afford
a fair average test of the use of gas for ordinary heating purpoees. Mr.
Dowsing recently completed a new and greatly enlarged edition of tlie-
Electrical Engineer's Price Book, an important work of 406 pages, pub-
lished last August by Griffin A Co. He states in his prefaca that, although,
there has been an ample issue of scientific works, up to the present nothing
appears to have been done in the way of general information on the
commercial aspect of electrical work, which fact has convinced him of the
absolute necessity of affording it. He lent me a copy to look over, and
kindly gave me permission to extract any information whicli might be
useful to your readers. He mentioned that Mr. W. H. Preece, F.II.S.,
Cliief Electrician to the General Post Office, in addressing the Municipal
Engineers lately, stated that 1 lb. pound of coal distilled into gas will give
a light - 17 candles per hour ; 1 lb. do. in electrio energy — 48 candles
incandescent, or 288 arc. In the event of continuous demand for electric
supply day and night, he calculates that the current could be supplied tor
light at a price equivalent to 1^(^ per 1000 cubic feet of gas, charged at
present 3s. I have it, on the same high authority, that 4000 candles tor
one hour will require 1000 cubic feet of gas at a cost of 2ji.; 4000 candles
can be produced by the arc light at 8d., and by incandescent lamp tor is.
Average price paid for burner for gas (at 3s. per 1000) is 9<. per annum ;
ditto, ditto, for electric lamps, 10,<. ditto.
In the General Post Ollice the price paid per gas lamp is 18«.; ditto,
ditto, electric lamp, '2'2s. In the Post Office Savings Bank, owing to the
improved health of the 1500 people employed there, HOO extra days' work
were secured from the staff, and the value of this time exceeded the ooet
of the electric light. All large employers have received the same benefit ;
it is indeed the sanitary aspect of electricity that is ensuring its rapid
advance. It can now be supplied cheaper than gas ; the Great Northern
Telegraph Company, at Newcastle, say that electric lighting is only two-
thirds of the former cost of gas, which is It. 104 per 1000 ; electric energy
i^d. per unit I am told that at Ottawa, Canada, it is only l^d. ; that
must be owing to cheap water power. There is no difference between th»
practical cost of electricity and that of gas. Gas at 3s. per 1000 ooete the
same as electricity at Cif. per unit. I visited the St. Panoras Electatie
Works, which they are rapidly extending, they supply the current for light
at 6(i., and for heating and cooking at 3<f. per unit ; they charge 10<. for
laying on the electric supply. In the City of London the price for heating
is 4(2. per unit. In chapter 12 of Mr. Dowsing's book, on "electric smelting
and welding," he says, -it is only now that electricity is made arailable
760
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 24, 1893
or heating purposes on a large scale. No other form of furnace can pro-
duce such enormous heat as that generated in the electric furnace. Other
firms are now beginning to supply the fittings for electric heatmg ; 1 saw
one pint of water, the other day, boiled in a copper kettle on an eleotric
heater, at Verity's, in eight minutes, at a cost of one farthing. Ihe
heating stoyes do not seem as yet to give so much heat value as the ovens,
&c I think they would be too expensive at present for a large studio,
but a dark room could probably be heated admirably for about 50 per
cent more than gas ; even if it cost double, it would be practically cheaper,
considering its many advantages. This must be my final communication
on the subject.— I am, yours, &o.. Palette,
November 17, 1893.
iBaccftange (ttolumn.
» * iVo charge ia made for inserting Exchanges of Apparatus m thucolmm ;
but none itfill be inserted unless the article wanted is definitely stated. Those
who specify their requirements as "anything useful" will therefore understand
the reason of their non-appearance. The full name of the advertiser nmst
in all cases be given for publication, otherwise the Exchanges will not be
inserted. .
Six-inch or a twelve-inch burnisher, for a good rolUng press.— Address, J. Webber,
Photographer, Canterbuiy.
Wanted, retort and purifier for making oxygen ; in exchange for Postage-stamp
camera, nine lenses, or lantern slides. — Address, Eael, 47a, Broad-stroet,
Worcester.
PKotogravhic News, 1875 to 1888, unbound ; exchange for (secondhand) 12x10 or 9x7
field camera, tripod, or leather cases; diilerence adjusted.— Address, F. Watson,
33, Alfred-road, Acton, W.
Will exchange background, exterior, canvas in oils, sood condition, by Marion, for
clouded background or good interior.— Address, Albert Dukn, The Studio, Wottou-
under-edge, Gloucestershire.
an0iBjr0 to €orresponT»enta.
, * All matters intended for the text portion of this Journal, including
queries and Exchanges, must be addressed to " The Editob, The British
JouKNAL OP Photoqrapht," 2, York-street, Covent Garden, London. In-
attention to this ensures delay.
Gold Chloridb.— There is uo danger of forming au explosive compomul with
the mixture of nitro-hydrochloric acids you name.
SUCM CuiQUE.— We should be glad to insert a letter on the abstract question
as to whether an operator has a right to a copy of the work he does.
Mary Campbell.— What is meant Is that to the stock toning solution sufficient
gold should Ije added to make up for that used, say, one grain per sheet.
Col. Spencer Nioholl.— Dissolve the silver nitrate first, and then add the
cyanide until the precipitate formed is redissolved. You reversed the
process.
W. Blake. — White hard varnish must be diluted with spirit to make it suitable
for negatives. If it has been used as purchased, no wonder that "it has
proved a failure."
Pybo -writes: "Would you kindly give me the address of photographic
publishers of views in Paris (French scenery), and greatly oblige ?"— Perhaps
some reader will oblige.
A. BUBBIDOE.— Communicate with the local poUce in all such cases ; but,
better still, do not part with your money until you have taken reasonable
precautions to ascertain the bona fides of the advertisers.
W. T.— We do not think that photography is systematically employed at
the London hosjatals. We can only suggest that you write to the secretaries
of those institutions, stating your qnalitications .and wishes.
G. R. — It ia quite a fallacy to suppose that the copies of paintings to be seen
in the shop window are made from monochromes painted for the purpose of
reproduction by photography. They arej made from the originals, which,
more often than not, are in very brilliant colours, as most Continental
paintings are.
A. W. X. — Time is too short yet to pass any opinion on the comparative
permanence of albumen and gelatine prints. The former process has been
on its trial for forty years or more, and many of the prints are still without
change. The latter has only been on its trial for a few years, and some
prints, like others on albumen, have shown a marked change in the time.
K. A. E. — The safest way to fill an ether saturator by artificial light is to do
it outside a window at which a light is burning on the inside. In this way,
no risk whatever is incurred. Tlie saturator should never be recharged in
the room before the audience sliould it become exhausted. Apart from the
danger, the smell of ether is objectionable to those who are not familiar
with it.
A. J. 'ivrifes : " Would you kindly tell me what is the best system of marking
and storing negatives for a small business where the expense of separate
envelopes tor each negative does not appear to be advisable '"^Simply write
or scratch the name and number on the negative, and, if envelopes are too
costly, wrap them in plain paper with the number written upon it on the
outside.
C Thomas.- You must not rely too much upon what is said on photographic
'matters in the daily press, otherwise you may believe m a lot of nonsense.
We did not see the announcement in question, but it must have earned
absurdity on the face of it.
J A JUN. —Write to Messrs. Schmiers, Werner, & Co., Leipsic. They will
'supply the necessary machines, &c. The cost of a medium-size machmeis,
we think, between two hundred and fifty and three hundred pounds The
other appliances are not costly. You must have been exceptionally un-
fortunate in your experience with collotype printers. Had the work
been entrusted to a good house, you would not have to reject half the
prints.
W J. Farmer.- We could only answer your numerous questions after a long
series of experiments, occupying a great deal of time, which you are
probably better able to afford than we are, or why not try these expenments
for yourself? We are always glad, where possible, to help our correspondents
in their difficulties, but in your case nothing less than an exhaustive treatise
is required. At this (and especially by post) we must beg you to let us
draw the line.
Stephen WasoN.^The collotype process is far more applicable to that class
of work than Woodburytype. With the latter process delicate vignettes are
not to be successfully obtained when working on a commeroial scale.
Furthermore, collotypes can be as easily printed with white margins, so that
mounting is umiecessary, as without. If price were .in object, it is possible
process blocks would answer, that is, if the number required is tolerably
large ; for small numbers, collotype is cheaper than " process work.
London, W.C— The price of copper plates, surfaced and polished, ready for
etching, may appear somewhat hicrh, but we believe they are not, if of good
quality, to be had at less than the prices quoted. The rolled sheet copper
of the metal warehouses would require a great deal of laborious and tedious
work to be bestowed upon it before it could be made available for photo-
gravure plates. We are not aware that the plates used for this purpose on
the Contment are any better than those sold here, and we doubt if they
are.
Robert W. Conchie.— 1. Better not mix up the formulaj ; rather make com-
parative trials of the two, and use that which works best in your hands.
2 If the bath were made with pure materials, and in chemically clean
vessels, the gold should not, and would not, be deposited. As youi- ex-
perience has been so unfortunate, we advise you to make up only sufficient
bath at a time to tone the prints desired. 3. Y^es, though it will keep better
in a strong solution. 4. Lithographic chalk, or the ink used by lithographic
artists.
W A. T.— 1. Unless ,the prints be treated with alum, the coating will dis-
solve if immersed in warm solutions. Alum the prints, and then proceed as
you have been doing. 2. The spots are touched out in the negative. Only
experience is required to judge of the right amount of colour to apply.
That, of course, must depend upon the density of the image. 3. The yellow
screen is of little use with ordinary plates. 4. It may be appUed by itself
or mixed with a little dextrine. Plenty has been said on the subject during
the last few months.
B —The electric-lighting plant supplied by the firm named is very complete,
and is used in many of the London studios. They would doubtless supply
it with any other lamp if preferred. If you make the apparatus yourself, it
will certainly cost you less it your time is not of great value. We see no
reason why tlie gentleman you mention should not be a practical adviser ; a
knowledge of photography is not necessary to make an efficient appliance
lor lighting an object— the sitter in this case. Nothing on the subject is
needed beyond what has already appeared in back volumes.
F J. R. 1. To have about equal qu.intities of silver converted into chloride
and citrate respectively, the quantity of citrate of potash should be fifteen
grains. The proportion here given makes a softer picture, but eight and
fifteen would print better from thin neg.itives. 2. Chloride of .ammonium at
boiling temperature would decompose borax, forming tetrametabor.ite of soda ;
but we do not think it should in the cold. It may have some effect on old
bleached lac. Try potassium or sodium chloride. It answers nearly as well,
though it is more trouble, to size the paper first and then salt.
W. Ratcliffe.— The fault— the mottled appearance in the prints— is due to
the paper being insufficiently sensitised. A much longer floating, on that
stren<nh of bath, was requu-ed on account of the hardness of the sizing as it
was applied. If the lac were good, the whole of it should have dissolved.
Probably the sample used had been bleached for a loug time, and so had
lost its soluljility. If you read the article again, you will see the solution is
to be applied mth a brush, not the paper soaked in it for ten mmute.
This, in itself, was quite enough to account for the appearance when the
paper was printed.
OONT
PAai
CURLED GELATINE FILM NEGA-
TIVES 740
PHOTOGRAPHIC PIRACY 745
PLEA FOB AN HISTORICAL MUSEUM 746
VARIATIONS IN WINTER DEVELOP-
MENT 717
PHOTOGRAPHY IN WARF.ARE. By
A. MACKIE 748
STANLEY SHOW PHOTOGRAPHIC
EXHIBITION 749
CAMERAS AND FILMS. Bv S. BOURNE 750
REJIAlilvS ON HAND-CAMERA WORK
AND HAND CAMERAS. By J. K.
TULLOCH, M,I1 750
A COMMON DEFECT IN PHOTO-
GRAPHIC DOUBLE DARK SLIDES,
AND ITS REMEDY 751
iNTB.
Paob
LEYT0N8I0NE CAMERA CLUB EXffl-
BITION ■''■
ON THE PHOTOGRAPHY OF THE
LUMINOUS BAYS OF THE SHORTEST
WAVE-LENGTHS. By VICTOR SOHU-
MANN 753
OUR EDITORIAL TABLE 758
RECENT PATENTS 754
MEETINGS OP SOCIETIES 754
EOBTHCOMING EXHIBITIONS 750
NEWS AND NOTES 760
CORBESPONDENOK 757
EXCHANGE COLUMN 760
ANSWERS TO OOBBESPONDEMTS 760
December 1, 180S]
THE BRTjriSH JOURNAL OF PHOTOGRAPHY.
76S
<:apable of being exercised on the sensitised gel&tine by the celluloid
support, Messrs. Guiterman & Co. have shown us the result of an
experiment made by one of the experts of the Celluloid Company,
Newark, N. J., U.S.A., of which they are agents for this country.
In order to anticipate the action of time, two squares of celluloid —
one a German production, the other being the American make — were
placed on a thick pad of blue blotting-paper, and, after being covered
■with a thin paper, a laundress's flat iron heated to a temperature of
240° or 250° Fahr. was left on for five minutes, with this result,
that the German make had become disintegrated and given off
enough nitrous acid to show a decided decolourising of the paper in
immediate contact with it. The American sample remained un-
affected. As is well known, there are various ways of making
celluloid, no two manufactures being absolutely alike.
A Good Word for Reliable Films.— If celluloid, ;>er se,
has really any deleterious action upon gelatine emulsion, it certainly
takes a long time to assert itself. We have in our possession two
prints, and very good ones they are, from negatives taken on Eastman
roll-holder films by Mr. Edward J. Smith, of Halifax. One negative
was taken the same week the spool was received, the other /our years
later. The former represents a deep dell showing the lialf-dried-up
bed of a river, and received an exposure of three seconds ; the latter,
a portion of the same spool and exposed half a second withy-22 four
Tears afterwards, represents a somewhat trying scene, a vast crowd
taking part in some public inaugural meeting all under a roof and im-
perfectly lighted, but well and fully exposed. Most undoubtedly no
deteriorating influence had been exerted by the one film upon the other
in this case ; and we are pleased to be able^to say that the same methods
of preparing films that were employed four years ago are in force at the
present time. In Mr. Edward J. Smith's letter he says, speaking of
the film in question, " The film has not been kept wrapped in tin foil
or treated with any special care, but has been in the roll-holder all the
time, and has travelled some thousands of miles by sea and land."
Picture Pirates in America. — In reference to the article
in last week's issue on Photographic Piracy, and an allusion to a suit
decided under the International Copyright law, a correspondent directs
our attention to the wholesale piracy of English and Continental
pictures in America, and makes some very strong comments on the
subject. Complaints are, we know, loud and deep amongst English
publishers of the piracy, in America, of the works they issue. But it
is not against such pirates as that referred to last week, who simply
make silver prints ; it is against otherwise reputable publishers yrho
reproduce the works by photo-mechanical methods. Not long ago we
were told by the representative of a London firm that, no sooner than
they had issued a photogravure print of a painting, the copyright for
which they had paid a large sum, and gone to a great expense in the
production of the plate, the print was pirated and issued as a
coloured supplement in one of the American journals. Quite recently
we were consulted by a Continental art publisliing firm as to whether
it would be possible to make some additions to the printing ink that
would prevent the prints being successfully reproduced, as it was
suffering so severely from the piracy of their productions in the States.
Spotty Prints. — For many years past we have noticed and
called attention to the fact, that at this season complaints of minute
spots on silver prints are more prevalent than at any other time. We
are not alluding to spots that make their appearance months after the
prints have been mounted, but to those small ones that are frequently
met with before they are mounted, or within a very short time after-
wards. This year is no exception, and we have already seen several
examples that have greatly perplexed those wlu have produced the
prints, and who, in the generality of cases, have attributed the evil to
anything but the right cause, namely, dust. It often happens that,
at the time the prints are taken out of the washing water,
sweeping and dusting operations are going on. Now, the dust of
photographic workrooms ia of a very pemicioua character, consijtio^
as it does of particles of hypo, pyro, and numfroiu other equally
deleterious matters, rendered by the articial heating of the apartment.
It will at once be admitted that, if any of sach particle* settled on a
moist print, they would cause trooble. Apart from the floating
particles of the chemicals employed, there are often others present
that are equally as deleterious, the dust from coke stovM, for
example. When the fire is poked or the ashes are raked out, a dust
of a sulphurous nature is created, which, if any particles settle on a
wet print, U almost certain to produce spots. On one occasion we
placed some moist prints near a coke stove, and then stirred the fire
so as to raise a dust, which was then allowed to settle. The result
was that, after a day or two, the prints showed as prolific a crop of
minute spots as could well be imagined.
YELLOW STAINS ON GELATINO-CHLORIDE PAPER.
While the subject of yellow stains upon gelatino-chloride printiog-
out paper is on the tapis, I should like to give my own experience,
and suggest an apparently unsuspected cause. Hypo has received
such a bad name in years gone by that, as Mr. Pentney remarked
a week or two back, we were too prone to lay all the blame of yellow
stains, without any further inquiry, to its credit. But what about
sulphocyanide of ammonium ? It is as much a sulphur compound as
hypo, and, although the combinations it forms with silver chloride
arc perhaps not so unstable as the hypo compounds, they are still
subject to similar decompositions.
In addition to this, the gold compounds, formed by the mixture of
auric chloride with the soluble sulphocyanides, are of an equally, if
not more, unstable character than those of silver, and, under present
conditions of toning, these are, it seems to me, quite sufficient to
account for many otherwise obscure cases of yellowing.
Mr. C. H. Bothamley, in his recent report on this subject, alludes
to the appearance of yellow stains in the course of toning, and which
he describes as an occasional, though very rare, occurrence. This is
very far from being the case, in my own experience at least, when
sulphocyanide of ammonium or potassium is employed. I am not
speaking of only recent experience, but will go back seven or eight
years with gelatino-chloride, and I have had a similar discolouration
with albumen paper when using a combined toning and fixing bath
containing sulphocyanide. In fact, although not a constant or regular
occurrence, this yellowing of prints in the toning bath itself has been
a pretty frequent trouble with me, ever since I began to use the
mixed gold and sulphocyanide toning bath first recommended for
gelatino-chloride paper.
The formulae originally published for this purpose contained, it will
be remembered, a minute trace of hypo, for what reason introduced I
do not know ; but it was natural to blame the yellowness on to that,
and, as I found the bath toned just as well without it, the hypo was
discarded. But still the yellowness occurred at intervals, and what
was worse, or rather more to the point, in fixing the evil on to the
toning bath itself, was the fact that a bottle of the stock toning solu-
tion (in concentrated form), after standing some months unused, was
found to have deposited a dirty yellow granular powder, while the
sides were coated with a thick layer of a similar character.
But it was not vmtil comparatively recently that, having taken up
the working of gelatino-chloride paper more regularly, I have felt the
full force of the trouble, with the result that I have, for some months
past, given up using sulphocyanide altogether, and so got rid of the
discolouration in the toning bath completely. I am referring solely to
that kind of yellowing, or such as occurs between toning and fixing,
in the absence of any possible chance of contact icith hypo. Under
such conditions, I think it may be set down to the effect of sulpho-
cyanide ; but, when there is any doubt as to the presence of hypo,
" honours may be divided."
When the yellowing does occur, it will be either when the
attempt is made to tone too many prints in the same solution,
or, more probably, when the bath has been put away after being
once used, but not exhausted. The danger is not so great in the
first instance, as few of us are foolish enough to try to tone a larger
number of prints than wo know there is gold for ; but it is different
760
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[November 24, 1893
or heating purposes on a large scale. No other form of f amace can pro-
duce such enormous heat as that generated In the electric furnace." Other
firms are now beginning to supply the fittings for electric heating ; I saw
one pint of water, the other day, boiled in a copper kettle on an electric
heater, at Verity's, in eight minutes, at a cost of one farthing. The
heating stoves do not seem as yet to give so much heat value as the ovens,
&c. I think they would be too expensive at present for a large studio,
but a dark room could probably be heated admirably for about 50 per
cent, more than gas ; even if it cost double, it would be practically cheaper,
considering its many advantages. This must be my final communication
on the subject. — I am, yours, A'C, Palette,
November 17, 1893.
i5a;(;f)ange Otolumn.
"*^^* xVo charge is made Jot inserting Exchanges of Apparatus in this column;
but noTie ivill he inserted unless the article wanted is definitely stated. Those
who specify their requirements as ^^ anything usefuV will therefore understand
the reason of their non-appearance. The full Tucme of the advertiser must
in all cases be given for publication^ otherwise the Exchanges will not be
inserted.
Six-inch or a twelve-inch, burnisher, for a good rolling press. — Address, J. Webber,
Photographer, Canterbury.
Wanted, retort and purifier for making oxygen ; in exchange for Postage-stamp
camera, nine lenses, or lantern slides. — Address, Eael, 47a, Broad-street,
Worcester.
Photographic News, 1875 to 1888, unbound ; exchange for (secondhand) 12x10 or 9x7
field camera, tripod, or leather cases; ditference adjusted. — Address, F. Watson,
33, Alfred-road, Acton. W.
Will exchange background, exterior, canvas in oils, cood condition, by Marion, for
clouded background or good interior. — Address, Albert Dxjrn, The Studio, Wottou-
under-edge, Gloucestershire.
Ensftoer^ to (ttorressponnents.
.* Alt matters intended for the text portion of this Journal, including
meries and Exchanges, must be addressed to " The Editor, The British
JotJBNAL OP Photography," 2, york-slreet, Covent Garden, London. In-
attention to this eTisv/res delay.
Gold Chloride. — There is no clanger of forming an explosive compound with
the mi.xture of nitro-hydrochloric acids you name.
Suim CuiQUB. — We should be glad to insert a letter on the abstract question
as to whether an operator has a right to a copy of the work he does.
Mary Campbell. — What is meant is that to the stock toning solution sufBcient
gold should be added to make up for that used, say, one grain per sheet.
Col. Spencer Nioholl.— Dissolve the silver nitrate first, and then add the
cyanide until the precipitate formed is redissolved. You reversed the
process.
W. Blake.— White hard varnish must be diluted with spirit to make it suitable
for negatives. If it has been used as purchased, no wonder that "it has
proved a failure."
Pyeo writes: "Would you kindly give me the address of photographic
publishers of views in Paris (French scenery), and greatly oblige ?" — Perhaps
some reader will oblige.
A, BuRRlDOE. — Communicate with the local police in all such cases ; but,
better still, do not part with your money uutil you have taken reasonable
precautions to ascertain the bona fides of the advertisers.
W. T. — We do not think that photography is systematically employed at
the London hosjiitals. We can only suggest that you write to the secretaries
of those institutions, stating your qualifications and wishes.
G._R. — It is quite a fallacy to suppose that the copies of paintings to be seen
in the shop window are made from monochromes painted for the purpose of
reproduction by photography. They are] made from the originals, which,
more often than not, are in very brilliant colours, as most Continental
paintings are.
A, W. X. — Time is too short yet to pass any opinion on the comparative
permanence of albumen .and gelatine prints. The former process has been
on its trial for forty yeai-s or more, and many of the prints are still without
change. The latter has only been on its trial for a few years, and some
prints, like others on albumen, have shown a marked change in the time.
R. A. E. — The safest way to fdl an ether saturator by artificial light is to do
it outside a window at which a light is burning on the inside. In this way,
no risk whatever is incurred. The saturator should never be recharged in
the room before the audience should it become e.\hauKted. Apart from the
danger, the smell of ether is objectionable to those who are not familiar
with it.
A. J. writes : " Would you kindly tell me what is the best system of marking
and storing negatives for a small business where the expense of separate
envelopes for each negative does not appear to be advisable ?"— Simply write
or scratch the name and number on the negative, and, if envelopes are too
costly, wrap them in plain paper with the number written upon it on the
■outside.
C. Thomas. — You must not rely too much upon what is said on photographic
matters in the daily press, otherwise you ma.y believe in a lot of nonsense.
We did not see the announcement in question, but it must have carried
absurdity ou the face of it.
J. A., JUN. — Write to Messrs. Schmiers, Werner, & Co., Leipsic. They will
supply the necessary machines, &c. The cost of a medium-size machine is,
we think, between two hundred and fifty and three hundred pounds. The
other appliances are not costly. You must have been exceptionally un-
fortunate in your experience with collotype printers. Had the work
been entrusted to a good house, you would not have to reject half the
jirints.
W. J. Farmer.— We could only answer your numerous questions after a long
series of experiments, occupying a great deal of time, which you are
probably better able to afford than we are, or why not try these experiments
for yourself? We are always glad, where possible, to help our correspondents
in their difficulties, but in your case nothing less than an exhaustive treatise
is required. At this (and especially by post) we must beg you to let us
draw the line.
Stephen Wilson. — The collotype process is far more applicable to that class
of work than Woodburytype. With the latter process delicate vignettes are
not to be successfully obtahied when working on a commercial scale.
Furthermore, collotypes can be as easily printed with white margins, so that
mounting is unnecessary, as without. If price were an ol>ject, it is possible
process blocks would answer, that is, if the number required is tolerably
large ; for small numbers, collotype is cheaper than "process work."
London, W.C. — The price of copper plates, surfaced and polished, ready for
etching, may appear somewhat high, but we believe they are not, if of good
quality, to be had at less than the prices quoted. The rolled sheet copper
of the metal warehouses would require a great deal of laborious and tedious
work to be bestowed upon it before it could be made available for photo-
gravure plates. We are not aware that the plates used for this purpose on
the Continent are any better than those sold here, and we doubt if they
are.
Robert W. Conchie. — 1. Better not mix up the formulse ; rather make com-
parative trials of the two, and use that which works best in your hands.
2. If the Ijath were made with pure materials, and in chemically clean
vessels, the gold should not, and would not, be deposited. As youi- ex-
perience has been so unfortunate, we advise you to make up only sufficient
bath at a time to tone the prints desired. 3. Yes, though it will keep better
in a strong .solution. 4. Lithographic chalk, or the ink used by lithograijhic
artists.
W. A. T. — 1. Unless ^the prints be treated with alum, the coating will dis-
solve if immersed in warm solutions. Alum the prints, and then proceed as
you have been doing. 2. The spots .are touched out in the negative. Only
experience is required to judge of the right amount of colour to apply.
That, of course, must depend upon the density of the image. 3. The yellow
screen is of little use with ordinary plates. 4. It may be applied by itself
or mixed with a little dextrine. Plenty has been said on the subject during
the last few months.
B. — The electric-lighting plant supplied by the firm named is very complete,
and is used in many of the London stu<Uos. They would doubtless supply
it with any other lanqi if preferred. If you make the apparatus yourself, it
will certainly cost you less if your time is not of great value. We see no
reason why the gentleman you mention should not be a practical adviser ; a
knowledge of photography is not necessary to make an efficient appliance
for lighting an object — the sitter in this case. Nothing on the subject is
needed beyond what has already appeared in back volumes.
F. J. R. — 1. To have about equal quantities of silver converted into chloride
and citrate respectively, the quantity of citrate of potash should be fifteen
grains. The proportion here given makes a softer picture, but eight and
fifteen would print better from thin negatives. 2. Chloride of ammonium at
boiling temperature would decompose borax, forming tetrametaborate of soda ;
but we do not think it should in the cold. It may have some effect on old
bleached lac. Try potassium or sodium chloride. It answers nearly as well,
though it is more trouble, to size the paper first and then salt.
W. Ratcliffe. — The fault— the mottled appearance in the prints— is due to
the paper being insufficiently sensitised. A much longer floating, on that
strength of bath, was required on account of the hardness of the sizing as it
was applied. If the lac were good, the whole of it should have dissolved.
Probably the sample used had been Ideached for a long time, and so had
lost its solubility. If you read the article again, you will see the solution Ls
to be applied with a brush, not the paper soaked in it for ten minutes.
This, in itself, was quite enough to account for the appearance when the
paper was printed.
OONTBNTB.
CURLED gelatine FILM NEGA-
TIVES 745
PHOTOGRAPHIC PIRACY 746
PLEA FOR AN HISTORICAL MUSEUM 74G
VARIATIONS IN WINTER DEVELOP-
MENT 747
PHOTOGRAPHY IN WARFARE. By
A. MACKIB 74S
STANLEY SHOW PHOTOGRAPHIC
EXHIBITION 749
CAMERAS AND FILMS. By S. BOURNE TM
EEMAUKS ON HAND-CAMEEA WORK
AND HAND CAMERAS. By J. K.
TULLOCH. M,Ti 750
A COMMON DEFECT IN PHOTO-
GRAPHIC DOUBLE DARK SLIDES,
AND IIS KEMEDY 751
Page
LEYTONSTOSE CAMERA CLUB EXHI-
BITION 731
ON THE PHOTOGRAPHY OP THE
LUMINOUS RAYS OF THE SHOiRTEST
WAVE-LENGTHS. By VICTOR SCHU-
MANN 752
OUR EDITORIAL TABLE 753
RECENT PATENTS 754
MEETINGS OF SOCIETIES 754
FORTHCOMING EXHIBITIONS 750
NEWS AND NOTES 75(i
CORRESPONDENCE 757
EXCHANGE COLUMN 760
ANSWEB8 TO OOBBESPONDEMIS 760
"December 1, 1803]
THE BRITISH JOURNAL OF PHO7OGBAPHY.
768
Cnpable of being exercised on the sensitised grelatine by the celluloid
support, Messrs. Quiterman v<: Co. have shown us the result of an
experiment made by one of the exports of the Celluloid Company,
Newark, N. J., U.S.A., of which they are aj^nts for this country.
In order to anticipate the action of time, two squares of celluloid —
one a German production, the other being the American make — were
placed on a thick pad of blue blotting-paper, and, after being covered
with a thin paper, a laundress's flat iron heated to a temperature of
240° or 250° Fahr. was left on for five minutes, with this result,
that the German make had become disintegrated and given off
enough nitrous acid to show a decided decolourisinij of the paper in
immediate contact vrith it. The American sample remained un-
affected. As is well known, there are various ways of making
celluloid, no two manufactures being absolutely alike.
A Good Word for Reliable Films.— If celluloid, per se,
has really any deleterious action upon gelatine emulsion, it certainly
takes a long time to assert itself. We have in our possession two
prints, and very good ones they are, from negatives taken on Eastman
roll-holder films by Mr. Edward J. Smith, of Halifax. One negative
was taken the same week the spool was received, the other four years
later. The former represents a deep dell showing the half-dried-up
bed of a river, and received an exposure of three seconds ; the latter,
a portion of the same spool and exposed half a second with/- 22 four
vears afterwards, represents a somewhat trying scene, a vast crowd
taking part in some public inaugural meeting all under a roof and im-
perfectly Ughted, but well and fully exposed. Most undoubtedly no
deteriorating influence had been exerted by the one film upon the other
in this case ; and we are pleased to be able,to say that the same methods
of preparing films that were employed four years ago are in force at the
present time. In Mr. Edward J . Smith's letter he says, speaking of
the film in question, " The film has not been kept wrapped in tin foil
or treated with any special care, but has been in the roll-holder all the
time, and has travelled some thousands of miles by sea and land."
Picture Pirates in America. — In reference to the article
in last week's issue on Photographic Piracy, and an allusion to a suit
decided under the International Copyright law, a correspondent directs
our attention to the wholesale piracy of English and Continental
pictures in America, and makes some very strong comments on the
subject. Complaints are, we know, loud and deep amongst English
publishers of the piracy, in America, of the works they issue. But it
is not against such pirates as that referred to last week, who simply
make silver prints ; it is against otherwise reputable publishers who
reproduce the works by photo-mechanical methods. Not long ago we
were told by the representative of a London firm that, no sooner than
they had issued a photogravure print of a painting, the copyright for
which they had paid a large sum, and gone to a great expense in the
production of the plate, the print was pirated and issued as a
coloured supplement in one of the American journals. Quite recently
we were consulted by a Continental art publishing firm as to whether
it would be possible to make some additions to the printing ink that
would prevent the prints being successfully reproduced, as it was
suffering so severely from the piracy of their productions in the States.
Spotty Prints. — For many years past we have noticed and
called attention to the fact, that at this season complaints of minute
spots on silver prints are more prevalent than at any other time. We
are not alluding to spots that make their appearance months after the
prints have been mounted, but to those small ones that are frequently
met with before they are moimted, or within a very short time after-
wards. This year is no exception, and we have already seen several
examples that have greatly perplexed those wIid li»ve produced the
prints, and who, in the generality of cases, have attributed the evil to
anything but the right cause, namely, dust. It often happens that,
at the time the prints are taken out of the washing water,
sweeping and dusting operations are going on. Now, the dust of
photographic workrooms is of a very pemiciotM character, conifuAlv^
as it does of particles of hypo, pyro, and numnrout other equaUjr
deleterious matters, rendered by the articial heating of the apartment.
It will at once be admitted that, if any of such particle* settled on a
moist print, they would cause trouble. Apart from the floating
particles of the chemicals employed, there are often others present
that are equally as deleterious, the dust from coke store*, for
example. When the fire is poked or the ashes are raked out, a dust
of a sulphurous nature is created, which, if any particles settle on a
wet print, L<i almost certain to produce spots. On one occasion we
placed some moi^t prints near a coke stove, and then stirred the fire
so as to raise a dust, which was then allowed to settle. The result
was that, after a day or two, the prints showed as prolific a crop of
minute spots as could well be imagined.
YELLOW STAINS ON GEL.\TI NO-CHLORIDE PAPER.
While the subject of yellow stains upon gelatino-chloride printing-
out paper is on the tapis, I should like to give my own experience,
and suggest an apparently unsuspected cause. Hypo has received
such a bad name in years gone by that, as Mr. Pentney remarked
a week or two back, we were too prone to lay all the blame of yellow
stains, without any further inquiry, to its credit. But what about
sulphocyanide of ammonium ? It is as much a sulphur compound as
hypo, and, although the combinations it forms with silver chloride
are perhaps not so unstable as the hypo compounds, they are still
subject to similar decompositions.
In addition to this, the gold compounds, formed by the mixture of
auric chloride with the soluble sulphocyanides, are of an equally, if
not more, unstable character than those of silver, and, under present
conditions of toning, these are, it seems to me, quite sufficient to
account for many other\nse obscure cases of yellowing.
Mr. C. H. Bothamley, in his recent report on this subject, alludes
to the appearance of yellow stfuns in the course of toning, and which
he describes as an occasional, though very rare, occurrence. This is
very far from being the case, in my own experience at least, when
sulphocyanide of ammonium or potassium is employed. I am not
speaking of only recent experience, but will go back seven or eight
years with gelatino-chloride, and I have had a similar discolouration
with albumen paper when using a combined toning and fixing bath
containing sulphocyanide. In fact, although not a constant or regular
occurrence, this yellowing of prints in the toning bath itself has been
a pretty frequent trouble with me, ever since I began to use the
mixed gold and sulphocyanide toning bath first recommended for
gelatino-chloride paper.
The formulaa originally published for this purpose contained, it will
be remembered, a minute trace of hypo, for what reason introduced I
do not know ; but it was natural to blame the yellowness on to that,
and, as I found the bath toned just as well without it, the hypo was
discarded. But stUl the yellowness occurred at intervals, and what
was worse, or rather more to the point, in fixing the evil on to the
toning bath itself, was the fact that a bottle of the stock toning solu-
tion (in concentrated form), after standing some months unused, was
found to have deposited a dirty yellow granular powder, while the
sides were coated with a thick layer of a similar character.
But it was not until comparatively recently that, having taken up
the working of gelatino-chloride paper more regidarly, I have felt the
full force of the trouble, with the result that I have, for some months
past, given up using sulphocyanide altogether, and so got rid of the
discolouration in the toning bath completely. I am referring solely to
that kind of yellowing, or such as occurs between toning and fixing,
in the absence of any possible chance of contact with hypo. Under
such conditions, I think it may be set down to the effect of sulpho-
cyanide ; but, when there is any doubt as to the presence of hypo,
" honours may be divided."
When the yellowing does occur, it will be either when the
attempt is made to tone too many prints in the same solution,
or, more probably, when the bath lias been put away after being
once used, but not exhausted. The danger is not so gr«at in the
first instance, as few of us are foolish enough to try to tone a larger
number of prints than we know there is gold for ; but it is diSdrent
764
THE BRITISH JOUKNaL, OF PHOTOGRAPHY.
[December 1, 1893
■when an unexbausted bath is used a second time. Under such cir-
cumstances, although there may be ample gold present, and the
solution itself may be uncoloured, the toning will be extremely slow,
if, indeed, any change take place at all beyond a slight reddening of
the image. More gold is added to hasten the matter, but this only
makes matters worse in all probability, and, though with perseverance
some sort of " tone " may be got in time, the whites of the print will
be pervaded by a sickly yellowness, and the solution itself will acquire
almost as decided a colouration as the plain solution of chloride of
gold— that is to say, a rich, bright yellow. The precise composition
of the bath does not appear to matter much, provided sulphocyanide
be present ; I have had equally pronounced colouration with plain
sulphocyanide and with the mixed sulphocyanide and acetate bath.
Another circumstance that seems to lend strength to the suspicion
of sulphocyanide is this : If a plain gold and acetate bath, that has
been put away after use, but not exhausted, be used a second time,
the toning will proceed much more slowly than when previously em-
ployed, and it may happen that it will refuse to tone at all, as already
described. Here, again, the addition of fresh gold proves useless, or
worse, only hastening the decomposition of the solution ; but, in this
case, the colour developed by the bath itself is the well-known pink,
or purple, according to the decree of change, while the prints either
remain white or take a delicate pink tint.
I am not inclined to blame the sulphocyanide altogether for being
the cause of the decomposition of the bath and the arrest of toning,
but it certainly seems to alter the character of the products. The
original cause of the changes referred to is undoubtedly to be found
in the paper itself, and the rapidity and extent of the decomposition
will depend upon the care with which the prints are washed before
being introduced into the gold bath. If free silver be left in the
prints to any extent, it is converted into chloride at the expense of the
gold and then dissolved by the sulphocyanide. The first effect is a
weakening of the bath, and after that a process of sulphur toning is
Bet up by the dissolved silver.
But scarcely any amount of ordinary washing can be expected to
entirely remove the slightly soluble citrate of silver contained in the
paper, and this will be as readily acted upon by the gold solution as
any free nitrate that may be left. Therefore, unless the prints be
treated with weak chloride of sodium before toning, as directed at
page 699, there seems to be always a chance of a certain amount of
sulphur toning occurring when sulphocyanide is used ; and, if the bath
be used to exhaustion, then the yellowing will occur. Where the
sulphocyanide is absent, the effect is confined to a reduction of both
silver and gold in the toning bath and the destruction of its toning
powers. W. B. Bolton.
REMARKS ON HAND-CAMERA WORK AND
HAND CAMERAS.*
The first fault that I had to find with it was this : I had placed the
lens centrally to the plate, and this gave me my horizontal line too
high, I had too much foreground by far. I see from time to time
writers in the journals crying out for a rising front for the hand
camera ; 1 have no desire for any such addition. Let the lens be so
fixed as to give, with a level view, a horizontal line about one-third
up the plate, and the cases must be few indeed requiring further
elevation. That was the first fault ; that I remedied by altering the
position of the lens. Now, some one may be inclined to say, " If you
had had a view finder you could have had the horizontal line just where
you liked by tilting your camera." True, but in that case my architec-
ture would have been, so to speak, " to the dogs " without a swing back,
and who has time to stand in a crowded street arranging a swing
back ? No, I found, after the alteration of the lens, the camera was
kll that could be desired, as far as performance was concerned.
What, then, was fault No. 2? It was this. I said that I had got
my saddler to make me a case. Now, a saddler makes a solid and
substantial job, not, however, erring on the light side. Again, a case
to hold a quarter-plate camera, which does not fold down, together
with four double dark slides, must needs be of considerable bulk, and
this was fault No. 2 — the camera and slides made a too heavy and
bulky parcel. If you slung the thing over your shoulder, it was big
enough to bo conspicuous ; if you carried it in your hand, where were
you to dispose of the case while you made an exposure. It was
* Continued from page 751,
weather-proof, and fulfilled every other condition, but it was too
bulky. Of the few dozens of plates which I exposed in this camera,
not one showed the slightest blurring, but, on the contrary, seemed,
to the naked eye at least, to he as sharp as any stand camera picture.
Once or twice I carried the camera out without^ the case (it has a
leather handle for the purpose), stowing the slides in my pockets, but
I found that the brass mounting of the lens, the spirit level on the
top, &c., attracted too much attention. It is, however, the most
reliable hand camera I have, as far as performance goes.
Having the dark slides, and having other lenses in my possession, I
determined (keeping No. 2 just as it was) to design and make up
camera No. 3. The conditions which I set myself to fulfil were these
more particularly : that the camera must be light and small, and quite
inconspicuous in appearance, so that it could he carried through
the streets without attracting attention.
By this time I had given up the idea of having the camera itself
weather-proof, a condition which, as I stated before, I did not see
how it was at all possible to fulfil; and, even with regard to a
weather-proof case for it, I had come to this idea, that a square of India-
rubber cloth, carried in the pocket for emergencies, was all that was
actually required.
I had now only one difiiculty, and that was, how to fit neatly and
inconspicuously a drop shutter to the camera, so that the whole
apparatus might have the appearance of one box.
Although I gave much consideration to this question, I found no-
solution to it. I finally abandoned the idea of a drop shutter (which
I am extremely partial to) with great regret. One would imagine
that there ought to be little difficulty in enclosing a drop in the end
of the box somehow ; but a patent difficulty is this, if the drop is kept
at " set," you almost double the length of the shutter, which either
sticks out awkwardly beyond the sides, or, if you make the body of
the camera large enough to conceal it, makes a large camera. If you
keep the shutter half way, no part projects ; hut the lens is now con-
stantly exposed, and thereby liable to dirt or destruction. An easy
way out of this difficulty would be to have a leather plug to place in
the aperture of the shutter. This seemed to me to be makeshift and
unsightly, for, by it, it entailed another movement, to be remembered
and carried out at the moment of exposure.
Havinsr abandoned the drop shutter, I cast about for a substitute.
The conditions to be fulfilled were these : it must be small, so as to
be enclosed as part of the camera ; it must be constant in its speed,
not over-fast ; and, lastly, it must be easy of release and easy to make.
All these conditions seemed to point to a pivoted quadrant of some
kind, and this was the form I eventually adopted.
It will be easier to show you than describe camera No. 3. It is a
plain mahogany box, covered with morocco, an oblong aperture at the
back to take a dark slide, while the lens is carried on a false front,
two inches from the actual front, and which two inches of space are
taken up with the lens mount and shutter. The actual front fixes with
a spring catch, so that I can easily get in to the diaphragm plate,
while, at the same time, it gives f aciUties for the repair of the shutter,
should such be needed.
The lens I use in this camera is a Wray 5x4 wide-angle landscape.
When making the shutter, I arranged it so as to be actuated by an
elastic band, and it worked smoothly and well. The speed was
greater than I liked. It was getting well into October when this last
camera was finished, and I found that the light was too poor to give
me well-exposed pictures with this shutter. A trifling alteration
made it, that I could drive the quadrant over by a touch of the
finger, and this I found by experience to be an excellent idea. It was
now possible to give exposures of almost half a second. It occurred
to me, as it must occur to you, that, with an exposure so prolonged,
definition was bound to go. To my surprise, I found this not to be the
case. Once or twice I did get blurred pictures, but in general tliey were
quite sharp. Thinking over the matter at home one day, and making'
a few experiments to determine the matter, I found that the blurred
pictures were not due to tremor of the hand, but rather to the general
sway of the body on the legs.
At my next outing with my camera, I found that it was almost
always possible to get something to lean on while exposing the plate,
and from that moment I had no more blurred pictures. Uutil one
has experienced it, he can have no idea how opportunity favours him
in the matter of "leans." In the short time I have had this camera
I have exposed a few dozens of plates, not once have I been dis-
appointed in a "lean." This is by no means only a matter for
amusement — it has its important side. It simply means that through-
out the year the hand camera need never bo laid aside as useless. I
may say, as a parting remark on camera No. 3, that it has proved in
every way very satisfactory.
Being still possessed of the spirit of camera construction, and my
December I, 189a]
THE BRITISH JOURNAL OF PHOl'OGRAPHY.
788
material not betiiji^qiiito used up, I dcterminod on a fourth camera
As in camera No. S, [ had sounded the depth, so to epeak, of pro-
longod oxposiire, my aim now was towards very rapid exposures.
I havo had in my po?.«ossion for a pood many years a diminutive
portrait combination. Tho equivalent focus is about three inches, and
it gives fine dolinition over a circle of about two and a quarter inches,
with full aperture about, an inch. This was manifestly the very lens.
I have no wish to dwell on the making of this camera. Artists and
nations are said to have tlieir periods of gradual ascension and decline
— clearly I was following the same law. I had reached the high-
water mark of construction in camera No. .1, and there came to me the
fixed and rooted notion that No. 4 would be a botch.
To set out upon any entei-prise in this frame of mind was to bespeak
failure. At every tnrn some cursed thing turned up to annoy and dis-
concert me. X piece of wood, which a moment ago measured five
inches, now, for some unaccountable reason, measured six, my solder
refused to nm, the gluo got thick and burned in the pot. Beverses
are supposed to do people good in the long run ; my reverses raised the
very devil in me, I got more determined every moment ; once I very
nearly knocked off a finger with my hammer, I forbore to utter a
single sound, I sat dogged with my finger in my mouth, and thought
of Arnley'xS fine vorso, —
" In tho fell olntch of circumstance
I havo not winced, nor cried aloud
Under the bludgeonings of chance ;
My head is bloody, but unbowed ! "
It was under such circumstances as these that camera No. 4 was
dragged into existence. The shutter, a modified roller blind, works
fast enough, and, indeed, is the one redeeming point in the whole
thing. Having no leather to cover the body, I used American cloth,
and this turned out one of the biggest mistakes I made. American
cloth is cold and clammy to the hand, and, being waterproof, the glue
which fastens it on seema never to dry. I have exposed not more than
a dozen of plates in cvmera No. 4, and, as was to be expected from
such an ill-starred ventux'e, every one, for some reason or another,
turned out a failure. Only one good negative out of the lot, and the
mark of Cain was upon it, in the shape of a running boy with legs in
ridiculously preposterous positions.
Having now described my four cameras, this incident of the
running boy suggests to me the remarks I have to make upon hand-
camera work. In my reading up of the subject, I notice that both
Mr. Dresser and Paul Lange recommend a swift shutter. I confess
to not seeing the force of tliis.
If these gentlemen have light, and lenses, and plates requiring so
short an exposure, I Iiava nothing to say. If, on the contrary, a high
speed is thought to be necessary, either to prevent the appearance of
hand-shake in the picture or to take without signs of movement rapidly
moving objects, then I part company from them here.
I have proved to my own satisfaction tliat a very prolonged ex-
posure may be given without signs of hand-shake in the picture ; and,
as for the photographs of rapidly moving objects, is it not a great
mistake to photograph them at all? Examine a photograph of a
street scene. Let us say that it is such a scene as requires a very
fast shutter, that is, where the moving objects are not far from the
camera. Can any ono seriously argue that the resulting pictures,
with their novel, if not grotesque, posing, are things of beauty. Is it
not rather the fact tliat, in a great many instances, the postures of
both men and beasts suggest drunkenness or imbecility ? The argu-
ment tiiat tho positions shown by instantaneous photography are the
correct ones, and that tho poses and positions painted by artists are
conventional and erroneous, will not stand a moment's serious con-
sideration. When an instantaneous photograph of a number of
persons moving about is shown round, what is the very first thing
that is noticed and remarked upon ? Is it not the ridiculous position
of the limbs, and tho apparently impossible attitudes in which the
individuals are discovered ?
Why shoiUd these tilings appear so absurd and strange ? Do we
not all day long see people walking up and down in every-day life ?
How can any representation such as this be said to represent what we
really see when nobody recognises the truth of it— nay, I go a step
farther, when the great bulk of people even deny the possibility of
its truth ?
To say that we havo all along been deceived by the artist, and that,
•when we have outgrown the bad lesson, we will see the truth of the
photograph, is nonsen.se. How has it never occurred to mankind that
he was being deceived before ? He had all along his every-day expe-
rience and his eyesight to guide him. The truth is, photography
renders outside nature not as we see it, but as it really is, a yery
different thing,
There is a wide sphere and a great future for the hand camera;
but, in my opinion, the first lesson that must be learned i« what the
hand camera can not do. J. K. TtnCLOOB, M.B.
HOW LENSES ACT.*
We now come to a property of lenses which is comparatively little nnder-
stood, viz., depth of (ocui, or the power of defining sharply at the same
time objects both far and near, and while considering it shall assume
our lenses to be free from defects, such as spherical aberration, dtc. I
must apologise for having to introduce mathematics here, but it will not
be very much, and I could see no other way ot showing what I want
without their use.
Suppose we have two objects at different distances, A B, sending
rays to a lens, rays from A coming to a focus at (a), and rays from B at
{b). A screen at (b) would receive a sharp image of B, but not of A, for
these rays have not come to a focus, and at (b) would form a circle of
light.
Similarly, if the screen be placed at (a), A would be in sharp focns, bat
rays from B would have passed their focns, and be in turn represented
by a circle of light.
If the screen be placed midway between (a) and (6), neither would be
sharp ; each would form a circle of light half the diameter, or a quarter
the actual size of the circles of light at (a) or (6). These circles of light
are called circles or discs of confusion.
Now, the human eye is not microscopic in power, and if an image is
not really sharp, but nearly so, it appears sharp, and is so for all practical
purposes, so that, if the disc of confusion be made sufficiently small,
images formed at both (a) and (b) will be practically sharp on a screen
placed midway between them.
Most authorities agree that a want of sharpness, or blurring, or disc of
confusion to the extent of x4ti' is inappreciable, and no harm to the
picture, although, of course, they would like less if possible.
Assuming jj^" to be permissible (although I do not agree with it), it
follows that, if this small distance be rWi images properly formed at
(a) and (6) would be in sufficiently good focus on a screen placed midway.
This means that both A and B would be sharp, and also any object
between them, but any object nearer than A would not be sharp.
Suppose the lens to be working at/-8, xy = tJs focal length stop = f ,
It will be observed that their lengths depend entirely upon the angle at
which the rays meet, and, provided that the angle remains constant, the
lens maybe what it likes — single, rapid rectilinear, portable, symmetrical,
^vide-angle, &o. ; and, as in all such lenses, the combinations of which
are close together, the rays, with similar stops, do come in at the same
angle, the distance, (a) {b), is the same for all of them. There may be,
and probably is, some difference in the portrait lens, the combinations
of which are often three or four inches apart.
This distance, (a) (b), remain constant also when the focal length
varies, as with/-8 the rays come in at an angle of 1 in 8, no matter
what the focal length may be, and ditto with the other stops.
What I want to impress upon you is that, with any particular stop, the
length, (a) (6), is the same, no matter what the form of the lens or its
focal length may be ; and, assuming the disc of confusion to be x^"!
these lengths are, with/-8 j",/-16 i",/-32 f .
It now becomes necessary to see what happens to A and B, and this is
where the mathematics come in.
d=f+ab, and a& with/-8 = i
•.•dwith/-8 = (/+V')
Snbstitutmg we get D Jf±JLl±^Jl:^={p+f.6) x 6=6/»+/
D = 6/-3+/forstop/-8
Similarly D = 3P+f for stop /-IG
We see from this that halving the diameter of the stop nearly halves
the value of D, which is the distance of B from the lens, and therefore
the depth of focus increases as the stop diminishes.
An interesting practical point comes in here. Suppose we are on the
pier at Kingston, and have a quarter-plate camera with two lenses 6" x 12"
focal length. There is a yacht a couple of hundred yards oat, some
trawlers in the distance, and some rocks which would make a good tore-
groimd close to. We find everything can just be got sharp with the
6" lens at /•8, bat very small ; now, with what stop can we get every-
thing sharp with the 12" lens? We have just seen that, if the focal
length be doubled, the stop remains at /-8. We could only get the
rocks sharp if they were four times as far away, say 73 : 0 instead of
18 ; 6". To rectify this, we must use a smaller stop but we have also
seen that, to reduce the distance to quarter, we mast reduce the diameter
of the stop to quarter, and the one quarter of fS is /-32 ; therefore, a
12" lens, with/-32, will only give the same definition, to both rooks and
distance, as a 6" lens with /-8, and the loss in rapidity is as 8 is to 1. This
* Conoludsd from page 737.
766
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[December 1, 1893
shows the very great advantage of short-focus lenses for instantaneous
work. In this case the f-S stop of the 6" lens is |" diameter, and the
stop /-32 of the 12'' = g" diameter, or J the diameter of the stop used
with the 6" lens. It will be noticed, however, that this use of a 12" lens
is rather unfair to it, as both lenses are used on a quarter-plate, whereas,
if a 6"4ens were used on a quarter-plate, a 12" lens would, for the same
■view, be used on a quarter-plate, and, as I stated before, the disc of con-
fusion for a large picture is permissibly greater than that for a small one.
This would permit the stop of the large lens being somewhat increased,
and in general practice it will be found that, if a J'' stop can be used
with a 6" lens for any view, the same size stop, viz. J", is the largest
which can be used for the same view with any lens, no matter what may
be its focal length.
I stated before that a single lens, with a large apeiture, gave what I
called a false depth of focus. The upper half represents parallel rays,
and ihe lower half rays from a near point. It can be seen that a screen
at any position will receive a soft image of both objects, and of all
objects between them. Using a stop would destroy the false depth of
focus, but would increase the true depth of focus.
Curvature of Field. — Another fault in a lens is curvature of field,
which is as shown. A stop cures this by increasing the depth of focus,
and so enabling the oblique rays to form a sharp image on the screen.
For ordinary landscape work, a little curvature of field is often of advantage,
as the objects to one side are almost always near, such as foreground,
hedges, Ac, and, being near, their images would be behind the screen
were it not for this curvature of field.
Stops.— I should like here to say a few more words upon stops. I
have frequently been asked. What is the use of having a great big lens in
heavy mount, when a small stop is always used, which only utilises the
middle and best part of the lens ? could not the surplus glass and mount
be cut away, and so give us a more portable lens ? Although a small
stop be inserted, the whole of the lens is utilised. You will see this if
you look through a camera from behind, turning and twisting it about
while doing so. The very oblique rays pass through the extreme edge of
the lens, while those in front pass the middle of the lens ; the more
oblique the rays, the nearer the edge of the lens. There is less aberration
with a double lens than with a single one, and this means we can get a
sharp image with a larger stop ; hence this form of lens has great ad-
vantages for rapid work. It was found that by lengthening the distance
between the combinations, both curvature of field and aberration could be
improved, and thus allow of a still larger stop, with its consequent extra
rapidity. Placing the lenses further apart greatly reduces the field of
view, while placing them closer together increases it. For ordinary fast
work there is little objection to curtailing the angle of view ; it only
means that the focal length of the lens used must be increased a little ;
but, for wide-angle work, a large field must be obtained at all costs,
and therefore the combinations of such lenses are kept close together ;
this means that aberration and curvature of field are not so much reduced
as they might be, and in actual work must be remedied by using a
smaller stop. This explains why wide-angle lenses are short and
stumpy, and work with a smaller stop than a rapid rectilinear lens.
A lens could be made, the combinations of which could be varied in
position, either placed closer together or farther apart. Such a lens
could be used for both wide-angle work and rapid work, although
probably no great gain would ensue for the same size picture, for the
focal length would only be very slight, affected by the change of position ;
but by such a change the rapid lens, suitable for a quarter-plate, might
become a wide-angle lens suitable for a whole plate. Mr.Traill Taylor says
on this point : " Hence, by adopting suitable precautions in the repara-
tion, a doublet lens may be made to act either as a wide or narrow-angle
objective. The expediency of adopting a mount of this kind is, however,
open to question, as there might not be one out of ten who would know
" how to use its power aright were it placed in their hands."
Achromatism. — We now come to the last and most beautiful thing about
a lens, which everybody has heard of, but the meaning of which, like
many terms connected with optics, they have rather shady ideas, I mean
achromatism. In one of the first diagrams, I referred to the light
passing through a prism as being bent or refracted. But something else
also happens, it is split up into all the colours of the rainbow, technically
it is dispersed.
Not only is it thus split up, but each of the coloured rays is sent out a
different angle, as shown on diagram.
Suppose another prism to be placed underneath, and a ray of light be
sent through it, it would be similarly dispersed. Now, if the prisms were
rounded off into lens form so that all rays would come to a focus, we
should have a focus for red rays, and consequently a red image, next a
focus for yellow rays and a yellow image ; and similarly green, blue, and
violet images, and each of these coloured images would be in different
positions.
The rays which give most light, in other words, those which most affect
the human eye, are orange and yellow, while the actinic rays, or those
which most affect the sensitive film, are in and beyond the blue.
Now, if we were to focus a picture with an uncorrected lens, we should
place the screen somewhere about the focus of the yellow rays, as these
are the chief light-giving ones. On developing the plate, however, we
should find a very poor, blurred picture, because the plate was not in the
correct focus for the chemically active rays.
Now, if we turn to our prism again, a ray of light is refracted and dis-
persed ; but, if we place a second prism, inverted, behind the first, this
second prism will just undo what the first has done, and our ray of light
will pass on without refraction and without dispersion, just as if a bit of
ordinary glass had been there.
Now, it was discovered by Dollond, the optician, or, at least, the know-
ledge was first applied by him, that different substances and different
kinds of glass had different powers of refraction and dispersion.
Hence refraction can be obtained without dispersion. This means that, if
our second prism be properly designed, we can get a ray of white hght to
emerge from the prisms white, but with some refraction.
By rounding the prism into lenses, Dollond had made a lens in which
the negative or diverging lens gave the same dispersion as the poutive or
converging lens, and being equal, they neutralise each other ; but, the re-
fractions not balancing, enough was left to make the lens work properly.
Such a lens is called an achromatic combination.
I Slid that the dispersions balanced and neutraUsed each other, but
unfortunately they cannot yet be made to do so completely.
When making a telescopic lens, not only do they' make the curves to
suit the axial rays, as I mentioned before, but they also so arrange the
achromatism so as to give the best visual image, which is probably done
by making the orange and light green to coincide, while the blue and
violet rays, being visually unimportant, are uncared for, and have foci all
to themselves somewhere ; hence such a lens is not suitable for photo-
graphic work. There is in the Queen's College, Cork, a very fine 8" re-
fracting telescope, by Sir Howard Grubb, and they wanted to take photo-
graphs of the moon with it, but they found that, the lens being only
visually achromatised, they could only get blurred pictures by focussing
in the ordinary way. But after many experiments, and probably calcu-
lations, they at last found the actinic focus, which was, I believe, nearly
3" nearer the lens than the visual focus. Similarly, with all other lenses
made for visual purposes, correction has to be made ; but I understand
that the use of isochromatic plates, which are sensitive to the yellow, are
causing a change in this matter.
For photographic lenses the maker's endeavour is to make the actinic
focus coincide with the chief light-giving focus, so that no after-adjustment
has to be made. In conclusion, I should like to impress upon you the
importance of the f ormulie g -(- - = -, for with this, and remembering that
the size of both image and object are proportional to their distances from
the lens, almost any question that is likely to occur to the average photo-
grapher can be successfully worked out. J. H. Haegrave,
TELE-PHOTOGRAPHY.
[West London Plioto^'raphic Societj.]
The first thin;^ that strikes one in using a tele-photographic lens is
that it is different in construction from ordinary lenses, i.e., all ordi-
nary lenses are fixed systems, having one definite equivalent focus, and
form an image in one definite plane, upon which the focus for parallel
rays is received. This plane is invariably constant for parallel rays,
and when the lens receives parallel rays the extension of camera is at
the shortest possible. This plane is, however, farther and farther re-
moved from the lens when focussed for nearer objects, obeying the
well-known law of conjugate foci applied to any definite fixed system
of known focal length. This focal length is measured from one of
the nodal or Gauss points contained in the lens system to the principal
focal plane. As a matter of fact, there are two such points and planes
for every system, and for any /Lied system their position is readily and
accurately defined, and they are unalterable. With the tele-photo-
graphic lens, however, the position of the plane upon which the focus
is received is quite undefined, in fact any position may be chosen at
which to place the focussing screen, either in close proximity to the
lens itself or at any distance whatever farther away, focussing being
performed by a proper adjustment between the separation of the posi-
tive and negative lenses of which the system is composed. The two
nodal points or planes of both positive and negative systems are in
themselves fixed and definite, but, when used together, forming the
tele-photographic lens system, the separation between the nodal
points in the two systems for the time being will determine the two
final nodal and principal focal points of the entire system. This ele-
ment of separation is most important in regulating the positions of the
particular nodal point of the whole system from which the focus is
measured and the principal focal plane for the time being. This
separation is a very delicate adjustment, and by very slight alterations
the focus is obtained upon any chosen plane of the focussing screen
or plate.
The second initial difference that is noticeable in the use of this
type of lens is that for equal ettension of camera the image given is
very much larger than that of a fixed system of an ordinary cha-
racter. This is explained by the fact that the particular nodal point
from which the focus is measured in ordinary types of lenses is con-
December 1, 1893]
THE BlilTISH JOURNAL OF PHOTOGRAPHY.
767
tained within the lens mount, whereas in tele-photo systems the
particular one of the nodal points wliich determines the focus for the
time being is situated considerably outside and beyond it. It
is determined, not only by separation of the individual lenses
formin;; the system, but also upon the ratio of their foci, thick-
nesses, •fee.
At the outset, I may state that the crux of the utility of such a
system rests upon the comparison between enlargement from small
images as against the direct enlarged image thus given. The example
which I show you, that was'exhibited at the late Photographic Society's
Exhibition, is an undoubted proof of the incomparably better results
obtained by the direct method. This result was obtained for me by
Professor Burton, who wished to satisfy himself as to its utility, and
he told me that he conducted the experiment with a view of testing
the relative merits, being, if anything, prejudiced in favour of sub-
sequent enlargement at the outset on account of its greater facility.
The elements necessary for the exact determination of the capa-
bilities of a tele-photographic system are : —
1. The focus of the positive system and the position of its nodal
points or plane.
2. The focus of the negative system and the position of its nodal
points.
3. The position of the nodal points of the entire system for a given
separation of the above.
4. The intensity of the system for a ^ven extension of camera.
5. The angle of view.
6. The plate that can be covered.
1. The Focua of the Positive System. — A great number of methods
have been described from time to time, and none perhaps is simpler
than choosing a known object sufficiently distant so that the rays
method has been considerably discounted of late, but really without
good cause, inasmuch as the small error involved would be quite %»
small as compared with that by the Orubb method, and it is poniblo
that there may be no error at alL The focus determined may be
slightly too long, slightly too short, or it may be absolutely exact ;
this will depend upon tno forms, thicknesses, and separation of the
elements composing the system, whereby the nodal points may cross
one another to a slight extent, in whicn case the focus would be
slightly too short ; they may be separated a little, giving as a result
the focus a little longer than it really is ; or they might very feasibly
absolutely coincide, m which case the focus so determined would h©
exact.
Another method that I have recently employed is one that may
interest you, and therefore I mention it because it is particularly
applicable to the determination of the focus of tele-photographic
systems. This method is dependent upon the earth's rotation, using
the sun as a fixed object. A pinhole, or a lens of known focus, may
be fixed upon the camera front by the side of a tele-photographic lens
for the given extension at which the lens of known focus is in register
(or in the case of the pinhole, if that be used, at any extenaon what-
ever). The tele-photographic lens for the chosen extension is then
focussed upon the sun on the same plate. Simultaneous instantaneous
exposures by both lenses are then made. If the pinhole is employed,
it 13 exposed simultaneously with the exposure of the tele-photographic
lens, and allowed to impinge upon tne plate during the time the
experiment is conducted. A convenient interval of time is allowed
to elapse, when a second set of instantaneous exposures of the sun is
made by the tele-photographic lens and the lens of known focus. In
the case of the pinhole, which has been exposed during the whole
period, the aperture is simultaneously closed. On development, the
N, N,
Fig: I.
CSfiAs.iit
^
[
p»
r.
s.
" ' ■~ ^ -'' ^--- »ji _ , — '
]--
^-IJ
,^'-,^
N»
may be considered parallel, and measuring the size of the image
given, and comparing the size of the image with that given by
a lens whose focus is known. The foci will then be propor-
tional to the sizes of the images. If one has no lens of Known
focus to make such a comparison by, a very ready means is to obtain
an image from a pinhole of a diameter calculated to give the best
definition for an accurately measured extension of camera chosen.
In practice I have found it useful to take an image given by a pinhole
ten inches exactly from the plate as a gauge for all other measure-
ments. The system ascribed to Qrubb of measuring the focus by
shifting the image, a distant object from one side of the plate to the
other over a measured distance, and drawing lines by the side of the
base on a clean sheet of paper, is also very readily done for systems
in which the nodal point is contained in the mount ; but this is hardly
applicable for tele-photographic systems.
Another method very frequently used is simple in language but
rather tedious in operation, namely, by obtaining an image exactly the
same size as the object, and taking one quarter the distance between
the plane of the object and the plane of the image (Fig. 1. This
comparison of the distance travelled will jjive the proportion of the
known focus to that of the lens which it is requirea to determine. I
may mention here that the image given by a lens of 10" focus will
travel about an inch in twenty minutes. The experiment is prefer-
ably performed at equal intervals before and after the sun crosses the
meridian. The image should also be at equal distances from — i.e.,
similarly disposed about — the axis of the camera, this latter point
being more importont than the former.
It is evident that the focus of a lens could be determined from the
movement of the sun on the plate for a given interval of time without
reference to another lens, but it would involve a knowledge of the
declination of the sun (to be found in the Nautical Almanac) and
would lead to a somewhat tedious calculation.
I shall mention one other system of finding the e<juivalent focus that
may be readily conducted in an ordinary room on a winter's evening; this
method too will lead up to the determination of the focus of a negative
lens. It is dependent upon the different sizes of an image of a known
object for differences of the conjugates : (1) Focus upon an object of
known size and measure the size of the image given ; (2) remove
768
THE BRITISH JOUENAL OF PHOTOGRAPHIC.
[December 1, 18»3
the object of known size to a different distance, either nearer or farther
from the lens, and measure the size of the image then given ; also the
distmce tra-versed by thescreen|tothenewposition of focus. From these
two sets of measurements the focus is then determined. Calling o
the size of the object, i and i' the images given in the two cases, then
i= - - 1, - = 1 + -^, u and v being the distances from the nodal point
0 f o f
from which the focus is measured to the screen and/ the focus for parallel
rays which we wish to determine, in other words, the equivalent focus
of the lens. By subtracting one equation, from the' other the
uncertainty about the elements v and v' is eliminated, as their difference
only is taken into account, and the focus,/, which we wish to obtain, is
, . ■ J J- v'-v
determmed, / = -r-. — ■. x o.
The method that is ascribed to Dr. Schroeder of obtaining image
and object of equal size, registering the position of the back, then
focussing the lens upon parallel rays, and again registering the position
of the back and measuring the distance between these two marks, will
give very accurately the focal length of the system, and is a particular
case of the general method just described, but involves moi-e labour.
2. The Focus of the Kegatiot System.— "^hn only methods that have
been described in this respect have been, firstly, the very rough-and-
ready one of finding (by trial error) a positive system of known focus
exactly equal to that of the negative, in other words placing two
lenses in contact, so that no focus whatever is formed ; and, secondly,
by combining a more powerful positive with a negative, deducing
,-' «>"■'
separation for the time being. For a given separation they are tem-
porarily as fixed as in every lens system, whether positive, negative, or a
combination of both. You have here (fig. 'i) a diagram showing the
FicrlH
manner in which the nodal points, and planes passing through them,
are thrown in front ot the lens, and, in order to impress upon you the
fact that they are fixed for the time being, I have a combination of a
positive and negative lens, in which you will see how very widely the
back foci of the system differ when the positive or negative lens ig
turned towards the object, but at the same time you will notice that
the size of the image is identical in both cases ; in other words, the
tr^ic Jo.
n-g-.E
N^
I
'c^""^"'""
K-1
^f.
Utiifw
from the difference of the focus of positive alone, and the focus of the
positive combined with the negative, the focus of the negative lens
system.
I propose to describe a method in which there are no elements of
uncertainty, and this can be performed with the tele-photographic
system in an ordinary room to determine the focus of its negative
lens. First, focus upon an object, preferably an illuminated scale
with definite markings, with the camera at a considerable extension.
A piece of clear glass is placed in the plane of the image, and the
size of the image read off by a micrometer. When this is noted, the
second observation is to measure accurately the distance from the
plane of the focus to some distinct point in the negative lens mount.
Next rack the camera in a considerable amount, the more the better,
and refocus the tele-photographic lens with the focussing screen in
its new position, and a second time read off : first, the size of the
image now given, using the micrometer ; second, the distance from
the plane upon which the image is now formed, and the definite mark
upon the negative lens mount. The third operation consists in re-
moving the negative lens entirely and focussing the positive element
alone, and taking the measurement of its image witli the micrometer.
From these measurements one determines the focus of the negative
lens. Calling o the measurement of the object given by the positive
lens alone, v and v the back foci as above, and i and i' the measure-
ments of the image at these back foci respectively, the same formula
as given before now obtains : —
r' — V
f (the focus of the negative) = -, . x o.
I ~~ I
3. The Position of the Nodai Points of the entire System for a given
Separation. — These, as I have already said, are determined by the foci
of the positive and negative lenses employed in the system and the
X,
equivalent focus remains unchanged. It is evident to you that, by
turning the negative lens towards the object, the back focus is mea-
sured from the nodal plane a long way inside the chimera, and to
utilise a lens so constructed a very much longer camera would be
necessary to obtain the same size of image as that given by an ordi-
nary lens of the same back focus; in fact, it reverses the advantages
of the tele-photographic system when used as it is intended to be
used.
The methods of comparative sizes of a distant object between the
tele-photographic lens and that of one of known focus, or the method
in focussing upon the sun, are either of them applicable to determine
the focus for any given extension of camera. I may mention here
that perhaps the readiest method of obtaining the focus of a tele-
photographic lens for a given extension has reference to the magnifi-
cation of the complete system as compared with the positive alone.
It is performed by dividing the back focus (J.e., the measurement
from the negative lens to the screen) by the focus of the negative lens
and adding one. If the positive lens, then, have a certain known focus,
the temporary focus for the extension taken will be given by the
magnification produced by the tele-photographic system. If the
magnification is n times, the corresponding focus of the lens will be n
times that of the positive alone, and so on. It may be of interest to
mention that with very long extensions of camera an approximate
focus is arrived at by multiplying the camera extension by the focus
of the positive divided by that of the negative.
It will be observed from this that with short extension there is an
advantage on the score of portability, with greater corresponding
magnification, than occurs at the " limit." Compare tele-photographic
detective lens. T. R. Dallmbyeh, F.lt.A.S.
(To be continued.)
December 1, 189*]
THE BKIT18II JODUNAL OF PflOTOQRAl'UY.
760
ON THE PHOTOGRAPHT OF THE LUMINOUS BAYS OF THE
SHORTKST Wave-lengths.*
The Photographic Spectrum Apparatui.
Irs optical part consists of a double prism of CO', with a square aper-
ture of '30 mm., and of two plano-convex quartz lenses of 150 mm. focal
distance (D, 58'.)) and '20 mm. diameter.
The optician, Hcrr li. Halle, to whose kindness I am indebted for these
lenses, has used the greatest care in the selection of the material and in
its elaboration. How greatly this circumstance favoured the sharpness
of the proofs I did not learn until I compared proofs taken with another
pair of lenses of a different origin.
The two halves of the prism are joined together with a Yery thin layer
of glycerine.
The mechanical part of the apparatus consists of a strong tripod fitted
with levelling screws, which supports on a strong pillar a disc of 18 cm.
in diameter, capable of revolving on its centre, upon which are fixed the
collimator, the support of the prism, and the camera, so as to be capable
of adjustment. The slide of the slit has cast-steel cheeks and a micro-
meter screw, the drum of which allows of readings down to 0-00'2 mm.
It is connected with the collimator by means of a very accurately executed
draw tube, with which also the plate is focussed. That this is effected
with the collimator, and not also with the camera, is because the entire
camera is built of glass, and is not adapted for drawing out. The support
of the prism has adjustments necessary for levelling the prism (the Gauss
oyepiece), and for adjustment to the minimum of deflection. A piece of
velvet is suspended over the prism to exclude extraneous light.
The camera is the only peculiar feature in the apparatus. Except the
case, it is built of mirror glass, and — with the exception of a small metal
screw clamp, serving to secure the track of the case — there is in the entire
camera not a single screw joint. The case can revolve on the medium
line of tlie photographic plate, so that the plate can take any desired
angle with the axis of the lens between 20° and 32". The lens is secured
directly to the glass body of the camera. Two openings, which the case,
in consequence of its mobility, forms with the body of the camera, are
closed with velvet. A glass junction, which I would here have used in
preference, was impracticable. The oblique position of the plate can be
read off on a roughly graduated arc. The body of the camera is of a
parallel-epipedal shape, and is supported by an arm of strong mirror
glass, prolonged at right angles on its long side. The prolongation of the
arm effects the connexion of the camera with the rotatory disc of the
apparatus, for which purpose the latter bears two powerful clamps.
The caseis not distinguished in form and arrangement from the ordinary
svooden cases. It has a slide and a cover like these, and it can also be
•displaced for the reception of spectra placed below each other in the
direction of the spectral lines according to a scale applied laterally, so
that a plate, with a sufficiently short slit aperture, may serve for a great
number of proofs. The internal surfaces of the camera and of the cases,
as the glass of which they are made is transparent, have a thin lining of
a dead black colour. The outside is coated with black paper and shellac
varnish. The size of the plates is 30 by 05 mm.
I have used glass for the camera in preference to wood, because, not-
withstanding the requisite — and perhaps little trustworthy — paper coating,
it is not greatly susceptible to the clxanges of atmospheric heat and
moisture, and because wooden cases for such small plates can scarcely be
made more accurately than those of glass. During use extending for
months, the glass camera has never given occasion for dissatisfaction.
Setting up the Spectral Apparatus and the Auxiliary Plant,]
The source of light must be adjusted with the aid of a telescope. In
order to keep the telescope and the collimator as much as possible co.
axial durin,!? the duration of the entire experiment, a foundation was
required as little sensitive as possible to atmospheric influences. For
this purpose also I selected glass. A quadrilateral disc of mirror glass,
with sides of 1 metre in length and 10 mm. in thickness, was fixed upon
a very stable wooden foundation in such a manner that it was supported
only in some few points. The position of the supports was selected so
that the changes to which the wooden foundation was liable could be
conveyed to the direction of the apparatus only in a very reduced pro-
portion.
The apparatus directly concerned ia obtaining the proofs was set up on
the glass plate as follows, and, where practicable, it was specially secured
against lateral displacement : —
Opposite to the spectroscope, and co-axiaUy with the collimator,
-stood the reading telescope ; between both, the spark support ; and, close
^fore the alit, a second stand with a 8Ut-shai>ed screen of adjustable
* Continued from page 753.
length. Between the spark stand and the screen tbsre was placed, for
a portion of the proofs, a condenser, of which more below. The screen
came into use if the aperture of the slit was to be opened to the rays only
for a part of its length. It could also be displaced along the slit by
means of rack work in the support, so that the slit could be opened at
any {mint to the length desired, and, it necessary, also in an aninter-
rupted succession at the transitions. The screen, aa well as the sparks,
required the reading telescope for accurate adjustment. This will be
more intelligible if I add that the aperture of the slit length moved
within very narrow limits, and often did not exceed the modest measure
of 0-2 mm., and that, on the other hand, the sparks and the screen were
generally at the distance of some centimetres.
The Source of Light.
The primary current was supplied by a chromic acid battery of four
large immersion elements. Besides the inductorium (formerly used) of
'25 cm. spark length, and the Leyden jars, there were also used this time
a smaller inductorium for sparks of only 8 cm. in length. In some cases
the inductorium was exchanged for an induction machine (four pairs of
discs of 02 and 70 cm. diameter) connected with a Biess's jar battery
(nine Leyden jars with an external coating of 1^ metres).
As electrodes, there were again used, temporarily, cadmium and zinc :
afterwards, permanently, aluminium, and finally, Ag, As, Ao, Bi, Ca, Cd,
Co, Cr, Cu, Fe, K, Mg, Mo, Na, Ni, Pb, Pd, Pt, Sb, Si, Sn, Tl, W, all in
the state of wire or short rods (Ca, K. Na, W), or crystals (Si), which were
held in clamps of copper or platinum.
The Photographic Proceei.
This time also, when the utmost sharpness of design was needful,
plates of my own preparation were used. But in general the photographs
were obtained upon plates by Herrn E. Zettnow. In all cases I preferred
them to my own plates, on account of their great sensitiveness and in-
tensity, except where the utmost sharpness of the spectral lines was
essential. Some spectra were taken upon Schleussner plates. The
Schleussuer plate works also clear, and is very sensitive, but its negatives
betrayed the above-mentioned defect of all commercial plates — they were
wanting in the intensity required for taking spectra. The developer
and the fixing agent consisted as formerly, of pyro-soda and sodium
thiosulphate.
The number of the negatives thus obtained is relatively large. The
author's diary gives a conscientious account of the conditions under
which each proof was taken. Every plate, even if a failure, is given in
the order of time and with a progressive number, and the negative bases
have the same number.
The Photographic Proof.
The commencement of my proofs fulfilled my expectations only to a
very modest extent. My apparatus, indeed, as it was to be expected
from the size of its aperture, was found very light-proof, but the two most
refrangible rays of cadmium, Nos. 25 and 26, contrary to my anticipation,
had gained little in intensity. It was not much better with the most re-
frangible lines of zinc, Nos. 27, 28, and 29. They certainly appeared
earlier than previously, but their intensity still decreased decidedly with
their wave-length. Hence it seemed as if the suspected action of the
atmosphere might chiefly be reduced to a specific property of the lines
concerned. But even this, as it appeared in the course of my subsequent
researches, was in part correct ; the main difficulty in my earlier proofs
of the most refrangible rays lay in the imperviousness of the air to light.
This resulted clearly from the proof of the aluminium spectrum which
next followed. All the main lines appeared in a few minutes, and in
greater intensity than heretofore. The most refrangible — the double
line, No. 32 — acted now always first, in contradistinction to former re-
sults, and its components were of equal strength, a circumstance which I
emphasise merely because it acquired especial importance for certain
subsequent proofs. Next to it there appeared the least refracted line.
No. 30, and only some time after the intermediate line. No. 31, the least
refracted component always first. On brief exposure, the more strongly
refracted component did not appear at all, and even on prolonged ex-
posure it remained far behind all the other lines.
This behaviour of the aluminium spectrum, with the new apparatus,
ensued whether the proof was taken with or without a condenser, and
with plates of high or low sensitiveness. In contrast to earlier observa-
tions, the lines, after an exposure of three minutes, displayed an intensity
and distinctness quite sufScient for the purpose of measurement.
On more prolonged exposure, the more effective lines acquired the
greatest intensity which the gelatine plate admits of. Bat, very remark-
ably, the action of light in this reagent is confined to these rays, whilst
the less defiected portion of the ultra-violet is distingtiished by an exactly
770
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[December 1, 1893
opposite phenomenon— the access of new lines, and their growth to a
continuous band of the deepest blackness. Owing to this circumstance,
the proofs have a peculiar appearance ; they produce the impression as it
the activity of their most refrangible half were stiU cheeked by some
hindrance. We are compelled to this conclusion by the great intensity of
lines No. 32, with which the effective band of the aluminium spark in the
ultra-violet suddenly ends, and whereby, at the same time, the assump-
tion of its prolongation towards the more refrangible side, where hitherto
no action of light has been observed, receives a certain justification. It
was this consideration which led my work from the path of reproductivity,
on which it had hitherto mainly moved, towards new facts.
Victor Schumann.
(To be continued.)
PRACTICAL REMARKS ON THE WORKING OF
OELATINO-CHLORIDE PRINTING PAPER.
In a previous article I referred to a few necessary precautions against
damp when bringinf? gelatino-chloride printing paper into contact
with a gelatine negative that was in any way liable to have absorbed
moisture through being stowed away in a damp situation, and
also referred to the suitability of this class of paper for printing
negatives that were judged too weak or thin for yielding satisfactory
results on albumenised paper.
As a rule, the chief error made when dealing with prints prmted
from thin negatives will be found in overwashing and overtoning
them. In the case of gelatino-chloride, the toning in no way offers
serious trouble when systematically gone about. For all round work
perhaps there is no better toning bath to employ than the good old
acetate bath, that has so steadily stood the test of time, and been such
a good friend to professional and amateur alike. Here it is for the
benefit of any who have never tried it, and the formula is of special
value in respect of its being applicable for gelatino-chloride as well
as albumen and plain silver paper alike, and is always ready at hand.
When to be used in the case of gelatino-chloride, all that is necessary
is to add a few crystals of sulpho cyanide of ammonium to a slightly
weakened bath.
In 40 ounces of water dissolve 1 ounce acetate of soda, then break
and add a 15 grain tube of chloride of gold. Andthis puts me
in mind of about as funny a bit of photographic experience as ever
fell to my lot. A few months ago, when asked by a novice about the
toning of these prints, and having given him, as I thought, full par-
ticulars, I was buttonholed one day by him and submitted to a good
; toning formula of yours
the prints to tone at all. It would be far better for you professional
chaps to keep your information up your sleeve and refuse to give
advice at all, rather than set a poor fellow all vprong ! " This naturally-
made me curious to ascertain where the error had crept in, and so I
asked him to bring along the stuff, as he termed it, for examination.
Would the photographic public believe it, but the tube of gold had
been inserted into the bottle without having been broken. All the
satisfaction I got was, " Well, how was I to know to break the tube,
thought it was a capsule. The instructions I read said just to add a
15-grain tube of gold, and I did it." Could ignorance go further ?
And so I now, when giving this formula, always take care to add
the word " break."
As I have said, this acetate bath is always ready for any class of
paper, and when going to tone gelatino-chloride all that is necessary
IS to add one volume of water to three of stock solution, and then
a few crystals of sulphocyanide of ammonium, and in a few minutes
all is ready. A few words of advice to those having no experience in
the way of working these admirable papers at this point may be of
service. Before beginning to tone, have a full set of dishes, scrupu-
lously clean, and ranged in order as follows : First, a dish not much
larger than the size of print it is intended to tone (for I advise all
beginners to tone one print at a time). Into this small dish place a
reasonable quantity of toning bath made up as directed. On the
right-hand side of this dish have a larger vessel, into which has been
placed a hypo bath of one volume of a saturated solution of hypo to
three of water, and let this be well filtered through a cambric hand-
kerchief, and freshly made up. On the-right hand side of the hypo
have another large dish containing clean cold water, and on the right
hand of this, again, a dish containing an alum bath, one volume of a
saturated solution, free from all grit or sediment, to eight volumes of
clean cold water ; and, finally, a good-size dish, or basin, or tub, to wash
the priiits in. With such preparations made, the toning of any
number of gelatino-chloride prints may proceed with the utmost
certainty of success. The moment the print is taken from the frame,
it is placed, with the left hand, into the small dish containing the
toning bath, and quickly immersed, and turned face up and down.
With a freshly made up bath the toning will proceed somewhat
rapidly, and a little practice will be of value. The surface of the
print will soon appear to assume a somewhat bluish tint, but the
colour must not be judged by looking down upon the print ; it must
be held up to the vrindow or light, and examined by looking through
it. The moment a beginner does this, he will be struck with the
marked difference between the surface colour as seen by looking down
upon, as against the colour apparent by looking through it, and it is
this looking through, or by, transmitted light that must guide the
beginner in striking the proper tone.
As I have said, one of the common errors a beginner is most liable
to make is the dealing with over-thin negatives and over-toning the
prints from same. Therefore, any one commencing the use of this kind
of paper should strive to get a good all-round printing negative, and
one that will show deep shadows, and middle tints, and high lights
when being toned and examined by transmitted light. With such a
print from such a negative, contrasts and the colour of the deep
shadows will easily guide an operator. As a rule, the deep shadows
ought to have a little of what I call the rosy brown in them, whilst
the middle tints and high lights will show a somewhat greyish
appearance. The moment the deep shadows begin to lose this rosy
appearance there must be no hesitation. The print must be passed
from the left to the right hand, and quickly submerged in the hypo
fixing bath. The colour will soon change, but after a few minutes
the print will clear up nicely, and the fixing go on level for about
fifteen minutes. Then with the right hand run the print quickly
through the water bath on the right of the hypo dish. The washing at
this stage should not be protracted ; a mere rinse is all that is wanted,
and then the print is placed for a good long time— twenty or thirty
minutes— in the alum bath, and finally washed in several changes of
water or running water for a couple of hours or so. Such is the
routine, working always from left to right, the left hand alone touch-
ing the toning bath, and only one print at a time being dealt with,
and this just as the print comes from the frame. The right hand
must be carefully trained to refrain from touching the prints at any
stage until it comes to the fixing bath.
I have said the prints are dealt with as soon as they are taken from
the frames. Experience has taught me that the toning of gelatino-
chloride paper is best not deferred for any great length of time after
being taken from the negatives. When such is practised there is a
distinct loss of brilliancy, and I know in this my experience tallies
with that of other workers. Should the toning bath, after having
treated a goodly number of prints, begin to tone too slowly, all that
is necessary is to add a small quantity of the acetate bath from the
stock solution and just an odd crystal or two of the sulphocyanide of
ammonia. In a few minutes it will go on again with renewed
vigour. The bath will be at about its best after a few prints have
been passed through. In cases where a considerable number of prints
have to be dealt with, it will be found convenient to have several
toning dishes, say, three or four, into each of which one print at a
time is placed ; this permits of a good large batch being manipulated
in a somewhat less period of time. T. N. Abmstrong.
NOBTH MIDDLESEX PHOTOGRAPHIC SOCIETY'S
EXHIBITION;
The North Middlesex is among the few Societies holding periodical ex-
hibitions which can afford as it were to dispense with the assistance of
outside photographers at its annual displays of members' work. That it is
able year after year to bring together collections of photographs of high
artistic and technical excellence without extraneous help, says much for
the esprit de corps of the Society as a whole, as well as for the enthusiasm
of its officers and individual members. This year's display is not one
whit behind its immediate predecessor in point of average merit, although
possibly any advance that may have been made on last year is at the
best not easily discernible. Summing up the Exhibition as a whole, w e
should be disposed to say that while in landscape work a high degree of
excellence was obtained, portraiture shows little, if any, advance.
In the last regard, the best thing shown was perhaps A Girl's Head, by
Mr. C. Beadle, a pleasing, unaffected study which we noticed at the Pall
Mall Exhibition. Mr. J. W. Marchant showed a capital study in platino-
type, called Evening, the only thing wrong about it being its title,
inasmuch as it might have represented mid-day as successfully as evening.
It was a view across a river to some tree-studded meadows. The Judges
awarded a certificate to Mr. Ernest Spencer for Zingara, a happily posed
lady in characteristic garb, with her hands well placed behind her head.
December 1, 18US]
THE BRITISH JOUKNAL OF PHOTOGKAPHY.
771
The piotare was in red tone, and waB very gncceasful. Mr. J. W.
Marchant won a certificate with a delicate view, The Footbridge, croBsing
a stream, trees and bushes beinR utilised to make a harmonious piece of
composition. The same gentleman showed an equally good view of a
gentleman fly-fishing. Mr. A. J. Oolding's river view, Twilight, was
among the exhibits. To Mr. J. H. Avery went a certificate for Heedy
Waters, a study of a commonplace reedy river and meadow, handled
irith the happiest effect. Mr. Ernest Spencer showed a portrait of
General Booth, and Mr. Golding obtained a certificate for Departing Day,
a pretty view across waters and meadows, as well as for a far larger view
of sheep. On the Marshes.
A great many commonplace groups and portraits were hung. The
awards for lantern slides went to Messrs. S. E. Wall and W. Taylor, and
the first-named gentleman also showed some admirable landscapes. Of
considerable utilitarian interest was a series by Mr. C. 0. Gregory, illus-
trating the interior of a stationery manufactory. We are always glad to
welcome the application of photography to this and similar uses.
The Judges were Colonel Gale and Mr. Cembrano. On the whole,
while the North Middlesex gave an excellent display, we should scarcely
be inclined to say that much of an advance had been made. But then
• the Society sets itself a high standard. The Exhibition was open for two
nights instead of one, as formerly.
©ur Biitorial ESLtlt.
Mkbshs. Talbot & Eamke have sent for inspection their two hand
cameraSj'the Talmer and Economic. They are both of the magazine
class, adapted for twelve pictures on glass plates, or twenty-four on
cut celluloid films, in sheaths. The changing is effected by means of
a soft leather bag, which, when not in use, folds neatly down over
the recess in which the plates are stacked. The Talmer is fitted with
one of Taylor & Hobson's rapid rectilinear lenses, the name being a
sufficient guarantee for the excellence of this portion. The shutter
has a rapidity varying from a fif-
tieth of a second to two seconds,
although an exposure of any dura-
tion can also be given. It does not
move with a gradual sliding motion,
but with great velocity until the
lens is uncovered, when it makes
a halt for the period determined
upon, after which it closes suddenly.
The changing of the exposed plate
automatically sets the shutter for
the next ; hence there is no danger
of a plate being twice exposed.
The number of plates exposed is
shown by an indicator. The
one shown to us has a fixed
focus, but we observe from the
price list of the firm that they are
also made with adjustable focus and scale. Although small and com-
pact, the Talmer has an unusually large finder. In the Economic,
■which is constructed on a simple system, the body is telescopic, ad-
justed by a rack and pinion, and is supplied either with or without a
lens. It has a Thornton - Pickard time and instantaneous shutter.
It is made in three sizes, and there is also a stereoscopic variety
catalogued. Tlie cuts give a good representation of each of the
cameras mentioned.
" Una " POWDEB.
This powder, manufactured by G. Wright & Co., Hopwood, Lanca-
shire, will prove to be the most formidable rival tnat gold, as a
toning agent, has yet had to encounter ; for, while all the tones ob-
tainable by gold can also be got (on gelatine printing-out papers) by
Una, this latter is immensely cheaper (a shilling bottle sufiicing for a
thousand quarter-plate prints), while it tones and fixes simultaneously
with ease and certainty. It is claimed that the image ii aa permanent
as if gold were employed, and, judging from such te«t» mt we have
applied, we think this claim may be substantiated. The jn«lhod of
using it is as follows : —
Dissolve two drachms of hyposulphite of soda in about seven ounces
of water, and add thirty grains of Una. When the latter is dissolved,
immerse the prints (without previous washing) face downwards, and
keep moving for five to seven minutes. By this time they will have
assumed an orange-brown to chocolate-brown tone, when they should
be removed from the bath and the surface of the prints either sponged
with a soft sponge charged with water, or the finger paiieed over the
film, to remove anv deposit that may be adhering, and then washed
thoroughly for half an hour (at first in many changes of water).
When dried, they will become a rich purple in tone, and can be after-
wards glazed or matted if required. It is almost impossible to fail in
petting the most beautiful results, but it is necessary to print rather
heavilj;. If the print is too warm when dry, it can be oasilr retoned
by again entering into tho toning bath. It is better to let the water
run a few minutes before making the solutions.
i^etos anil iaotes.
Leeds Gambia CLua— December 7, Paper, 'Beginnert' Brrors, by Mr. C.
C. Vevers.
Thk Photographic Club.— December 6, Bome-made Dry Plates, by Mr.
R. Cbild-Bayley.
West London Photooraphic Socibtt.— December 5, Technical Social
Meeting ; Lantern Slides, by Mr. J. A. Hodges.
The address of the Hon. Secretary of tlie Glossopdale Photographio Society
is now — F. W. Sharpe, Swan Inn, High-street, Glossop.
In the Open Class (G) of the Leytonstone Exhibition bronze medals were
awarded to Messrs. R. S. Webster, J. H. Anderson, and L. C. Bennett.
NEWCASTLE-ON-TniE &, NORTHERN COUNTIES PHOTOGRAPHIC ASSOCIATION.
— December 5, Lantern manipulation, with exhibition of novelties and demon-
stration, by John Watson. 19, Conversationial Meeting.
Received. — Christmas number of Detroit Free Press, The Oenlleieoman,
The Young Oenlleti'oman, and Figaro Hhistre. Also, Photo-wastes, and How
to Hake the Best of Them, from Robert Pringle & Co. , London, with catalogues
from F. W. Hart, Stoke Newington-road, N. ; William Home, EdiDbaigh;
and Ross & Co., Ill, New Bond-street, W.
Central Photographic Club. — The first " one-man " Ediibition is now
open at the Club-rooms, Coleman's Hotel, Henrietta-street, Oovent Garden.
Mr. Thomas Fall's (Bakei street) pictures, which include some very fine dog
studies, can be seen on production of visiting cards. The discussion on Films
versus Glass, to be opened by Mr. H. M. Smith, has been postponed till
December 15. Friday next (December 1) will, therefore, be an Open Nij^ht.
Ln'ERPOOL Amateur Photographic Association. — Engagement-i for De-
cember : — December 6, Smoking Concert. Members willing to assist please
communicate with the President. 12, Closing day Annual Coiiii)Btilion. 14,
Annual Meeting, Election of Officers, &c. Exhibition of Competition Prints
and Slides. Mr. H. Simpson will exhibit and explain some iogeiiioas and
novel Improvements in the Working of the Lantern. 21, Lintern Lecture, A
Trip to Chicago, by Mr. W. Harvey.
Mr. a. L. Henderson, who is at present residing at tbo Grand Hotel,
Belvedere, Davos-Platz, Switzerland, writes as follows: — "When this reaches
you, you may require artificial illuniiiiation to decipher those lines. Not so
here. At this moment the hght from the reflecting snow is dazzling. I
arrived here three weeks since, and I have taken upwards of sixty negatives,
all representing Davos in summer. Now the ground is thickly covered with
snow, and we will see nothing green for several mouths. I am going
to repeat the views in snow. The climate is something wonderful, so
dry and cold. Consumptives sit out in the gardens day aud night, the ther-
mometer standing as low as 18° Fahr. , many without bonnets or over-clothing.
Plates of medium rapidity work with drop shutter /-64. We have nuany
amateurs here. A magnificent dark room is attached to the hotel about 18 x 18
feet, water laid on, and heating apparatus so nicely arranged that my negatives
dry in about thirty minutes. The hotel is thoroughly Engiixh ; out of 200
visitors only about three per cent, of foreigners, so I have no difficulty on
the score of language. I had no idea that Switzerland was s.) enjoyable in
winter. I intend to remain all through the season. 1 will have pleasure in
delivering a lantern lecture on my return, probably at the London ami Pro-
vincial Photographic Association. I merely pen these few lines that, should
occasion allow, yon may intimate to your readers that, durine the fearfully
foggy English winter, lovely sunshine and magnificent views and photographic
weather may be reached in about thirty hours from London. I will K' pleased
to describe some of my experiences at a near future." We shall be rfad to
hear again from Mr. Henderson, whose presence among the photo$;i'ap<ieis in
that quarter must prove quite inspiring.
Photoqraphbrs' Benevolent Association. — Meeting of Committee at the
rooms of the Photographic Society of Great Britain, 6a, Pall Mall Bast, on
November 15, Mr. A. Mackie in the chair.— First application wis one that nad
been received by one of the subscribers, and handed over to the Bwevoleiit by
772
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[December 1, 1893
him. As the applicant had made two previous appeals to the Association, and
both times been refused as unsuitable for assistance, the Secretary was in-
structed that nothing could be done. The second application was from a re-
toucher, who had been disabled for many months by a street accident, and
whose case was partly considered on October 30. Secretary had already
advanced, under instructions, 21. Applicant now asked for 1^. 15s. to pay ojf
his debts and sufficient money to live upon for five weeks, <it the end of which
time he would receive money from his friends to enable him to go out to South
Africa. A loan of U. 15s. immediately, and 17s. 6d. for five weeks was granted.
The third application, a collier, out of work through the coal strike, asked for
means to obtain a wliole-plate camera, as he was an amateur and could obtain
enough work to keep him from starvation if he was able to photograph whole-
plate groups. The Secretary was instructed that, as there was so much want
amongst photographers, the Association could not assist amateurs to enter the
ranks. Messrs. Charles Faulkner and Arthur Priestly, and Miss Edith M. H.ardy
were accepted .as members. Donations were acknowledged with thanks from
Sandell Exhibition, 9/. 14s. 3^. ; Photographic Society of Great Britain, first
instalment of benefit, SI. 10s. Id. ; Hackney Society, collection, V. 13s. 6d. ;
Central Club, collection, U. ; Photography Prize Competitions, balance, 18s.
The Secretary reported that two applicants to whom loans had been made had
commenced to repay them by small instalments.
mtttim^ of ^octettejs*
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date of Meeting.
December 4
4
4
4
4
5
5
5
5
S
5
5
5
5
5
5
5
5
5
5
6
6
6
a
6
6
7
7
7
7
7
7
7
7
7
7
8
8
8
8
8
Name of Society.
Camera Club
Dundee Amateur
Peterboroagb
Richmond
South London
Stereoscopic Club
Birmingham Photo. Society ...
Bolton Photo. Society
Brixton and Glapham
Exeter
Hackney
Herefordshire
Keigbley and District
Lewes ,
North London
Oxford Photo. Society ,
Paisley
Rochester
Rotherham
Sheffield Photo. Society
York
Edinburgh Photo. Society
Leytoubtone
Photographic Club
Southport
Southftea
Wallasey (Annual)
Birmingham Photo. Society ..
Camera Chib
Dundee and East of Scotland ..
Glasgow Photo, Association
Glossop Dale
Hull
Leeds Photo. Society
London and Provincial
Oldham
Tunbridge Wells
Bristol and West of England ...
Cardiff
Central Photographic Club
Oroydou Microscopical
Halifax Camera Club
Holborn ,
Ireland
Maidstone ;
West London....—,
Hull Z
Place of Meeting.
Charing Cross-road, W,0,
Asso, Studio, Nethergate, Dundee.
Museum, Minster Precincts.
Greyhound Hotel,
Hanover Hall, Hanover-park, S,E.
Brooklands Hotel, Brooklands,
Club Room, Colonnade Hotel.
10, Rnshton-street, Bolton.
376, Coldharbour-lane, Brixton.
City Chambers, Gilndy-st., Exeter.
206, Mare-street, Hackney.
Mansion House, Hereford.
Mechanics* Institute, North-street.
Fitzroy Library, High-st., Lewes,
Canonbury Tower, Islington, N.
Society's Rooms, 136, High-street.
9, Gauze-street, Paisley.
Mathematical School, Rochester.
,5, Frederick-street, Rotherham.
Masonic Hall, Surrey-street.
Victoria Hall, Goodramgate, York,
38, Castle-street, Edinburgh.
The Assembly Rooms, High-road.
Auderton's Hotel, Fleet-street.K.O.
The Studio, 15, Cambridge-arcade,
3, King's.road, Southsea.
Egremont Institute, Egremont.
Club Room, Colonnade Hotel,
Charing Cross-road, W.C.
Lamb's Hotel, Dundee.
Philoso, Soc, Rooms, 207, Bath^st
71, Prospect-street, Hull.
Mechanics' Institute, Leeds.
Champion Hotel, 15, Aldersgate-st.
The Lyceum, Union-st., Oldham.
Mechanics' Inst., Tuubridge Wells,
Rooms, 28, Berkeley.sq., Bristol.
Coleman's Hotel,Henrietta-Ft.,W.C
Public Hall,George-atreet, Croydon
Rooms, 15, Dawson-atreet, Dublin, (
" The Palace," Maidstone. ^
Chiswick School of Art. Chiswiok,
71 Prospect-street, Hull,
PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN.
November 28,— Technical Meeting,— Mr, Horace Wilmer in the chair,
»;»The AsstSTANT Secretary showed and explained the Thornton-Pickard
Company s new tripod stand for tourists' cameras.
Manganese Printing.
Mr. R, Child-Batlet read a paper on this subject, which consisted of a
synopsised account of Messrs, Lumiere's experiments in printing with the salts
of manganese. Briefly, the process consists of floating gelatinised paper on a
solution of manganic lactate. When dry the sensitive surface is of a brown
f ?°v. ^^.Pos"™ [« °i*<ie behind a positive in the printing frame, the action
01 light being to bleach the paper and to form a faint positive image The
manganese .salt is considerably less sensitive to light than albumen 'paper
ilevelopment is effected by a variety of organic compounds, the nature of which
governs the colour of the image. No manganese is left in the developed print.
It under-prmted, the whites of the picture become discoloured. Mr Child-
Bayley followed the reading of the paper with a demonstration of the process
aeveloping seriiral exposed prints with anilin* sulphate, acidified witli
hydrochloric acid, orthotoluidine sulphate, and para-amidophenol sulphate,,
blue, green, and brown pictures being obtainable. A large number
of organic compounds may be used for development. The developing action
cannot be stopped, but the stronger the developing solution the more vigorous
are the prints. The addition of strong ammonia to the developing solution
reddens the tone of the print.
A New Platinum Paper,
Mr. Leon Waenerke introduced Dr. Hesekiel to the meeting, and stated
that he had just brought out a new platinum paper which gave black or brown
images by printing out. While ordinary paper required a certain class of
negative to give the best result — that is, very intense or very we,ak negatives —
this paper would give good results from both. It was prepared on a special
paper liaving a pyramidal kind of grain, produced by pressure, the effect of
which was to give a great deal more intense blacks and whites. The paper
would not deteriorate by moisture, and would thus keep longer than ordinary
platinum paper. If the negative was a dense one, it was advisable to use the
paper dry ; if weak, the paper could be slightly damped by steaming. If
under-printed, the image could be developed up with ferrous oxalate. Develop-
ment gave a blue image. The prints ai*e washed in solution of hydrochloric acid
in the usual way.
A large number of specimens of prints on the new paper were on view, and
Dr. Hesekiel and Mr, Warnerke received votes of thanks.
Messrs. Perken, Son, & Rayment's representative showed the firm's new
tliree-wick oil lamp, which, on account of central and side air channels,
gave a whiter an<l more powerful light than an ordinary oil lamp having
four wicks, and therefore considerably more flame surface. Comparative discs
were shown with the two lanterns, and slides projected, the advantage being
much in favour of tlie new lamj).
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION,
November 23, — Mr. R, Beckett in the chair.
The Carbon Process.
A demonstration of the carbon process, on behalf of Messrs. Elliott & Son,
was given by Mr. Birt Acres, assisted in the practical department by Mr.
Skelton, Mr, Acres said the process was a permanent and beautiful one, but,
unfortunately, in its earlier days it had been hampered by patents. 'There-
were certain apparent difficulties that frightened the beginner. Any child
could do albumen printing, as something was seen at once, whereas in exposing,
tissue no image was seen, and, if it were not carefully attended to, one would
go on seeing nothing, Mr, Acres mentioned that Mr. Swan discovered the
process by accident when using bichromated gelatine to produce an insoluble
image for process work. It occurred to him to make the gelatine easier to
handle by putting pigment with it. When it was transferred he found that
he had got a carbon print. At a previous meeting of the Association the
question of getting too soft results had been raised. This was one of the
points that could be easily remedied in two ways, namely, by using an ex -
ceediugly weak bichromate solution, say, one-tenth of the ordinary strength,
and the other way was by printing in direct sunlight, as the suu's rays would
penetrate more deeply into the print to proiiuce a more vigorous im.age. Re-
sults too soft for enlargement depended a good de.al upon the kind of tissue
used. The sepia gave a soft result, but blue or black gave more vigorous
results. One of the strong points in favour of the process was the certainty of
getting a good colour, which was not at all dependent upon the opacity of the
negative. Having briefly given the rationale of the carbon process, .and ex-
plained single and double transfer, Mr. Acres introduced Mr, Skelton as having
worked with Mr. J, W. Swan, and the practical demonstration of the single
transfer process was proceeded with. Mr. Acres said the tissue was of about
the same sensitiveness as albumen paper. The preliminary soaking in water
was most important ; the tissue would first curl inwards and then outwards,
when the print should be placed in contact with the support. It should not
be allowed to absorb too much water. It should be well squeegeed down to
prevent air bells ; water left in would produce black spots. Development took,
on this occasion) in hot water two or three minutes, and the prints were then
placed in cold water. Alum (said Mr. Acres) was used for fixing purposes.
There was an advantage in making a print to develop at a future time, .as, on
account of the continuating .action of light, a print exposed one day could be
developed the next, gaining in iutensity the meanwhile. Of course, jiroperly
exposed prints should always be developed right away ; but, if the light was
bad, it was an advantage to be .able to put the print away for a short time.
Answering a question, he said no aniline dyes were used in the pigment. He
pointed out that exposure could be modified by using the developing water at
dift'erent temperiitures. Local development and restraining were also practi-
cable by using hot water to get out high lights or save the shadows ; thus thero
was a considerable amount of dodging by the process. For tlie double transfer
process, the use of opal wherever possible was recommended, as by using it
a much finer matt surface was obtainable than with a flexible support. The
opal should be ground on one side, talced, and coUodionised.
In answer to Mr, Barker, who asked whether the colour of the tissue
afi'ected the continuating action of light,
Mr. SivELTON said perhaps there was a little preference in favour of the iron
colours ; anything which increased th^ solubility of the tissue increased the
continuating action.
Proceeding, Mr. Acres explained the use of the safe edge, saying that it
was immaterial whether it were placed on the film or glass siile of the negative.
After touching upon various points in connexion with the double transfer pro-
cess (which Mr, Skelton w|s demonstrating), Mr. Acres explained that, in
printing from a hard negative for transparencies, a tissue that gave a soft result
should be used ; if the negative were much too soft, a tissue that gave a
vigorous result should be used, Agtiin, a defect in the original negative could
be worked on in the transparency before making the enlargement. The use of
the actinometer in exposure was then explained, Mr, Acres concluding by re-
December 1, 1893]
THE BRITISH JOURNAL OF PHOl'OaRAPHY,
773
markin); that with the aingle ransfer process much sharper images could be
obtaiiipil than witli the iloulilc, and it was, therefore, better to make a reversed
neKatlve to start witli than to use doulile transt'er.
The viirious processes of development, sfjueegeiing in contact with temporary
supports, prepareil o|iaI, Ac. strengthening Hat images by means of water
heigbtene<l in temperature, were shown by Mr. Skelton, a number of developed
prints being passcii roiiml. Also there were on view in the room many carbon
enlargements by Messrs. Elliott & Son.
By means of his lantern Mr. Acre.s then showed a varied collection of slides,
illustrating the qualities of transparencies desirable for projection and repro-
duction purposes, the elVects of intensification with permanganate, comparisons
of ca^n slides with gelatine, &c., and other points, aud at the conclusion a
vote of thanks was passed to him, and the meeting terminated.
MANCHESTER PHOTOGRAPHIC SOCIETY.
NOVEMBBR 22.— Tlie evening was devoted to a demonstration by Mr. 8 Herbert
Fry on Payet Prize Lantern Slides. He dealt with, principally, the
characteristics of a good lantern slide, and he laid great stress on the impor-
tance of exposing correctly, and not, as some people try to do, by making the
slide right m development. To secure uniformity of colour, it is no use making
local applications. Of course, this is almost necessary in jilates, but in lantern
slides it cannot be done satisfactorily ; when anything rccjuires to be doctored,
it must be done in the printing, and not by local application. Coming to the
question of variation of colours, Mr. Fry had put through the lantern about a
dozen slides all ftom one negative, but all of different exposures. Not one of
the slides was of the same colour, all different, some being brick-red warm
tones, purple-black, and others cold tones. Being all developed by the same
solution, it proves what the lecturer said, that tlie gr.adation of colour is due
to exposure, and not, as some say, development. One thing Mr. Fry impressed
upon the meeting was that almost the same tone could be got either with the
Paget slow or quick lantern plate ; in fact, he seemed to think that even an
expert could hardly tell the difference. This, of course, is a convenience when
reducing in the camera, the rapid plate only taking about one-sixth of the
time. Regarding developers for these slides, he thought the best were pyro
aud hydroquinone. Either of these, if mixed as per instructions of the Paget
Company, would give splendid results. Coming to the new print-out lantern
slide, he said these plates can be changed in the gaslight or dull daylight, and
will not be damaged ; they can either be partially printed, and then developed,
and toned, and fixed, or printed right out, aud toned, and fixed. Mr. Fry
recommended the combined toning and fixing solution, the one he used being
composed as follows : —
Hyposulphite of soda 1 pound.
Lead acetate 1 ounce.
Chalk 1 „
Water 80 ounces.
and to each 5 ounces of above solutiou he added 1 grain of gold. He calculated
that each dozen plates would require about 1 J grains gold, that is, 7i ounces of
above solution. Regarding the printing of these slides, it is done in daylight, i ust
the same way in which you do the printing-out paper. To obtain the best
results in developing the slide, it must always be printed by daylight and not
by gas.
Brixton and Clapham Camera Club.— November 21.— Mr. W. Thomas
rea<l a jiaper on Skies, which, he said, could be produced in photography in one
of two ways, either by photogi'aphing on separate plates for the landscape and
sky respectively, or by securing the sky on the same pl.ite .as the landscape.
He preferred the former method, one advantage being that it was easier to
allow the correct exposure for the two poilions of the picture. In exposing
he uses a Tylar's shutter, and sets it for the landscape before .stopping
down the lens, exposing gradually for the foreground and quickly for the sky.
Development should be carefully performed, since the sky must be not too
dense. A large stock of negatives of skies should be kept, and the greatest
care exercised in printing so that the lighting may be the same as for the land-
scape, the clouds occupying their correct position. Several specimen prints
and negatives were submitted for inspection and generally admired. The
methods of printing in clouds in jirints, enlargements, and lantern slides were
also fully explained, and several dodges described.
Central Photographic Club.— November 24.— A large and appreciative
audience attended, causing the club-room to be filled to overllowing, to hear
Mr. Paul Lange's (Liverpool) lecture on Norway, which w.as accompanied by
130 lantern slides. The lecturer said most visitors attempted to see too much,
but, owing to the enormous distances they travelled, they saw only the crust.
To fully appreciate the beauties of that country, the traveller should arrange
to cover only a limited portion of the couutry in the time at his disposal,
travelling up the various valleys in the native conveyances. Personally he
preferred "a carriage for two," the coachman sitting behind ; bnthe could not
understand a word the travellers might say. This method of driving was very
enjoyable. The lecturer proved himself a good guide to the various fjords,
valleys, and mountains which he himself visited, and his style was much
appreciated. The technical aud artistic excellence of the slides was a surprise
to most of the audience. Some very fine sunrise and sunset effects in the
German Ocean were shown, the colours on the screen approximating to those
of nature, and were obtained by pure photography without the aid of pigments,
by combining a number of lantern plates.
Croydon Microscopical and Natural History Club (Fbotograpbic Section).
— November 2:2. — The twenty-fourth annual soirfe of the Club took place in
the Public Hall, when over 600 guests attended. In addition to the large
collection of botanical, microscopical, and entomological objects of interest
shown by the other sections of the Club, there was a fine display of work by
the Photographic Section. Amongst thona showing wore .Mr. IxiwHargeant,
with several admirable enlargements ; Mr. K. McKaao, photographs of old
lamps and pipes ; Mr. Doilds, a series of Yorkshire views ; Mr. C'ollyer ami
Mr. Rood, views of the excavations of the Roman encampment at Silchester ;
Mr. East, several fine views of Arundel Park ; .Mr. Epps, some charming little
biU of Norway ; Mr. Moss, Mr. Coldwells, kc. PartjcuUrly noticeable
among the transparencies were Mr. Oakley's Indian Palacet, and • set of
Norwegian studies by Mr. J. A. Carter.
Greenwich Photographic Society.— At the recent meeting of this Society,
under the ehairmanshiii of Mr. Charles Churchill, Mr. E. A. Lkbijikc, on
behalf of Messrs. Schwarz & Co., gave a most interesting dcmonstratiOD
of the use of their new developers and cartridges. A couple of Sandell films
were successfully ilevelope<l with metol, the extreme detail brought out by
this energetic develoi>er being much appreciated. Lantern slides, >levelopad
with glycin (which is apparently well adapted to this work), and bromid»
prints with amidol were also shown, the use of the "tone-flxing" cartridge*
being shown on untoned prints provided by the Hon. Secretary. Much interest
was evinced also in the new fixing block produced by this flnn, which, it woald
seem, is quite likely to supplant our old friend "unadulterated hypo." Mr.
Leblanc received the cordial thanks of his somewhat small bat appreciative
audience. At the forthcoming meeting on December 6, Mr. S. Herbert Fry
has arranged to visit ns in connexion with the Paget Prize Plate Company's
])roductions.
Hackney Photographic Society.- November 20th, Ladies' Night— An
entertainment was given by Mr. Rennie, entitled Tlie Forth Bridge, illus-
trated with lantern slides of a very instructive and scientific nature. The
lecturer dwelt upon the subject from an engineering point of view, which was
fully explained by the slides which were shown, illustrating the principles.
The slides included the building of the bridge at various stages, launching of
caissons, banquet, the Prince of Wales driving the last rivet, portraits of
celebrities in connexion with same, &c. Many statistics were given in con-
nexion with this gigantic bridge, which proved of great interest to several
members. A further exhibition of menjbers' slides was put through the
lantern, and some excellent toned pictures were the result. The lantern wa*
worked by the Hon. Secretary, Mr. W. Fenton-Jones. Members were specially
asked to attend a meeting to be held on Tuesday, December 5, when a dis-
cussion upon the Society's outings will be brought forward.
Richmond Camera Club.- November 27, Mr. Cembrano in the chair.— Mr.
C. H. Davis read a paper on Films, in which he drew attention to the ad-
vantages and disadvantages of celluloid .as a substitute for gla.ss, and gave hU
experience of the working of various makes of films. The subject was well
discussed, and specimens of negatives and appliances were shown by the Presi-
dent and other members.
South London Photogrraphic Society.— November 20, the President (Mr. F.
W. Edwards) in the chair. — Thirteen new members were elected. Mr. A. Lb Blanc
gave a demonstration of developing, toning, and fixing with Dr. M. Andresen's
cartridges. Ho first used a metol cartridge, dissolving it in about seven
ounces of water. With this he developed an isochromatic plate, which had
been previously exposed on a group of chrysanthemums. The gradation of the
whites was perfectly rendered. For fixing, the demonstrator dissolved a bar
of fixing salts in about forty ounces of water, which gave an acid fixing bath.
The portability of the fixing bath was much admired. Lantern slides deve-
loped with cartridges were also shown. Development of paper prints with
metol and amidol cartridges followed. The Hon. Secretary showed the
Thornton-Piekard improved tripod. Samples of Bamet plates were dis-
tributed among the members for trial.
Woolwich Photographic Society.— November 23, Major Charles D. Davies in
the chair. — The meeting was well attended. Some jtrints were handed up for in-
spection by Messrs. Dawson and Panting. During question-time, the old
difficulty cropped up, t.e., how to mount prints on gelatino-chloride papers-
It vvould seem as though the Kent water is the cause of some of the trouble,
leaving chalk deposits wherever the print is wetted. Further discussion, how-
ever, had to be deferred. The Chairman introduced Mr. Albkrt Hill, who
then proceeded to give a practical demonstration on Enlarging by Cresco-
fylma, in the course of which Mr. Hill said that the best results were obtained
on films developed with hydroquinone or rodinal. Several films, both negative
and positive, were removed ft-om their original glass supports and steadily en-
larged to about double the size, and then placed on their new support. The
whole operation is remarkable for its simplicity.
Ashton-under-Lyne Photographic Society.— November 22.— Mr. William
Moss gave a demonstration on Microscopic Photography. Dr. Hamilton, in
introducing him to the meeting, said this was a new branch of photography,
and, if it could be brought to perfection, it would be of immense service to the
profession to which he belonged. Mr. Moss, in opening, explained the working
of his camera, which he had had made specially for his own use. It combined
long extension and ease of working with perfect rigidity. The lens tube waa
one made short, and it took the place of the ordinary tube on the microscope
stand. The light used was the usual powerful paiaflin lamp. Mr. Mo«s ex-
plained that the lenses were microscopic objectives, and were better if cor-
rected for photographic purposes. They were three inches, one inch, and one-
eighth inch focus, and with these the power of magnification ranged from three
times to two hundred times. If a smaller enlargement were required, the
ordinary photographic lens could be used. Exposures varied much, from two
seconds to hours. A slide, representing a subject to which he had given much
time and study, the tongue of the snail, was put in the microscope, and, after
focussing on the ground glass, clear glass was substituted, and a compound
focussing glass used to bring the object into perfect focus. The clearness of
the image obtained by this method was evidently new to most of the audience,
and was much appreciated.
Birmingham FbotOKraphic Society.— November 21, Mr. W. Jones in the
chair. — The collection of slides, which were recently shown by invitation at
774
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[December 1,1893
the Exhibition of the Photoj?raphic Society of Great Britain, were passed
through the lantern. They were representative of the best slide work ot the
Society.
Cardiff PhotograpHic Society.— The Eighth Annual Meeting was held at
headquarters, Castle-arcade, on Friday, the President (Mr. C. F. Gooch, J.f.)
in the chair.— The following officers were elected for the ensuing year^
President: Mr. 8. W. KMm— Vice-Presidents : Messrs. C. F. Gooch, J.P.,
Jonas Watson, J.P., Walter Insole, P. Mansel Franklen, E. H. Bruton, Alex.
Kellar, and H. Murrell— ffo?i. Treasurer: Mr. G. H. Mills, .lun.— i/om.
Secretaries : Messrs. G. H. Bedford and T. H. Faulks. -Cowncji .• Messrs. W.
H. Kitchin, F. Heitzman, W. Herbert, A. Freke, W. Foster, A. McKinnon,
D B. MoCuUum, W. Booth, W. J. Jenkin.s, Rev. A. T. Fryer, E. Hancock,
Jan., W. Cocks, and A. Montgomery. —The Secretaries made a report as to the
•prospeotive arrangements for the Winter Session, and it was decided to have a
public exhibition of lantern slides on December 22.
Derby Photograpliic Society.- November 21, Mr. B. Keene presiding.—
The election of officers resulted as follows -.—President : Captain W. de W.
Abney, E.E., C.B., V.B..'S.—Vice-Preiident: Mr. B. Kerne.— Committee :
Messrs. A. H. Bennett, C. Bourdin, C. B. Keene, T. Scotton, G. Walker, R.
'<NooAs.— Treasurer : Mr. A. B. Hamilton. — ifoji. Secretary: Mr. T. A.
Scotton, 9 Church-street, Derby.— Mr. S. H. Fry, of London, gave a lecture
and demonstration on Lantern-slide Makiny. Mr. Fry very clearly explained
the various method.s of doing this— such as printing in contact with gaslight,
printing out by daylight, partially printing out by daylight, and then convert-
ing the chloride of silver salts into bromide of silver and developing to the
proper density by the ordinary methods, afterwards toning with gold in the
usual way, and, lastly, by means of reduction in the camera. The demonstra-
tion throughout was excellent, and was watched with great interest by the
large number of members present, and at its conclusion a general discussion
took place.
leeda Camera Club.— General Meeting, held Tlmrsday last in the Club
rooms, Mr. Irwin in the chair.— Forty -seven present. Lantern exhibition.
Lantern manipulators. Dr. Thresh and Mr. Wigglesworth. Next meeting,
December 7, paper, Beginners' En-ors, by Mr. Vevers.
Leeds Photographic Society. -November 20, Members' Lantern Night. —
A large number of slides representing summer outings were thrown upon the
screen contributed by the following gentlemen : — Messrs. Atkinsons Reffits,
Buttevworth, Roilwell, Walker Denham, Burrell, Denison, Hampshire, Arm-
strong, Washington Teasdale, and Dr. Jacob. Criticisms were invited, and
questions asked regarding the developers u.sed, much useful information being
elicited. Metol in the hands of Mr. Walker produced excellent results;
exposure about one-half. Many very fine slides were shown, and a pleasing
and interesting evening was spent. The Chairm.an (Mr. J. H. Walker, Presi-
dent) announced that, on December 7, Mr. Godfrey Bingley would give his
lecture on his summer rambles with slide illustrations.
Liverpool Amateur Photographic Association.— November 23. — Mr. S.
Herbert Fry gave a practical demonstration on The Paget Company's Xew
Printing-out. Paper, the great advantage claimed being that it was only neces-
sary to partially print out, the full image being developed by after-treatment.
The process is very simple, it consi-sts of taking the under-printed print, and im-
mersing, without previous washing, in a ten per cent, solution of bromide
potassium. The prints should remain in this bath for at least two minutes,
and then well washed in running water for five minutes, then developed witli
hydroquinone, the formula for which is supplied by the Company, after which
they should be again washed for ten minutes, and then toned and fixed in the
ordinary way. The printout opals and lantern slides can be treated in the
same way as the paper. The opinion of most of the members present was that
the partial devolopment was most useful, especially in the case of opals, where
great difficulty is experienced in examining them during printing. Some
excellent prints were passed round to the audience, who found it a difficult
matter to say whether they were partially printed out or not.
Midland Camera Club. — November 24, Dr. Hall Edwards in the chair. —
The following are the officers for the ensuing year -.—President : Mr. J. Hall
Edwards, UU.C.V.— Vice-Presidents : Prof. Allen, M.A., M.B., Messrs. H. R.
Leech, M.R.C.S., J. P., S. G. Mason.— C'o«»ci7,- Mrs. Welford, Messrs. F. H.
Mason, F. lies, T. H. Cox, A. H. Slade, J. W. Beaufort, T. Fletcher, A. J.
Leesoii. — Librarian : Mr. T. H. Cox. — Hem. Secretaries: Messrs. C. J. Fowlerand
R. J. Bailey. The President read a paper on Dr. Hill Norris's Dry Collodion
Lantern Slides, remarking that Dr. Hill Norris was the inventor of the first
dry plate, which he introduced thirty years ago. Lanternists are agreed that
the finest results are to be obtained with collodion. One advantage claimed
for the plate Ls the great saving of time as compared with gelatine. The lec-
turer exposed a jjlate, developed, fixed, washed slightly, dried, and placed it
in the lantern, the whole time occupied being less than four minutes. It was
stated that many amateurs fail to obtain density, the reason for which, the
lecturer thought, was the low temperature of the baths u.sed, recommending a
temperature of at least 60° Fahr., and as high as 90° Fahr. may be used with
advantage. Another point specially emphasised was that a bright light is ne-
ce.s8ary to obtain the Iiighest results. The following extracts from a letter
received from Dr. Hill Norris proved most interesting and useful: — "A few
seem to have a difficulty in securing sufficient density. This, I think, is, in
the main, attributable to over-exposure, or the use of the developer at too low
a temperature ; in other cases it may be the result of not continuing the de-
Telopmental action sufticiently long. Again, when cyanide is used as the
fixing agent, the plate may be allowed to remain in it long enough to attack
the picture ; in this respect hypo is safer, because, unlike cyanide, it is not a
solvent of metallic silver (very strong cyanide will remove the image altogether).
There is, however, another cause of feebleness of image, which is more funda-
mental, and not so likely to b? observed by the occasional worker — I allude to
the influence of the negatives. A brief exposure with a strong light is not the
same thing as a prolonged exposure with a weak light ; in other words, a
strong, intense light acting for a brief period produces a far graater develop-
mental effect on the silver bromide than a weak light acting for an equivalent
length of time. With weak negatives, whether used for redaction or contact,
the intensity of the light should be proportionate to the weakness of the nega-
tive— i.e., the weaker the negative, the intenser the light should be. Pluck
and vigour lie on the side of very slight under-exposure, softness and tamenes.s
on the side of over-exposure, perfection in correct exposure ; but i)erfection in
a slide implies also a perfect negative, and you, the photographers of the
present and future, will oe called on to decide whether this wUI be made on a
gelatine or on a collodion plate." A number of collodion slides were passed
through the lantern, some of which had been lent by Dr. Hill Norris.
Kilmarnock Amateur Photographic Society. ^The Ordinary Meeting was
held on November 15. — The President (.Mr. Fkr<.:u.son) gave a higkly successful
demonstration on The Making of Lantern Slides. Mr. Ferguson uses hydro-
quinone at its normal strength for development. He has made a collection of
over 200 slides illustrative of incidents and places in the life of Burns,
Scotland's poet. Those who are competent to judge say that there is not a
finer collection extant. It was agreed that in future the meetings be held on
the third Friday of the month. Mr. Millar Banker is to give the next demon-
stration in the Oddfellows' Buildings, John Finnie-slreet, on Friday, December
15, at 7.30 p.m., subject, Gelatino-chloride Paper [including the Paget Prize
Paper) for Development, Avery interesting and instructive programme has
been drawn up for this session, embracing such subjects as printing on Alpha
paper, carbon and platinotype processes, enlarging, preparation of blocks for
newspaper work, &c. The subscription is five shilling* per annum. Secretary,
Mr. William Paterson, 50, St. Andrew's-street.
FORTHCOMING EXHIBITIONS.
1893.
December *Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
„ 18-Jan.22,1894 *Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Corn-
street, Bristol.
* Signifies that there are open classes.
©otreiEjponDrence*
■ Corrtipcmdents should iwucr vrrite on hoih sides of the paper, No noUca is taken
of communications unless the names and addresses of the tcn'fers are given.
CELLULOID FILMS.
To the Editor.
Sir,— As you invite correspondence on the drying of films, will you per-
mit me to relate my experience of them ? In the first week ol May, I
exposed in Belgium a spool of thirty, put in for me the week before by
the Eastman Company. The light was splendid, and I found on
developing one upon my return that the exposure had been correct. The
remainder I cut up, and laying them one on top of the other, put them
away in a cardboard plate box in a dry place. Circumstances prevented
me from developing any more until last month. I then found that they
had endeavoured to roll themeelves up, but for lack of space for free
movement had got no farther than forming a ridge down the centre and a
curl at the edges. A preliminary soaking did not mend matters, and I
had to proceed with the development under great difficulties, as it was
impossible to keep the film flooded. Using my fingers for the purpose,
portions of the film flaked off. Having in this way spoiled one or two
pictures, I saw that it was useless to proceed, for neither during twelve
hours' washing nor by several hours' immersion in glycerine and water
was the cockling in the least reduced.
I then rolled them one by one round a cylindrical box — a most tedious
and troublesome operation, as they were most refractory in bending in
the opposite direction — and put them away for a fortnight. This device
was successful in removing the curl ; but, though I used tepid solutions,
they then refused to develop in the shadows. With eikonogen and pyro-
soda hardly any image appeared, whilst with pyro-ammonia they became
silvered all over.
To remove this I tried various expedients, such as chlorinetted lime,
cyanide of potash, and perohloride of iron, rubbing the film the while
with a plug of cotton wool, but all without the least success. Finally, I
used, in the same way, a very weak solution of hypo, with ferridcyanide
of potash. This entirely removed the silvering, and left a negative of
good printing quality wherever development had taken place. Perhaps
this hint may be useful to those of your correspondents who hare lately
been complaining of the same trouble.
THE BEITISH
JOURNAL OF PHOTOGRAPHY.
No. 1753. Vol. XL.-«-DECEMBER 8, 1893.
i
THE PETZVAL PORTRAIT COMBINATION.
The increasing di'lneas of the weather suggests the employ-
ment of lenses o' t, type of the greatest rapidity possible. One
■of the greatest masterpieces of Professor Petzval is the portrait
lens par excellence, and, as it is apt to be overlooked in the rush
after something new, we purpose telling our more recent readers
something concerning it.
Why is it the portrait lens 1 Simply because it gives sharp
■definition with an aperture greater than any other that has
yet been produced. While we do not desire to introduce
invidious distinctions between it and any other class of lens of
-the so-called "rapid" type, the latter cannot for a moment
•stand against the old Petzval portrait combination in respect
of intensity of illumination and consequent rapidity of action.
With the e.xceedingly sensitive plates now in use, and in bright
summer weather, the special properties of the portrait com-
ibination are not in such request as when tlie brightness of the
light diminishes. For obtaining portraits of children, or other
■fractious subjects, in dull weatlier the portrait lens is a neces-
•sity^ seeing that most of them will, on an average, impress an
image in one-fourth of the time required for a lens of the
modem cemented class.
When working at full aperture, and in virtue of such a large
aperture compared with its focus, while the principal plane on
which the focus has been made is rendered with extreme sharp-
.ness, it cannot, of course, represent objects in the background
with equal definition ; but this is an advantage in an artistic
point of view, as those possessed of any taste like to see every-
thing subordinated to the figure which forms the portrait.
The small angular or numerical apertures of the lenses in such
■common use at the present day have to answer for many sins
of this nature.
The form of the Petzval portrait lens is essentially different
from that of any other. Its front element is practically a
plano-convex achromatic, the back being an achromatised
biconvex of much longer focus than the front, and incapable
of forming an image possessing sharpness on account of the excess
of negative spherical aberration, a property which can only be
obtained by the union of a positive and negative lens. This
back lens lengthens out the oblic|ue rays which fall upon it to
a greater extent than it does the more axial ones, and thus
flattens the field, while it also shortens the focus of the
objective, and gives increased intensity.
We have said that the front lens is practically plano-convex.
We have, however, objectives of this class in which the flatter
surface is slightly convex, a peculiarity of all the extra-quick
lenses issued many years ago by Voigtiander, as well as some
by ^Vndrew Ross, ilany fine objectives by modern makers are
absolutely flat ; but in the great majority of cases tke front
lens has the flatter side slightly concave. The back lens, we
have said, is biconvex, with an excess of negative aberration.
.Just here let us pause to again explain what we have many
times previously explained, that a lens poaseasing negative
aberration lias its centre and its margin of different foci. The
margin does not refract the rays so much as does the centre ;
in short, it possesses less magnifying power, whereas in a lens
possessing positive sphericals the opposite condition prevails, for
in it the margin refracts the light in a greater degree than
does the centre.
In the olden times, when a lens of the greatest angular
aperture was required, both front and back lenses were cemented.
The front was composed of three elements, a double flint con-
cave cemented between two crowns, the external form being
double convex, although one side was comparatively flat as
compared with the other. This was also the characteristic of
the back lens, which differed from the former in that, owing to
the depth of curvature of the flint-glass lens, the negative
aberration was excessive. From a somewhat intimate acquaint-
ance with this ultra-rapid form of lens, we have no hesitation
in saying that it must prove inferior to that form composed of
two elements only, flint and crown, much as now employed, in
which the refinement of adjustment is efi'ected by separating
the lenses, more or less, by a ring. The precise amount of
this separation forms a powerful factor in the determination of
the flatness of field and marginal definition. The back lens is
usually constructed of a concavo-convex flint lens and a crossed
or unequally double crown lens, the curves being such as to
leave an air space between when these were brought into con-
tact at the margins. As a rule, the deeper the meniscus air
space between them, the more pronounced will be the negative
aberration. Andrew Ross, in his early lenses, recognised this,
and turned the flattest side of the crossed crown lens towards
the flint. This enabled him to obtain the required negative
aberration with comparatively shallow curves. The tube, too,
was shorter than usual, and as a consequence the covering
power was unusually great, a whole-plate lens covering a
12 X 10 plate with ease. In the well-known stereoscopic
portrait lenses of the late J. H. Dallmeyer, the crown of the
back lens was not crossed, but of equal curvature. The great
covering power of this lens is well known. Some back lenses
of the late Dr. Monckhoven in our possession are characterised
by the same peculiarity. These were made as portions of
objectives for printing out by means of the solar camera.
Many years ago Voigtiander, as already mentioned, intro-
duced a triple back lens, the surfaces of which were cemented.
His object seemed to have been the securing of all the light
possible by reducing the reflecting surfaces. We tried its
efficacy as regards this property by substituting for the triple
back lens a double one of the same focus, but uncemented in
consequence of the inner curves being dissimilar ; and the
decision arrived at was that the double, separated lens was the
better of the two. The maker must have arrived at the same
conclusion, for it is more than thirty-five years since their
manufacture was discontinued.
For lantern projections the Petzval lens will always hold ita
778
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[December 8, 1893
own. This also applies to the production of enlargements,
more especially when artificial light is employed and duration
of exposure is a matter of consequence. The special form best
adapted for both of these purposes is that which was introduced
for cartes-de-visite in which flatness of field and marginal, as w«ll
as central, definition with full aperture were desiderata.
OBTAINING VIGOUR IN CARBON PRINTS.
Reference was made last week to some discussion on the
above subject at a Society meeting as to the trouble one of its
members had in getting a good image from a good negative,
and another member saying he had to give up the process for
the same reason. We are not going to enter into the question
of what is a " good negative," which may mean anything or
nothing, according to the use to which the negative is applied.
One that may be worthless for one process may be the most
suitable for another. In the case in question the trouble
complained of was lack of vigour in the prints.
Since the carbon process was first introduced, now nearly
thirty years ago, the general character of negatives has under-
gone a marked change. Those of the present day are of a
far less vigorous type than those of former times — that is,
there is now a shorter range of tones between the highest
lights and the deepest shadows than there used to be when the
coUodion process was employed. But that is not all. Modem
negatives are, as a rule, more or less veiled in the shadows,
whereas in those of twenty years or more ago the deepest
shadows were represented by perfectly clear glass. Now, it so
happens that the effect obtained with bichromated gel atine by
printing through a perfectly transparent medium is different
from that obtained with a veiled one, however slight the veil-
ing may be. It is for this reason that in all the photo-
mechanical processes, based upon bichromated gelatine, collodion
negatives are still employed almost exclusively.
Notwithstanding that the general type of negatives has
undergone such a great change of late years, very little modi-
fication in the working of the carbon process has been made to
meet it, as has been the case in most other processes. It is
surprising that those who are supposed to be conversant with
the subject have said so little in connexion with this point.
It would be useless to suggest that negatives, like the vigorous
ones of old, should be specially taken for printing from in
carbon; therefore it wiU be of more value to point out the
best way to obtain good results from such as those now in
vogue. It may here be mentioned, in passing, that it is quite
possible to obtain brilliant impressions in carbon from what
may, even at the present time, be classed as feeble negatives,
so feeble, indeed, that they will not yield good results on
ordinary albumen paper, by adopting a suitable modification
in the procedure.
It is well known to every experienced carbon printer that, the
more highly sensitised a given tissue is, the softer or flatter
will be the prints it will yield ; whereas, with a weakly sen-
sitised one, the contrasts will be stronger, and, if too weakly
sensitised, the prints will have a decided tendency to hardness
or bareness in the lights. Tissue that is used shortly after it
is sensitised prints, all things being ^equal, with less contrsist
than one that has acquired a certain degree of insolubility —
or perhaps it would, in this instance, be more correct to say,
has lost some of its original solubility by keeping. Hence a
great advantage, when [extra-feeble negatives have to be dealt
with, will be gained by keeping the tissue until it is on the
verge of insolubility, even if extra hot water is necessary for
its development. Prints made by printing in a subdued light
possess, from a given negative, stronger contrasts than those
printed in a bright one. Again, impressions that have only
been partially printed by the lightj and completed by the so-
called " continuating action," possees a greater vigour than
those printed direct out by light. Furthermore, greater con-
trasts are also obtaiaed by printing deeply and then developing
with water at a high temperature. There is yet another point
to be mentioned, namely, that tissue which is sensitised in the
making gives, as a rule, softer prints than one that is sensitised
afterwards.
From the above it will be seen that the experienced carbon
printer has ample opportunity of adapting and does adapt the
process to every class of negative that can possibly be classed as a
"good negative," and to many that do not come under thatclassifi-
cation. To obtain the maximum degree of vigour from very feeble
negatives, the tissue should be lightly sensitised. The strength
of the bichromate bath and the time of immersion must, of
course, be governed by the temperature, and whether the
superfluous solution be removed by squeegeeing or not. If it
is to be, a two per cent, solution will be weak enough. The
tissue should then be kept for several days, or until it has lost
a considerable degree of its solubility, before it is used. The
printing should be conducted in the shade, until the impression
is but about half done, then it should be put away for the
continuating action to render it dark enough, or, preferably,
rather overdo it. Then the print will require tolerably hot
water for its development, which will add still further to its
vigour when completed.
In here pointing out how the greatest vigour is to be ob-
tained from a given negative, we have supposed an extreme
case indeed such a [one as we were challenged upon a little
while ago, namely, to obtain a brilliant print in carbon from
an abnormally feeble negative with veiled shadows that it
was impossible to get even a passable print from on albu-
menised paper. But, in quoting it, the method is indicated as
to how the process may be modified, in the hands of a thought-
ful worker, to suit almost every possible requirement.
Photogrraphy and Astronomy. — In his Presidential ad-
dress to the Astronom}', Mathematics, and Physics Section, at a
recent meeting of the Australasian Association for the Advancement
of Science, Mr. H. 0. Russell gave a most interesting rimnU of the
connexion between photography and astronomy. We cannot do
better than quote verbatim from the opening sentences of his address.
He said : " The observer must stand aside while photography takes
his place, and works with a power of which he is not capable, and I
feel sure that in a very few years the observer will be displaced
altogether, while his duty will be done by a new sensitive being— a
being not subject to east winds, to temper, and to bias, but one above
all these weaknesses, calm and unruffled, with all the world shut out,
and living only to catch the fleeting rays of Ught and tell their story."
A Kew Weigrhing- Apparatus. — A balance without beam
has recently been described by M. Antoine de Saporta, which can easily
be constructed by any of our readers though possessed of little
mechanical dexterity. It consists in the utilisation of an ordinary
hydrometer, placed in either simple distilled water or some lighter or
heavier fluid. The method is simple, |and, ',for quantifies 'not
weighing more than twenty or thirty grains, is capable of considerable
delicacy of indication. All that is necessary is to make a short tube
of paper or cardboard, and attach to the upper end of the hydrometer
(which can be bought for a shilling or two), and then attach a fine
December 8, IHM]
THE BRITISH JOURNAL OF l'H'>TOORAPHY.
779
cardboard or stiff paper disc to this tube. An hjdromater with a
fine stem is better for the purpose than one of thicker bore. To use
it, the instrument is first placed, with its disc attached, in a jar of
water, and an observation made as to the number on the scale indi-
cating; the floating point. Tiien a weight, say twenty grains, is placed
on what we may term the scale pan, and a fresh reading taken. The
rest is obvious ; it is only needful to observe how many of the scale
degrees, whatever their appellation — he they specific gravity,
Beaumo, or other — are included between the two points already ob-
served, and, calculating the proportion they bear to the twenty grains
employed, to read at a glance the weight of any object (less than that
number) placed upon the pan and causing the greater or less immer-
sion of the hydrometer to give a different reading for each weight.
To ensure the utmost exactitude, a process of experiment with a series
of different weights, and observing and recording the level at each,
would be necessary ; but, by assuming that the extent of the immer-
sien of the tube is in direct proportion to the weight, no great error
would be made.
Tlie Value of Photography In Exact Science.— It
is not alone in astronomy that our science has made itself a power,
scarcely a subject in the range of the physical sciences but is in-
debted more or less largely to photography and its power of record-
ing exactly, and entirely free from bias, as Mr. Russell observes,
phenomena of a most complicated character, occupying periods of
time of extraordinarily short duration. Those of our readers who
would wish to have some idea a little beyond what is termed
" popular " knowledge cannot do better than read in the number of
Nature for last week a report of a lecture delivered before the
Physics Section of the American -Association for the Advancement of
Science, the title being " Phenomena of Time : Infinitesimal." We
would, however, point more especially to one portion of the address
where he shows what photography has done in the past compared
with its present record. It cannot be doubted that, in this particular
branch of science, as in astronomy also, the work, executed
under laborious conditions and surrounded by difficulties that the
present workers in scientific photography have no conception of, is
greatly undervalued by almost all modem writers on this particular
topic. Let us repeat Professor E. L. Nichols' words in this con-
nexion : " We are apt, at the present day, to look to the introduction
of the dry plate as the step necessary to the application of photo-
graphy to the study of fleeting phenomena ; but certainly " (he is
here speaking of the work of Feddersen, done in 1862) " the results
obtained by this early investigator, who used the ordinary wet-
collodion process of his time, are not inferior, in definition or in
detail, to any which have been published in recent years. Fedder-
sen's researches are, indeed, worthy of all admiration." We will not
quote more of his words, but, in asking our readers to dip into, if not
read, this paper, we assure them they may possibly be astonished
to see what photography can do as an aid in rigid scientific investiga-
tion.
♦
THE PRACTICAL TESTING OF PHOTOGRAPHIC
OBJECTIVES.
(Photogiuphic COSaBESS.l
Though it is of great interest to the optician to obtain an exact
knowledge of all the properties and faults of any photographic system
by numerical calculation, it is generally sufiicient for the photo-
grapher, whether professional or amateur, to form a rougher idea of
the capability of any photographic objective. The following is
intended to aid the amateur to determine by comparison, without any
particular apparatus, the capabilities of lenses, and it may be men-
tioned at once that this examination is just as exact (and much more
comprehensible with regard to its results) as the measurements
obtained by the use of the so-called testing apparatus.
For all examinations of photographic lenses the maxim must be
laid down, that only lenses of exactly the same character may be
compared together, and that, above all, their constants must be decided.
We take it for granted that the amateur knows the simple methods
employed for ascertaining the focal length and the working aperture,
and thereby the intensity of the instrument. We therefore have only
the following questions to decide : —
1. Which inotrument with a piven aperture not too small for
instantaneous photography, gives the largest area of sharpness :'
•2. Which instrument gives the most even illumination of the ield
within this area of sharp definition P
•i. Which instrument gives negatives with the greatest aheence of
fog?
4. Which instrument gives with tbe largest stop the largest area
of sharpness P
All other questions which may be proposed in comparing objective*
are useless ; for instance, it is often said that this or that instrument
possesses a greater depth of definition than another. We know, how-
ever, that this depends solely on the strength of lighting — at least, in
80 far OS concerns the centre of the field.
Our first question must therefore be nettled, because upon the
utilisation of the sharpness with the largest aperture depends the
applicability of the instrument for instantaneous work. The test is
very simple. Supposing two lenses are to be compared, one with the
greatest illuminating power of /-8, the other of /-7'3, we should com-
mence our work by stopping down the lens of /-T'.'J to/-8, in order to
equalise the conditions under which both lenses work. If a suitable
stop were not supplied with the lens, it could be easily made of
blackened cardboard or tin. We now screw the lens to the fixed
apparatus, which must be reliable as to keeping the surface of the
screen and of the sensitive plate vertical to the axis of the lens. We
then focus a distant object perfectly sharp, for which purpose it is
best to use an achromatic magnifyiuir glass placed upon the centre of
the focussing screen. The best object for this purpose is a so-called
test screen (a flat wall about ten feet square would do), which is
completely covered with a net of lines, printed pages, geometrical
designsjsilhouettes, &c. The objective must not be too near this screen,
the distance must be at least fifty times that of the focal length.
Care must be taken that the apparatus is so placed that the axis of
the lens is directed as perpendicular as possible to the surface of the
test-screen. Should the focus.sing not result in an absolute sharpness
at the middle of the field with the stop employed, it is necessary, by
introducing other stops, to find out the largest aperture which will
give perfect sharpness, and to insert a corresponding stop in the other
objective. When in this way we have focussed the centre with the
greatest possible accuracy, we proceed with the exposure. For this
purpose it is best to use a plate of very fine grain, such as a trans-
parency plate, and to expose for as short a time as will sufiice. This
done, we fix the other objective without changing the position of the
camera, and take a second photograph with the same length of
exposure and relative aperture. It is important that both exposures
are of exactly equal duration, and that the plates are developed
together in the same tray. From the plates so obtained various
things can be ascertained by examining them on a retouching desk
with a magnifying glass, starting from the centre, and marking those
points where sharpness is just appreciably beginning to fall off.
That objective which gives the larger part of the image in sharp
definition is the more perfect one,because the object was photographed
under the same angle in both cases. But a further examination of
the plates gives us at once an answer to our second question, viz.,
which of the two objectives gives the more even illumination of the
field. It is easy to notice, especially if the exposure was a compara-
tively short one, that the density of both negatives decreases from
the centre to the edges of the plates. The more rapid this decrea.se is
the less suitable is the lens for instantaneous work.
If we now repeat this comparison test of the two objectives with a
very small stop, say of /-40, we can form an idea of the capability of
the lenses for all such cases in which it becomes necessary to employ
a small stop, whether to obtain depth of definition, to improve the
definition at the edges of the field, or to prolong the exposure.
It will frequently be found that the proportionate advantage of one
instrument over the other in the first trial proves to be the reverse in
the second. So it may happen that an objective which with a full
aperture shows poor definition at the edge of the plate and which for
this reason would be declared to be inferior to the other, may, if
worked with a small aperture, prove vastly superior to its rival. In es-
timating the values of the competitive lenses it is therefore necessary to
consider for which special purpose they are intended to oe used. For
instantaneous photography the preference will always be given to the
lens which, with a full aperture, gives the largest area of good defini-
tion ; while that lens is the best for landscape photography which
with a rather small stop gives sufficient sharpcess over a wide angle,
with a fairly even illumination of the picture.
An important test which is rarely resorted to, though it can be
carried out with very little trouble, is the one referred to by question
3, viz., the examination as to the absence of fog, that is, the brilliancy
of the picture produced by the lens.
780
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Dactiiaber 8, 189$
There ia formed in each lens by tlie repeated reflections from its
polished surfaces, a certain amount of false light, which under cer-
tain circumstanqes may cause mqre or less fogging of the plate and a
conspicuous flatness of the picture. Th^ test as to this property of
the. lens is very simple. Fix on to the centre o^ ^^^ focussing screen
a piece of tinfoil or black paper of about the size of a pea, focus the
objective sharply upon the horizon, and then step out with the
camera into the sunshine. The lens must then be directed towai-ds
the sun, sq that its image falls exactly upon the tinfoil or paper spot.
Now move the camera a little to and fro, and you will observe a
number of luminous circles of various diameters, arranged in a straight
line, which change their size and position according to the motion of
the apparatus. These luminous circles are nothing else than conical
pencils of rays of false light thrown by the lens upon the flat surface
of the screen, and their size gives a clue as to the amount and harm-
fulness of the false light peculiar to the lens. If the size of the stop
used for this purpose is taken as a unit, that objective must be de-
clared superior in this matter of which the largest luminous circle is
in proportion to this unit of the greatest diameter. Besides this, that
objective is generally the superior one of which the number of the
visible luminous circles is the smallest and the increase of the dia-
meters the. quickest.
The ordinary photographic lenses of the aplanatic type generally
show three or four, sometimes even six such luminous circles, if the
operator covers his head with a focus.-»ing cloth in order to shut out
as far as possible all extraneous light. I'^xperience has shown that
under unfavourable conditions the objective gives also a distinct spot
of light, if the smallest of the luminous circles is of about six times
the diameter of the stop. The objective of which the smallest lumin-
ous circle is. about ten or fifteen times the diameter of the stop would
be considered a very good one, and such lenses give very clear
negatives.
The necessity for ascertaining by personal tests the values of the
many types of objectives has latelj' become a very urgent one. The
great variety of new types of objectives lately introduced by English
and German opticians makes it very difficult for the photographer to
determine which he will select. The modern anastigmats and the
somewhat similar Concentric lens of Scliroeder have raised the stan-
dard of perfection which may be reasonably required of an ordinary
photographic system, to a very considerable extent, and it would
therefore be useless to compare such instruments with older ones,
such aa aplanatic and symmetrical lenses at all ; they are very much
superior to them. But it is not so easy to decide the question as to
which of all these new systems should be preferred. In Germany it
is chiefly Zeiss and Goeiz who claim to have produced the most per-
fect objective. Until lately the palm has been given to the ^iss
anastigmat/-6'3 as the undeniably best objective extant for instanta-
neous photographs ; this position it has now, in our opinion, lost, as it
is much surpassed by the new double anastigmat of Goerz, and in all
oases where the illuminating power of this instrument is sufficient
(.^-/"•T) it may deservedly be called the best of all existing objec-
tives.
Quite recently, however, the firm of Zeiss have endeavoured to pro-
duce an objective, in the form of their new anastigmat /-8, to be
equal in value to that of Qoerz. It is perhaps not yet decided in
Low far the makers have succeeded. Certain it is that the new
anastigmat of Zeiss /'-8 is superior to the former Zeiss objectives, and
only careful comparative tests will reveal whether it is equal or
superior to Goerz's instrument. In any case, this much can be said
that photographic optics have in the last five years made advances
which before that period perhaps nobody would ever have imagined.
A further essential improvement is, one might say, scarcely necessary.
All the new instruments allow with an aperture of /-8, which is suffi-
cient for nearly all purposes of instantaneous photography, the repro-
duction of a sharply defined picture with its greatest dimensions at
least equal to the focal length of the lens. The old aplanats, how-
ever, remain very much behind this; they cover, according to circum-
stances, a plate of hardly two-fifths of their focal length ^vith
absolute sharpness. Da. Ad. Mibthe.
CONTINENTAL NOTES AND NEWS.
A< Remedy for Siscoloured Albumen Paper.— The
Photographic Courier says that when albumen paper has been kept
for a long time, or, for any other reason, has acquired a yellow tint,
the defect may be obviated in the following way : — Print slightly
less deeply than usual, wash and tone, but commence fixation with
•uch a mixture of hypo and red prussiate of potash (as is used
for reducing negatives; this will remove the yellowne.i9. Con-
clude fixation in the ordinary way. Query : Would this be appli-
cable to gelatino-chloride papers P
Qeveloping" Arlstotypes. — Feebly printed proofs may 'be
developed, says the Dilettante di Fotografla, in the following solu-
tion : —
Metol 2 grammes.
Neutral oxalate of potash 10 „
Citric acid 2 „
Water 235 cc.
After washing, fix and tone as usual.
Death of Dr. A. Stelnheil.— We have to announce the
death, on the 4th ult., of Dr. Adolph Steinheil, a member of the
well-known firm of opticians in Munich. He assumed the direction
of the house in 1862, thus succeeding his father. Astronomical optics
engaged his particular attention, while he will ever be associated ia
photographic history with the aplanats and antiplanats bearing his
name.
Z7ew Method of Toning' Grelatino-Chloride Prints.
— In Science Illustri M. Bulher proposes the following plan, which is
said to give tones resembling those of crayon pictures. The printed
picture is first of all immersed in a litre of water acidulated with
two or three drops of acetic acid. After washing in several changes of
water it is toned. The toning bath (used at 30° 0.) is made up as-
follows : — A
Distilled water 1000 grammes.
Gold chloride 2 „
After the gold is dissolved —
Strontium chloride 200 grammes
is added, and the solution heated to ebullition.
B.
Distilled water 1000 grammes.
Ammonium sulphocyanide , . . , 200 to 250 „
This is added little by little to A, the combined solution being agitated,,
allowed to cool, and filtered, 40 cc. of distilled water being added>
The stock solution is preserved in well-stoppered bottles. The batb
is made up of —
Water 1000 cc.
Stock solution as above 50 to 70 „
The toning is finished when the half-tones by transmitted light look
of a greenish colour. After washing, the prints are fixed in hypo,
again well washed, and then immersed in a filtered solution consist^
ing of —
Distilled water 1000 cc.
Ammonia alum 60 „
Ammonia liquor 60 to 75 drops.
It is left in this for a quarter of an hour, and finally washed.
Aluminium Powder. — The following mixtui'e is recommended!
for the aluminium flashlight : —
Powdered aluminium 21*7 parts by weight.
Antimony sulphide , , . I3"8 „ „ „
Chlorate of potash 64'6 „ „ „
The three substances should be powdered separately, and the ad-
mixture made by shalring well in, say, a paper bag. Grinding the
mixture with chlorate of potash is said to cause a violent explosion.
The above bums in about ^^ih of a second. A mixture burning less-
rapidly is composed of —
Powdered aluminium 30 parts.
Chlorate of potash , 70 „
This burns in the fifth of a second.
Decembers 1863]
THE BKITISH JOURNAL OP PHOTOORAPHV.
7^
International Bxlilbltlon at DKlIan An Internttional
I'hotogiiipliic Ivvhibitimi will Ix" IwH at Milan frnm May to October,
18tM. A list of patrons, oonsistinj? of th« most renowned photo-
graphic scientists, has been organized. The offices of the Committee
are at Via Principe Umberto, 30, Milan, where entry forms and all
other particulars can be obtained.
Kerr Valents on Tbloslnamine. — Herr Vslenta lias
e.xperiinenfed with tbiosinamine as a fixing agent. He finds that
silrer chloride dissolves in a 1 : 10 solution of tbiosinamine as easily
as in hyposulphite, silver bromide di.s8olves less readily, and iodide
scarcely at all. The new solvent, therefore, can only be employed for
chloride papers.
Borio Add in the Combined Toning' and rising'
Bath. — Ilerr Gaedicke, having experimented with eighty-four dif-
ferent kinds of toning and fixing baths, recommends one containin"
boric acid. The addition of a lead salt is necessary. The following
is the formula : —
Distilled water 1000 cc.
Hypo :iOO grammes.
Boric acid 30 „
Nitrate of lead solution 1 : 15 1.5 „
Ammonium sulphocyanide 20 „
Gold chloride solution 1 : 20 60 cc.
The paper, if acid, should be washed in water to which a trace of
ammonia or sodium carbonate has been added. After washing, place
in above solution. The tone is of a reddish colour, but it dries
darker.
Treatment of Oelatlne Prints in Kot Weather.— If
in hot weather the gelatine has a tendency to leave the support, Der
Amateur Photograph recommends a preliminary immersion of the
prints for five minutes in —
Potash alum 5 gittmmes.
Water 100 „
Wash, and tone in —
Aluminium sulphocyanide 15 cc.
Water 100 „
Gold chloride solution 1 : 10 10 „
Fixation and washing as usual. The aluminium s-alphocyanide is a
liquid.
♦
PfiACTICAL HINTS ON WOBKING THE ILFOBD PBINTIXG-OUT
PAPER IN INDIA.*
I HAVE chosen the above subject for my contribution this year, which
will, no doubt, prove a benefit to the many readers of this valuable
annual who work the paper in this country, where the climate has a
great deal to do with the manipulation of the same.
I have used several tubes of the paper and worked it throughout the
year, in the hot and cold seasons and the monsoons — with the result
that I found it worked excellently through the two latter seasons, but it
became troublesome in the former, especially in the months of April and
May, and up to the middle of June.
I was one of the first to try the paper out here, having secured a
sample tube that was sent out to a dealer in Bombay about eighteen
months ago. I did not meet with much success at first, but I was so
taken up with the tone and general appearance of the print that I deter-
mined to give it a fair trial. I did not use the alum bath at first, which,
no doubt, accounted for the film being injured, which happened while I
was manipulating it. When another consignment arrived, I sent for a
tube. It was just as the monsoons were finishing, and from the course
I now adopt in using it (detailed further on) I may safely say that the
tone which I obtain is better than any I have as yet seen — even to the
sample prints that are being sent out by the makers, and one would
naturally think that they were the best that could be obtained. I have
• Received too late for the Almanao.
now adopted this paper, and abandoned the albaraenised pap«r
altogether. The following is the process I adopt :—
In cutting up the paper care roust be taken not to let your flngtrs
touch the sensitive side, as it is aure to leave a mark, which i« very
conspicuous when the print is finished. I cut the paper to the lize* I
require for the day's printinR, and keep the pieces in a large tube,
the one that the six sheets are packed in. After they are printed, I
put them into another similar tube, and so ihey remain till they are
required for toning, dc. I think tlie above is a very good way to
store the paper, besides making use of the old tabes, whieh taves the
necessity of getting specially constructed boxes. I print in the Bbad«,
and I get a very soft piciure. The printing does not take long, as the
paper is much more sensitive than the read^-sensitised albumeDtsed
paper that can be procured in the market. I generally wait till I have
printed three or more sheets, and then tone altogether. It may liappen
that they are printied a week or more before I am able to tone them,
but it does not make any difference, as I find the keeping qualities of
the paper are excellent, especially in a climate like India. It will be
found necessary to print a little darker than what is required for the
finished print, as the loss is not much during the toning and fixing
operations. This can only be found out by practice under negatives of
various densities.
In dry weather, when the paper will be perfectly dry, the image will
be of a purple colour ; whereas in damp weather it will be of a reddish
brown. A purple-coloured print must be carried further than a print
with a reddish brown aspect, as the former loses depth greatly in the
subsequent operations. The prints are first washed in eight changes
of cold water, by transferring them from one dish to another, which
generally occupies from fifteen to twenty minutes. By the time you have
passed them through the sixth washing, the milkiness in the water will
have disappeared. (Do not be tempted to add salt or carbonate of soda
to the last washing water, as I consider there is no advantage gained by
it.) They are then put in an alum bath of the following strength : —
Alum 3 oances.
Water , 80 „
and kept there for five to ten mitanies, wben they are taken out and
washed in five or six changes of water, after which they are ready for
being toned.
In the months of April, May, and Jane, it is absolutely necessary to
use ice. I have tried to do without it, but I find I cannot, for, with
every possible care bestowed upon them, the film is snre to be scratched
or injured in some way by the time they are finished. I do not find ice
necessary during the other parts of the year, as the alum is sufficient to
harden the film. The alum bath should never be omitted, as it renders
the film less liable to injury. The following is the strength of my toning
bath : —
Sulphocyanide of ammonium 100 grains.
Chloride of gold (Johnson's) 10 „
Water 60 oances.
The most convenient way in which to measure the gold is to dissolve
a 15 grain tube in 15 drachms of water, thus keeping the strength of
1 grain of gold to 1 drachm of water. The above bath is stronger than
the one recommended by the makers, but I have found it necessary to
increase it, on account of my always using the alum. In the event of
the latter not being used, the bath will be found too strong, and will
require diluting. The prints tone in this bath in from six to ten minutes.
The action of the bath is rather peculiar. As soon as the prints have
been immersed they turn to an orange colonr, losing their vigour con-
siderably ; they soon recover strength, and darken as the toning proceeds,
passing through various shades of red and brown till they become purple.
On the surface they will appear to be perfectly toned, but the tone must
be judged by transmitted light. Continne the toning until the brown
shade has disappeared, except from the deepest shadows. On the surface
they will appear to be considerably overtoned, but this alters in the
fixing. Do not over-tone them, or they will have a very slaty appearance.
The prints do not look so bright when dry as they do when wet, and this
we generally find in all cases, the dry print always looking much colder.
For warm-toned pictures the prints must be withdrawn from the toning
bath at an early stage, the colour being judged by looking through
them.
I never add gold to an exhausted bath, but prefer making an entirely
new one, as I find that by so doing, and allowing it to stand for forty-
eight hours, I obtain far better resolts. Above all things, never be
tempted to warm your toning bath, but use it about the same temperatars
as the washing water.
782
THE BRITISH JOURNAL OF PHOTOGRAPHS.
[December 8, 1893
As regards the fixing, the following is the strength of the bath I gene-
rally use : —
Hyposulphite of soda 6 ounces.
Water 40 „
Keep the prints in the bath from fifteen to twenty minutes, after which
they will be ready for being washed, which must be thorough, but not
prolonged.
The prints must be kept on the move through all the various baths, or
unequal toning or fixing is sure to result, which would spoil the picture in
time.
I first wash the prints in several changes of water, and then keep them
for two hours in a running stream, changing their position every five or
ten minutes ; they are then hung up to dry over lengths of string stretched
from one end of the room to the other.
The trimming and mounting is done in the usual way. For a
mountant I always use starch (Glenfield), vnth the exception of the
enamelled prints, when I use a very thin glue. Starch, in my opinion, is
about the best mountant a photographer could use. I mount the prints
dry. After they have been trimmed they are laid face downwards on a
piece of glass, and the mountant is put on them. The print is placed in
proper position on the mount, a piece of cloth is laid over it, and a roller
squeegee passed over the whole. I remove the cloth, and with a piece of
soft muslin or sponge, which has been previously moistened with water,
I gently rub the face of the print, which is then put aside to dry. Be
sure not to rub the print with a piece of cloth after you have placed it on
the mount, but use a roller squeegee, or you will injure the surface.
The enamelling is done the same as recommended by the makers. I
have enamelled a few, but for ordinary purposes I prefer the surface as it
is when they are finished in the ordinary way.
The paper is made in three colours, namely, pink, white, and mauve.
I prefer the white, as it is suitable for anything, and, in my opinion, looks
better.
In detailing the several processes in the foregoing, I have endeavoured
to be as concise and clear as possible, so as to make it readily understood
by all, and, in eonclusioa, I must place on record my firm belief, judging
from the results of my own experience, " that the Ilford P.O. P. will be
the standard of the future." John T. Fry.
PRINTING FROM GELATINE NEGATIVES, INTENSIFICATION,
COPYING, AND HALATION.*
Gelatine negatives may be printed from without being varnished. This
has been frequently mentioned, and I quite agree with it if you only want
a few copies, and the negative is of no farther value ; but, to print in
silver with any negative required for future use, no greater mistake can
be made. Sooner or later the results are disastrous and utter ruin to
the negative. Gelatine is so affected by moisture, and the silver paper
may be apparently dry, but the backs of the frames, the blotting or
backing which is frequently in many months of the year not always bone
dry, the temperature not always at summer heat, renders it imperative,
if you wish to preserve any negative, that it should be protected. In my
own practice I always, when the negative is thoroughly dry, coat it with
plain coUodion. This resists the damp to an enormous extent, and is
very effectual. They may then be used without much fear of future
loss, but where many copies are required it is necessary to varnish on the
gdatine film, and then very little chances of loss of negative. I wrote
some months since in The Bbitish Jocbnal of Photookaphy, stating I
had made what I believed to be a very valuable discovery, and offered to
remove the silver stains from any unvarnished negative sent me. This
had the result of my receiving over one thousand negatives from all parts.
With few exceptions I succeeded, but in some instances the silver had
eaten through the film in holes. To remove this you may as well try and
remove the small-pox marks from a man's face. If yon have occasion to
print immediately from a negative of any value, cover it with a piece of
talc ; and I may say this is a very excellent plan even if the negative has
been varnished iC numbers are required. I have some of Elliott's and
Silvester's stereoscopic groups, taken over thirty years ago, covered in this
way, and the plates are very little the worse for wear. Prevention is better
than cure.
Inteksificition.
Gelatine negatives in a great many instances require intensification.
I know of no better than the following : — Ist, A saturated solution of
bichloride of mercury, well wash, and then take your No. 1 hydro-
^oinone developer — say, hydroquiuone, 320 grains ; sulphite of soda,
* Beoeived too late for the Alhakac.
4 ounces ; bromide of potassium, 80 grains ; citric acid, 120 grains j
water, 40 ounces. Take 1 ounce of this stock solution to 4 of water,
and you will get a negative vastly improved, and of a beautiful brown-
tone that will give excellent results.
HiiiATioN AND Copying.
Collodion, for which I have a very great weakness, and its result,
nothing can excel. In the early days of photography I made a large
number of negatives of copies of paintings and engravings (in, I think,
1853 or 1854). Wet collodion is very extensively used, and nothing can
equal it for copying, ifec. One difficulty I found in copying, and
for interiors especially, was to get sufficient density without intensi-
fication ; this I succeeded in overcoming by coating the plate with.
an old blood-red collodion which would without the slightest diffi-
culty bring many a tear from the eye. Then, as soon as set, reverse
the position of the plate, and coat with a newly iodised collodion ; th&
results were all that was required. I have many negatives taken twenty-
five years ago of Westminster Abbey interiors, and, on comparing these
with those of the present day, the results, as far as halation is concerned,
are vastly superior ; one difficulty only I found, the film had a very
great tendency to split on drying. This I got over by pouring on a solution
of gum arable and water. If the results in other hands equal mine, the
reader won't grumble at the moments he has spent on the hints given.
HoRAiiB Nelson Kinq.
TELEPHOTOGR.A.PHY.'
4. The Intensity of the System for a given Extension of Camera. —
You are all aware that the intensity of a lens is dependent upon the
ratio existing betvreen the available or working aperture of a lens aiA
its focus. We have seen that the focus of a tele-photographic system
for a given extension of camera may be taken either as an absolute
measurement, or the focus may be considered in the sense of the
magnification obtained as against that of the positive lens forming-
part of the system. The intensity, then, may be arrived at by refer-
ence to either of these two considerations. In the first place, if the
absolute measurement of the focus be written down, the intensity is
arrived at by dividing it into the diameter of the aperture employed
in the positive lens, or the diameter of any diaphragm that is employed
in the positive lens when making the exposure. The second metLod
is perhaps the simpler, for, in this case, whatever intensity be em-
ployed in the positive lens, it is only necessary to divide that fraction
by the magnification, and you have forthwith the intensity of the tele-
photographic system.
•5, 6. The Angle of View and Plate covered. — These are dependent
upon the foci and diameters of both positive and negative elements
contained in the system. Referring to fig. 3, the diameter of the
circle beyond which no light can pass being called D, apertures of the
Fic-in
positive and negative elements, a and a' and the foci faadf respect-
tively, the formula for obtaining the diameter is as follows : —
T^ i ,*>,\ av!f + af(v+/) I
i>=0'+/){/x.(/-/')+.;^jl
and the angular diameter of the field of view is —
v(af+af') + aff
= tan.
fi<f-f\+fn
=tan ^^ — ^f- approximately.
The first of thess formulae only requires a knowledge of arithmetic
Concluded from page 768.
ber 8, 1893]
THE BKIT18H JODRNAL OF PHOTOGRAPHY.
783
to readily determine the diameter of the circle covered, and the second
is similarly interpreted by a reference to a table of natural tangenta
to obtain" the angular measurement. It will be observed that,
although the angle is nearly a constant, this does not imply that for
various extensions of camera the angle included upon one of the same
plate will be the same. This, of course, is not the case, and is in itself
« very valuable feature of the instrument, in that it is not inf reauently
(ound that a portion only of some subject composes pictorialiy, and
that its surroundings, if included, may mar the^effect. By the use of
this lens, a camera extension may be chosen to include 6nly just so
much as may be desired, and allowing this to occupy the whole plate
<^see fig. 4).
We have now examined all the elements necessarv for the exact
determination of the capabilities of any tele-photographic system. It
is evident to you that any positive lens, no matter whether of the
portrait, rapid" rectilinear, or slower types of lenses, can be converted
into a tele-photographic system.
If the focus of a negative lens be chosen one-half that of the
positive, you know in the limit that for any extension of camera
the tele-photographic lens will give double the magnification of any
positive of the same camera extension. If the negative lens be a
third of the focus of the positive, the size of image will be three times
that of the extension of camera chosen, and so on.
Hence, in making a choice of a suitable negative lens to combine
with any positive lens, attention must be paid to the object to which
the lens will be put. Weaker negatives will, of course, not give so
much magnification as stronger ones, but score on the points of greater
rapidity and greater covering power.
It is evident that, to avoid too much loss in intensity where high
magnification is required, a rapid portrait lens of high intensity is
best selected for the positive element. Such a positive element -will
naturally also score on the question of rapidity equally if a weak
negative be employed with it ; but any one who would propose to
convert a slow lens into a tele-photographic system must bear in
mind the necessity of choosing a weak negative to employ with it, or
the rapidity of the entire instrument will become too much reduced
to be of any value in any but timed exposures.
For instantaneous work I recommend a negative of half the focus
of the positive, and that the positive should have an aperture of at
least/-!. With this weaker magnification it is hardly necessary to
employ the special form of portrait lens invented by my late father,
although it is preferable, and, as I have before stated, if a high magni-
fication is given, that adjustment for the correction of spherical aberra-
tion contained in it becomes essential.
For slower lenses I do not recommend a higher magnification than
that suggested for instantaneous work, namely, with a negative one-
half the focus of the positive. Such a lens may perform rapid work
in bright light if the positive has an intensity /-8, provided too long
an extension of camera be not chosen. When slower types of lenses
are employed as positive elements, similar magnification can, of course,
be obtained, but at the sacrifice of rapidity. In a word, a rapid
positive lens must be chosen to construct a rapid tele-photographic
system ; but, if only moderate intensity obtains in the positive
system, moderate magnification only can be expected consistent with
adequate rapidity.
I will now call your attention to the most recent form of negative
system that I have adopted. You will probably remember that the
original form which I show you consisted of a single cemented posi-
tive and a single cemented negative. This I discarded within a few
months of bringing it out, on account of the difficulty in overcoming
very violent chromatic error in other than central pencils ; also from
the fact that a single system constructed on these lines does not
enable one to correct the errors of spherical aberration for other than
one definite camera extension ; and, furthermore, it was impossible to
eliminate the very violent pincushion distortion. The next step was
to employ as a positive element a system corrected throughout its
field, and to construct a negative which should enable the entire tele-
photographic system to be properly corrected throughout the field,
with the means of correcting the aberrations of spherical and
chromatic order, and reducing distortion to a minimum. The form
adopted consisted of a symmetrical form with exterior convexities as
opposed to the single triple cemented form with exterior concavities
(see a and b, fig. 5). Later on I adopted another symmetrical form for
use with lenses of low initial intensity, still maintaining the exterior
convexities (see c, fig. 5). This form I found useful in reducing the
astigmatic error contained in the older types of cemented doublets,
and from its form enabling weaker negative lenses to be made larger
in diameter than was formerly possible, tending to greater quality of
illumination and greater covering power.
On the occasion of a lecture I gave La March of this year at the
Society of Arts, I described a form of unsymmetrical negative, and
explained that it had an advantage over a symmetrical form, in that,
by using it with one surface of the combination towards the positive
lens or reversing it, I was enabled to obtain two planes for the
reception of the image, one somewhat near the lens and the other at
a considerable distance from it, in each of which there was perfect flat-
ness of field (see d, fig. .5). You will observe the manner in which
the lenses are mounted, and the right position in which to use them is
Y,g y
!'
Short ekteihsion
1.0NS EXTENSION
conveyed by the manner of mounting. The projecting cell projects
inside the camera for a small extension of camera, when the positive
lens is more separated from the negative, and the cell b reversed and
projects into the lens mount for a greater extension of camera, when
positive and negative lenses are nearer together, thus assisting
portability.
Now, with any fixed system, there is only one plane or definite
camera extension in which there is a perfectly flat field. For an
extension shorter than this the field is curved towards the lens,
and for a greater extension the field is curved in a reverse direction.
Now, by the form which you see figured at d, there are two such
planes of perfect flatness, as already stated ; and, furthermore, by the
unsymmetrical form adopted, the eccentrical pencil is admirably
corrected for both positions. In the case of the shorter extension,
with the two concave contacts towards the lens, the pencils leaving
the positive lens become lengthened, as it were, and give a flat field
at a suitable distance for producing instantaneous work. If the
negative were kept in the same position for a considerable extension
of camera, the field would have a large amount of reversed curvature
of field and a badly corrected eccentrical pencil. By reversing the
negative element in the cell, the field becomes perfectly flat, and the
eccentrical pencil perfectly corrected; in this case, ns you will
observe, the two convex contacts being presented towards the rays
784
THE BRITISH JOUBNAL OF PHOTOGRAPHY.
[December 8, 1803
leaving tie positive element assisting in correcting the residual
astigmatic error of the positive system. It has been in the effort of
producing greater rapidity in tele-photographic systems, when it is
only possible to employ moderate camera extension, that decided me
to develop this form of negative to its present state of utility.
When tefe-photographic lenses were first employed, the general
desire was high magnification only, and in that case I found the sym-
metrical form answer its purpose adequately, as it was constructed with
a definite object in view, and not so much for varied applications.
I have to add now a few words on the necessity of avoiding
tremor when photographing with lenses of this type. You have
observed that the nodal point from which the focus is measured lies
outside of the lens mount, so that, in giving any movement to the
camera, one is producing a magnified error of tremor upon the ground
glass in a similar manner to that in which the long end of a lever
will move a greater distance than the shorter arm of an equal amount
of angular deflection.
Another matter to which I wish to direct your attention is the
necessity of very accurate focussing. This is performed with the
rack and pinion, which separates the two elements, and it will be
noticed that a very slight movement here will bring about a very
rapid alteration in the focus. With the necessity for very accurate
registration of the focus in view, I have recently turned my attention
to constructing what I believe are two new focus-finders, which I
will briefly describe.
In fig. 6 a mirror, m, is placed outside the top of the camera,
parallel (preferably) to the plane of the plate where the image is
>
Ff^sr
r/
— ^^
\ ■ —
B
p
IIl.
r "
te= =
eventually received. At a convenient angle to the mirror a re-
movable tube, or other enclosed dark chamber, is attached. If the
mirror be perpendicular, the angle will be forty-five degrees. On
looking down the tube, the image is seen upon a whitened screen, and
this is actuated by a lever to remove it out of the way when ex-
posure takes place. Behind this screen is a blind shutter. In
removing the screen by the lever, the shutter, with the plate just
behind it, brings the register of the latter into focus, and releases the
shutter at the same time. I have to thank Mr. Newman, of Messrs.
Newman & Guardia, for the accurate and intelligent manner in
which he has carried out the mechanical portion of the work in
this piece of apparatus, as well as in the mechanical details of the
second form, which I will now describe. The principle of its con-
struction rests on the fact, that the photographic lens, which forms
the image upon the screen or sensitive plate, is itself also the object-
glass of a telescope, through which the object photographed is also
seen. You will observe in fig. 7 that a mirror is placed at an angle
of forty-five degrees behind the back lens of the photographic ob-
jective. This mirror is properly enclosed, so that no light shall reach
the sensitive plate. A second mirror, parallel to this, is placed on
the top of the camera, and behind the second mirror is fixed a tube
carrying an ordinary terrestrial eyepiece. The whole being arranged
80 that no light enters the camera. For any individual observer the
instrument is made to perform absolute registration of focus, once
and for all, in the following manner : The mirror behind the lens is
temporarily removed, and some known object is focussed upon the
screen. The mirror is then placed into position, and the terrestrial
evepiece is then adjusted, so that the same object is sharply defined.
I^he terrestrial eyepiece must be then fixed, or its position registered
for the individual observer. It will then be found that, whatever
object is in focus (made by the rack and pinion on the lens mount)
seen through the telescope eyepiece will be ab.solutely in focus upon
the screen or sensitive plate. 1 have discussed one or two methods
of removing the mirror behind the lens to expose the plate with Mr.
Newman, and we decided upon the form I show you as being very
convenient. The spring which turns the mirror out of the way
releases a small roller-blind shutter at the same instant. I first
proposed to make this mirror revolve upon a diagonal axis, but do
not think the same amount of light would be received upon the
plate.
I half promised our friends, Mr. Winter and the Honorary Secre-
tary, to bring you some results in tele-photography from the Norfolk
Broads, but I regret to say that my main object was to try for living
subjects, and the instrument was not ready in time. I took com-
parison proofs of an ordinary technical subject with moderate power
negative attached to an ordinary rapid rectilinear lens. Mr. Hep-
worth has been kind enough to make lantern slides for me, and I
have also to thank Mr. Rice for other comparison slides which he has
taken for me, using in every case the same extension of camera.
These I will now place upon the screen, but, before concluding, must
thank you for the patient hearing you have given to a subject the
importance of which I dare to hope is acknowledged by every photo-
grapher. T. R. Dallmeyeb, F.R.A.S.
EDINBURGH PHOTOGRAPHIC SOCIETY'S EXHIBITION.
OcK Edinburgh correspondent writes: With the advent of winter this
Society has again its exhibition and medalling of the best work of the
members during the past year. The examples shown are about equal in
number to those exhibited in previous years, but, it must be stated, far
superior in quality, especially so in the feeling of artistic as opposed to
mere photographic excellence. It is a pity that, in an art-loving and
practising centre such as Edinburgh, with quite free admission, there
should be such a paucity of visitors. During my visit, in the best part
of a brilUantly fine, if cold, day, the entire number of visitors were seven
ladies and one young man, a pressman, whose only mission was to find if
there was to be any formal closing, which he desired to report. He was
absolutely guileless of any knowledge of pictures or photography, but he
could write so many words a minute.
One of the questions put by him was, " What do the various Classes II.
to y. embrace " (I. was not visible) ? a question also pat by one of the
ladies. Explanations in the room there were none, catalogues ditto,
names, rwms-de-pliimc, and non-conipetitives were there, titles occasion-
ally, but anything giving any idea explanatory of such facts as one would
wish to know and remember were generally absent.
In all the most important subjects the seer was left to guesswork.
Now, in a painters' Exhibition the hahiuie soon gets to know, without a
catalogue, the style, the mannerisms, the hand work of the artist if seen
for several times ; this is also visible with some photographers, where
even the accessories and properties tell what the nom-de-phime is
meant to hide, and doubtless to many more skilled than I they
tell who their producers are, as handwriting often does without opening
the letter. Is not this a mistake ? Should there not be in every such
Exhibition the fullest publicity given to all that may interest visitors ?
How often has a cleverly devised, or even a hastily well-chosen, title im-
mortalised a subject, as well in prose or verse as in representative
art, and the time seems now come when we may class all efforts at repre-
sentation of what is, as art fine or otherwise, just as there are grades in
poetry and prose, il-o. Of course, with all imaginative subjects of depic-
tion a different code of reasoning must be adopted.
I looked in vain for lantern slides, or any proofs on glass, although
there is excellent accommodation for their display, vrithout in the
slightest degree deteriorating the lighting of the other pictures in the
rather-diffioult-to-light Exhibition room. They would, I presume, be too
precious to be displayed to vulgar eyes without the necessary lantern,
but yet they might have been removed for judgment or something else on
the day of my visit. Examination of the slide itself, as well as its effect
when projected on the screen, has a distinct educational effect — one of
the principal purposes of an Exhibition.
Looking at the show as a whole, there is, undoubtedly, marked pro-
gress, especially in the picture-making department. It is true that
painter, draughtsman, and etcher have had hundreds of years' start of
the photographer in attempting to depicture external nature, and so
have led, trained, or warped our ideas of how such things should be re-
presented ; but they have also, by example, shown what to do by their
successes, and what to avoid by their mistakes, which are many. It may.
DMe.nb«r 8. 1803]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
788
iodeeii, bu said that the analytic art critic hag done more, edaoationolly,
than the artist himself, 80 progress to the utmost perfection must not
be looked for yet a while. The true artist being so by nature will show
himself, no matter the medium through which he chooses to display
bis skill.
The decisions as to the most meritorious exhibits were announoed on
the closing evening of the Exhibition : —
I. Lantern Slides. — There being none of outBtanding merit, the silver
medal was withheld, and two bronze ones were awarded, one to H. J.
Blanc, A.R.S.A., and one to William Mitchell.
II. Pictures taken during the Saturday liamblas, — The silver medftl
to Jamea Boddiok, bronze to T. Barclay, S«oretary,
III. Genre Pictures. — Withheld in the mean time.
IV. Best General Work during the Season. — Silver medal to J. B.
Johnstone, and a brooze each to Dr. Drinkwater (President) and O. L.
M'Gibbon.
V. EnlarKements. — Silver medal to James Patrick, bronze medal to
E. S. Webster.
All the slides on exhibition were shown daring the evening.
THE SPEED OF PL.\TES: A CRITICISM AND A REPLY.
.f Pripor read on Thursday, November 23, at the Camera Club. Communicated by the
Author.]
A aooD many attempts have been made at various times to measure
and set out numerically the sjieed of a photographic dry plate. Some
have been more, some less, scientific ; some have been based on a
study of the ni»ture of a plate and the action of light upon it, and
■others have been purely arbitrary. They all, however, seem to suffer
from one defect, viz., that no one has ever yet given a sound defi-
nition of the " speed of a plate,'' and, consequently, in these methods of
speed determination the quantity found and investigated depends not
only upon the nature of the plate, but upon the method of investigation ;
and the " speed " is expliciuy or implicitljr defined to be some quantity
that has cropped up in the course of the investigation rather than a
constant of the plate itself.
This being so, it seems to be worth while to try whether some
sound definition cannot be given of the term " speed of a plate," and
whether this quantity can be expressed in definite numerical terms.
The most natural definition of " speed " that can be given would
run something like the following : —
One plate may be said to be twice as fast as another when, the two
being exposed under the same conditions, the slower plate requires twice
the exjMmre of the faster, in order that, when the negatives are complete,
they may be identical.
The first objection to this definition is the tacit assumption that it
is possible to make two exactly similar negatives on two different
plates. It is certain that this cannot always be done. To take an
extreme case, it is absurd to suppose that, if a slow plate, thickly
coated and rich in silver, so e.xposed as to give a round and sparkling
negative, be taken for one, and a thin foggy plate, poor in silver, for
the other, a negative a.s rich, and round, and sparkling can be produced
on it iis on the slow plate. Our definition, therefore, fails from the
nature of things at the outset. And this leads us to consider whether
the quality " speed " is really a property of the plate alone. In a
certain sense no doubt it is, for it is clearly impossible to expose a
slow plate with a rapid shutter in a didl light and get results,
although, if a quick plate be substituted, a good negative may be
obtained under otherwise ideutical circumstances.
The fact is, that the quantity we are accustomed to think of as
speed is a highly complex quantity, and depends on the nature and
make of the plate, the circumstances under which it is to be used,
and the treatment to which it is to be subjected ; more even than
this, too, it depends on the result which it is desired to obtain ; in
fact, paradoxical as it may sound, the speed of a plate depends on its
future history as well as on its past. For a long time since, a
terrific wordy war has raged over the question whether the "speed
of a plate " is dependent on the development or not, although possibly
Messrs. Ilurter & Driffield, whose position has been attacked, would
never have affirmed that it was not. But now it may probably be
said that they have withdrawn from the position that they did take
up, viz., that the ratio of gradation in a negative cannot be affected
by development.
The only rational definition of "speed " that depends solely on the
nature of the plate, and not on any hypotheis that can be given,
having been shown to fail, the question arises, What can be done to
give tTie photographer some idea as to the relative exposures required
by different plates ? It is required to choose some property of a
plate that can be expressed numerically which will give the user
some rough idea as to whether, if Plate A requires five seconds
under given circumstances to give a good resulting negative, Plata B
will require seven, or ten, or thirty. It is impowible, ojt has abwtdT
been shown, to give more than a rough idea, and thi..< will appaar itiit
more plainly in what follows. Let us first con*id«ir the rMuit that
it is required to obtain, .Tiz., the finished positive print or trans-
parency.
Now, it has been held by the combatants in this discussion, andes-
peciallj; by Messrs. Hurter & Driffield, that the scale or (gradation of
the finished result i.- reauired to be the same as that of the scene
portrayed. When this desideratum is attained, the print, they say,
IS phoiographically true, and the result is perfect. Surely this is con-
trary to all our knowledge up to the present time. Except for
special purposes, such a print would be flat, stale, and unprofitable.
It must be remembered that in working on paper or canvas we are
not working between anything hke .»uch wida limits of darkness and
light as occur in nature, but between the relatively narrow liouta of
black and white. Yet in these limits it is required to give the im-
pression of darkness and light. How is this done ? Ask any artist,
and he will say that in working on canvas he consciously exaggerates
his contrasts. X bit of j^ellow paint, dull and without lustre of
itself, shines and glistens with the lustre of a gold ring when cleverly
backed with a heavy shadow. How does Turner gain the effect of
f;loriou8 glowing sunshine in his pictures? Not by the intrinsic
uminosity of his colours, but by his skill in contrasting them. The
mind is susceptible to the effect of contrast, and has been trained to
appreciate it and translate it, till the mental effect is identical, or at
least of the same order, with the mental effect of the light and
shade of the scene itself. How does the photographer obtain this
effect ? By making his prints slightly harder than they would be if
they were in an exactly proportional scale ; by intentionally, though
perhaps unconsciously, exaggerating his contrasts. In fact, by
utiUsing that portion of the scale wrongly termed by Hurter s,
Driffield the " period of under-exposure."
Let us now examine the effect on a plate of a series of graduated
exposures. A large number of measurements of the transparencies
of plates exposed in a graduated manner in Spurge's sensitometer, and
in other ways, have been published by Captain Abney, and Messrs.
Hurter & Driffield, and others, any one of which will do for our pre-
sent purpose.
We will take a plate exposed by Abney, and measured both by
him and the writer. It is one that has been frequently spoken of at
the Camera Club, and is typical of all the others. We will plot two
curves from the measurements of this plate. In one, the logarithms
of the exposures are set off horizontally as abscissae, and the corre-
sponding transparencies are measured vertically as ordinates. This is
the method of plotting used by Abney in his method of speed deter-
mination. In the other, Hurter & Driffield's method is used, and the
difference is that the logarithms of the transparencies, or " densities "
as they are termed by those authors, are plotted vertically as ordinates.
Let us compare the methods of speed determination of these two
authors. It will be seen from fig. 1 that the speed of the plate is
given by the points marked A and B in the diagram, according to
Hurter & Driffield and Abney's methods.
According to the former, the slowness of the plate is proportional
to 60, about, in some arbitrary units ; according to the latter it is pro-
portional to about 1 in some other arbitrary units. There is no reason
at first sight why these should not both be true. That point will be
considered later. The thing to be noticed, however, in this diagram
is the part of the curve from which the number representinir the
slowness of the plate is deduced. By Abney's method it is deduced
from the part lying between the exposures 2 and 32 in the arbitrary
units we are considering. By Hurter & Driffield's method it is
deduced from the part of the curve lying between the exposures
20 and 101. We will lay no stress on the fact that, in this par-
ticular case, as in fact in all, the figure is deduced from a more ex-
tended set of exposures by Abney's methods than by Hurter & Drif-
field's. But it is most important to notice that, by Abney's method,
the figure roughly representing the speed is deduced from a set of
expasures that give densities on the negative that are practically use-
ful to the photographer, while, by Hurter & Driffield's method, it is
deduced from a part of the curve in which the transparencies are of
hardly any printing value. Abney's figure is deduced from a negative
with transparencies ranging from 94 per cent, to 16J per cent., while
Hurter & Driffield's is deduced from a negative with transparencies
ranging from 26i per cent, to 4 J per cent. Surely no further illustra-
tion is needed of the comparative futility of Hurter & Driffield's
method, for which they have claimed so much.
Again, let us look a little more closely into the printing values of
the two types of negative. In the case of the negative used by Abney,
the speed of the plate is deduced from a series of exposures, such that
786
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[December 7, 1893
the resulting transparency of any part of the negative relative to
another part, that is to say, the printing value of that part of the
negative, is inversely proportional to the exposure of that part. This
Fig. 1.
121-2
1-000
« -8
1-7
IIKI
nil
■■■■ni
!■■■!»■■»■■■■■■
^klKl
■■■■nnnBBHBi
IBI
BgaMHHBBBBIggaa
12 4
Exposures.
8 IG 32 G4 128 256 512
is Hurler & Driffield's criterion for a perfect negative. (See Photo-
Chemical Investigations, p. 1.)
But, in the case of the negative given hy the series of exposures
utilised by Hurter & Driffield, it is quite easy to show, by an alge-
braical transformation of their approximate equation, that the printing
value IS inversely proportional to some power of the exposure ; so
that, while Abney's avowedly empirical formula gives approximately
the required perfect negative, as defined by Hurler & Driffield, their
own formula, which is put forward as an approximation to a formula
not empiric, does nothing of the sort. In fact, their formula and
whole method of speed determination is based on a misconception.*
Ihe quantity found no doubt does roughly represent the speed of the
plate in a certain way, when exposed and treated in a particular
manner; but it is of no use, because this particular manner is one in
which no ordinary photographer would think of treating a plate,
• The printmg value of a negative depends on the difference.s of the trans-
parencies of the various parts, so that we may fairly take ^, the differential
of the transparency, for its measure. Since the curve of a plate, as plotted by
parts near this pomt we may substitute the equation of a straight line for that
ofthecurve, and this IS what Hurler & Driffield have done to get their ap-
proximate equation. The equation of the straight line, in the case of Abney's
T = A - B log I,
where A and B are constants, whence ^ = - f , and the printing value is
fi"eld'^f^e''i8^°'^''°°*' ^ '^® exposure. But the equation of Hurter & Drif-
log T = Bi log I - Ai
Bi - 1
, <iT _ T „
wnence ^ _ _bi = kI, where k is some constant, and this expression "in
no way coincides with the required criterion.
whereas Abney's method gives a quantity which does not pretend to
give more than a rough idea of the speed under normal treatment.
From the nature of things it can do no more than this. And its value
consists in the fact that the series of transparencies from which it is
derived is just that series that the average photogi-apher utilises in his
ordinary work.
It Jremains for us now to see what relation there is between the
speeds derived by means of Abney's method, and by Hurter &
Driffield's. It may easily happen that the relative speed of two plates
will come out the same when determined by either method, but it
may equally easily happen that this is far from being the case. In
fact, a glance at fig. 1 will show that it is only the case when the
range of the two plates is about the same — that is to say, when the
range in which the printing values are nearly inversely proportional
to the exposures is the same in both.
The best method of examining this point will be to take several
plates and plot their curves according to the two methods, on the
same scale, and then examine the results. In order to be absolutely
impartial, we will take two plates referred to in Abney's paper at the
Camera Club Conference, four plates measured by the writer, and
three measured by Hurter & Driffield. The two plates referred to
in Abney's paper are a wet plate and a " lantern " plate. A jyriori, if
the lantern plate is a good one, we should expect it to give a negative
approximating in gradation to that on the wet plate, since this " wet-
plate " quality is usually desired in lantern plates ; that is to say,
the scales and ranges of the two plates would be expected to be
similar, and the relative speed, as has already been pointed out,
should be nearly the same when measured by either method. It is
hard to apply Hurter & Driffield's method in this case, since the
plates have not been measured through a long enough range ; but, so
far as can be judged, it appears, on plotting the requisite curves, that
the relative speeds of the two are nearly identical, and the lantern
plate comes out about 2'7 times as fast as the wet plate, by whichever
method it is measured.
The four plates measured by the writer are numbered 13, 14, 1.5, 16
{see fig. 2.). No. 13 is a verj- slow plate, of well-known make; No.
14 one of the fastest plates in the market ; Nos. 15 and 16 are re-
Uieis
13
Fio. 2.
SaSSS!SBBB9Ba!B!!!ii!iieBBBBHH
!SSBSBS!S!Sl!BB"""Mnna888
SS88888888S^g88888S88S888SS888
SSS88888S8Sg888888888S88HS8i
!BBSB8a!SS£8888S88888S^^^^
IftU,
!BS5SSi^^!!SSSSSBE£9"'^^i*'""""«aa
■■BBBBWKBBHBBBiPSilBBflBBBBBBflBH
■BBBBBBia\1BBBB3R3flaBBSBB3BaBBB
■■■■■HBfliK!iBBi!aisa8BK88Si!Si8S58S
BBBBBgB£B31Ei?'^i>HB""8S^a5BSS8B
lflBBBEIBBIKB!!s.!!IBBBBflB3K5BBBBBBaB
,JBBBBaa«SaBBSBi£!«B!3BBBSSaiBSSBBB
■BBBBblIE^BBBBBS9«95BBSBBS«SBSS
■WBggBgaBBBBBBBBMBggigisi
14 1615 13
Logs of Exposures.
spectively a slow and a rapid plate, by the same makers, and are also
well-known plates. These were all exposed for the same time in a
Spurge's sensitometer, and developed in the same bath, a ferrous-
oxalate developer being used, so that the experiments are strictly
comparable. 'The relative speeds, as measured by the two methods,
are given in the following table : —
Plate.
Abney
Hurte? & Driffield .
1
13
14
15
16
1
1
3i
ij
3
6
December 8. 18931
THE BRITIBH JOURNAL OP PHOTOGIU.PHY.
787
In this table the slowest plate in taken to have a speed of unity,
and the others are compared with it. Thus, if an exposure of ten
seconds is the least which will produce a negative with I'late No. 13,
according to Captain Abney's method, three is the minimum exposure
with Plate No. 14, and, according to Messrs. Hurter & BrifHeld, one
only will be required.
It should be noted that, in the field, a slow plate is apt to appear
much slower than it really is, since there is so great latitude of
exposure with it. It has been said of plates of the same make as
No. 13 that it is impossible by any reasonable exposure to over-expose
them. Now, the writer has never compared Plates Nos. 13 and 14 in
the field, but he has often used No. l-"! and another plate very similar
to No. 14, and of about the same speed, together, and it has been his
habit to give No. 13 about five or six times the exposure of the faster
one. Allowing for the tendency to fully expose a slow plate, it will
be seen that, for practical purposes, Abney's number is probably
nearer the mark than Hurter & Driffield'?. This is not, however,
convincing evidence, and must be taken for what it is worth. The
curves of these plates are shown in fig. 2. The curves marked
13, &c., are plotted by Abney's method, those marked l.'i, a, &c., by
Hurter ifc Driffield's. The numbers and arrows at the top of the
plate show the position of the slowness points by Abney's method,
those at the buttom the corresponding points by that of Hurter &
Driffield.
The three plates measured by Messrs. Hurter & Driffield are
Experiments 21 and 2J in their paper, and the chloro-bromide plate
mentioned by Dr. Hurter in his criticism on Captain Abney's paper,
made at the Camera Club, and reported in the Club Journal for July,
1893. Taking the speed of the chloro-bromide plate as unity, we get
the following table of speeds : —
Chloro-broin.
Plate. Expt. 21. Expt. 22.
Abnev 1 67 91
Hurter & Driffield 1 2 16
Here is a remarkable thing ! Experiment 22 is a denser and
apparently more fully exposed plate than Experiment 21 throughout
the first few exposures of the series, and Abney's method brings it out
the faster. 'iet Hurter & Driffield's method inverts this order,
although each of the whole series of densities in Experiment 22 is
greater than the nearest corresponding density in Experiment 21.
One curious instance of a plate exposed and developed liy Abney
may be cited. This plate was cut in half after exposure, and the
halves developed with different developers, viz., an eikonogen
developer and one made up of ferrous citro-oxalate. On plotting
Abney's measurements it is found that, while according to his method
of estimating the speed the eikonogen-developed half was faster than
the other in the ratio of 18 to 1, according to the other method the
ratio became 12.5 to 1. This case, however, was affected by the
same difficulty as was the case of the lantern plate and wet plate,
since the measurements were not carried far enough, and did not
include parts of sufficient opacity to draw the whole of the nearly
straight portion of Hurtt-r \; Driffield's curve.
Sufficient has already been said to show that it is impossible to
give in one term a number representing the sensitiveness of a photo-
graphic plate with any degree of accuracy, but that for rough pur-
poses the method propounded by Abney supplies a number that more
nearly represents this quantity, as required in the practice of most
photographers, than that of Hurter & Driffield. It now remains to
take up in detail some of the criticisms and strictures passed by Dr.
Hurter at the Camera Club on this method, and see with what justice
they were applied.
In the first place. Dr. Hurter proceeded to defend the assumption
on which his larger formula was based. It has, however, been
pointed out, by the writer and others, that this assumption depended
on an experiment that was, to say the least, equivocal, and certainly
not one on which to base so far-reaching a theory.* H. M. Elder.
{To be continued.)
* The experiment is described at p. 11 of Hurter & Driffield's Photo-Chemi-
cal Investiijaliiins in the following words; — "The co-efticient of absorption,
K ha.s been assumed by us to have the same value both for the altered and the
unaltered silver bromide. We have, however, experitaentally ascertained that
this is a fact. It can ea.sily be proved photographically. If behind a plate,
one portion of which has liten already exposed so as to yield maximum density,
the other portion having received no exposure at all, a very sensitive plate is
placed, and if now a suitable exposure be given, it will, on development, be
found that the shielded plate has uniform density all over. " This is certainly
an interesting observation, and. if true, at first sight seems to bear out the
assumption based upon it by Hurter & Driffield. Still, it is open to many
objections. lu the first place it proves absolutely nothing about the light
absorbed by the altered and unaltered silver bromide, for, assuming this to be
opaque, no alteration in composition, or constitution, or colour, would aflect
the light transmitted by it, the co-efficient of reflection might alone be altered
FOURTEEN YEARS AOO.
Fourteen years ago a cart, drawn by a pair of bollocks, used to carry my
photographic kit for outdoor work. The erection of the dark t«nt, witbio
which I worked, occupied half an hour, and the providing of the water
snpply, the cleansing of plates, and the setting of other arrangement*
for collodion work took an hour more. For one raoa«M I had ntnmX
failures, through chemical defects, plates drying with peculiar marki,
films splitting and slipping, subjects moving, and once I remember
working two days to get a satisfactory group of children. Only last
month, as I was passing along the road, I stopped my carriage opposite a
Hindu temple, and in a few seconds, with the clip of the shutter of my
trusty Loman's hand camera, obtained a fine little picture of a group of
idol cars, with worshippers in their various attitudes, from which I have
since produced an enlargement. In 1879 my nearest neighbouring
owner of a camera lived 200 miles away, and now, in this remote Hindn
district of the island of Ceylon, there is a firm supplying photographic
goods. The modern dry plate, which, throngh its simplicity and clean-
ness of working, gave the strong impetus to the popularisation of the
photographic art, was only becoming talked about in 1878, and aneh an
able artist as H. P. Robinson writes, in an 1880 Aluanac, in his account
of "A Cruise with Dry Plates," of commencing "last July" the use of
these plates, "with the strict impartiality of a novice who know»
nothing." Recently, I had to mount, in chronological order, a series
of photographs, taken on collodion and gelatine, a comparison of which
showed me the remarkable fact that, notwithstanding all the modem im-
provements, the old collodion possessed a marked superiority in the
peculiar softness and brilliancy it rendered. I could not say whether it .
was due to any inherent qualities in the two vehicles, or to the necessity
with collodion of developing at the time, which admitted of always cor-
recting errors in development by fresh trials ; but the old process shows a .
distinct superiority in the rendering of tones.
Photography had its field greatly widened in another direction daring .
the last fourteen years. In 1880" the mechanically accurate and prac-
ticable method of half-tone block-making" was being introduced to the .-
notice of printers and publishers, and now almost every illustrated news-
paper bears reproductions of photographs that enable those at a distance =
to realise events and scenes in a way never expected before photography,
came to the aid of the engraver. S. KAXAOABATNAUPiUiAJ.
Jaffna, Ceylon.
HALATION: A COUNTERBLAST.'
It was early summer at Kennaquhairlo, and I found myself watching thei ■
scene on honr before sunset. The sun was descending in a cloudless sky,
but some tall and fairly well-clad trees intervened. You all know the
effect I witnessed; the leaves, twigs, branches, nay, the very trunks of
the trees that attempted to block out old Helios were, or seemed to have •
been, quite obliterated by his overpowering beams, and this influence
extended over so large an area as to give warrant to a belief that the sun .
was at least six times larger than we know him actually to be, as shown <
by measurement through our telescopes.
How, O ye natnralistics, must I represent the scene described ? Am I
to employ anti-halation plates and a diaphragm of the dimensions of a...
fractional part of a pinhole ?
This, yon will observe, lands me in a difficulty. If I represent Old '
Sol, as 1 know him scientifically to be, in relation to the trees, I set at
defiance all tmth as displayed to our unaided visual orbs, and if, on the
oontrary, I represent the scene just Eta I see it, I run connter to actuality,
for we know that the trees are there, although the camera, which, of
course, never can, and never does (?), lie, shows them to be absent, and
very conspicuous by their absence.
Again, I transport myself to the interior of a cathedral, or, for that
matter, to any church, and I find the large and well-lighted window in
the 9nd surrounded by a halo.
It is, I am told, the perfection of photography to photograph this in-
terior without showing a trace of this halo, which, however, is part and
parcel of the scene as witnessed from the interior. Suppose I succeed in
doing so, would such scene, think yon, be natural ? I trow not.
to compensate for the alteration in the co-efficieut of absorption. A^'ain, if it
be not absolutely opaque, there is no reason to suppose that the tra' s|>arency
is necessarily altered by the effect of the light upon it. Even if it W iiltered,
the alteration is certainly small, and, since the unexposed portion is nef.->.<»rily
exposed during tlie experiment, the difference in the effect of the light trans-
mitted by the two halves may very easily be so small as to elude notice, even
when careful measurements are made. In fact, the experiment can in no sense '
be called a crucial one.
* Received too late for the Almakac.
788
THE BRITISH JOUKNAX OF PHOTOGRAPHY.
[December 8, 1893
The famous trotting and running horses of Muybridge oomo handily
in here to illustrate what, by this time, ought to rank as a truism, yiz. ,
that reality is not . necessarily truth, for no eye ever saw the legs of
these animals as depicted by him, although we know that he depicted
nothing that was not there before his camera, and yet it is not truth
according to the impressions conveyed to the brain by any sound pair of
eyes.
If, then, as artists, we are to depose Muybridge's soientiflcally accurate
limning of the quadrupedal limbs when in rapid motion in favour of
those which are impressed on the retina, on what principle are we, by
scientific means, to obliterate and leave unrecorded that halation which
forms an. effective item in a scene?
Geoboe Mabehau, M.D.
THE KEEPING QUALITIES OF CELLULOID FILMS.*
These films are more and more appreciated in consequence of their
great convenience as substitutes for glass plates, whether used flat on
thick films or thin on the rollers. Being comparatively of recent intro-
duction, it is difficult to express decided opinion as to their keeping
qualities. It has transpired, however, here and there, that films kept
some time before exposure do not give such satisfactory results as when
used fresh. Emulsion on the glass plates is practically not affected by
keeping when ordinary care is taken in storing. There is, however, the
strong supposition that sensitive celluloid films lose their sensitiveness
and become foggy with time. Observing that the packet, or rolls, of
these films, by a very strong smell, betray constant elimination of the
camphor and the solvent used (amyl acetate), naturally there is a
suspicion that, if something has a deleterious effect on the sensitive
gelatine surface, most likely it is these ingredients, so conspicuous by the
smell, and situated in such intimate contact with the sensitive film.
The object of my present communication is to invite persons interested
in the matter to institute a series of mutual experimenti in order to
settle the question of the influence of the celluloid on the sensitive
emulsion on the following lines : — Take an ordinary glass plate, apply
with a squeegee and water in the middle of the plate a sheet (diamond-
shaped) of celluloid, to be tested, having a surface equal to about one-
foarth or one-fifth of the glass plate. Coat the whole plate with emulsion.
Of twelve plates prepared in this manner, and carefully kept, one is to
be exposed every month in the camera. When the image is developed,
the central part of the negative will show the difference as compared
with the rest if there is suspected action of the celluloid on the emulsion.
If the negatives are dated, it will be easy to determine how soon the
deterioration, if any, takes place. Different qualities of celluloid and of
emulsion may produce the variation in the result, and for this reason
it is desirable to have the experiences of different persons working
independently. L. Wabnbbkb.
i^-etos antr i^otcB.
Photogeaphic Club.— December 13, Members' Open Night ; Exhibition of
Members' Work.
West London Photographic Sooebtt.— December 12, Lantern— Mr. J. A.
Hodges on Enlarging.
Woolwich Photooraphio Socibtt.— December 14, at St John's Schools,
Woolwich, Isochromatic Photograph}/, by Mr. W. H. Barnes.
Central Photooraphio Club.— To-night, Friday, December 8, Mr. Brooker's
Shdes. 15, Mr. Howson will show the new Iltord matt paper.
London AND P^rovincial Photooraphic AssoolatioN. —December 14,
Lantern Slides of Mr. Burrow's negatives, 'Mongst Mines and Miners.
Photographic Society of Great Britain. — December 12, Ordinary
Meeting. The Disiribulion of the Image in Multiple Films, by Mr. S. Herbert
Fry ; Observations on the Lumiire-Lippmanu Colour Plwtograplis, by Mr. F.
E. Ives.
HOLBORN Camera Club.— On Saturday last the Club held its fifth annual
supper at Anderton's Hotel. Mr. D. K. Lowe presided over a representative
gathering of the members, and the event proved to be one of the most successful
gatherings of the sort.
Wb are informed that several experimentalists are endeavouring to duplicate
the results in colour photography obtained by M. Lumiere on Lippmann'.s plan.
We hope that the results will be shown at the meeting of the Photographic
Society of Great Britain on December 12, when Mr. F. E Ives is to make a
communication on the subject.
* Beoeived too late for the Alhasac.
Ashton-under-Lyne Photoorai'Hic Society. — December 14. This is the
last day for receiving slides for the Society's competition. Demonstration and
l.icture on The Chemistry of Photography, by Mr. S. Sharp. Chairman, Mr.
James Grierson. 20, Exhibition ofLanteni Slides, and the awards given in
the Society's Competition. Chairman, Dr. Hamilton.
Mr. Horatio Nelson Kino has recently submitted to H.R.H. the Duke of
Saxe-Coburg and Gotha, at Clarence House, his series of photographs of the
private and state apartments of Clarence House. His Royal Highness coii-
gr.atulateil him on the excellent series he had produced, and has since, by
royal warrant, appointed Mr. King landscape and architectural photographer
to his Royal Highness.
Bristol International Exhibition. — The following is a complete list of
the jury at the forthcoming Bristol Exhibition, namely, Messrs. Bernard Altieri,
Valentine Blanchard, S. P. Jackson, Payne Jennings, and the President of the
Bristol and West of England Amateur Pbotograpnic Association, Mr. H. A.
Hood Daniel. In response to a number of requests, the latest date forreceiving
exhibits has been extemled to December 8.
Woolwich Polytechnic Photographic Society. —The second annual Ex-
hil)ition of jihotographs and photographic apparatus will be held by this
Society, in the large ball, Woolwich Polvtechnic, on Thursday, Friday, and.
Saturday, February 8. 9, and 10, 1894. ' The Judges will be Messrs. F. P.
Cembrano, Basil Bradley, and Rev. F. C. Lambert. The following are the
classes : — For members only : 1. Prints, 8 x 10 and over, any process ; 2. Prints,
8J X 6i and under, by any process ; 3. Lantern slides, best set of six. Open :
4." Prints, any subject, any process, open to all ; 5. Lantern slides, set of six
(amateurs only). Tlie Hon. Secretary is Mr. W. Dawes, 145, Chesnut-road,
Plumsteail, Woolwicli, of whom particulars aud entry forms can be obtained.
Croydon Camera Club.— December 8, Sjiecial Meeting to try slides for
Lantern Display on 13. 13, Second Liiu'ern Display at Braithwaite Hall.
South .ifrica and tlie Cape ; musical interlude (see bills) ; Good-bye to Old
Croydon, by Messrs. Corden ami J. Smith. 20, Various Methods of Slide-
making, by Mr. John H. Gear. January 3, 1894, H'^w to Use a Lens, by Mr.
G. R. White. 17, Third Lantern Display at Braithwaite Hiill, by Mr. John A.
Hodges and by members of the Club. Council Meetings, December 6 and 27,
and January 10 aud 24. Tickets for Lantern Display on December 13, six-
pence each, or 5s. per dozen. A few reserved seats, Is. Members are .asked to
make the display known to their friends and acquaintances. Those who can
show window bills are requested to apply to the Secretaries.
Photographers' Benevolent Association. — Meeting of the Committee,
November 30, 1893, in the rooms of the Photographic Society of Great
Britain, Mr. A. Mackie in the chair. First application was from an assistant
out of employiueut, who asked for 3^. as a loan for temporary relief. Satis-
factory testimonials had been received ; but, as he had been nine months out of
employment, the Committee thought there was little prospect of the grant asked
for being a permanent benefit. An immediate grant of 10s. was made, and
the Secretary instructed to ask for further particulars. Second application
was from a member of the Association, an a.ssiatant, who asked for 301. , to
enable hmi to start in business for himself. The Committee decided that this
wiis not a form of loan that they could grant. The Secretary reported that
three of the applicants who had been helped during the summer had com-
menced to repay the loans by small instalments, and that another, to whom a
camera was supplied a month ago, had reported that he was succeeding very
well, and, on receipt of payment for work which would be finished shortly, he
hoped to repay the wliole loan of between Al. .and U. Messrs. M. Howell, H.
L. Morel, George Carter, aud Roland C. Whiting were accepted as subscribers.
Donations were acknowledged from Mes.sr.s. Marion & Co., 3?. 3s. ; George
Mansfield, 21. 2s. ; Captain Abney, 11. ; Mawson & Swan, U. Is. ; Jonatlian
Fallowfield, 11. Is. ; Watson & Sons, 11. Is. : F. W. Verel & Co. 10s. 6d. ;
Richard Keene, 10s. 6rf. ; George Nelson, Dale, & Co., 11. Is. ; H. G. Yat-
man, 10s.
4!^ut IBTiitorial Eablt.
AMERICAN ANNU-4.LS.
The Intkbnational Annual op Anthony's Photographic
Bulletin.
London : W. E. Peck & Co.
Thb Aubbican Annual of PHOTOSBAPHy and Photooeaphic
Times Almanac.
London : J. Fallowfield.
We observe that the former of these welcome Annuals has this year
increased its dimensions to those of the latter, and in style and type
both are now similar. Both have quite a number of illustrations, the
respective frontispieces being, in the case of the former, a pretty
studio portrait, by Dana, of Pittsburg, printed on American
" Aristo " paper ; while that of the latter is a reproduction from a
stuflFed parrot, printed in three colours, by the Coloritype Company.
There are, in both, the usual reference tables, and contributed articles
on miscellaneous photographic topics ; and, above all, both are printed
in large easily readable type. Their prices are two shillings each in
paper covers.
DM«vb«r 8, 18U3]
THE biirriSH jouknal. of nioxouiiAi'iiY.
7W
iLFoaD Matt l^niNTiNo-ovT I'ai'kii.
Thic llford Uritannia Works Oomjiauy have broii^ht out a printiDir-
out- pap«r with a matt surfflce, which wa think much of. Although
it is quite devoid of gloss, yet it gives prints wliich are brilliant, and
have no appearance of being sunk in, which is a characteristic of all
matt surfaces obtained by being sensitised by flotation on a silver
bath. It prints quickly, and can be toned on any toning bath. We
pr«Uiot a large demand fur it.
Chuistia.
This is a new ruby material for dark-room illumination, introduced by
Messrs. Thomas Christy & Co., S.'i, Lime-street, E.G. It is very soft
and pliant, and folds without cracking. It is a cafe colour, and *.eeme
to be just the kind of thing one would like to have with him when
out on a tour.
Mb, William Ttlar, of Birmingham, has sent us a sample of a
gummed textile fabric he has prejmred as a substitute for the black
paper strips in general use for binding lantern slides. The great
advantage of this fabric is that, unlike paper binding, it will not
tear.
RECRNT PATENTS
APPLICATIONS FOR- PATENTS
No. 22,733. — "Improvements in the Manufacture of Positive Printirg Papers,
OihUs, ami the like, for Photogiaphic Purposes." C. E. Pkttitt. — Dated
November 27, 1S93.
No. 22,942. — " Improvement in Applicstion of Photography to the Production
of Printing Surfiices." A. Hesekiel.— Oaied Noremher 29, 1893.
No. 23,149. — " An Improvement in Metal Double Dark Slides for Photo-
graphic Cameras, to be opened Book-wise for Exjiosure inside the Camera."
L. S. Zachariasek. — Dated December 2, 1893.
metttnojES ni JboctettejS*
MEETINGS OP SOCIETIES FOR NEXT WEEK.
Date of Meeting.
December IL
11
U
11
U
U
11
.. 11
12
12
12
12
12
12
12
12
1-3
13
1.3
1.3
1.3
I. 13
13
.. 14
» 14
14
14
14
» 14
M 14
14
14
IS
„ 15
„ 15
15
15
15
16
Name of Society.
Camera Glnb
Darlinj?ton
Dundee Amateur
Lantern Society
Norfolk and Norwicli
North Middlesex
Pntnev
Richmond
Birmingham Photo. Society
Derby
Great Britain
Hackney
Manchester Amateur
Newcaatleou-Tyne k K.Gouutiep
Paisley
Stockton (Annual)
Ipswich
Leicester and Leicestershire
Leytoustone
Munster
Photographic Olab
Southport
Stockport
Birkenhead Photo. Asso
Camera Club
Cheltenham
Glossop Dale
Hull
London and Provincial
Manchester Photo. Society ..
North Kent
Oldham
Cardiff
Central PhotoRniphic Clnb ..
Croydon Microscopical
Holbom
Leaminirton
Maidstone
Hull
Place of Meeting.
Charing Cross.road, W.C.
Trevelyau Hotel, Darlington.
Asso. Studio, Nethergate, Dundee.
20, Hanover-sqnare.
Bell Hotel, Norwich.
Jubilee House, Homsey-road, N,
Boys' Gymnasium,Charlwood-roa<i.
Greyhound Hotel, Richmond,
Clni) Room, Colonnade Hotel.
Smith's Restaurant, Victoria-st.
50, Great Russell-st. Bloomsbury.
206, Mare-street, Hackney.
Lecture Hall, Athemeum.
Centr.il Exchauire Art Gallery,
9, Ganze-street, Paisley.
Mason's Court, Hiirh-street.
Art Gallery, Ipswich.
Mayor's Parlour, Old Town Hall.
The Assembly Rooms, High-road.
School of Art, Nelson-pliuie, Cork.
Anderton's Hotel. Fleet-street, B,C,
The Studio, 15. Cambridge-arcade.
Mechanics' Institute, Stockport.
Y.M.C.A.. Grange-rd., Birkenhead.
Charing Cross-road, W.C.
71, Prospect-street, Hull.
Champion Hotel, 15, Aldersgate-Bt
36, George-street, Manchester.
Gravesend.
The Lyceum, nniou-street.Oldham.
Coleman's Hotel, Henrietta-st., W.C
Public Hall, George-street, Croydon.
Trinity Church Room, Morton-st.
" "rhe Palace," Maidstone.
71, Prospect-street, Hull.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
NovEMBKR 30,— Mr. P. Everitt in tlie chair.
Mr. C. W. Canfield (U.S.A.) wa.s present as a visitor. Receipt of a presenta-
tion copy of The Bkitish Journal Puotoobaphic Auianac tou 1894 was
acknowledged.
Mr. W. T. Wii.iciXROW pnwwil ronnil a i(eUtiDO-chlori<le prhit devtlopwl ao
lonlhiij to the Paget Company'" formula
Compared with a printed-out pictnre, Mr. DnmiAK tbooght th« ilavalapaA
showtKJ letter grndatlnn,
Mr. .1. K. HiMid showed a Untem Hiide made on a chloride plate. The iniicp
waH rather dense, nnil tli>re waa a whiti>h >urfa«e depeelL ADimoBinm car-
honiite lia<l lu'wn naeil in the ileveloper.
Mr. Driiknham suggested that the denaitr waa doc to too Iodr de-
velo|iinent. and said that hyilro<:hlnric acid solution wonid probaldy remav»
the whitish deposit. The enrrectness of the latter view wee aubataaaatad by
exiieriment.
Mr. Wilkinson showed comparative results on Sandell y'Mf* aa<l ortho-
chromatic plates, the latter us«l with a screen prepareil with methjrl onioft
ilissolved m collodion (coated on patent plate. Mr. WilUneoo alto ahowecl
three prints from negatives taken with discrimioatiag sereen«, to be need in
the preparation of three-colour pictures.
Tax Cabbon PiioocM>
The <Iiscnssion on this eubject, adjonmed frxnathe last maetblg, was re-
sumed.
Mr. Debenham saiil, at the previous meeting Mr. Aoraa bad said that tbe-
speeil of tissue was about the .'ame as that of albnmeideed paper. Tlmt did
not apply to tissue gcDernlly. He ha<l found that a tiaeiie*eBaitiHe<l on a three-
to live per cent, bath was from three to four time* a* rapid as albumeu paper.
Mr. Skeltok (of Messrs. Elliott & Son) said the statemvut applied to tissue
sensitised from the beginning, not to that seusitLsed by immersion.
The Chairman asked why such tissue should Iw slower than Hosted tissaa?
Mr. Hkelton replied that it contained much less bichromate.
In reference to imparting a matt surfate to the jirints, the Chairkah men-
tioned that the Autotype Com|>any recommended celluloid for the pnrpoae.
Mr. Hood sail! that if the celluloid cont&iued scratches they woold appear
in the finished print He asked what was the causi: of the reticulation ofihe
film ? He bad fonnd it with freshly sensitised tissue.
Mr. Skelton said it was caused if the hlni was too soluble. The less time-
the tilm was soaked in water the Ixjtter. In reference to a remark that in same
|irints shown the safe edge ha<l printe<l through, he said it was not the proper
thing. It had l>een caused by accidental exposure to light. If the negative
gave a hard result, the surface could be sunned down, but clear edges were al-
ways obtained in the ordinary way.
Answering Mr. Trape, he said alcohol in the sensitising bath was not now
used for preventing reticulation. Ice, however, was used, but, if the water
were cool enough, it was uot necessary to use anything.
After other discussion the meeting adjourned.
Croydon Camera Club. — Novemlx'r 29. — Mr. Lebl.inc gave a dcnionstration-
anil explanation of Modum Derelnpers to a good attendance. A snan-sbot on
a Wratten plate was satisfactorily developed with metol, and a lively tire of
questions ably answered.
Croydon Hlcroscopical and Natural History Club (PbotograpblcSeottoni.
— December 1, Mr. Low Sarjeant in the chair. — A good muster of members
attended to witness an exposition of the carlron process, which was ably given
by Messrs. Braham and Burton, of the Autotype Com|>any. After a brief
description of the principles of the process, the method of ])rintiDg was very
clearly explained, together with the use of the actinometer, of which several
varieties were shown. Reference was made to the continuing action wliich
took place offer the print was removal from the printing frame, aud means of
utilising this action were detailed. The i^int, in the single-transfer process,
could be finished on paper of any surface ; but the double transfer could only
be satisfactorily finished on a smooth paper. Tlio prictical working of the
single and double-transfer processes was then shown in the |>roductiou of pa])er
prints, opals, ami transparencies, the treatment being the same in each case,
only the final support to which the tissue was transferred differing. The
tissue, after a short soaking in water, was well squeegeed on to the final
support iu the single transfer, all the water removed, and, after being blotted,
placed in the develO)>ing bath of hot water. In a few nunutes the portions
unacted on by light were dis.solved away. Tlie print was then placeil in cold
water containing a little alum, and, after a rinse iu clean water, hnng up to
dry — a finished print. In the double transfer, a tem|iorary support of waxed
paper — or opal for matt effects — was first u.sed. The print was then similarly
treated, dried, .soaked again, and squeegeed ou to the final support, the waxed
paper being peeled otT when dry.
East London Photographic Society.— November 28, Mr. C. Tylee in the
chair. — Mr. L. E. Bennett, of 43, Mitchell -street, Bartholomew-square, was
elected Hon. Assistant Secretary. Mr. M. A. Wilkinson, in a few but effec-
tive words, drew the members' attention to the great distinction which the
Society had, through one of their members, achieve<l at the Stanley Show ; he
referred to Mr. C. Tylee, who had Iwen the winner of the medal for the best
individual picture in the Society's competition.
Riclunond Camera Club.— Members were compen-sated for recent disap-
pointments by a very enjoyable I>^>ntern Evening on Monday, the 4th inst.
A ''Roberts" hand camera, an established favourite with several members,
with latest improvements, including Thomton-Pickard shutter, was shown.
A few members' slides were then shown : Views of the river, by Mr. ChUds !
Lakeland, by Mr. Neville ; the Rhine, by Mr. Gibson ; Spain, by Mr. PurceU <
and Switzerland, by Mr. Davis.
Birmingham PhotograpUc Society.- Noremlwr 28, Mr. J. J. Bulton in
the chair. — Mr. Uuderwoed gave a demonstration on the working of gelatino-
chloride papers, carrying out all the manipulations before the meeting, from
the time the print is ^ken from the frame till it is iu position with a matt
surface upon its mount, including toning with platinum as well as the various
gold baths.
Halifax Camera Clnb.— November 29.— Mr. S. H. Fry gave a demoostratioa
on Paget Prize Print-out Papers and Lantern Plata, The lecturer, in a
790
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[December 8, 1893
lucid und interesting way, dealt with the characteristics of a good lantern slide
firstly, and laid great stress on the importance of exposing correctly, and not,
as some people try to do, by making the slide right in development. Coming
to the question of variation of colours, Mr. Fry requested Mr. Priestley, the
manipulator of the lantern, to show about twenty slides, all from one ne^tive,
but all of different exposures. Not one of the slides was of the .same colour,
all different, some being brick-red, warm tones, purple-black and other cold
tones. Being all developed by the same solution, it proves what the lecturer
said, that the gradation of colour is due to exposure, and not, as some say,
development. One thing Mr. Fry impressed upon the meeting was, that
almost the same tone could be got either with the Paget slow or quick lantern
plate ; in fact, he seemed to think that even .an expert could hardly tell the
differeuce. Mr. Fry then developed an under-printed print. The process is
very simple ; it consists of taking the print and immersing, without previous
washing in a ten per cent, solution of bromide of potassium. The prints
should remain in this bath for ten minutes, and then be well washed in running
water for five minute.s ; then developed with hydroquinone, the formula tor
■which is supplied by the Company, after which they should be again washed
for ten minutes, and then toaed and fixed in the ordinary way. The print-out
opals can be treated in tlie same way as the paper. The opinion of most of
the members present was that the partial development was most useful. Some
excellent prints were shown to the audience, which were much admired.
Cape Town Photographic Club. — Annual Meeting, Mr. F. Ayres presiding.
The first business w.os the reading of the Council's report for the past year,
which was as follows : — The Council had much pleasure in presenting their
third annual report for the year just ended. The balance-sheet showed a
balance brought forward of 18s. 9A ; receipts during the year, 40^ 19j. ; total,
i\l. 17s. 9(i. ; disbursements during the year, ill. 12s. Id.; leaving a balance
in hand of 5s. 2fi. The number of members at the beginning of the year was
forty-five ; there were thirty -two new members admitted during the year, six
had removed .ind resigned, leaving the present number of members seventy-one.
The monthly meetings had kept up tlieir interest, and had been well attended,
the average attendance of members and visitors being twenty-two. Besides
the ordinary meetings, the Club had organized and carried through the fol-
lowing entertainments : — On February 2, a lantern entertainment at which over
200 slides made by Club members were exhibited. These slides were now
being circulated amongst the English societies. On May 10. a limelight enter-
tainment was given, entitled Round and About Licccrne, with descriptive
lecture by Mr, Charles Steytler, a member of the Club, the slides being from
his own negatives. On August 17, a conversazione was held, to which some
250 guests were invited, including members. Over 1000 exhibits were shown.
The outings of the Club had been always enjoyable but not so well attended
as may have been expected. The places visited were Table Mountain, Cape
Town, Rondebosch, Constantia and Houts Bay, Sea Point, the Kloof, &c.
The following subjects were introduced during the session : — Pinliole Photo-
graphy, by Sir. C. Ray Woods ; Bellows-making, Mr. C. von Bonde ; Stereo-
scopic Photography, Mr. A. J. Fuller ; Wet-plate Process, Mr. E. W. Allis ;
Print-out Papers, Mr. R. T. Pett ; Enlarging by Cresco-fylma, Mr. A. J.
Fuller ; Print-out Opals, Mr. A. J. Fuller ; Polarisation of Light, Mr. C. Ray
Woods. The Chairman said they all knew that the present flourishing con-
dition of the Club was mainly due to the energy and exertions of their Secre-
tary, and he had now the pleasure, on behalf of the members, of presenting
him with an illuminated address, together with a " Chad wick " hand camera,
which he believed the Secretary had a special affection for. The election of
Officers then took place. President: Mr. David Gill. — Vice-President: Mr.
T. W. C&iT-acToss.— Council ; Messrs. B. J. Steer, C. Ray Woods, F. Ayres,
J. R. Wignall, G. N. Lindup, A. Gracie, R. T. Pett, D. C. Andrew —Secretary
and Treasurer: Mr. A, J. Fuller. Two new members were elected, and the
evening closed with an exhibition of members' slides. The limelight lantern
was manipulated by Mr. Wignall with a new Lawson saturator, just imported
by him, which worked very satisfactorily.
1893.
FORTHCOMING EXHIBITIONS.
December 'Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
„ 18-JaD.22,1894 'Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Corn-
street, Bristol.
* Signifies that there are open classes.
©orrejSponrrence.
GELATINO-CHLOKIDE PAPER.
To the Editor.
Sib. — There is a flood of scribbling in your plethoric Almanac on the
subject of gelatino-chloride paper. This is only what was to be expected
from the immense growth in public favour of this class of paper. Of
this scribbling there is a portion that is readable and instructive : more
that is instructive, but, being simply a resume of our own and other
makers' formulje and pamphlets, is unnecessary ; whilst there is much
more that is distinctly misleading, and apparently ex parte. Against this
latter we desire most emphatically to protest.
First, it has been said that gelatino-chloride paper is much more ex-
pensive than albumen, but, in reckoning the cost of the latter, the writer
of the article ingenuously (ought we to say ingeniously ?) omitted entirely
the cost of labour, plant, and time, and also ignored the possibility of
waste. To practical mem we need not point out what a mistaken para-
dise the gentleman in question had created for himself. Another error
that he made was to assume that gelatino-chloride paper consumed more
than double the quantity of gold that albumen does. This is absolutely
a false statement (unwitting, of course, on our friend's part, but never-
theless quite untrue).
Again, he writes of yellow prints and double tones as a necessai-y con-
sequence of the use of the paper, and not as the result of careless or
ignorant working. No one knows better than you, Mr. Editor, how far
removed from truth such an accusation is.
Another gentleman writes that gelatino-chloride paper is much given
to frilling, and, whilst we cannot answer for other makers' goods, we will
say definitely that not one instance of such a thing has ever been
brought to our notice during the year 1893, which he mentions, and we
challenge the writer of the article to produce authentic evidence that such
a case ever occurred.
History repeats itself, even in details, and we shall see the flowing tide
of gelatino-chloride paper roll on unharmed by these puny efforts to stop
its progress, just as the tide of gelatine plates flowed on in the past, un-
hindered by similar writers, who, from interested motives, or a desire to
write something that should be a little out of the ordinary course, opposed
or detracted from their advantages.
Gelatino-chloride papers necessitate a little unlearning of what the old-
fashioned photographer knew in the past, a little use of common sense, and
that is all : and this, we are glad to say, is usually met with. The
photographic world, professional and amateur, will continue to use this
paper as it has in the past, only to a greatly increasing extent. There
was never any change in the photographic procedure which gained so
ready and so firm a hold on the photographic public in such a short time,
and such a hold could not have been gained unless the article had
intrinsic merits of the highest class.
We apologise for taking up so much of your space, but think that the
subject deserves the fullest consideration, and that misstatements, as we
have indicated, should not go uncontradicted. — We are, yours, &c..
The Britannia Works Company, Ltd.
Ilford, London, E., December 1, 1893.
BURSTING OF AN OXYGEN CYLINDER AT BRADFORD.
To the Editor.
Sir, — There is only one conclusion that can be come to in reference to
Jlr. G. R. Baker's remarks in your issue of the 1st instant relative to the
reannealing of cylinders.
It is, either that they have been sent out by the makers unannealed, or
that, after being tested to one and a half tons, and filled four times — as
was according to the evidence the cylinder which burst — they require
reannealing.
If the latter is the correct conclusion, it is a very alarming one, seeing
the great number of cylinders that have been in use for years without, so
far as can be learned, any reannealing, and it is to be hoped that the
matter will not be allowed to drop until we have some authoritative state-
ment on the subject. Professor Goodman's opinion on the questioo
would be of value. — I am, yours, cfcc, E. G. M.
December i, 1893,
To the Editor.
Sir, — I was glad to see bo much correspondence in this week's Britibb
Journal of Photoorapht respecting the recent cylinder explosion, and
now that our fears are again aroused, we ought not to let the matter rest
until the question of reliable tests of these cylinders are placed in the
hands of disinterested parties. I urged the same thing several years
ago (after the Glasgow accident) in your Journal, but it was not sup-
ported, and the matter died away. I quite agree with Mr. W. I. Chadwick
that we ought not to let this matter rest until these cylinders are under
Government inspection and supervision, as in Germany. It is of vital
importance, not only for the individual users, but from a public safety
point of view, and the time has arrived when some action should be-
taken, to attain which I suggest that all Secretaries of the various photo-
graphic and lantern Societies memorialise the Board of Trade to take the
matter up. We shall never have safety without, as the so-called tests
are not reliable, as was conclusively proved by the fatal cylinder being
filled. I trust, Mr. Editor, that you will assist lanternists in this
matter. — I am, yours, &b. J. R Gkeatohex.
Mytton Hall, Sh'ewsbury.
To the Editor.
Sir, — I was pleased to read Mr. Chadwick's remarks about the above,
and I fully endorse his suggestions. I have been giving exhibitions for
about twenty years, but, in consequence of this uncertainty in bottles, I
have almost ceased exhibiting, with the exception of showing slides at
our Society. Now, if Mr. Chadwick's suggestions were thoroughly-
ventilated, something might be done which would restore confidence. —
I am, yours, &a., W. B. Wood.
Urvuton, December 2, 1893.
December 8, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
791
"FREE LANCE" AND HIS CRITICS.
To tlie Editor.
Sib, — May I be permitted to say a few words in reply to "Free Lance"
in your last issue. I am glad be is so candid as to admit that he spoke
unfeelingly of what he terras the absurdities on the walls at Pall MaJj.
I am invited to express my opinions upon '• The Proud Turk." I must
decline to do so, as I am not sufikiontly acquainted with that picture to
do it with justice or propriety. That reason, of course, cannot weigh
mnch with him, but still I must give it for not appearing more courteous.
I do not understand his criticism ; liis remarks are founded on different
principles to those that govern my opinions. I certainly like his pose on
the artistic standpoint, it is charmingly funny if not very dignified, and
I should think that even " The Proud Turk " himself would smile at
such a furious, feeble assault. The reasons given tor denying all merit
to this picture are so singular that they seem like a bad joke, yet I must
traverse them in order to show their felicitous applicability.
" Free Lance " says, " The effect of light is neither moonshine, sun-
shine, nor haze." Is the gentleman serious here ? Surely he must
know there are other lights quite as legitimate to use as those he has
named. Perhaps his twilights have been spent in such interesting com-
pany that they seemed all haze to him. According to my limited
knowledge of the principles of art, violent contrasts are inimical to
breadth and repose. While true lights are suppressed, gradations
changed, and transparency destroyed by great artists in order to secure
the necessary effects, I cannot understand a purely photographic stand-
point ; but as an artist photographer I am free to confess that I rather
like underdone negatives. Some of them print rare effects with just a
little cooking.
I must thank " Free Lance " for the information about the judging,
although it is not quite news to me, having had a Uttle experience in the
matter myself. Having now to the best of my ability answered the
gentleman, I hope he will pardon my liberty if I should ask one or two
questions in return. Has he got and read the Aljianao yet ?— if not,
let him do so as soon as possible, and study, ponder over, and digest it.
He will become wiser, and next year he will be able to write an inteligible
article on the Exhibition. Let him kindly read the " Plea for a Higher
Criticism," by John A. Hodges ; it is well-timed, sensible, and ap-
propriate, and I hope it will tend to draw more attention to this
important master. He recommends a painter as an art critic.
In conclusion, allow me to appeal to you, Jlr. Editor, and all those who
hold the profession in respect and have a glimpse of the coming light, to
use the strongest endeavours to clearly classify the pictures which are
now presented to our exhibitions. Broadly speaking, there are now
three distinct classes. In the first, ordinary photography, of course,
holds the psincipal position ; in the second, photography controlled more
or less and modified by the canons of art ; while, in the third, photography
becomes entirely subordinate to the requirements of art and disappears
in the picture. This is inevitable, as in all true pictorial art materials
and mechanism are so hidden that they are practically unseen. This
will be the character of the best work of the future, and the sooner we
recognise that fact the sooner we shall apply the correct rules of criticism
to each of the classes already mentioned. Then each class of our art
can have free play in its own sphere without encroaching upon the rights
and prerogatives of the others, enabling them to work for the common
good in the most efficient manner possible. — Yours, ic, A. B. E
December i, 1893.
CELLULOID FILMS.
To the Editor.
Sib, — We are not anxious to start a controversy as to the merits of our
celluloid film over that of our competitors ; the fact that they use our
name to sell it under is evidence of their acknowledgment of our superi-
ority ; but we are most anxious that the photographing public should be
thoroughly aware that there is more than one film now on the market.
Notwithstanding your able article of the 1st inst., we do not see that we
can change the opinions we expressed in our letter to you. Some three
months since, we had a small fire on our premises at Newark, N.J., that
was distinctly traceable to a box of pipe-stems made by one of our com-
petitors. They were of transparent material and practically solid film as
used for negatives. It may be that, when in thin sheets with layers of
gelatine between, the films are not so liable to ignition, but of that we
have had no experience. This we know, that no material ever made by us
has exploded or spontaneously ignited, that there has been no complaint
against our film destroying the emulsion's sensitiveness since the
mechanical difliculties of coating it have been overcome by the plate-
makers.
We shall be very pleased to send, to any one desiring it, a small
sample of celluloid of our own manufacture, that he may compare it
with any plates he may buy or have on hand. We have found, as we
showed you last week, that no film at present on the market besides
celluloid will withstand heat, and that, when applied by means of a flat
iron, that is as hot as possible without being so hot as to scorch paper,
the imitation celluloid will crumble to yellow powder, while the genuine
ifilm is only damaged in the finish and loses its polish. Such an ex-
periment It (My to mtke, care being taken only to keep k thin pi«M o
paper between the iron and the celluloid and a pad of blotting-pap«r
under all, to keep in the heat. It will often happen that lafScient add
will be given off to mark ordinary litmaa paper, but, if it ii deiired to teat
for nitrous aid, the operater will need be more than a photographer and
possessed of considerable expert knowledge of chemistry.
Thanking you in advance for your kind insertion of the above, we
arc, yours, Ac, S. Oditkrmax & Co.,
For the Celluloid Company, New York.
35 and 36, Alder inanhury, London, E.G., December S, 1898.
ELECTRICAL HEATING.
To the Etiitor.
Sib, — In the letter from your correspondent "Palette," are gome
statements which need correction. The fact that the water heater
referred to as mine is an " elaborate apparatus " has nothing at all to do
with the cost of electrically heated bath heaters, which, except for the
bedding of the conductors, can be made at a small cost to give quite as
high a proportionate duty, for the power consumed, as can be obtained
from ga% ; but the cost of the current for bath heating is at present much
too heavy to admit of its being ased in practice, although it may not be
so when Mr. Precce's figures of the future are realised. Another mistake
your correspondent makes is by bringing in figures as regards com-
parative cost which will not bear investigation. Mr. Preece, of the
General Post Office, is made to state that " one pound of coal distilled
into gas will give a light of seventeen candles for one hour." Neither
Mr. Preece, nor the Crcneral Post Office, nor both combined, could distil
" one pound of coal into gas." The statement as given is simple non-
sense. It is not at all likely that Mr. Preece ever made such a silly
assertion. — I am, yours, &c., Thos. Fletcher, F.C.S.
Warrington, December 1, 1893.
PHOTOGRAPHIC PIRACY.
To the Editor.
Sir, — The following may be of interest : — (1) A smart young man came
round our district with the photographs you mention, Luke Fildes's
Village Wetldiiig, &c., called upon business people, and disposed of a
good many copies. He offered thera to me at .5». each, then ii., and
finally my choice for 3s. fid. A friend purchased two for6«. His canvass
of the district seemed very thorough. (2) A publisher called upon the
stationers in the various small towns around, proposing to get up local
albums ; one stationer was prevailed upon to write one of our large pub-
lishing firms, asking permission to use one or two of their views ;
permission was at once granted, whereupon several others wrote, and
" the cat being out," perrnission was promptly and properly refused.
Eventually the local booklet was produced, but was so indifferent that
I do not think it has interfered with the sale of legitimate photographs.
(8) How the amateur is pirated : I was a guest recently at a wedding,
and as time hung heavy until the light fantastic could be tripped, I pro-
posed to photograph the party ; this I did, and produced an excellent
whole-plate negative (I did not pirate, there was no professional within ten
miles). I offered to do one or two for the family, but declined to supply
the party (about thirty). "Oh! hand the negative to a professional,"
said the bride's father, " I want a lot." So I sent the negative through
to my dealer, had a dozen printed, nicely mounted on good cards, and
handed them over, stating the dealer's price. Now I find that they are
being forwarded to those interested, fifty per cent, profit added, and the
guests are being allowed to believe that / am telling them at that price.
Resolved : That in future I devote myself to pure landscape. — I am,
yours, d'c, "Fixed."
November 28, 1893.
♦ —
AMATEURS AND PROFESSIONALS.
To the Editor.
Sib, — Some time ago an article appeared in your paper referring to
Amateur versus Professional, showing how the one might affect the oUier,
A-c. The following ia an experience novel in itself, and, I think, worthy
of an expression of opinion from you, Mr. Editor ; and, perhaps, you
might find space in the Jourxai. for the thoughts of a member of the pro-
fession. It is this : —
I am a photographer in Glasgow, and had occasion the other week to
quote price for an outside group of fifty ; and as it was pointed oat to me
that, in the event of a good picture, fifty copies, at least, would be re-
quired, I made up my mind instantly to have that order. I therefore
offered to produce a 15 x 12 enamel in cut-out mount at 3i. tM. each.
Well, Sir, a meeting of those interested — viz., members of a choir — was
held in due course, and my price, along with price from another photo-
grapher equally capable, was submitted ; and I am told I received most
votes, and just as the matter was about to be fixed, up jumps an amateur
(a member of the choir) and offered to do the job for 3^. 31. each. The
Chairman thereupon suggested, as their friend and member the amateur
792
THE BRITISH JOUKNaL OF PHOTOGRAPHY.
[December 8, 1893
offered to do it at three pennies less, he ought to get it — and did get it
accordingly. " Talk about the living wage ! " Whew ! This same
amateur, I am told, holds a fair appointment on the staff of one of our
leading evening papers. — I am, yours, <to., What do Yon Think ?
December 4, 1893.
HOW LENSES ACT.
To the Editob.
Sib, — Assuming that Mr. Hargrave has been correctly reported, I beg
to offer a few remarks on his results.
1. Mr. Hargrave says that the distance, which he denotes by a b, is
oonstant, with the same focal value of stop for all lenses. This, though
approximately true, is not absolutely so, either for the same lens at
different distances or for different lenses. If Dj = distance from the
lens in inches of the point sharply fooussed, the stop, /-8, and the
diameter of the disc of confusion = -^y, we have _=M_ji-j /_j
showing that a h depends on Dj and /.
2. If .|^ is small,
■a 6=iV for aU snoh cases.
Perhaps Mr. Hargrave took the radius of the disc as xss") but this
is not the usual assumption.
3. To find D with the above value of ah, we have, as usual,
P ... 1 D 1
= = 12J - -., and hence, approximately,
<i 6 =
D
-f^'ab
P f
hence '^V^-
= ? andD=iS'^./2.
This agrees with the usual formula —
D = 100 . - ./^ ((?= diameter of stop),
for the distance from the lens, beyond which everything is in focus at
the same time as the extreme distance. — I am, yours, itc,
Clifford E. F. Nash.
End)uer0 to CorregponHentB.
,* All matters intended for the text portion of this Journal, including
queries and Exchanges, must be addressed to " The Editob, Thb Beitish
JouBNAi OF Photography," 2, York-street, Covent Garden, London. In-
attention to this ensures delay.
",* Correspondents are informed that we cannot undertake to answer com--
munications tlwough the post.
%* Communications relating to Advertisements a/nd general business affairs
should be addressed to Messrs, Henbt Gbeenwood & Co. , 2, York-street,
Covent Garden, London.
•»* It would be convenient if friends desiring advice respecting apparatus,
features in practice, or other information, would call at the Editorial Office
either on Wednesdays from i to 6, or Thursdays from 9 to 12 noon, when
some one of the Editorial staff will be present.
Wm. Goodwin.— Received ; thauks.
-J. F. Hammond. — Sorry we are uuable to avail ourselves of your offer ; thanks
all the same.
Nenn Lat.— The sunken, flat appearance of the print is probably caused by
over-exposure.
J. S. asks : " Is it possible to restore platinotype paper which has been kept
six months and goue wrong ? " — No.
Dormouse. — Send us your uame and address, in accordance with our rules, and
we will endeavour to answer questions.
J. P. G.— There is uo other brand of clry ferrotype plates than the one you
name. Son-y we cannot help you iu the matter.
"49. "-—It will be easy to arrive at a definite conclusion on the subject by
shading one-half of .the paper from the ruby light while the enlargement i
exposing. s
Pyro.— The working of the "tintype" process is siuiilar to that of the wet-
collodion process, only one is taken on blackened tin plate, whereas in the
other glas.'i plate is used,
Zend. — 1. Yes; if the gelatine be of a suitable character. 2. The paper can
be sketched, and held secure, in the same apparatus as it is intended to be
used lor its ordinary purpose.
Planteb. — 1. We have heard of instances where gelatino-chloride papers have
been taken to the tropics and brought home again, printed, aad found to be
in perfect condition. 2. Take the developer iu cartridge form.
D. Thomason.— We have not ascertained the price of Mr. Duchochois' book,
nor have we heard of its being procurable in this country. Several liints on
photographing by magnesium light will be found scattered throughout our
recent volumes.
E. F. Muller.— 1. Und ^ubtedly excellent doublet lenses to cover half-plate
can be obtained for 51. 5«., but you must make your own selection. It is not
onr practice to reconiniend one make in preference to another. 2. Write
Mr. jilfred Watkins, Hereford.
S. E. B. — There is certainly notliing in the atmosphere or the light of Germany
that will account for the asserted superiority of the photo-mechanical work
produceil there. Whatever excellence there may be is entirely due to the
workers and not to climatic conditions.
T. O'Brian. — Thanks for your high opinion of our knowledge ; but we must
be excused from expressing any opinion on the validity of the patent for the
shutter referred to, and also as to the validity of tlie patent you propose to
take for another one. Better consult a respectable jiatent agent.
J. Dormer. — We have had no experience with the m.aterial in question, and
know nothing whatever of its composition. It being a trade article,
the makers, of course, do not publish of what it is compounded, so we can
give no opinion as to whether it would act injurisusly on bromide enlarge-
ments or not. '
Huntingdon.— There is no reason to surndse that even the worst possible
mounts to be found in the market would have any injurious action whatever
on a caibon print.' Certainly we have never seen or heard of an instance of
such a thing. With regard to the alleged difficulty of the carbon process
yielding good prints from good negatives, see article on another page.
B. a. Morris. — The difficulty in obtaining sufficient contrast in the negatives
for photo-lithography is fully accounted for by the fact of extra-rapid plates
being used. These are the very worst that could be employed for the work.
Try either the plates made specially for the purpose, or adopt the collodion
process.
Fog. — If the current is obtainable from the mains, by all means have it from
that source ; it will be far more economical than having your own installa-
tion for its generation. Most London portraitists, who went to considerable
cost for engines and dynamos, have retired them since they have been able
to obtain the current from the mains.
T. M. Williams asks how English prices for portraits compare with those on
the Continent — whether they are taken at a less price than they are here ? —
We presume portraits are taken at a low price on the Continent, the same as
they are here, but it is pretty clear that they cannot be taken for much less.
So far as our own knowledge goes, cheaper portraits of fair quality are to be
had here than abroad.
RowsE asks if there is any process by which the features in a profile portrait
are raised from the background, after the style of a cameo. — In reply : This
effect cannot be produced by any phutographic process, but is the result of
artistic work on the portrait. About thirty years since, some exquisite cameo
profiles in white wax were produced by Mr. Brewster, an Edinburgh artist,
and at a more recent period a Parisian artist, whose name was unknown to us,
produced pictures in relief, which were believed to have been done by press-
ing the print up from behind. Tlie late J. Solomon, of Red Lion-square,
was the .agent for getting this work ilone, and specimens are still in existence,
but the secret of making them was never divulged.
F. J. Q. asks: "Can you tell me of a Photographic Society convenient to
Charing Cross, not too high in .subscription — s,ay, 11. Is. or 21. 2s. — where
one could see the photographic papers, American as well as English, hear
the latest photographic news, and see demonstrations of new processes ?
Camera Club too expensive, and concerns itself mostly with high mathe-
matics and art." — The Photogi-ajihic Society of Great Britain, 50. Great
Russell-street (subscription, 1/. 1*. per annum) ; the Photographic Club,
Anderton's Hotel, Fleet-street (1/. Is. yearly) ; the Central Photographic
Club, Coleman's Hotel, Covent Garden, W. C. (1^. Is.). Join all three, and
you will get just about as much photographic pabuhmi as you can desii'e.
A. B. asks : "Can some one inform me how to clean an old oil-painting ? It
has got very dry-looking and intlistinct. Can the cracks in paint be filled
up?
J. W. writes: — "Can you tell me the surest means of stripping collodion
negatives when they are taken on plates prepared with French chalk — I
mean stripping them for the purpose of placing them on auotlier glass
reversed '! " — Two metliods are open. One is to take a sheet of gelatine,
such as that supplied by the dealers in lithographic materials, and soften it
in water, aud squeegee it on tlie negative ami .allow it to dry. The other is
to place the negative on a levelling stand, and pour on a warm solution of
gelatine, and allow that to dry. When the gelatine is dry, the negative can
be taken from the glass and used as it is. If it be desired to mount the
stripped negative on to another glass, a plate should be coated with gehatine,
which should be allowed to thoroughly set. It is then immersed iu cold
water, and the stripped negative brought in contact with it while under
water, then removed, gently squeegeed, and allowed to dry.
*,* Several answers to correspondents and other communications unavoid-
ably held over.
OONTBNTB,
Pjlob
THE PETZVAL portrait COMBINA-
TION 777
OBTAININQ VIGOUR IN CARBON
PRINTS 778
THE PUACTICAL TESTING OF PHOTO-
GRAPHIC OBJECTIVES. By DR. AD.
MIETHE 779
CONTINENTAL NOTES AND NEWS 760
PRACTICAL HINTS ON WORKING THE
ILFORD PRINTING-OUT PAPER
INDIA. By ,IOHN T. FltV 781
PRINTING FEOM GELATINE NEGA-
TIVES, INTENSIFICATION, COPYING,
AND HALATION. By HORATIO
NELSON KINO 782
TELE-PHOTOGRAPHY. By T. R. DALL-
MEYEIi, F.B.A.a 782
Pagb
EDINBURGH PHOTOaBAPHIC SO-
CIETV EXHIBITION 781
THE SPEEI> OF PLATES: A CRITICISM
AND A REPLY. By H. M. ELDER.,.. 785
FOURTEEN YEARS AGO. ByS. KAN.l-
GARATN.VMPILLAI 787
HALATION : A COUNTEEBLASI. By
GEORGE MARKH.AM, M.D 787
THE KEEPING QUALITIES OF CEL-
LULOID FILMS. By L. WARNERKE 788
NEWS AND NOTES 788
Oril EDITORIAL TABLE 788
RECENT PATENTS 788
MEETINGS OP S03IETIES 789
FORTHCOMING EXHIBITIONS 790
COHKESPONDENCE 790
ANSWERS TO CORRESPONDENTS 782
THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1754. Vol. XL.— DECEMBER 15, 1893.
OUK 1894 ALMANAC,
TUE British Journal Piiotoguaphic Almanac for 1894 was
published on December 1. The volume is the largest yet
issued; it comprises 1336 pages, an increase of exactly a
hundred pages on last year.
"Stereo-micrography" forms the subject of the editorial
article, and among the contributors ate Captain Abney, Pro-
fessor \V. K. Burton, Mr. Andrew Pringle, Dr. R. L. Maddox,
Mr. R H. Bow, C.E., Mr. Thomas Bolas, Mr. C. H. Bothamley,
Mr. John Anderton, Mr. G. Watmough Webster, Mr. E. W.
Foxlee, Mr. Thomas Bedding, Mr. John Howson, Mr. George
Mason, Mr. Birt Acres, Mr. Redmond Barrett, Mr. Valentine
Blanchard, Mr. William Brooks, Mr. James Martin, Rev. F. C.
Lambert, Mr. W. J. Stillman, Mr. F. York, Mr. A. L. Hender-
son, and many others.
The frontispiece is a collotype portrait of Captain Abney by
Messrs. Morgan & Kidd, and among many other illustrations
will be found an example of Messrs. Waterlow's half-tone
process, and illustrations showing comparative results on
orthochromatic and ordinary plates by Mr. B. J. Edwards, and
collotype reproductions of hand-camera work by Mr. H. C.
Beck. The publishers inform us that 15,000 copies of the
edition have already been disposed of.
THE WET-COLLODION PROCESS.
The fact of the wet-collodion process being now so extensively
employed in various departments of photography, more es-
pecially in photo-mechanical and lantern-slide processes, and
the further fact that we are in constant receipt of letters of
inquiry relating to one or other phase of this subject, induces
us to write a few articles relating to its chemistry and
practice.
The collodion process was introduced through the medium
of the Cftemist in 1851 by Frederick Scott Archer and seems
to have been originally intended by him to producj pellicular
negatives — that is, the films after being developed were not
primarily intended to remain on the glass plates, but to be
removed therefrom and kept between the leaves of a folio
when not in use in the printing frame. It was subsequently
found by himself and others that the balance of advantages
lay in the retention of the films on the glass plates on which
they were formed, >inless in such cases as necessitated a reversed
print. Methods of stripping the film from the plate will be
given subsequently. The process was introduced as a negative
one, but it was soon discovered thai by modifying the developer
very fine direct positives could also be obtained in the camera,
and it was this that led to the downfall of the Daguerreotypa
process ; for, while collodion positives, when skilfully made,
possessed equal, or almost equal, merits with even the fiuesli
Daguerreotypes, they could bo produced with much greater
simplicity, with less expense, and a shorter exposure in tho
camera, while their permanence is undoubted.
The collodion process is a very simple one, and when care ia
taken to keep the chemicals in good working order it is a very
sensitive one, and one by which negatives of a singular degree
of excellence may be obtained. Indeed, the productions by
this process have long been held up as standards of excellence
to which to attain by gelatine-workers.
The collodion is the first thing to claim attention. Ita
mechanical property of flowing with oil-like smoothness over a
plate of glass — no matter how large — and forming a bright
film of uniform thickness, which sets firm in a few seconds,
indicated its great advantages as a vehicle for holding the
haloid body which, when united with the silver solution, in
which it had afterwards to be immersed, formed the sensitive
surface.
Collodion, happily, is very easy of preparation, although it
will prove more advantageous to purchase it ready-prepared
from those who make a speciality of it. It is procurable in
various kinds, some better adapted for positives, some for
lantern slides, and some giving dense images for negatives and
pen-and-ink line work. The quality of the soluble cotton of
which the collodion is made has much to do with inducing the
various properties named, although the iodising solution also
forms an important factor in determining its suitability for
special purposes. There is one among the innumerable iodisers
that have been proposed which, after many trials of others,
we determined upon adopting, and which makes what we would
term a good all-round collodion, suitable for every purpose.
This we will describe in a succeeding number.
Whether the photographer elects to make his own collodioa
or not, we should certainly recommend him to purchase his
soluble cotton ready prepared, for, although there is no diffi-
culty in making it, yet is there a certain amount of messiness
with it, and this is the more objectionable when it is considered
that the messiness arises from very strong acid mixtures. Be-
sides, experienced makers are familiar with the properties in-
duced by varying the specific gravity of the acids employed ia
conjunction with a variation of temperature, and such experi-
ence counts for very much. In what follows, we shall, how-
ever, and with a view to making these articles complete, give
such directions aa will enable any one to make his own pyroxi-
line without failure.
794
THE BRITISH JOUKNA.L OF PHOTOGRAPHY.
LDucember 16, 1895
PHOTOGRAPHING ICE-CRYSTALS.
At a time when every photographer is on the qui vive for
something new, it will not be unacceptable if we draw atten-
tion to a class of phenomena which, when successfully
photographed, would make some exquisitively beautiful nega-
tive, interesting to every one, and especially so to scientific
students. If any reader will refer to the first volume of that
invaluable series of scientific works, The International Scientific
Series, he will note that it is by the great physical investigator
whose loss we have all so recently deplored — Professor Tyndall
— and, turning over its pages, he will be struck with a set of
illustrations depicting a few of the beautiful geometric forms
which water when converted into snow so frequently assumes.
These particular figures are from originals drawn by hand ; but,
if photography and the microscope were pressed into use, an
endless variety of shapes could be reproduced with facility and
fidelity, and a record as unique as beautiful obtained.
It is possible that there are many of our readers who have
never seen a snow crystal : to all such we say, do not lose
another opportunity of making acquaintance with some of the
most beautiful objects to be seen in inanimate nature. We
should here say that it is not in all snow showers that the
crystals can be readily distinguished. Those downfalls in
■which large flakes descend in the semblance of feathers, though
exhibiting traces of crystalline form, are useless for the purpose ;
but, when the air is very cold and less moist than usual, and
the first snow makes its appearance as a coarse dust, we are
certain to meet with the objects of our quest. Let a few of the
small flakes fall upon a piece of dark-coloured cloth— nothing is
better than holding out one's arm to receive the particles on
the coat-sleeve — and then let them be closely examined. The
tiny flakes will be found to consist of most beautifully shaped
flat tablets of ice crystals all formed upon an hexagonal basis,
but varying in a wonderful way, from a simple geometrical
form to an intricate feather upon feather with six-rayed
radiations.
It is not possible to describe them ; they must be sought
and admired, and of course in the cold, for it is scarcely needful
to say their stability is as slight as their beauty is great when
brought into a temperature above freezing. It will at once be
said, How is the photographing to be carried out 1 Fortunately
a reply can be given, for we read that a Russian professional
photographer, Mr. A. Sigson, has already been in the field, and,
in the Journal of Russian Physico-Chemical Society described
his method of procedure. Naturally the first diSiculty would
be the placing of the crystals to be photographed in the field of
the microscope, and this Mr. Sigson performs in a very
ingenious manner. He makes an aperture in a piece of card-
board, and across it places a slight network of silk fibre, just as
taken from the cocoon. This forms the " bed " for the crystals
which are placed upon it, after being first collected on a piece
of rough cloth. The apparatus used is a Zeiss microscope,
fitted with an apochromatic lens, and connected with a long
-focus camera. The card was placed as the stage of the
microscope, illuminated in such a way that half the field was
uniformly illuminated and the other half shaded ofi". Of
course the stage of the microscope at least would need to
be kept cold — no diSiculty in Russia, but needing some
little contriving in the proximity of dwelling-houses in
this country. Mr. Sigson, however, had to make provision
against failure through the heat of his breath melting the
crystal ; this he did by breaking through a pipe bent away from
the microscope while he was adjusting the apparatus. The
exposure needed for an enlargement of fifteen diameters was
from two to five seconds only, his microscope being placed in
an attic window at a strong inclination to the horizon.
It is quite evident that with one single crystal considerable
variety of effect would be obtainable by varying the mode of
illumination — light transmitted or reflected at various angles.
We should like to suggest that, if a suitable power of objective
were chosen, it would not be impossible to obtain stereoscopic
photo-micrographs following the indications in our article re-
ferring to that subject in the pages of The British Journal
Photographic Almanac [p. 597, et seq.\ It is true the
crystals are mainly flat ; but they possess some measurable
thickness, and seen stereoscopically they would present an abso-
lutely novel aspect such as no human eye had ever before seen.
Such a mode of photographing them would give interesting and
pretty pictures from clusters of partially formed or broken
crystals, for, rendered in stereoscopic projection, every minute
ray or particle would assist the charm though taken non-stereo-
scopically, and as a flat object, the absolute precision of a com-
plete geometrical structure, though in fairylike forms, would be
needful. In conclusion, we may say that, if any of our readers
follow out the suggestion we have made, we trust that they
will send us prints of their reproductions of what we confidently
assert are some of the most fascinatingly beautiful objects to be
found in inanimate nature.
THE IMPROVEMENT OF NEGATIVES.
There are many of our readers who take a sufiioiently lively
interest in the quality of their work to travel beyond the
ordinary every-day routine, if by so doing there appears to be
a chance of securing an adequate return ; and in no direction,
perhaps, is there a better opportunity of effecting this than
in the modification and improvement of hand-camera negatives.
Such negatives as a class are only too frequently, from the
very nature of the conditions under which they are taken,
defective both in definition and gradation : in the first respect,
either by reason of too great a strain having been put upon
the capabilities of the lens, or in consequence of the move-
ment of some of the objects depicted ; and, in the second,
from insufficiency of exposure. From one or all of these
causes it may be said that the vast majority of hand-camera
negatives suffer ; and, such being the case, they cannot fail to
raise feelings of regret in the mind of the ordinary careful
worker who is capable of better things when the circumstances-
are more favourable.
But nothing is easier than to remedy this state of affairs by
the expenditure of a moderate amount of trouble and some
little skill. In applying the latter term, we do not refer to
the trained technical skill of the artist or retoucher, though
these, of course, will add greatly to the final effect attained,
but simply to the exhibition of a little common sense and such
manipulative dexterity as the most ordinarily gifted amongst
us may possess.
Some years ago there appeared, at several of the Exhibitions,
a series of instantaneous pictures of small size, but of such
technical excellence, and, above all, perfect sharpness, although
depicting objects in very rapid motion, that general attention
was attracted to them ; and, on inquiry, the information was
elicited, although it was never distinctly acknowledged, that
the result was due to a peculiar method of improvement
December 15, 18»3]
THE BRITISH JOUKNAL OF PHOTOOUAPHY.
7M
applied to the original negatives, or, more correctly speaking,
to their reproduction in an improved form.
From the originals a series of slightly enlarged positives were
first made, and, after these had been carefully worked up, in
this case by a skilful artist, they were rephotographed on the
original scale, with the result, as has been stated, that they
attracted general attention. Only recently we were shown a
number of hand-camera pictures which owed their remarkable
quality to very similar treatment, and these were the sole work
of an amateur who is utterly devoid of any trained manipula-
tive skill with either brush or pencil.
It is needless to say that we should not consider such
sophisticated work as eligible for exhibition in competition
with pure photography. But that is not the present question.
We are not advising this course of treatment to the army of
exhibitors and medal-hunters, who, by the way, would be only
too ready to " drop upon " any such cases of " faking," to use
the vulgar term ; but where, for his own satisfaction, the
amateur desires to obtain the best possible results that are
within his power, we hold that the end justifies the means, and
no injustice is done to anybody.
At the present day every facility is afforded for the ready
execution of this kind of work, the only materials required
beyond those found in every amateur's regular stock being a
few sheets of bromide paper, and some simple means of en-
larging up to two, or, at most, three diameters. This is per-
haps the most important point in connexion with the process,
namely, the small degree of enlargement. What is required is
just such an amplification as will permit of the easy touching
in of details, without raising the necessity for work on an
extensive scale. For the purpose, in fact, of quarter-plates,
the degree of enlargement need not be more than two
diameters : or, in other words, up to the whole plate, or, at
the very outside, the ordinary I2ixlO| size should not be
exceeded.
So far as the process of enlargement itself is concerned, it
is to be borne in mind that the expectation is not to obtain a
perfect enlargement as such, but to obtain as good as possible
a basis upon which to work with pencil, brush, crayon, scraper,
or whatever means may be selected or may be most suitable.
Under these circumstances, no very elaborate arrangement is
necessary ; indeed, the simpler it is, perhaps the better, and,
to illustrate how exceedingly simple it may be, we cannot do
better than describe the plan adopted by the amateur to whose
work we have alluded.
The enlarging camera consisted of an empty box or packing-
case, in conjunction with which was used a small quarter-plate
sliding body portrait camera, carrying a five-inch focus single
lens. The packing-case was fixed on end on a solid baseboard,
■with the lid at the back, and a hole cut in the centre of the
bottom, through which the enlarging lens was pointed. The
sides of the box were cut down until the lid, which was to
carry the sensitive paper, was about ten inches from the
aperture. A short shelf or bracket was placed outside the
aperture upon which to stand the small camera, with its lens
pointing into the box, a sleeve of black calico serving to shut
out any extraneous light. The focussing glass was removed
from its frame, which then became the negative-holder.
Before removing the focussing glass, however, a sheet of
printed paper was pinned on to the lid of the larger box in
the position to be occupied by the sensitive paper, and, a
candle being shut up in the box, by its light the printed paper
was focussed upon the ground glass, which was thus made to
occupy tlie position in which the negative would Iw in correct
focus, and, this point having been found, the camera was fixed
in that position, as no necessity existed for varying it.
The enlargements were made by artificial light, a couple of
duplex paraffin lamps being used, the light reflected from a
screen of white cardboard. The sensitive paper was pinned in
position before lighting up, the box close<l, and the negative
holder covered with an opaque cloth, imtil the lamps and
screen were in position, when the exposure was made by simply
lifting the cloth for the necessary time.
With this simple contrivance every requirement was perfectly
fulfilled, and, given a more suitable lens for enlarging, the
same arrangement would answer equally well as a permanent
enlarging camera where no other exists.
The size of the enlarged positives was whole-plate, a smooth-
surfaced paper being selected. The development was effected
with hydroquinone, as giving a blacker tone and one more
easily matched in the deep shadows with Indian ink, and in
the lighter shades with crayon and lead pencil respectively,
according to the depth required.
Speaking of this part of the business, it would seem that
the services of an artist would be indispensable ; but, as we
have already stated, the "artist" in this case was entirely
untrained, and, as he himself described it, " could not draw a
man's hat to save his life." But the work required is not,
after all, of a very difficult description. It consists chiefly in
strengthening or filling in weak or defective outlines, adding
to the depth of weak shadows, or, it may be, lightening those
which are too heavy. The last proves the most difficult, the
mere tracing in of outlines with pencil or crayon requiring
little skill beyond that represented by carefulness. Deepening
the shadows was done sometimes with washes of Indian ink,
but preferably with black crayon, and the reverse was effected
by the simple process of rubbing down with " ink-eraser,"
assisted with white chalk.
The methods adopted were certainly crude and primitive,
but the result showed what could be effected even by one
whose artistic capabilities do not extend beyond the exercise of
a little commou sense. In the hands of a trained, or even
partially trained, artist the results obtainable would be pro-
portionately better, and, when the "game is worth the candle,"
the labour is not ill-spent.
When the enlarged positive has been completed, it should be
examined critically to see that none of the additions exhibit too
strong contrast, either in depth of colour or sharpness. It is
not quite easy to judge at first by the eye alone, and the pho-
tographer will often show up defects in this respect that have
not previously been detected. However they are easily
modified when recognised, and only cost another quarier-plate.
Particular care must be given to the direction of the light
used in rephotographing the enlargement, owing to the different
surfaces displayed by the various media employed ; but, if this
be seen to, and proper harmony exist between the additions, the
reproduced negative will not be distinguishable from one taken
direct.
There are many instances where it is impossible to other-
wise reproduce a defective negative in which this process will
prove useful
Portrait Clubs and Ag-ents.— In an evening contemporary
that devotes a column to " Notes and Queries," one of its corre-
spondents says he joined a portrait club, and paid the amount ( 1 2«. 6</.)
by weekly instalments of one shilling, completing; the payments in
796
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[December 15, 1893
July, 1890. He^now complains that he can get neither his portrait
nor the money back, the photographers telling him that he must settle
it with the agent,'while the latter keeps putting him off. He wants
to know-how to act. Is this kind of thing at all common in portrait
clubs ? WeJ have certainly heard of such cases before. It is this
sort of thing that has tended, during the past few years, to lower the
status of photography in the eyes of the public.
Popularising' Art.— If one thing more than another conduces
to popularise art among the masses, it is the bringing it before them
in a recreative form. Just now, at one of the London Theatres of
Varieties, a most attractive feature of the entertainment is a series of
" Tableaux Vivants " depicting pictures by well-known artists. The
•works selected for the purpose are principally those with which the
public have become so famUlar through the photographs of them to
be 8een in the shop windows and in their own collections of " scrap '
pictures. Seeing the favour with which these depictions of modern
works of art are received, one cannot help surmising that, if lantern
slides of the same subjects and of the same excellence were obtain-
able, they would command a ready sale, and would be extensively
utilised in lantern entertamments. One reason why they are not in
the market probably is, that on the Continent, where the larger
proportion of these fine reproductions are made, the lantern has not
obtained the same status and popularity that it has here. Amateur
photography has mainly made the lantern what it is here, and amateur
photography is not so much practised abroad as it is at home. " So
much the better," remarks a professional friend.
Cliroino-pliotograpliy and Fugritive Plg-ments. —
The specimen presentation prints of some of the illustrated papers,
■with their Christmas numbers, that are being shown at strongly
lighted railway book stalls and in shop windows, again call pro-
minently to mind, what we have before alluded to, that fugitive
pigments are still frequently employed in the printing. In order to
get effects that will please the general public, brilliant colours have to be
introduced, and it so happens that those which are most suitable, on
account of price and facility in working, are of an evanescent character
when exposed to a strong light. Hence the marked change that some
of these prints have undergone during the short time they have been
exhibited. Just now a great deal of attention is being given to
chromo-photography, injwhich transparent colours are necessary, and
It is to be hoped that their permanency vrill receive consideration
We are quite aware that it is much easier and less costly to make one
or two of the tints required with fugitive pigments than with per-
manent ones. But that should not weigh with a new process, par-
ticularly when it is likely to prove of real commercial value.
Defective Colour Vision. — The annual report of the Marine
Department, Board of Trade, on Examination in Colours for the year
ended May 31, 1893, has just been issued. It shows that, although
the number presenting themselves for examination for master and
mates' certificates was less than last year, the number rejected for
their inability to distinguish colours was greater. Pink, green, bottle-
green, and drab seem to have been the most difficult for the candi.
dates. With the cards, drab was in twenty-seven cases, out of the
thiity-five persons rejected, mistaken for green, and seventeen mistook
pink for green also. For some time past dissatisfaction has been ex-
pressed as to the system of testing, and in the report for last year it
was mentioned that the Board of Trade had under consideration the
important recommendations contained in the report of the Committee
of the Royal Society on Colour Vision. This year it is announced
that the Board have the matter still under consideration, and will
establish "an entirely new system of examination as soon as the
necessary arrangements can be completed." Defective colour vision
is not unknown amongst photographers, and some suffer from it with-
out being aware of the fact. This may account for the circumstance
that some people cannot possibly tone a batch of prints all to the
same colour.
Residues. — At the time when silver was nearly double the-
price it is now, and residues contained twice as much, or more, of the-
precious metals than they do at the present time photographers took
very little heed of their wastes. They sent them to the refiner at
odd times and were generally content vrith the return made. Now
the residues — probably the depression in trade has something to do
with it — are considered an important item, notwithstanding the de-
preciation in the value of silver and the fact that, however carefully
collected, they cannot possibly be anything like half as rich in silver
as they were when the paper was sensitised at home on strong solu-
tions. In anticipation of the annual Christmas collection, we have
already had several inquiries from correspondents as to the propor-
tionate amount they ought to expect from the residues of gelatino-
chloride printing-out paper as compared with those from albumen
paper ; some evidently expecting more. Now, it is quite impossible
to answer such a question, inasmuch as the different gelatine papers
in the market do not all contain the same amount of silver and
neither do albumen papers. The only way to arrive at the correct
value of the wastes is to burn the papers, and dry the other residues,
then reduce the whole to a fine powder and pass through a coarse
sieve. It can then be easily assayed, or, if sent to a respectable
refiner, its full value may be ensured. No correct or even a rough
estimate of the value of residues can be formed when they are sent
away in the state they frequently are, and an unscrupulous refiner
would be aware of that fact.
IS CELLULOID TRUSTWORTHY ?
In your leading article two weeks ago you dealt with the question as
to whether celluloid must necessarily deteriorate, and apparently come
to the conclusion that it does not. But I think we may go further,
and assert that, so far from deteriorating, it actually improves with
age, and that Messrs. Guiterman's cry of alarm deals with a purely
imaginary danger.
You point out in your article that pyroxyline naturally gives off-
nitrous fumes, more especially if confined in air-tight vessels — stop-
pered bottles, for instance — in which case, in the course of a few
months, it will entirely alter its character, and eventually arrive at a
semi-plastic condition, but I have never known it show any signs of
" spontaneous combustion." If kept loosely in paper, the vapours
escape as they are formed, and, though the wrapping-paper may be
rotted, the pyroxyline itself does not appear to undergo any change.
That is the case with pyroxyhne in the " raw " state ; but what
about collodion films — that is to say, pyroxyline after it has been dis-
solved and dried ? It does not seem that the tendency to acidity is
nearly as great under those circumstances, if, indeed, it exist at all at
ordinary temperatures. No evidence exists, that I am aware of, that
our negative films give off any acid emanations, nor, in the case of
collodionised prints, are we accustomed to expect any such behaviour.
A film of collodion, spread upon the surface of an albumen print, is
supposed to add to its permanency ; but surely, if that collodion film
was constantly giving off dangerous nitrous fumes, the reverse would
be the case.
But a very remarkable instance came under my notice a few weeks-
ago of the permanency of thin collodion films, and, now that the
question has arisen, an apparent proof of the absence of any evolution
of nitrous fumes. I found accidentally, between the pages of a book^
where it had lain since very shortly after the publication of the
specification in 1864, a piece of carbon " tissue," made according to
Swan's original process, and consisting, as some at least of my readers
are aware, of a film of pigmented gelatine, supported on one of
collodion.
Now, although that morsel of tissue has been for nine-and-twenty
years pressed closely in contact with the pages of that book, there is
not the slightest symptom of any rotting action, such as occurs when
raw pyroxyhne remains for any length of time in contact with paper.
I have purposely turned up the page to re-examine ; but, beyond a,
f.iint stain of bichromate, the paper is quite unchanged.
I forget the precise details of the mode of preparation of that
tissue, whether, in fact, the collodion film was washed previous to
December 15, 1893
THE BlUTISH JOURNAL OF PHOTOGRAPHY.
7»7
applying the gelatine, or simply dried, but I rather think the former,
in which case the pyroxyline might be supposed to be loft in a purer
condition than before solution ; still that provides no reason for any
diminution in the tendency to decomposition, unless we imagine as
some of the early experimentalists into the composition of gun-cotton
have done, that in the process of solution, to form collodion, and
more particularly in washing or precipitation, it forms compounds,
notably a hydrate, that are more stable than the original substance
itself.
In another instance I shall mention there is every reason to believe
that some such change, accompanied by a decided diminution in the
tendency to give off acid, does occur. In 1877 the French Photo-
graphic Society awarded a prize toM. Chardon for a washed collodion
emulsion process, one of the principal points in connexion with which
was the employment of pyroxyline that had been already converted
into collodion and reprecipitated with water. This precipitated
"cotton" was of two kinds, called by M. Chardon "pulverulent'"
and "' resistant ■' respectively, the one bein^ thrown down with hot
the other with cold, water, and both presentinsr the appearance of
fine flocks or coarse powder, and resembling, except in feel, pure
tapioca.
For many years I had, amongst other samples of pyroxyline and
papyroxyline, several packets of these precipitated products, some
of my own preparation and two forwarded to me from Paris. The
peculiarity I wish to notice is that when, some four or five years ago,
I came to overhaul these old specimens, the only ones that did not
necessitate repacking, owing to the rotting of the wrapping-papers,
were those that had been precipitated, and which might, therefore,
be presumed to have undergone a change.
On the other hand, I have often noticed in connexion with collo-
dion pellicle in the dry state— that is to say, the mixture of pyroxy-
line and bromide of silver freed from soluble matter by washing —
not only strong evidence of corrosive action, but also a palpable smell
which might be bromine or nitrous acid, or both, showing that in this
instance washing does not remove the tendency to ehange ; nor, in-
deed, does it in the case of dry-collodion films when spread upon glass,
as is shown by the gradual destruction of the undeveloped image by
time. To counteract this, Mr. Warnerke proposed to impregnate
the film with an alkiJi in order to neutralise the acid given off.
"What is true of collodion films seems to be equally so of celluloid,
for, so far as I can see in connexion with any samples that I have
had access to, whether in the shape of films or the more solid form,
there appears to be no appreciable acidity. The experiment with the
hot iron quoted by Messrs. Guiterman & Co. serves only to demon-
strate some slight difference between two samples of different
manufacture, but has no practical importance, since, as a matter of
fact, we do not habitually heat our negatives to 240° or 2.50° Fahr.,
and it is open to very serious question whether such treatment is
equivalent to an " anticipation of the action of time."
I have not tried the experiment with blue blotting-paper, either at
the normal or higher temperature, but I have in my possession nega-
tives taken on some of the earliest celluloid films sent out four or five
years ago, ae well as samples of the uncoated films. These have all
been kept, with the exception of a few cut strips which have been
loose in a box between the leaves of a book ; but there is yet no
symptom of any acid reaction, and, if the films will keep perfectly
for that period, they are as likely as not to keep indefinitely.
I suggested at the outset of this article that celluloid films most
probably improve with age, and I base this supposition partly on the
fact that, whereas when these samples first came into my hands they
were freely soluble in methylated spirit at the ordinary temperature,
they are now insoluble even when heated. This is equally the case
with the portions that have been kept loose and those preserved in a
book, but the former have entirely lost their original odour of
camphor, and the latter nearly so, so that, as the camphor volatilises
with time, the celluloid actually becomes more permanent.
It is, perhaps, not straining a point too far to suppose that a
similar result would accrue from the gradual evolution of nitrous
acid, for, as is well known, gun-cotton in any form loses its solubility
as it becomes de-nitrated, and, consequently, in the form of a film less
liable to injury. \That the presence of acid in excess is not a detaz-
able adjunct ia quite true, but that it ia to serious a danger m Mjmw
Guiterman would have us believe I cannot think. In the free atAte
it is easily dealt with, while that held in combination is g^ven off so
gradually, that if the films be properly stored it need cause no trouble
or uneasiness. The very process of development, in fact, tends to aid
in the de-nitration, and, judging from the action of alkalis upon
pyroxyline and collodion, I do not imagine it would be diffictdt to
eliminate the last traces of acid, and render the films quite insoluble
if BO desired.
In conclusion, if my most valuable negatives were on celluloid
instead of glass, I should stand in no further doubt of their permanency
than I do at present. W. B. Bolton.
♦
JOTTINGS,
Thbbk should be " cakes and ale " in York-street just now, for I see
that the 1894 Almanac has reached the prodigious size of 1336 pages.
My best congratulations to Editor and publishers. Apart from its
great value to all connected with photography, in either a commerdal
or a manipulative sense, 1 can conceive that the Almanac may have
other uses just as interesting, if scarcely so peaceful. " Bill, who's
that bloke?" "Stranger." "Then heave (half) a brick at him."
The Almanac would form a capital substitute for the Black Country-
man's missile of endearment.
Mention of the Almanac reminds me that I have attained the over-
powering honour of being " named " in its pages. I am accused of
unfair criticism. Here are the circumstances. On August 18 last I
remarked, apropos of the Photographic Convention, the Photographic
Congress, the Camera Club Conference, &c., and the di£fu8eness and
verbosity of individuals studying photography in its scientific aspects,
that there was too much " talkee-talkee " in photography. Four months
afterwards Mr. Snowden Ward publishes in the Almanac (at page
655) an account of an International Bureau of Photography, of which
he is chairman, and of the existence of which I was ignorant until
reading his article. In the course of this he says : " We want all
the helpful criticism and all the suggestions possible, but we protest
against the unfair criticism that is found, in one of its mild forms, in
the recent writings of ' Cosmos.' He condemns us for talking and
not working." I invite Mr. Ward to explain how, on August 18,
I could unfairly criticise and condemn a scheme which, so far as I
knew or cared, was not then in existence.
Mr. Ward's article, like most of Mr. Ward's writings, is well worth
reading, if only on account of the refreshing optimism pervading it.
In the last regard he is an object of my sincerest envy. I am myself
an incurable pessimist, and therefore, am constitutionally unable to
look upon men and things through rose-tinted spectacles. It is not
my fault; I was born like it. The objects of the International
Bureau are (1) " To secure the official recognition of photography by
the governments, local as well as central, of all civilised nations." If
official recognition of photography by the Government will better the
lot of the individual photographer, and ensure plenty of auriferous
deposit in his Button Park, I extend my benediction to Object 1 ; but I
fail to see how it wUl. Object 2 " is to secure the establishment of
national depositories for the receptions and care of photographs, and
especially negatives, of literary, historical, or scientific value," and
I hope it may, but shall be agreeably surprised if it does. Object 3
" is to establish an International Bureau for the exchange of prints and
other reproductions of negatives in the national depositories, and to
enable colleges, museums, and students to obtain photographic records
from every land," which is a charming dream, and in all probability
will never crystallise into a solid reality. There is no harm in
sighing for the millennium ; but some of us, even at the risk of being
scolded for not joining in the chorus, [may reasonably be allowed
to doubt whether such a thing will ever take place while humaa
nature remains what it is.
The battle of the printing papers is waging with apparently as much
vigour as in the old days when platinum rer«iM bromide was the
798
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[December 15, 1893
question of the hour. I observe that two matt-surface print-out
papers and a print-out platinum paper are on the point of intro-
duction. With these and developed platinum bromide, carbon,
albumen, and the new school of rough surfaces, there ia something to
suit all tastes and styles. The more tastes and the more styles there
are the better, say I. They certainly relieve positive printing of the
danger of monotony, at any rate.
Some plain truths were uttered at the meeting of the National
Association of Professional Photographers on November 10, and
reported at page 7^8. The profession is admittedly in a bad way, but
the fault, as was pointed out, rests chiefly with photographers them-
selves. Mr. T. Birtles, of Warrington, hit the right nail on the head
with plain common-sense directness seldom encountered at meetings of
this sort. " It had been said " (he remarked) " that the public under-
valued photographers' work. Well, he thought the public took them
at their own prices, and if photographers sold work at low prices they
had only themselves to blame." True for you, brother Birtles ; would
that there were more of your stamp in the profession. Upon my
word, professional photography would appear to be a last refuge for
men whose business capacity is of the very lowest order. At the
meeting in question photographers were urged to take up process
-•work as a means of improving business. I echo the advice. The fact
is, at the present moment there is a large amount of photographic
work of many kinds being done all over the country by people who are
not photographers, and the profession, as a whole, is at the loss. The
more's the pity.
Friends, Rum'uns, Countrymen, and Brothers, A Merry Christmas
to you all. To those of you who are professionals I will also say,
May your shadows never grow less. You know the kind of shadows
I mean, of course. To those of you who are amateurs, I say. Go forth
and multiply. To all those in photography whom it may concern, I
wish whatever they may wish themselves! [N.B. Please pack all
hampers carefully, address them legibly, and prepay carriage.]
Cosmos.
.THE LUMIERE-LIPPMANN COLOUR PHOTOGRAPHY.
[Photographic Society of Philadelphia.]
In the spring of 1882 there were exhibited in the Photographic
Exhibition in the Champs de Mars, in Paris, photographs by the
Lippmann process of a parrot, a branch of holly, pieces of coloured
glass, &c., which Alphonse Berget and others declared were true re-
productions of the colours of the objects. I could see in these photo-
graphs only the colours of thin films, metallic and changeable as such
colours usually are, and, in some instances, not even confined to the
coloured objects themselves, but spreading over objects that were
uncoloured in the original. These pictures were also devoid of either
whites or blacks, the high lights of the objects being rendered more
like black than the shadows. Others, notably Mr. Cameron Swan,
who wrote a letter on the subject to the Times, noticed the same
defects in these photographs, and Captain Abney, who had experi-
mented with tlie process, found that, by varying the time of exposure,
he was able to make a blue photograph with red light, and vice versa,
and coloured photographs with white light. It was generally ad-
mitted that the results obtained by Professor Lippmann did not
sustain the claims made for the process, and when it was announced
this year that the brothers Lumiere had succeeded in so far improving
upon Lippmann's method as to obtain really satisfactory colour
photographs of natural landscapes, people who had seen the photo-
graphs for which such extravagant and inaccurate claims were made
a year before were naturally, and very justly, sceptical.
Now, however, the Lumiere photographs have been shown in
public in London, and, although there is still a certain amount of
mystery surrounding them, it is possible to form a truer estimate of
their character and importance, and to make an intelligent compari-
son with another and more successful method, based upon quite
d'"5 fTent scientific principles.
ibe Lumip'-e photographs are about three inches square, and by
]■ -lit r'"'f I. ,. I'iom their surface at most angles they have much the
>a,mta appearance as the French albumen process lantern positives, the
high lights of the picture looking like clear glass, and the shadows
having the appearance of an albumen or gelatine film filled up with
a dense, dark-coloured deposit of silver. It is said that by trans-
parency they are negative images, but those shown are sealed up so
that they cannot be examined by transmitted light.
Unlike Lippmann's photographs, these examples show colour only
when the light is reflected from the surface at one particular angle,
and for that reason the colours are not " changeable." This in itself
is really a very important improvement, although it carries us,farther
away from, instead of nearer to, the popularly desired conditions in
colour photography. It is, indeed, a significant fact that real and
undoubted improvement intensifies instead of lessening a characteristic
defect of the original Lippmann photographs, which some writers
have not hesitated to say would "undoubtedly" be overcome — namely,
the inability to see the colours at all angles.
If the pictures were uncovered the critical angle would, un-
doubtedly, be perpendicular to the surface of the plate, but it would
then be necessary to provide some means for illumination and vision
in precisely the same direction. It is also necessary that the source
of light be large enough te illuminate the entire surface of the photo-
graph equally with parallel rays, and it should be seen by parallel
rays coming from it. A rough approximation to these conditions is
secured by covering the picture with a shallow prism, and then
examining it by the reflected light of a sufficient expanse of even
white or grey sky, holding the picture at nearly arm's length from the'
eye. More satisfactory results could doubtless be obtained by means
of a special device, which could be used like the stereoscope or the
photo-chromoscope. It would be quite easy in thi^ way to exactly
fulfil the theoretical requirements for illumination and vision, and, at
the same time, to magnify the picture, which must now be made to
occupy only a very small angle of vision in order to be seen all at once.
The pictures are also projected upon a screen by means of the
megascope or aphengescope lantern, and, in the absence of a special
device for examining them by daylight, this is the only really satis-
factory way of seeing them. It is, however, necessary to employ a
powerful electric arc light in order to project them with satisfactory
brilliancy up to even two feet diameter, as compared with ten feet,
or twenty -five times greater area, for the photo-chromoscope pictures
with the same light.
Seven pictures were shown at the Photographic Congress and at
the Camera Club ; four landscapes, two portraits with accessories,
and one reproduction of a chromo-lithograph — a rather poor result,
the original of which was not shown. Unlike Lippmann's photo-
graphs, they rendered the deepest shadows black and the high lights
white, and showed many delicate shades of colour, which impressed
the spectators as being something more than the ordinary colours of
thin films. One of the landscapes was beautiful, although the foliage
appeared to be that of autumn, while it was understood that the
photograph had been made in early summer. In parts of some the
chlorophyll green was fairly well represented, but in others, where
autumn foliage was not suggested, the green was raw and metalhc.
The red of a tile roof looked dull and faded, the blues of the skies
were criticised by some of the spectators, and the flesh in the portraits
had an unnatural purplish hue ; but, in my opinion, these defects are
only such as one ought to expect from the manner in which the
process was carried out, even assuming that it be really capable of
making accurate colour reproductions if carried out in a thoroughly
rational manner. From a theoretical point of view (and it follows,
from a practical point of view), it is not reasonable to expect that a
mixed colour like chlorophyll green will be accurately reproduced on
a plate not sensitive into the red of the spectrum below the first
absorption band of chlorophyll, or which is disproportionately sensi-
tive to that red as compared to the sensitiveness to green. In the
first place, the green rays only would act in producing the picture,
resulting in a raw, metallic colour, and, in the other case, the red
rays would act too much or the green too little, and result in a brown
or red hue suggestive of autumn tints. Flesh colour, if the plate is
disproportionately sensitive to blue, and not sufficiently corrected by
yellow screen, must take on a purplish hue ; or, if over corrected by
yellow screen, a yellow hue must result. It follows that the plates
must not only be sensitive to all colours, but the sensitiveness must
be properly distributed along the spectrum, or, what amounts to the
same thing, must be modified by the use of a quantitatively selective
colour screen made up and adjusted by experiment in photographing
the spectrum itself, just as I have for years made selective colour
screens for carrying out the photo-chromoscope process and for
orthochromatic photography, until the spectrum photographs corre-
spond to the spectrum itself in the relative visual intensity of the
different colours. Until this is done, it is not reasonable to expect
that delicate shades of compound colours will be accurately re-
produced by any process. It would appear from this that by no
evident possibility can this method ever possess any advantage over
December 15, 1893]
THE BRITISH JOURNAL OF PHOTOORAPHY,
799
the photo-chromoscope process in the matter of accuracy, because io
both cases it depends (admitting every possibility for the Lumiere-
Lippmann process) upon the relation of sensitive plates and colour
acreens, which must be regulated in the same way for both processes.
One of the most remarkable things about this Lumiore process is
its rendering of blacks and whites. According to Lippmann s theory,
the blacks would be rendt-red by clear glass, and the whites by a
film filled up with laminae of deposit which would reflect light of
every wave-length. In short, the greatest amount of deposit and
opacity would be in the whites, and the smallest amount in the
blacks' of the picture, as in an ordinary photographic negative. I
have already observed that the Lumiere photographs, when seen by
ordinary reflection, resemble a positive instead of a negative. It is
further remarkable that the greatest amount of light reflected from
these photographs comes from the parts which look like clear glass,
and that even this amount, which makes the whites of the picture, is
only equal to the reflection from a black glass, or the surface of the
gelatine film itself. The shadows appear black, not because there is
no deposit there (in which case the deepest shadows of the picture
would be as " white " as the high lights in the examples shown), but
because the glass is obscured by a deposit so thick and matt that it
scatters the light striking upon it, instead of reflecting it straight back
at the critical angle. In other words, we appear to have a positive
where we are told that there is a negative ; if this be true, is the posi-
tive the result of a " reversal " of the image by the long exposure ; and,
if so, is this reversal one of the conditions of success ?
Does not this image, built up by photographic action upon the
sensitive plate, act by a process of subtraction from the white light,
which would otherwise be reflected from all parts of its surface alike,
instead of by reflection from internal laminee in the manner assumed
by Lippmann ?
Lippmann's theory, as I understand it, calls for a different series of
laminsB within the film for every wave-length of Ught, amounting,
where white light acts, to over .30,000 laminae in a film no thicker
than a single wave-length of red light ! Would not such a series of
laminae in a film reflect a great deal of light instead of adding
nothing whatever to the normal reflection from its surface, which is
all we appear to have in the examples shown ? Cannot every colour
actually shown in the Lumiere photographs be reproduced by means
of a single interference film of vai'ying thickness, backed up or broken
by a granular deposit of varying density ? Have we anything more
than this in the Lumiere photographs ?
It seems reasonable to suppose that the long exposure given to these
pictures would produce a reversal of the image. The dense deposit
in the shadows might result from the action of scattered light in the
camera, or to preliminary exposure, or to the use of a too active de-
veloper, or to any or all of these causes combined. May we not be
given an opportunity to learn the truth, in order either to prove
Lippmann's theory, or to formulate a new and more rational one ?
At first glance it might appear that an examination of the LumiSre
photographs by transmitted light, might yield an answer to all of my
questions, by showing that the image is really a negative one ; but it
is not even necessary, in order to explain the " whites " of these
pictures, to assume that the image is positive throughout, but only
that there is a superficial reversal, just sutticient to prevent the
production, in development, of a deposit superficial enough to obscure
the normal surface reflection of the gelatine film.
I have some hesitation in putting forth views which a more
thorough examination of the Lumiere photographs might lead me to
modify ; but since such examination is forbidden, I can only hope
that the questions which I raise may help to bring about such a
thorough investigation of the subject as its importance demands.
In conclusion, it is worthy of note that the Lumiere-Lippmann
process, whatever its capabilities as to accuracy may prove to be,
when it is carried out according to theoretical requirements, is
necessarily subjecttolimitations similar to, and in some respects greater,
than the already successful photo-chromoscope process, which is
carried out with commercial sensitive plates and ordinary develop-
ment. Knowledge of this fact, which cannot be gainsaFd, will
doubtless lead many people to take an active interest in the friendly
rivalry which promises to attend the further development and appli-
cation of the two methods. F. E. Ivss.
THE SPEED OF PLATES : A CRITICISM AND A REPLY.*
He then proceeds to fall foul of the " law of error " formula, and
here it would seem that Dr. Hurter misses the whole point and use of
an approximate formula. It is claimed for the law of error formula
• Conduded from page 787.
that it give* an ezpretsion which fits the curve actually drawn from
measurements on the piste, through that range of traa'rparendeA
which is of use to the photographer. Dr. Hurter complains that,
plotted according to his method, the law of error formula gives a
parabola. This is certainly no valid objection, for can a parabola or
a straight line be drawn through the greater number of fixed points ?
If, as IS acknowledged, the parabola, is it not true that a parabola
can be made to fit closer to a given curve than a straight line ? Dr.
Ilurter's straight line gives a point in the diagram which, according
to him, fixes the speed of a plate. Abney's parabola also gives a
point (its vertex) which depends solely on the plate and its treatment,
and may be made just as well as, and probably better than, any other
to represent the speed of the plate. It has already baen shown that
Abney's curve deduces the number representing the speed from a
practically useful set of exposures, while Hurter & Driflield's does
not. It is only necessary to draw the curves to see that Abney's
calculated curve fits that drawn from observation far closer than
Hurter & Driffield's. In fact, this is shown in the diagram pro-
duced by Dr. Hurter at the discussion of Abney's paper, although the
case is an unfavourable one for the latter author's method.
Having once started, however, on the discussion of Dr. Ilurter's
arguments in reply to Abney's paper, one could go on refuting them
almost to eternity. No one would accuse the doctor of intentional
unfairness, yet many of his arguments are unfair in the extreme,
For example, in one place he asserts that, it being allowed that,
plotted in a certain way, the law of error gives rise to a parabola.
Captain Abney proceeds to prove that this curve does not differ much,
from a straight line. Surely no unbiassed person would deduce this
from Abney s paper. What he does in effect say is, that, as plotted
by his method, the curve of transparencies has a point of inflexion,
and it is known to every tyro in mathematics that in the neighbour-
hood of a point of inflexion a curve does not differ appreciably from
a straight line.
There is no need to discuss Dr. Hurter's demonstration of the con-
ditions of photographic truth. These may be discovered more easily
without the use of any elaborate functional equation, ft may, how-
ever, be noted in passing that, unless the printer has maligned him.
Dr. Hurter's solution of the functional equation is, to say the least,
incomplete. Besides, it has been pointed out above that Dr. Hurter's
own method of speed determination is far less in accord with the
conditions for photographic truth, as laid down by him, than the law
of error formula. It is necessary to point out that the equation for
density thus derived is not in accoraance with the equation called
" the approximate equation " in the paper entitled Photo-chemical
Tnvestiffations. There is a factor required, which ia of importance,
since the equation is a logarithmic one.
It would be too wearisome to hunt down the whole of the errors
and confusions in Dr. Hurter's criticism to the bitter end. He looks
on Abney's method with a jaundiced eye, and is consequently unable
to see any good in it. One great point in the method is that the
measurement of speed depends solely on observation, and not on any
assumption of the law of error or any other law, though the full
interpretation of the number obtained, no doubt, requires such an
assumption. Yet Dr. Hurter says, " We, therefore, depend entirelj
upon the law of error. If that be true, the rapidity by means of it
may be true also. If it be false, the rapidity may be erroneous."
Surely this is prejudice pure and simple !
Dr. Hurter does not in the least seem to realise what is meant by "de-
termination of speed." As has already been shown, a rough number
only can be assigned, and this cannot be an absolute quantity, since it
depends on the unit of speed chosen. All that can be done is to roughly
decide the relative speed of two plates. We have no absolute unit of
photographic speed to work in, but we can easily say that a rapid dij
plate is about thirty times as fast as a certain wet plate. It is as u
we had no measure of length. Then we should be unable to say that
A could walk four miles an hour, because there would be no miles ;
but there would be no difficulty in deciding that B could run just
twice as fast as A could walk.
It appears from his criticism that Dr. Hurter thinks that both his
number and Abney's are numbers representing the speed of a plat« in
absolute units, and he gives much trouble to the task of showing that
the numbers obtained by the two methods are so _ different that
Abney's method makes a certain plate out eleven times as fsst as
Hurter & Driffield's. All this is, of course, a pure misconception.
All that the law of error does is to give a method of roughly com-
paring the speed of two plates under similar drcumstances, and all
that Hurter & Driffield's method does is exactly the same thing;,
with the difference that the quantities compared do not necessarily in
the least represent the speed of the plate as used in practice.
There is yet another fact, however, which has a serious bearing
800
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[December 15, 1893
upon all the ■work that has been done in the matter of speed determi
nation. In a paper presented to the Royal Society in the early part
of the present year, Capt. Abney proved that the assumption hitherto
made by all photographers, himself among th« number, was untrue,
■viz., the assumption that the effective exposure ■was proportional to
the intensity of the light multiplied by the time of exposure. If this
•were true, ■we should find that, if two patches on a plate were ex-
posed, one at 1 foot from a candle for -^ of a second, and one at 10
feet from the same candle for 10 seconds, they would be indistinguish-
able on development. This, however, is very far from being the case,
and this discovery seriously affects the accuracy of all Hurter &
Diiffield's ■work, since they made their exposures by means of a
standard candle, the distance of which from the plate was varied as
well as the time of exposure. The discovery no doubt affects Abney's
measurements and those of the writer. But, so far as those made by
means of a Spurge's sensitometer are concerned — that is to say, by
varying the brightness of the light from point to point of the plate,
but keeping time of exposure the same for every point — they are at
least comparable among themselves. The number of varying factors
in the problem is certainly reduced by one so far as each plate is con-
cerned. It is true that, at p. 9 of Photo-chemical Investigations,
Hui'ter & DriiReld say that they have satisfied themselves that an
exposure of j-candle meter for 40 seconds produces the same effect as
1-candle meter for 10 seconds. But it is apparent from this that the
experiments with which they were satisfied must have been quite
untrustworthy, as the most casual glance at Abney's paper in the
Proceedings of the Royal Society will show, for it is shown there that,
by an experiment of the simplest nature, it is easy to prove that this
is not the case. It is, perhaps, a fair argument from this that, if these
authors were so readily satisfied in one case, they were probably
equally easily deceived in others, and there is considerable doubt
thrown on their whole series of experiments by this considei-ation.
To sum up. let us now review and try to assign its true position to
Hurter & Driffield's work. All must admire their energy, ingenuity,
and perseverance, and, in fact, their whole work, viewed as a " serious
attempt " to solve the vexed question of the rapidity of plates. But
they certainly cannot be credited with any real progress. No sooner
was their paper published than Captain Abney, than whom there is
no higher authority on the subject, pointed out, and proved to de-
monstration, that their method of measurement was -wrong in prin-
ciple, and was affected by a considerable systematic error, viz., that
it could take no proper account of the large proportion of light scat-
tered by the deposit on a negative. It now appears that they them-
selves have retired from the position they took up in their paper, that
"ratio of gradation," and therefore also "rapidity," is independent
of the developer. At least this seems to be the fair interpretation of
the second paragraph in the preface to the reprint of their Photo-
chemical In cestiyations, published by Messrs. Cadett & Neall, in their
Dry Plates for June, 1893. Here they acknowledge that " extreme
modifications in the developer " may bring about some alteration in
density ratios, but go on to say that this fact is of no practical use,
and all photographers should " scrupulously avoid "' taking advantage
of it ; in fact, that no one ought to use anything but a ferrous-oxalate
developer ! This strongly reminds one of Du Mauriers Professor of
Music, in Punch — " You have a pleasing voice, my young friend, but
you do not use it in a legitimate way." " Perhaps, if I did, it would
no longer please." "Ah, what does that matter? You should
always produce your voice in a legitimate way, whether it pleases or
not." Anyhow, whether they have reconsidered this matter or not,
it has again and agam been shown that, especially with the new
developers, modification in the development may pfoduce great
modifications in the resulting negative. In fact, the writer has some
plates which show that visible reversal may he produced or not at plea-
sure on similar and similarly exposed plates by varyingthe development.
In the original paper the main formula, which purported to be
deduced from theoretical considerations, was abandoned in favour of
an approximate empirical formula, and one object of the present paper
has been to show that even this approximate formula, and the whole
method of speed determination, of which it is the groundwork, is
based on a misconception, and is practically useless, as it applies to a
portion of the plate ; that is to say, some of the highest lights of the
negative, that is not, aa a rule, utilised by the photographer. In fact,
it may be said that Messrs. Hurter & Driffield's paper is a monument
of painstaking, but misapplied, ingenuity.
siderable time, been linked with an increasing taste for matt-surface effects.
At the first glance, this statement may appear slightly contradictory, since
the manifest advantages of gelatine paper are, in a measure, discounted
by stripping the prints from a granulated surface. Public taste, however,
appears to have decided that a great many subjects suffer no technical
loss while acquiring an augmented artistic effect by a suppression of the
glac6 surface of the paper, so that the " matting " of gelatine prints has
become very general. Such a fact was bound to arrest the attention of
the manufacturers, and thus, as we briefly announced last week, the
Britannia Works Company have introduced a printing-ont paper which
has a matt surface per se, and consequently, at one stroke, relieves
the photographer of an operation which was not always assured of suc-
cess, even when carefully performed.
At this time of the year photographic printing by sunlight is fraught
with much difficulty; hence, last week, we were only able, as the result of
a eompulsorily slight practical acquaintance with the paper, to outUne its
leading points. Since then, we have had further opportunities of printing
with it, and this, coupled with the interest always attaching to the latest
printing surface, justifies us in returning to the subject. The paper sup-
port, which we understand has been specially prepared, is a very light one,
having a smooth surface. The quantity of gelatine upon it is apparently
small and the sensitive coating being without gloss, even in the light, until
the silver commences to discolour, " which side is which " is not obvious.
"We are inclined to think the paper extremely rapid, as, in a poor light, we
found some fairly dense negatives fully printed in about half an hour.
The colour of the prints as they leave the frame is a peculiarly agreeable
dark purple — quite unlke anything of the kind obtained with other papers.
The surface of the paper is homogeneous, so that the fine details of the
image are preserved, while the gradations In the negative are well
rendered.
We may with advantage here quote the essential points of the makers'
instructions for the use of the paper. They recommend printing to be
done in the shade, unless the negatives are specially strong in contrast.
The image loses little depth in toning, &c. The prints should be washed
in several changes of water for fifteen minutes. Separate toning and
fixing are recommended, the bath for the former being the sulphoeyanide
one. The prints dry darker and colder in tone than they appear when
wet. For warm brown tones, the bath should be diluted. After toning
five minutes washing in several changes is advised, and two hours in
running water, or many changes, after fixing.
Our own experiments were made with a combined bath. With this we
found it necessary to print considerably darker than the ultimate print
was desired to be. Toning took place readily, and by arresting or
prolonging the action we were enabled to obtain a range varying from
warm brown to deep purple black. WhUe wet the prints appear like
ordinary gelatine prints, but when dry the resemblance disappears. Their
lack of surface renders such a degree of care in subsequent handling,
mounting, &o., as is the case with the highly surfaced prints, needless.
The results yielded by the new paper are not only artistically pleasing,
but, looked at from the purely technical point of view, the fineness of
detail, softness, fidelity of gradation throughout, especially in the half-
tones, and all freedom from " double colour " should render Matt P.O.P.
a great favourite. Above all, it is a simple paper to work, and, as it is
capable of giving the most charming effects iu the way of tones, it
should do much to keep silver printing popular among all classes of
photographers.
Mr. Howson last week showed us a selection of prints from negatives
by Frank Sutcliffe, Crooke, Hodges and other clever photographers on
the paper, and it was impossible to be otherwise than delighted with
them.
H. M. Elder,
"MATT P.O.P."
It is curious to note that the growth in favour of gelatino-ehloride paper
for printing-out purposes, which has been such a marked characteristic
of photographic progress during the last two years or so, has, for a con-
PHOTO-ZINCO IN HALF-TONE.
[Londou and Provincial Photographic Asaociation.l
Nbaely all beginners at photographic process work commence by
rnaking their negatives on dry plates, and, although I have at various
times, whilst not exactly advocating their use, certauily en-
couraged it, now having learnt wisdom from experience, I cannot
find compensating advantage accruing from their use. The chief
argument in favour of dry plates put forward by most, is the old one
of the fickleness of the silver bath ; that, I take it, is a notion left
over from the time when the wet-collodion process was in general use,
and when it was so necessary, in order to obtain tho utmost sensitive-
ness, to work the bath in such condition that even a variation of
temperature would cause fog. For photo-zinco this is all changed, a
large amount of acid being requisite to ensure clearness of linea
December 16, 1803]
THE BRITISH JOURNAL OV PHOTOORAPHY.
801
giroa the desired stability to the bath, and consequently freedom from
(fog and uncertainty. "
This being so it is possible to make three negatives finished and
ready for prmting in less time than one dry-plate negative can be
done, 80 the sooner experimentalists abandon dry plates and try the
■net process the better for results, certainty, and economy.
The grained screen.— This is a very important piece of apparatus,
and I have here, by favour of Messrs. Penrose, four specimens of
Lew's ruled screen, and from Percy Lund & Co. a specimen of
Wolfe's reproduced screen ; as far as results go, each is as good as the
otlier, although some operators insist that the Levy is best, and others,
again, that VVolfe's is ; .so for my own part I would say, if you have
•either you can po comfidently to work and laugh at any one who says
the other (i.e., the one you have not got) is the best.
From the thickness of the screens it is obvious that some provision
must be made in the dark slide for them ; in all dark slides now made
for the work this is managed by making the dark slide extra thick,
leaving a space of from throe-eigliths to five-eighths in front of the
sensitive plate and behind sliding shutter, and in this recess placing a
carrier to hold the screen.
Printing on the Zinc. — The next step to take will be to make a print
on the zinc, this being usually done either in bichromated albumen or
in bitumen, the albumen process requiring a less exposure to light
than the bitumen ; but it has the drawback in requiring rolling up with
ink before etching, and this is an operation requiring very gx'eat skill
and care: this can, to sonae extent, be got over by dusting over with
resin and warming the plate, which gives a resist as hard as bitumen.
Bitumen is best dissolved in chloroform, and the zinc plate sent
round will show you just about the proper thickness the film of bitu-
men must be, if at all thicker there will be a difficulty in getting
sufficient exposure to penetrate the film to the metal, hence it will
float away under the turpentine used for development.
Specimens of straight polislied zinc as used for line work, and of
round polished zinc as necessary for half-tone prints, are sent round
for comparison.
I have also here specimens of the rollers used, viz., a nap roller and
a glazed one ; the nap roller is the ordinary lithographic roller, the
grain of the leather being outside ; the preparation of such a roller is
very important, as, unless it is properly done, the roller will be useless ;
a roller in the condition now shown you {i.e., quite new) is worth 1.5s.,
but if it was in really good working order would be cheap at 2os.
This roller is a glazed one, and is used to ink up the surface of the
plate, only, as you see, the surface being hard and smooth.
Etching a half-tone block requires great skill and care, and calls
for ability to use the brush in order to get the best effects, and un-
skilful use of the brush will quickly spoil what would otherwise be a
good block.
The use of albumen and bitumen for printing on the zinc is now
threatened with supersession, a process called Enameline — of which I
now pass round a specimen — bidding fair to be better adapted than
either for the purpose.
The process is a secret one (being of American origin), so I cannot
presume to even make a guess at it, but I will pass round another
specimen done by a process of my own, which has a very similar
appearance to the other, and is done with a mixture of isinglass,
white of 6^, and bichromate.
The process is in itself very simple ; a zinc plate grained in a weak bath
of nitric acid is coated and whirled, then dried, exposed to light under
the negative for from three to five tints of a Johnson actinometer ;
on removal, the image can be seen quite bright ; it is next immersed
in cold water to remove the bichromate and unaltered albumen, and
dried. It is now carefully examined under a powerful glass, and if
the whole of the grain can be seen sharp and without any rottenness
in any part, the plate is ready for burning in, an operation done on a
hot plate or in a Bunsen flame ; here the image gradually develops
until a beautiful blue black is attained, when it is ready for the
etching bath without any rolling up of any kind, and, when the
etching is complete, the plate is mounted and printed from with the
enamel image on it intact. This method is only used for half-tone
blocks, as the ordinary albumen process gives all that is necessary for
line -work. \V. T. Wilkinson.
MANIPULATIONS OF THE OPTICAL LANTEBN.
[North London Photographic Society.]
Is the paper which I am about to read I have no intention of going into
lantern manipulation in general, but propose only to deal with the
single lantern and blow-through jet, describing the manner of working
them for the benefit of those members who wish to improve upon the
results obtained from the paraffin lamp for home lantern work, enlarging.
redndng, fee. I think the principal reMon whioh peveoU many from
nsing the limelight is the exaggerated and almost anfoaaded Ides of the
danger attending the u»e of it. This idea is erroneoas. With snob
ordinary care and attention as amatear photographers tuually bestow
npon the minipulation ol their instruments and work, they can ose the
limelight with as much contideDce as a paraffin lamp. For m; own part
I have more anxiety when using a paraffin lamp in a lantern than when
using a blowthrongh limelight jet. A highly inflammable and explosive
substance like paraffin used in a lantern, the interior of which becomes
very highly heated (sufficiently so with me to have broken my condensers
on two occasions) inspires me with mnah more trepidation than does the
limelight. The few accidents which have occurred since bigh-presaare
gas cylinders came into use have, I believe, been traced to carelessness or
ill usage, and now that oxygen and hydrogen cylinders are respectively
fitted with right and left-hand screw threads, tbns compelling the gaia
compressors to fill the cylinders only with the gases for which they are
intended, and the users to use their fittings in like manner, the piime
cause of danger is eliminated, and, if only drawn steel cylinders are
used, one may rest satisfied that the probability of an accident is very
remote.
A few words describing how steel cylinders ate made may interest yon.
A disc of steel is, by various machines, pressed into the form of a cup,
and finally forced through a hole in a die by a plunger, the ontside
diameter of which is equal to the internal diameter of the cylinder. The
cyUnder is then in the shape of a test tube. The open end is heated and
cupped over, and the neck formed by special tools. A hole is bored in
the neck and threaded, and the valve is screwed and soldered in. The
cylinders are tested by hvdranlic pressure to more than double the
greatest pressure to which they will be eventually charged, whioh is
1800 pounds on the square inch. They are made in sizes to contain
from six feet to 100 feet of gas. I think a twenty-feet cyUnder the most
useful and economical for an ordinary worker. A lever key is best for
regulating the flow of gas, but, for turning off the valve, an ordinary key
is better, because, the lever operating with so much more power, one is
apt to screw up too hard with it, and thus injure the valve seating.
Now, with respect to regulating the flow of gas to the jet, it is quite
possible to do without a regulator, but even experienced hands find it
difficult to manage the light without the aid of one when the cylinder is
full, for, the pressure being so great, the slightest turning of the valve is
sometimes quite suflieient to blow out the light, and make a great hissing.
When the cylinder is three parts empty the regulator can be dispensed
with, perhaps with advantage, and, when nearly empty, to get all the gas
out of the cylinder, the regulator must be put aside, as the pressure is not
sufficient to work the valve of the regulator, which thus stops the passage
of the gas. I am referring to Beard's regulator, which I think is the
best and most generally used. When using gas from the cylinder with-
out a regulator, the tap at the jet must be opened full, and the rubber
tube must not be tied on to the connexion, as otherwise the pressure will
accumulate in the tube and burst it, but when u-sing a regulator the tap
at the jet must be turned off, the valve of the cylinder then opened with
the key, and the tap of the jet used to adjust the light. If the tap at the
jet be not turned off first, the regulator does not act, but the gas passes from
the cylinder to the jet, as though no regulator was there. With regM-d to
the jet, a screw-down tap to the oxygen is an improvement on the ordinary
tap, as the flow of gas can be much more nicely adjusted.
I think that the ordinary tap for the hydrogen is the beat when house
gas is used, because the house gas, being at low pressure, the passage
way of the tap must be large in proportion to allow sufficient gas to pass,
and the screw-down taps that I have seen do not possess a gas way large
enough for the purpose. The nipples of the jet are of prime impor-
tance, and there are several forms of these. I think that form is best
in which the oxygen nipple is sunk below and inside that of the house
gas to the extent of one-eighth of an inch, the house-gas nipple having
an orifice smaller than its interior diameter at the position of the oxygen
nipple, thus mixing the gases better, and concentrating them on to a
smaller area on the lime pro<lucing a better light, and improving the
definition of the picture, as the smaller spot of light forming the illumi-
nant the finer is the definition.
The limes are an important consideration. Soft limes give the best
light, but hard limes are more enduring, and so more economical.
Some are only moderately hard, and they come half way between the
soft and hard variety, and, I think, are the most satisfactory for general
use. Mr. Lewis Wright recommends that the pin to which attached
should be slightly tilted forward (i.e., towards the the jet is con-
denser), and I think that a slight improvement in the light is thereby
gained, the nozzle of the jet sometimes cutting off from the condensers
some portion of the rays proceeding from the incandescent lime.
I have found the ordinary double piano convex condensers answer every
purpose ; they should be mounted in the lantern as close up to the slide
stage as possible, and the objective used to form the image should have
the lenses, wliich form its back combination («.*., those nearest to the
condenser), as large a size as possible consistent witli the optical con-
siderations involved, because, if these lenses are too small, iey cut off
some of the cone of rays proceeding from the condenser, and so enfeeble
the light. I will proceed to describe what I consider the best way to get
a good light and to obtain an evenly illuminated disc on the screen. After
the regulator has been screwed into the neck of the cylioder, make the
802
THE BRITISH JOURNAL OF PflOTOGKAPHY.
[December 15, 1893
connexion by the rubber tubes, the oxygen to the tap on the right of the
jet, the house gas to the left ; turn off the oxygen tap at the jet, and tarn
on the oxygen at the cylinder by the lever key, light up the house gas and
let it warm the lime for a minute, now turn the house-gas flame down to
about an inch in height, and very gently '^pen the oxygen tap till the
oxygen at the nipple of the jet is carrying all the house gas forward on to
the lime ; turn on a little more house gas, then a little more oxygen, and
so on, gradually adjusting the two taps until the best light is obtained.
When this is done turn the lime round several times, slowly, ia order to
thoroughly heat it. Look through the back door of the lantern at the
reflection of the lime on the condenser, and, having loosened the screw
which bolts the lime-turning arrangements to the tubes of the jet, adjust
the lime thus horizontally until the small black spot, which ia observed
in the centre of the illuminated portion, just disappears, and, when this is
done, tighten the screw. Now draw the jet a little distance back from the
condenser, adjust the jet on the pin, vertically and horizontally, until the
spot of brighter light on the screen is in the centre of the disc, put a slide
in the stage and focus it ; take it out again, and then slide the tray and jet
towards the condenser, nntil, on observing the screen, you notice it as
nearly as possible equally illuminated. If there appears a want of light
or a slight blue shadow at the top of the screen, the jet must be lowered ;
it at the bottom, it must be raised ; if it is on the right side of the screen,
the jet must be slightly swerved to the left ; if it is on the left, it must be
shifted to the right— of course I am referring to the lime end of the jet.
What I have said, I know, will be very stale to some of you, but I have
made an effort to describe the elements of the manipulation of the lime-
light for the guidance of those who know nothing about it, and not in
order to bring forward anything new which might appeal to the
experienced. E. W. Parfitt.
®ur iBlJitotial arable.
The " Rocket " Plate.
Elliott & Son, Bamet.
There is no doubt of this new plate of Messrs. Elliott & Son being
remarkably quick. We submitted a sample to trial during the dull
weather we have lately been experiencing, and under conditions best
calculated to test for rapidity, and succeeded in getting fully exposed
negatives. The " Rocket " plate develops easily and cleanly, and is
possessed of great technical excellence.
A View by Moonlight.
By William Brown, Paisley.
A VIEW of the village of Lamlash, Arran, which was shown at a
recent meeting of the Glasgow Photographic Society, has been sent
to us by Mr. Brown. It was taken on August 28 last, the day after
full moon, and was exposed from 10.30 p.m. to 12 with a Ross's half-
plate rapid symmetrical lens. During the first half-hour a No. 3
stop was employed, and during the remaining hour the lens was
worked without any stop. The plate was a "Verel's Matchless," de-
veloped with pyro and ammonia. The moon must have been very
bright and the atmosphere exceptionally clear to have enabled such
an excellent picture to have been obtained.
i^etDS anti i^otes.
Lewisham Camera Club.— Decemljer 15, Lantern Evening ; Prize Slides.
Leeds Camera Club.— December 21, Graml Lantern Evening, for members
and friends, in^the Large Room, New York-street.
West London Photographic Society. — December 17, Technical Social
Meeting. Carbon Printing, Mr. L. Selby.
Photooraphic Club.— December 20, Soda versus Ammonia as an Alkali in
the Developer.
Messrs. Arthur Schwabz & Co. inform us that they have been appointed
sole wholesale [agents by Dr. Hesekiel, for his Grain Platiua Paper (matt
surface).
" The Photooram " is the title of a new monthly magazine devoted to
photographic and photo-mechanical work, to be issued under the editorship of
Mr. Snowden Ward and Mrs. Weed Ward.
Messrs. Pebkbn, Sox, & Ratment mform us that the "Optimus"
100 Guinea Photographic Competition closes on December 31, after which
no further prints can be received. A copy of the rules and list of prizes may
be obtained of the firm, 99, Hatton-garden.
Ce.ntral Photooraphic Club, —Friday, December 15, instead of the discus-
* 'PSi/''^"" versus Glass, Mr. John Howson will give his first demonstration
of The Working of the New llford Mall-surface Paper, at the Club-room,s,
Coleman 8 Hotel, Henrietta-street, Covent Garden, W.C.
Liverpool Amateur Photographic AssociATiON.^Thursday, December 21,
Lantern Lecture, by Mr. W. Harvey, A Trip to Chicago. Auction of Photo-
graphic Goods, the property of members, .January 11, 1894. All articles in-
tended for sale should be left with the Attendant, with full description, also
reserve price. A few copies of spare presentation prints will also be put up
to auction.
At the Central Photographic Club, Coleman's Hotel, Covent Garden, there
is oil view, till December 21, a "oue man" collection of photographs, by
Mr. Thomas Fall, It includes e.xamples of portraiture, group, landscajie, and
animal study work. Small though the collection is, it is well worth a visit, as
it shows Mr. Fall's powers to advantage. Visitors are admitted on presently
tion of card.
Munsteb Camera Club. — December 20, Amid»l as a Developer, by A.
Roche. 1894 : January 3, Retouching (illustrated), by J. O'ConneU. 17, On.
Lens Stops and Exposures, by H. Lund. 31 , Discussion on Printing Papers,
opened by K. B. Williams. February 14, ,.4 Ramble in the Highlands, by A.
Newsom. 28, The Stereoscopic Camera, by R. Foley. March 7, Photographic
Dodges, by J. Day. 21, Members' Slides. April 4, Annual Exhibition.
The Photo- Autocop VIST. — Tlie photo-autocopyist is an apparatus for easily
obtaining a number of reproductions of a photograph by coUotypy. A
bicliromated gelatine film is printed in the usual way, developed, placed on a
stretcher, inked, and a print taken by pressure. The apparatus is supplied
complete in a neat and handy form. Those of our readers who have access
to our volume for 1891 will find the process described in detail by Mr.
Warnerke. The address of the Company i.s 72, London-wall.
Bristol International Photographic Exhibition. — The entries for this
E.thibition have now all been made, and we hear that the Bristol Committee
are more than satisfied with them, both from their quality and number. The
work of judging takes place this week, and the Exhibition opens on Monday
with a conversazione, at which the Very Rev. Dean of Bristol will perform the
inaugural functions. The exhibits are thoroughly international in their
character, there being many frames from the United States, Canada, Russia,
Sweden, and all parts of the Continent. The Committee have decided to
i-wue cheap season tickets (3». 6rf. only) for the five weeks during which the
Exhibition remains open. "This will doubtless prove a great advantage to the
local public, and will, we should think, add materially at the same time to the
success of the Exhibition.
Forfarshire Photographic Lantern-slide Competition. — Honorary
President : Alexander Robertson, of Bumside, Sheriff-Substitute of Forfar-
shire.— Honorary Vice-President : Robert Whyte, Procurator-Fiscal of Forfar-
shire.— Chairman of Committee : Gilbert W. Don, Clocksbriggs House. — Vice-
Chairman and Local Secretary : J. Watson Ciaik, Forfar. — TreoMvrer :
R. Bruce, Banker, Forfar. — General Secretary : W- J. Anckom, Arbroath,
N. B. Rules and Regulations of Lantern-slide Exhibition and Competition :
1. The Committee will place the Forfarshire medals at ttie disposal of the
Judges, whose decision will be final. 2. Entry fees Is. for set of twelve slides.
3. The Competition is open to .all photographers, no distinction being made
between amateurs and professionals. Trade manufacturers barred. 4. The
Slides to be forwarded to the General Secretary, together with the entrance fee,
on or before December 30, carriage paid. 5. The winning Slides will become
the property of the Forfarshire Exhibition Committee. 6. The Committee will
not be responsible for any damage to .slide exhibits. 1st Class — Landscape,
Marine, and River Views. 2nd Class — Hand Camera. 8rd Class — Oenre.
Two awards in each class.
PBESBirTATiON TO Mr. Edoar G. Lke.—Au Ordinary Meeting of the New-
castle and Northern Counties' Photographic Association was held on Tuesday,
December 5, at the Art Gallery, Newcastle. Mr. J. P. Gibson, Hexham, pre-
sided over a very large gathering. Mr. John Watson read a paper on Lantern
Manipulation, and afterwards gave an interesting demonstration of the variou
processes. The next business was a presentation to Mr. Edgar G. Lee, who is
retiring from the Hon. Secretaryship, in which post he has been succeeded by
Mr. James Brown. The Chairman, in making the presentation, referred to
the past history of the Association, pointing out that, in its early career, it had
associated with it many prominent scientists, such as the late Professor
Marecco and Professor Herschell. It had had three Secretaries. The first,
who put the Association on its legs, was Mr. J. B. Payne, of Messrs. Mawson
& Swan. Then came Mr. Pike, wlio was succeeded six years ago by Mr. Lee.
During Mr. Lee's term of office the Society had enormously extended, the mem-
bership rising from something like forty to 160. It had also taken a very
prominent part in the photographic activity of the kingdom. Tlie Association
occupied a very good position as compared with other provincial .societies,
though he should like to see the general average of the work improved. They
had in their ranks many eminent photographers, but the general average might
still be raised. Alluding again to Mr. Lee, he said that gentleman had de-
veloped a reputation second to no man in the world as a lantern-slide maker.
Mr. Lee had become a specialist, he had stuck to that one branch of photo-
graphy, and by perseverance had raised himself to the high position he now
occupied. Mr. Lee had always lieen most willing and anxious to assist be-
ginners, and there was hardly a beginner who had not had the benefit of his
advice. He then handed over the present, which consisted of a purse of gold,
a silver inkstand, and an album. Mr. Lee, in returning thanks, said he should
still continue his active connexion with the Association.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 23,490. — "Improvements in Photography and iu Photographic Cameras."
A. C. Ponton.— Z»a(ed December 6, 1893.
No. 23,642.— "Improvements in Photographic Dark Slides." G. F. Horne.—
Dated Dtcember 8, 1893.
December 15, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
808
No. 23,670. — " Apparatus for Exposing Successive Photographic Plates, Magic
Lantern, and other Slides." BiRT AOHES. — Dnted December 8, 1893.
No. 23,607.— "Tinted or Coloured Covers for Photographic Transparencies."
W. F. Bl'TCHEK.— Oa^erf December 8, 1893.
No. 23,469. — "An Improved Method of Preserving Drawintp", Etchings,
Chromos, Photographs, and suchlike, which .are framed, fi-om dust or
damp." J. M. Younq. Dated December 6, 1893.
Mtttimfi of IboctetteiES*
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Date o' Meeting.
December 18
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Name of Society.
Camera Cinb
Dundee Amateur
Glasgow it. West of Scotland Am
Hastings aud St. Leonards
Leeds Photo. Society
Richmond
South London
Birmingham Photo. Society ..
Brixton and Claph&m
Exeter
Hackney
KeigUey and Digtrict
North London
Paisley
Rochester
Brechin
Bury
Leytonstone
Manchester Camera Club
Photographic Club
Sontfaport
Soutbf^ea
Birmingham Photo. Society ...
Camera Club
Olossop Dale
Greenock
Hull
London and Provincial
Oldham
Oxford Photo. Society '
Cardiff
Central Photographic Club
Croydon Microscopical
Holborn
Maidstone
West London
HnU
Flue ot Meeting.
Charing Cross-road, W.O.
AsBO. Stndio, Nethergate, Dundee.
180, West Regent-street, Glasgow.
Mechanics* Institute, Leeds.
Greyhound Hotel.
Hanover Hall, Hanover-park, S.E.
Clnb Room, Colonnade Hotel.
376, Coldharbour-lane, Brixton.
City Chambers, Gandy-st., Exeter.
206, Mare-street, Hackney.
Mechanics' Institute, North-street,
Canonbmy Tower, IsUngton, S.
9, Gauze-street, Paisley.
Mathematical School, Rochester.
14, St. Mary-street, Brechin.
Club Rooms, 13, Agar-street, Bnry.
The Assembly Rooms, High-road.
Victoria Hotel, Manchester.
Anderton's Hotel, Fleet-street,K.O.
The Stndio, 1.5, Cambridge-arcade.
3, King's-road, Sonthsea
Clnb Room, Colonnade Hotel.
Charing Cross-road, W.C.
Museum, Kelly-street, Greenock.
71, Prospect-street, Hull.
Champion Hotel, 15, Aldersgate-fit.
The Lyceum, Union-st.. Oldham.
Society's Rooms, 136, High-street.
Coleman's Hotel, Henrietta-st., W.O
Public Hall, George-street, Croydon
" The Palace," Maidstone.
Ohiswick School of Art. Chiswick.
71 Prospect-street, Htdl.
PHOTOGRAPHIC SOCIETY OF GREAT BRITAIN.
December 12,— Ordinary Meeting,- the President (Captain W. de W. Abney) in
the chair.
The following were elected members of the Society :— Messrs. W. A. Cadby,
L. Cohen, E. Farquhar, F. W. Grant, T. C. Hepworth, C. Job, Adolph Meyer,
Spencer and Mrs. J. N. Hignett, and Mr. W. M. Warneuke.
The President annoimced that the Society had acquired a number of
negatives by Rejlander, and that prints would be on view in a short time.
Messrs. W. S. Bird and Thomas Bedding were elected Auditors of the
Society's accounts.
Distribution of the Image in Multiple Films.
Mr. S. Herbert Fry read a paper on this subject, in which he dealt with
-the theoretical features of the Sandell multiple-coated films and their practical
treatment. He said that the respective films not only differed in sensitiveness,
but also as to character of image, and were, besides, physically dissimilar. The
top film produced abundance of detail in the brilliantly lighted parts of the
picture, and the bottom emulsion clear shadows. The multiple-coated film
might thus be described as a composite film, having opposite photographic
properties. In his estimation, it was not possible to make one emulsion having
all the qualities required, and that an equal effect could not be obtained by
mixing eumhsions of different characters. After pointing out that light exer-
cised a selective action on multiple films, the more energetic rays exercising
their function on the lower .ind less-sensitive emulsion, he said that, in an
ordinary film, those rays passed through and caused halation. The multiple
tilm acted as a light filter. Better and truer renderings were obtainable with
a multiple than with a single and homogeneous film. In the case of an ab-
normal exposure, a selective developer must be used. He would begin with
one weak in alkalL S'lch a one would attack the lower film lirst, and, when
sufficient density was obtained, a normal developer could be used to produce
detail. He could not .say whether the slow film influenced the top, and, as
regards solarisation, he said he did not find any noticeable effect produced, if
development were continued far enough. The more reversal there was, the
liiore image there must be developed in the lower film.
In reply to Mr. Wamerke, Mr. Fry said the films could only be stripped in
the first, wet stage.
The President, in moving a vote of thanks to Mr. Fry, said the use of
multiple films was not new, as double films of collodion and gelatine had been
employed. In a paper read before the Royal Society six years ago he (the
President) had shown the advantage of using an emulsion sensitive to the ultra-
rcd rays with another below not sensitive to them. One was able to sepaiat*
the two, and get the whole of the spectram together. It was a ipo.1 oppor.
tunity of studying the image, as one a.'t-d as a feeder for inten/iity to thi- other.
The top film by itself would give a feeble image, but it could be inteiiHiHwI. It
was more preferable to intensify by the ordinary method of developmant Br
having a subgtratum of sensitive salt, one wu abl* to get any amount of density
required.
The LirrMAN!«-LOMii:RE-VALin»TA Coixjcb PBOTOORAras.
Mr. F. E. Ivbs read a paper on this subject, which, iu soma rtapeds.
criticised the results in the name terms as In hu paper read iiefore the Pliili-
delphia Society on November 8 [tee page 798J. It wm a question how mu> h
of LumK-re's success was due to an attempt to carry oat Llppmann's theory aud
how much to accident He hail not been able to bcdieve in the possibility of
producing the results. 'ITie images should be negative, but Lipnmoiui'x own
photographs showe<l the greatest deposit in the high iighU. Be auggestol
that the rendering of the whites and blacks might be due to long einoiare
producing reversal. The action which rendered light and shadow was
different to the action which produced colours. The two distinct actions
proceeded together, and, therefore, as the process was not one indicate<l by
Lippmann'a theory, it must l>e regarded as partly an accident. He thought
the results could be produced by interference. When iu Vienna, Herr Valenta
had shown him some results produced on plates sensitised with cyanine, the
pictures being backed with Brunswick black and mounted under a prism.
Chlorobromide plates, sensitised with eosine, had also been n.sed, with
abnormal results, red being produced by the action of the blue, and violet by
green. The colours were not produced in the film, but only by sometbin.^
practically equivalent to interference. Spectroscopic examination supimrtc.?
the view that none of the colours were pure. All the colours were mix-
tures. The second example, however, seemed corrected in the spectroscope.
For reproducing correctly, the .sensitive film should be scarcely thicker than a
single wave-length of light. Having criticised the method of projection em-
ployed, the light being so powerfully concentrated that reflection from a black
glass would appear as white on the .screen, he concluded by saying that he
thought the photographs were not obtained in accordance with theory. The
results were more or less accidental, and successful working conditions could
not be calculated, but must be worked out purely by experiment. [We shall
take the opportunity of printing the paper in full on an early occasion.]
In the discu.ssion which followed,
Mr. L. Warnerke explained that M. Lumiire's colour photographs were
protected in order to secure them against damage in handling.
Mr. H. A. Laurance said he assisted in the preparations for showing the
pictures at the Society of Arts, and imagined there was a prism over the images
because there was a most beautiful spectrum thrown from the prLsm.
Mr. Ives said that it was quite right the pictures should be mounted, a.s the
colours were exceedingly delicate. He did not know that M. Lumiere had
ever exactly stated how the pictures were mounted.
Mr. CHAPM.1N JoNBS asked if there was any information that the colours
were produced by the corresponding colours in the spectrum. In those Mr.
Ives snowed there seemed a small proportion of yellow.
Mr. Ives said that Herr Valenta stated that in the better examplas the
colours occupied their correct positions. In the pure spectrum there wa.s very
little yellow. The more impure it was, the greater the sensation of yellow.
Mr. T. Sebastian Davis asked if the colours which had been projected by
the prism were not mounted in front of the glasses .'
Mr. Ives replied tliat the colours were more brilliant with the prism.
Mr. Lawrance asked whether the .spectrum photographs Mr. Ives show ed
were taken in an arc light or daylight ?
Mr. Ives said the light was taken from a large crater, so that there was very
little of the carbon spectrum in it. He thought that the people who ma<le the
claims to which he had referred should photograph the Fraunhofer lines by
the Lippmann method, by which no one had yet photographed the sun
spectrum.
The President, in moving a vote of thanks to Mr. Ives, said he had )>hoto-
graphed a sun spectrum by the Lippmann process, bnt by long exposure he got
red where blue ought to be, and blue where red should be. He found that a
great deal had to do with the exposure. It required a brilliant spectrum and a
wide slit He did not think the criticism as to the want of yellow in Valenta's
results was a crucial one, as, by reducing the light of the spectrum, no yellow
at all would be obtained. In all the photographs by the Uppmann metho<l he
had seen, there was one great fault, the want of being able to produce a pure
red, it was always of an orange character. He did not suppose they would
ever get pure colours by the method. As regards the use of the crater of the .
positive \>o\e of the electric light, he found that to be a standard light in 1884,
:is a cubic stiuare of one-eighth of an inch in the centre always gave the same
light. He believed a patent had recently been taken out for it. Colonr
photography was yet in its infancy. an<l we must wait for more drVL-lojuiient.'i
before we could say that everything was accomplishei His own lelief wxs
that photography in natural colours would be photography in pignicnt.s, but
the latter laded. Becquerel's colours were purer than Lippmau's.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
December 7, Mr. A. Haddon in the chair.
Photo-zincography iu Half-tone.
Mr. W. T. Wilkinson gave a paper on this subject [see page SOO], exhibiting
several screens of different degrees of ruling, nap and gla2e<l rollers' zinc plates,
and examples of images on zinc in various stages of preparation.
In the cour.se of a discussion which followed, Mr. W. E. Debknham re-
commended Schlippe's salt for intensifying the collodion negatives.
Mr. Wilkinson said there was a danger of getting veil with it.
Mr. Dbbenham had used it after iodide, ana found no veil. It give a deep
red-brown deposit. He thought it very generous of Mr. Wilkinson to publisa
his isinglass, white-of-egg, and bichromate process.
In reply to further questions from Mr. Debenham, Mr. WiLKixsoa said t' ai
804
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[December 15, 1893
with bis process there was no intermediate inkings, the plate being etched
straight off. The etching flaid was nitric acid, the solution being of the con-
sistency of vinegar ; etching took about a quarter of an hoar, the finer details
in the high lights being watched for.
In reply to the Chairman, Mr. Wilkinson said that etching by a current of
electricity was not commercial, although it was scientifically practicable.
In reply to Mr. Debenham, he said printing was done to about the same
depth as collotjTie. He would not repolish a spoiled plate. The spoiled bitu-
men or isinglass film could be wa-sked off with warm water and o.xide of zinc
used for the plate. As regards the distance of the ruled screen from the
collodion plate, it was generally placed on the silvered-wire corners of the dark
slide. The ruled lines of the screen were filled in with pigment. As to the
use of mirrors, he had had one in use for five years, and had only had it re-
silvered once, at a cost of threepence. He had rejiolished it with baked rouge
and fine cotton-wool in chamois leather, slightly warming the plate and
polisher.
After Mr. Wilkinson had answered other questions, a vote of thanks was
passed to him.
Central Photographic Club. — On Friday last Mr. Algernon Brooker, of
Hastings, delivered his lecture, WhuJuisea and Rye, illustrated by 140 slides.
Starting from Hastings, he led his hearers on through Ecclesbourue and Fair-
light to Winchelsea, pointing out the places of interest en rouf-e. He gave a
short historical account of both Winchelsea and Rye, illustrateil by ancient
and modern , maps, showing the great change which ha<l taken place in the
surface of that part of Sussex by the receding of the sea and changing of the
course of the River Rotlier. Views of the church at Winchelsea, its monu-
ments, and some details of carving were shown and described. Comparative
exposures, made on "Sandell" and "backed ordinary" plates were called
attention to. After various "photographic bits " in the way of gates and odd
corners, Mr. Brooker proceeded to deal with Rye, and managed to get some
amusement out of his description of the corporate seal. Tlte lecturer's best
hits in de.icri]>tion were of the bakery at Rye and its doorstep tenant who at
night always " felt the cold," and was at times troubled with " symminess in
the head." Ttie wise descriptions of the weather by the ferryman at Rye were
also referred to. A description of the "pirates' chains," and the pillory in the
Town Hall at Rye, and the difficulties surmounted in photographing them,
followed by a series of paddling scenes on Hastings beach, bronglit a most
instructive evening to a close.
Ealing Photographic Society.— December 7, the President (Mr. H. W.
Peal) in the chair. — Two nominations for membership. An exhibition of
members' lantern slides was given by Mr. T. Simpson, assisted by Dr. Gibbons.
Tlie slides first shown were the work of Mr. T. Crisp, and included views at
Burnham Beeches, Virginia Water, Kew Gardens, Stanwell, Hillingdon, and
the Brent ; a characteristic scene at Brentford Market, and soma effective
studies of clirysanthemums from negatives on isochromatic plates. The Hon.
Secretary ( Mr. Murphy) contributed a series of views taken during a recent
tour in the south-west corner of France, and comprising scenes at and near
Bordeaux, Dax, Orttiez, Pau, Bayonne, Eaux-Chaudes, &c. He also showed
some views on the Henley Regatta course, and in Ireland, and a pleasing
Sunset cm the Mill Pond, ffanivell. His final .slide consisted of a reproduc-
tion of a placard dated 1813, giving a list of the prizes offered for competition
at Ealing Fair in that year. Besides prizes for jumping in sacks, and grinning
through a horse-collar, a pig was to be run for, a jiound of tobacco to be
smoked for, a shift to be run for by young women, and a pound of tea to be
drunk for by old women. Mr. B. E. Peal furnished half a dozen choice views
representing Hanger Laiie, Perivale Lane, Hayes Churah, Swalcelys, &c. Mr.
Roland Whiting showed some slides of microscojnc objects, amongst which
those depicting crystals of various substances as seen by polarised light were
greatly admired. The exhibition concluded with an adrnirable series of slides
by the President, reproducing the illustrations in David Roberts' Egypt and
Niibia. These slides, which elicited frequent applause, were notable not only
for their technical excellence as photographs, but for tlie artistic beauty of the
original pictures. It was announced that the meeting on the 14tli inst. would
be a demonstration on Enlarging, the Society's enlarging apparatus and dark
room being used. The following week there will be a demonstration of deve-
lopment with amidol, metol, and glycin.
Hackney Photographic Society.— December 5, Mr. W. Houghton presiding.
— Question: "What effect in exposure would suow have in winter?"
Reply : "Disregard the glare and whiteness and expose for the dark portions of
the subject. Snow pictures are generally under-exposed. Fast plates give
more density than formerly. Select a plate with a thick emulsion." Question:
" What time is sufficient for washing a uranium-toned bromide print ? The
instructions say, ' Wash till all yellow traces disappear.' Prints had been left
in a long time, and the picture nearly disappeared altogether." Reply : "One
must watch them carefully and remove after inspection in daylight >as soon as
the last trace of yellow has gone, not forgetting the back of the paper." Ques-
tion : " What advantages have isocliroraatio plates over ordinary ones for
winter landscapes?" Reply : "There is always an advantage in yellow light.
Mr. Birt Acres has said it gave roundness." Mr. Hudson stateil an interesting
fact he had just read under date 1859, that a bullet in motion had been photo-
graphed. It was, however, explained to him that it was not done by a lens.
The exposure is made by an electric spark ; the electric contact is made by
the bullet itself whilst pa.sslng the plate. A discussion then took place on
excursion matters, with a result that a sub-committee was formed to arrange
dates, places, &c., and leaders for the summer outings, and that a list be
published in .advance.
Putney Photographic Society.— December 4. Mr. H. Faulkner in the
chair. — The Chairman said th.at in the absence, through illness, of Mr. Hor.sley
Hinton, who was to have read a paper on Work in the'Field, Mr. A. E. Leblanc,
representing Messrs. A. Schwartz & Co.. had very kindly undertalcen to give a
demonstration on Dr. Andresen's Cartridges. The Chairman further said that
Mr. Horsley Hinton was now fortunately reported to be making satisfactory
progress toward recovery, and that there was every reason to hope that he
would still be able to give his paper before the close of the season. Mr.
Leblanc said that no doubt Dr. Andresen's preparations were Will known iu-
their usual form to most of the members present; he had come that evening to
point out the advantages of the cartridge form. This form had been originally
applied to developers only, and introduced for the convenience of tourists ;
but the ijumediate success of the new departure had been such that cart-
ridges were at the present time issued for an acid fixing bath for general pur-
poses and for a combined toning and fixing bath for albumen and gelatino-
chloride papers in addition to developing cartridges of amidol, eikonogen, andL
metol. 'The advantages of the cartridges to travellers are numerous ; amongst
others may be mentioned that the salts are in a dry state and highly concen-
trated , and that they therefore occupy very little space ; all risks of broken bottles'
and the wasted solutions being absorliied by and damaging and destroying
other contents of the travelling bag were done away with ; they were also very
convenient in use : when required, it is only necessary to empty the contents,
of the cartridge into the proper quantity of water ; the solution is then ready
for immediate use. Each cartridge, being hermetically sealed, will keep in-
definitely in any climate, and as each is only suflScient, for a limited quantity
of solution, they will be found very useful in places where the ordinary
chemicals will not keep satisfactorily in tlieir dry or dissolved state, and for
amateurs everywhere who only develop or tone small quantities at intervals.
In summarising the qualities of the various developers, Mr. Leblanc said that
eikonogen was first specially made as an all-round developer for negatives,
papers, and lantern slides for India and China. Rodiual was a powerful deve-
loper, but, being a liquid, could, of course, not be used in the cartridge form.
The amidol acid developer did not keep long in solution, and should therefore
be mixed as required ; it was a useful all-round developer. Metol was the
latest of Dr. Andresen's developers, and combined the advantages of the others
without any of their less satisfactory qualities ; it would keep in solution for
any reasonable time — he had personally used it nearly three months after
mixing without noticing any loss of power. With this developer potassium'
bromide does not retard, but has only a clearing action; glacial acetic acid was
the best retarder. Glycin is a special developer for lantern plates and repro-
ductions ; it keeps well in solution, and development may be prolonged with-
out fear of fog or veih The fixing cartridges make an acid fixing and clearing
bath, and have the advantage that negatives or prints may be passed into it
direct from the developer. The developing action ceases immediately, which
is by no means the case where intermediate washing has to be resorted to.
The combined toning and fixing cartridges made up a complete toning and
fixing bath, equally suitable for albumen and gelatino-chloride prints, simply
by being dissolved in the proper quantity of water, and was ready for use
immediately. Mr. Leblanc then proceeded to develop a couple of negatives
and some prints on Nikko paper (exposures unknown) in metol, and to tone
some SoUo and Paget print out prints ; the results were very satisfictory, andth;
solutions made from the cartridges acted with the greatest regularity and
smoothness. It should be observed that development should be carried much
farther than appearances would at first lead one to judge ; in fact, he always,
developed until the picture appeared in fair detail on the back of the negative.
Prints sliould be printed fully for the for the comliined toning and fixing bath,
but in this paiticular there was no difference from the ordinary formulie. Mr.
Leblanc said that the use of Dr. Andresen's developers and fixing solutions did
away with the necessity for very thorough washing between each operation,
and that the great care generally necessary to keep all trace of other solutions
away from any one was with them of much less importance ; he had found no-
injurious effect from handling a negative in the developer with fingers which
had just been in the fixing solution. He had never had any trouble with his
fingers when working with metol, although he had used this developer evei>
when there were cuts and scratches on them.
Richmond Camera Clnh.— Monday, the 11th inst., Mr. Cembrano in the
chair — Mr. Birt Acres delivered a lecture on Clouds: their Form and Move-
ment. Mr. Acres began by alluding to the part which clouds play in the
economy of nature, and then explained the mode in which cumulus clouds are
ijorn of the sea, with the sun for their father ; and how, owing to the more-
rapid radiation on land, the day-formed clouds are wafted landward at night-
fall. He gave the theory of the trade winds, with their counteracting upper
currents, and. many other interesting facts and theories connected with his
subject, concluding his introductory remarks with an explanation of the dif-
ferent forms of clouds, according to Howard's classification. Then followed a
series of very beautiful lantern slides, mostly in carbon, illustrating cloudland
in every conceivable form and aspect. Mr. Acres detailed his modus operandi ,-
but, as it involved the polarising and analysing of the light, and as it transpired
that the proper prism could not be bought for 100?., it may be doubted whether
many members of the Club will follow it.
South London Photographic Society. — December 4, Mr. Msurice Howell
(Vice-President) in the chair. — The evening was devoted to a demonstration
(by request) of Plalinotype Printing, by Mr. F. W. Edwards, the President
of the Society. In working platinotype it is necessary to avoid dampness
during printing, as it causes flatness and degradation of the prints. Daring
cold weather, he considered it advisable to use the developer slightly warm.
Cold solutions increased contrast, while a warmer developer brought out more
detaih A properly exposed print couhl be left in the developer for any length
of time without any fear of over-developmeut. The presence of air bubbles at
first did not matter ; wet the spots, and they develop up like the rest of the
picture. Large prints can be developed a portion at the time by drawing them
through the solution again and again. It is necessary not to touch the prints-
before development with fingers which have become contaminated with acid
from the fixing bath. Under-exposed prints may sometimes be saved by
developing in a hot bath. The paper takes less time to print than albumenised
paper. During printing, it must be shielded from damp by backing it up with
rubber pads. Any one starting the process, Mr. Edwards recommended the
use of one negative until good results were obtained. Between forty aftd fifty
prints were developed, fixed, and washed during the meeting. Attendance,
fifty-eight.
December 16, 1893]
THE BRITISH JOUUNAL OF PHOTOGRAPHY.
80.1
Tooting Camera Club.— December 7. — The second of this leaaon's Ladies'
Nights was ilevoteil to the exhibition of sliile.s by means of the optical
lantern. Sliiles were shown by Messrs. Victor llol)inson nnd A. H. Anderson,
nicnibiTS. A piiture by the latter gentleman, entitled Totlie, a photofijoph of
a pretty little girl about tliree or four years old, whose facial expression wan
nnitf a study, was greatly admired. Some sixty slides kindly lent by Mr. A.
K. Dresser were then exhibited. A set of comic slides by Messrs. Wilson St,
Co. of Aberdeen, lent by Mr. Nocl<, were also passe<l through the lantern.
They were entitled .1 Trip A'orth, ami were photographic reproductions of
engnuings representing the adventures of three friends in Scotland.
Woodford Photographic Society.— December 7, the President in the chair.
Mr. H. T. M.ilby read a paper on Copying. Speaking of the now departure,
frequently attended by failure, that amateurs find their lirst attempts to copy
photograjihs, paintings, or engravings, he gave a record of his own work and
l)rocedure. The tripod being so very difficult to manipulate for copying to
scale, lantern slides were shown of a simple hand - made contrivance for
holding copy and camera, allowing longitudinal adjustment for focussing and
lateral movement of either copy or camera for those cases in which an illustra-
tion had to be copied from one side or comer of a large drawing, the camera
back being always paRilIel to the copy board. For line work the lecturer
recommended the slowest plate jiossible, having been very successful with
plates coated with the Ilford special lantern emulsion, and most with some
specially thickly coated by the Britannia Works Company. For half-tone
copying his be.st results had been obtained on Ilford ordinary plates ; and, in
working from coloured copies, Ilford isochromatic. Correct exposure was
stated to be of the greatest importance, a Watkins exposure meter being
recommendeil ; and, for line work, backing thej]il.ate absolutely necessary. In
addition to lantern slides illustrating the apparatus used, several were shown
of the difl'erent classes of work, details of the mctliods of working accompany-
ing their appearance on the screen. Next meeting (informal), December 21,
Discussion on toning gelatino-chloride prints. Visitors invited.
Batb Photogrrapliic Society. — November 30, Mr. Austin J. King (President)
in the chair. — Formal business having been dispatched, the chair was taken by
the very Rev. Monsignor Williams, to enable the President to give a lecture,
entitled Through the llasqite I'l-nvinces. Mr. King commenced oy saying that
a man must be very hard to please who cannot find much to interest him in
the district which lies between Bordeaux in France and San Sebastian in
Spain. The most wonderful vineyards in the world, every varying feature of
climate and soil, almost every type of vegetation and every mode of cultiva-
tion, excite the attention of those whose interest it is to know what can be got
out of mother earth and by what means. The geologist marvels at the strange
features of the barren lands which lie around ArcacYion, and the marvellously
distorted strata of the Pyrenees. The lover of Englisli military glory may
rejoice at the survivals of English domination of these fair provinces, and gaze
on the redoubts, mined bridges, and blackened walls which tell of Wellington's
invasion of France at the end of the Peninsular War. The student of ethno-
logy will find in the Basques a people more ancient than any inhabiting
Europe. Does any one exult in the glorious majesty of some huge mountain !
Let him wander amidst the Eastern Pyrenees, and gaze on the hills hoary with
perpetual snow, dressed around the base with most luxuriant vegetation.
Does the fierce oncome of the mighty sea excite his fancy ? Let him stand on
the rocky coast of Biarritz or St. Jean de Luz, and see the rolling billows of the
Atlantic roaming in from the Bay of Biscay with a resistless force which hurls
about vast rocks and mighty breakwaters as a child nuiy play with shingle on
a river's bank. If he cares to see nature at her best, a thriving and a happy
people, and a land abounding in comfort as well as beauty, if he asks but to be
allowed to rest, here he may spenil days, enjoying idleness as he only does who
regards it alike as a rest from labour and a preparation for more. The route
chosen was by steamship Litjuria, from Liverpool to Bordeaux. The passage
was not a pleasant one, rough sea, cold wind, and rain. Pauillac was reached
in three days. On one side of the Garonne is the St. Emilion district, on the
other that of Julien. Pauillac itself includes the vineyards of the Chateau
Lafitte, which produces the costliest wine in the market. From Pauillac to
Bordeaux is a run by train of about two hours. As the country is flat, and
there are no tunnels or bridges, the railway carriages carry two stories. Bor-
deaux is a large city, 242,000 inhabitants, and occupies a magnificent position
on the Garonne. "The year has been wonderfully prolific for wine, and the
ditliculty has been to obtain enough casks. The appeals for coopers in the
windows on the quay being almost piteous. The lecturer next described some
of the customs of the casking fraternity and the more important features of
the city. Passing on to Arcachon, a seaside resort, some amusing peculiarities
of the jilace were given. Lourdes was next visiteil, and many pictures were
shown illustrating the Imildings, the castle in which Napoleon imprisoned
Lord Elgin in 1S04, the Upper and Lower Churcli, general views of the town,
&c. The number of pilgrims, said the lecturer, is immense. They arrive by
thousands, sometimes even by tens of thousands, and every evening there is a
procession. To see these thousands of persons, men, women, aged old souls
with one foot in the grave, and children scarcely able to walk, gentle and
simple, bearing shaded candles in their hands, winding up and around the
paths on the hills and mountains, singing psalms and canticles, will produce a
wondrous impression even on the most callous. Leaving Lourdes, Pan was
next visited, and thencj to the little seaside town of St. Jean de Luz, about
twelve miles south of Biarritz, and a few miles from the Spanish frontier.
The district between Bayonne and San Sebastian is still peopled by the
Basques. In south-western France and north-western Spain they hold their
ground with a tenacity which is one of the marvels of history. These Basques
seem never to have been troubled by national aspirations. The French Basques
are as loyally French as the Spanish Basques are loyally Spanish. Their
ambition has ever been to manage locally their own affairs. They speak a
language of their own, which is neither French nor Spanish, nor a mixture of
the two. It is a distinct language of quite another family. Their' churches
are all built of one type ; tlie men occupy the tier gallery, the women the
centre. Tliree peculiarities are very striking in these people. The Beret, or
cap, something in shape like a Tam O'Shanter, the canvas shoes, with soles of
jute, and bound rouml the calf with tapes, and the walking-stick made of
medlar saplings. Hand-ball i« the nation*! game, (ilayed In many iMfTrreot
ways. Tlie lecture, which wa» well attended, wan illustrate"! with upwariU of
sixty photographic lanteni views, both the nesatlves and the lantern trann-
parencies having been 8|>c<ially made, by Mr. king for the purpoM* of thl»
lecture, and from a technical yoint of view they were moit latisractory ax dis-
played on the screen. Articles peculiar to the Basquea were on the tablp for
exannnation after the lecture, also a large number of stereographs, to ftirther
illustrate the scenery and customs of the people. At the conclnsion of the
lecture, the CUAIU.MAN (Monsignor Williams), in felicitous tenns, very cordially
retunied thanks to the lecturer.
Birmingbam Pbotographlc Society.— December 6, Mr. J. T. Monaley in
the chair.— Mr. Fry, representing the Paget Ih-ize Plate Company, demon-
strated the development of proofs ou pnnting-out paper which nave only
received a part of the normal exposure. The process consists of immersion iD>
bromide solution, then develo|imenl with hyilrociuinone, and afterwards the
ordinary toning. This gave .satisfactory results from i>rints only about one-
tenth <'X|iosed.
Leeds Photographic Society. — December 7. — The forty-second annual
report was read. Tlie Society was founde<l in 1853, and is therefore the oldest
in the United Kingdom. The subjects brought before the Society at its-
meetings during the year have lieen of great interest and importance ; indeed,
in this matter it is believed that the Society compares favourably with any in
the provinces. The following gentlemen were elected as Committee for the
ensuing year :— Messrs. llerliert Denison, J. H. Walker, H. P. Atkinson, B.
A. Burrell, F.I.C., T. Butterworth, Godfrey Bingley, L A. Warburton, H. L.
P. Loudon, llobert Steel, and Dr. Jacob. The best thanks of the Society
were given to Mr. W. A. M. Brown for his gift of this year's photographic
periodicals ; also to Messrs. Pearson and Denham for their books. Mr. God-
frey Bingley exhibited a large collection of his new lantern slides — Views in
Yorkshire, Scotland, West Somersetshire, North Devon, and Cornwall. Hls^
neg.itives were chieHy made on isochromatic plates and films, and showed very
fine results. He received the best thanks of the meeting. Hr. Denison
showed some slides made by the carbon process.
Liverpool Amatenr Photographic Association. — November 30, Mr.
William Tomkinson presiiled. — A lantern lecture was given by Mr. W. P.
Christian on i^uiet Corners in France ami Itabj^ in the course of which photo-
grai)hic views, taken by the lecturer, of famous old towns ami villages situated
near the Italian Riviera, Venice, and the Italian lakes, were thrown on the
screen, with the most pleasing results. A sample Thomtou-Pickard automatic
camera stand was exhibited to the members at this meeting.
ExTHACTS from the annual report : — " With the increased accommodation'
afforded by the new club-rooms, it has been the endeavour of the Council to
further the usefulness of the Association in every way possible, and they
allude with great satisfaction to the increased number of practical demonstra-
tions, lantern evenings, &c., held during the year. From February 23 to the
end of April, every Thursday evening was set apart and some suljject of interest
provided, a special feature being the series of six practical demonstrations by
Mr. W. T. Wilkinson, of Manchester. Owing to the large number of memliers
who availed themselves of these meetings .and the benefit derived, the Thursday
evening series were resumed on November 2, and it is intended to continue
them until the end of April. — A pleasant gathering took place on the afternoon
of Thursday, April 13, when four laily members — viz., Mrs. Marriott, Miss
Adams, Mrs. Morrison, and Mrs. Southell — entertained the members to after-
noon tea. — On April 10 a very successful auction of photographic goods, the
property of members, was held in the club-rooms, when over a hundred lota
were offered, and good prices realised. — The coffee meetings, held at four
o'clock every Wednesday, have been very well supporte<i; much useful work
has been exhibited and valuable hints given to beginners, and matters relating
to jihotography have been discussed in an informal way. — It is with deep
regret the Council have to record the death, on November 9, of Mr. T. S.
Mayne, a most ardent worker, and to whose personal influence and energv'
much of the success attending the International Photographic Exhibitions held
in Liverpool, 1888 and 1891, was due. They have also to reconl the death of
three other members of the Association, Mrs. Nicklin, Mr. James Lahy, and
Mr. J. R. Jacksonr. — The number of members at the beginning of the year was
278 ; new members elected during the year, 56 ; resignations, lapses, and
deaths, 25 ; leaving 309 members ou the roll at the end of the year. — The
excursions, with the exception of those to Ince BlandeU in the early part of
the year, and to Shrewsbury and Weulock Abbey, did not receive the support
deserved."
Sheffleld Photographic Society.— December 5, Mr. Ernest Beck in the
chair. — Mr. Richard Keene, of Derby, ^ve his lecture, entitled Six Days'
Photographic Ramble over Derbyshire Hitls and Dales, which was illustrate<l
by 150 slides. Most of the pictures were taken nearly thirty-eiglit years ago,
and, although some of the landmarks had been destroyed and many of the old
inhabitants passed away, most of the old halls were in almost as good preser-
vation as ever, notably Haddou Hall, which is always a happy hunting ground
for the photographer.
Midland Camera Club. — December 1, Dr. H. Edwards in the chair. — A new
Thornton-Pickard tripod stand was exhibited. The report of the Exhibition
Committee was received and adopted. Tlie report 8tate<l that, photographic-
ally, the exhibition was a decided success. Objection was taken to the ex-
clusion of professionals from the members' classes ; and, juilgin^ from the
opinions expressed, it is very unlikely that any such distinction will be made
in future. The office of Treasurer being vacant, Mr. T. H. Cox was elected,
and Mr. H. Cooper takes the office of Librarian. At the close of the busines-s,
a number of lantern slides were exhibite<l by Messrs. C. Parker, U. Parker, H.
Cooper, C. S. Baynton, G. Warren, and R. J. Bailey.
Widnes Photographic Society.— December 6, Mr. V. C. Driffield in the
chair.— A paper was read by Mr. Arthitb Wabeeio on The Chemistry of
Photography, dealing with sJl the more important reactions involved in the
production of a photographic negative. After having dwelt on the desirability
806
THE BRITISH JOUKNaL OF rHOTOGRA.PH\.
[DtCJmber 15, 1893
of a correct understanding of the scientific principles upon wiiich all photo-
graphic operations depend, which, although to the amateur not an absolute
necessity, is, at any rate, most likely to enable him to attain to the liighest
perfection in the pursuit of his art, the essayist explained the various theories
(which have from time to time been published) of tlie action of light upon the
sensitive tilra, concUnling that the result was a physical rather than a chemical
one. He illustrated the distinction between the physical action of light tend-
ing to the production of amorphous forms, and the chemical action producing
elementary dissociation or molecular disarrangement. He then described the
method of preparation of a gelatine-bromide emulsion, the coating and drying
of the plate, the method of development, and its final fixation. He concludeil
with an explanation of the processes of intensification and reduction, explain-
ing the circumstances under which either might be necessary. Jlessrs. Drirtield,
Newburu, and Warner commented upon the paper, aud complimented the
essayist upon its very able and comprehensive character, and a hearty vote of
thanks was accorded to him.
Edinburgb Photograplilo Society. — December 6, the President (Dr.
Drinkwater) occui)ying the chair. — A paper, the second on the rota, enitled,
Brkf Notes on Lantern Slides, was unavoidably postponed, owing to the
rather sudden indisposition of its author, Mr. William Hume. An illustrated
(with lantern views, &c.) paper on Matters Pertaining to the Art Side of
Photography, was read and dilated upon by Mr. James Patrick. His con-
tention was,' that there was no such thing as mechanical aids to the composition
of a picture, by which he meant to convey that a picture could not be com-
posed, or even selected, by rule, yet there were a few principles, arrived at by
the study of the best works of the "masters in art" which, if carefully and
judiciously applied to every picture, would greatly condtice to success. In show-
ing about thirty transparencies from his own pictures, Mr. Patkick pointed
out the application of these principles as being helpful in the good composition
of views from nature where there could only be choice or selection, not arbitrary
making of subjects. The lecture and demonstration were wound up by an
urgent wish that the members iu their outdoor work should do more than
pourtray the mere external beauties of nature, which were patent to all ; they
should rather strive, in dealing with subjects that had the elements of poetical
and sentimental beauty, to convey, by their treatment of such, a little of the
feeling excited by the subject itself, holding that works so rendered, however
imperfectly, would do more to elevate, and stimulate, and to raise photography
in the scale and as a fiue art, than all the bare and bald renderings of the hard
facts and prosaic details of nature, however excellent might be their mere
photographic truth and skill. A short conversation followed, in which
several members took part. The remarks were all void of the controversial
•spirit, being rather the expressions of individual taste than the laying down of
any special lines or iufalliljle rules for producing effects. After the routine of
minute reading, &c., was over, five new members were admitted by ballot —
Messrs. Allan, Gumming, Grey, M'CuUoch, and Slater. The Pkksident then
intimated the general course of business for the remainder of the session.
■There would be three Popular Meetings : the first, on December 21, by Mr.
W. Lamond Howie, on The Scottish Alps ; the second, by Mr. James Patrick,
on January 26, Through Fife with a Camera ; the third, on February 23, for
the usual display of members' work ; also that a series of lectures on photo-
graphic subjects would be given during the season, and, where necessary, the
papers at the monthly meetings would be demonstrated once a week iu the
dark room of the Society.
Photograpliic Society of Ireland.— Xovember 2.3, Professor J. A. Scott
^President) in the chair, when the lecture, entitled Photographic Sketches
Mere and Elsewhert (iliustrateil), was delivered by Mr. V. E. Smyth. Mr.
Smyth .showed a varied assortment of slides rejireseuting tit-bits in Holland,
Switzerland, Italy, and at home, and described a tour through these countries.
1893.
FORTHCOMING EXHIBITIONS.
December *Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
„ 18-Jan. 22, 1894 *Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Corn-
street, Bristol.
* Signifies that there are open classes.
CotreiEJjponDr^nc^*
' Correspondents sfiould ntver icrite on both iiies of the paper. No notice is taken
of communications unless the names and addresses of the writers are givm.
First as to my contention that gelatine paper was more expensive than
albumen home-prepared (not ready-sensitised). This I maintain is
correct. True, I did not in my calculations reckon the cost of labour,
plant, A'c, but for argument's sake we will place to the credit of gelatino-
ehloride, 8s. lOJiZ., leaving albumen still the cheaper by 4s. per quire,
although I do not admit for one moment that labour and plant would
cost this. Secondly, are we to infer that with gelatine paper there is no
waste ? My own experience ia quite the reverse. I maintain that there
is quite as much, if not more, than with albumen. True the paper is a
trifle larger in the sheets, but, as they have to be trimmed as a rule before
toning, this is not a very great advantage, the paper being very liable to
become affected by damp, althoagh protected by a pad of indiarubber.
On a fine dry day printing a rich purple, on a wet day a foxy red, I ask
you, sir, does this not affect the resulting tone of the print ? For this
reason I maintain that it is more dilScult to get twelve prints alike in
tone aud depth of colour than it is with our old friend albumen.
I ask the gentleman, whoever he may be, which is the simplest to work,
and which gives the best all-round results ? As he appeals to practical
men, if he is practical himself, which, of course, I have no reason to
doubt, he must be able to answer this question, but naturally his interests
will be on the other side.
Now, as to the consumption of more gold. Again I maintain I am not
in error, or else why do the Company, or, for the matter of that, other
makers, give in their formula two grains of gold to the sheet ? Surely, if
the paper could be toned with, say, one grain, is it not a great waste to use
two grains ? It is a well-known fact among practical printers that
certain brands of albumen paper can be toned with less than one grain
of gold per sheet, although one grain is given as the standard quantity,
so will leave it to your readers where the false statement comes in.
As to yellow prints and double tones, no doubt careless working will
account for this, but in my own case I obtained them although I followed
the instructions to the letter ; this was some months back, as I have
ceased using it now. In conclusion, I may inform the Company that I
have no interest either way, pecuniary or otherwise, in the rise or fall of
gelatine or albumen paper, but, being asked by the Editor for a practical
article for the Almanac as in former years, wrote what I considered would
be an interesting subject to its many readers. I have no wish to enter
into a controversy ; but, as the Company have forced themselves to the
front by their letter, it gives me no other option but to reply to them, and
will leave your readers to judge who is in error. — I am, yours, &c.,
GEIiATINO-CHLOBIDE PAPEB.
To the Editok.
Sib,— I notice a letter in your last issue from the Britannia Works
Company re the above subject, and having looked through the Almanac,
and finding that no doubt it was my article therein which had given
them offence, may I point out to them that I wrote against gelatine
papers as a whole, and not against any particular makers ? If my article
has given them, as it appears to have done, a free advertisement, I am
sure they ought to be very much obliged to me.
Ease Cottage, Bowhridge, Stroud, Glos.
3. H. Smith.
To the Editob.
Sir, — Notwithstanding the Britannia Works Company's denial of the
experiences as stated by several contributors in your Almasao, I beg to
say I am yet another user of above paper who has found many of these
experiences perfectly correct. I am not a " scribbler " in your Almanac
or any other, nor have I any interest in any photographic paper company
whatever, either albumen or otherwise. I can truthfully say that gelatine
paper does consume more gold than albumen, and, if good, even tones,
approaching purple, be looked for, considerably more. I have never
found yellow stains, but I have found yellow prints. In short, my
experience (after exhaustive trials with both plain and distilled water) is
this : You make up bath to 16 ounces, as directed, with 2J grains of gold.
Take, say, a tube or packet yielding 6 10 x 8s. Tone 3 pieces ; these
proceed beautifully, and tone in about 6 to 10 minutes. Pour toning bath
back into bottle, Try and tone remaining 3 10 x 8s in 3 or 4 days. Now
these absolutely refuse to tone, and, if kept in bath for 20 or 30 minutes,
high lights get slaty, and, if put in hypo, come out so with the rest of
the picture yellow. Adding more gold only seems to make print more
washed out than ever. I suppose I shall be told " gold deposited " — if so,
it is due to the paper. I thought so ; bought new everything, even to
bottles. All the same. The only way to tone remaining three is, remove
from old, wash, and place in a freshly made bath, throwing the old one,
with the greater amount of gold, down the sink. It is quite possible that
this procedure may satisfy small workers, but I found it impossible to
tone a large batch, getting all prints even, unless I am prepared to lose a
quantity of gold. (How I proceeded for years with the old albumen, using
acetate or lime, was, after toning, pour back into bottle, adding gold to
sheets used. 'These baths have worked, more or less, for 3 months.) If
the Britannia Works Company, with all the means at their disposal, will
show me and numerous others how to avoid this behaviour of the toning
bath, I will thank them.
I beg to apologise for using so much of your valuable space, but I like
the process immensely, and should be deeply grateful to any one who
could let me know how to successfully work it. — I am, yours, Ac. , for
once a Scribbler.
P.S. — I send you, Mr. Editor, a parcel of prints to show you that I
think my knowledge of photography should enable me to manage print-
ing-out paper.
[The prints referred to will be retained in our office for a few days
to enable those interested to call and e.tamine them. — Ed.]
December 15, 18081
THE nKITTsn JOUKNAL OF PnOTOGRAPIIY.
••^
807
SPOTS AND PINHOLES.
To the Editor.
Sib,— In The British Joi-un.u, or rnoTooitAi'iiv for September 29 is a
letter from a gentleman named Fisher upon the above, and, as a careful
reader of the Joubsai, for many years, I have not seen any reply given
to it. He states the interesting fact that the plates of one maker gave
spots and pinholes ad Uhitum, whilst those of two others were entirely
free from this defect. He put the fault down to dust and a defect in
the film from the plate being imperfectly cleaned previous to coatin«,
and from blistering when drying after coating, also frilling at the edges.
So much for the case.
This apparently inexplicable puzzle is easy of solution when yon get
the key to the riddle. Many years ago the writer experienced the same
trouble, and returned to the makers some dozens of plates in consequence.
The time occupied in touching out spots in a gross of valuable negatives
was hard lines, both for himself and assistants ; and, after many experi-
ments had been made to discover the cause, it was proved to occur in
every brace of plates which had tissue paper between them, to the non-
removal of the antichlor (hypo) left behind in the paper, which, acting on
the film by pressure, having been possibly packed while warm and before
being desiccated, the spots on one plate were reversed. Other makers
whose plates he used put blotting-paper between them, and there was
never any defect. Even after five or six years' keeping the plates were in
excellent order. Your correspondent can prove this for himself by taking
one of the same brand of plates and placing a sheet of the defective tissue
over the film side, and giving it a full exposure in a printing frame to a
good light, then developing with our old friend pyro and soda, and a good
black surface will be formed, on which the pinholes, Ac, will be fully
brought out if the paper be the same. That is how we discovered it.
Trusting that this explanation may meet the difficulty and bo an
assistance to others,— I am, "yours, &c., Habdino Waknkb.
MaU-erii Link, December 11, 1893.
EOLLABLE FILMS.
To the Editok.
Sir,— To the users of the Tollable films now in the market the letter of
Mr. Bourne and your Editorial will be welcome. After some years" ex-
perience with Kodak films, I have come to the conclusion that the
tendency to curl and twist in those films varies in different spools and
is more pronounced in the films sent out of recent years than in those
made four or five years ago. So marked has that tendency become, that
of all the spools exposed by me during the past season abroad I have
found very few films that would remain flat on the dish during develop-
ment, and therefore now find it advisable to place the film face upwards
on glass, and secure each end to the glass by an elastic band. If kept in
that position during development, fixing and the subsequent washing, I
find that there will be very little difficulty with the films afterwards. Of
course, the mark made by the elastic band at each end will slightly
curtail the size of the negative. — I am, yours, &c., Celluloid.
Fresticich, Manchester, November 28, 1893.
RAPID FILMS VERSUS PLATES.
To the Editor.
Sir, — Mr. Conybeare treats the differences in our views so reasonably
and with so evident a desire to get at the truth, that I think we ought to
work together to unravel this subject. But he will allow me, I hope, to
say that his own experiments show that he does not take the precautions
I consider necessary, as he says that one of his was inconclusive, " due
to either the hght having gone off between the two exposures, or showing
it to be a less powerful developer," which indicates that he did not take
the precautions I consider necessary to secure a perfectly equal light
which, however, may be easier in this climate where we have sunshine
on some days unbroken by a cloud from sunrise to sunset. I always
take the midday of one of these days for comparative experiments.
But Mr. Conybeare may remember that I noted the fact that the great
difference I found in extremely short exposures, as between films and
plates, did not appear in time exposures. This renders the problem
more puzzling. Then, the quality of the plates is another element of
uncertainty, and I am almost disposed to think that there are brands of
plates made on the Continent quicker than any I have been able to get
from England. The fact, is that I have got fair negatives with an
exposure of 1-1000 sec. by the Thornton-Pickard estimate, with a
Schleussner plate, while with no film have I been able to get the same at
the lowest power of the focal-plane shutter, at the speed of 1-200, i.e.
But my experiences were not made, as Mr. Conybeare supposes, in
" ordinary work " but mainly as experiments for the purpose of deciding
this question which seems to me of great importance.
I said that the very rapid films fogged after two months, which does
not involve, as Mr. Conybeare seems to think, a change in my statement,
but simply that the films which had the reputation of being the most
rapid in the market went bad after two months, while the rapid films of
other maker) are good after eighteen months, bnt not io rapid to bcgia
with. I have no doubt that the celluloid has a certain chemical eilaoton
the emulsion that is put on it, and to determine this the makem of the
very rapid plates might help us by coating plates and films alike with
some of the most rapid emulsion they can make.
.\s to amidol in comparison with other developers, I have given It the
most severe and exact testa in my power, and I find that it does not give
the results that pyrogallol does. This is the opinion also of the moet
careful and scientific ezperim°nters I know. I consider it aa on a level
with eikonogen, and the two tlio least energetic developers on the list.
.\s to the reason of the deterioration of films, I believe that the lett«r
of Messrs. Guiterman touches the tmth ; but, as I know nothing of the
nature of their wares and the difference between tbem and other, I can
go no further. The whole subject is mysterious, like many chemical
combinations. There seems to be some relation between extreme rapidity
and rapid deterioration, and this corresponds to tlie condition with plates,
of which the slowest keep best.
I enclose you two prints, taken at the highest speed of the Thornton-
Pickard focal-plane shutter, to show yon what I got with plates ; with
films I diS not get a printable image. I am, yours, &c.
W. J. Stilucas.
MESSES. HURTEE & DEIFFTELD'S WBITISGS.
To the Editor.
Sir, — It is frequently assumed that Messrs. Hurter & Driffield have
not written any papers on their method of speed determination of plates
in a popular and easily understood form. This assumption, like many
another one with respect to Hurter & Driffield's work, is quite erroneous.
We are now reprinting eOTie of these papers, and shall be pleased to
supply them free to any of your readers ; or, if your space permits, yoo
may possibly like to reprint them in The Bbitisb Jocenal of PnoTO-
ORAPHT.— I am, yours, &c., Mabjon & Co.
i&xd)an8e Columiu
*»* A'o charge is made for inserting Exchanges of Apparatus in this column ;
but none ■will be inserted unless the article wanted is definitely stated. Those
who specify their requirements as "anything useful" loill therefore understand
the reason of their non-apiKarance. The full name of the advertiser fMtsl
in all cases be given for publication, otherwise the Exchanges will not be
inserted.
Wanted, SJxGJ. or 12 x 10 rapid rectilinaar lens, by a gowl maker, in ctclumge for
(jiiarter-plate hand camenv, fitted with eighteen single metal slides, locxuting Bcreen,
finder, and rapid-view len?.— Address, W. Holmes, Photographer, 136, Derby-ro«d,
Heanor.
Wauteti to exchange a seven-string banjo, nickel-plated hoop, twenty-fonr brackets,
splendid tone, in American leather case, new last Augnst, for half-plats camera, no
lens, or an enlarginj lantern.— Addi-ess, J. Ooi, 26, Edward-road, Clarendon- park,
Leicester.
9ln0tDet0 to CotregponDents.
♦,• AH matters intended for the text portion of this JOJTRVAL, ineludinf
queries and Exchanges, must be addressed to " The Editob, Th« British
Journal op Photoorapht," 2, Yorh-street, Covent Garden, London. In-
attention to this ensures delay.
•„* Correspondents are informed that we cannot urtderiaJie to answer com-
munications through the post.
•-* Communications relating to Advertisements and general business affairs
shotdd be addressed to Messrs. Henry GRMirwooD k Co., 2, Tork-strtet,
Covent Garden, London.
•,* It would be convenient if friends desiring advice respecting apparatus,
/allures in practice, or other information, would call at the Editorial Qfiet
either on Wednesdays from i to 6, or Thursdays from 9 to 12 noon, when,
some one of the Editorial staff will be present.
Catalogue Rkgistbrbd :
Thornton-Pickard Mannfastnring Company, Altrincham.— Cafoloouc of i he Thornton-
Pickard Photographic Specialitiee as oj)p«arcd in Thb BarriSH joukxal Almahac
for 1894.
Photogbaphs Reoistebed :
George Emberson, jnn., Chertsey.— four pMoTraphf ofXist W«n» Wick, tki Cham-
yion Thayer.
Richard Tudor Williams, Monmonth.— Tiro Pliotojrapks o/ Ht< BmmtnM, HtrUrt
Kav'j/iaii, Cardinal ArchUnthOf of Westmintttr.
W. C. GoRDOS. — Two photographs were registered.
A. M'C'ANS. — As chemicals work slower in cold than in hot weather, yon might
try the efi'ect of a gentle heat. If this fails, write to the makers.
808
THE BRITISH JOURNAL OF PHOTOGRAPHS.
[December lo, 1893
'Geoege Bankart.— 1. Yes. 2. Yes, by Ross & Co. -3. Tliey are now adver-
tised ; see advertisement in Almanac. 4. lu all probability. Thanks for
enclosure.
_j. p. W.— If you refer to the formulie in the Almanac, you will find several
that are excellent. Try one or more of them, and adhere to that which suits
your purpose best.
W. MURREN. — It is evident that the toning bath you employ is not adapted
for that special paper. We have used a good deal of it, but have not
obtained weak tones such as those of the specimens enclosed.
•Chas. Jonas. — If the gelatino-chloride paper has become the colour of "whity
brown shop paper," the best way to utilise it is to burn it, and add the
ashes to the residues. There is no way of using it photographically.
Andrew Small. — Burton's book on Photo-mechanical Printing (published by
Marion & Co.) may suit you. There is also a translation, by Mr. E. C.
Middleton, of a book on collotype by Schnauss, which enters fully into the
subject.
"W. G. Rainsford, D.D. (President, Crewe Amateur Photographic Society). —
We made repeated applications for particulars of your Society's officers, &c. ,
for inclusion in the Almanac, without receiving any reply. Hence its
exclusion.
Focus. — 1. It will not pay to grind focussing screens by hand. 2. Most
photographers back their own plates. If you have any preparation better
than can now be obtained, you might give it publicity. 3. Write to the
principal dealers.
'H. P. — Your query is one that should be referred to a solicitor. We cannot in
this column undertake to give advice on legal matters as regards the law of
"Landlord and Tenant," although either the landlord or the tenant may be
engaged in the photographic profession.
E. Blick. — We cannot recommend any dry plates of better quality than those
made in this country. We have never heard before that plates of better
quality are made on the Continent than here. Be that as it may, English
plates are probably more used on the Continent than those of native
production.
W. Ranor. — It would be impossible to say which is the most permanent —
gelatino-chloride or coUodio-cliloride prints — as the former have only been
on their trial for a few years. The latter have had a longer trial. We have
some by us that we made over a quarter of a century ago, and they show no
sign of changing.
.John Dormer. — We cannot account for the Hare spot in the micro enlarge-
ment unless on the assumption th.at, having removed the eyepiece, there is
reflection from the inside of the tube. This you will be able to ascertain
from personal observation. If it prove to be so, then a remedy will be found
in lining the tube witli black velvet.
•J. Cook. — The colouring is nice and effective, and you should persevere in the
development of the industrj-. How any one cau obtain a patent for a similar
system of colouring that can be valid rather puzzles us, as sets of liquid
colours for this purpose have been in the market for many years. We shall
know better when the specification is published.
•CtnTHA writes : "luyour issue of Lst inst. (supplement, p. 116), Mr. James
Lewis refers to a vegetable parchment which is obtainable in rolls of sixty
inches in width, wliich makes an admirable translucent screen. Could you
kindly mention in your next number the address of some firm which supplies
it?" — Messrs. Bemrose & Son, Old Bailey, supply it.
'S. X. — Most of those who work professionally use a dynamo machine for the
decompoeition of the copper. But one we assi me is not available in your
case, therefore we should advise you to employ a Sraee's battery of a tolerably
large size. For the size plates you mention, the platmised silver plate
should not be less than eighty to ninety square inches.
T. S. — We should advise you not to carry out your idea of making a collection
of photographic copies of bank-notes of the different denominations, as an
attraction to your showroom. Your friend the bank clerk, who promised
to lend them to you, ought to have told you that to reproduce bank-notes in
any form was illegal, and would subject you to prosecution if the authorities
were aware of it.
"Curate.— If the music is copyright it would be piracy to copy it, even for
lantern slides for your own entertainments in the parochial rooms, and in
copying it you would, of course, render you liable to the penalties ac-
cOTdmg to the law. There would be no harm in asking the publishers for
their permission. They might possibly accord it, but that is somewhat
doubtful if they hold an unexpired copyright.
Thos. A. MORTSON.— The imparting of a matt surface to paper prints by the
application of matt varnish was suggested and tried many years ago, but no
one seems to have cared much for the effect produced. Far otherwise was
it with stereoscopic transparencies, as produced by Ferrier & Soulier some
forty yeai-s since. The '••att varnish employed by them was, we think,
composed of a solution of white wax, and gave a grain so fine as to be
imperceptible even by a high magnifying po%ver.
-Syntax. —Although the Copyriglit Act is in a very unsatisfactory state, it is quite
clear on the point upon which you seek information. If any one has pirated
a picture in which you hold the copyright, you have your remedy in a court
of law. The infringer is liable for penalties or damages. We do not
remember the details of your previous communicatioii. The photographers
referred to agreed to give the illustrated papers permission to reproduce the
pictures, in which they hojd tlie copyright, for 21s. ; but this does not bind
any one else to do the same. Every one has tlie right to make what terms
he chooses.
Chesterfield. — If the cylinder has been tested by your boiler - testing
apparatus every time before it is sent away to be charged to double the
pressure of the gas when it is filled, we should not care about having much to
do with that vessel when fully charged. Have you read the expert's evidence
given at the inquest on the late Bradford catastrophe ?
Selcinncr. — To obtain the full benefit of the nine-inch condenser when used
with a small plate, let such plate be placed so far from the condenser as jifst
to be covered by the cone of light emerging therefrom, and employ an
objective no longer in focus than to cover the plate and take up all the rays
transmitted through the condenser. An objection to using stereoscopic
transparencies as lantern slides lies in the fact that they are, or ought to be,
much denser than the latter. But, if thin, they will answer quite well.
Howard Dale. — We occasionally use the Kodak, and with uniform success.
An aperture of/-ll amply suffices for snap-shot work. Some workers use a
much smaller stop, e.g.,/-lQ, and get good instantaneous effects. Of course
much de]iends upon the lighting of the subject, and, if the weather is dull, the
speed of the shutter .should be made slower thau on a bright summer day.
With thin films tliere will be practically no halation. They are quite easy
to develop and dry, and the exposed portions may be detached from the
remainder on the roll.
Cymro. — A portrait lens nmst be sjiecially constructed to allow of the reversion
of tlie back crown. Among the peculiarities of construction are these : — -
The front combination should be of much .shorter focus than the back, the
curves of the back combination should be of longer radii than in the
present form, and the distance between back and front ratlier less. There is
always a difference between the back and the equivalent focus of a portrait
combination. Your stop marked /-8 is not quite correctly marked ; /-9 or,
possibly, /-lO would more correctly represent its value.
Collotype asks: "What is the best form of hand machine for collotype
process — the ordinary litho with scraper, or the one with vertical pressure ?
Also do you know of a thoroughly practical man that would teach the
process?" — In England the ordinary typographic press, such as the "Albion
Press," as supplied by all dealers in printers' materials, is the one most
generally used. On the Continent presses with a scraping pressure are more
generally employed. An advertisement in the columns of the business
portion of the Journal will possibly secure you a tutor.
Varnish and Frost writes : ' ' Can you inform me how I can take the frost
out of varnish on oil paintings ? I had twenty varnished during an after-
noon this week, and next morning they were all dull and ' stan'ed ' with
frost. Have revarnished one as an experiment, but it comes through again
just the same. They are all direct portrait paintings in oil." — From the
description we do not understand the case, unless an unsuitable varnish was
employed. We have never heard of an oil jiainting, not on a photographic
basis — and that is what we surmise is meant — being "starred" by the
varnish, or by any varnish that is usually employed for such pictures.
E. Millhouse says: "I have recently taken up the carbon process, using
's paper and instructions. Everything went smoothly enough until the
second transfer came along, and in every case I was unable to strip the final
support from the temporary support. Increasing the amount of yellow wax
in waxing solution has been tried without success. I liave, of course,
followed out the instructions in every respect. Besides soaking the final
support in warm water, I have tried cold water before applying to temporary
support. Can you kindly suggest one or two probable reasons for my
failure ? " — Our correspondent fails to say what was the temporary support,
whether glass, zinc, or Sawyer's flexible support, and the kind of waxing
solution employed. If either of these supports was employed, with th
wax solutions recoiuraended for them, there should be no difljculty.
Pyro writes : "Would you be good enough to reply to the followins through
The British Journal of Photography ? I have completed an invention
which I wish to patent, but have not the necessary capital. Would it be
possible to register it first and patent it afterwards '< What would it cost to
register ? Supposing I registered my apparatus, how long should I be pro-
tected? If anybody copied or made apparatus like mine, I suppose there is
a penalty for so doing ? The question is, Can I register something that is
made, or does registration only ap]ily to photographs and trade marks ? I
should feel much obliged for your reply." — Registration does not apply to
apparatus. Our correspondent cau obtain provisional protection for his
invention for twelve months, the cost for which is twenty shillings only, if
he does not employ a patent agent. If, before the end of nine months, he
lodges the complete specification, a patent will be secured for four pounds,
which will last for four years.
Received. — Handbook on the Use of Compressed Oxygen, by K. S. Murray.
In our next.
OONTBNTB.
OUR 1894 almanac 793
THE WET-COLLODION PROCESS 79S
PHOTOGRAPHINQ ICE-CHYSTALS 794
THE improvement OF NEOATITE3.. 794
IS CELLULOID TRUSTWORTHY f By
W. E. BOLTON 796
JOTTINGS. By COSMOS 797
THE LUMIERE ■ LIPPMANN COLOUR
PHOTOGRAPHY. Uy F. E. IVES 798
THE SPEED OF PLATES: A CRITICISM
AND A REPLY. By H. M. ELDER.... 799
.'MATT P.O.P." , 600
Pao
photo- ZINOO IN HALF-TONE. By
W. T. WILKINSON 800
MANIPULATIONS OF THE OPTICAL
LANTERN. By E. W. PARFITT SOI
CUB EDITORIAL TABLE 603
NEWS AND NOTES 803
BEOENT PATENTS 804
UEETINQB OF SOCIETIES' 803
FORTHOOMINO EXHIBITIONS eo«
CORRESPONDENCE 806
EXCHANGE COLUMN 807
ANSWERS 10 COBBESPONDEMTa H>7
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THE BRITISH
JOURNAL OF PHOTOGRAPHY.
No. 1755. Vol. XL.— DECEMBER 22, 1893.
SOFT FEINTS FROM HARD NEGATIVES BY THE
CARBON PROCESS.
In the article on carbon printing a fortnight ago, the subject
of obtaining vigorous prints from feeble, or perhaps it would
be more correct to say the delicate, gelatine negatives of the
present day, was dealt with. We here propose to deal with
another and opposite phase of carbon working, for it is not an
uncommon thing, even now, to sometimes find negatives of
quite an opposite character to those alluded to. We do not
mean simply vigorous ones, in which the lights and shadows
are in perfect harmony throughout, but that class in which the
high lights are dense and hard, while the shadows are thin and
bare — such, indeed, as used to be termed of the " soot-and-
whitewash " type. Negatives of that nature were much more
prevalent in the collodion days than they are now, and it was
those which gave the greatest trouble to the inexperienced
carbon worker in times past.
Reference was made in the previous article to the fact that
very little had been done — or, at least, published — as to
modifying the working of the carbon process so as to adapt it
more completely to the delicate negatives now so general, as in
the case of some other processes. It so happens, however, that
this process is capable of variation, to suit different require-
ments, to perhaps a greater extent than any other printing
method. What was published as the best condition for work-
ing when the average type of negatives was so diflferent from
what it is now has been handed down, and usually accepted
by novices as the most suitable at the present time.
A little consideration will suffice to show that, to obtain the
best results from negatives of an extremely opposite character,
the object will be to exaggerate the contrasts in the one case,
and subdue them in the other. It is the latter point that will
now be considered. It is well known to all experienced carbon
workers, that the more highly sensitised the tissue is, or, to
be more correct perhaps, the more bichromate it contains, the
softer, and with less contrasts, will be the resulting prints.
Therefore the ti&sue to secure this end must be highly sensi-
tised, and, if the sensitising is done at home, a bath of even
seven per cent, may be used, and a tolerably long immersion
allowed with advantage. There is, of course, a limit to the
strength of bath that can be used, inasmuch as, if it be of too
great a strength, some of the bichromate salt will crystallise out
on the surface of the gelatine as it dries, which would, of
course, be detrimental. Tissue that is so strongly sensitised
as this must not be expected to retain its solubility for so long
a time as that which contains a smaller proportion of the
bichromate. But the quicker it is dried the longer it will keep,
and it so happens that quickly dried tissue, as a rule, ^ves
softer prints than that which has taken a long time to dry.
Hence there will be a double anvantage gained by drying this
particularly sensitised tissue more rapidly than usual This
highly sensitised tissue, although it will not keep so long aa
more weakly sensitised, may, if quickly dried, generally be found
to retain its solubility for a week or ten days. In the former
article it was mentioned that tissue that was sensitised in the
making prints, as a rule, with less contrast than that which is
rendered sensitive afterwards. For this reason it will be an
advantage, as well as a greater convenience, to employ the
former.
As to the printing, this should be done in a strong light —
direct sunlight if that be available — so that the densest
portions of the negative are quickly penetrated. As the
" continuating action " has a tendency to increase the contrasts,
it follows that the picture should be developed soon after the
tissue is taken out of the printing frame. Here is a very
useful dodge that is usually adopted by carbon workers when
dealing with negatives of the " soot and whitewash " nature.
After tlie tissue is removed from the frame it is exposed to
light for a few seconds, but not sufficiently long to produce
fogging or veiling of the high lights, when the print is
developed. This slight exposure seems to fix or complete the
feeble action the light has exerted through the densest parts of
the negative, and prevents the more delicate tints of the lights
from washing away before the development is completed. In
working from hard negatives over-printing should be avoided,
so that moderately cool water will suffice in developing. Then
the deepest shadows can be locally reduced by pouring over
them a fine stream of hot water from a jug, or by rubbing
them with a soft camel's-hair brush, or the two artifices
combined.
There is yet another means by which the carbon process can
be modified to meet extreme requirements, namely, in the
manufacture of the tissue itself. By varying the composition
of the gelatinous matters employed, and the apportionment of
the pigment to them, the manufacturers are enabled to adapt
the tissue to almost every possible requirement. But, as our
readers are scarcely likely to go into making their own tissue,
it will be needless to enter into this phase of the subject.
They may, however, rest content that with the tissue now
supplied by our best makers they will obtain that which is
best suited to average negatives, and which, with a little
modified treatment, will yield results equal to every practical
requirement.
810
THE BRITISH JOURNA.L OF PHOTOGRAPHY.
[December 22, 1893
I
THE WET -COLLODION PROCESS.
IL — How TO Make Pyroxvline.
Although we have described the making of soluble cotton as
a somewhat messy process, we can, nevertheless, recommend
that, from an educational point of view, it should be tried. We
shall commence by describing a metiiod extensively practised
many years ago on account of its simplicity and the good
results obtained.
Have in readiness some clean carded cotton -wool, and
separate it in tufts, and into a porcelain vessel of suitable
capacity, such as a breakfast cup or a bowl, according to the
extent of the operations, place a quantity of finely crushed dry
nitrate of potash. We always employed the common saltpetre
of the shops for this purpose. Now pour in slowly enough
sulphuric acid to form a thick solution of the consistence of
boiled oil or furniture varnish. A glass rod must be employed
for mixing the nitre and acid. The cotton is now immersed
in this, tuft by tuft, taking care that each, by the action of the
glass rod, is thoroughly submerged and made wet throughout
before another is added. Turn the cotton well over to ensure
its all being acted upon by the solution. Do not add more
cotton than can be easily brought into contact with the liquid.
After remaining for from three to four minutes, the cotton,
which is now pyroxyline, is lifted by means of two rods or slabs
of glass, and transferred to a basin of water, in which it is
thoroughly washed in several changes of water. The water is
finally wrung out, and the cotton spread out on a towel to dry
in a current of air, this being facilitated by pulling asunder
the now tangled tufts. When quite dry, it will be found to
have considerably increased in weight.
For those who prefer to work to scale, the proportions given
by Count Montizon may be adopted, which are : one and a half
ounce nitrate of potash, ten drachms of sulphuric acid, and
forty grains of cotton. We have made pyroxyline by this
formula, but always considered that the proportion of sulphuric
was too small. We have also worked by the proportions given
by Ash Haddow, which are : five parts of nitrate of potash, ten
parts of sulphuric acid (by weight), and one part of water.
When the mixture is made, it is accompanied by the produc-
tion of heat, and it is important that the cotton be added
before it is allowed to cool, for, as it cools, the mixture becomes
quite thick.
The final washing of the cotton should be given with tepid
water, to ensure the removal of the bisulphate of potash, for if
any traces of this salt be left in the cotton, although, so far as
we have found, it does not lessen the sensitiveness of the
resultant collodion, yet does it impart a certain degree of
opalescence to the collodion film when spread upon glass-
This does not interfere with its utility for negatives, but is apt
to be detrimental to its employment for positives and lantern
ransparencies.
When cotton has been prepared as directed, it is not really
gun cotton, which is prepared in a slightly different manner.
It is, however, explosive in a slight measure, and hence, if the
drying is completed by spreading it before a fire, exceptional
care should be taken that no sparks get near to it.
We believe that almost all the large makers of soluble
cotton now do it by the admixture of nitric and sulphuric acids.
When these are mixed in nearly equal proportions, and allowed
to get cold, the cotton treated by immersion therein is highly
explosive, but very sparingly, if a tall, soluble ; but, by warm- I
ing the mixture before immersing the cotton, the solubility is I
increased, and what photographers desire is, the extreme
of solubility without explosive qualities. These properties are
imparted by weakening the acids in a slight degree by the
cautious addition of water, and raising the temperature to
1 30° Fahr. previous to the immersion of the cotton.
Haddow, the earliest and most exhaustive experimentalist in
this direction, availed himself of these facts in order to produce
collodion wool by the use of acids, without the trouble of cal-
culating the proper mixture according to their strength. He
mixed five parts by measure of sulphuric acid and four of nitric
acid (not lower than 1'4 sp. gr.) in an earthenware vessel, and
added sTnall portions of water at a time, testing after each
addition by the immersion of a tiny portion of cotton. This
addition of water was continued until a fresh piece of cotton
was found to contract and dissolve on immersing. When this
took place, half the quantity of sulphuric acid originally used
was added, after which as much cotton as could be soaked was
immersed for ten minutes, care being taken that the tempera-
ture of 130" was maintained. Thorough washing in several
changes of water follows, litmus paper being employed to
indicate the total removal of the acids. This gives a cotton
that dissolves perfectly and instantaneously in ether without
leaving a film behind, and the film it produces is of great
strength and transparence.
Instead of cotton-wool, filtering paper is preferred by many
in the preparation of pyroxyline. It is certainly easy to
manipulate, but beyond this it does not appear to possess any
special advantage. Linen, too, has by some been strongly
recommended. For this we have this good word to say — that,
when dissolved in ether, it gave the strongest and toughest
film we have seen.
It is impossible to say from an examination of the collodions
of commerce whether they are prepared from wool, paper, or
linen, as information of this nature is not usually given to the
world by the respective manufacturers.
PHOTOMETERS FOR USE IN PRINTING.
Although the rapid spread of process work and the revival in
popularity of carbon printing have given a prominence to the
employment of the photometer that did not exist a few years
ago, there are other applications of the instrument equally
useful in their way, but almost, if not altogether, neglected at
the present time. In the two branches of printing above
alluded to, a photometer of some sort may be said to be an
absolute necessity, and is consequently provided as a matter
of course ; but in more than one department of both profes-
sional and amateur work, although no thought is given to the
matter, considerable advantage is to be derived from ita
systematic use.
To give but one or two examples, let us mention the pro-
duction of opals or transparencies on print-out emulsion plates,
a class of work which, in the absence of specially constructed
frames, allowing of the accurate preservation of register while
the progress of the printing is watched, is little better than
guesswork. Such frames are necessarily expensive, and, unless
required for regular use, as in a professional establishment, are
seldom provided, the amateur or other small producer preferring
to trust to^luck or subterfuge in securing accuracy of exposure.
Intimately connected with the same branch of printing is the
newly introduced system of development of gelatino-chlorido
proofs on paper, which promises to be largely employed during
the duller months of the year, if not, indeed, even during the
December 22, 181)31
THE BRITISH JOURNAL OF PHOTOQRArHY.
811
summer. Here we have little hesitation in saying that con-
siderably more uniform success would be obtained if the ex-
posures were gauged by means of the photometer rather than
by mere inspection.
But another phase of the question may be looked at, and
this refers cliiefly to printing in platinotype, though, in a less
degree, also to gelatino-chloride. It is needless to point out,
much less enlarge upon, the necessity in tlie former [irocess for
guarding the paper against damp before and during expos\ire
and previous to development. The importance is less generally
recognised of treating gelatino-chloride paper with similar, if
perhaps not such rigid, care ; but the necessity does exist, never-
theless, and many of the complaints of failure and want of
uniformity of tone would remain unheard of if a little more
trouble were only exereised in the matter of protection of the
paper from damp.
At this period of the year it avails little to keep the printing
paper, whether platinum or gelatino-chloride, in calcium tubes
or other damp-proof receptacles, or to back them up in the
printing frame with indiarubber sheets, if, every time the
frame is opened for the examination of the prints, the latter is
freely exposed to an atmosphere heavily charged with moisture.
The very fact of the paper having been previously kept in a
state of practically perfect desiccation renders it all the more
liable to absorb with avidity the moisture to which it is pre-
sented, and, almost before it is possible to suspect it, the seeds
of future harm are sown ; but, if the exposures are made by
means of a single photometer, there is no need to open the
frame at all ; and, provided both negative and paper are
thoroughly dry to commence with, and are put into the frame
in an ordinary warmed room — as all printing rooms should be
— the print, after exposure, may be returned to its case in
absolutely the same condition after exposure as before. This
is certainly not the condition of affairs when it has been opened
for examination half a dozen or a dozen times in a cold, damp
atmosphere, such as prevails as we write.
For these and similar purposes a simple form of photometer
will be found a most valuable addition to the photographer's
appliances, whether he be amateur or professional. But here
we would ask those of our readers who are not technically
acquainted with the instnmients used by photographers under
this name to grasp fully what is meant by the term, and to
distinguish between that and the somewhat similar term
" actinometer." The latter, as usually employed by photo-
graphers, is an instrument designed to measure the actinic
or chemical value of the light, and is used as the basis upon
which to work out a series of calculations, perhaps with the
assistance of an " exposure table." " Photometer " is the de-
signation applied, outside photography, to the instruments
used for estimating or comparing the relative illumination,
or candle power, of artificial lights ; but, as used in photo-
graphy, it signifies rather a means of registering the amount
of work done by the light in a given time.
Very many different patterns of photometers have been
introduced and used during the past thirty years, and some
of these are articles of commerce. In its simplest form, as
applied to photographic purposes, the photometer partakes of
two principal types, which may be illustrated by the "Johnson"
and " Woodbury " instruments, introduced by the late J. R.
Johnson and the late W. B. Woodbury respectively. The
first consists of a scale of " tints " of gradually increasing
density, formed by the superposition of a successively increas-
ing number of thicknesses of fine paper or other material, be-
hind which a piece of sensitive paper i« exposed. By experi-
ment, the printing value of a negative is aacertained ; that is
to say, the number of the tint on the photometer that is im-
pressed during the same period as that required to give the
best result with that particular negative. This number having
been once ascertained, all that is necessary is to expose the
photometer side by side with it, and, when the aicertaincd
tint is impressed, the exposure of the negative may bo taken as
correct.
In the type of instrument of which Woodbury's is the most
familiar form, a series of coloured lints made to represent
the successive colour assumed by a piece of sensitive paper
are ranged in a circle round a central aperture of clear glass,
behind which a strip of test paper is exposed. This instrument
is used in the same manner as the former, the reading being
complete when the centre aperture presents the'same colour as
the tint which has boon found to best suit the negative under
treatment.
Of the two fornn, the latter would undoubtedly be the
more convenient, if it were only possible, in the first place, to
accurately represent artificially the colour produced by the
action of light upon any kind of sensitive paper, and, again, to
prepare a paper which will invariably give the same colours. No
one who has used either albumenised or gelatino chloride paper —
and these are the only ones that are practically available — will
have much faith in the possibility of securing with the same
exposure, or, indeed, with any exposure, the same gradation,
and, above all, the same colour. In the matter of gradation
some specimens will print harder than others, or, in other
words, take a comparatively shorter time to produce a certain
depth of tint, while, in the matter of colour, that may be any-
thing, from brick-red to rich purple.
This, in fact, constitutes the weak point of the Woodbury
and similar types of photometer, for it requires but a brief
trial to convince any one of the extreme difficulty of judging
the relative depth of two tints that are dissimilar in colour ;
moreover, when a certain depth is reached, it is next to im-
possible for the eye to distinguish between slight variations,
even though the colour be the same. Attempts have been
made to overcome the first diflBculty by examining the tints
under yellow or other coloured glass, so as to practically pro-
duce a monochromatic scale, while, to get over the diflBculty of
distinguishing between tints of considerable depth, the alterna-
tive of printing out two or more tints of a lower grade has
been adopted. Neither of these has, however, proved con>-
pletely successful, and for moderately accurate work the
coloTired scale is little used.
With the graduated translucent scale, however, the question
of colour is altogether unimportant, provided the sensitive
test paper is impressed by the same coloured rays as the surface
to be tested. For example, a test paper sensitive to the green
and yellow rays would obviously be of little value in testing a
film impressed only by the blue and violet rays, and vice versd.
It follows also that the translucent screen or scale should itself
be as free as possible from chromatic peculiarities ; that is to
say, it should be as neutral in character as possible, or, if
required for use with films possessing any colour peculiarities,
should approach as nearly as possible to the same character.
For general purposes, nothing has been found better than
successive layers of tissue or other fine paper, as white and free
from colour as possible. Then the various grades are produced
by increasing degrees of opacity irrespective of colour. If, on
the other hand, a screen were formed of, say, thin transparent
812
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[December 22, 1893
films of coloured ge at ne, we should naturally expect, if not
an altogether different scale of gradations, at least a scale that
■would vary with every different source of light, and not im-
probably at every different hour of the day and season of the
year. Want of attention to this most important point has
rendered untrustworthy many examples of the graduated scale
that have passed through our hands.
One other point that cannot too strongly be insisted on is
the necessity in all cases of suiting the trial paper used in the
photometer to the sensitive film to be tested as first referred
to. Neglect of this important point, or, rather, the practical
impossibility of attaining it, is the chief reason why a really
accurate actinometer for use in measuring camera exposures is
a practical want. Thus, to employ a chloride paper in the
photometer in timing the exposure of bromide enlargements
would be a palpable absurdity, since the chloride paper is
wholly unimpressed by any rays lower down in the spectrum
than the blue, while the bromide is more or less sensitive to all
the visible rays, but markedly so to the yellow. The conse-
quence would be that, if with one particular kind of illumina-
tion an absolutely correct reading were possible, it would be
altogether inaccurate when the light was changed.
This difficulty need not operate, however, so far as our
present purposes are concerned, as these refer principally to
the " print-out " processes in which chloride of silver, bichro-
mated gelatine, platinum, and bitumen are employed, none of
which exhibit any appreciable sensitiveness except to blue and
violet rays. Although the different processes may vary, and
do very materially, in absolute sensitiveness — -take, for example,
platinotype and bitumen — there is no reason to anticipate any
serious inaccuracies in the readings obtained with chloride of
silver paper, whichever of the processes it may be applied to.
Wherever possible, it is, of course, advisable to employ the
same or a similar test paper in the photometer to that being
tested — gelatino-chloride for gelatino-chloride, and albumen for
albumen ; but it is obviously impossible, except at great
trouble and inconvenience, to use carbon for carbon, or indeed
to be strictly accurate. But the agreement between the dif-
ferent results is practically so close that there need be very
little diflGiculty in working with a tolerably uniform sample of
either albumen or gelatine paper.
Of course, for strict accuracy, the proper plan will be to
prepare a special paper, as is always done for purely scientific
purposes ; but we are not now thinking of any such extreme
niceties, and we think it will suffice for all the purposes of
every-day work to place reliance upon the paper in actual
commerce. Any variation, if such there be, will not be suffi-
cient to cause any serious trouble with the carbon and similar
processes, while in the case of albumen or gelatine papers the
variations will be identical, both on the photometer and the
printing frame.
The most important point that remains is to secure a satis-
factory graduated scale, and that part of the question will be
treated in a separate article.
red heat, and appearance may also be considered, for enamel-coated
burners, either dead or bright, can be had in any colour, or in gold or
silver, and all alike unchangeable by heat. Our readers must not
expect an " Aspinall enamel " effect, but for burner or gas tires the
appearance is both neat and cleanlj-.
Art Progress. — The Duko of Westminster, speaking at the
presentation of prizes to the successful students at the Chester Science
and Art Schools the other evening, paid a high tribute to mechanical
photography. Referring to the progress of art, he said the various
processes now being carried out enabled almost the poorest of our
fellow countrymen to have very beautiful works of art upon their
walls. Notwithstanding the rapid spread of art teaching, it seems
somewhat a pity that high-class photographic reproductions of the
Old Masters in our national collections are not obtainable by students
at a more moderate price than they are.
Mou-rustlng' Bunsen Burners. — Every one who has
had much experience in the use of Biinseu and other gas burners in
the dark room or laboratory is familiar with the rusty and generally
uncomfortable appearance they attain after a little hard use, and
sometimes without any service, simply after being placed aside on a
shelf. There seems every reason to believe that such effects may be
entirely prevented by the use of Fletcher's " Chematto Enamel." All
burners of cast iron so coated are unchangeable by even a continued
Basy Xtule for Converting: Thermometrical
Degrrees. — The frequent use of Falirenheit or Centigrade degrees
in one and the same periodical show that there is still by no means a
universal preference for the latter, hence a ready mode of converting
one into the other will be useful. We notice in a recent issue of the
Chemical Keivs the following communication from Mr. G. Watmough
Webster, F.C.S., bearing on this subject : —
I think many of your readers will be interested in the appended
rule for the mutual conversion of degrees Centigrade and Fahrenheit,
which I devised many years ago for simplifying the usual method of
calculation as given in various technical manuals, the latter being
cumbrous and not quickly performed, except by an expert reckoner.
Almost any one can readily make the conversion by the new rule without
even needing paper and pencil. Such a method might be expected to
have been published before, but I have not seen it, nor has any one tO'
whom I have imparted it.
To reduce a given number of degrees Centigrade to Fahrenheit.
liule.— Double the number and subtract one-tenth of the result.
Fahrenheit to Centigrade.
iJu^e.— Increase the number by its ninth part and halve the result.
The necessary subtraction or addition of 32 at the proper stage is
performed in the usual manner. — I am, ifec.
Temperature of Xg^nition. — In the use of the mixed gase»
for lantern purposes, the question sometimes arises as to whether
coal gas or pure hydrogen is most readily exploded in case of a rise of
temperature. An important contribution to our knowledge of the
matter has recently been made bj' Prof. Victor Meyer in conjunction
with his assistant Herr A. Miinch. It was found that with purer
hydrogen and oxygen the initial temperature required to cause
explosion varied between 612° and C86°, no difference being found
whether the gases be dry or moist. The presence of platinum foil
prevented explosion, quick combustion always took place even when
a temperature of 715° was reached. When hydro-carbons were used
^yith oxygen, it was found that the temperature needed to induce
explosion was lower the greater the proportion of carbon present.
Thus the mean temperatures of explosions with methane, ethane, and
propane were 667°, 616°, and] o47° respectively. It will thus be seen
that, whatever the difference may amount to in practice, it is a fact
that pure hydrogen and oxygen will be more difficult to explode
than mixtures of coal gas and oxj'gen.
BRISTOL INTERNATIONAL PHOTOGRAPHIC
EXHIBITION.
I.
The Bristol International Photographic Exhibition was opened on
Monday last, December 18. It is to remain open until Monday,
January, 22, 1894. The Exhibition is being held in the galleries of
the Academy of Arts at CUfton, a noble suite of rooms admirably
adapted for the purpose, and such, indeed, as seldom falls to the lot
of a photographic society for the purposes of an exhibition. About
a thousand frames of photographs, &c., are placed on view, and they
are disposed with such excellent taste and judgment that the visitor
December 22, 1893]
THE BumSII JOURNAL OF PHOTOGRAPHY.
818
may pass from room to room and be g^'seted with a variety of
enxmhle and effect sucli as is usually absent from most collections of
pictorinl photoRTapbs.
So many notable photographic exhibitions have been held since the
occasion, ten years nj^o, when the Bristol Society held its last display,
" so many things,'' na the late Lord Beaconslield is allej^ed to have
remarked, " have happened since then," that the Council may well
have been excused if the Exhibition just opened was entered upon
with a certain dejrree of trepidation.
For exhibitions of a high order are to-day, in a manner of speaking,
as common as blnckborriesin September. Ten years ago it was different.
Still, the result has justified the Bristol Society's enterprise, for it
lias emerged from it with eclat, if not triumph. Not merely does the
Exhibition amph' uphold its international character, three continents
as it were being represented in it, but, from a general point of view,
we accord it unstinted praise as fully representative alike of modem
photographic work and workers. To scan down the list of exhibitors
is to encounter the names of the principal exponents of latter-day
photographic art. One feature deserves pointed notice, and that
is, the almost total absence of prominent examples of the fuzzy
school in the manner of the Dudley Gallery. Neither the Exhibition
nor the visitors thereto will be the worse for this. The judging
appears to have been well done, the " tail '' of the display is a small
■me, and, on the whole, the Exhibition has undeniably earned the
stamp of success. We trust that the West of England public will
take every advantage of the opportunity given them by the Bristol
Society to study photography in its latest and most agreeable phases,
and that the financial results will be as gratifying as the artistic. To
Mr. Hood Daniel (the President) and to Mr. Bligh Bond (the Hon.
Secretary) every congratulation is due.
The Judges' Awards.
The Exhibition comprises twenty-one classes, which, to our thinking,
is too many. The Judges were Messrs. S. P. Jackson, R.W.S., Valentine
Blanchard, B. -\lfieri, Payne Jennings, and II. A. Hood Daniel
(President of the Society). In their report they say that " the
Exhibition is exceptionally large, and the classes with few exceptions
are so strong and of so high an average grade of quality that the
difficulties presenting themselves could only be overcome and justice
done by the award of extra medals." Their awards are : —
Class I. (Champion), gold medal. No. 176, Kelp Gathering, lona,
AV. M. Warneuke ; first extra silver medal, No. 130, A Still Delight
Steals o'er the Earth, J. B. B. Wellington; second extra silver
medal, No. 18.5, Saturday Afternoon, F. M. Sutcliffe; third extra
silver medal, No. ;i08, M%»t M. Wikon, H. S. Mendelssohn. Class II.
(Large Landscapes), silver medal, No. 8, On the Derwent, Bernard
Lintott ; bronze medal, No. 50 (a) Sun, Fog, and Frost, (b) A Winter's
Day, (c) Stanford Lane, Robert Frost ; extra bronze medal. No. 55,
six Vieiva along the Streams of Normandy, Rev. Precentor Main.
Class III. (Small Landscapes), No. 201, Strand on [the Oreen, Henry
Smith ; bronze medal, Nos. 238-246, a hayfield series, Walter Nor-
grove. Class IV. (Large Marine), silver medal. No. 813, On the Top
of the Tide, Bernard Lintott ; bronze medal. No. 796, Whitby
Harbour, F. M. Sutcliffe. Class V. (Small Marine), No. 292, eight
views by H. Oswald Isaac, and Nos. 280, 280, 297, three frames by
Mr. H. W. Bennett, bracketed equal, each receiving a silver medal.
Class VI. (Large Instantaneous), bronze medal. No. 624, Toby and
Jack, Edward Hawkins. No silver medal awarded. Class Vll.
(Small Instantaneous), silver medal. No. 528, hand-camera studies,
Percy Lewis. No bronze awarded. Class VIII. (Interiors), silver
medal. No. 627, The Choir, St. PauTs Cathedral, H. W. Bennett ;
bronze medal, Nos. 673 and 075, Haddon Hall and Tetrkesbury
Abbey, Harold Baker ; first extra bronze medal, Nos. 6.37, 655, 656,
Library, Hampden House; Grand Hall, Mentmore ; Interior, Waverley
Abbey, S. G. Payne ; second extra bronze medal. No. 685, three
interiors, G. Hepworth. Class IX. (Architecture), bronze medal,
No. 531, Gatetoay, Whitby Abbey; South Porch, Tatton; Porch, St.
Stephen's, Bnstol, W. Crofton Hemmins. No silver medal awarded.
Class X. (Small I'ortraits), silver medal. No. 459, Portrait Studies,
Harold Baker; bronze medal, No. 467, Harold Baker. Class XI.
("Large Portraits), silver medal. No. 417, Portruit of a CHild, W. M.
Warneuke; bronze medal, Nos. 472 and 473, Rev. Stopford Brooke Stnd
Mr. //. F. Davit, Fred Hollyer. Class XII. {Genre), silver med»l, No.
3-'>li, Where'er you go, Sfc, Misi E. J. Fanuworth ; bronze medal,
No. 3^>8, I4fe in a Court, F. M. Sutcliffe. Claw XIII. (Enkrge-
ments), silver medal. No. 860, Polar Deart, H. Sandland; bronze
medal, No. 860, Itefiectimt, W. A. Cwiby, Class XIV. (Tran»-
parencies), silver medal, No. 874 and aeriet, E. Brightman. CUm
XV. (Stereoscopic Transparencies), silver medal. No. 919, J. H.
Spencer. Class XVI. (Lantern Slides), rilver medal, No. 885, T. M.
Brownrigg; bronze medal, No. 891, George Hanking. Clais XVII.
(Scientific), silver medal. No. '691, &c., enlarged photomicrographs,
W. I. Chadwick. Class XVIII. (Botanical), bronze medal, No. 684,
Fruit, J. T. Hopwood. Class XIX. (Zoological), silver medal, No. 730,
Animals at the Zoo, H. Sandland. Class XX. (Local Survey), silver
medal, No.f. 770-777, Bristol Churches, E. Brightman ; bronze medal.
No. 763, Bristol Churches, W. C. llemmons. Class XXI. (General),
silver medal, Frena camera; bronze medal, No. 1012, Pom/>eia« Lady,
F. Hollyer; first extra bronze medal. No. 3:54, flashlight portraits,
F. Bromhead ; second extra bronze medal, Allendale slide changer.
Total, forty-one awards. There are 189 exhibitors, and, including a
loan collection. Judges' exhibits, c&c, 1023 exhibits.
The Classks.
The class for large landscapes is, undoubtedly, a good one, Mr.
Bernard Lintott's medal picture. On the Derwent, a carbon study of
cattle in the foreground of a river, trees and hills rising off to the
distance, being full of quiet dreamy charm and softness. Mr. R. J.
Fry has three Welsh views, ably executed ; and there is an .\lpine
series by Mr. W. England. Mr. Wellington shows his familiar
Eoening on the liiver Thames. A word of praise is due to Mr. E.
Hawkins for Winter and Hoarfrost, two carefully treated studies of
not easy subjects. Mr. R. Frost, however, with three small views of
a similar nature, is even more successful, the bronze medal going to
him for a frame of delightfully printed studies on Matt P.O.P., their
delicacy and gradation being remarkably good. Extremely interesting
are the Rev. Precentor Main's capitally executed Vieios along the
Streams of Norway, the treatment of the subjects, chiefly houses on the
banks of rivers, converting them into very pleasing pictures. The re-
flections in the water and the technique are good. As an example of
misapplied industry. Colonel Senior shows a view of the Marble Bocks,
Jubbulpore, apparently printed on ferro-prvissiate paper. The picture
is a blot on the class. Precentor Main has two other frames. Old
Bits of Rothenburg and On the Pegnitz, Nuremberg, characterised by
great charm, the latter being nice examples of gelatino-chloride
printing. Mr. Lord's Fenland, a river view, some delicately handled
Alpine views by Mr. W. Moline, and some large pastoral studies by
Mr. Worsley Benison will attract notice. Mr. G. T. Harris has a good
view of Rossett Mill, and it the Rev. H. B. Hare could have managed
to have left out the two small boys from the foreground, we should
have better liked his Oldoun Bridge, which, however, is a capital
view of an ancient bridge over a stream, with bare trees and anti-
quated houses composing an excellent bit of work. On the whole, this
is a good class, unspoiled by impressionistic eccentricities, and
dominated by the vast and ubiquitous Wave picture of Messrs.
Elliott, which will certainly awe Bristolians by its mammoth pro-
portions.
The awards in the Champion Class will be found above. The class
is a large one. It included Lord's You Stupid Boy and Hotc's
that? Burrow's Mining Series, Sutcliffe's Stem Reality, Shapoor
Bhedwar's Feast of Roses series, Warneuke's Ethel, and Miss Laura
Johnstone as Desdetnona ; F. W. Edwards's The Nave, Westminster,
Byrne's portrait of Mr. W. K. Selle, Wellington's Eventide, Cadby's
Study of a Child, Treble's Wretched Criminal. Miss Clarisse Miles
has several examples of home portraiture of ladies, evidently taken by
flashlight. The poses are in all cases graceful, and the treatment
good, but the lighting is, in some instances, imperfect. Mr. Byrne's
Richmond Horse Show series is also included, as well as Mendelsohn's
The Misses Wilson. Many other well-known pictures are hung, and
the class, take it all in all, is a fine one, although it contains a
few mediocre works, which could only aspire to Championship honours
in company inferior to this. A. grand piece of work, by Fred Bois-
sonas, of Geneva, The Troglodytes, or cave men, as they may be
supposed to have been in remote ages, is a monument of creative and
814
THE BRITISH JOURNAL OF PHOTOGRAPH V.
[December 22, 1893
photogi-aphic sWll. On the banks of a river, bounded by lofty roclfs,
some of these strange creatures are grouped about a primitive craft,
others being in a cave in the rocks. If devoid of pictorial prettiness,
this -work is of profound interest. It certainly deserved judicial
recognition.
Numerically larjie, Class III. (Small Landscapes) is perhaps only of
average merit. Mr. Henry Smith's medal for a soft view of Strand-
on-the-Green was luckily earned. The same gentleman shows a
rustic bit, with a church in it, and labels it. Hark! the Sabbath
Bells are Pealing. Query, why? Mr. H. 0. Isaac's eight pretty
little landscape studies are nicely printed in platinum, and Mr.
Lintott also shows a frame of small but tender Derwentwater views,
apparently printed in platinum, one of them being from the original
negative from which his enlarged medal picture was made. To our
thinking, Mr. Lintott's work is the best in the class ; it is admirable
in technique and thoughtful in execution. Mr. Walter Norgrove's
Scenes in the Hayfield possess merit, albeit the subjects are rather
commonplace and hackne3ed.
As to Class V. (Small Marine), we have noticed Mr. H. W. Bennett's
Stiff Breeze (silver medal with other subjects, including A Race 'Some')
before, but it loses none of its charm on reinspection. Mr. W.
P. Marsh has a series of seascapes (some with wrecks), in which
he has secured some striking and faithful effects. Mr. W. J. Crudge
also shows waves, capitally caught and well printed ; and, among a
large number of excellent marine and yacht studies, a series by Mr.
II. O. Isaac are conspicuous by their crispness and clearness. Indeed,
the seascapes form a capital class. Here, thank goodness, are no
astigmatic abominations ; all are clean and sparkling, and yet full of
movement.
Gallery No. 2 is set apart for three Classes, X., XI., XII. (Small
Portraits, Large Portraits, and Genre), and, though we are forced to
say that it contains a not incon.'-iderable quantity of commercial
work of a commercial quality, take it on the whole, the portraiture
will be found as good, and should be as attractive, as any other sec-
tion of the Exhibition. First to attract attention is Mr. Mendelssohn's
Champion Class medal portrait of Miss Wilson, a small soft study,
printed to a charming brown tone. Several of Count Gloeden's figure
subjects are spoiled by the proximity of some portraits by the same
gentleman, rather hard and chalky. Mr. T. Protheroe, of Briotol,
has a frame of six large portraits, all evincing great care and taste,
and well printed in platinum. Mr. Protheroe's other exhibits are,
perhaps, less successful. A pleasing little portrait of a lady reclining,
by Mr. D. J. Scott, is labelled, Por^rmi o/' a Gentleman. A series
of six flashlight studies of dramatic themes — scenes from Oicrs and
other similar subjects— well deserve their award, as they are capitally
executed, the lighting having been arranged to secure harmonious
and natural effects. Miss E. J. Farnsworth sends several of her deli-
cately handled and unconventional classical studies, for one of which
she has gained an award. This represents a female figure with a
lyre. The facial expression is capitally caught, but there is less free-
dom in the pose of the figure than in Miss Farnworth's other efforts,
notably the always-pleasing Cupid Captive. Hard by hangs Mr.
Sutcliffe's medal picture, two old women gossiping, illustrating Life
in a Court. This is a capital bit of figure arrangement. The faces
of the models are lifelike, but the lighting of the picture strikes us as
being incorrectly translated. Mr. Ernest Lambert's large studies of
ieads show that he pays due regard to the conservation of character
in his subjects, which is not the case with many other exhibitors in
this room. Lewis Cohen's Bivouac is included. In the Genre Class
there is a group of four kittens, startled by something that has put
them On the Alert ; it is very cleverly done. The agreeable inscrip-
tion, "sold," will show how quickly clever work of this kind is
recognised. Mr. W. P. Marsh is the producer of the picture. Two
frames of agricultural studies, depicting farm scenes and farm folk
at work, by Mr. W. Crofton Hemmons, of Bristol, have simple and
attractive themes, skilfully executed, except, to our thinking, in so
far as relates to the focal treatment, which is of the ultra-diffused
kind. There are effects lying between crispness and fuzziness which
Mr. Hemmons and others may well be advised to cultivate in pre-
ference to "impressionistic" renderings, which are only recognised as
artistic by a self-conscious and ephemeral handful of egotistical
heretics. The Village Cjrn Doctor, by Mr. F. Stewart Seedj which
shows the operation indicated by the title in progress, distasteful in
its subject, and should not have been hung. In addition to his Naver
and Feast of Roses series, Mr. Bhedwar sends some striking portrait
studies ; but one of them, To Thee I Pray, a girl with uplifted head,
has a most strained and unnatural effect about the throat, which
could have been averted in the posing of the head. Prince S. C.
del Barma has also some portrait studies of Indian ladies, and Mr.
Mendelssohn several other examples, notably two of Miss Wilson and
Mr. Gladstone, which are very fine.
Mr. Alfred Freke's large portraits are capitally done, technically
speaking, but one representing three young ladies has a great deal too
much "linear repetition" in the arrangements of the arms and the
disposition of the figures generally. The silver medal for small work
goes to Mr. Harold Baker for a frame of Portrait Studies, printed in
sepia carbon. The ladies (the Dene sisters, we believe) are all most
artistically posed, the light soft and subdued, and the whole effect
exceedingly tender and agreeable. Mr. Baker also takes the bronze
medal for a frame of platinum portraits. Mr. W. W. Winter shows
several large portraits in his usual style, and Mr. Byrne is, we think,
best represented by his pretty and pleasing studies of children. Two
of his large frames of portraits of ladies are perfect in technique, but
the faces of the aristocratic sitters are quite expressionless. One
frame shows a group of singularly beautiful ladies in a box At the
Opera (platinum), but it is not easy to tell whether they are amused
or not at the performance. The other is intended to tell a tale of
Sympathy. A lady, with a letter, is kneeling with bov.'ed head before
another lady. If the former is mentally distressed, her face does not
show it ; if the latter feels any sympathy for her friend, she very suc-
cessfully conceals it. But perhaps the large and aristocratic clientele
Mr. Byrne possesses is not given to allowing its emotions any facial
expression ? Mr. Ilollyer's portraits of the Rev. Stopford Brooke and
Mr. H. E. Davis deservedly take a medal, and the same gentleman shows
his clever Paderewski and the late Albert Moore. In genre perhaps
nothing is so successful as Dumont's Love Letter, two women in the
field, laughing over the amatory missive in the most natural manner.
We shall conclude our notice of the Exhibition next week.
ON THINGS IN GENERAL.
The communication regarding copyright photographs printed in this
JoDBNAL, p. 372, is worthy of the attention of all photographers
possessing photographs likely to be utilised by the publishers of
newspapers and magazines. I am afraid it is rather a brutum fulmen,
although I am sorry it should be so, for I am entirely in sympathy
with the meeting. ']?he point is here : If a photographer possesses a
picture which had the copyright properly secured, he has the law in
his own hands ; he can charge what he likes ; if the photographs
have not been registered with the necessary conditions complied
with, he may ask a guinea, but he is not likely to get it. The utmost
recognition I ever received when one of my photographs has been
utilised, has been a copy of the paper containing the piracy, and this
rule has been more " honoured in the breach than the observance."
It may be well, while I am on this subject, to recall a few conditions
overriding this copyrighting, though they are well known by some.
In the first place, any photograph, whenever taken, can be " regis-
tered," as the provisions required for conferring copyright are termed.
But the copyright cannot be sustained unless certain conditions pre-
vail. When the first copy of the photograph is sold, a distinct bar-
gain has to be made as to who is to possess the copyright. If such
bargain be not then made, there cannot, at any future period, be any
copyright. This point is continually lost sight of. When such
bargain is made, a description or replica of the picture is to be sent
to Stationers' Hall, and a special form filled in entailing a small fee.
Here let it be noted that the " residence " of the photographer must
give, not his place of business if he lives away, but the address of his
dwelling-house. From this it will be seen that, if any photographer
happen to discover that he has a negative of any person or place
suddenly become popular or notorious, it is no use (if any copy had
ever been sold) for him to rush off and " copyright it; " it would be
money and time thrown away
December 22, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
ellff
The diecussion upon celluloid which we have recently been having
in these columns, will prove very useful in causing us to look at
home, i.e., to examine our film nej^atives and test tho staying power
of exposed films. It is not as though this substance were a definite
chemical compound of known composition, structure, and properties,
for it is far from possessing such certainty of structure. It and its
allies are simply mi.xtures having pyroxyline as a main constituent in
combination with other known and unknown ingredients. What
their action may be in the film cannot be predicted with certainty,
experiment alone can determine what, or if any action, the constituent
ingredients may have upon the film exposed and unexposed.
Mr. Ives' paper upon the Lippmann-Lumiere-Valenta photographs
will set many photographers thinking. That the results so far ob-
tained are very remarkable and very interesting goes without saying ;
but the whole burden of his paper may be said to be summed up in a
suggestion, or, perhaps, one may say, query, as to the possibility of
the results being brought about, not in accordance with the lamina
theory, but by some other hitherto unexplained action. Not to put
too fine a point upon it, is not the explanation simply an ex-poit-facto
one?
Iteaders of the Lantkbn Supplement should notice the remarks,
on page 119, upon translucent screens. Where there is space to
permit the image being thrown through, instead of upon, the screen,
the effect is very beautiful. I am now referring, not to effects for
large exhibition rooms, but more in the direction of private-house
exhibitions or for a few dozen spectators. The most beautiful effects
of the kind I ever saw were produced by throwing the picture on a
piece of ground glass over four feet square ; the effect was exquisite.
This is, however, costly and cumbrous, and an almost equal substitute
may be obtained by using, in lieu of glass, a piece of " tracing cloth,"
which may be obtained from any fine-arts dealer, the greatest width
obtainable being forty-two inches. It might not be a pretentious
piece of information to some readers to say that the ordinary Unen
screen does well ; but it must first be wetted, and kept wet, or the
light will not show through. I have seen exhibitors wet a linen screen
when the picture was thrown upon the audience side. I need scarcely
add that to do so is worse than useless ; the reflecting surface, instead
of being improved, is rendered inferior for the purpose.
There can be little, if any, need to reply to the strictures of a writer
who after stating, respecting the Show in Pall Mall, " I approve of
the decisions of the Judges," and expressing his contempt for those
who differ from the Judges, calmly replies, when asked his opinion of
one particular picture honoured with a medal by these Judges, that
he is " not sufficiently acquainted with that picture." If he, A. K. E.,
had made the same admission with regard to art subjects generally,
he would not be contradicted by me. I have, however, to thank him
for his advice, well meant, doubtlessly, but very funny. May I
venture to reciprocate ? He is exercised in his mind to see how
breadth can exist in presence of violent contrasts. Let him study a
few of Rembrandt's pictures, and then make himself acquainted with
some of the elementary canons governing lighting and composition.
I wish A. R. E. and all my readers a Merry Christmas and a Happy
New Year. Fbee Lanck.
THE DEVELOPMENT OF QELATINO-CHLORIDE PAPER.
A GOOD deal has appeared latterly on the subject of the development
of the partially printed image upon the ordinary gelatino-chloride
" printing-out " paper, and, like many others, no doubt, I have tried
my hand at what promises to be a new power at this period of the
year. My trials have been, not with the paper specially prepared for
development, but with ordinary Solio, and, while the success has been
variable, it is scarcely fair to blame either the paper or the system for
the failures, but rather to argue from the successes that much better
would have been done under more favourable conditions.
On first consideration, it did not seem to me likely that the ordinary
papers prepared for printing out would offer any very great chance of
satisfactorily passing the ordeal of development, as there appeared to
be no guarantee of their having been sufticiently protected from the
light before reaching the consumers' hands. But, on reading your
leading article, and thinking the matter over, it struck me that, as a
visible image seemed necessary in order to ensure a proper develop-
ment, 80 long as the paper remained white to start with there was
little danger of any injurious action ariaing from it* chMice expomr*
to light during preparation, Subaequent trial showed thia to m the
caie, although I have sinca discovered that the abannce of any viaiblo
discolouration does not necessarily prove the paper to bo amenable to
succeMful development.
As a matter of fact, I have found that some packet* of the Mm*
(Solio) paper develop perfectly, whilst others, of different emolaioa
numbers, veil or fog badly under precisely the same treatment, and,
indeed, in spite of any change of developer or other modification that
I can suggest for surmounting the fog. The paper I use ia white, not
tinted, so there can be no suspicion that the variable action ia doe to
the colouring matter ; and, so far as I can judge, there ia no vinbl«
discolouration from previous action of light. In some cases I have
noticed a slight discolouration of the edges of the cut sheets from age
or exposure to the atmosphere, but thia cannot be aet down aa the
cause of failure since, oddly enough, some of my lucceaaea have been
on such paper.
My first attempt was made with some very slightly under-printed
proofs that I picked out from a number that were awaiting toning,
and the process of development was roughly conducted in full lamp
light in the belief that the paper was absolotely unaffected by that
class of illumination, but of that more anon. The result amply
proved not only the capability of the paper to stand development,
but also showed that with an almost fully printed picture it was
possible to add as much or as little to it as might be desirable, and
also that the tone and gradation were quite equal to any that could be
obtained in the legitimate way of printing out.
On more recent occasions, when I have similarly picked out a few
prints that appeared deficient in strength, and have submitted them
to development, I have met with cases where one or more prints have
fogged or stained, but this I had always attributed to some careless-
ness on my own part, or to imperfect washing or bromising, until an
incident arose which showed me plainly that it is possible to have
the paper in a perfect condition for printing out and yet quite uaelesa
for development.
I had recommended the development process to a friend who re-
quired a number of prints at short notice, and could not get them off
owing to the dull quality of the light. Accordingly, he made the
attempt of printing a number of proofs to various depths, from a faintly
visible image to almost full strength, and brought them to me to be
initiated in the mysteries of development. As it happened, my dark
room was temporarily dismantled, and we were constrained to carry
out the development in diffused daylight, using every precaution to
expose the paper as briefly as possible to its influence. Su£Sce it to
say that not one print, whether lightly or well exposed, would develop
with even the most tolerable clearness ; in fact, every one became
more or less — chiefly the former — heavily veiled.
Everything appeared to go on satisfactorily until the image was
nearly sufliciently developed, and apparently without any regard to
whether it was a weak or a strong impression to start with ; then
suddenly, but rapidly, the whole clouded over, and in a few seconds
the hitherto perfect image was buried in fog. As I have said, the
result was the same whatever the exposure might have been, so that
it could not be a question of exposure. I at first thought it arose
from insufficient immersion in the bromising solution, but this proved
not to be case, and there seemed no way out of the difficulty except to
suppose that it was the development in daylight that had done it.
My friend departed, leaving me the remainder of the prints to do the
best I could with, and a sarcastic remark on the not too conspicuous
success of operations so far.
In the evening the remainder of them were developed by lamp-
light, but with a precisely similar result, hopeless fog in every case,
only varying in intensity and character with the development employed,
and. the duration of its application. Hydroquinone, amidol, metol,
and para-am idophenol were in turn tried, the strength being varied
from full negative strength to a degree of dilution that would
scarcely operate at all ; the quantity of bromide added was increased
to as much as five grains to the ounce, and the bromising solution at
last, as an experiment, made 100 grains to the ounce. But all to no
purpose ; before the image was fully developed, the inevitable veil
supervened. As a last resource some bichromate of potash was added
to the bromising solution, but still, so long as any developing action
remained, the fog appeared, and the image at the best was but thin
and meagre.
The idea then occurred to me that possibly even lamplight was too
powerful, though that could scarcely be in view of my previoua
successes ; however, to test it, a piece of the same paper, tiitherto
unexposed, was placed in a printing frame partly covered, and placed
on the table a couple of feet from the lamp ^a auplei), giving a good
Ught. I was called away, and there it remamed unexposed for about
816
THE BKITISH JUURNAL OF PHOTOGRAPHY.
[December 22, 1893
an hour. Upon taking the paper out of the frame, to my surprise
there was a very faint visible darkening of the exposed portion,
showing that even for printing-out purposes, Solio is sensitive to
lamplight, and I fully anticipated that that experiment was useless.
Not so, however, for on development, the exposed portion de-
veloped up faintly but distinctly, while the covered portion remained
perfectly clear until the inevitable veil spread over the whole, and,
which is the most important point, exhibited a far greater density
than the actual exposure.
It is palpable, therefore, that there is a condition of the paper in which
it is subject to spontaneous reduction by the developer without ex-
posure to light, but in which condition it is still capable of perfect
action in printing out. This would be perfectly intelligible if it were
invariably the case, and might be set down to something akin to
" chemical fog " in a negative emulsion. But I have another
sample of the same paper which behaves in precisely the same
manner in direct printing, which is presumably prepared in exactly
the same manner, and which yet develops with perfect clearness.
The last experiment is, I think, important. Had the slip of paper
been but briefly exposed as was originally intended — that is to say,
insufficiently to produce a visible image, the result could at best
have been negative as it turned out. But the fact of the unexposed
and absolutely uncoloured portion showing a denser darkening under
development than the visible exposed part shows conclusively that
the effect is not that of light. What then is it ? Clearly it is not
"free silver,'' for the employment of the bromide bath precludes the
possibility of that ; nor can it arise from the imperfect conversion of
the chloride or other salt of silver in the film, for, as I have already
fully stated, 1 took every precaution, both by prolonged immer^ion
and strengthening of the bath, to secure the completeness of that
action.
If the results were arrived at with papers of different manufacture,
an intelligible explanation might be found in some possible variation
in the formulfe — the presence, for instance, of some salt of silver not
amenable to the converting action of the bromide bath. But it is
scarcely a feasible supposition in this case that different batches of
the same maker's paper are prepared by different formula;. I can
only suppose that, in the keeping of the paper, a point is reached at
which some decomposition begins to set in, but which produces no
visible change in the paper. And yet the fact remains that where
there are visible signs of incipient decomposition clean development
has been possible.
I leave the mystery in the hands of yourselves and your readers, in
the hope that some solution may be found. Meanwhile, it is, I think,
worth recording the facts, as thereby some fellow-readers may be
induced to try again if the first attempt is not a success.
W. LlJfDSAY:
LIVEEPOOL AMATEUR PHOTOGRAPHIC ASSOCIATION
COMPETITION.
The Annual Exhibition of members' productions for the purpose of
medal-awarding was held last Thursday, the Judges being J. McDougall,
Esq., a well-known Liverpool artist ; Mr. George Thompson, and Mr. G.
"Watmough Webster, photographers ; while the latter gentleman and Mr.
Edward Whalley adjudicated upon the lantern slides. We append the
Judges' report, with the list of prize-winners.
To say that the works were those of the Liverpool Society is to say they
were excellent, and it must be admitted some very beautiful pictures
were brought together. It will be observed that all the prizes were for
sets of six, with the exception of stereoscopic slides (sets of three) and en-
largements, one only by each exhibitor being needed to be in competition.
Taking the Champion Class first, there can be no doubt about the
beauty and superiority of the winning set, which included some studies of
sheep of remarkable beauty. All were printed in a rich reddish bistre
tint, which perhaps was a little strong in colour, though in nowise
detracting from their effect. -4.8 showing how much depends upon the
T-odium in which a photo is printed, it may be noted that, when some of
1 se subjects were treated as lantern slides, much of their beauty was lost.
J 'JlaSB II. there was an emharras de richesse, and the Judges must have
I xijarienced some considerable difficulty in picking out the best ; many
BLts containing pictures which were equal to any in the room, but the
whole set failing to reach the same standard. Herein will be seen the
great advantages of the " set " system. Without for a moment suggesting
that what we are about to say here is to be held as referring to the
pictures under review, it is common knowledge that the most indifferent
photographic workman at times obtains, by what can only be termed
chance, a picture of real beauty, though that remains for ever his master-
piece: To produce six pictures cannot be the effect of chance, and a set
of that number, all good in technical excellence and pictorial beauty
proves the possession of skill far above the average. '
Class III. was a small one, but the Judges had no need to withhold the
second medal through absence of merit.
The lantern- slides competition was very close, twenty-seven sets in all
being adjudicated upon, all being passed through the lantern, some of
them many times over. The merits of two were so close, that the
Judges awarded equal first to them, giving the bronze medal to another
set very little inferior. Scarcely any of the pictures being named, it is
only possible to speak in general terms ; but, with regard to the winner
in this class, we may say that the subjects were most varied, landscape,
architecture, and flowers being included.
In Class v. the medal-winner exhibited an enlargement from an Italian
courtyard with a figure at a fountain. The richness and juiciness of the
shadows from a negative which, judging by the small print shown, seemed
to be of indiiferent merit, were very remarkable. In this class our own
opinion leant to a very quiet, effective river scene with small yacht riding
at anchor, though the artistic quality was sadly marred by the manner in
which the picture was cut into two by the heavy line formed by the mast
and its reflection in the slightly rippling water.
There were only four stereoscopic pictures, but the winning three were
of great beauty, good transparencies, rich in tone, and of even quality,
the subjects also being well chosen. The hand-camera work in Class
VII. included some g'od work, some of the pictures, however, being in a
sense out of court, owing to the subjects being such as could be done by
a camera on a stand with several seconds' exposure.
The President offered a special prize for a ladies' class. This was not
well filled, and, if we may say it, we have seen some better work by lady
members of the Liverpool Society.
The new rooms of the Association, including office, committee room,
dark room, enlarging room, and studio, are excellently adapted for the
purpose, and the Society may be congratulated upon having one of the
best homes in the country for meeting in and practising their art. They
cost in fitting several hundred pounds, which the success of the triennial
exhibitions have enabled them to meet without getting into debt. We are
sorry to hear that next year it is not probable that tiiey would hold an
exhibition, though the triennial period would have arrived.
ExinACT FBOM Repokt of Judges.
" We have much pleasure in handing in the accompanying awards,
which, we are glad to say, are our unanimous judgment. We think it
right to observe that, owing to the great excellence of individual pictures
in some of the groups, we have had a little difficulty in arriving at a
definite opinion. Especially was this the case in the Champion Class,
and we cannot forbear drawing attention to the conspicuous beauty of
two (unnamed) pictures in the group ' Art,' one a river-side view and the
other a hill-side with cattle in the middle distance.
i John McDocgal.
Signed •! G. Watmouoh Webster.
( Geo. E. Thompson."
Class I. (Champion), Mr. T. F. Lloyd.
Class II. (Half-plate and under), first, Mr. Jos. Appleby ; second, Mr.
Geo. AUday.
Class III. (Over Half-plate), first, Mr. C. A. Simmins ; second, Mr. H.
Holt.
Class IV. (Lantern Slides), first, Mr. F. Anyou, Mr, Jos. Eaip ; second,
Mr. T. B. Sutton. Extra medal allowed.
Class V. (Enlargement), Mr. Wm. Tomkinson.
Class \'I. (Stereoscopic Slides), Mr. W. S. Elsworth.
Class VII. (Hand-camera Work), Mr. H. B. Forrer.
Contains a considerable number of extreme merit. G. W. W.
E. W.
MR. JOHN HOWSON ON "MATT P.O.P."
On Friday evening, December 15, at the Central Photographic Club, Mr.
Howson gave a demonstration on toning and fixing Matt P.O.P. , which
he prefixed with a paper dealing with the subject. There was a large
attendance, including many professional photographers. Mr. F. W.
Edwards occupied the chair.
Mr. Howson said ; " Whilst I recognise freely that for many purposes
and many tastes the glossy surface given liy the ordinary Ilford P.O.P.
gives results that cannot be surpassed, we have felt that there were still
further fields to be conquered in the realm of photographic printing. We
set ourselves to master the great problem of how to combine the artistic
with the practical, the beauty of a matt surface with the truth and
gradation only found hitherto in the enuinelled surfaces. Such has been
the aim of many workers before us, and many are the attempts that have
been made, but I make bold to say that nothing but failures, failures of
the most pronounced kind, have been the result. We have had plain
salted papers, but their only claim to notice has been the absence of gloss.
Such papers are useless in these days when sensitised jiaiiors must have
keeping qualities. They could not be used unless prepared freshly week
by week. Worse, however, is the defect arising from th-.i burying of the
image in the fibres of the paper. Prints lacked utterly all truth of
gradation, and shadows were masses of darkness unrelieved by any detail.
Then we have bad so-called, matt emulsion papers which had the same
Dicember 22, 1893]
THR BRITISH JOURNAL OF I'fUmMJKAPHY.
817
fatal failing of clogged Bhadows, and had not, in faot, a real matt surface
«t all ; being made by simply making the emaUion thinner than usual,
iboy were neither glossy nor matt, and combined the disadvantages of
both without a single redeeming feature. So much for past history, and
now with pride I point to the Ilford matt P.O. P. as a perfect and complete
solution of the hitherto unsolved problem. Nothing of its kind has ever
been made before, and the future offers nothing that can equal it Its
qualities are beyond rivalry, and leave nothing to be hoped for or desired.
■Whatever we at Ilford have done in the past to advance photography (and
vo may fairly claim to have been a factor in such progress) is dwarfed into
nothing, compared with the possibilities arising out of Ilford matt P.O.P.
■Wo do not speak in vain vapourings, or without good grounds, for our
•elf -gratification. "
After quoting several favourable opinions on the paper, Mr. Howson
proceeded : —
" We have dozens of other letters all in the same strain, and I have
limited our quotations to the first half-dozen opinions received, so as not
to weary you with repetition, and I will add only one more opinion, viz.,
that of the editor of one of the photographic journals, who thus concludes
his notice of the paper : ' This paper marks a departure in photographic
printing, and we hardly know which to congratulate most, the big family
of photographic workers for the increased power put into tlieir hands, or
the Company,to whom the world is indebted for this vehicle of expression. '
"I will not lay too much emphasis on individual opinions, even though
they are from some of the best workers of the day, but leave you to judge
for yourselves from examples how far our views are justified by results.
" Not alone in point of surface, but equally in tone, is there a great
advance artistically. The deadness of the surface refines the colours, and
jnakes them more in accordance with the canons of art and the tastes of
those who hope great things for the future of photographic art. From
•warm browns and sepias to blacks of a soft, velvety richness, not too cold
■or glaring, but restful to the eye, is the gamut of colour within our reach,
and, withal, a perfection of gradation never before touched, an absolute
freedom from double tones, and a delightful ease of manipulation, which
one attempt with the paper will prove beyond doubt.
" This brings me to the practical advantages of the paper, apart from
its artistic merits. I have spoken of truth of gradation and possibilities
of colour, which may be said to be both artistic and practical merits ;
and when I add that these results may be obtained without any special
precautions, or any alteration of manipulation, either in printing, toning,
or mounting, I surely have said enough to justify the highest praise that
could be accorded to the paper.
" Prints on Ilford matt P.O.P. are printed in the usual way, toned (side
by side with the ordinary P.O.P. if you like) in the Ilford sulphocyanide
bath, and mounted with starch paste just in the regular way. From
printing to finishing you may work the papers side by side, ignoring
absolutely the fact that they differ ui any way, and when mounted you
have the two kinds of prints, which is as different as possibly could be, with
out one iota of extra care or trouble. Indeed, until they are mounted and
dried, you are hardly awarethat the two papers differ iatheslightest degree.
" Now, I ask you, was anything equal to this ever attempted, or ever
■dreamt of, up to the present, let alone accomplished?
" There are two well-defined and great advantages accruing to the pro-
fessional photographer in connexion with this paper. First, if he wants,
as is most probable, prints on both matt and glossy paper from the same
negatives for a sitter, he can produce them without a single moment's
extra trouble, no necessity for another class of paper or another set of
manipulations, and from the same negative similar results will be
obtained. It is quite unnecessary to take into consideration that, for a
flossy print, you must have a negative of such aud-such-quality, and for
matt prints one of quite a different class. Ilford matt P.O.P. yields
good results from a wider range of negatives than any paper I have ever
tried ; be the negative hard or soft, prints from it will compare more
than favourably with any other paper.
" Secondly. —There is, and has been, a cry from the professional photo-
grapher : Let us have something new to offer to our sitters — something
to attract attention and compel new business. Such a want is fully
answered by matt P.O.P. Prints on it can be produced, as I have shown,
so easily, and, what is of more importance, of such quality that few
sitters would object to pay a considerably enhanced price for such work—
a price which, in view of the absence of extra labour, and but a small in-
crease in cost of paper, must yield a more than proportionate return
to the photographer. I apeak here to the profession, and urge you not
to thro* away an opportunity so plainly put before you. Don't fail to
show your sitters such prints, and don't above all, I beg, rush in and
cut prices in the race for business. If an improved style of portrait is
worth more to the public, as this is, it is also worth more to you,and
■deserves and will yield better business if you will let it.
" Of the actual manipulations and points to be noted therein, there is
little to be said. Matt P.O.P. prints, much hke its predecessor, lose but
little in toning, ci-c. The progress of toning is judged in exactly the
same way, and it need only be borne in mind that prints dry a little
colder in colour than they appear when looked through whilst wet ; and
also a little darker in image than when looked at on the surface.
" Warm tones are best obtained by a bath diluted with its o\yn bulk of
water, and rich blacksby a bath with double gold, whilts sepias are to
ba had by toning for a short time in a bath rich in gold. I would men-
tion once again, thoagh it onght to be nnneoesssry, that good bUokn are
unattainable, except with a negative fall of vigoar and well gradoat^d.
A poor negative will never yield such a print by any procwM or any
scheming. Mounting matt P.O.P. prints ii one of the eosieet poeatbl*
processes. Well-boilod and strained starch paste ig the beet moantant,
and is best applied to the print whilst it is wet ; the print is placed on
the mount, and rubbed down with a damp sponge or a piece of oil paper,
such as is used with a letter- copying press. If any mountant gets on the
face of the print, a damp sponge, carefully applied, will remove it. With
only ordinary care nothing further need be done to the print, for matt
P.O.P. mounts with more ease than does the glossy, but, if re<iuircd, matt
prints, when mounted, may be lightly cold-rolled, but must not have
either heavy pressure or heat. Spotting is done with the nsual colonrs
mixed with water only, and from the very nature of the stuface is much
less likely to show than with other styles of printing.
"For the rest, all the many hints given from time to time re P.O.P.
apply with equal force to both papers, and therefore they need not be re-
ferred to, except so far as I shall tonch on them in the practical demon-
strations to follow.
" Finally, let me say a word or two of a personal bearing. It has been
said that the man who makes two blades of grass grow where only one
flourished before deserves well of his country. Adapting this saying to
ourselves, we may claim to have added something to the well-being of the
British nation ; for we have not only planted the original blade (P.O.P.),
but have now added the second (matt P.O.P.), and have, in so doing,
brought to England a volume of trade, which hitherto has been, for the
most part, in the hands of our Continental friends. To have done this in
the present day, when the cry is, 'English supremacy in trade is decaying,'
is no mean accomplishment, and we feel some pride in being the means
whereby such a result has been achieved."
At the conclusion of the paper Mr. Howson proceeded with the demon-
stration, observing that the prints lost very little in toning and fixing.
He laid great stress on the necessity for a thorough washing, and said
the surface was not so easily damaged as that of the ordinary gelatine
paper. Both kinds of prints could be toned side by side. After the first
washing an alum bath was recommended, followed by a thorough wash-
ing. The prints should be kept moving. The paper did not blister.
The alum bath should not be used a second time. For toning bath,
sixty grains of sulphocyanide of ammonium were dissolved in thirty-two
ounces of water, and two grains of gold added. The darkest prints were
taken first, two at a time, and when in the bath it was shown that the
glossy prints could not be distinguished from the matt prints. Mr. How-
son mentioned that the colour of the prints came back in the fixing bath,
and that they dried colder, and that the colour seen on the surface of the
prints was the colour that would be obtained when they were finished.
A considerable range of colour from sepia to black was obtainable, but
not engraving black. Fresh hypo was recommended for each batch of
prints.
Several prints were toned and fixed, and a number of finished specimen
prints were on view.
Mr. B. J. Edwards, in the course of a few remarks, referred to his pre-
vious experiences with matt paper, and said that matt-surface paper
was one of the most permanent in its results. He endorsed Mr.
Howson's remarks as to the relief it gave from monotonoas grey
tones, and said that no donbt the gloss in printing papers would be got
rid of altogether in time.
The Chairman said that he discarded silver printing some years ago,
but he had taken to it again. He had only had two days' experience
with the paper, which ho found dried harder and darker. He asked
whether images with black tones were more permanent than those of
brown tones ?
Mr. E.' J. Wall had tried most baths with matt P.O.P., and foond
that the paper worked well with all. It was also an easy paper to mount.
Mr. Howson, in replying, said that, as to whether black toned prints
were more permanent than the brown, the more gold there was on the
print the more permanent were the results. In regard to platinum
toning, he himself could not tone with it without degrading the whites.
He did not get any advantage over gold, and the same applied to uranium.
He had also tried them mixed, but had never got so far as with the sulpho-
cyanide bath. There was no necessity to go outside the sulphocyanide
bath for sepias. A vote of thanks to Mr. Howson concluded the pro-
ceedings.
♦
In a recent case in the United States Courts a deed to a certain piece
of land was offered in evidence which bore the signatures of only four of
the five interested heirs. A vacant space occurring where the fifth
signature should have appeared led the attorneys to suspect that it h«d
originally been placed there. Accordingly, the services of an expert
photographer were engaged, and be photographed the document in the
presence of the Clerk of the Court, who could not allow the original
to leave his hands. The plate upon development showed traces of
the missing signature, and a ten times enlargement plainly revealed it.
The case in question was one which had been before the Court for a
number of years, and the photographic evidence introduced reversed all
previous decisions, securing the ownership of the land to the rightful
heirs. — Antkony't Bulletin.
8ip
THE BRITISH JOURNAL OF PHOTOGRAPHY,
[December 22, 1893
" HYDROXYL-MONOHYDRIDE.''-A HOAX.
Journalistic Sympathy. — We deeply symjjathise with our
esteemed contemporary, Photography, in the severe misfortune which
befell it last week. Taking advantage of the excusable ignorance of
the staff upon chemical matters, as well as pandering to our con-
temporary^ weakness in seeking to be in advance of its journalistic
competitors with the latest scientific news, some malicious person
has made it the victim of a deplorable piece of deception. Our con-
temporary prints the report of a meeting of an alleged new society
at Brondesbury. The names of members, officers, and the meeting
place are given in a matter-of-fact style, and the technical proceed-
ings of the first meeting are reported in the customary phraseology
of such literature. The President of the Society, Dr. Burton Coxe,
details some experiences in development, which are of such an in-
teresting nature that we feel compelled to quote them, and to afford
them the well-deserved honour of a paragraph all to themselves.
" Hydroxy! - monohydrlde."—" Dr. Burton Coxe, who,'
says the report, " was received with applause, said he had lately been
expeiimentiDg on the lines of Colonel Waterhouse, with the addition
to the developer of various little-known substances, and, if he had
nothing revolutionary to tell them as to his results, he had certainly
had some interesting experiences to relate. Perhaps the most pro-
mising effects had been produced by the addition of hydroxyl-mono-
hydride in varying proportions. He found that a large addition had a
decided slowing action, but in moderate quantities its action was very
beneficial, especially in enabling the developers to flow freely, and he
should now be very sorry to develop a plate without it. Perhaps the
best way to employ it was to use it to make up the stock solution of
pyrogalhc acid with the addition of sulphite. It might be produced
by treating anhydrous hydroxyl with nascent hydrogen, the reaction
at a high temperature being very energetic, and the result being the
pure compound. The commercial article was frequently contaminated
with chlorine or carbonic acid in combination with some of the cal-
cium salt? ; so he advised those who wished to use it to make it them-
selves. The yellow tint sometimes seen in the home-made article was
duo to organic matter in solution, but it had no deleterious effect. It
should be used freshly prepared, as, if kept, it underwent decompo-
sition with the liberation of ammonia. He passed round a number of
negatives developed by it, and which were much admired." In an-
other part of his issue the editor of Photography draws attention to
the foregoing communication in these words : " Dr. Burton Coxe has
been experimenting with hydroxyl-monohydride in development, and
thinks very highly of it. A reference to this is found in the report
of the meeting of the Brondesbury Camera Club."
A Discreditable Xoax. — We cannot say whether the
Brondesbury Camera Club, its officers, members, meeting-place,
Dr. Burton Coxe, &c., have any existence in fact, but we should
not be surprised to find them as mythical as Mrs. Harris. It is,
perhaps, hardly necessary for us to inform our readers that the sub-
stance with which " Dr. Burton Coxe " has been making such success-
ful experiments in development, hydroxyl-monohydride, is simply
that harmless, necessary ingredient of all developing solutions —
common water. Our contemporary has been hoaxed. We are sorry
that anybody can be found with such an uncharitable mind as to
trade upon a journalist's lack of knowledge, and to hold him up to
ridicule in this manner. We commiserate Photography, which
journal has surely done nothing whatever to incur such treatment.
Our aspiration is, that the author of the hoax may be discovered, and
held up to the opprobrium he deserves.
©utr iBiiitorial EatU.
Hand-book on thb Use of Compkessed Oxygbn.
By Kenneth 8. Mcbeat.
As Mr. Murray says in his preface, " the subject is undoubtedly one
o^ growing importance," and we can endorse 'the fact that it is one on
which the author can write with some degree of authority. Various
methods by which oxygen can be made are described, including of
course the Brin process, in which the author is interested; the com-
pression of the gas in cylinders; the construction and testing of
cylinders, valves, unions, pressure gauges, and everything necessary
to be known in this connexion, are all fully and ably treated. This
work ought to be in the possession of every one interested in the use
of compressed gases. It is published by Ede, Dearberg & Co.,
40, Queen-street, E.G.
A selection from the timely Christmas and New Year's cards by
Messrs. John Patrick & Sons, of Edinburgh, have been forwarded
and are now before us. Comprising as they do photographic subjects
of all kinds, from the " roaring joys of the ice-bound loch," the much-
boomed "golf" course, the haunts, homes, and picturesque scenes
which Scotland supplies in such abundance, they should be a welcome
addition to the numerous souvenirs of the season.
They are well got up in cabinet size, on light, tasteful, appropriate
mounts for postal dispatch, and what is more to the purpose, are of
fine artistic feeling and quality as well as moderate in price.
Photogkaphic Mosaics fob 1894.
E. L. Wilson, New York.
The illustrations in Mosaics this year are with a few exceptions from
the hand camera of Mr. A. K. Dresser, who illustrates his " Tour in
Brittany " with them. Following an excellent epitome of progress by
the editor, we have a section composed of papers selected from
English and other journals of the long ago, illustrative of the opinions
which then prevailed, there being twelve of those. A series of
eighteen papers, written expressly for the Mosaics, completes a well-
printed and useful book.
^etos antr ama.
Photooraphic Club.— December 27, Monthly Lantern Meeting.
IjONDON and Pbovincul Photographic Association.— December 28, Mr.
Howsoa will give a demonstration of the P.O. P. matt paper, and Mr. Liddle
will discourse on Celluloid and its Imitators. January 4, Mr. Howard Farmer
will read a paper, Hurler tb Driffield; or, th» Man vriih the Money Bags.
ExBTKR Amateur Photooraphic Society. —An Exliibition of Photographic
Worl< will be held at the Art Gallery of the Albert Museum in Easter weelc,
1894, when twenty silver and bronze medals will be offered for competition.
Further particulars will be published at an early date. The Hon. Secretary is
Mr. John Sparshatt, Fairfield House, Alphington-road, Exeter.
Messrs. Elliott & Sos, of Barnet, write : "If you will kindly turn to the
Index of Advertisers in The British Journal Photographic Almanac, 1894,
you will see that, after our name, you have, by error, printed the words ' collo-
type printing' instead of 'carbon ;' the consequence is that, during the last few
days, we have had three inquiries for our prices for this process, which we do
not work ; at the same time, we lose a small advertisement for carbon. We
should be much obliged if you will rectify this."
The 1894 Convention.— The Council of the Photographic Society of Ireland
are reminding photographers that the Annual Meeting of the Photographic
Convention of the United Kingdom for 1894 will be held next July, in Dublin,
under the auspices of the Photographic Society of Ireland. The members of
the Photographic and Scientific Societies, Universities, &c., have taken the
matter up so warmly that there is every probability of the coming meeting
being one of the largest and most successful ever held.
Photographic Society of Ireland.— The Council have decided to offer the
following special medals for open competition amongst amateurs at the forth-
coming Exhibition of the Society, viz. : — Class A, the Society's gold medal, for
the best set of four Landscapes (any size). Class B, the Society s silver medal,
for the best set of two Enlargements. Class C, the Society's silver medal, for
the best set of six Lantern Slides. Tlie Exhibition will be opened, on
January 15, by a full-dress conversazione, and will remain open until
January 29. The Hon. Secretary is Mr. John A. C. Euthven, 35, Dawson-
street, Dublin.
On Saturday, December 16, at the Queen's Hotel, Clifton, the members
of the Bristol Photographic Association held their first annual dinner, the
President (Mr. H. A. Hood Daniel, F.S.I.) in the chair. The toast of "Success
and Prosperity to the Association " was given by Mr. Thomas Bedding (Thb
British Journal of Photography). Mr. Valentine Blanchard replied for
" The Judges." " Success to the Exhibition " was also given, and the speakers
generally congratulated the'Association on the quality of the Exhibition. Mr.
E. Brightman (Vice-President), Mr. Bligh Bond (Hon, Secretary), and other
gentlemen also spoke during tlie proceedings.
The Fountain Am Brush.— Before the members of the Photographic
Club, on Wednesday, December 13, Mr. Charles L. Burdick, Chicago, demon-
strated the use of a new air brush, the " Fountain." In appearance it is not
unlike a fountain pen, being very neat and small. It is held in the hand like
an ordinary pen or pencil. Air pressure, worked by the foot in the usual way,
actuates the liquid spray, the pressure and volame of which is controlled by
the forefinger pressing a small disc at the end of the brush. Besides the
ordinary [black pigment, the usual water colours may be used. An ex-
tremely fine grain is given, and this, again, may be regulated by the operator
approaching or receding from the surface upon which he is working. This is
placed on an easel. Mr. Burdick produced some very fine freehand work, and
also showed several beautiful examples of coloured portraits on a basis of
black crayon. He states that the brush may be used for working up bromide
enlargements, or the outlines only may be first produced, and the remainder of
the picture filled in. lu the hands of a skilful manipulator the Fountain Air
Brush should prove useful for a variety of photographic purposes. No doubt
artists would also find it very handy.
December 22, 1893
TOE BRITISH JODKNAL OF PIIUTOORAPIIY.
810
Cboyuon Camera Club's Lantkrs Show. — The second monthy dinpUy of
this «ea»nn, consisting of iihotoprajihic viewii on tlie acreen, was heUl on
Weilnosilay, tliu IStli, nt the Braithwaite Hall, when a laree andienc^
assembled. The first part lonsisteilof about ahumlrod viuws, depictini; "that
tlourisliing corner of the liliuk man's garden," as tlie lecturer dcscrilicd it,
iianioly, South Africa and the Cape. After twenty minutes' interlude of Kong8
and lianjo dnets came the second part, which iniludeil a K<Ties entitleil (Jood-
bye to Old Croydon, by Messrsi. Carden. J. Smith, and G. R. White (memliem
of the Club), and various slides by other m;inbers, viz., J. Packham (twelve
brilliant photo-microKra]>hs), H. K. Holland (South Devon ami Surrey Koeiiery),
O. I'ttice (horses and waves), and J. Smith (thirty-six, many very tine),
especially satisfactory being several from negatives taken at Club exomsions to
By Meet and Forest Row.
An International Photographic Exliibition will be held in the .\rt Gallery,
GrainKcr-street, Newcastle-onTyne (by arrangement with Messrs. Uarkas &
Son), from Ajiril 13 to April 28, 1894. A special section will be devoted to
photographic ajiparalus and ajipliances, photo-mechanical printing iiroces.«e8,
and other trade exhibits, for which a special gallery will be set apart. The
Judges will be Messrs. Wm. Crooke (Edinburgh), F. M. Sutclitle (Whitby),
and G. H Thompson (Liverpool). The following is the schedule of classes ancl
awards :— Ojien to professionals .and amateurs. Class A (Landscapes), silver
and bronze medals. Class B (Portraits), silver and bronze medals. Class C
{Genre and Figure Studies), silver and bronze med.als. Class D (Architecture),
silver and bronze medals. Class E (Instantaneous), silver and bronze medahs.
N. B — In accordance with the reguKitions of the Judges' Conference, awards
go to one picture, except in case of a connective series, but it is desirable that
exhibitors should send at least three pictures in any of the above classes.
Class F (Enlargements), silver and bronze medals. Class G (Hand Camera
Prints, series of six), silver and bronze medals. Class H (Lantern Slides,
series of six), silver and bronze Biedals Cl.oss J (Stereoscopic Slides on Glass,
series of six), silver and bronze medals. N.B. — In Classes G, H, and J, ex-
hibitors may send more than one series, but each set must be kept separate.
Champion Division, open only to pictures which have been med.alled at an
open exhibition. Class K (Landscapes), silver medal. Class L (Portraits),
silver medal. Class M (Genre and Figure Studies), silver medal. Class N
(Lantern Slides, series of six), silver med.al. N.B. — In Class N exhibitors
may send more than one .series, but each .set must be kept separate. Mem-
bers' Classes, open only to am.ateur members of the Association. (In these
Classes the work must be entirely the production of the exhibitor.) Class 0
(Series of Three Pictures, any Subject, half-plate and .above), silver and bronze
medals. Cl.ass P (Series of Three Pictures, any Subject, 5x4 and under),
silver and bronze medals. Choss Q (Series of Six Lantern Slides), silver anil
bronze med.als. Class R (Series of Six Stereoscopii.' Slides, on Glass or Paper),
silver and bronze medals. All correspondence ami inquiries must be addressed
to the Hon. Secret.aries, Photographic Exhibition, Art Gallery, Grainger-street,
Newcastls-oc-Tyne.
RECENT PATENTS.
APPLICATIONS FOR PATENTS.
No. 23,894. — "Method and Apparatus for Timing Photographic Develop-
ment." A. 'Watkish..— Dated December 12, 1893.
No. 23,988. — "Improvements in Photographic Cameras and Apparatus con-
nected therewith." W. R. Bakek. — Dated December 13, 1893.
No. 24,114. — " Improvements in Photographic Apparatus," &c. G. T.
Washington. — Dated December 15, 1893.
No. 24,135. — " Improvements in and relating to Magic Lanterns and to the
Manipulation of the same." H. Sisipson. — Dated December 15, 1893.
No. 24,187. — " Improvements in Connexion with Projecting Lanterns. '
Complete specification. W. C. 'Suohkb.— Dated December 15, 1893.
PATENTS COMPLETED.
IMPROVKMEKTS IN GBOOVED METALLIC STRIPS KGB BOXES KOR CaRRTINO
and Storing or Packing Photographic Plates and other Plates,
and fob other LIKE PURPOSES, AND IN THE METHOD OF AND TOOLS KOR
Makino the said Grooved Metaluc Strips.
No. 1195. William Hknry Digard and George Hbaton Dcoard, both of
Vulcan Mills, Bridge-street West, Birmingham, Warwickshire. — November
18, 1893.
Our invention consists, first, in shaping in the manner hereinafter described
the bottoms or closed ends of the said grooved metallic strips for the purpose
of reducing to a minimum those parts of the surfaces of the said grooved strips
with which the photographic plates carried or packed in the box can come into
contact, and hence diminishing the liability to injuring the said plates.
The grooved metallic strips to which our invention applies consist of a strip
of thin sheet metal so shaped or corrugateil as to form, side by side, a series of
parallel grooves with closed bottoms, the walls of the said parallel grooves
consisting of double folds or thicknesses of metal. According to this part of
our invention, we make the bottom part of each groove of an angular figure or
of a semicircular figure, and the parallel sides of the grooves of such depth
that the surface of the grooves with which the photographic plates can come
into contact, when the plates are packed or stored in the said grooves, is
reduced to a minimum. That is to say, instead of the edges of the photo-
graphic plate bearing on the whole surface of the sides of the grooves, as in
grooved strips of the ordinary kind, the said plates, when the improved
grooved strijis are used, bear principally against the angular or curved bottoms
of the grooves of the strips.
We prefer to form each strip with seven grooves, the outer grooves being
narrower than the five inner grooves, each of the said inner grooves being
of sufficient width to permit of the sliding in it of two plates, and the outer
narrower grooves being only of the width proper to receive a single plate.
Our invention ooniliits, Kcondly, of the followiag method of and todb for,
making the metallic, grooved atriin hereinbefore deecribed, and other (roovad
strips.
Wo make th'- ' ' il strips in long lengths from strips of thin «h««t
ductile metal "i >. for example, as brass by drawing the said »lrip
through one or ; . i dies so sbapetl as to gradaalty corrugate the striji
lengthwise and aflerwardii shape it to the proiwr form.
We will descril«^ our method ol man ufacturtng the improveil grooved strip*
hereinbefore described in conjunction with the two pain of tools which we
prefer to crniiloy.
The first pair of tools consists of two dies having cornigatioos upon Ibeir
opposed faces, the said dies being preferably carried in a frame, the lower die
being fixed on the bed of the frame, and the upi>er die lieing made cafNible of
sliding to and from the said lower die by means of an adjusting screw. The
said corrugations in the opposed faies of the dies taper from the Botraoce to
the emerging end ; that is, the coiTugations are widest at the entering end, and
gradually taper or Ijecome narrower ns they apiiroach the emerging end. Tlie
tapering corrugations are also shallowest at the entrance end, ami gradually
deepen as they approach the emerging end of the dies where the tajieriiig
corrugations are narrowest
The uiuier die having been atljusted upon the lower die io that the space
between them at the entrance end is jnst sufficient to receive the long sheet metal
strip of which the grooved strip is to be m,ade, the said strip is taken hold of by a
pair of tongs, and drawn throufih the pair of dies by means of a draw bench.
As the strip is drawn through the closed pair of dies it is gradually corrugated
lengthwise, and passes from the emerging end of the dies in the form of an
open corrugated strip. This open corrugated strip is Qnisheil by subjecting it
to a drawing operation throu;;h a second pair of dies having larger parallel
corrugations so shaped as to give the required figure to the bottoms of the
finished grooved strip, as well as to enlarge alternate corrugations by coiuprehs-
ing together the sides of intermeiliate corrugations, and thereby forming
parallel grooves, the walls of which have a clouble fold or thickness of metal as
hereinbefore described.
^tttim^ of aocietujEj.
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Dst«otHe«tmi!.
Dooemb
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Name of Society.
Bath
Burnley
Leytonstono
Photograptiio Club
Southport
Stockport
Camera Club
Glossop Dale
Halifax Photo. Club
Hall
Ireland .
Liverpool Amateur
London and Provincial
Oldham
Cardiff
Central Photographic Clnb
Croydon Microscopical
Holboni
Maidstone
Swansea
HnU
PUc* of Meeting.
Roy.Lit. k 9c. Inst. , Terraoe-waUu_
Bank Chambera, Hargreavea^treel'
The Assembly Rooms, Hif^h-road.
Anderton's Hotel, FIeet-«treet,K.C*
The Stndio, 15, CambriilifB-arcade.
Mechanics' Inatitute, Stockport.
Charing Cross-road, W.C.
Mechanics' Hall, Halifax.
71, Prospect-street, Hull.
Booms, 15, Dawson-street. Dublin.
Percy-buildings, Kberle-street.
Champion Hotel, 15, Aliiersgate-st
The Lyceum, Uuion-etreet, Oldham.
Coleman's Hotel, Henriett»^8t.,W.C
Public HaU,Qeorge-street.Oroydon.
" The PaUce," Haidstoaa.
Tenby Hotel, Swansea.
71, Prospect-street, HuU.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCLVTION.
December 14, Mr. Alexander Cowan in the chair.
Mr. HoDD asked if an acid state of the bichromate bath for carbon printing
had any bad effect.
Mr. W. E. Debenham said that it should not be more acid than the bichro-
mate itself was. Any acidity could be reduced by ammonia.
Mr. P. Everitt had been able to get clearer margins by the use of ammonia.
Mr. Mackie said that the Miitlaml Railway Company had recently intro-
duced a rule forbidding the carriage of gas cylinders in passenger trains.
It being a Lantern Evening, slides were shown by Messrs. J. Austin, Bayston,
and other members, followed by slides (shown by Messrs. Newton & Co., and
shortly to be published by them) from Mr. Burrow's negatives illustrating worl;
underground in the tin and copper mines of Cornwall.
Mr. T. E. Freshwater brought a sample of a new kind of lime calleil the
" Newtonian," one of which was used in the lantern. They are turued from
hard stone-lime, and are very enduring.
MANCHESTER PHOTOGRAPHIC SOCIETY.
December 14. — This meeting took the form of what proved to be a very
enjoyable social evening, at which many of the members exhibited, in au
informal way, quite a good show of photographic prints, stereoacopic trans-
parencies, 4c., rendered doubly interesting to the visitor* by the particulars
and information which, from the nature of the meeting, the members were
able to give. Messrs. Thornton-Pickanl contributed a number of their
specialities, including their new automatic camera stand.
During the evening, a good commercial set of photographs of the Chicago
World's Fair were shown in the lantern, and the meeting concluded by a
lantern show of members' slides.
820
THE BRITISH JOURNAL OF VHOTOGRAl'HY.
rDecemb?r 22, 1893
Brixton and Clapham Camera Club. — December 5, Open Lantern Meeting
Dr. J. Reynolds, F.R.G.S., in the cliair. — Several slides by members were
passed through the Club lantern, after which a set of slides contributed by the
Southsea Amateur Photographic Society for circulation by the Photographic
Society of Great Britain were exhibited.
East London Photographic Society. — December 12, Ordinary Meeting,
Mr. E. Stone in the chair. — Mr. John H. Gear was elected a member, and was
unanimously voted President of the Society in the place of Mr. G. S. Pasco,
A.P.S., resigned. A question from the question box was read : "What is the
best method and plate to use to photograph a piece of red granite having gilt
letters upon the surface?" An isochromatic plate, stop/-22, a dull light, and
short exposure, was recommended, and the developer to be compounded with
three times the normal quantity of pyro. The remainder ot the evening was
then devoted to a discussion on the negatives from which the prints were taken
which had gained awards at the recent Exhibition of the Society.
Greenwich Photographic Society. — December 6, Professor Haddon in the
chair. — Mr. Fey demonstrated the Paget Prize Company's printing-out papers.
Upon their process of development, he said that the keynote of success was a
thorough bromising of the print in the first place, and complete elimination
of the developer before toning in the second. As regards the bromising, dirty
backs to the prints or muddy whites were a clear indication of insutficient time
in the bromide batli. Briefly, this part of tlie process could easily be in-
sufficiently done, and could not be overdone. To leave the partly printed
i:)ictures in the ten per cent, bromide for at least ten minutes was a safe plan.
In addition, it might be noted that, the less the visible impression or image,
the greater the need for a more prolonged stay in the bromide bath. He was
often a.sked whether other developers would do. No doubt they woulil ; but,
as the Comjtany's hydroquinone formula had been most thoroughly testefl, and
found perfectly reliable, what purpose could be served by changing ? He saw
no reason. After thorough bromising, the important point is to clear the print
from developer before toning and fixing. Unless this be done, the depth of
the print continues to increase during toning, and it is impossible to say
exactly how far the printing will advance, as everything depends upon the
amount of reducer (hydroquinone) lefc in the paper. If the developer were
cleareil from the print, however (five minutes in running water is sufficient),
no further increase in density takes place, and no occasion for exercising
speculative judgment as to how far the print will alter in density arises. After
Mr. Fry had demonstrated the process, Professor Haddon said that the thanks
of all were due to the Paget Company for a useful method of producing prints
alter a slight exposure to daylight. Any business man who would get up an
hour before breakfast could make in that time as many initi.al exposures
(which could be completed in the evening) as would oocupy him a'l day to
make if he were obliged to print an image right out. Any person could see
the advantage of this addition to our knowledge. He was glad that Mr. Fry
had called attention to the necessity of longer bromising of the print. The
action of the bromide was to convert the chloride and organic salts of silver in
the paper to bromide of silver, which was not so easily reduced by light action
under a developer, and was therefore [more under control. As far as the
washing out of the developer before toning is concerned, he referred to some
experiments made by Mr. Grundy and himself, and pointed out that the
method of washing was most important, and deprecated long soaking as being
not only useless, but prejudicial. Upon the question of separate versus com-
■ bined toning baths, Mr. Haddon said the evidence was not conclusive. He
had seen prints made thirty-five years ago, toned and fixed in a combined bath,
which were practically unaltered, whilst others made comparatively recently
were faded. The same remarks applied to separate baths.
Hackney Photographic Society.— December 12, Mr. Robert Beckett in the
chair. — Mr. Grant asked for information regarding the Hill-Norris plates. He
found that, unless you gave exact exposure, it was impossible to obtain density.
The Chairman also agreed with this remark, and suggeste<l redevelopment as
an improvement, as a better result could always be obtained than by de-
veloping all at once. The soluble salts could be easily removed from the plates
in a very little while. The plates were very easily dried. Mr. Smith asked
if isochromatic plates were beneficial for exposure upon winter .scenery.
Wherever there is a tendency to yellow light these plates were very good.
The pl.ates also recommended were those of medium quickness, with a thickly
coated emulsion. Mr. Leblauc, of Messrs. A. Schwarz & Co. , then proceeded with
a demonstration upon Dr. Andersen's developing, fixing, and toning cartridges,
and some good results were obtained. They were strongly advocated for tourists,
&c., who wished to test their expo.sureswhiI.st on a journey, as they were so
easy to m.anipulate, and saved taking a quantity of chendcals, &c., on tour.
An advantage claimed for the fixing cartridges was that it could be used over
and over again, and therefore a decided advantage over ordinary hypo. Glycin,
as a developer, was strongly urged for use by beginner.s. A vote of thanks
to the demonstrator closed the evening.
North Middlesex Photographic Society.— December 11.— Some time was
consumed by discussions as to the Exhibition just recently held and also the
nomination of the executive for the coming year. The members who had
received sample packets of the Barnet lantern plate brought their results for
inspection and criticism, and a good opinion of the capabilities of the plate
seemed, in most cases, to be formed. The Thornton-Pickard tripod was also
examined. Information was asked, and a discussion took place, on the ques-
tion of the possibility of producing pictures that should show unmistakably
the effect of a bright sunny day. Most members thought it a desirable attain-
ment, and that it could be done, but seemed somewhat hazy as to how to work
for the desired end. Mr. Avery said he thought that, by giving an exposure
just slightly under tlie normal, developing with a developer, very strong in
pyro and weak in bromide and ammonia, until the high lights were fully
developed, then washing that off and Hooiling with another developer, weak in
pyro and strong in bromide and ammonia until the detail was all out in the
shadows, a negative could be got which, if printed in carbon, would certainly
show sunshine. Mr. McIntosh was in favour of rehalogenisation.
Richmond Camera Cluh. — December 18. — In lieu of the promised demon-
stration by Mr. Borghoff, an interesting novelty was introduced into the Club's
proceedings in the shape of a lecture by Mr. Brearley on Japan and the-
Japanese, with lantern illustrations, the work of native artists. Mr. Brearley's.
long residence in the country well ciualifies him for the post of lecturer, and
his short introductory paper gave a graphic and comprehensive review of the
salient characteristics of the laud and its people. A large number of slides were
then shown, comprising figure studies, street scenes, landscapes, Shinto and
Buddhist temples, religions and social ceremonies, and a variety of other sub-
jects. All the slides were coloured, and, little as coloured slides commend
themselves in the general way to photographic connoisseurs, it must be con-
fessed that that these, for the most part, showed such delicate and artistic
treatment as to comjiel the admiration of all present, and to suggest a com-
p.arison with the English coloured slide b) no means favourable to the latter.
In fact, the difference would seem to be that in Japan slides are coloured by
artists, in England by mechanics.
Woolwich Photographic Society.— December 14, Major C. D. Davies pre-
siding.— At the conclusion of the usual routine business, Mr. W. H. Baunes
read a jiaper on Isochromatic Photography, taking up, in turn, the advantages
of isochromatic plates lor copying oil and water-colour paintings, for photo-
graphing flowers, landscape and portrait work. The [laper was pictorially
illustrated with a number of photographs taken on ordinary and isochromatic
plates, with and without the yellow screen, for the purposes of comparison,
and further enabled Mr. Barnes to point out clearly when the screen can be
successfully employed and when it is better to rely wholly upon the qualities
of the plates. He concluded by passing a number of slides through the lantern
for additional illustration.
Aahton-under-Lirne Photographic Society.— December \i, Mr. Greenwood
in the chair. — An address was given on the subject of Photographic C/iemistry
by Mr. Stephen SH.iRP, chemist. Mr. Sharp illustrated his subject by giving
numerous tests of the various chemicals used in photography, and showed the
members some simple methods of judging the purity of them.
Derby Photographic Society. — December 13, Mr. R. Keene presiding. — It
having been suggested to hold an Exhibition of Photographs in 1894, similar to
that held at the commencement of 1893, this question was first brought under
consideration to ascertain whether sufficient new work could be obtained from
the members to make the Exhibition a successful one. It was arranged that it
be made a biannual one, so that the next will take place early in 1895. It
was also agreed to holil an Exhibition of Lantern Slides (made by the members}
early in 1894, to which all interested in photography could be invited. The
Rules of the Society were also revised, and the night of meeting altered from
the second to the third Tuesday in each month, October to .\pril inclusive,
out-door meetings to be held from May to September. It was decided to hold
the annual dinner early in January next.
Hexham Photographic Society. — December 12, Mr. Jasper Gibson (Vice-
President) in the chair.— The prints and slides sent in to the recent Members,
Competition were on view, and a number of members' .slides were put through
the lantern. Mr. W. Parker Morris, the Assistant Hon. Secretary of the
Newcastle and Northern Counties Photographic Association, gave a lecture on
Lanterns and their Manipulation, and explained the construction and method
of working his powerful limelight lantern. The lecturer was accompanied by-
Mr. Edgar G. Lee, who is well known as being one of the best lantern-slide
workers of the day. A number of his slides, which are now being published
by Mr. J. P. Gibson, Hexham, illustrating Child Life in the Slums, Street Life,
The Herring Fishery Industry, and Marine Studies, were shown upon the
screen, and were much admired for their artistic treatment as well as for Ibeir
local interest.
Ipswich and Suffolk Photographic Society. — A conversazione was held at
the Carr-street Rooms on Friday, the 15th inst. A large exhibition of
pictures was furnished by the members. The President (Mr. J. Dixon Piper)
showe<l about thirty views, mainly 24 x 20, taken direct, and Mr. Pringle (late
Secretary) also contributed some charming landscapes. Altogether nearly 300
frames were hung. A quantity of apparatus was shown. A half-plate
camera, with alundnium fittings by Park, attracted considerable attention,
and Messrs. Miirion's cameras were also much admired. The European Blair
Camera Company made a good exhibit of hand cameras. Beck's also made a
good show of Frenas and work done by them. A new hand camera, to carry
eighty cut films, quarter-pl ite, the Malda, was on view. Messrs. Houghton,
Eastman Company, Blackfriars Company, Thornton-Pickanl Company,
Elliott, Taylor, Tylar, Cresco-fylma Company, and many others were also re-
presented. Messrs. West & Wilson sent a number of lantern slides, which
were shrown on tlie screen by Mr. J. C. Wiggin. Music was provided at
intervals bv Mr. Chailes Cooke and leading local amateurs. The Committee
furnished refreshments in the interval, and a very pleasant evening was spent.
About 200 of the local enthusiasts and their friends were present, including
the Mayor and many members of the Corporation.
Liverpool Amateur Photographic Association —On Thursday, the 14tli
inst., uniler the presidency of Mr. Arnold Cleaver, the Annual Meeting of thi*
Association was lield in the Club-rooms, Eberle-street. An entirely new
feature was introduced to the meetiug by Mr. H. Simpson (an old member of
the Association), consisting of a lecturer's automatic optical lantern, which the
lecturer lias entirely under his own control, no operator being required. Pre-
vious to the exhibition, the lecturer places in order all the slides he requires to
illustrate his lecture. The lecturer may face his audience, the Lantern being
placed in the usuiil position at the back of the hall, and, by means of a pneuiuatie
tube connexion, he dissolves the jiictures, changes the slides, and works the
limelight. The entire arrangement is altogether unique. After the usual
business routine, including the election of twelve new members, the competing
pic ures, which were arranged round the room, were awarded prizes as fol-
lows :— Champion Class for Past Prizemen : The gold med.al of the Society, Mr.
T. F. Lloyd ; for half-plate and under, silver medal to J. Appleby, bronze
medal to G. AUday ; over half-plate, silver medal, C. A. Timmins ; bronze, H.
.Holt ; for enlargemenlis, silver medil, WUliani Tomkinson ; for hand-camera
piotiu-cs, silver medal to H. B. Forrer ; and 'stereoscopic slides, silver medal.
December 22, 1898]
THE BRITISH JOURNAL OF PHOTOORAPHY.
en
W. 8. HHsworth. In the Inntcni-slide compi'fition the Judgei liiul grent (Jlffl-
culty ill iimking i» selection. Finally it was ileciileil to nwnnl two(iilvcrnie<li»l«
for cniml merit, viz., Joseph Eiirp ami ¥. Anyon ; bronze nieilivl, T. B. Sutton ;
and tiie Pre.>iiilent'.s prize, open to lady membera only, has again fallen to the
lot of Miss Rose Collier.
Midland Camera Club.— Uecemlwr 15, Dr. Edwards presiding.— Mm.
W. I). WKi.niun gave a dcnion-stration on Creaco-fyhna. She stated that
success had rewarded her lirst attempt, and claimed as advantages the smaller
apparatus necessary, and the absence of an enlarging camera or dark room
«^en cresio-lyhna is used. Th« proportion of cresco-fylma u»e<l in operating
was IJ ounces to J ounce water. Four transparencies were placed in dishes
> containing the above liipiid, and in about two minutes the films floated off,
and were placed in larger dishes containing water, and opal being place<l
therein. In twenty minutes the transparencies had enlarged from half to
whole-idato (no loss of density being noticeable), and were then lloated on to
the opals, removeil and dried. Questions as to the nature and uses of cresco-
fylma were asked and answered. At the close of the demonstration some
lantern slides by Mr. and Mrs. Welford were shown, those of clouds being
very much admired. Mrs. Welford concluded a useful evening by eulogising
the hand camera for clouds, street scenes, and seascapes.
Dundee and East of Scotland Photographic Association.— December 7'
Mr. J. D. Cox in the chair. — .4. Lantern-slide conijietition took place, for
which ten members entered, each sending in si.x landscape views. The prizes
were adjudged by the meeting as follows : — 1, Mr. D. Ireland, Droughty
Ferry; 2, Mr. V. C. Rvird, Bronghty Ferry; 3, the Rev. E. J. Gough,
Dundee. Mr. Murray Feathers gave a lecture on The < 'apabilities of the
Camera. Home excellent pictures, illustrative of the different branches of the
]ihotogTapher's art, representing statuary figures, animals, landscapes, stellar
photograi>liy, &c., were shown on the .screen. Among the most noteworthy of
the pTiotograiilis are rei>resentations of the statuary in Dundee Museum,
taken by tlie electric lisht, and an interesting collection of views of the
Chicago Exhibition. Mr. Feathers gave racy descrijitions of the different
slides.
Glasgow and West of Scotland Amateur Photographic Association. —
December 18. — Fourteen new members were elected. Mr. J. C. Oliver gave
a demonstration of negative retouching, using an enlarged paper negative, on
which he ])ointed out the modifications required, and showed how they might
be effecteil. Negatives in various stages of retouching were handed round, and
transparencies from retouched and untouched negatives were shown by means
of the lantern. A large number of slides by members were shown on the
screen. An Exhibition of members' work will be opened on December 25, and
will be open to the public for a fortnight.
Glasgow Photographic Association.— December 7, Mr. .John Stuart (Pre-
sident) in the cliair. — Two new memliers were elected. One question was in
the question-box, viz., *' What is the experience of members who have used the
Sandell plates .< " Several members had tried them — some with success, others
got rather indifferent results with them. Amongst the ditliculties experienced
were, fixing of the plate and prevention of green fog. After the President had
given his opening address, the Treasurer's and Secretary's reports were read
and adopted. Mr. Stl"art then gave a demonstration of the developing of
printing out papers, using all the best known makes. The members watched
the various manipulations with great interest. Mr. Stuart drew attention to
the fact that prints from soft negatives could have more vigour given them by
using ft stronger developer, and those from hard negatives could have the con-
trasts decreased by employing a weaker developer than the normal one, and
giving more time to the development, and recommcniled that the prints should
remain in the bromide bath for fifteen minutes. He s.iid that, if the prints
•were exposed to much strong daylight during printing, there was a tendency
to have the whites greyed, and which often showed on the back of the print.
He also showed, by the use of a brush, how hard parts of the print could bo
mnch softcneil. During the demonstration, Mr. Stuart showed a large number
of prints made on the new P.O.P. matt-surface paper; they were passed round,
and much admired by the members. Some of the prints liad very jiure whites,
with rich blacks. It was generally conceded that, for artistic work, such a
paper was much wanted. Mr. Stuart .also showeil a sample of matt bromide
paper, to lie shortly sent out by the Ilford Company, and which will admit of
being worked upon with the greatest facility with the brush or pencil. A
large collection of lenses, in their various stages of manufacture, for the
making of photographic objectives, kindly lent for the use of the Society by
Mr. J. H. Dallmeyer, London, were shown to memljers. Mr. Brown showed
a photograph taken at Lamlash by moonlight, with one and a half hour's ex-
posure ; it was somewh.at similar to an under-exposed one taken in the usual
way. Mr. Piatt showed a group, taken in Airdrie, after an amateur dramatic
performance ; it was from a l.'i x 12 negative, whicli was taken by means of Mr.
Stuart's flashlight apparatus. The print was much admired ; the only fault
found with it was, that the lens did not quite cover the plate at the edges.
Transparencies by Messrs. Watson, Hanbidge, and Lindlay Miller were passed
through the lantern. A meeting of the Society and friends of members will be
held early in the year, and will take the form of a smoking concert,
Kilmarnock Amateur Photographic Society.— December 15, the President
(Mr. T. Ferguson) in the chair. — Mr. Millar gave a demonstration with
gelatine papers, viz., Ilford P.O.P., Solio, Nikko, Paget printing out by de-
velopment. Each of these papers was illustrated by views that had been
taken in Arran. For developing Nikko paper, Mr. Millar uses half a drachm
of rodinal to two ounces of water. The following was given as a good recipe
for mounting gelatine prints : — Best Bermuda arrowroot, 3J ounces : gelatine
(Nelson's No. 1), 160 grammes ; methylated spirits, 2 ounces ; carbolic acid
(pure), 12 minims ; water (cold), 30 ounces. Mix the arrowroot into a stiff
cream with a portion of the water, while the gelatine is placed to soak in the
remainder. When the gelatine is softened and the arrowroot well mixed,
pour all together into an iron saucepan and bring to the boiling point. Keep
at this heat for about flra mlnatei, beinfc partlcaUrljr carefti] to itireoatiaaaUr
from the moment the mixture U placed on the flrt, Wfaao miflelMtljr eookad.
]iour into a basin to cooL When cool, add the earbollo add and ijnrit (pre-
viously mixed) In a thin stream with conitaot itirrlng. Then bottle, sod katp
well corked.
Munster Camera Club. — December S, a demonstration on the ROuair
Light was given by Mr. W. Ringrose Atkins, F.C.A. Mr. John Day, Pre-
sident, occupied the chair. —Mr. Atkimh, in the course of his remarks, explained
the manner of producing limelight l>y the combination of oxvgen and brdnweD'
gases, and described the different kind" of ".jets" used. Ho then referred to
the light generated by passing oxygen through the vapour arising from methy-
lated ether, or benzoline, illustrating his remarks by an exposition of Lawson's
New Patent Ether Saturator, the construction and working of which be ex-
plained by means of jihotographs taken by himself and projected on the aenni
by means of the identical instrument itself. This appliance givea a beanttfully
brilliant white light, undoubte<lly surpassing in brightness the usual oxjr-
hydrogen safety jet, and its manipulation la extremely simple. Mr. Atkin»
state<l, in continuation of his remarks, that the convenience of the saturator in
places where no hydrogen can be hail would be very great, and, further, that
lie considered that the amount of danger which undoubtedly existed in some of
the older forms of saturator was ininimiseil in the case of the new in.strument,
which he used in conjunction with one of Messrs. Kiley Brothers' (of Bradford)
"Prestantia" lanterns, with a lens of six-inches focus. Mr. Atkin* then ex-
hibited a number of photographic slides made by himself and Mewn. Scott,
Bennett, Egan, &c., which were highly satisfactory. A disonmion ensned, in
which the President and Messrs. H. Lund (of the Chemical Department of the
Royal University), A. Newsom, R. S. Baker, R. M'Keohnie, J. Bennett, &c.
took part. Mr. Lund's remarks were most interesting, and his description of
the earlier pattern saturators showed his complete knowledge of the subject.
Photographic Society of Ireland. — December 8, Mr. Hedley (Vice-
President) in the chair. — Subject, t'o/ouriny Lantern Slides, by Professor J.
A. Scott. The lecture, one of the most interesting given before the Society,
was largely attended by members and visitors. Many ladies also were present.
Dr. Scott opened the lecture by showing some diagrams which he had partially
coloured for demonstration purposes, so as to make certain portions of the
subjects more striking, and said that while doing this he was led to try variona
styles of colouring, such as flowers, view.Sj &o. ; and to show the effect some
coloured slides of apple blossoms, narcissi, kc. , also Alpine scenery and other
views, were thrown on the screen. At the same time tiie Professor expressed
the opinion that most good photographs were better uncoloured, but that a
bad one could be considerably improved. The varnish colours proved unsatis-
factory, as they took so long to dry, even when heat was applied, unless special
media were used. Experiments with oil colours showed they were insufficiently
transparent, the best of these being only good when applied in thick coats, and
utterly failed when merely thin washes were given. What proved satisfactory
in Dr. Scott's hands were the aniline dyes, and these in all cases would not
suit— only those known as the acid dyes, such as picric acid, Essin soluble-
blue, and some others. Those dyes are applie<l with a bru.sh in washes if tb»
gelatine be previously soaked in water, or best if the colouring be carried
out immediately the final washing is concludeil, and the surface gently dried
with a handkerchief to remove superfluous drops of water. The dyes have the'
effect of staining the gelatine, and show very little or no tendency to run
beyond where the brush has touched. A little dextrine is mixed with the
dyes when jiaiutiug on plain glass or gelatine. Another point about the stain-
ing is that the colour be kept very dilute ; otherwise thev appear too bright.
The slides showing the effect of the colouring were in all cases received with
applause, and, after a vote of thanks was passed to Dr. Scott for his instructive-
lecture, a most successful meeting was brought to a close. The Hon. Secretary
(Mr. Ruthven) announced that the Society's Exhibition would be heM next
January, when a gold meilal wouhl be offcre<l for the best picture sent in by
amateurs (open competition). Particulars can be had from Hon. Secretary.
1893.
FORTHCOMING EXHIBITIONS.
December 'Madras. The Hon. Secretary Amateur Photographic
Society, Madras.
„ 22-Jan. 22, 1894 'Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. BUgh Bond, 38, Com-
street, Bristol.
* Signifies that there are open classes.
<EDQrre)E{))onDrence*
' Omretpondents sHouId twcer «iritt on both »t<l«» of th« p«p»r. No riotieti*
of communicatiotu uni«s tht nanus oni oddrMSM of th< %ml«ri «r« )■••»•
PHOTOGBAPHIC COPYRIGHT.
To the EnrroB.
Sir,— Referring once more to the vexed question of copyright in photo-
graphs, would it not be possible to get a short measure added to the
Copyright Act, by which any professional photographer, on paying a
fixed sum— say, 51. or lOL per annum— would be enabled to protect alt.
-photographs sent out of his establishuent ?
822
THE BRITISH JOUKNaL OF PHOTOGRAPHY.
[December 22, 1893
I have no hesitation in Baying there are many professionals, doing a
large bnsiness, who do not pay so many shillings during the year. This
would mean an increase of revenue, and need not prevent registration,
for those who prefer it. This measure would, I think, if carried out,
effectually scotch the pirate and cheap enlarger.— I am, yours, &c.,
SUOGESTION.
To the Editob.
Sm, — I have heard it stated that there was no copyright law applicable
to Scotland under which the work of a photographer could be protected,
and it would appear that the opinion that such is really the case must be
freely entertained, at least by some speculative firms or individuals.
Those gentlemen, about this season of the year, generally flood many
of the paltry shops in our small country towns with local views in the
shape of trashy Christmas cards with New Year greetings printed upon
them.
These productions are mostly pirated from the work of resident photo-
graphers, whose struggle for existence in these poor and scarcely peopled
districts need not be made more desperate by the systematic thieving of
his work, while the inferiority of said productions is very likely to affect
his reputation, as they are probably palmed off upon the general public
as being his own original work.
As a photographic artist I have been pretty severely dealt with in this
way. It is very annoying to observe in shop windows these trashy
abortions of my work, the original negatives of which cost me much
anxious watching and waiting in order to secure the best possible results,
reproduced in this unscrupulous manner by the speculative gentry I have
referred to, aided and abetted, no doubt, by some of the paltry shop-keepers
to which I have also referred.
If it were possible, I would endeavour to prevent a repetition of this un-
principled traffic in the reproduction of my work. To do this I suppose
it would be imperative that duplicates of the subject should be forwarded,
and registration secured before any copies are issued to the public.
I have no doubt there are many photographers similarly situated to
me with respect to the pirating of their work, and it would confer a favour
on me, as well it may be on others, were you to explain in your columns
whether the further copying of any photograph could be protected by the
ultimate registration of the original work. — I am, yours, &e.,
High-street {West), Leslie, N.B., December 18, 1893. D. Boss.
THE SPEED OF PLATES : A CRITICISM AND A REPLY.
To the Editor.
Sib, — Under the above title Mr. Elder defends, against the criticisms
which we passed upon it, a paper entitled " Rapidity of Plates," read by
Captain Abney before the Camera Club. Although we are not members
of this Club, we have, in obedience to its rules, confined our criticism to
its Journal, "for private circulation only ; " and we are much surprised
that the Camera Club and its President, whilst enforcing silence upon us,
have permitted Mr. Elder to give wider publicity to his remarks.
We do not suppose for one moment that Captain Abney engaged Mr.
Elder as a special pleader ; he is quite able to defend himself, and, as a
matter of fact, published a written reply to our criticism a month after-
wards. Nor do we suppose that Captain Abney approved of the style and
the contents of this attack upon our work, the arduous nature of which
no one can more fully appreciate than he.
But why this second reply on Captain Abney's behalf? We have
pondered over this puzzling question, and find it more difficult to solve
than the problem of speed determination. At first we came to the con-
clusion that we must have seriously offended Mr. Elder with some re-
marks we made with respect to his own paper, Some Remarks on the
effect of light on photographic plates, but, on again perusing the record of
these remarks, we have to dismiss the idea that we could have given
such offence as would justify the attitude he has thought fit to take up.
The inaccuracies in which his paper abounds, and its bitter and un-
generous tone inclined us to conclude that, in criticising Captain Abney's
paper, we must, unknowingly, have criticised some of Mr. Elder's
own work; and, were it not for our conviction that Captain Abney is
the last person to need Mr. Elder's assistance, and that he would
scorn to publish as his own work anything communicated to him by
another, we should think that we had found the real key to the situation.
As it is, we are at a complete loss to understand the motives which
dictated Mr. Elder's angry and undignified reply.
Of some of Mr. Elder's statements we refuse to take any notice what-
ever. When he has studied and understands fully the work we have
done, he will be entitled to be heard with respect, at present he has not
mastered even the elementary part of our papers. To other of his re-
marks we are, unfortunately, obliged to reply lest our silence should be
misconstrued, but our remarks shall be short.
Mr. Elder's definition of, and his remarks concerning the speed of
plates, and the range of gradation necessary in negatives for artistic effects,
are neither new nor correct, and any one can easily convince himself from
our papers that we have fully considered these several points. If Mr, Elder
is unable to produce two exactly similar negatives on plates of widely dif-
ferent speeds, we shall be pleased to give him a demonstration in Widnes,
as we did before an audience in Liverpool. It is not true that we ever
asserted that the ratio of gradation of a technically perfect negative must
be the same as in the object portrayed ; nor did we ever assert that the
print from such a negative was perfect. It is equally untrue that the
finest negatives have their gradations in that part of the scale which we
have termed the " period of under-exposure." We have measured many
wet-plate negatives, as well as dry, and we have invariably found that in
sparkling negatives the opacities range from about IJ to 320. It Mr.
Elder will produce a sparkling negative, the gradations of which lie
between transparencies 94 per cent., and IGJ per cent., we shall be glad
to have the opportunity of inspecting and measuring it. For the present
we say that neither he nor any one else has ever seen a sparkling negative
with such a range of gradation as be mentions.
That Captain Abney's method of speed determination gives numbers
wholly at variance with the speeds found by our method was pre-
cisely the reason why we pointed out the weakness of a method depend-
ing upon a single density. We foresaw the fate which must, sooner or
later, overtake Abney's method announced to the world in April ; it is
completely abandoned, even by its author, in November of the same
year. We, and our friends, knew well that a method which depends
upon " the period of under-exposure" must be liable to great variations
and errors, the deciding densities being too small to permit of accurate
measurement and reproduction, andthat such a method must be utterly
useless. The contradictions between the speed found by Abney's method
and our own, we ourselves laid bare before the Camera Club. It
is, therefore, no surprise to us, and it cannot be to any of the public, to
find our statements verified by Mr. Elder.
Had Mr. Elder taken the trouble to ascertain, by means of the camera,
which speed is the more nearly correct — Captain Abbey's or our own, —
such an experiment, carried out fairly and carefully, would have told a
story which would have silenced the silly assertions dictated only by Mr.
Elder's fertile imagination. For the present, we again affirm that the
speed, as ascertained by our method, is a number to which the exposure
in the camera must be proportional if a good negative be the desired
result. We ourselves pointed out before the Camera Club that Abney's
and our own methods could not possibly give the same, or proportional,
speeds of a plate in absolute units ; and we took the trouble to show the
errorCaptain Abney had fallen into with his logarithms, which error led him
to the conclusion that his method gave the same zero point, i.e., the same
speed, as ours. It appears to us that logarithms are also a source of trouble
to Mr. Elder. He says that Abney's transparencies are proportional to
the negative logarithm of the exposure. This is either not true, or, if it
be, it is not in accordance with the " law of error " formula which Mr.
Elder attempts to set on its legs again. Mr. Elder simply mistook the
square of a logarithm for the logarithm of a square.
The question of Captain Abney's recent researches we intend to deal
with separately before long.
There is only one other point to which we must allude. Mr. Elder
wrongly accuses us of having unfairly criticised Captain Abney when we
said that he attempted to prove that a parabola did not differ much from
a straight line ; and Mr. Elder endeavours to show that the Captain did
not fall into this error. Let the Captain's errors sleep in the annals of
the Camera Club ; why drag them before the public, and compel us to
again assert that he did commit this error, and that in the whole of the
passage to which we refer (Camera Club Journal, vol. vii. page 129) the
point of inflexion is not mentioned, and was not meant ? Our criticism
was not only just, but absolutely necessary.
To conclude, we adopt his own words when we say, " It would be too
wearisome to hunt down the whole of the errors in Mr. Elder's criticisms
to their bitter end." We have purposely steered clear of mathematics,
as our object has simply been, as shortly as possible, to reassure our
friends, and to show the general public that Mr. Elder's criticisms are
unworthy of serious attention. While " he does not in the least seem to
realise what is meant by the determination of speed," and does not offer
one scrap of new experimental evidence, we have shown, and frequently
demonstrated by experiments before the public, that a more than sufii-
ciently accurate speed number can be assigned to any plate, without
reference to any other plate ; and that this number is expressed in units
as absolute as the gramme or centimetre, though not as easily repro-
duced. We have also repeatedly shown the practical applications of
which our system is capable, and we can only say to Mr. Elder, unless he
wishes to still regard our work with a "jaundiced eye," do as others have
done, who, with open minds, have only desired to learn the truth. Come
to Widnes and see for yourself. F. Hjjbter & V. C. Dbiffield.
GELATINO-CHLOEIDE PAPER.
To the Editor.
Sib, — We note the two letters in your issue of the 15th inst, and, as
Mr. Smith has acknowledged that his estimate of comparative cost con-
tained a very serious omission, we arc perfectly content to leave this part
of the sabject where it is.
As regards " Scribbler," if he will pay ua a visit at Ilford, we shall be
December 22, 18U3]
THE BRITISH JOUKNAL OF PHOTOOUAPHY.
828
happy to toach him to work the paper, as he doea not appear able to
sacceed without further help.
The reniAiniiig portions of the letters show to how great an extent the
personal equation oomea into play in the question. Yellow prints,
impure whites in vignettes, are not met with except where the photographer
han failed to follovo inttructioni, and therefore such aocusationa are not
indications of faults in the paper, but signs of want of thorough
knowledge or care on the part of the worker.
Individual opinion counts for nothing against the opinion of the many,
and, from our position as manufacturers and suppliers, we can state with
certainty that DUO users out of 1000 find the paper all we claim it to be.
Were this not ao, we should not have found our first year's sales more
than satisfactory, and our second (just closed) .SOO per cent, better.
When the gentleman wrote in the Almanac (in all good faith, we are
sure), " I think it will take something better than the present make of
gelatine paper to supplant good old albumen," he has evidently very
little knowledge of the subject beyond his personal failures, and his
saying reminds us strongly of the saying of a good but equally misguided
man who, in 1877, wrote on the subject of gelatine platea. This gentle-
man said that no photographer who was worthy of the name would buy a
ready-made plate, and therefore he did not see much future for gelatine
platea.
Comment or comparison ia needless. We appreciate highly Mr.
Smith's evident fairness, and his desire to avoid controversy, and,
having pointed out what seemed to us to be his error, we do not seek a
farther free advertisement, as he puts it. — We are, yours, &c.,
TuE Britannia Works Company, Liuited.
I
FILMS VERSUS PLATES.
To the Editor.
Sir, — I have recently received a roll of thin film from the United
States, with a number of various brands of plates for speed testing. The
point of interest is that this package — dated October, 1893 — bears the
following printed warning : — " 30 — Sensitometer. This film must be used
within eix months from date hereon." Probably this is the first instance
of a maker making reference to the non-keeping quality of a gelatine
emulsion.
In justice to films, however, I may state my decided opinion that all
the different brands of " the quickest plate made " sold in England
ought to be labelled in a similar manner. I find most of them are
deteriorated after six months' keeping. — I am, yours, &c.,
Hereford, December 16, 1893. Alfred Watkins.
SPOTS AND PINHOLES IN NEGATIVES.
To the Editor.
Sir,— Mr. Harding Warner has kindly replied in your columns to a
note which I sent yon some few weeks ago on the subject of pinholes in
negatives. I ought at that time to have given fuller information upon
my experience with these nuisances, but cannot regret the omission,
because it has been the cause of eliciting a most interesting communica-
tion from your correspondent. Of the three brands of plates which I
formerly referred to, Thomas's "Pall Mall" were in A. * M.'s grooved
boxes ; Obemetter's were, it my memory is right, packed with soft paper
between the films ; the third maker's were in grooved boxes. The two
former gave perfect negatives when properly used, the latter were in-
variably covered with pinholes, there being no difference in the conditions
of treatment of the three brands. The holes were in the films, leaving
minute spots of clear glass ; they were not merely specks of olesu: gelatine,
and they were not visible until the film was dry, after the negative was
completed. To the eye there was nothing wrong with the plates when
examined as taken fresh from the boxes in which they were packed. For
these reasons I concluded that the defect was due to mechanical, and not
to chemical, causes.
I was especially interested in Mr. Warner's letter, because it gives
another bit of evidence illustrating the danger of packing plates with
silver paper between the films. This method of packing is my particular
abomination. Why will not makers adopt the simple plan of laying the
plates film to film, binding them firmly together, and then wedging them
tightly in the outer coverings, so that the whole package is one solid mass
which cannot be disturbed by shaking ? I believe that many of the best
photographers pack their exposed plates after this fashion when on tour.
The Cadett plates in small sizes are packed in a manner which, in my
opinion, is quite perfect ; and, although the larger sizes of this make are
not packed film to film, yet, shake the box as you will, there is no move-
ment of its contents. I write feelingly on this point, for of late I have
been preparing negatives for collotype printing, and found the greatest
diftioulty in obtaining plates free from mechanical delect of the film
which has been caused by bad packing. — I am, yours, &c.,
IVimpole-street, H'., December 16, 1893. F. B. Fisher.
TmOCABBAlOD.
To the EDiToa,
Sir, — With further reference to oori of November 27, in which we inw
yonr attention to Mr. Hanff's new preparktioo, tbioe&rbkmid, aied for
removing stains ftnd disoolonratioiis, for fixing and olMkring, we have now
pleaeare in enolosing you herewith a oertifioate of the well-known Dr.
J. M. Eder, of Vienna, and should be much obliged if yoa would publish
it in the next issne of your paper. Thanking you, we are, yonri, Stc,
FmusT BBOTBxm.
17, Philpot-lane, London, 17. C, December 16, 1893.
[We append Dr. Eder's certificate. — Ed.]
CKRTIPICAT* of TaiOCARBAMID-UAUFP.
On October 10, 1892, Hr. J. Ilanff, of Fenerbach, Stattgan, submitted to
me a sample of thiocarljamid, with the rei|uest to test same and report tbereoa
in regard to the application of same in photography.
According to this statement of Mr. HautT, thtocarbamid should pos8«s« tbe
property (when added to the fixing bath) to prevent bromide silver gelatine
j>lates, as well as chloride silver gelatine plates and bromide silver gelatine
papers, from colouring the gelatine layer yellow, and should prevent the forma*
tion of so-called green fog.
The preparation sent consiste*! of some white crystals, and gave in water a
colourless liquid. I found that it acts indeed (in acid solution) as a pieventiTe
against yellowish negatives.
I made a solution of—
Thiocarbamid 10 parts.
Citric acid or sulphuric acid 10 „
Wat;r 1000 „
f
I immersed in this solution a pyro- negative strongly covered with green fog
and after a short time the yellowish-green colour had disappeared. With
amidol I was not able to obtain negatives showing green fog, and therefore
could not make a triaL
If the salt is added to the fixing bath, it prevents the formation of green fog
with plates and bromide silver papers ; but it must be observed that the bath
should be acid.
For filing I found the following formula very useful : —
Water 1000 cc.
Fixing soda 200 gramme*.
Thiocarbamid 10-16 „
To this solution is added 50 grammes of bisulphate of soda.
I would observe that plates as well as papers, before fixing, must be washed
sufficiently so as to remove all traces of the developer.
As the action of thiocarbamid in the fixing bath is only of proportionately
short duration, it is recommended to use an ordinary acid fixing bath, which,
as is known, will by itself prevent to a certain extent the formation of green
fog ; and after the use of thLs, if necessary, the alK)ve discolouring bath can be
appUed, and which will become necessary specially for certain kinds of bromide
sQver gelatine paper. I can certify, therefore, that for this purpose the said
salt, thiocarbamid, proves a good useful means of removing discolouration.
(Signed) Dr. J. M. Edkr,
Director of the K. K. Lehr- u. Versuchsatutalt fiir
Photoffraphie und Reproductionaver/ahren in irien.
Vienna, December 3, 1892.
Eictangc (ttolumtu
*,* No charge ia made Jar inserting Exchangee of Apparatus in thitcolwnn ;
but none leill be inserted unless the article wanted is definitdy stated. Thott
who specify their requirements as "anything useful" will therefore understand
the reason of their non-appearance. The full name of the advertiser must
in all cases be given for publication, otherwise the Exchanges will not be
inserted.
Will exchange capital brajs banjo, twenty-one inches in diameter, for 12x10 or 10x8
camera.— Addrees, Stxxl, 74, Ooldstone-road, West Brighton.
Wanted to exchange a fire-inch oondonier for a " Lawson'a patent Saturator and
combined."— Address, K. J. Cbsstkbmah, The Rise, Endoliffe-Tale, Sheffleld.
Will exchange three wholc-pUta metal double slides for good b«ck«ronnd, or for a
rapid-rectiUnoar lens— Address, H. Stiel, 74, Goldstono-road, West Brighton.
Wanted a 7x5 wid»4uigle lens in exchange for a leTen-moh rpniaspren in gaod
condition.— Address, Geoeob Wilkibs, jnn.. The Nest, Ohnstohnpchroad, Bonraa.
mouth.
Wanted, second-hand collotype machine. In good order, for pl*t». "»* J»» tl""
15 X 12 ; particulars and lowest price ; also reveniiig mirror.--Addre««, OoixOTTPl,
P. 0., Aberdeen, Scotland.
Will eiohango first-class, fire-string banjo, nickel-plated, for half j>latL> caaMra. lens
with two or three slides, Lancaster preferred.— Address, JoHa K. Hxcx, 6, tlmton
Place, Brocmhall, Sheffield.
824
THE BRITISH JOUKNAX. OF PHOTOGRAPHY.
[December 22, 1893
"Will exchange Pcnnoirs Pen Draidng and Pen Draughts^nen. out of print and scarce,
cost 31. 138. 6d., for wholo-plate rapid rectilinear lens, by good maker, or hand
camera.— Address, Kbnt, Photographer, KirkwalL
Wanted to exchange whole-plate studio camera and rectigraph lens, by Lancaster,
for 15x12 camera and lens suitable for photo-lithography.— Address, The TuNXia
LlTHOGEAPHlC AMD COLODK PRIKTINO COMPANY, BecstOn, Notts.
TVill exchange first-class 6-inch back.geared treadle lathe, 4 feet 6 inch bed, slide
rest, and tools, for modern double extension 12x10 camera, two double backs, and
rapid rectilinear lens,— Address, G. Wood, 7, Mona-street, Hyde-road, Gorton,
Manchester.
TVanted to exchange The British Jouhnal of Phoxogbapht from November 23,
1888, to present time, clean and good, also eight years' Almanacs, for carved table,
chair, or hand camera; cash adjusted.— Address, A, Gkaingee, Photographer,
Heanor, Notts.
Wanted, good half -pi ate bos camera, ■jyit'h rack and pinion; exchange tourist's walking-
stick, containing receptacles for tobacco, cigars, pipe, cigarette-holder, and fuzees,
mounted with silver and gun-metal. Also cottage-door (with clematis) background
for half-plate retouching desk. — Address, Hokton, Central Studio, Caroline- street,
Cardiff.
anstDer^ to ©ottcsponUentB*
*,* All tnatters intended for the text portion of this JotmNAL, including
queries and Exchanges, must be addressed to " The Editor, Thb British
Journal of Photography," 2, York-street, Covent Garden, London. In-
attention to this ensures delay.
',* Correspondents are informed that we cannot undertake to answer com-
munications through the post,
,* Communications relating to Advertisements and general business affairs
should be addressed to Messrs, Henry Greenwood & Co., 2, York-street,
Covent Garden, London.
■»* It would be convenient if friends desiring advice respecting apparatus,
/ailures in practice, or other information, would call at the Editorial Office
either on Wednesdays from i to 6, or Thursdays from 9 to 12 rwon, when
some one of the Editorial staff will be present.
Photographs Registered :
David Forbes, Glasgow.— Tico plwtographs of designs for Ctydetaiit Union ChurcTi.
John Moffatt, Edinburgli. — Tii:o photorjraphs of a group of Rev. It-,-. MacGregor and
Stv. Wallace Williamson, of St. CxiOiherfs Church, Edmhurgh.
M. J. S. — Thanks. It is very amusing.
W. Morton Jackson.— Received, thanks ; next week.
G. v. Norton. — You may rely on the permanence of York's lantern slides.
E. LiESEGUNG. — By the term "working stop," the stop with which the expo-
sure was made is meant.
J. Gkabowski.— We know of no one who does that kind of work. Probably
an adverti.sement would obtain for you the address of some one who does.
E. S. P.— Our opinion is that, when such statements respecting the lens, the
plate, and the developer are emblazoned on the photograph, it is a tacit
confession of weakness in the artistic ability of the photographer himself.
C Raggett.— This query has been answered more than once within the past
few weeks. Tf the music is copyright, it is illegal to make lantern slides
or It for the use of school entertainments and suchlike Christmas festivals.
HOROLOGER.— There is a difference of nearly four minutes per day between
solar and sidereal time. Twenty-four hour.s of mean solar time are equal to
twenty-four hours three minutes and fifty-six and a half seconds of sidereal
tune.
S. T.^ A.— The retouching is very good if the bust is intended to represent a
hairdresser s figure, but, if a living being, it is just the reverse. All model-
hng has been destroyed, and the portrait simply represents a lifeless wax
figure.
T. A. \V.— If the school committee will not permit the use of cylinders of com-
pressed gas, the only thing wc can sugge.st is to use li.ags, and make the
oxygen yourself, or empty it from the cylinders into bags. Failing that, an
ou lamp must be used. ' '•^'"I'l .i
J. Caloe.— Try the addition of a little gum or similar mucilage to the ink.
I he mere statement that the method you use is very simple does not enable
us to give any o])inions as to whether it is suitable for "typo-printinE "
The better way will be to try it for the purpose. •
E. B. Ward. — The numbers on the stops are according to the old system of
marking, wliicli was to the idea of the maker of the lens. According to the
system adopted by some, each smaller stop requires an exposnre half as long
again, while, according to others, it required to be doubled.
A. M. Z. — As to which of the hand cameras named is "the best " depends, of
course, upon the requirements (and means) of the individual. They are all
good in workmanship and effective in use ; but, beyond that, we regret we
cannot go. We do not recommend particular makes of apparatus.
T. W. Abbott. — The only w ay by which the reversal of the image, as regards
left and right, can lie accounted for is that the plate was placed the wrong
way in the slide, so that the exposure was through the glass. This is a very
common w.iy of producing reversed negatives by the wet-collodion process
for mechanical processes.
No Monopoly. — If the Vicar has given the local photographer special privi-
leges for taking the interior of the church and the ancient records and
registers, on condition that he allows a small royalty on the sale to go
towards the annual Sunday-school treat, it will not prevent your taking the
exterior of the edifice and offering the copies for sale.
Provincial. — It is doubtful if compensation can be recovered. It is the
railway company that you should have have looked to for compensation. If
you could hear the broken glass in the box when it was delivered, acceptance
should have been refused. Tlien the matter would have rested with the
railwjiy company and those who forwarded the opals.
Albumen. — 1. The discolouration of the acetate of soda toning bath may be
due to the use of unclean dishes, or contamination with foreign matter.
Some papers also have the property of disorganizing the solution. 2. Simply
add a little more gold the day before the bath is next used, and occasionally
a little more acstate of soda. The formula cannot be improved upon.
Hants sends us some mounts that show decided marks of mildew. He says
that they have been in stock for a ye.ar or more, and asks the cause. It is
possible that the mounts were not thoroughly dry when received, or they
may have been stored since in a damp place. They should not be used
for silver prints, even if the mould is wiped off. Damp is the origin of the
mildew.
A. C. Bland. — There is no question that some of the mounts now supplied to
photographers have much to answer for in the matter of fading prints. But
they are by no means the sole cause, several other factors are at work, some
of which are weak negatives, weakly sensitised paper, imperfect fixing, &c.
Do not for a moment surmise that, because prints, whether gelatine or
albumen, turn yellow quickly, the mounts must be the cause.
T. Bramwell. — You are evidently causing yourself an unnecessary incon-
venience. For experimenting witli tlie wet-collodion process, the subdued
light required in the dark room when iising geliitine plates is not at all
necessary. If the window has a north aspect, acoupleof thicknesses of orange
cambric or one square of orange glass will suffice. Those who are only
familiar with photography with dry plates have no idea the amount of light
that may be used in manipulating wet plates.
F. S. T. — In asking if you can patent your new developing solution, you will
certainly have an affirmative reply. You may patent anything you choose,
within reason, ami the patent will be sealed, unless any one should happen
to oppose it, which is scarcely probable in your case. But it must not be
assumed that, because a patent is granted, it would be vjilid if it were con-
tested. If this were done with a very large proportion of the patents taken
with reference to photogi-aphic matters during the past few years, they
would fare badly.
B. F. Mason. — The distinction between " actinic " and "achromatic " is this :
The former has to do specially with the bringing together at the focus
of the lens the visual rays and those by which chemical action on the
plate is produced ; in other words, uniting the chemical and the visual focus ;
whereas, by an achromatic lens, this is not necessarily the case. Some
lenses are quite achromatic as regards being quite free from colour, but they
may not work quite to focus. Good telescope and microscope objectives
belong to this latter class.
\
*.* Several answers to correspondents, articles, letters to the Editor, &c.,
are held over.
OONTBHTS.
Paqe
soft prints from hard nega-
tive by the carbon process.. P09
THE WET-COLLODION PROCESS 810
PHOTOMETERS FOR USE IN PRINT-
ING eio
BRISTOL INTERNATIONAL PHOTO-
GRAPHIC EXHIBITION,— 1 8
ON THINGS IN GENERAL. By FREE
LANCE eU
THE DEVELOPMENT OF GELATINO-
CHLORIDE PAPER. By W. LINDSAY 615
LIVERPOOL A.MATEUR PHOTOGRA-
PHIC ASSOCUTION COMPETIIIOH.. (-10
Paoe
MR. JOHN HOWSON ON "MATT P.O.P." 816
"HYDROXYL-MONOHYDRIDE" 818
OUR EDITORIAL TABLE 818
NEWS AND NOTES 818
RECENT PATENTS Bl!l
MEETINGS OP SOCIETIES 813
FORTHCOMING EXHIBITIONS 821
CORRESPONDENCE 821
EXCHANGE COLUMN 82»
ANWSERS 10 OOBBESPONDENIS 824
THE BEITISH
JOURNAL OF PHOTOGRAPHY.
No. 1756. Vol. XL.— DECEMBER 29, 1893.
PEINTING-PAPERS WITHOUT GLOSS.
As our remarks will have a bearing on all kinds of paper free
from added glaze, it is better not to employ the term " matt
paper," seeing that, by an unwritten convention, the meaning
of that term has gradually become so restricted that paper with
a gelatinous surface, rendered dead or matt by artificial means,
is now understood when the expression is used. That there
should be a tendency to use paper free from gloss is a very
satisfactory proof of the spread of artistic feeling. In the
early days of photography, when plain salted paper was the
chief medium of pliotographic expression, it must be admitted
that there was far less opposition shown by artists of the
brush than is unfortunately so often exhibited at the present
time. The advent of albumenised paper — made slightly glossy
at first, and very glossy after a time— vulgarised the products
of the camera, and this, followed by the immense rush for
the carte-de-visite, which flooded the country with ten thousand
inartistic photographs for every good one, brought the art into
a disrepute among cultivated outsiders that it is now only
gradually recovering from. The growing taste for papers with
dead surfaces will undoubtedly have some slight tendency in
assisting to bring about a better feeling for the art qualities of
photographic picturei.
The present year ijiay be considered as an era in photography.
From every quarter new matt paper is springing, and the
cry is, " Still they come." There is such a plethora of processes
and materials that the photographer may well be excused for
shrinking from fixing upon a single style for his staple work,
lest he should choose the wrong one. Let us run over the
list. We have the old-fashioned plain salted paper, which may
now, except for some special purpose, be considered asquitesuper-
seded, for under no circumstances when it is used can the same
value be obtained from a negative as with modern matt paper ;
but when we come to drawing-papers, of various degrees of
coarseness of surface, we cannot say the same. The walls of
our exhibition rooms have shown us that a suitable negative
printed on Whatman or other rough paper, presents adifticultly
•describable effect that is both artistic and attractive. Indeed,
granted a few skilful touches upon the negative, it is sometimes
difficult to determiue whether a picture so execu^>d be a
photograph, a sepia, or an Indian ink drawing. Whc i a view
has been well selected and a good lighting effect secured, we
question whether in the whole range of photographic processes
we could obtain such beautiful results. Transjjarency is given
to the shadows and a crispness to the lights that is unattain-
able by plain, smooth paper or that with matt surface. But
in this direction we should greatly deprecate any tendency
(and it has undoubtedly shown itself) to disregard considera-
tions of permanency in the finished print.
As, however, this kind of printing would not commend itself
for what we may call e very-day work for the professional
worker in the studio or the landscapist, we naturally now turn
to matt paper. First on the list for priority of use must un-
doubtedly be placed autotype carbon prints. Prints in carbon,
squeegeed upon a matt plate, and removed when dry, were
produced, perhaps, a score of years ago, before the present
name of autotype was adopted, and the delicate matt effect so
obtained was most beautiful, and has never been excelled. It
certainly was troublesome to execute, for in those days the surface
employed to produce the effect was preferably a zinc plate
roughened or " grained " by means of a special sand, till the
grain was invisible. The metal being soft, these plates needed
careful handling, as the slightest scratch or abrasion left a
mark which was faithfully reproduced inevery printattachedtoit.
For many years the production of such prints bore a diminished
proportion to those obtained by the single transfer process. This
latter gave a slightly glossy surface halfway between plain and
albumenised paper, and, latterly, the Company have brought out
a support which, by simple development, gives a matt surface
with a slight gloss in the shadows, which ,is by no means in-
artistic, but naturally deficient in the delicate "egg-shell glaze "'
of the older kind.
We are thus led on to consider the media available to us
since the introduction of gelatino-chloride paper, and which
have crowded upon us so thickly of late. It is impossible for
us to make invidious distinctions by pointing out any par-
ticular make as being superior to the rest ; we should not
attempt to do so if even there were one so superior. We have
only to look at them from the point of view of permanency or
otherwise. We think there can be no reason to doubt that
they are at least as permanent as albumenised-paper prints,
and very probably they will prove to be less liable to fade, if
suitable toning and fixing baths be chosen for use. We note,
with some trepidation for the future reputation of our ait,
that very many formuliu are published which in all pro-
bability will result in fading prints. It would be a thousand
pities if the reputation gained by the supercession of the old
combined toning and fixing bath in favour of alkaline toning
should be again jeopardised by the use of solutions possessing
similar defects. Whatever may become of matt paper in the
future, every one should rigidly abstain from using a bath
which would tend to unpermanent results.
Finally, let us add a word of warning. In many respects
dull-surfaced prints — matt or otherwise — often greatly re»emt)le
platinotypes. Now, we can assert, as a matter of fact, that there
have been such prints issued to the publio under the false
representation of their being platinotypes, and, so closely can
they at times be made to resemble the latter that it would puzzle
826
THE BRITISH JOURNAL Oi< PHOTOGRAPHY.
[December 29, 1893
an expert to detect the difference without the use of chemicals
^Vhat we have to say is that every honest man should do his
best to bring to justice such impostors, who, besides disgracing
the name of photography, inflict an injury on the rest, and
subject them to injurious suspicion. And our last caution
must be to the honest workers. For experimenting with
various silver paper, take every precaution with stock " over "
prints to see that no possible future accidental error may
occur. We know this is necessary from some remarks made to
us by a professional friend, who said that it was only by acci-
dent that he prevented one of his assistants from innocently
sending out as a platinotype a picture which he remembered
was a silver print.
THE WET -COLLODION PEOCESS.
IIL— Dissolving the Pyroxylise and Iodising
THE Collodion.
In connexion with the making of pyroxyline we have been
asked to give a formula for mixing the acids for the prepara-
tion of soluble cotton which will not necessitate the tentative
method of Mr. Hadow, described in the previous article on this
subject. Take equal parts of sulphuric acid of sp. gr. = 1'83G,
and nitric acid sp. gr. = 1'40, and, having mixed them, immerse
the cotton as directed in the other cases. It is of consequence
that the acids be of the strength indicated.
Collodion is commonly supposed to be a solution of " gun
cotton " in sulphuric ether. This, however, applies to the
collodion of pre-photographic times. We now know that
" gun cotton " is not necessarily suitable for photographic
purposes, nor is ether alone the most suitable solvent forthecotton.
AVhat is the best solvent for pyroxyline 1 It will dissolve, if
well prepared, in alcohol alone, and in rectified pyroxylic
spirit (wood naphtha) ; but by far the best solvent and the one
giving a smooth flowing and homogeneous film is an admixture
of sulphuric ether and alcohol in nearly equal proportions, with
a preponderance in favour of the ether.
Let us here pause for a moment to say that the alcohol of
ordinary commerce, whether rectified or methylated, is too
weak for getting the highest-class collodion from its use. It
should be strengthened by the subtraction of some of the
water present. As it is considered illegal to treat methylated
spirit of wine with a view to the making of it "absolute," we
conform to the laws, more especially as absolute alcohol is not
necessary to the making of collodion, at any rate we have
never found it to be so. But we can fall a little short of this
and still be within the permission of the law, while at the
;«ame tjnie ve shall obtain it of a strength quite sufficient
for our purpose-
Get a quantity of carbonate of potash, crush it to a fine
powder and dry it in any convenient way, such as by placing it
in a clean shovel and holding it over a clear fire for a short
time. To the alcohol about to be strengthened, and which is
now supposed to be in a clear bottle, add a handful of this and
shake up well for a few minutes. Here is what takes place.
The carbonate of potash is soluble in water, but is not so in
alcohol. In course of a few minutes all the undissolved potash
salt sinks to the bottom of the bottle and is covered by a super-
natant solution of carbonate of potash solution in water, the
water having been abstracted from the alcohol. The alcohol
remaining as a supernatant fluid is stronger than it was by the
abstraction of the water, which, as a solvent of the potash, now
being much heavier, floats below. It only remains to carefully
decant the spirit, which, if tested, is now very strong, its water
having been abstracted.
This is quite strong enough for every purpose required in
the making of collodion. If methylated spirit is wanted to be
any stronger, it may be made so by distilling it from lime; but
this, we understand, is illegal. Hence we do not advise it,
especially as it is not necessary.
The way that we have found to be the most convenient for
effecting the separation of the spirit from the potash solution
is to have a clear bottle, like a brandy bottle, and with a
graver or any hard steel point to drill a small hole as near to
the bottom as possible. This will easily be done by using
turpentine as a lubricant. Plug up the hole with a splinter
of wood, and then nearly fill the bottle with the spirit that is
to be operated upon. When the water has united with the
potash it can be removed from the alcohol by withdrawing the
wooden plug and allowing it to run off.
Some samples of pyroxyline that will not dissolve perfectly
in ether do so very readily in a mixture of about four parts
of alcohol and six parts of ether. Place eighty grains of the
cotton in a sixteen-ounce bottle, and pour over it four ounces
of alcohol, afterwards adding six ounces of ether. Cork the
bottle and give it a good shake, by which every particle of
the cotton should be dissolved. Some have imagined that
the collodion is improved by the addition of three or four drops
of chloroform to each ounce. We have made some with and
some without this addition, and have found no diflference
between them. Label the bottle " Plain Collodion," and store
it away for use as required. It will improve with age, and
become as limpid-looking as distilled water.
The iodising of the collodion next claims attention. It is
' probable that no two makers adopt precisely the same com-
pounds for doing this. Some use iodide of potassium, others
that of ammonium, others prefer cadmium, or zinc, while the
majority find that a judicious mixture of two or more confer
advantages not belonging to either of them singly. So little
as two grains of iodide of ammonium, previously dissolved in
alcohol, and used for the ounce of collodion, have been known
to give excellent results for positives ; but for this the plain
collodion, which contains eight grains of pyroxyline, would
prove too rich, and would have to be diluted fifty per cent,
before being iodised. But, along with the iodide, it is found
to be much better, for both positives and negatives, that a
certain proportion of the bromides be also present. The
bromide of potassium is so very insoluble in ether and alcohol
that it is better to avoid it altogether in favour of others which
are soluble in that menstruum. The cadmium haloids possess
the advantage of conferring great stability upon collodion, and
we have known a cadmium bromo-iodised collodion remaining
quite colourless for many months after being mixed.
For many years we have given preference to an ammonium
and cadmium collodion prepared as below, and have found it
to answer every purpose, being highly sensitive, possessing
good fluent properties, and remaining stable for a long period.
Dissolve ; —
Iodide of cadmium 65 grains.
Iodide of ammonium 25 „
Bromide of cadmium 19 „
Bromide of ammonium 11 „
Alcohol 5 ounces.
This dissolves easily, and is added to fifteen ounces of plain
collodion.
December 20, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
837
PHOTOMETERS FOR USE IN PRINTING.
II.
Ok the different processes available for the production of a
graduated scale, we should be guided by the circumstances
under which the photometer is chiefly to be used, and especially
the cla^s of negatives. In more than one professional esta-
blishment we know, the only photometer employed is a sort of
"guide" negative, which is placed in a printing frame, and
gives the time to all the rest ; in other words, the remainder
of the printing frames go untouched until the " guide " is found
to be done, when they are all examined, and it is comparatively
rarely that one of them has to be put out again. In such
cases it is necessary to say the negatives are turned out of an
almost faultlessly uniform character, the guide being only a
fair sample of the bulk.
This plan would, of course, not work where negatives of
every degree of density and gradation are produced, nor,
indeed, do we imagine it would prove very reliable even if a
number of separate plates were taken to represent different
types, for where there are variations of density there are sure
to be variations in gradation. Given two negatives of equal
density in the lights, but possessing different gradations, it
would be found next door to impossible to use either one as
an accurate guide to the exposure of the other, especially in
varying lights. Then, again, in process work such a course
would be an utter impossibility, where nothing short of the
absolute measurement of the work done would suflBce. In
the case of two half-tone negatives, similar exposures may
possibly give two passable, or, we will say, equally good prints ;
but if they are printed independently, to get the best result
possible with each, then very likely the exposures would be
found to be widely different. In the case of process work this
is more particularly the case, and what we require in this
case, as in all others, is that the photometer shall register the
amount of work done that has been found to produce the best
result.
Given any particular negative, if we observe closely, we shall
find that there is one degree of depth of printing that gives
a better result than any other, but, owing to the nature of the
subject, the variety of delicate gradations in the high lights, it
is extremely difficult to judge accurately just when that point
is reached. But there is no chance of mistaking a certain tint
on a graded scale, so that, if we ascertain at which tint the
best result is obtained, we can substitute the scale for the
negative, and, taking the ascertained tint as the " highest
light " we have to produce, we may ignore all lower gradations.
We are, in fact, substituting, so to say, mechanical measure-
ment for judgment which is apt to be fallible.
Probably no form of scale is at once so easy of construction
and so generally efficient as the paper scale, such as is sent out
by the Autotype Company at a very moderate price. It is,
however, rather difficult to obtain a perfectly suitable j)aper,
at once translucent enough and sufficiently even in texture,
and the instrument requires great care in use afterwards in
order to protect it from damage, as well as from dirt, which,
naturally, will not improve its behaviour. The papier mineral,
employed for the purpose of working up negatives, answers
very well, but the best scale we have succeeded in making
from paper was obtained with a more than usually fine sample
of the thin waxed paper sold for wrapping purposes.
As regards the form of the instrument, for practical purposes
this is immaterial, though, from motives of economy, it is not
advisable to have it too large, either in actual area or in
number of tints. For all ordinary purposes, a dozen tints will
be found ample, and these may each be a quarter of an inch
square, and occupy a strip in the centre of a slip of gla«» four
inches wide by an inch broad. The glass is useful in protecting
the paper scale from damage, though it is by no means neces-
sary. A convenient plan consists in binding the separate
layers of paper to the glass by means of the outer thickness
the edges of which are turned over as in mounting a lantern
slide. This outer layer, of course, forms part of the scale, and
it can be so arranged as to be easily renewable when it be-
comes dirty by use, and thus considerably extend the " life " of
the scale.
Although, perhaps, a little more trouble and, of coarse,
necessitating an acquaintance with carbon printing, an ex-
ceedingly convenient method of forming the graduated scale is
by means of bichromated gelatine, the sensitive tissue being
subjected to gradually increasing exposures to form the steps of
the scale. The exposure may be made in the following
manner : take a strip of carbon tissue measuring four inches
by one inch, and place it behind a piece of cardboard or thin
metal having an opening measuring three inches by a quarter
of an inch. The duration of the successive exposures will
necessarily depend upon the strength of the light and the
character of the gradation required, and may vary from a few
seconds to several minutes.
Let us suppose that thirty seconds is the difference that is
to be between each succeeding pair of exposures ; the tissue
with its cardboard shield is covered up with the exception of a
quarter of an inch of the central aperture, which is then ex-
posed to light for the requisite thirty seconds. The covering
is then withdrawn for another quarter of an inch, and a second
exposure made, and so on until the whole three inches have
been exposed, forming a succession of twelve different depths
of tint. The tissue is then developed upon coUodionised glass
in the ordinary manner, the portion covered by the cardboard
shield forming a perfect " safe-edge," and the result, if properly
executed, will form one of the neatest scales possible.
In using the commercial tissues, select one of a neutral
black colour, if possible, in order to conform to the rule we
have laid down with regard to absence of colour. But the
most satisfactory scale of any for use with most negatives of
modem type is one in which the pigment or colouring matter
consists of reduced silver of precisely the same character as
that forming the negative imago. For this reason, many
persons prefer to make their graduated scales by development
upon the same kind of plate and with the same developer aa
those employed in making their negatives ; but, before we pass
on to that method, we may describe a modification of the so-
called carbon process, by which a similar and, in some respects,
better result may be obtained. This consists in colouring
the gelatine with reduced silver, instead of with Indian ink
and suchlike pigments. In our earliest attempts In this direc-
tion, made upwards of twenty years ago, pyrogallic acid and
other reducing agents were added' directly to solutions of
gelatine containing various silver salts, either in solution or
suspension. The results, however, were anything but satis-
factory, as, besides the horrible colour of the mixture, the
chemical action of the various ingredients was found to partially
insolubilise the gelatine. The following method will, however,
prove perfect in every respect
Select a sample of soluble gelatine such as Nelson's " No. 1
Photographic " or their " Flake," and dissolve it to the strength
828
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[December 29, 1893
of about sixty grains to the ounce, and to each ounce add
twenty grains of nitrate of silver, fourteen grains of bromide of
potassium, and twenty grains of bichromate of potassium in the
order named. The result will be a reddish-brown mixture or
emulsion, which forms the sensitive medium. It may be pre-
pared in ordinary gaslight, but both the emulsion and the
tissue must be carefully protected from daylight. To prepare
the tissue a sheet of paper is damped until perfectly limp, and
squeegeed on to a levelled slab of glass, and a moderately
thick layer of the emulsion poured on, allowed to set, and then
hung up to dry with four strips of wood pinned to the edges.
When quite dry it will probably be rather brittle, for which
reason great care must be taken in handling it, though, if
properly dried on strips of wood, there will not be sufficient
" curl " in the tissue to cause much trouble. A little glycerine
may be added to the emulsion to counteract the brittleness if
it be troublesome.
This tissue is exposed in precisely the same way as the
ordinary, only it will probably prove much more rapid. Before
development, however, it is well to soak it in a solution of salt
instead of plain water, which will discharge the red colour by
converting the chromate of silver into chloride, the remainder
of the process being the same as with the commercial tissue ;
but the result will be a scale composed of different thicknesses
of bromide of silver. To bring this into condition for use it
only now remains to reduce the silver bromide by means of
development, using preferably the same developer that
is commonly employed in the production of the negatives.
In this manner a colourless or rather a neutral-tinted
scale is obtained for use with negatives produced by the
newer developers, or, in the case of pyro, the slightly yellow
or brown tone that generally distinguishes such negatives.
Another very efficient plan when a definite gradation is
required, if such be necessary for this purpose, is to employ a
modification of the Woodbury process, which, however, does
not necessitate any elaborate machinery. Build up the scale
by pasting successive layers of paper or tinfoil upon a sheet of
plate glass, and when this is dry press it in contact with a
sheet of thin gutta percha softened by heat and backed up
with another sheet of plate glass. A screw copying-press may
be used, or, if not available, sufficient force is obtained by
allowing the weight of the body to rest on the two plates
placed on a firm table. When cold, the gutta percha will be
found to bear a reverse impression of the scale which is used
as the printing matrix.
The printing is performed by means of a gelatinous ink, con-
Bisting of a strong solution of gelatine — eighty grains to the
ounce, suitably coloured, the adjustment of the proportion of
colour being the important element in its preparation. The
gutta-percha matrix is laid upon a sheet of plate glass, a pool of
the ink is poured into the centre, a sheet of transparent celluloid,
or thin, even glass, quickly placed upon it, and, over the whole,
a second piece of plate glass. Even pressure is then applied
by means of the hands until it is seen that the excess of ink
has been evenly squeezed away. Keep the pressure on for a
minute or two, until the gelatine has set, and in five or ten
minutes the celluloid or glass may be separated from the gutta-
percha matrix, bearing with it a beautifully graduated scale.
The same matrix may be employed with ink of different
strength to produce scales of greatly varying printing value.
We omitted to state that the gutta-percha matrix should be
slightly greased before each printing in order to ensure the
gelatine parting from it.
The last method we shall describe is that in which the scale-
is made directly upon a collodion or gelatine plate; but, as the
working of these is sufficiently well known to those who use
them, we need not go further than to describe the method of
securing the gradation. For this purpose nothing better can
be found than the revolving disc, carrying apertures of various
sizes, as this enables us to obtain any sort of gradation, either
abrupt or gradual. A disc of light wood or stout cardboard is
first inscribed with a series of concentric circles, and from each of
the zones or bands so formed a varying portion is cut away,
each successive aperture bearing a definite relation to the rest.
This is caused to revolve in front of a well-illuminated surface,
and is then photographed down to the size the scale is re-
quired, the result being a series of concentric graduated tints,
from which a strip may be cut if desired.
We have spoken of the scales being formed in the shape of
narrow strips, but obviously, where a number are required, as
will often be the case, it is just as easy to prepare them in a
larger size, to be afterwards cut down. Uniformity will b&
thus secured.
Patent Xnfring'ezneixts. — A case of some little interest, now
that so many patents are taken out in connexion with photography
and other things, was decided last week. An action was brought by
the Edison Bell Phonograph Corporation to restrain the Edison Phono-
graph Company from infringing two patents. " The infringement was
the sale and use in England of a phonograph imported from America,
whieli was made in accordance with Mr. Edison's patents." The in-
junction was granted (in fact the defendants did not defend the case)
restraining the infringement with costs. The Judge also directed an
inquiry as to the damages sustained by the plaintiffs. Clearlj', as the
Judge remarked, this is a valid patent; but this, we know, would not
prove to be the case with a very large proportion of the patents
granted in connexion with photography, if they were similarly
contested.
The Chlcagro Awards.— The balance of the awards at the
late World's Fair, about which so much dissatisfaction as to the
system proposed to be adopted was expressed by other nations, has
been struck. It appears that sixty -three per cent, of them go
to other countries, and thirty-seven per cent, only to America. Mr.
Thacher, the President of the Awards Bureau, accounts for this
seemin" reflection on home work by saying that the Special Commis-
sioners selected the exhibits of foreign countries, while Americans
exhibited their usual average commodities. (Humph !) It is more
than probable that, if the foreign Commissioners had not made the
firm stand they did with regard to the system of awarding first
proposed, the balance might have been different. Be that as it may,
we should have liked to have seen more of the awards for photo-
mechanical work come to this country, instead of going to the
Continent.
Amateur Photographers on the Prontler.— It is now
proved that the two Frenchmen, whose case we have before alluded
to, who were arrested some time ago at Kiel with photographic
apparatus, negatives, drawings, &c., were not the innocent individuals
they represented themselves as being, namely, tourists on a yachting
trip, making photographs and drawings for amusement. At their
recent trial at Leipsic, where they received severe sentences, they con-
fessed that they intended to hand over to the French Government the
residts of their work, and that they employed an English yacht to
ensure greater protection against molestation. This case of bond fde
" spies " will only tend to make the German officials more vigilant, and
particularly after this event with regard to those assuming English
December 29, 1898]
THB BRITISH JOUKNAL OF PHOTOGBAPflT.
899
sationalitT. By the tone of aone of the French journals on the
fifntences pns.-^fd, onfi m»y expect retaliatory vijfilsnce on their side.
Anyhow, Kuglish amateurs who may be winterinjf abroad must now
be e.\tra-cautiou8 a* to where they erect their cameras on the borders
of either German or French territory. To be arrested, by either side,
as a suspected .spy. entails very unpleasant consequences, as some
amateurs know to their cost.
Xtantera Slides and Colouring:.— At two Societies, within
the last week or two, the subject of colouring' lantern slides has
formed a topic for consideration. At the Richmond Camera Club
some were shown, the work of Japanese artists, which were considered
by those who saw thorn superior to those produced here ; and at the
Photopraphic Society of Ireland Professor Scott gave a lecture on
Colouring Lantern Slides. In former times they were painted by
artists, and not on a photographic basis. When the photograph has
to show through the colour, or the colour through the photograph, it
is quite a different thing from the artists' working on bare glass.
When this was the case the painter had to be an artist, and could
command his price. As much was then paid for a single slide as
would now purchase a dozen or two. Professor Scott in his lecture
advocated the use of aniline colours for the work — by which we
presume he meant colours of the coal-tar series generally. These are
certainly well suited to the purpose, on account of their extreme
brilliancy and transparency — the two most essential qualities for the
work. It may be urged that these colours are fugitive ; but this may
be disregarded, except, perhaps, with two or three of thom, when it
is considered the short time they are subjected to the light. However
perfect a series of ph- 'tographic slides may be, the introduction of one
or two really well-coloured ones always meets with a round of
applause at any public exhibition. This is conclusive that good
coloured slides are appreciated.
Oxyg-en in Xlluminatlng- Oaa.— Referring to our pre-
vious paragraph on this subject, there are now more data available
with regard to this singular apparent inversion of old ideas. The
plan is now in actual operation in Huddersfield, and, at the last meet-
ing of the Southern District Association of Gas Engineers and
Managers, Dr. J. T. Thome gave full particulars of the method— en-
riching' ordinary coal gas by means of oxy-oil gas. His conclusions,
in brief, are : First, The addition of oxygen to oil gas, preferably
while the latter is still hot, not only increases the illuminating value
of the oil gas when employed directly as an illuminant, but also when
it is used to enrich other gas. Second, oxy-oil gas is a highly per-
manent gas, and, when used as an enricher of coal gas, actually
increases the stability of that gas. Third, enrichment of coal gas by
oxy-oil gas would cost about one-third of a penny per candle per
thousand cubic feet. Dr. Thome's further conclusion is, that this new
gas, " oxy-oil,'' is superior to any process for enriching coal gas. As
to what experience tells, that maybe seen in London, the organ of the
London County Council, for November .30. The Huddersfield Cor-
poration have utilised the plan for over two months, with the result
of obtaining a steady wliite flame, affording a better light, with a
saving at the rate of 10,700/. per annum. Part of this is owing to
the increased commercial value and superior readiness of sale of the
coke produced under the new conditions. We have not hesitated to
refer at length to this matter, and, indeed, any question connected
with the utilisation of coal gas for photographic purposes. Our
readers may be assured that the last word is by no means yet said in
connexion with the use of gas as a photographic illuminant. Some
experiments we have on hand in this connexion shall be described
when the series are completed.
BRISTOL INTERXATIONAL PHOTOGRAPHIC
EXHIBITION.
II.
Wb resume our notice of the Bristol Photographic Exhibition.
Placed o\it of their class are a few landscapes which may possibly
be overlooked by visitors, as they are in a kind of alcove separating
two of the galleries. Of these, In a Fhff— H^mtrr, by Mr. 8. O.
Payne, is a really good attempt to obtain tog — we mean in a land-
soape, not in a plate. Rev. H. B. Hare shows a capital bit, Lanihnj
the Trout, and Mr. C. Moss is not onsucoesaful with LmeUtndi, a view
of a sombre heath. The Class (VI.) for Large InstanUneotis was ooly
patronised by seven frames of views, of no particularly high order of
merit. Mr. A. W. Gottlieb shows an animated scene, Li/e on the
Sandt : Mr. E. Hawkins a study of two dogs, Toh;/ and Jaek, good in
its way. The same gentleman's Evening on the Tkatne$ strnck us as
being faulty in the management of the reflections, a bright light in
the sky not showing in the water. The Small Instantaneous (VII.)
has twenty-three exhibits. Mr. J. M. 0. Grove is represented by
twelve studies of Father Thames, mKt\uA by "breadth of treatment ;"
Mr. Percy Lewis by some hand-camera studies of farm scenes. Mr.
Charles Knight's series of circus studies are excellent examples of
quick work, and Mr. J. Kidson Taylor's hand-camera landscape studies
are bright, crisp productions, a remark that applies to some charming
little cattle pictures which he also shows. Mr. Charles Job, in a
series of ploughing, haymaking, &c., studies, is extremely successful,
and, though Mr. Gerald Grey's shot* at Ooodwood Racei are mostly
uninteresting, one, showing a race in progress, the horses standing out
against the horizon, is a good example of quick work.
In the Botanical Class (XVIII.) there are some lovely photographs
of flowers and fruit, notably by Mr. Robert Frost. The award, how-
ever, goes to Mr. J. T. Hopwood for three representations of cherries
and strawberries. Here, perhaps, it would be convenient if we refer
to the Micrographical and Zoological Classes. In the first-named there
are only four exhibits, but they are of great merit, Messrs. R. Kidston,
Stanley Kent, and W. I. Chadwick sending splendid examples of
popular subjects. We should have Uked to have seen this class
better patronised, as the field it covers is practically unlimited, while
there is no end to objects of purely popular interest, which are suit-
able for treatment by photo-microscopic means. The medal goes to
that enthusiastic photo-micrographer, Mr. W. I. Chadwick, for a
series of thirty-five bromide enlargements of micrographic nega-
tives, all excellent in execution, and, moreover, comprehending sub-
jects of a popular kind. The Class for Zoological Subjects (XIX.) is
good, but not satisfactory. The domain of animal portraiture offers
unlimited opportunities for successful work, which, to be properly
accomplished, requires a great deal of study, care, and patience.
Nevertheless, the pleasurable charm of good animal photography so
well repays the trouble and application it involves, that w.e should
like to add every emphasis to our recommendation to amateurs to
cultivate it. The silver medal is secured by Mr. Sandland for some
humorous Zoo studies. Cats and dogs form the leading themes handled
by the other exhibitors. Mr. L. B. Bnard portrays the escapade of
a dog who incautiously invades a table whereon sundry solid and
liquid comestibles are placed, the result being that doggy's inebriety
leads him into a sad state; and Mr. T. B. Sutton follows the adven-
tures of a cat, who burglariously appropriates some fish. A little
more care would have made both series intensely funny, instead of
which they only convince us that photography has yet much to ac-
complish before it depicts animal humour as successfully as does Mr.
Burton Barber, for instance. Wild Chamois, by Mr. Staeuble of
Paris, is an interesting picture of its kind.
The Architectural Class (IX.) contains several examples of good
exterior work, which, however, are not sufficiently striking to call for
comment. Mr. Hemmons' medal series, South Porch, Yattan Church :
Gateway, Whitby Abbey : Porch of St. Stephen, Brittol, are conscien-
tious specimens of this kind of photography, in which Mr. Harold
Baker also excels with with some sympathetic views of A fete Old
Buildings. .Mr. Howell shows a capital view of The Tomer Bridge,
and Mr. J. T. Hopwood's large picture of Fountaiiu Abbey is a
creditable production. The others generally, however, are so good as
to render detailed criticism unnecessary.
The Class for Interiors (VIII.) is a good and large one, something
like eighty frames being sent in. Mr. H. \V. Bennett's silver medal
for a view of the Choir, St. PauTt, is well earned. Mr. S. G. Payne
has a series of twenty-four interiors of country houses, in many of
which he has minimised the defect of halation with great skill. He
receives a bronze medal, as does Mr. Harold Baker and Mr. G. Hep-
worth. Excellent work in the class is shown by Messrs. Howell,
830
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[December 29, 1893
Farmer, F. W. Edwards, C. Court Cole, G. T. Harris, H. N. King,
W. C. Hemmons, and others. Allied to this Class is that for the
Photographic Surrey of the Bristol district (Class XX.), undertaken
by members of the Bristol Association. There are only four com-
p-;titor8 in the class, which, having regard to the abounding wealth of
interesting architectural and archajological subjects that Bristol
and the surrounding district enjoys, striltes us as matter for surprise
and regret. We hope the Bristol Association will in the near future
take up this valuable branch of photographic work with greater zest.
Still, the four gentlemen who are competing are represented by about
thirty frames of exceedingly good and careful work. The silver
medal goes to that veteran photographer, Mr. E. Brightman, for
a fautless series of cathedral and church subjects taken at Gloucester
and Bristol. Mr. W. 0. Hemmons runs him pretty closely with a
similar series, for which he obtains the bronze medal. The other com-
petitors are Dr. Ormerod and Colonel Senior.
In the Class for Large Marine Subjects (IV.) sone diversified efforts,
embracing the deeply poetical and the severely pr.ictical, will be found.
Among the former we noticed soma large work by Mr. Worsley
Benison, The Requiem of the Sea, the remains of a wreck washed up
by the remorseless sea ; and three other studies of waves, rocks and
.shore, of an ambitious nature, and showing much artistic feeling.
Mr. W. P. Marsh shows one of his favourite subjects, A Wild Wave,
Mr. A. Debenbam and Messrs. West & Sons fine yacht studies, Mr. H.
D. Arnott some good Yarmouth views. The silver medal goes to
Mr. Lintott for On the Top of the Tide, a river scene with a barge in
the foreground and the Tower Bridge breaking up the distance, the
effect being capital. What a godsend that same Tower Bridge has
been to photographers ! Mr. F. M. Sutcliffe wins the bronze medal
with his fine view of Whitby Harbour. Mr. T. M. Brownrigg and
Rev. Precentor Main are also worthily represented in the class.
Class XIII. (Enlargements) contains many technically good exhibits,
but most of them are of comparatively poor account in artistic
selection. "We note with surprise how well some of Mr. Grove's
small fuzzy Thames studies stand amplification without fatally out-
heroding Herod in the matter of lack of definition.
Mr. Sandland undoubtedly merits the silver medal for his enlarge-
ment of polar bears, and Mr. Cadby the bronze for the enlarged figure
study, Reflections, a graceful child well posed, with the drapery well
managed. Prints from the original negatives are shown side by side
with the enlarged results. Colonel Senior has some interesting Indian
views. We pass from the competitive photographs to notice the
Judges' (non-competitive) exhibits, Mr, Payne Jennings being repre-
sented by half a dozen Devonshire views, one of them, Fishing Boats
off Brixham, being as good a thing of its kind as is to be found in the
Exhibition, the President of the Society (Mr. Hood Daniel) by a good
collection of landscape studies, and Mr. S. P. Jackson by two frames
of snap-shot work.
In the Transparency Classes some charming examples of glass
positive work are shown. Of the larger varieties, Mr. H. N. King's
transparency views in the Royal Palaces, and Mr. Brightman's series
of cathedral and other subjects are a feast to the eye. It is a pity
that large transparency making is not more decidedly encouraged
than it is. Thirty-two sets of lantern slides were sent in for compe-
tition, which lack of time obliged us to pass over. We were gratified,
however, to notice that nine sets of stereoscopic transparencies were
submitted competitively among them, we ascertained by ins pection,being
some very pleasing examples of this delightful branch of photography.
There is also a small loan stereoscopic collection by Messrs. A. W.
Westrop and T. Davey.
There is a very instructive general loan collection, among which
we noticed a portrcdt taken by Ponton's pinhole camera, a capital
piece of work of its kind, having a quite Cameronian character.
Messrs. Elliott & Son, Bamet, are represented by some well-executed
examples of carbon printing, and there are several frames illus-
trative of chromo-collotype in three-colour printing, the negatives for
which we were informed were made by the Bristol Hon. Sec, Mr.
Bligh Bond, who is devoting much attention to this branch of work.
Other contributors to the loan collections are Messrs. Beck (Frena
enlargements), F. Hollyer, with some always-welcome and refined
platino copies of well-known pictures ; R. W. Thomas & Co. (Prints
from negatives on Sandell plates) ; Henry Park (apparatus) ; Taylor,
Taylor & Ilobson (standard lens adapters) ; T. H. Powell, National
Camera Co. ; W. P. Marsh, and many others. Some special ex-
amples of early photographic work are also lent.
There are only two exhibits in the Apparatus Section, but they
contain interesting collections of useful and timely apparatus, and,
besides, emanate from local sources.
Messrs. Husbands & Sons of St. Augustine's-parade, Bristol, show
some well-made landscape cameras (the " Exhibition ") ; an improved
portable stereoscope, having vertical and horizontal adjustment to the
eye lenses, constructed for large stereoscopic views made from 71 x 6
and 85 X 6j negatives ; lenses ; dark-room lamps ; instantaneous
shutters; biunial lantern ; mahogany body lantern ; &c., &c.
Mr. M. W. Dunscombe shows the Dunscombe camera, stand and
lenses ; Ross's lenses ; Beck's " Frena " cameras ; Watson's cameras ;
'•Shuttle" hand camera; "Lysaght" hand camera; "Nalda" hand
camera ; Blair hand camera and roll films ; tele-photo lenses ; photo-
micro objectives ; "Allendale " optical lantern ; and other novelties.
ON A SYSTEM OF MEASURING AND NUiMBERING THE
STOPS OF PHOTOGRAPHIC LENSES.
[ Photograpliic Congress.]
The brightness of the image of an object of given brightness placed
at a given distance formed by a lens of a given focal length may be
determined by the angular aperture of the pencil of rays diverging
from a point of the object and entering the objective. When the
object is situated at infinite distance, the intensity of the illumination
cannot be determined by the anr/ular aperture of a cone of rays, but
may be found from the diameter, D, of the parallel pencil of rays pro-
ceeding from the object and forming the image, «'.«., from the diameter
of the e/f«rfii)e^e)iCiV of rays proceeding from the object. The latter
case enters chiefly into consideration in photography, and in the fol-
lowing discussion it will be assumed that parallel light enters the ob-
jective. We shall also suppose that the effective pencil of rays is
concentric with the axis of the objective.
The quantity of light entering the objective has been found to be
directly proportional to the squai'e of the diameter of the effective pencil
of rays. The diameter of the effective pencil of rays, and therefore also
the quantity of light admitted by the objective and forming the image,
depends upon the effective diameter of the lenses or the diameter of
the central diaphragm.
Every lens forms in itself a stop, and where no special stop is inter-
posed between it and the object, the edge of the lens determines the
diameter of the effective pencil of rays. In objectives having no
stops, the diameter of the effective pencil of rays would always be the
same. In order to obtain certain pictorial effects, it is necessary to
provide means for modifying the diameter of the pencil of rays.
With this object photographic lenses are fitted with interchangeable
or variable stops (Waterhouse, rotating or iris diaphragms), by means
of which the aperture may be varied. The position of the stop is
governed by the type of the lens ; it is not a matter of choice, if the
capabilities of the lens are to remain unimpaired.
If we compare objectives of different focal lengths, admitting
pencils of rays of the same effective diameter, D, we find that the
brightness of the image varies in conformity with the following law :
The brightness of the image is inversely proportional to the square of
the focal lengths of the objectives.
Thus, if the diameter of the effective pencil of rays is denoted by
D, and the focal length of the objective by /, then the brightness of
the image is proportional to -^i The ratio —^ is termed the relative
rapidity of the objective or of a certain stop belonging to it. The
largest stop which yields a well-defined image represents the maximum
relative effective aperture. With respect to the capacity and quality
of the objective, it is quite immaterial whether the maximum aper-
ture is determined by the diameter of the lens itself or by the stops
appended to the objective. In order that the illumination may be
uniform throughout the image from centre to margin, even with the
maximum relative aperture, it is desirable to make the diameter of
the lenses larger than is actually necessitated by the largest required
aperture.
Various objectives, when stopped down in such a manner as to make
the relative apertures the same in every case, produce the same illu-
mination in the image and the same depth of definition, the ratio of
reduction or magnification being the same. Objectives stopped
down to the same degree of relative aperture, and used under precisely
similar conditions as to illumination, require therefore the same
exposure.
December 29, 1893]
THE BRITISH JOURNAL OP rilOlOGRAPIIY.
Ml
From this the fundamental importance of tho relative aperture be-
comes at once apparent, and hence it may be inferred that it is a more
correct plan to graduate tho stops in terras of this relative value, i.e.,
in tortus of the relative aperture, than according to any absolute
standard.
The question as to whether in the ratio -y the diameter of the stop
may bo substituted for that of the efficient pencil has repeatedly been
discussed. In many countries this question has been answered in the
negative, and correctly so ; in England, however, the diameter of the
stop still forms the basis of measurement. If there were but one
type of photographic objective, more particularly only single lenses
whoso stops are situated on the side facing the object, there would
exist no ambiguity. But, as there is a great variety of different
types in use, the desirability of the uniform measurement of
the stops compels us to adopt the diameter of the ej^ient incident
pencil admitted by a given stop as the unit in determining the value
of the relative aperture.
With all the doublets and triplets which are known to me, the
diameter of the effective pencil is always greater than the diameter of
the corresponding stop. The amount of the difference does not depend
only upon the type of the objective, but also upon the maximum
relative aperture in respect of which the objective is corrected spheri-
cally. I have examined a series of the most popular types and found
the following data. If the value of the relative apertures -j is equal
to s^y, then the ratios between the diameter, d, of the stop and the focal
length of the objective in each case are as follows : —
d
Aplanat, l-4'5 , .
Aplanat, 1-8 . .
Antiplanat, l-4"5
Antiplanat, 1-6
Anastigmat, l-4'o
Anastigmat, l-6'3
Anastigmat, l-7"2
Anastigmat, 1-9
Anastigmat, 1-12-5
/
1-24-6
1-22-6
1-25-4
1-21-4
1-24
1-23-4
1-23
1-22-6
1-22
English opticians generally ascribe, therefore, too small a relative
rapidity to their objectives. In the case of the portrait antiplanat,
e.g., the stop of 1-20 relative aperture would be described as 1-254;
the erroneously ascribed relative rapidity (^Yif is, therefore, to the
actual rapidity {^Y in the ratio of 2 : 3. With other objectives this
error is greater o'r less, and it is only in the case of single lenses with
stops placed in front of them that the English system of measuring
rapidities is correct.
The inconsistency of this system is obvious, and it can only be
avoided by consistently taking the effective relative aperture as a
measure of the stop with all types, in the manner recommended
above. . ....
In certain cases it becomes, however, a practical necessity to indi-
cate the apertures of the stops in terms of some absolute unit, i.e.,
in parts of the inch, millimetres, &c. This case may arise when one
and the same arrangement of stops is intended for use with ob-
jectives of different types and various focal lengths, e.g., with central
iris shutters, stops for sets of lenses, &c. In such coses it is necessary
to calculate for each lens the relative aperture or the number of the
stop, or to find these values from tables supplied by the makers.
Now, instead of retaining the actual numerical values of the ratio
-^in expressing the value of the relative" aperture, it is more con-
venient to express D in terms of fractions of the focal length,/, taken
as unity. Accordingly, in the ratio -,3- would be the number which
indicates how many times the diameter of the effective pencil is con-
f
tained in the focal length of the objective. This value of -is, by the
majority of makers, stated on their lenses ; unfortunately, there is a
great diversity in tho gradation of these values, and in the initial
value taken as the basis. Generally, the / gradation is such as to
make each stop correspond to half the relative rapidity of that repre-
sented by the preceding larger, and this manner of disposing the
stops appears to be the only plan possessing points of practical
utility.
Great difference of opinion prevails, however, in the matter of
choosing the initial value. Dr. Stolze and Mr. Dallmeyer proposed
/-VlO, the Congris International de Photographic of IWW, nropoced
/-lO, and the majority of English makers have mioiiti'd/-!, (Iih value
proposed by the Photographic Society of Great lintain (U..S. No), M
their basis for tlie graduation of stop*.
These various propositions lead to the following scales of values :
1. Initial value : /VlO -/-3-16.
/■3-16,/-4-6,/.6-3,/-0,/.12ri,/-I8,/-2.'5,/-.30,/->O,/-71,/-100.
2. Initial value : /-4 (U.S. No).
/-2-9,/-4,/-o-7,/-8,/-ll-3,/-16,/-22-6,/-32,/-4V3,/^,/-0(>5.
3. Initial value : /-lO.
/-3-5/.5,/.71,/-10,/-141,/-20,/-28-3,/-40,/-56-5,/-80,A113-l.
None of these scales rest upon a theoretical basis ; it is only a qae»-
tion of convenience and utility. The value /-ViO involves a few
points of practical signiGcance. Thus /-3-2 may be considered to be
the greatest desirable effective aperture for e.vtra - ranid portrait
lenses ; /-6-3 is the limit of extra-rapid instantaneous lenses ; /-IS
may be taken to represent the minimum aperture for short ex-
posures, and/-100 is generally assumed to be the limit of the possi-
bility of stopping down a lens without impairing definition by the
appearance of diffraction phenomena. In fine, the numbers are com-
paratively convenient, and mostly integers and multiples of 2. The
other two series do not possess these advantages, and I am therefore
inclined to give preference to the first series.
The indication of the relative aperture of the stop i'<, however,
not sufficient to ensure convenient use of the system of stops ; it is, on
the contrary, advisable to attach numbers to the stops, indicating in
a direct manner the rapidity corresponding to the various stops. In
this respect we have two conflicting opinions. Some maintain that
the numbers should advance in the ratio of the times of exposure ;
others prefer numbers which vary directly as the relative luminotitiet.
Per te, one view has as much claim to acceptance as the other. If,
however, we consider general practical wishes, there can be little
doubt as to which is the better plan. In the first place, it must be
admitted that, in a numerical series, large numbers should be avoided,
and, therefore, that those stops which are mo.st generally used, and
whose corresponding exposures are suitably indicated bv such num-
bers, should be distinguished by the smaller numbers. Finally, it is
desirable that these numbers should consist of whole numbers only.
Portrait photographers work chiefly with stops /-6 to/-9, land-
scape photographers and copyists at/-2o to/-50, and amateurs at/-9
to/-18, and, if we remember that the stops generally used are -within
the limits /-4-5 and /-71, all requirements would be uniformly con-
sidered if we were to take /-IS as our unit. Practically it would be
immaterial whether the number varies as the exposures or the lumin-
osities, and we should have the following series : —
1. Numbers varying as the relative luminosities —
Relative aperture /-4-5 /-6-3 f-0 /-1 2-5 /-18 f-2o /.36 /-.50 f-7l
Number of stops 16 842 liiiA
2. Numbers varying as the exposures —
Number of stops -^ i i i 1248 16
Irrespective of the ambiguity of the fractions, J, i, ^, which might,
in error, easily be mistaken to refer to the relative aperture, a system
of numbering in which integers and fractions are made to enter into
comparison is hardly calculated to meet with the approbation of
photographers. Fractions should, as far as possible, be entirely
avoided. Now the question is : Shall we take a greater or less aper-
ture than/-18 as our unit? In my opinion, there is no difficulty in
answering this question. The small stops are those mostly used
(landscape, architecture, copies, &c.), and it is particular in the <»8e
of the SMALL stops that it becomes imjwrtant to have a convenient
means of measuring the relative apertures. With the larger aper-
tures this exigency does not exist in the same degree, inasmuch as
these are generally resorted to in instantaneous work, where it is im-
possible to regulate the expasures within exact limits. In these latter
cases it is a simpler plan to compensate errors in over or under
exposures by suitably modifyinc; tho developer.
From these remarks we conclude that it would be rational to take
/■-30 or/50 as our unit, and, in order to minimise the occurrence ot
fractions, to let the number vary as the relative rapidities, i.e., in-
.versely as the corres;>onding e.vposures. The remaining two or three
fractions may, to avoid ambiguity, be expressed in decimals. Taking
/-36 = 1, we obtain the following convenient system :—
Relative aperture /-io /-6-3 /-9 /-12-5 /-18 /-25 /-36 /-50 /ri
Number of stops ^ 64 32 16 8 4 2 10-5 C-2o
(Relative rapidity) )
832
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[December 29, 1893
In primarily considering the wishes of portrait photographers,
/-9 -n-ould hare to he taken as the unit, and the numbers would hare
to advance in the same ratio as the exposures.
The existing systems of numeration are all open to the objection
that they involve high numbers, which, moreover, are allotted to the
smaller stops mostly used. The system proposed by_ the Congres
International de Photographie of 1890, according to which /-lO is the
unit, forms the nearest approach to the system which would realise
the wishes which I have expressed. I should be glad to find my
remarks act as a further incentive, in the interest of makers and users
of photographic lenses, towards the establishment of a universal
system of the designation and numeration of stops.
Dr. Paul Rudolph.
A PEOFESSIONAIi TO PKOFESSIONALS.
[Abstract of President's Address to Glasgow and West of Scotland Photograpliic
Association.]
1 SHOCLD like to say a few words to my professional brethren.
We are all feeling the hard times, and one often hears that photography
is done. That I do not believe ; but it will be done if you think nothing
better can be done than fold your hands and call out, "Hard times.' No ;
you must stand to work, see where you are behind, if there are others
taking the butter from your bread. If you cannot lead, you surely can,
at least, follow. There is never a photograph comes into our hands that
something cannot be learned from it, it it should only be what to avoid.
"When looking round the show-cases of Glasgow, I often feel proud that I
belong to such a city, and one of the members of the black art ; for in no
town do we see a higher standard of good photographic work. Still,
there is much to deplore. Photographs in soot and whitewash, with
many good characteristics of art feeling ; others of the Henry Irving type,
without the Henry Irving ; others with faces such as one sees in barbers'
blocks in their windows.
I remember once a famous photographer showing me the photograph
of a lady, and asking me to guess her age. In my innocence I replied.
About forty. " Ah, well, you are wrong, Stuart, my boy, that lady is
close on seventy ! " " Well, the more shame to you," was all I could say
I do trust that the time will soon come when the man at the camera will
be the photographer and not the retoucher. Many now express them-
selves as dissatisfied that all the beautiful natural and characteristic
markings of the face should be obliterated. Gentlemen, let us have the
truth, not the vulgar truth, but some semblance of it. The retoucher's
work should never go farther than the toning down of the hardest lines,
but not the entire obliteration of them.
There is just one other matter I should like to draw attention to, and I
am done. It is that of the young men now starting to learn our art.
If you think you will ever be an artist in the best sense of the word, it is
not to be brought about without much labour and training. There are
so many departments that there is considerable difficulty in advising the
exact line to follow. Go to the School of Art at least two nights every
week, attend the lectures of, say. Professor Mills, who will give you an
insight into the various processes from a chemical and scientific point of
view, as also some of the processes of mechanical photography. I hope
the time is not far distant when every boy leaving school will have learned
chemistry, how to handle tools, as also freehand drawing. The following
illustration may serve to emphasise my remarks, and to show you how
far back some of the lads of to-day are who make up their minds to study
photography as a means of livelihood.
Some time ago a young lad applied to me for a situation as under-
assistant. He had been about two years in a photographic studio, and,
will you believe it ? he had never developed a plate, neither had he toned
or fixed a print, nor had he ever made up a developer or toning bath.
He could put a piece of paper into a printing frame, watch it and take it
out when ready, but beyond this his knowledge of photography was a
blank obscurity; and as to scruples and grains they were out of his know-
ledge, and yet this lad had passed the Sixth Standard. If our future
photographers are made of this stuff, what can we expect ? I say, young
men, you have hard work before you, and it will only be by diligent
attention to all that is passing that you will ever come to anything.
Study the Jockxai,, and never be without one at least of the many
annuals and year-books. It is the custom to hang up Scripture texts in
bedrooms. I think it would not be inappropriate for young men in any
branch of business, but in photography especially, to write in large
letters and hang up in their rooms the motto, " The cream always comes
w the top." John Stuabi.
ANOTHER PHOTOGRAPHIC PLAYGROUND ; THE
TRANSYLVANIAN ALPS.*
There is no better companion for a traveller than a photographic
camera; there are no finer recollections of an accomplished journey,
than pictures taken by the traveller himself. They may be styled — as
it is the fashion nowadays — topographic records, still they may be
beautiful, and, after all, may give more artistic impressions than those
more ambitious productions which are handicapped by the shortcomings
of our art-science. But I am in danger to fall also, in the craze of the
last fashion, into art definition, and I intended to send you. Mr. Editor,
a few much more practical lines. Now, take a traveller with his camera ;
it is the question for him, where to go — Switzerland and Tyrol, the
Rhine and Scotland, the seaside and Italy — for the long vacations,
tours in Spain, Algiers, Egypt, and so on, offer, no doubt, fine traveUing
programmes, but they pass over much trodden ground. There are always
men in search of novelty, and the latter is more valuable for the traveller
who goes with his camera, as the pictures he brings home, will certainly
gain through novelty, and may, in many instances, help science and be
geographically interesting. To such photographic travellers or travelling
photographers I last year pointed out in the Almanac Bosnia and Herze-
govina as a splendid tour, and this year I wish to direct them again to a
mountain chain already a little to the east oi Europe, but as easily
reached as either the Alps of Tyrol or Italy, I mean ihs Carpathian
Mountains in the Transylvanian part of Hungary. When once Vienna,
this fine capital, is reached, you have a few hours' rail down to Budapest,
or by Danube steamer, which is a very fine river journey. Budapest, the
beautiful Hungarian capital, with over 500,000 iahabitauta, is picturesquely
situated on the Danube, and gives, seen from the neighbouring hills,
pretty panoramic views. You will find there English photographic
goods at Calderoni it Co.'s, opticians, where English is spoken. From
Budapest you have express trains to Transylania, with sleeping cars,
wagons, restaurants and all, from Vienna, for the cheap rates of the
" Zonentarif " at the Hungarian State Railways. It is about 10 florins
(IS-v.) first-class fare for the longest distance from Budapest to every
direction, therefore the same for Nagy Szeben (in German. Hermanstadt)
and Brasso (in German, Kronstadt), both pretty towns at the foot of the
mountains.
At Brasso is Mr. Adler, a professional photographer, very kind to
amateurs, and you can develop a plate or two to compare your exposures
in this country. No doubt, gentlemen amateurs will not abuse his kind-
ness.
The finest excursions from Brasso are those to the Bucheeh, and to the
KOnigstein. If you are a little — a very little — of a mountaineer, you will
go up the summits of both of these mountains, and will enjoy j-ourself in
the finest mountain scenery, in the wildernesses of superb woods, fine
rock crags, and the most beautiful panoramic views. There is no dif-
ficulty at all, you will only be able to walk on mountains without path
for a few hours. Coming from Brasso, you will spend the night on both
mountains in club huts built by the Transylvanian Carpathian Club.
From Nagy Szeben, the finest excursion is into the Xegoi group, the
summit of the Negoi being 8300 feet — the highest peak of the Transyl-
vanian mountains. This part of the chain is of a different geological
structure, and therefore the mountains look quite different from those at
Brasso. On the Negoi you will find also a well-provided club-hut, where-
in to pass the night before the ascent. A series of small mountain lakes
and tarns reflect in this group the rocks, the snow fields, or the trees of
the splendid forests.
A good guide-book, in German, for these mountains is, Bielz, Sieben-
hilrrjen (Vienna : Graeser). As mentioned, there is a club like the alpine
clubs in the Alps, who built huts for the mountaineer, selected guides
with fixed tariffs, publishing his year-books, and always ready to assist
travellers. There are sections of the club in nearly all the towns, the
direction is at Nagy Szeben, and in E. Sigerus, Esq., the Secretary of the
Club, you will find a gentleman always ready to assist you.
Only one thing you will not find, no English travellers. There were a
few in former years, Mr. Boner having even written his charming book,
Transylvania (London : Murray), but in reality the Englishmen who in
the last years come to Transylvania are mostly Nimrods, and, as I may
now mention, when it happens that you are one of those who hke to kill
something, there is no better place for you.
But, again, I do not write for these, but for view hunters ; and, as we
are already in Transylvania, and going on into the mountains, I shall a few
words address to the photographer. You are in the midst of mountains,
whose summits gain a height of about 8000 feet from the plain, while at
* B«ceiTed to« late for the Aluisac,
December 29, 189S]
THE 'BRITISH JOOKNAL OF POOTOGRAPHY.
Bragw or Nagy Szeben have only 1500 (eet. The moantaini are either
limestone, with the fantastic formations and the tine colours which are
the property of these rocks, or granite, with his fine horns and needle
summits. The greatest splendours lay in the forest of gigantic trees, un-
broken and untrodden woods, extending orer Iarg» tracts of the valleys and
high up on the mountain sides. Even in the heiglit of the summers, now
is lying in the protected parts of the rooky faces of these mountains, and
enhance their beauty. The walking days are comparatively short, and
you have ample time to photograph. The picturesquely dressed people
(Saxon -Germans and Wallachs) will serve you as admirable staffage. In
the towns are pretty good hotels, and good shops to provide yourself for
the mountains. There you find the club huts, carriages, horses, guides,
and porters (the latter important for photographers who have not yet
descended to the plate size IJ x IJ) at very cheap rates. A porter a day
in the mountains costs about 150 kreuzer::: three shillings; horses the
same) .
And, with all this, few travellers, and no English at all. So it is
possible that the Secretary of the Carpathian Club, in hig last year's
report, still mentioned my photographs, taken twelve years ago, as still
the best, and nearly the only to be had from the mountains. You will see
by this that still nearly all is left for you. Go, enjoy yoar.self, and bring
home a good number of topographical, artistic (by permission) records of
the Transylvanian Alps.
Maurice de DicHV, Hon. Corr. R.G.S., Odessa.
WINTER WOES AND THEIR REMEDIES.
OxcK again the winter is fairly upon us, with its parties, balls
entertainments, to .'<ay nothing of the chances of induljfing in that
most exhilarating of pastimes, skating : once again the fe-stive sea.son
is here, and "still we are not happy." Photographers as a body hate the
winter, to them Christmas and the New Year convey thoughts of
frozen water mains, very few sitters, a b.ad liglit to take" those who do
■come, difficulty in getting the prints off, dealers' bills comintr in and
very little cash to meet them with. It may be true that " all things
come to those who wait; " but this adage should not be followed too
closely by the photographic profession at tbis above all seasons.
True, winter brings many troubles and trials with it, but the best
■way is to tackle them as they arise .and turn them into monev. Over
witi over again we hear the remark, " Oh, that's a winter negative,
TOU know," uttered in an apologetic tone, a.s though a winter negative
must of very necessity be a bad one; in point of fact, they mostly are
poor, but it is not altogether the fault of the weatlier that such is the
ca.se. True, a picture taken with a dense fog between the subject and the
lens cannot be expected to turn out a success, but an ordinary winter
day's pictures ought, on the whole, to prove undistinguishable from an
ordinary summer diiy's ; that is, if the necessary care and precautions are
taken. If the studio he left unhealed and the sitter be compelled to pose
before the lens while half frozen, no satisfactory results will be
obtained. If the studio be thoroughly warmed, and the dark room
otherwise, failure will still be the result, as the developer will act
neither so quickly, nor so vigorously when icy cold. A cold developer
means a slow developer and at the same time a thin misty image.
To expedite the development most operators are inclined to'increase
the proportion of ammonia : this certainly quickens the process, but
does not add any other good effect. Let those who doubt it try an
experiment by taking two negatives under precisely the same conditions,
then develop one with the cold developer, witli or without additional
ammonia, and use for the second a developer which has been kept for
some hours in a room where there has been a tire. The difference
will be very marked; one will bo very plainh- "a winter negative,"
the other, well, try and see for yourself.
Then, again, Xvhy will photographers in-sist upon using the same
rapidity of plates in winter as in summer? The difference in cost
between ordinary and extreme rapidity is not much, and is more than
counterbalanced on a dull day by the number of failures entailed when
using a slow plate. It is not in the province of this article to mention
any special brand of plate (I think I hear the Editor observe, " No
i-'ratuitous advertisements ! ") ; but I have in my mind at the present
moment no less than three different makes which are especially
suitable for winter work.
Frozen pipes are a nuisance to any householder, but to the photo-
grapher they are ten times worse ; water for household purposes can
be obtained even during the hardest frost, but for photographic pur-
poses once " frozen out " means no deveiopineut and no toning until
the frost gives. Surely, then, it behoves all students of the art-
science to have all the pipes ia the house carefully covered with hay-
bands or list, and the tape in the dark room and toning room* always
turned partially on even when th^re aeenu no chsnc« of frost.
In winter the procesa of printing is neceaaarily alow, and home-made
paper often discolours considerably in the printing frame before the
picture is .•'utliciently dark; this may be easily remedied by putting an
old .spoiled (untoned) print at the back of the paper, which will then
keep white for days, while one not no treated will become perfectly
spoiled.
The sudden changes of temperature, which are constantly occurrinj,-,
often cause breakage of negatives; and, as it in u.vually the most valu-
able that go, it is worth while to take every precaution against suirh
accidents. A thick felt backing is by far toe best to use, and the
pressure on the spring of the frames should never be so strong in
winter as in summer.
By far the greatest trouble is the lack of sitters. This can only be
surmounted in one way; if you have five pounds to spare, spend it in
advertising ; if that brings in ten, spend that in the same way. Ad-
vertise in any way you like, but advertise. When you are not taking
sitters, make special enlargements from the best negatives taken dur-
ing the last summer. Get a dozen suitable frames and send the com-
pleted enlargements home on approval, fix your price moderate and
you will find a ready sale; if one or two come back, you need only
take out the picture, put another in the same frame and mount, and
send that, in the same way. Suppose you make fifty enlargements
and .sell thirty framed complete, the spec would be a good one; as
a matter of fact, the proportion unsold will never nearly approach
this if care is exercised in selecting the negatives to enlarge. Chil-
dren and old people sell the best, and I have known cases in which
one enlargement made and sent home on spec has led to an order for
match pictures of the whole family. Of course, all your enlargements
need not be made in the same size or style ; due regard must be had
to the means and status of the sitter ; some would probably take a
12 X 10 bromide in black and white, while others would be more
likely to be pleased with an opal in water colours or a 24 x 18 bromide
or carbon.
Any enlargements you don't sell at once will make good specimens
for next season, and will probably be purchased bjfore that season is
over.
Introduce and exhibit all the novelties you possibly can during the
winter months : next to advertising, novelty is the soul of business, in
fact it is a form of advertising.
Finally, however severe the winter, don't be cast down, keep on
working all the time and don't talk about "winter pictures."
C. BnAXtiWiN Babnbs.
ON THE PHOTOGRAPHY OF THE LUMINOUS BAYS OF THE
SHOKTEST WAVE-LENGTHS. •
My endeavours were henceforth directed to bring into photographic
activity the region between the lines Nos. 30 and 32, which hitherto, with
the exception of line No. 31, had evinced no reaction to light, whether in
my hands or in those of other experimenters. I sought to effect this, in
the first place, without reference to graphic completeness, proceeding on
the assumption that the previous want of success was due, not to the
absence of all radiation, but to the imperfection of the method of observa-
tion.
I first strengthened the illumination with energetic short sparks,
springing over close in front of the widely open slit, and, with the lenses
fully open, I obtained on a Zettnow plate, after exposure for half an hour
between the components of the line No. 3°2, first two marked lines, then
— on prolonged exposure on both sides of the same line— a band of action
composed of dense groups, which continually extended further with the
increas« of the illumination.
On an exposure cf an hour and a half, the entire aluminium spectrum
consisted of an almost continuous hand, which ended only beyond the
previous boundary of the ultra-violet, about at the wave-length 183 f</i.
That we have here to do with the spectrum itself, and not with an action
of diffused light, was shown by the fiuctaating intensities and the marked
lines by which the newly acquired region is distinguished. In how far
this is to be ascribed to the aluminium or to its impurities, or to the
atmosphere, I must leave an open question. But for me, a more im-
portant consideration was the fact now ascertained, that the region
between the main lines of aluminium, and a slight distance beyond,
though hitherto regarded as void of light, displayed a quite unexpected
wealth of rays.
Such being the case, it was to be expected that not aluminium alone,
but other substances, would admit rays of such strong refrangibility
* Coutiuued from page 770.
834
THE BRITISH JOURNAL OF PHOTOGRAPHS.
[December 29, 1803
This conjecture was actually confirmed when I submitted a aeries of
elements to examination.
I adduce below these spectra in chronological order. In place of a
photographic reproduction, which I reserve for a future occasion, I give
the main data of the experimental arrangement and the photographic
result, in order to tarnish some basis as to the energy and the number of
the new lines, in as far as they lie beyond the wave-length 188 '8 nn.
Among the lines enumerated various impurities may be represented, as
I have indicated, at the passages in question. But this affects the here
exclusively interesting fact relative to the profusion of rays in the region
concerned in a vanishing degree only.
The appended numbers refer to the labels of the plates.
All the proofs were executed without a condenser, with a slit width of
0'040 mm. and of very sensitive plates (Zettnow's). The time of exposure
varied, and is given specially for each spectrum.
Cadmium, No. 2039. — Exposure, six minutes. Twenty-two new lines,
two of them beyond 185-2 ; the moat effective (4) in the immediate neigh-
bourhood of the same length, mostly pale and moderately sharp.
Antimony, No. 2040. — Exposure, five minutes. Twenty-eight new lines,
three of them beyond 185 -2; the most effective (3) near wave-length
182-9. Except the three most refrangible all are distinctly shown, several
very intense.
Bismuth, No. 2043.— Exposure, six minutes. Twenty new lines, three
beyond 185-2; the most effective at J (Nos. 31 to 32). Most of them,
especially the three most refrangible, pale and moderately distinct.
Gohalt, No. 2044. — Exposure, six minutes. Eighty-three new lines
twelve beyond 185-2; the most effective (9) near No 31 towards No 30.'
A large part of the lines intense and sharp ; the remainder, including all
beyond 185-2, very pale.
Platinum, No. 2045. — Exposure, six minutes. Eighty-one new lines,
fourteen beyond 185-2 ; the most effective (15) nearly uniformly dis-
tributed over the spectrum, and surpassing in sharpness all the above-
named spectra.
Copper, No. 2046 Exposure, six minutes. Six new lines, one beyond
185-2 ; the most effective (2) near No. 30. All, even the palest, sharply
drawn.
Lead, No. 2047. — Exposure, seven minutes. Six new lines, one beyond
185-2 ; the most effective close to the second component of No. 31 ; all
the others very pale and indistinct.
Iron, No. 2048. — Exposure, ten minutes. Seventy-two new lines, four
of them beyond 185-2; the most effective (4) between Nos. 31 and 32, but
nearer to the former. The four most refrangible scarcely perceptible,
the remainder more intense, but the less intense among them also
imperfectly defined.
Calcium, No. 2049. — Exposure, seven minutes. Seven new lines, four
of them beyond 185-1. Of the three most effective, one coincides with
the more strongly deflected component of No. 31, whilst the two others
form the extremity of the entire spectrum. The less refracted of these
two exceeds in effioiency all the lines situate beyond 185-2 of all the
spectra here in question.
Arsenic, No. 2065. — Arrangement of experiment as in the foregoing
pioofs. Exposure, probably eight minutes. Twenty new lines, six
beyond 185. Evoept these six all strong, but not clearly defined.
Hodium, No. 2103. — Exposure, twenty minutes. A single new line,
scarcely deviating perceptibly from the second component of No. 31,
moderately clear but slightly intense.
Silver, No. 2107. — Exposure, three minutes. Twenty-eight new lines,
six beyond 185-2. All the lines, except a single one Situate near No. 31,
and on its more refrangible side, very pale and chiefly indistinct.
Gold, on the same plate (No. 2107). — Exposure, seven minutes.
Twelve new lines, three beyond 185-2. Of the five most efficient, three
lie near No. 30, and a strong double Hne lies near No. 31, in both cases
on the more refrangible side ; all the others are very indistinct, even
more so than with silver.
Nickel, No. 2108.— Exposure seven and a half minutes. Twenty-six
new lines, seven beyond 185-2 ; of the three most efficient, two are near
No. 30 and one a little less refrangible than No. 32. The entire region
very pale, but well-defined.
Tin, No. 2111.— Exposure, ten minutes. Eighteen new lines, three
beyond 185-2. Except a single line, which lies in the middle between
Nos.l 31 and 32 and develops an enormous energy, all the lines seem
melting away and are pale and very Indistinct.
Potassium, No. 2112. — Exposure, five minutes. A single line, of
faultless design and great intensity, coinciding exactly with the more re-
frangible component of No. 31.
Tungsten, No. 2113, — Exposure, ten minutes. Seventy-five new lines,
twenty-one beyond 185-2; all nearly uniformly distributed, but forming
distinct groups with single well-marked lines. The intensity of this
band, so rich in lines, decreases uniformly towards its more refrangible
end. The design of the lines is uniformly clear.
Silicon, No. 2114. — Exposure, ten minutes. Eleven new lines, five
beyond 185-2; one only intense and sharp, coinciding exactly with the
more refrangible component of No. 31.
Chromium, No. 2132. — Exposure, seven minutes. Eleven new lines,
only traces beyond 185-2 ; one only well-marked and coinciding with the
more refrangible component of No. 31. All the rest very pale, and most
of them perceptible only with difficulty.
Thallium, No. 2133. — Exposure, eight minutes. Eight new lines, three
beyond 1852 ; the four most efficient form a striking group between
Nos. 31 and 32, the components of which decrease in intensity and
mutual distance with the wave-length. Here again a line coincides with
the repeatedly mentioned component of No. 31 ; but it is very pale,
scarcely more than a trace. The design of the entire proof is very clear
even in the more refrangible lines.
Molybdenum, No. 2136. — Exposure, eight minutes. Forty new lines,
four beyond 185-2 ; the six most efficient are between Nos. 30 and 31, all
very pale, the most refrangible mere traces, design of all being clear.
Mercury, No. 2139. — Exposure, seven minutes. Twenty-six new lines,
nine beyond 185-2 ; the most efficient of all is close before No. 31 ; two
other lines, likewise very energetic, are close to Nos. 30 and 32. The
lines beyond 185 -2 are associated as a group of lines, rapidly increasing
in intensity, and gradually decreases with the growth of their natural
distance. The sharpness of the lines is moderate.
Magnesium, No. 2143— Exposure, seven minutes (width and slit ex-
ceptionally only 0030 m.m). Three new lines are only distinct, coin-
ciding with the more refrangible component of No. 31. Nothing visible
beyond 185-2.
Zinc, No. 2144. — Exposure, thirty-two minutes. Seventeen new lines,
one beyond 185 -2. One of the two most efficient lines again coincides
with the more refrangible component of No. 31 ; the other, more strongly
deflected, lies closely to the same component. The entire region ap-
peared very pale.
Hydrocarbon, No. 2152. — Luminous in an electric discharge tube closed
with quarts ; pressure = a mercurial column of 3 mm. Exposure, twenty-
five minutes. Ten new bands, decreasing very regularly in efficacy and
intensity with its wave-lengths ; the last band appears as a faint shadow
between the two components of line No. 32.
Another proof with the same tube (No. 2153) gave, with a double
width of slit (0080 mm.) and two and a half hours' exposure, the
entire spectrum stronger, but still very clear, and traces of two new
bands beyond 185-2.
All these spectra, I must add, like the spectrum of aluminium, have
acted much more feebly in their more refrangible half than in the rest of
the ultra-violet. As far as the region of the most refrangible cadmium
rays they consist of a deep black band, interrupted at most by single,
solarised lines, which stand clear as glass. In the other part, even on
the most prolonged exposure, I have never seen such a confluence of the
lines, still less solarisation.
As results from -the above conspectus, it is common to all the proofs
that they develop a greater or less abundance of rays in the most re-
frangible part of tlie spectrum, where hitherto only the few lines of
aluminium had been known ; that most of them overstep the previous
limit of the ultra-violet, and, further, that they finish with almost the
same wave-length.
I next hoped to attain more by prolonged exposure, and by sparks of
still greater energy. I increased the number of the immersed elements,
as also the number of the Leyden jars ; substituted for the inductorium
an influence machine, which, in combination with the Eiess battery,
gave very energetic sparks ; altered the composition of the coating of my
plates, increasing the proportion of iodine, so as to heighten the sensi-
bility ; sensitised my plates by fuming with ammonia ; in short, I
sought, by all means, to penetrate further into the ultra-violet. But
what I gained was scarcely worth mentioning. In some spectra there
was a slight increase in length, but beyond the wave-length, 182 mi, not
the trace of a line.
It is a phenomenon universally observed in spectral photography that
the photography of greatly enfeebled rays involves extraordinary diffi-
culties, and that exposure, however prolonged, does not yield clear
images. I have regularly encountered this evil at the limit of the trans-
parency of the material of the prism : in heavy flint glass at the very
beginning of the ultra-violet, in light flint glass near the Erauenhofer line
0, and in crown glass near B. It is the same at the limit of the trans
December 20, 18081
THE BKITISH JOURNAL OF PHOTOGRAPHY.
88«
parency of the air, the position of which, as appears Buffioiently from the
foregoing, depends on the thickness of the stratum of air. That the
result, at any rate to a small extent, depends also on the degree of sensi-
tiveness of the photographic plate, is proved by the fact that I obtained
the spectrum of the Jime sun (from my laboratory, about I'iO metres
above the level of the Baltic), beyond the Frauenhofer line U, upon
Zettnow's plates, wliilst the same line could not be obtained upon other
plates at the same time. Still the photographic result in the most re-
frangible ultra-violet would have fallen out far better it the light which
originates on the refractive phases and in the interior of the prisms and
lenses had not regularly illuminated the visual field so strongly that on
prolonged exposure the whole plate is coloured more strongly than the
spectrum itself. We might, indeed, as I observed in 1888, with the
photographic spectrum apparatus of Simony, considerably redace the
diffused light by shortening the slit length to a minimum {0-'2 mm.);
but even here, on proloned exposure, it overpowered the dehcate im-
pression of the most refrangible rays to total invisibiUty.
The contraction of the length of the slit was the last expedient which
had opened up the prospect of better results as long as I was limited to
the apparatus employed.
If we collate the results of the proofs obtained with a short focal
distance, it follows : —
1. That, on sufficient diminution of the absorption of the rays by the
air, nothing further stands in the way of the exploration of the spectral
region between the wave-lengths 200 ixfi and 185 /j;u, and that the existing
means of observation are fully sufficient.
2. That nearly all the electrodes tried emit photographically effective
light beyond the limit of the ultra-violet, as hitherto observed.
The appearance of rays beyond the wave-length 18.5-2 ^/i gave an
altered direction to my work ; instead of the known spectrum, it now
referred to the opening up of the unknown luminous region between the
wavelengths 185 '2 /ifi and zero.
The following portion of my report treats of the means for this purpose
and the present position of the solution of this problem.
The Photograph of the Spectral Region beyond the Wave-Ungth
185-2 niu
According to the foregoing proofs, the most refrangible rays of
aluminium had entirely lost their energy in a stratum of air of seventeen
metres in thickness ; at two metres of air they had left upon the plate
an impression capable of being developed, and at a distance of the spark
from the plate a good photograph. Their photographic action and its
intensification were not in consequence of a heightened intensity of the
spark, but of the diminished resistance which the rays encountered on
their way to to the plate. The spark was quite sufficient, but the energy
of the rays was defective. When they had passed through a great
length of air, their photographic efficacy at its entrance into the silver
particles of the plate was no longer strong enough to set up its decom-
position to a sufficient degree. The preservation of the energy of the
rays was therefore the point upon which a better result must be
founded.
In all probability, even at the smallest focal distance which I have
employed, the loss of energy of the rays was very considerable, in conse-
quence of various hindrances which they encountered on their way. If
this loss could be diminished, further success was in view. That such
diminution was possible was beyond all doubt. Even the removal of the
air which still intervened between the spark and the plate (though only
in a stratum of moderate thickness) promised appreciable advantages.
But the air was not the sole obstructive absorbent which the rays en-
counter on their way. Quartz absorbs the most refrangible rays to a
perceptible extent (L. Soret, Arch, des Sciences Phys. et Xat., Ixi. 332
334, 1878); also glycerine (W. A. Miller, Phil. Traits., clii. 871, 1862),
with which the halves of my quartz prism were corrected ; and also
gelatine, even in a thin stratum, obstructs them visibly (Soret, Arch,
des Sciences Phys. et Nat., III. Period., x. 453-455, 1883).
If these hindrances existed, and if their renewal or their great
reduction was possible, a further increase of photographic energy would
be secured.
The photographic effect is not merely a function of the energy of the
rays— it depends, above all, on the behaviour of the sensitive plate.
The more unstable the chemical combination of the sensitive constituents
of the coatmg of the plate, the more iti loosening during the action of
the rays is assisted (" Sensitiveness," H. W. Vogel, Handbuch der Photo-
graphie, 4th ed., 1890, pp. 172, 193, 208), the more rapid is its
decomposition on exposure. If it were possible to assist in this manner
the more refrangible rays, the prospect of success would become more
favourable.
Delicate details In a photograph, faint laminoas imprcuions, require
a plate quite free from any veil. They become turbid, doubtful, and
often disappear again if the ground iuDM bom the developing bath not
clear as glass, but covered with a grey layer.
As already mentioned, this case occurred regularly in my proof* on
prolonged exposure. The dispersed light from the interior of the
apparatus, the cause of this veil on the plates, ia composed of rays of all
degrees of refrangibility ; but only thoiie for which the piste is most
sensitive have a veiling action. These, with gelatine plates and spark
light, are the rays of less refrangible ultra-violet — those, therefore, which
are not wanted for my purposes. If I could keep them out of my
apparatus, my proofs would be still further the gainers. Not merely
was there secured greater clearness for the more delicate impressions, bat
the design of the entire proof was improved.
This consideration led to a series of researches which had to precede
the resumption of my original work. These preUminary operations
consisted : —
1. In ascertaining the influence of all absorbents which come into
play in the photographic action of the most refrangible rays of spark
light.
2. In the utilisation of the results thas obtained tor the creation of
better means of observation for the spectral region in question.
The only exception here was glycerine, which could be disregarded,
since the double prism of the apparatus works correctly without being
cemented together. The glycerine was only to prevent the loss of light
occasioned by the reflection which arises on the planes of the two single
prisms if left nncemented.
The absorptive behaviour of quartz and gelatine with the most absorp-
tive rays of aluminium has certainly been very carefully determined by
Soret. But he has only employed the eyepiece. His results do not,
therefore, necessarily agree with those of the photographic plate.
The relations of brightness of the wave-lengths, as ascertained by
Soret, according to the fluorescence have always a relative value.
They are certainly comparable among themselves, but not with the
relations of sensitiveness of the photographic plate. They are this just
as little as the behaviour of ona kind of plate oin be decisive for the
behaviour of another kind. Between the ocular and the photographic
method of determining the luminosity, in particular of the ultra-violet
rays, there is certainly an internal connexion, that of absorption ; but
how little decisive this is for the case in question is best proved by the
fact, that e^ery substance has its own absorption spectrum. It must be
also remarked, in passing, that ocular determinations of luminosity, even
when they refer to light of the same quaUty, afford only a very imperfect
guide to the objective luminosity.
It was, therefore, absolutely necessary to re-examine quartz and gelatine
in this respect. In the same manner I was restricted to my own resources
in determining the absorptive action of the air.
A medium has still to be considered which is much more important
for ray proofs than the substances just named— the sensitive constituent
of the photographic plate, silver bromide. The success of the photograph
depended in the first place on the behaviour of this substance. If it was
in reality so feebly sensitive to the most refrangible rays as my proofs
seemed to indicate, there then came up the further problem, to find a suit-
able substitute for silver bromide.
The determination of the sensitiveness of silver bromide turned like-
wise in the first place in an absorption experiment. For it could posses-
higher sensitiveness only if it absorbed the rays with sufficient energy,
preferably in the modification used in photographic dry plates. On the
manner of the extinction of the rays, whether photo-chemio or photo-
thermic, could be decided only by the photographic behaviour of a silver
bromide free from any admixture of foreign constituents. It might ap-
pear as if a proof with pure silver bromide would alone suffice for this
purpose, and as if a knowledge of the absorption might be dispensed
with. But this view is contradicted by certain facts of that part of my
preliminary researches concerning the production of a new photographic
plate, of which below.
In this manner I might anticipate better results in the region of the
smallest wave-lengths than heretofore, but always with the apprehension
that the hoped-for rays beyond the limit of activity already reached
might indicate a quite different behaviour that those on which my pre-
vious experunents were founded. I commenced my preliminary researches
with quartz, followed in succession by gelatine, silver bromide, and air.
Victor Schcmass.
{To be continued.)
836
THE BRITISH JOUKNaL OF PHOTOGRAPHY.
[DeMmber 29, 1893
THE NO. 2 FEENA FOB QUARTEE-PLATES.
Our former account of the new Frena was necessarily very brief,
now give a detailed account of its construction, aided by diagrams,
first of these shows a side external view of the instrument.
We
The
R
' — . . ■- ' 1
©
K
H(^
E
The new size Frena camera is a sure indication that the firm of manu-
facturers who placed upon the market Jthe first camera for changing cut
films do not intend to stand still.
The quarter-plate Frena in every detail has been improved, and, al-
iN
iN
though the lantern-plate size still continues to hold its own, the new
size has points which extend its scope of usefulness.
The film-changing mechanism, by which one film is selected from the
pack of forty and automatically deposited in the receiving chamber, has
been rearranged. Films and card-backings with notched edges are used
as in the Frena No. 1, but they are all cut to an exactly identical shape.
The alternating notches in the Frena pack, which are necessary to the
working of the Frena system, are obtained by packing the consecutive
films in opposite directions.
This method of cutting all films and cards of the same shape gives two
advantages over the previous system. First, the film and its backing
card can be cut together as if they were one backed film. Second, it will
be possible to place a larger number than forty films in the camera as soon
as the ingenuity of the film-maker has produced a backed film. It will
also be readily understood that the mechanism of the camera is rendered
by this change even more simple than before.
The chamber which receives the film after exposure is at the back end
of the camera, and the Frena is held with its lens end pointing upwards
when the film is changed. One motion only, that of turning the handle
180 degrees, and back drops the foremost film of the pack into the-
receiver, leaving the next ready for exposure.
The lens of No. 2 Frena is a Beck's autograph
rapid rectilinear of five-and-a-half-inch focus,
and is provided with diagrams, giving the
aperture of /-8, f-U, /-16, /-22, and /-64. The
shutter gives accurate exposures of \, j^i tjji tji^
and TiV of a second, as well as time exposures.
It revolves in the diagram slot, and the engraved
figures indicate both the speed of the shutter
and the stops in use, are read through the lens
aperture, and can be rapidly altered. By un-
screwing a single knob, the lens, finders,
and whole mechanism of the shutter can be laid open to view, and may
be easily removed for the purpose of examination or cleaning. The
shutter is dependent for the variation of speeds upon no brakes or re-
tarding springs, but always runs at the same speed, the size of the aper-
ture which passes over the lens being varied to give the different exposures-
For instantaneous exposures the set-off bolt is pushed in. For time ex-
posures the same set-off bolt is pulled out, which opens the lens until
such time as the set-off bolt is again pushed in.
The addition of stops in No. 2 Frena greatly increases the value of the
swing back, which, with the smallest aperture, can be used 2.5
degrees from its normal position and has the advantage over a rising
front in that, whatever be the position of the camera, the finder gives an
image corresponding with the image on the film which is being exposed,
and it also always uses the best corrected portion of the lens.
The No. 2 size Frena, like No. 1, has a fixed focus, and is so carefuUy
adjusted that objects from twenty feet to the horizon are sharply
defined on the film with the/- 11 aperture.
For the purpose of bringing objects nearer than 20 ft. away into
focus a set of supplementary lenses are provided, called Frena magnifiers.
These form a new and simple method of altering the focus for near
objects. One of these can be instantly introduced into the aperture in
front of the normal lens, and thus objects as near as SJ ft. can be photo-
graphed, and an absolutely sharp picture is obtained.
The finders are upon a new design. In most finders the mirror is below
the ground glass, and the groanj glass being thus close to the top of the
case, requires very elaborate shields to keep off extraneous light. The
images, therefore, on these finders are more brilliant than is usually the
case.
The camera is provided with two sockets and a screw, so that a tripod
can be used when it is desirable to give time exposures. The whole is
neatly covered in leather, and weighs but i lbs. when fully charged.
<©ur lEiiitorial EatU.
Photogbaphy Indoors and Out.
By Alexasder Black.
This book, ])ublished by Houghton, Mifflin, & Co., Boston and Ne-sr
York, is essentially one for amateurs, whom it pleasantly informs of
much that is known of the early history of photography down to more
modern times. In his description of the lenses employed in photo-
graphy our author is rather weak unless when he acknowledges in-
spiration from other sources ; otherwise, and when left to himself, he
gives us Ross's cemented doublet as the orthoscopic lens, and makes
Dallmeyer's triple achromatic with a double conve.x; back combination.
But it is fair to state that the book is written in a popular style for
those ignorant of the art and makes no pretensions to scientific or
technical accuracy. In the home gallery, that is when taking portraits,
especially those of babies, in a private room, he gives directions for
softening the shadows by suspending reflecting screens. He has im-
provised reflectors for an impromptu window portrait by covering the
floor about the sitter with newspapers, hanging newspapers or other
white sheets of paper or muslin under the nose of the camera, or
holding up other white material opposite the window and just out of
range of the portrait. This portion of the book is suggestive, and
must prove useful to the inexperienced aspirant after portraiture.
We are quite in sympathy with the author when in speaking of flash-
light photography ho says : " Nothing in home photography is more
delightful in the interest and amusement it gives at the time, and in
the pleasure it affords in after-years than the picturing of familiar
groupings in domestic life, in parlour and in kitchen, at the evening
December 29, 18U3]
THE BRITISH JOURNAL OF PHOTOOUAPIIY.
887
likmp, at the piano, and at the Christinas tree." He cautioDH the
amateur who uses the hand camera not to expect it to do mitrreU, to
take pictures when or where there is not sufficient light, but to give
the plate a fair chance by not setting the shutter for a high speed
when there is little light and little movement. Thb caution is appli-
cable to others than green hands in America. Who has not heard of
the button-presser who bestowed a look of pitying contempt upon the
experienced veteran who had been exposing four minutes in the
interior of Canterbury Cathedral one dull afternoon, with the remark,
"I have just taken a snap-shot at the fame view, but I only gave it
the hundredth part of a second and I hope I shall get a good negative."
" I hope you will," dryly remarked the veteran, .\mple directions
are given for developing the negative, for printing, toning and fixing
the proofs, and taken altogether it is an excellent book for a young
amateur.
It contains photographic illustrations, which, together with the text
portion, are well printed on good paper.
Thk Photographic Times Christmas Number.
We congratulate our contemporary upon having in this Christmas
number quite excelled itself. What with landscapes, seascapes, astro-
nomical, genre and portrait subjects, it comes in an easy first over
anything hitherto attempted in the way of illustrating a magazine
selling at fifteen cents {7M.). Of these there are over sixty half-
tone pictures, several whole-page ones among them. The text matter,
too, is considerably above its average. Among this is an article on
Astronomical Photography at the Lick Observatory, by Prof. E. S.
Holden, illustrated by sun spots, lunar craters, and by three views of
the moon. There is too an article, " The Story of the Photographic
Times^' well illustrated by portraits of past and present editors and
contributors. The chapters on tlie Fatliers of Photography is in this
number devoted to an appreciative article on Walter B. Woodbury,
whose lamented death in 1885 has been recorded in our columns of
the period. We notice that the writer mentions him as " the pioneer
of balloon photography." It is not detracting from the fame of Mr.
W'oodbury to say that this honour belongs to H. J. Luff, who had
patented this application of photography in this country in 18o4, or
more specially to M. Nadar, whose patent for photographing from a
ca ptive balloon dates from 1858, that of Mr. Woodbury being nine-
teen years later. This Christmas number reflects the highest credit
on the proprietors and all concerned.
Southern Studies.
By A. G. T.»«LIAFERKO.
If there ever had been any doubt as to Mr. Tagliaferro's skill as an
artist, this fine collection of Southern Studies must effectually dispel
any ideas to the contrary. The series of twelve begins with Ari
Uninvited Guest, in which a man, whose nationality may be guessed
at from his swarthy complexion and the guitar hanging on
the wall, while engaged with his dinner becomes aware that he is not
alone, but that a young jackdaw, who has escaped from a cage over-
head, is occupying himself in actively discussing some viands at the
farther end of the table, the rightful occupant surveying the scene
with grim interest. In the picture All's Fair in Love and War we
have two men of the mechanic class playing at cards, one of them
oblivious of the fact that the maiden behind him, who is pouring
out for them the wine from a flask, is telegraphing to the other by
her fingers the nature of the cards held by the opponent. This
picture, like the former — nay, like all of the series — displays masterly
skill in posing and lighting. In Forty Winks, the good father,
having finished his tea and fallen asleep in his chair, is about to
have his temporary oblivion terminated by the mischievous damsel
who, with feather-duster in hand, is leaning over the screen behind,
intent upon tickling the nose of the victim of Morpheus. A Humble
Offering : Here we have a roadside shrine, with an image of the
Madonna, to which a peasant-girl is devoutly making an offering of,
doubtless, carefully selected flowers. The technique, etjually with
the art, in these and the others of the series is of a high order of
merit. They are all of considerable dimensions, the prints being
fourteen inches by elevenjand a half inches. They are well printed in
photogravure, on India paper, by R. Paulussen, Vienna, by whom
they are published, and also at 215, Shaftesbury-avenue, W.C.
^etos anlr potest.
PhotographicX!lub. — J.-inuary 3, Cluiids, by Mr. Birt Acres.
West Lo>!I)OS PnOTOORArHio Society.— January 2, Technical Mecting-
Lanteru.
LlwiiBAM Camira Cwb -Janoary 8, Osmonitntlon of The Paaet Prix
Lantern Hliden, by Mr. 8. Herbert Fry.
.Mr. Framcrrco DrjKKTf intinmtei that hU addrew U now " Ravtnawood,"'
Triuity-road, BlrcfaHehU, Biniiinghsm.
WooDTORD Photoobaphic Socikty.— January 4, Members' Lantern 8U.le».
18, I'latiiititi/pe, by Henry W. Bennett.
_ Cbntbai. Photoobaphic Club.— On Denember 29 Jlr. Lamond Howie, of
Kccle«, will deliver liis lecture, accompanied l)y ilide', on Thf t'OKiion I'lay at
tJlKraimnerijau, an<l on tlie following Friday Mr. Hurdick, of Chicago, will
give a demouKtration of the use of the air brudi.
Photoohapht as a Profrssion.— Here la a case of some Interest, as »how-
iiig the salary sonietinies said to be paid to asdatantii. One day laat week, at
a London police-court, a photographer, a married man, wa» chargol with
robbing his employer, and was sentenced to one month's imprisonment. A
detective, who went with the prosecutor to the prisoner's lodgings, said the
latter addressed the former as follows : " I shan't work for you again for
twelve shillings a week. When I have got a little bnsinesa on my own accoant,
you turn round on me." If salaries for qualified photographic assistants — and,
as the man was commencing business on his own account, it might be assumed
he was — have really come down to this, the minimum wage of sixpence per
hour for dock labourers, or street scavengers, may be a sonrce of envy to some
pliotographic workers. At only nine hours a day, the remuneration is less
than tbreeiience an hour.
i^eettngiS of ^boctett^iS.
MEETINGS OF SOCIETIES FOR NEXT WEEK.
Pat« o{ Meeting.
Name of Society.
Jaui
lary 1..
1..
1.
1.
1..
2..
2..
2..
2..
2.
2..
2..
2..
2..
2..
2..
2..
3..
3..
3..
3..
*..
•*..
4..
i..
4..
4.,
4..
4...
4..
4...
5...
5...
5..,
5...
S...
5...
s...
5...
Camera. Clnb
Peterborough „..
Richmond
South London
Stereoscopic Club
Birminf;ham Photo. Society
Bolton Photo. Society
Brixton and Clapham
Eieter
Hackney
Herefordshire
Kei^blej and District
Lewes
North London
Oxford Photo. Society
Paisley
Rochester
Rotherham
Place o( M eeUni.
Charing Cross-road, W.C.
Bedford Coffee House.
Oreyhoand Hotel, George-street.
Hanover Hall, Hanover-park, a.E.
BrookLtnds Hotel, Brooklaads.
Club Room, Colonnade HoteL
10, Rnshton-strvet, Bolton.
376, Coldharbour-lane, Brixton.
City Chambers, Oandv-st., Exeter.
206, Mare-street, Hackney.
Mansion House. Hereford.
Mechanics' Institute, North-street.
Fitzroy Library, High-st., Lewes.
Canonbnry Tower, Islington, N.
Society's Rooms, 136, High-street.
9, Qaoze-street, Paisley.
Mathematical School, Rochester.
5, Frederick-street, Rotherham.
Sheffield Photo. Society Masonic Hall, Surrey-street.
York ! Victoria Hall, Goodramgate, York.
38, Castle-street, Edinburgh.
The Assembly Rooms, High-road.
Anderton's Hotel, Fleet-stieet. K.O.
The Studio. 15, Cambridge-arcade.
3, King's-road, Sonthsea
Club Room, Colonnade HoteL
Edinburgh Photo. Society
Leytonstone
Photographic Club ,
Sontbport ,
SouthKea
Birmingham Photo. Soc. (An.) _
Camera Club | Charing Cross-road, W.C.
Dundee and East of Scotland „.i Lamb's Hotel, Dundee.
Glasgow Photo. Association Philoso. Soc. Rooms, 207, Bath-st.
Glossop Dale Norfolk-square, Glossop.
Hull 71, Prospect-street, HnU.
Leeds Photo. Societj; ; Mechanics' Institute, Leeds.
London and Provincial Champion Hotel, 15, Alderagate^t.
Oldham The Lyceum, Union-st., Oldnsm.
Tunbridge Wells (Annual) Mechanics' Inst., Tnnbridgn Wells.
Brighton and Siissel Librarian's Room, Public Library.
Cardiff Castle Arcade, Cardiff.
Central Photographic Clnb Coleman's Hotel,Henrietta-st., W.C
Croydon Microscopical ! Pnblio Hall.Georffe.street, OtotHod
Holbom
Leamington
Maidstone ..
North Kent
HnU
100, High Holbom, London, W.C.
Pnmp Room, Leamington.
" The Palace," Maidstone.
Gravesend.
71 Prospect-street, Hull.
LONDON AND PROVINCIAL PHOTOGRAPHIC ASSOCIATION.
December 21,— Mr. W. E. Debenham in the chair.
ANDRKSKN's DEVELOi'INO AXD FlXISQ CaBTRIOGES.
Mr. E. A. Lbblanc prefaced a .short demonstration of Dr. Andresen's jire-
parations by remarking that they were useful for tourists. Tlie nictol cart-
ridges could be used for developing bromide paper as well as negatives.
Speaking of the new "bars" of aciil hyjio for fixing purpose!, he said they
were packed with the powder in the uncompressed fomi. A great advantage
of the trars was, besides their portability, that they dissolved very readily.
The tone-h-xing cartridges could be used for albumen as well as gelatino-
chloride paper, toning m the former case, howe%'er, taking somewhat longer.
Speaking of luetol, be said it was more energetic than pyro, and thus saved
time, besides being cleaner with sulphite, the general stain being les&
Scver.ll prints were then toned .iu<l fixed and a Wratten plate develo|>ed
successfully, and after a few observations of a conversational nature from
m«iabers, ilr. LehlaAc receiyed a vote of thank.s.
838
THE BRITISH .TOURNA.L OF PHOTOGRAl'HY.
L December 29, 1893
The Fountain Air Brush.
Mr Charles Bubdick, of Chicago, demonstrated the new air hrush,
Dointing out that it was of pencil shape, and had not many pieces. It gave a
cood quality of spray, and great control could be obtained over the amount ol
colour used. Held close to the work, a fine spray was given ; at a greater
distance, a broader effect. The quality of the shading was excellent. If the
colour were rubbed in or washed on, a close texture was obtained, but this was
overcome by the use of the brush, which threw the colour on in little specks,
virtuaUv a very fine stipple. The frictional wear of the tool was not two per
cent The reservoir of the brush could be filled with colour, but eight to ten
drops were sufficient. It could be used for working uji the shadows of an
ordinary negative, but not for retouching. In landscape work it would be
especially useful. It could also be used for lithographic work or finishing
bromide prints. The spray is actuated by air pressure, and the brush is held
just as an ordinary pencil is held. Its cost is about 61. 10s. complete. Mr.
Burdick gave a practical demonstration of the use of the tool, producing one
or two freehand heads and eyes. Several specimens, plain and coloured, were
also on view. He said the standard water colours could be used. With an
hour's practice, background work could be done by a photographer, but the
further use of the tool was a matter of practice.
The Chairman, in moving a vote of thanks to Mr. Burdick, remarked on
the fineness of the lines produced by the brush.
Croydon Camera Club.— December 20, the President (Mr. H. Maclean,
F.G.S.) in the chair. — An unusually complete and well-arranged lecture was
given by Mr. John H. Giar on Various Methods of LanUrn-slUle Makini, in
which the leading processes were graphically described. As the above will, no
doubt, be in due course printed in extenso, we shall not attempt a condensa-
tion; but attention should be drawn to the admirable way in which, by means
of especially prepared slides, the method of slide-making by reduction was
Illustrated on the screen. Thus, (1) showed the apparatus in position;
(2) the same during exposure ; and (-3 and 4) the procedure necessary for
printing in of skies. The discussion, amongst many other points elucidated,
elicited that there is much room for improvement in the manner in which
.slides are shown by many Societies whose status would make one think them
to be incapable of any shortcoming in this respect.
Hackney PhotogxapMo Society. — December 19, Mr. E. Puttock in the
chair. — An entertainment was given to a large gathering, entitled Chicago
ExhibiUiin, by the Society's Hon, Lanternist (Mr. Albert Rose). A number
of slides of excellent quality was shown an 1 proved very interesting, as they
gave the audience a good idea of the size of this gigantic exhibition. Members
were particularly requested to attend on January 2, when Mr. Burdick, of
Chicago, will give a demonstration upon The Air Brushy also a demonstration
by Mr. Howson on Matt-stirfare Paj)er.
South London Photographic Society. —December 18, Mr. F. W. Edwards
in the chair. — A demonstration was given by Mr. S. H. Fry of making lantern
slides on gelatine plates. One good rule, he saiil, in making slides was to make
the exposure suit the developer, and not to alter the latter to meet the expo-
sure. Hydroquinone he recommended as a developer, but, if it was desired to
use one of the newer developers, metol was the best for the purpose. The use
of an acid fixing bath assisted materially in the production of clear slides,
rhe continued use of one quantity of developer for a number of slides militated
against the attainment of the best results. A seiies of slides made from one
negative on Paget slow plates were projected on the screen to show the variety
of colour obtained by exposure, and the use of varying quantities of carbonate
fjammoniain the developers. A number of slides, exposed, developed, and
fi.xed during the meetin? were shown in the lantern. The new lantern awarded
to the Society in competition at the Stanley Show was on view. Attendance,
forty-eight.
Birmingham Photographic Society.— December 19, Mr. J. T. Mou.sley in
the chair. — The series of one-man exhibitions was continued by Mr. Under-
wood, who had a large number of prints on view. They comprised all kinds
of subjects, while the interiors, perhaps, showed especial skill, the detail being
so clearly defined, and no hardness in the shadows. Mr. Underwood also
showed a great variety of good tones on gelatino- chloride paper.
Leeds Photographic Society.— A meeting of the newly elected Committee
for the ensuing year was held in the Society's Eooms at the Mechanics' Insti-
tute on Monday, the 18th inst,, for the purpose of electing the officers and
settling the syllabus for the year. The officers elected were as follows : —
President: Mr. J. H. VfaXkur.— Vice-Presidents : Messrs. S. A. Warburton
and Godfrey Bingley.— ii'trariare .- Mr. T. Butterworth.— Lan^ernis^ .- Mr.
H. P. Atkinson. — Treasurer: Mr. Herbert Denison. — Secretaries: Messrs.
Herbert Denison and Mr. H. L. P. London. These gentlemen, together with
Messrs. B. A. Burrell, F.I.C. ; R. Steele; and Dr. E. H. Jacob, M.A., M.D.,
form the Committee. The Society's Annual Lantern Exhibition, which has
hitherto been held in November, has been omitted for the present year, but
will be held on January 18 next in the Albert Hall, when a novelty will be
introduced in the use of the electric light in the lantern. The syllabus for the
coming year comprises many interesting papers and demonstrations on subjects
connected with photography.
Lincoln Camera Club.— On the 20th inst. Mr. HowsoN (of the Britannia
Works Company, Ilford) gave a demonstration on The New Ilford Matt
P.O. P. The lecture was practically the same as given before the Central
Photographic Club on the 15th inst., so need not be given in detail here.
After describing the paper, Mr. Howson at once proceeded to demonstrate
the use of it, showing how different tones, ranging from almost a pure black
to sepia and brown, could be obtained with the greatest ease. Judging by the
specimens exhibited during the evening, the paper leaves nothing to be
desired, such exquisitely soft and beautiful pictures surpass anything before
attempteil. The members of the Club are to be congratulated upon being first
in the provinces to have this most easy and beautiful process demonstrated
before them.
Brechin Photographic Association. — December 20, Mr. William Shaw
Adamson, of Causton Castle (President), in the chair. — Public Lantern Enter-
tainment.—An audience of about 1000 assembled to hear ,an illustrated lecture
entitled A -Scamper through the States, with a Visit to the Chicago Exhibition.
This was followed by the exhibition of about 100 slides of the members' work,
and humorous and effect slides. Mr. James Bruce read the descriptive lecture,
.and Mr. D. Lamb, late of Lamb's Diorama, presided, with much accept-
ance, at the lantern. The expenses were defrayed by a collection, which
amounted to over 7?.
EXHIBITION OPEN.
1893.
Dec. 29-Jan. 22, 1894 *Bristol Triennial International Academy of Arts,
Bristol. Hon. Secretary, F. Bligh Bond, 36, Corn-
street, Bristol.
* Signifies that there are open classes.
CorrejESjjonirence*
■ Oorrespondenis should never im-ite on hoih aides of the paper. No notice is taken
of communicationn unless the names and addresses of the viriters are given.i
PHOTOGRAPHIC COPYEIGHT.
To the Editob.
Sir, — In your last number, on page 814, is a paragraph headed
" On Things in General," relating to photographic copyright, and which
is calculated to mislead the photographic public if not corrected. The
law is as follows : —
When a sitting is given to a photographer without payment, the copy-
right vests In the photographer, for " from the moment when the
negative is taken it is the copyright of the photographer." It is true the
requirements of the Act are not complete until the work has been
registered at Stationers' Hall, but this may be done at any time after
publication.
Upon registration, the owner of the copyright is entitled to avail him-
self of all the statutory remedies against any person reproducing the
photograph — that is to say, he may get damages or penalties, an injunc-
tion to restrain the producer from using the copyright in any way, and
an order for the delivery up of reproductions unlawfully made.
I admit it is advisable to register a copyright picture as soon as possible
after the photograph has been approved by the sitter ; but I can vouch
for the accuracy of my statement, that it may be done at any time. — I
am, yours, &c., Joseph J. Elliott.
Talboti/pe Gallery {Elliott cC- Fn/), 55 and 56, Baker-street, W.,
December 21, 1893.
[The opinion quoted by Mr. Elliott is that of a gentleman qualified
hy con.siderable experience to advise as to the law of copyright as
applied to photogi-aphy. — Ed.]
THE SPEED OF PLATES: A CEITICISM AND A EEPLY.
To the Editor.
Sir,— The letter from Messrs. Hurter & Driffield in your last issue
calls for some reply from me, although, I think, considering its tone, I
should be perfectly justified in leaving it unanswered. I have carefully
re-read my paper, and I cannot see any reason to alter anything that I
have said. Neither do I see any justification for Messrs. Hurter &
Driffield's assertion that I am angry. If any impartial reader can find
any thing of a personal or angry nature in my paper, I am ready to with-
draw it and to apologise. I have spoken strongly and to the point about
Messrs. Hurter & DrilEeld's work because, in my opinion, some plain
speaking was needed, and I think that if any justification were required
of the course I took, it is supplied by the personalities of Messrs. Hurter
& Driffield's reply. Their position seems to be defined by the old legal
gibe : " With a bad case abuse the the plaintiff's attorney." However
this may be, kindly permit me to take up the few points raised by them
last week. They lay some stress in their opening paragraph on some
supposed rules of the Camera Club. I need hardly say that no such rules
exist, and if they did they could hardly be supposed to apply to Messrs.
Hurter & Driffield. My object in giving the widest publicity to my paper
was to give these gentlemen the most open field for their reply. Had I
not done so, they would have had most just reason for complaint. I may
remark, also, that pressing invitations were sent to them to be present at
the meeting of the Camera Club at which my paper was read, both by
myself and, I believe, by the Secretary of the Club.
Messrs. Hurter & Driffield's assertion that they can produce two
December 29, 1803]
THB BRITISH JOURNAL OF PHOTOGRAPHY,
identical negatives on two dilTcrent plated does not in the least meet m;
statement that this cannot always be done. Even granting that it could
be done by a tuur deforce, it does not follow tliat either negative would be
the best producible on the plate. Still I think I may safely leave this to
the judgment of those who do me the honour to read my paper.
I may do the same with their next statement, 'viz., their denial that
they ever asserted that the ratio of gradation of a perfect positive must be
the same as that of the object portrayed. I need only refer to the open-
ing " paragraphs of their Photo-chemical Itesearches for proof of this.
The next paragraph of their letter contains a fine example of the
logical fallacy sitggestio falsi. Captain Abney has never abandoned his
method of speed determination, although he perfectly agrees that it, and
any other method that expresses the speed by a single namber, can never
be more than a roughly approximate one. I presume, then, that Messrs.
Hurtcr & Driilield will withdraw their statement.
The next paragraph contains the old confusion that I drew attention
to in my paper ; they seem utterly unable to distinguish between a com-
plete statement and an approximate one. My assertion that the printing
value of a negative is through a certain range proportional to the negative
logarithm of the exposure is an approximate statement, and is perfectly
consistent with the fact that through a greater range the law of error
formula fits the curve of a'plate. Slessrs. Hurter & Driffield are here on the
horns of a dilemma, they must either be supposed ignorant of the prin-
ciples on which approximations are made or must be thought to be con-
fusing the issue.
A similar dilemma arises in the very next paragraph. As I am away
from home, I have not before me the copy of the Camera Club Journnl
to which they refer, but I have the unpaged reprint of Captain Abney's
paper, and in it I find the following words : — "The curve of error has
what is called a singular point, that is, a point where it is neither convex
nor concave," &c. If, in the face of this, Messrs. Hurter & Driffield con-
tinue to say that " the point of inflexion was not mentioned, and is not
meant," there is only one inference to be drawn, and that is that they do
not know what a point of inflexion is. At least, if they do, their ideas
of scientific honesty difler greatly from mine.
In conclusion, I would say that abuse is not argument, and I fail to see
that Messrs. Hurter & Driffield have met a single one of the points raised
in my paper; in fact, the very tone of their letter shows that they have
felt the force of my arguments. As for the quotations from my paper
that they have taken from the context which justified them, and used
against me, I can only say that their attitude reminds one of that of the
quack medicine vendors, who, in reply to an analyst's declaration that
their nostrums contain nothing of any medicinal value, boldly answer,
" Our medicine is of so subtle a nature that it defies the most seaiching
analysis." — I am, yours, Ac, Harry M. Elder.
Brighton, Dec. 20, 1893.
GELATINO-CHLOBIDE PAPER.
To the Editor.
Sir, — I have had some experience with gelatino-chloride paper, and
have had similar experiences with the sulphoeyanide bath as your corre-
spondents, " J. H. Smith " and " Scribbler." All the defects they
enumerate have been common with me until I acted on the advice given
in your issue of (I believe) October 27, viz., to treat the prints after the
first washing with a bath of common salt and water before toning.
The effect has been magical, and I may say I find I can now tone with
more certainty and equality of results, and without the extravagant waste
of gold to which your correspondents refer. Moreover, the prints are
best judged by their surface tone, and when just a shade warmer than
you intend them to be should be taken out of the bath.
I consider your suggestion the most valuable one that has yet been
made in the controversy on the use of the sulphoeyanide bath. Perhaps
users of this paper will act on your suggestion before they condemn
gelatino paper altogether. — I am, yours, &c., G. E. Arnold.
Knaresbio',
To the Editor.
Sir, — I trust that no reader of this Journal will accuse me of any
desire of " rushing into print," for such is not my wish ; but, as so many
other workers have written a few remarks on the above subject, let this
be my excuse for adding my experience. I may at once state I am not
referring to any particular make of paper, for I notice that directly a
complaint is made against any particular brand, the manufacturers
of the said brand immediately insinuate partiality, trade interests, Ac. It
is to be lamented that, in almost all complaints made against commercial
photographic products, the manufactureTi are never in fault {"!) _ This, I
am sure, prejudices their cause. After all, is not photography in every
branch a series of compromises ? No part of the art-science is perfect.
The same faults which I notice urged against certain brands of paper I
maintain apply equally to all brands. With regard to the quantity of gold
Qsed in toning, nndonbtedly the printu on gelatino-chloride Mp«n may be
toned with the same quantity of gold as used In albumenijed paper. But
what kind of tone do we get ? Not nuch as would b« coniidaraj a rich
purple on an albumenised silver print ; therefore, I contend that maeb
more gold is required to bring about a similar resalt.
Now, as to the astertion in certain instructioni luaed that the " piiata
lose little in toning and fixing." This ia indeed a delasion and a snare,
and the merest tyro in printing will immediately discover hia error if he
only slightly overprints his proofs. The prints nndoubtcdly do lose a
great deal in after processes of toning, fixing, and washing.
With regard to double tones, it seems that some papers show this
defect more than others ; but when we consider that the deeper a print
is when it leaves the printing-frame, the richer the resulting picture when
toned, it ^eems somewhat a natural consequence that where a print is
softened off in vignetting, and the reduction of silver is so much less, that
it can hardly take the same tone as in the fnlly printed parts ; this, how-
ever, I leave to those better qualified than I am to deal with. I feel sore
that, if manufacturers would only meet the users of their wares m a more
friendly and impartial spirit, the benefits would be mutual, and the
amount of written controversy would be less bitter and unfriendly, and
far better employed in an honest endeavour to finally reach that estimable
quality — the truth.— \ am, yours, <!tc., Fbxdibick W. Mcncit.
Kilhurn, London, N.W.
THE BBADFORD CYLINDEE ACCIDENT.
To the Editor.
Sir, — I fully expected that Mr. W. I. Chadwiek's letter, so prominently
published in your issue of the 1st inst., would have been answered sooner.
As no answer has yet appeared, I would like, with your permission, to
reply to some of the statements made in the letter, fearing that they
might mislead persons not well acquainted with the facts.
With reference, first of all, to the very sad accident at Bradford, perhaps
even Mr. Chadwick will grant that if it tends to create nervousness
among the users of gas cylinders, it tends in a hundredfold degree to
breed it among persons who fill and distribute them. Therefore, I should
very much like to know on what grounds he bases his opinion that " we
may expect these explosions much more frequently from now." Has he
any grounds, or is it just an " alarmist's " assumption. I should rather
anticipate that the result of the accident and the attendant inquiry would
be an amount of caution and enlightenment which would still further
reduce any risk.
Through the whole of Mr. Chadwiek's letter there seems to be an
implied censure on the Compressing Companies. How the Bradford
accident can be made a peg for such a censure, I do not see. The accident
does not appear to have been owing to any neglect of prescribed tests on
their part — the cylinder which burst was not even supplied by any of
them. Probably, Sir, you have already received a copy of Professor
Goodman's report, and will doubtless publish it for the information of
your readers. I would commend it to Mr. Chadwiek's notice. It verifies
completely the fact that cylinders properly made, annealed, and tested,
are absolutely safe under all the conditions of ordinary transport and
use. It also proves that the best makers of cyUnders are perfectly
acquainted with the requirements of the trade, and that in spite of Mr.
Chadwiek's opinion the comlitions of safety laid down by the best makers
and compressors have been sufficient (see Mr. Howard Lane's letter in
Engineering, of December 9, and Mr. K. S. Murray's Handbook on Com-
pressed Oxygen).
According to Professor Goodman, by whose kind invitation I was
present when he made his tests of the Bradford cylinder, the defect of
that cylinder lay in the fact that it was constructed of a high carbon
steel, too hard and brittle for the purpose, and also that the annealing
process, which is necessary to soften and toughen the metal after the
manufacture of the cylinder, and which was specially requisite in this
case, had been entirely omitted. On these points, in the absence of
satisfactory tests, it has been customary to accept the maker's guarantee.
It is now proposed that the Compressing Companies should anneal all
cyUnders themselves, and thus become themselves responsible for the
proper ductility as well as for the tensile strength of cylinders. Of
course, from a pubUo point of view, this would only shift the responsi-
bility from the makers to other equally interested and fallible persons.
Hence the further suggestion for Board of Trade interference. So tar as
outside interference would secure an independent guarantee that every
cyUnder which was passed into use had been properly made and tested,
without introducing repressive restrictions, I am sure it would be
welcomed by the Compressing Companies as much as by the public.
Such interference might take the form of Board of Trade inspection, or,
what would bo perhaps preferable, inspection and insurance by a first-
class insurance company, as is the case with boilers.
There are two or three statements in Mr. Chadwiek's letter which I
believe he has made before, and which have been replied to elsewhere.
840
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[December 29, 1893
There may be imperfections in the management of the Compressing Com-
panies, but I cannot think they are such as he indicates. He speaks
about cylinders being overcharged to 130 and 133 atmospheres. Quite
possibly. These are not dangerous pressures. They are meant to allow
liberally for the cooling, and consequent reduction of pressure, after
leaving the compressing pump; and, indeed, incidentally serve as a
modified test of the soundness of a cylinder each time it is filled.
Then there is the sensational revelation about " interchangeable
adaptors." I do not know what Mr. Chadwiok refers to, unless he means
certain fittings which have been supplied, from time to time, to customers
-to enable them to connect old types of fittings with new types of valves.
But with the mechanical knowledge he possesses, he should know that
it would be possible to make a connecting piece for attaching a coal-gas
cylinder to an oxygen compressor, or vice versa, whatever form of valve
outlet were adopted. The object of altering the valves and connexions of
coal-gas cylinders was to render it impossible for a workman to fill a
cylinder accidentally with the wrong gas. He can be trusted not to do it
intentionally, unless he wishes to commit suicide, and there are easier
ways of doing that. I certainly cannot agree with Mr. Chadwick that
" the security which was paid for is gone:' It exists, and is a very real
security, I can assure him.
Excuse me, sir, if I refer to another point. I understand Mr. Chadwiok
to state that, if the Bradford cylinder had burst in the room where the
Ilkeston gas-bag explosion occurred, it would have blown out the walls
and brought down the roof on the beads of the audience. Now, I do not
•wish to under-estimate the consecjuences of a cylinder explosion, but I
would like to remark that I visited the scene of the Bradford accident,
and, though it occurred in a narrow subway about twelve feet wide and
eight feet high, I could not find a mark on the floor or wall to indicate
that anything had happened. Indeed, the glass panes of a lamp which
hung on the wall not above eight feet from the spot where the cylinder
burst were not even fractured. And yet Mr. Chadwick says he is not an
alarmist. AVell, sir, I don't like to be rude, but I should like to call him
one.
Perhaps the term explosion, as applied to the Bradford accident, has
caused some confusion of thought. It was not an explosion in the usual
sense of the word. An explosion of twenty cubic feet of mixed oxygen
and hydrogen gases in a cylinder would be even a more serious thing, and
I am glad that the chance of such an occurrence is so satisfactorily
remote. Neither did the Bradford cylinder burst owing to an excessive
internal pressure. It was strong enough to bear for an indefinite time
much greater internal pressure than it did contain, so long as it was not
subjected to any severe shock. It was broken by the shock of its fall,
because it was brittle ; and, of course, when it broke, the expansion of
the gas it contained caused the pieces to fly violently apart — just as a
charged soda-water bottle would fly apart under similar circumstances.
In conclusion, sir, I must express my surprise that Mr. Chadwick
should seize every opportunity to discount the efforts, and discredit the
instructions of the Compressing Companies. I might remind him that
even a Government inspector would have to study the subject in the light
of their experience before he could aft'ord much protection to the p'ublic.
Cylinders have been filled and distributed many hundreds of thousands
of times during the last few years, and the accident at Bradford is tVie
first which is traceable to the failure of one of them. Surely even Mr.
Chadwick will admit that those responsible for the growth of this
business must have exercised great care and forethought to have deve-
loped it with so small a record of accidents. And if he will calculate the
reduction of risk which the cylinder system has effected for users of lime-
light since cylinders took the place of bags, I tliink he will acknowledge
that lanternists, at any rate, have no cause foj- complaint. There are
lessons to be learnt from the accident at Bradford, but we can learn
them without getting into a panic. — Apologising for the length of my
letter, I am, yours, &o., W. Morton Jackson.
Manchester, December 18, 1893.
aTi0tocr0 to CortcsponlrentB.
BcCKS. — Without seeing an example or two, and having some details of the
system ]iursued, it is mipossible to offer an opinion.
J. Westlake. — The background may be very good as a work of art, and well
executed, but it is far too pronounced for photographic use. Scenic back-
grounds for portraits should be suggestive rather than pronounced.
D. E. L. A. Y. — Probably press of Christmas orders is the cause. As a rule,
the liriii are prompt in the execution of orders. We cannot assist in the
matter, though we shall be sorry if you lose a profitable commission.
•C. J. E. — There is no reason why a metal cast cannot be obtained from a
Woodbury relief. Send the relief to a stereotyper, he will sujiply a met.il
replica. It ^ill be advisable to send the relief on the glass upon which it is
develojjed.
T. Morris. — The cause of the "sparkling points" in the enamelled prints is
simply ah- bubbles euclosed between the print and the gelatine. The method
of procedure is quite right ; the only thing necessary to success is greater
care in the manipulation, so as to avoid the air bells.
A. Karl (Cologne).— Yellowness is no more general on gelatino-chloride prints
made on paper of British make than on that manufactured abroad. It is
simply a question of manipulation. We camiot account for your getting
whiter prints on one p.aper than the other. They should be pure in either
case.
Churlish. — If the owner of the historic mansion refuses you permission to
photograph its interior for publication, we cannot see that you have any
cause for complaint. Surely every man has the right to say what he will,
and what he will not, permit in his own house. We must decline to pub-
lish the letter even if you did not desire your name to be suppressed.
B. B. H. asks if negatives that are developed with a somewhat discoloured
pyro ilevelopcr, and have a yellow colour, .are likely to be less permanent
than others which are produced with a colourless developer, and have only
an indication of a yellow tint.— We see no reason why, other conditions
being equal, the negatives should be more permanent in one case than in the
other.
G. G. R. asks what is the best mountant for carbon prints, .and also for
collotype prints with a glazed surface? Any ordinary cement that will
secure the prints to the mounts may be employed for pigment prints, as
they, unlike those in silver, are not liable to be affected by the mountant.
However, nothing is better or more convenient to use than starch paste.
R. Wen.man. — None of the developers given in the Almanac for dry plates
are of any use with wet collodion. We don't see liow this process is to be
rendered, as you term it, " less messy." After all, the "messy " rests very
much with the manipulator. Some workers get their liands much stained in
working, while others, more neat manipulators, scarcely stain their hands
at all
Detector. — It is more than probable that the "fixed focus "lens is not .it
fault, but th.at it is "fixed" at tlie wrong focus for such purposes as you
have been enqiloying it. If it is rightly adjusted for outdoor work, it will
certainly be wrong for portraits iu rooms. The only thing to be done is to
have the camera altered, so that the focus of the lens can be adjusted to suit
its requirements.
A. N. Blake. — The only suggestion we can make as to your going wrong is
that the directions given by the author of the article have not been followed,
otherwise the result would have been dift'erent. By merely seeing a print,
with no other data, it is impossible to say why the failure. Read the last
paragraph of the article carefully and try again. Perfection is rarely arrived
at in the first ets.ay.
T. Blackman. — Tlie process could not be patented, or, to be more accur.ate, a
valid patent could not be obtained for it. Vignettes with hatched back-
grounds were used and patented, and the patent lapsed, and the thing often
advocated by us years ago. Do not be deterred from working by any
threats. No patents in connexion with this subject have been applied for
of late. Simply a case of " bluff."
A. Da VIES. — In takiug up the carbon process as a beginner, we certainly ad-
vise you to purchase the tissue ready for use. Altliough in extreme cases
(abnormally thin or dense negatives) an advantage is to be gained by sensi-
tising the tissue for oneself, it is not to be recommended to beginners,
inasmuch as they can ensure obtaining it in the best conditions for average
purposes as supplied commercially, a state not always secured by a novice
when lie sensitises for himself.
Death of Mr. P. D. Coghill.— With much regret we have to announc-
the death of Mr. Peter D. Coghill, the Honorary Secretary of the Northern
Photographic and Scientific Association, which meets at Wood Green, N.
It was in a large measure due to the energy of Mr. Coghill that the
Association was formed, and achieved such rapid success. To his in-
fluence was owing the admirable lectures which have lately been de
livered by professors of various departments of science. He was a skilful
microscopist, and excelled in the production of photographic enlarge-
ments of bacilli and similar objects. He was professionally connected
with the Eoyal College of Veterinary Surgeons, to which he came from
the laboratory of the Eoyal College of Surgeons, Edinburgh. He was a
genial, talented man, and will be much missed. He was lately seized
with influenza, on which pneumonia was said to have been grafted. He
died on tlie 20th inst., at his residence in Hornsey, N.
OONTBMTB.
Faok
printing-papers without gloss.. S25
THE wet-collodion PROCESS 620
photometers FOR USE IN PRISI-
INO.-II 827
BRISTOL INTERNATIONAL PHOTO-
GRAPHIC EXHIBITION.-II 829
ON A SYSTEM OF MEASURING AND
NUMBERING THE STOPS OF PHOTO-
GRAPHIC LENSES. By DR. PAUL
RUDOLPH S30
A PROFESSIONAL TO PROFES-
SIGNALS. By JOHN STUART 832
ANOTHER PHOTOGRAPHIC PLAY-
GROUND : THE TRANSYLVANIAN
ALPS. By MAURICE DE DECHY.... 882
Page
WINTER WOES AND THEIR REME-
DIES. By C. BR.ANGWIN BARNES.... 8,S.S
ON THE PHOTOGRAPHY OF THE
LUMINOUS RAYS OF THE SHORTEST
WAVE-LENGTHS. By VICTOR SCHU-
MANN 8«S
THE NO. 2 FRENA FOR QUARTER-
PLATES 836
OUR EDITORIAL TABLB 8*3
NEWS AND NOTES 837
MEETINGS OP SOCIETIES 837
FORTHCOMING EXHIBITION S3S
CORRESPONDENCE SSa
ANSWERS 10 00BRESP0NDKNI3 810
MONTHLY SUPPLEMENl
To TME " British Journal or Photography."]
[Ja'iiiarji 6, 1893
THE LANTERN RECORD.
CONTENTS.
Pao«
THE WLCTION OK OXTOE JJ S5
I.AMTERS NOTES AND NEWS ^.^
PRINTINll COI.I.OMHS TRANS.
PARKNCIKS HV CONTACT. By W. B.
DOI.TON ai
I.ANTKUN MEMS. By O. R. BAKER.... 27
ON THE VENTILATION OF OPTICAL
LANTERNS. By T. N. ARM8TR0N0 .. 87
ETHER SATL'RATORS. By F. E. IVES . ilS
CHARITABLE LANTERN ENTERTAIN.
MEMT SOCIEIt 18
MB. W. I. CHADWCK ON "LANTRRn""
EXPERIMENTS" ffi
A VARNISH FOR COLLODION LAN.
TKIIN SLIDES S9
LANTERN SLIDES BY THE WET'
COLLODION PROCESS. By J. P.
STEVENS S9
RECENT NOVELTIES IN LANTERN
APPARATUS 81
LANTERN . SLIDE MAKING IN KOO-
CHOW ,1
RHIPPING ON THE SCREEN la
LAMTEBN QUERIES ss
THE DILUTION OF OXYGEN.
The suggestion from a correspondent, as given in a communica*
tion to the No.vember " Lantern Supplement " that oxygen under
pressure, whether in cylinders or in the gas-manufacturers'
holders, deteriorates so that it becomes " little more than
atmospheric air," met, as it was only reasonable to anticipate it
would, with several rejoinders pointing out the extreme unlike-
lihood, if not impossibility, of any such deterioration taking
place. A little reflection indeed must show that, were com-
pretwed oxygen likely to be changed, under pressure, very
largely into nitrogen — -for that is the extraordinary reaction
which our correspondent implies takes place — the retailing of
compressed oxygen, to say nothing of its employment for
illuminating purposes, would be entirely out of the question.
As to any " corrosive influence " being at work on account of
the gas being kept for a considerable length of time in the
cylinder, we can recall no experiences either of our own or of
our correspondents bearing out such a theory. Possibly our
correspondent waa confusing oxygen with coal gas, the latter
undoubtedly when kept for several months in the cylinder
being sometimes liable to react on the metal to form various
compounds which have a detrimental eff'ect on the lime and
the quality of the illuminant. But even this is, we believe,
largely governed by the qualities of the hydrogen, tolerably
pure varieties of the latter, that is, free from a large excess of
hydro-carbons, keeping on the whole very well indeed.
There seems little room for doubt, however, that of the
varieties of commercial oxygen now available, some kinds are
less pure than others, that is, they are more or less diluted
with nitrogen beyond the theoretical standard of five or six per
cent. Nitrogen has been termed in this connexion an " inert "
gas, but this is an obvious misnomer when it is present in
large quantities, inasmuch as in the measure of the amount of
nitrogen present so is the illuminating power of the oxy-
hydrogeu light decreased. ( )ther considerations of an economic
nature will also serve to establish the fact, that nitrogen in
large quantitius is the reverse of inert in a mixture supposed to
consist of practically pure oxygen.
This subject of the dilution of oxygen and its consequent
effects in lantern work has recently received attention in
several quarters. The results of some experiments mentioned
by Mr. Grundy of the Royal Naval College, Greenwich at a
meeting of the I.K)ndon and Provincial Photographic Association,
quite bear out the experience of many who have found com-
mercial oxygens vary in purity. That gentleman stated that
he had recently analysed a sample, and found that it contained
nearly forty-five per cent, of nitrogen; others had up to fifteen
per cent., while another of a special make only contained about
eight per cent. In no case had he been able to obtain so low
a |)ercentage of nitrogen as five.
If Mr. Grundy's results are typical of the qualities of com-
mercial oxygens in use by lanternists, it is highly desirable that
some simple means of ascertaining the purity of the gases with
which they are working should be placed within their reach.
Such a test should be one which those comparatively ignorant
of chemistry and physics should be able to apply ; and such a
one is that, we conceive, which was promised by Mr. A. Haddon
to be given at a future meeting of the Association. Tests of
the kind doubtless already exist, but we shall not anticipate
Mr. Haddon's promised method, which we are sure will \>q
simplicity itself, and therefore welcome to all lanternists.
LANTERN NOTES AND NEWS.
Advkbtin» to our remarks of last month as to the utiliuri&n
applications of the lantern in practical photography, a recent lantern
night of the London and Provincial Photographic Association sup-
plied an apt illustration of our meaning. At that meeting, among
the slides shown, were several by Mr. H. E. Davis, which exhibited
the peculiarities of the amidol developer in various modifications, as
expounded by that gentleman in the course of his able article on the
subject in the Almanac just published.
• • • • •
In the same 'connexion it will be remembered wu spoke of the
practicability of projecting upon the screen the negative image while
undergoing the process of retouchiii(f, in order that an audience mijrht
gain some idea of the retoucher's method, especially in regard to the
kind of strokes employed to produce various effects. When thus
writing we had overlooked the fact that recently partly the same end
had been secured in another way, namely, by the projection of un-
touched images upon cartridge-paper screens, the retouching upon the
projected images being accomplished by a stick of charcoal.
• • • • •
Onb of the demkrata of the lantern which we anticipate will be
generally called for in the future will doubtless be the means of obtain-
ing a uniform standard light ; so that, given the focus of the objective
and similarity of screens, it would be possible for different audiencea
to see the same set of slides under practically identical cgnditions. At
present this is not often practicable ; indeed, as is well known, the
character of the light exercises such a remarkable influence over the
quality of the pictures shown on the screen, that it i.s no uncommon
thing for a set of slides to be well received when shown by means of
one lantern, and to be quite otherwise regarded when exhibited in
26
tilE BRlTlSii JOUiiNAL OP PHOTOGRAPHY.
[Supplement, January 6, 1833
another, although, possibly, the conditions of light, condenser, and
screen are considered to be tolerably tiniform in both cases. Irregularity
of illumination is far, from being unknown, even in double lanterns.
A method of standardising lantern illuminants would be welcbmed by
all slide-m alters.
. » • » *
Thb slides, prepared by the' Devon and Cornwall Camera Club, of
Plymouth and its environs, where the Photographic Convention of
the United Kingdom is to foregather next summer, are to be sliown
this week before. the members of the Photographic Seijtion of;the
C^pydon* Microscopical Society. AVe trust that they will go the
round of the principal London and country societies. Would it not
be a politic move to send them up to one or two of the Glasgow and
Edinburgh societies, in order, if po3sible,-to render nugatory Mr.
William Lang's dismal forecast of the number of Scotchmen likely to
come south to the Convention ?
Wk publish in another part of the Supplement the first report of
the Charitable Lantern Society which, during the months of November
arid December, has given a series of lantern entertainments to the'
inmates of several London hospitals. We gather that those enter-
tAinments were highly appreciated, and we applaud the. Society in its
kindly mission. It appears, however, that its operations are somewhat
restricted by the lack of a sufficiency of apparatus and helpers, for
which and to whom we venture to appeal on its behalf. We are con-
fident that many of our readers will h-t glad to help in the good work,
and we ask them to send either offerings of lanterns, fittings, gas
bottles, or slides, or of their services, to the Hon. Secretaries, Mr. B.
Foulkes- Winks, 2 Pretoria-avenue, AValtliamstow, and Mr. F.
Simmons, 168 Frances-terrace, Heme Hill, S.E.
PRINTING COLLODION TRANSPARENCIES BY CONTACT.
To many of the users of collodion plates for transparencies and lantern
slides the extreme tenderness of the film presents considerable diffi-
culties, owing to the ready manner in which it suffers mechanical
injury. This is more especially the case where contact printing is
adopted, although, even when used in the camera, these films are
liable to suffer from carelessness arising out of our modft'n'familiarity
wjth the tougher gelatine surface. But to the ;Collodion ^vorkers of
anything over a , dozen years ago this deUcacy of surface gave no
trouble, since they were prepared for it, and consequently took the
necessary precautions. A few hints as to the best modes of avoiding
the danger may not be out of place, and may be specially useful to
makers of lantern slides at the present season.
The injury that takes place in the printing frame is of a twofold
nature ; it may ari-e either from over-pressure, or from abrasion, or
rubbing of the two surfaces together while in contact. ^This distinc-
tion may teem a trivial one, but it is not really so, for the precautions
that will prove effective in the one case will not necessarily do so in
the other. The methods of combating the trouble may also be divided
into two classes, chemical and mechanical, the former being only
available to those who prepare their own plates. This side of the
question I will take first. ' '
The most obvious way out of the' difficulty is to render the film
harder and tougher; but, of course, this can only be done in tlie
course of the preparation of the plate or of the emulsion. Those who
prepare their own emulsions may often confer a certain amount of
additional toughness on the film by a careful selection of pyroxjline;
but, as modem samples of a suitable kind are go few and far between,
it i» scarcely worth while trusting to that'plan. But, by the use of a
protective material, either added to the emulsion or applied to the
turface of the film, a degree of hardness may be secured which, if it
is not equal to that of gelatine, is at least quite sufficient to save the
plates from injury under anything like ordinary treatment.
To my own knowledge there are many amateurs who still continue
to use unwashed emulsion for transparency purposes, for which it has
many advantages that the washed emulsion does not possess,
nmongst them being the possibility of applying a protective or pre-
•er.-stlTe coating such as I have alluded to. This need not interfere
in any way with the general character of the emulsim, or affect its
working in the slightest degree ; it is not, in fact, a " pieservative " in
the. sense in which the term used to be employed, i.r., a substance
•which, while it kept the pores of the collodion open and permeable
'to Tin aqueous developer, as well as to a less degree " preserving " the
sensitive film from atmospheric influences, had usually also a more or
less important action upon the working of the sensitive material. In
our present case we require no such chemical action, as the emulsion,
60 far as its working properties are concerned, should be complete in
itself, the preservative consisting of a substance practically inert
chemically, but forming aVarnish-like coating on the surface of the
collodion.
-- Of- the materials applic.ible to this purpose only two or three need
be mentioned, though manv of the old preservatives may be used.
Tannin may be taken first, as this, while forming a protective coaling,
may also have an appreciable'or even a very decided action upon the
sensitiveness of the emulsion, as well as upon the colour of the image.
:For this reason it may be in some cases objectionable. For the
benefit of those who decide to use it, I may say that the strength of
solution should be fifteen grains to the ounce of water, and the same
quantity of best EnijUshAoa.i sugar may be added with advantage.
The solution must be perfectly clear and bright before use, and as
even nowadays a sample 'of tannin is occasionally met with that will
not filte'r bright,"an'd only becomes .so after many days' keeping, I may
add a rapid method of clearing the solution.
This consists in adding to the tannin solution a small quantity —
say, from one to two drachms to each pint — of albumen previously
mixed with its own volume of water, and shaking the whole
vigorously for a minute or so in a bottle of much larger capacity than
the quantity of liquid. Upon allowing this to settle, the coagulated
albumen will carry down with it all the turbidity; or the solution
may be at once filtered, and will pass perfectly clear and'bright.
The b3-it preservative, however, in my own opinion, is albumen,
because, while it is practically without influence on the working of
the emuUion, it gives a beautifully hard coating, which is easily
removed in the'cour.^o of development owing to its solubility in water,
and especially in alkaline solutions. The strength of the solution may
he about one to.three or four, or say the whites of four eggs made up
to a pint with 'water. The method of mix'ing is important in oi'der
to obtain a clear solution. If thj eggs be beaten an 1 then diluted, the
solution will' b).pf an opalescent character, with a quantity of
fibrinous particltjslield in suspension. The latter may be filtered out,
but the turbidity will only disappear after many days' keeping, when
the solution will have lost some of its value as a protective agent.
If, however, ten or fifteen drops of ammonia be added to the
albumen in a capacious jar or glass measure, and the requisite quantity
of water be added, and then gently stirred until the whole is
thoroughly mixed, the solution may \r^ , at once filtered througli
bibulous paper, and will pass perfectly clear and bright and ready for
immediate use.
Gelatine may be used instead of albumen if preferred, and will be
cheaper, but it is not so easily removed, if that be a desirable pcint,
as 1 think it should ; and it requires to be applied hot, the plates
being warmed also. Any good white gelatine may be used, and the
strength should be about ten grains to the ounce of water, very care-
fiiUy filtered before use. ,
Any of these solutions may be applied to the plate after the soluble
nitrates have been thoroughly removed by washing, a small qmintity
being first' flowed over the surface, and thrown away or returned 1 1 a
separate vessel to be refiltered ; a second quantity should then be
poured on and allowed to remain for about half a minute, when it is
poured off, to be refiltered before being again usikI, and the plate
reared up on edge to dry. In the case of gelatine, the solution itsdf
should be warm, 'and the plate, just before its application, should
bo dipped for a moment into a vessel of hot water in order to avoid
chilling the gelatine, which would conduce to irregularity of coating.
I anticipate, however, that the great majority of those who ]>repare
their own plates — even of those who make the emulsions themselves —
use the washed emulsion, the convenience of which is undoubted.
Here the preserviitive solution is useless, although the application of
the preservative is still possible by dissolving it in the emuUiou itself..
If the latter is in perfect condition, there need bo no fear of injming
Supplement, January 6, 1803]
THE BRITISH JOUKNAL OF PHOTOaUAPiry.
its working properties or of materially affecting the character of the
re)<ult8. In yuars gone by preservatives, or "organifiera," were com-
monly added to washed emulsions, in the vain hope of imparting
qualitipg they did not originally possess, but the advantages of
«uch additions, or any change of a chemical nature they produced,
were, I fancy, more imaginary than real Their mechanical action'
however, cannot be disputed ; in fact, it is a very easy matter to
overdo the thing and render the films so hard that tljey will not
develop.
Hero, again, tannin proves a useful agent where but a slight
hardening of the film is required, and it will he found also a most
convenient one on account of its ready solubility both in the collodion
and in water. It may be added to the emulsion in the proportion of
from three to five grains to each ounce. Though before solution it
presents a powdery and somewhat crystalline appearance, it dries up
to a smooth varnish-like film, and gives to the collodion surface a
hardness it does not possess alone.
Balsam of tolu is another useful addition for the same purpose, and
in the same proportion as tannin. It gives greater hardnes-s, but it is
far less easily soluble, and consequently renders a longer application
of alcohol to the film before development absolutely necessary. The
alcohol, too, may with advantage he used undiluted, instead of mixed
with water. This point attended to, no trouble will be experienced
from want of penetration of the developeC W. B. Bolton.
LANTERN MEMS.
TiinnK is so much already known about tbo optical lantern and its
manipulation, that it is difficult to give information that shall bo of
service to the " old hand " at operating; at the same time, many who
are not au fait may find, now and then, a hint in these paragraphs
that are useful. They are, as a rule, the results of queries asked by
lanternistii during the month, or items of novelty or interest.
• • • • •
A PorrLAn error, or one I have found to exist in several instances
when compressed gas and automatic regulators have been used, is to
leave the taps of jets turned on, as one did when the gas was used
direct from the cylinder, and regulate the light by the screw valve of
the cylinder. This plan is altogether wrong, for it neutralises the
■value of tlie regulator. The course to adopt is exactly the same as if
the large gas-bags of old were employed, viz., to have all taps of
apparatus turned off, then turn on the valve of cylinders (half a turn
or so), and turn on the hydrogen tap a little, light it, and after lime
cylinder is warm turn on the oxygen slowly, then more hydrogen,
and again more oxj'gen alternately, until the best light is obtained
without hissing or roaring.
• « « « •
Thb conditions in respect of the use of compressed gases from
cylinders and that from bags is so opposite, that the jets constructed
for the latter are not nearly so good as the modern ones for the com-
pressed gas system. With bags, the key-note of experts was, "A
free way,'' without obstruction of any kind, in the jots, pipes, or india-
rubber tubing, which was preferred large. Now it is found necessary
to interpose something in the mixing chamber of jets that shall cause
the gase^ to intermingle, and so either alternate discs and gauze, or
particles of pumice, are fitted under the nozzle, so as to stop back or
check the flow for the nioment, to ensure proper mixing.
• • • • •
This will be understood when the difference of working pressure is
considered, for the maximum with the bags usually represented ten or
twelve incb«aof water pressure, while that from the regulator or gas
cylinder is about thirty-six inches of water pressure. As this extra
pressure, pioperly utilised, means an increased light, it is natural that
operators should desire to avail themselves of it. A jet with a good
mixing chamber and coned nozzle, or one with a long, swan-like neck,
can be used with a larger nipple without noise, and consequently •
better light obtained.
• * • • *
Thb incandescent " focus " electric light lamps have now been in |
operation four years, and I recently heard from one professor who i
flndi this gystem of demonstration so satisfactory that for ordiury
class work he never thinka of uAng any other wiurcu of light for bk
optical lantern ; and, moreover, whore the electric light i» laid on,
and only ordinary pbotographi or temporarily prepared traniparent
diagrams or formula) required to be shown, it is quite powerful enough,
requires no special' attention aft«r once setting, and the light is
switched on and off the lantern, or the class room darkened or
lighted at will.
• . • • • •
When one reflects how readily the whole system of electric lighting
is controlled in such places as the Uoyal Institution, the Society of
Arts, and our largo theatres, one can only hope that the day will
soon come when the generation and distribution of electricity will
enable every private householder to take advantage of the current at
no greater cost to himself than the same amount of, iUmnination
derived from gas now costs. '■- ' > /
A LiTTLB bird whispers there is lo be a new and siihpla arc lamp
placed on the market shortly that will answer nearly as 4rell, if not
quite, for all lantern purposes, as the comparatively expensive odm
that have, during the past few years, proved successful in the higher
class of optical projections.
• • • • -•'■•-
Thosk who saw and were delighted with Muybridge's Zoopraxiscope
should not fail to "'put a penny in the slot "of the machines at the
Electric Wonder Exhibition in the Strand, near Bedford-street. The
remarkably natural movements of the various figures showing ladiea
dancing, horses jumping, men vaulting, cavalrymen trotting^ infantry
marching, &c., as seen visually through an eyepiece (in some cases
aided by magnifying lenses), only makes one desire more to see this
principle of Anschiitz's Taehy.scopo developed so as to be optically
projected on a large scale.
« « « • •
Thbbb is, no doubt, a splendid field open to photographers and
lanternists in the way of perpetuating and reproducing lifelike move-
ments, and, if our scientific men and mechanicians set tlieir brains
and jhands to work, possibly before very long, an instrument will be
designed and constructed that can be used in the ordinary optical lantern
to show photographic moving figures, to tho delight of the audience
far in excess of tliat created by the old zoetrope, or wheel of life, and
the chorentoscope, which, however, are both pleasing and interesting
still in their way. «■
• • * • •
Thb modified form of zoetrope has some of the designs from life,
and being reproduced on a film instead of glass are not likely to
break. The necessity of photographing these figures small, on ac<rount
of the number to be included in the three-inch circle, renders them a
little le.s3 effective perhaps than if they could be larger, but they are,
nevertheless, very entertaining ; besides which, the mechanical slide
and designs are sold at a moderate price. If one could pn>s<>rvo the
successive motions of the figure moving with about half the num^r
of separate reproductions of the design, they could then be larger,
for now there are something like twenty-four figures of, for instance,
the boarhound running, to illustrate the movement in its entirety,
and showing apparent progression.
• • • • •
SoMETTiixa on Mr. Muybridge's plan would do capitally, for ha
could alter it at will by the slotted disc used witii tho disc having on
it tho photographic designs, and make the figures apparently progress
or go through tlieir movements in one position, or make a retrograde
movement by having a similar number of sluts to designs, or one
more or one less. If Mr. Muybridge could now see his way to let
some good house in the optical world reproduce his patent apparatus,
I feel sure it would not only develop a new field of work for photo-
graphers, but also make a distinct novelty for many entertainers.
0. K. Bakriu
ON THE VENTILATION OF OPTICAL LANTERNS.
Pkhhaps at no former time has the optical lantern been so largely
taken advantage of for tho purpose of illustrating lectures as at nre-
sent. The extraordinary increase of Iphotographic societies has
2S
THE BRITESII JOURNAL OF PHOTOGRAPHY.
[Supplement, January G, 1893
hmiiffl t out so many amateur lecturers in nearly all large towns and
cities, until it may bs said they are as plentiful as blackberries. With
this addition has come some new features in the way of lecturing, or,
as some choose to term it, lantern entertainments.
For a long time it was generally eonsid-^red that the proper duration
of time for a lecture or entertainment to occupy was from one hour to
one hour and a half, less than this beinofi looked upon as insufficient to
satisfy an e.vacting audience ; while, if the longer period was ex-
ceeded, the audience began to tire, and show signs of impatience on
the score of having too much of a good thing. To fill up such a period
of time, a subject embracing somewhere from sixty to eighty slides
was considered sufficient in the way of illustrating a lectur.^, so as to
permit of a well-arranged description to each representation, or slide
shown. With such a number of pictures to put tlirougb a lamp in such
a space of time, and working into the hands, or to the call of a lecturer
of experience (who knows how essential to success it is to frame his
remarks so as to give a convenient time on each slide), an operator
u-ed to find the manipulation of a biunial lamp a work of pleasure,
and had no difficulty to dissolve, off and on from top to bottom.
Somewhat recently however, out of the ranks of so many amateurs
who consider they know all about lecturing and the working of a
lamp, " but who, in reality, would cut a sorry figure were they called
upon to officiate at the jets," has sprung up a number of those who
entirely ignore the necessity of giving an operator a sufficiency of
time on each slide before they call for the ne.xt ; and hence it is now
by no means an uncommon occurrence to find lectures em'bracing a
series of two hundred slides over a space of close on two hours'
duration.
The outcome of this is that a new method of working a double
lamp has come into vogue, and now, instead of the old practice of a
somewhat slow method of dissolving, it has become necessary by expe-
rienced operators to resort to the expediency of keeping both lamps
full on, and making the change from one picture to another by means
of the hand and the cap of the lens, the hand being slowly moved
across the lamp that is showing, and finally blinding off by placing the
cap on the lens. By this means a great many slides can be run through
a double lamp in the course of an hour and a half or two hours. Of.
course, the method means the consumption of a miich larger quantity
of ^^as, but nowadays it is cheap, and an extra quantity is seldom
(fTudged. The method works exceedingly well where a large number
of pictures have to be shown ; but it has one great drawback, viz., the
excessive heat generated by both jets burning full on simultaneously
for such a great length of time, and therefore, in cour.-e of a short
period, a lamp of the modern type gets pretty well knocked up, not
to speak of the damage to condensers and slides.
Opticians, as a rule, are never slow at keeping pace with the times,
and, in the near future, we are likely to see more attention paid to
the ventilation of biunial lamps, for that much may be done in the
way of causing a continuous How of air to pass in and out of a lamp
when being so used is already a. fait accompli.
Quite recently I had tlie pleasure of inspecting a lamp on the
premises of that veteran optician, Mr. M. Edwards, of 20:), Sauchie-
hall-street, Glasgow, so long the senior partner of the business
firm of James White. In this matter Mr. Edwards is likely
to be the pioneer of a new system of ventilating optical lanterns.
Being anxious to test personally the efficiency of the ventilating
arrangements as appUed to this lantern, Mr. Hassard, the manager
of the firm, at once placed the lamp at my disposal, and made
the fullest arrangements for a severe |test. I have seen this
lamp burning two blow-through jets continuously for two hours
straight away, and at no time could it be said that the heat was
excessive, but, on the contrary, showed a marked improvement over
the common form of lamps. Mr. Hassard speaks in glowing terms of
the comfort of working with such as against his experience with what
he terms other furnaces.
In outward appearance and size this lamp differs but slightly in .
form from an ordinary biunial lantern ; it is supplied with doors at '
both sides, and the top compartment is entirely separated from the
bottom by means of a metal plate, which cuts the lamps into two
cbainbers, i.e., a metal plate divides the lantern in the centre. The
ventilation is derived by the insertion of gutters running the entire
length of the lamp. These gutters are light tight, but the bottom one
takes in air, and by the top one passes it out in a heated form.
The top gutter on the bottom lamp is placed just below the
dividing plate, and the heated air from the bottom jet is thus carried
away outside the lamp, and never gets into the top lamp at all. Any
one placing the palm of the hand up'sgainst the outside of this gutter
would be surprised to feel the amount of heated air which is thrown
out by means of it.
Immediately above the dividing 'plate 'of the top lamp is a similar
intake gutter, and tliis is constantly taking in cool air, tending in a
wonderful degree to keep the top lamp cool, the lieated air passing
out by another gutter and by the ordinary top of the lamp.
This arrangement works most admirably, and seems a distinct step,
in advance in the matter of ventilating optical lanterns.
T. N. AnMSTnoNQ.
ETHER SATURATORS.
Mo. E. PuHTOx who, in a letter published on page 24 of the Lantern
Si'PPLKMENT for December 2, speaks of ''snapping and hissing" as
" troubles with which all usefs ot the ether light are, unfortunately,
only too conversant," and describes a single tulje saturator as an iui'
provement upon forms in use, may be informed that a single tube
saturator, the construction of which I p.itented five years ago, was
used in illustrating all of the lectures at the Frankhii Institute for
two yeais, during which time not a .single '• snap" occurred, aiid the
smoothness and reliability of tlie light was so remarkable that the
lantern service received special official commendation. ^^ ■
The g.as pasi-age in the instrument described by Mr. Purton is nq
longer than would be possible with my own much simpler construc-
tion in a tube of the same diameter and is therefore distinctly:
retrograde, because more complicated and expensive. The absence of
means for removing the filling to dry it out occasionally is also a fatal
defect if anything but purified light petroleum ether is to be used in
it. F. E. Ives.
.^
CHABITABLE LANTERN ENTERTAINMENT SOCIETY.
This Society, which was inaugurated last October for the purpose of
giving free lantern entertainmeats to the inmates of our hospitals and
similar institutions, his recently given entartainments at the following
London hospitals : — ' i - .
November 13, Temperance Hospital, Hampstead-road, N.W. (Women's
Ward; Men's Ward). November 26, Victoria Hospital for Children,
Chelsea (Girls' Ward). November 30, North East London Hospital for
Children, Hackney. December 3, Victoria Hospital 'for; Children (Boys'
Ward). December 9, Children's Hospital, Great Ormondstreet. Decem-
ber 12, Paddington Infirmary (Female Ward). December 15, North
East Hospital for Children. • ■ • •
In every case the entertiinments were very successful and much ap-
preciated, a request for another "show" later on usually following the
conclusion of each. As a rule a little music is given between the different
sets of slides. The society gives, thus early in its career, two to four
entertainments each week at London hospitals, and has dates fixed for
infirrairies and ragged schools, and it is intended to generally extend the
scheme in simiUr directions, but at present it is somewhat hampered in
iis work owing to lack of sufficient apparatus and workers. Two biunial
lantsrns and fittings and oxygen gas bottles are urgently needed, 'as'
well as slides. . i . i . , . i .■ .
In laying this first report of the Society before the pubUo it is hoped'
that those readers who sympathise with the objects of thte SoCi'jty will'do
what they can to assist it, either by becoming members or. making. a'
donation to the fund^, or by {he gift Qf appar^itus, or j,he loan of slides.
The joint secretaries are : Mr. B. Foulkes Winks, 2, Pfetoria:ayeni»e,
Walthamstow; and Mr. F. Simmons, 158, Frances-terrace, Herne"-liUl ■
Hill, S.E., to either of whom communioalions should be addressed. ' ,' ' ' *
MR. W. L CHADWICK ON " LANTERN EXPEBIMENTS.'
Before the South Manchester Photographic . Society, ' on Monday,
December 26th, Mr. Chadwiek read a piper and gave a demonstration 'of
the capabilities of the optical lantern, wuich instrument, Mir. Chadwiek
said, was now recognised by all science teachers as one of the most
valuable at their command. But, of the'thousands possessed by amateurs '
for private and home use, few. were ever u^ed ior any otlier purpose than
showing slides on a screen. "We miy entertain our friends at homo
with a miscellaneous collection of slides— holiday, reminiscences, or
wanderings ia a foxeigtj laud — and when our store of elides has been
exhausted there are ssores of thousands of others to be obtained by pur-
chase or hire. Indeed, so many are there, of all places and all subjects,
that it is not surprising to hear of people becoming confused with the
variety when looking through some trader's catilogues, and in not a few
cases people had been known to become quite demoralised in their
selection, and to finally decide upon, say, five or six dozen comic slides.
A llAGOED-scnooL Enterhinment.
'.' Not ^ety long ago the superintendent of a ragged school called upon
Supplement, January 6, 1693]
THE BHITI8H JOURNAt. OF I'lIOTOOUAI'Il Y,
VI
me, an<I I promised to give a lantern oxbibition at his school. We liad
■ome talk about the olasH of andienci' and the nature of the entertaio-
Diont. 'Bring plenty of comio sUdes, something to lau^h at,' said he.
Uut I had my own ideas about that, and persuaded him to leave the
selection to me. Wlien the time arrived I found that my audicnoe oon-
fistod of about 300 to JOO boys and girls, from twelve to twenty yean of
age. I told the superintendent and some of hia committee who were
present that I intended to test the taste of the boys and girls, and to
educate them, if possible, to a higher standard, and I stirted with ' Half
an Hour at the Seaside,' a popular scientific lecture.
" ' Half an Hoi;r at the Seaside."
" The slides were very pretty pictures, and I talked to them about the
seashore, the clouds, and the sky, the salt water and the seaweeds, the
pebbles and the shells, cockles, mussels, the crab and shrimp, and so on -
and then we went to sea in a fishing smack, and, after landing our fish,
we saw it being sold by luction at Grimsby Docks, then packed in boxes, and
finally we found ourselves at the Manchester Wholesale Fish Market. I
then told ray audience that the next few pictures would speak for them-
selves. They were of two distinct kinds, and would be shown two of each
kind together alternately. The first two were most beautiful photographs
of snow and frost, the second two comic pictures, followed by two statuary
slides, and then came two more comio, some things to laugh at, but
nobody did laugh. I further explained that they could have plenty of
either kind, and it via,) for them to say which they liked best, the pretty
pictures or the comic. They decided by an overwhelming and almost
deafening majority in favour of the pretty pictures and ' more seaside.'
" 'More Seaside."
" Then I gave ' Dick's Dive in a Duck-pond,' and concladed the exhibi-
tion with a few photographs of trotting horses and other animals in
motion, shown by a wheel-of-life adapted to the lantern, and I have
every reason to remember that audience as a moat appreciative one.
When all was over I asked the Superintendent what he thought. Here,
I said, I have given two short scientific lectnres, shown over eighty
scientific slides, and only six comio slides, which latter were not appre-
ciated. Now this is a lesson that might be carried away in hundreds of
cases. Science need not be dry, nor uninteresting, nor diSicuU to under-
stand. On the contrary, it could by aid of the lantern, be made a source
of endless entertainment and instruction, and the lantern, when properly
constructed, lends itself to almost every branch of science. I5y it experi-
ments and demonstrations to our friends at home may be conducted
with far less expenditure in apptratus and material than by any other
method. It would be out of the scope of the present communication to
enumerate the home experiments that may be performed even with an
oil-burning lantern and a few accessories that are easily made or pur-
chased for a few shillings.
Books on Optical Pbojeciion-.
" Bat, How to begin ? Well, there are plenty ol books published on the
subject of optical projection, and a new one, just published. Sunshine, by
Amy Johnson, L.L..\., F.R.A.S., is a delightful lantern book, comprising
a series of about forty popnlar experimental lectures on science delivered
to young people, with special considerations for optical projections.
Indeed, there is a section of the book devoted to lantern projection, with
practical hints and home experiments. Another charming little book is
Soap lliibbUs and the t'liires whkU ilaiild them, by Prafessor 0. V. Boys,
F.U.S. This book also contains a section of practical bints to the
lanternist for making and projecting those interesting and fascinating
playthings of our boyhood, soap bubbles. The author alio describes
other experiments, ' so wonderful and yet so simple that, if they had
been performed a few hundred years ago, the ra»h person who showed
them might have run a seiious ri^k of being burnt alive.' Lastly, Science
lit Home, a pamphlet by the late W. B. Woodbury, is recommended as
containing a number of beautiful lantern expmments, all of which may
be cisily psrforraed in our own family circles by the merest tyro.
The Ijaktebn Itself.
" Respecting the lantern itself, much might be s»id in favour of lime-
light, though for home use a good oil lamp— one that does not smell or
burn like a roaring furnace — is very convenient, and answers most
purposes if the screen be not too large. A good opaiiae screen, about
four feet six inches square, was generally large enough for home use with
an oil lamp ; but in a large room— still using the oil lamp— a translucent
screen of about the same size would be better ; and it might be worth
while to mention that only a few days ag i a most successful exhibition
was given to an audience of over 200 people on such a screen— three feet '.
sis inches square— with an oil lamp, and it will be seen that had the '
pictures been projected to seven feet by the urns laminant, the iltanioa-
tion would only liavo been one-fourth, because Mven feet square i* fonr
times the area of three (e«t six inohas. By using compresHed ojtygan in
cylinders, as now supplied oommercially, tliero is practically no dangrr
in using the limelight, and it might truly ba said to b« m safe, or t$itt,
than a paraHln lamp."
VAriUifS KXI'XIIIMKMTM.
Mr. Chadwick then proceeded to exhibit a number of experimenla. A
wire stand was made to support a thin metal plate in a horizontal posi-
tion (edgeways to the oondenser), and under it was placed a spirit lamp.
In a few seconds the plats becinn quite hot, and then a single drop o;
water was allowed tu fall upon th; h'>t plats. The drop of water at once
assumed the spheroidal form, and on the screen it could be seen sepsrated
from the plate by a film of vapsur. The spirit Ump was now remored,
and as the plate coaled the drop of water birst into steam and was gone.
This beautiful experiment illustrated a freq>ient cause of steam boiler
explosions. From suddenly letting oft steam the wa'.er in the boiler
assumes the spheroidal form, and a thin film separates the water from
the boiler, which latter rapidly heats. The engine-driver or the fireman,
thinking his water is getting low, pumps in cold water. He ihas cools the
boiler, destroys the spheroidal form, an<l the accumulated heat, inddenly
converted into steam, bursts the boiler. A long focus lens is best for
showing this experiment. The same experiment is often seen in the
kitchen, when cold water is put into a hot frying-pin, and the water mns
about in 'blobs.' This was followed by experiments illustrating the
retention of images on the retina by pieces of perforated card placed in
the lantern. White spoti were seen on a dark screen. After a minute
the light from the lantern was shut off, and the screen dimly lighted
from a gas bracket in the room. The audience saw the spots now
reversed and quite black on a whit^ screen. When a photographic
negative of a portrait was projected on the white screen and looked at for
a minute, the portrait was not always recognisable, but directly the light
was shut o9 the image was ' seen ' as a positive and at once recognised
As some one once said, ' You see it when you don't see it, and then you
do.' A number of experiments in colour were next performed, producing
the complementaries, followed by some most interesting optical, chemical
cohesion, and adhesion experiments. By what is known as the vertical
attachment applied to a lantern other experiments were produced, in-
cluding the motion of cimphor upon the surf kce of water. A number of
thin shavings of camphor were delivered to the water surface and pro-
jected on the screen, when they were seen, much magnified, rotating and
twirling about in manner extremely interesting, but not unaccountable,
for the motions of camphor are now well understovl by scientists. It
was also shown that camphor was not the only substance that produced
similar motions under simitar conditions. The lecture was brought to a
close byja number of ingenious mechanical arrangements. A chameleon
was made to show changes of colour ; primary calours produced white
light ; and, by a wheel of life adapted to the lantern, the motions of
trotting horses, birds on the wing, and other animals in motion were
shown upon the screen.
A VARNISH FOR COLLODION LANTERN SLIDES.
A CORHESPONDENT Writes : I have been making a series of experiments
to find out the best varnish for collodion lantern slides. I have tried
nearly all the published formulae, including Mr. Armstrong's acetic soln-
tion of gelatine, but the liest one which I have used is as follows :^
Tunny's impervious varnish 1} ounce.
(This is a saturated solution of amber in
chloroform.)
Pure benzol IJ „
Gum damar ^ „
When dissolved, to be filtered through cotton wool.
This varnish runs on the plate as freely as collodion does, without the
tendency to coat your fingers and back of tlie plates like most other
Tarnishes which I have tried. It dries hard with a gentle heat, and is
not tacky, and it renders the film quite bright and glass-like.
«
LANTERN SLIDES BY THE WET-COLLODION PROCESS.
(Holbom Camera Club.)
Processes for the production of lantern transparencies are almost as
numerous and varied as thove for positive paper prints.
When we come tu reckon up the various adaptations of collodion, with
the bath and in emulsion, with the numerous variations in gelatine (as in
80
THE BRITISH JOURNAL OF PHOTOGRAPH Y.
[Supplement, January 6, 1893
commercial lantern plates, carbon tissue), and the photo-mechanica
methods (as in Woodbury and Stannotype), even setting aside these latter
processes which, owing to their mechanical element, are beyond the
ordinary worker's capacity— disregarding these, we miy safely assart that
there is as great a field for choice of process as in paper printing.
It is not my intention to-niglit to op^n a disoussiDu on the merits Or
demerits of either one of these processes as ompared with another, but I
shall endeavour to demon-trate one of them here before you— a process
that his stood that most severe of all tests, the test of time, one whieh,
as I will endeavour to show you, cm hi midj to something like answer
to the will of the operator. It is the wet-coUodion process, pure and
simple.
Perhaps you may say, Not much of the latter ; but I certainly think
that, with reasonable and proper care taken in the various operations,
and a fair knowledge as to the properties of the chemicals employed, it
will be found simple enough ; and, as to the quality of results obtainable
by its aid, I don't think much need be said, for the characteristic qualities
of a good collodion slide are familiar to most of you, qualities which have
long since become standards.
Before commencing my demonstration it will, perhaps, be well for me
to give you a rough outline of the process and the chemicals employed,
so that you may be better able to follow the method of procedure when I
come to demonstrate lis working.
Cleaninc; iHE Glass Plate.
The first thing to be considered is the (//««.« jtlate and il.-< dcaniiig.
Assuming that old glass (such as ppoiled lantern plates) is to be cm-
ployed, the first thing to be done is to remove the films, and this can
readily be accomplished by the aid of hot water and fodn. After this
operation it is well to weed out the scratched glass, which should be
rejected.
The selected plates are now put one by one into an earthenware jar of
hydrochloric acid and water, about one part acid to three parts water, and
in this they should be allowed to remain at least|twenty-four hours.
It is a good plan to make this jar of acid a receptacle for glass for
future use, to be drawn upon as required.
To ensure its perfect cleaning, each' plate, before the acid is rinsed
from it, should be laid ou a piece of rough flannel (such as house flannel)
on a flat surface, and both sides subjected to a vigorous rubbing with a
pad of the same kind of material. It can now be well rinsed under the
tap, and, having ascertained by means of the finger nail whieh is the
polished side, place it in a rack to drain, putting that side in a certain
direction for future guidance.
The SuiiSTRATOM.
Having gone through the|batch, they are now ready for coating with a
substratum of albumen. This is made up of
The white of i g„„
yatfi"^ 'I^.''''^'''Z1 1 quart.
Ammonia Strops.
which must be beat np to ensure perfect desiccation of the albumen, and
then filtered.
After draining, and while still wet, this preparation is flowed over the
polished sides of the plates, and they are again racked to dry, care being
taken to place the albumenised surfaces in one direction, for, if this
operation is properly performed, it is very difficult to distinguish one side
of the glass from the other.
Dust being the greatest enemy to successful working of the wet-collodion
process, very great care is needed to guard against it, and at this stage (a
drying cupboard not being at hand) the precaution necessary is that the
rack be carefully and completely covered over with tissue paper, and the
place on which it stands well wiped with a damp cloth.
The drying should be done as quickly as possible, that is to say, within
an hour or two. It is even convenient at times to use an oven for this
purpose, so that it can be done in a few minutes when plates are wanted
quickly.
Coating the Plate.
The plates are now ready for use, and can either be packed film to film
or stored away in grooved boxes until required.
The next operation being coating with collodion and sensatising which
has to be performed in the dark room, and here I would say by all means
have plenty of light. This sounds paradoxical ; but, as photographers are
becoming used to this seeming absurdity, I need not excuse it here
especially as it is sound advice, but as oft disregarded as given
Before, however, saying anything about the operation of coating the
plate, we have to consider the very important question of the collodion to
be employed. My advice is, to begin with, Buy it. You may be led on
to make it at some future time, but this J3 best for » s^rt under any
circumstances. Either Mawson'g or Thomas's plain collodion are good
and reliable.
Before use, these, of course, have to be iodised—that is, iodide and
bromide salts, usually of ammonium and cadmium, are mixed with it,
These salts being acted upon in the film by the silver bath are converted
into iodide and bromide of silver, theteby making the plate sensitive to
white light,
A suitable iodised collodion for transparency work from a negative o
medium density is made as follows :—
Ammonium iodide 3 grains.
Cadmium iodide , , 1 grain.
Ammonium bromide 2i grains.
Plain collodion i ounce.
This should be made up several days before use, and will keep good
for perhaps a couple of months. Upon first mixing it will probably go to
cherry colour, but will become paler in a day or so, straw colour indicating
its fit condition.
Coiting the plate is muoh easier demonstrated than explained, so I
shall say but little upon it further than that it is done in exactly the
sam9 way as varnishing (without, of course, warming the plate), and is
as easy to perform.
I might, howevor, mention one or two of the preoautioas generally used
in connexion with this important operation. (I) Pour the collodion from
a bottle with a brjid lip. (2) Do not have the bottle more than halt
full. (3) In pauring hold it so that the lip nearly touches the surface of
the plate, and (4) pour as little more than enough to go over the surface
of the plate as possible. A separate bottle should bo used to receive
hi driiaiiigi fraar the pUte, for the same reason as in varnishing a
negative.
When the collodion ceises to drip from the corner of the plate (which,
by the way, should not be restjd in the mouth of the bottle), the plate
should bo brought to ueirly a horizjntal position and slightly rooked till
the film is set by the evaporation of the ether. The time required for
this will, of course, vary according to the temperature of the room, say,
from half to one minute,
Sensiti.sino.
The plate is now ready for sensitising, and the silver bath for this
purpose is made as follows :—
Nitrate of silver (recrystallised) 1 ounce.
Distilled water ',''■' 12 ounces.
Potassium iodide li grains.
This should be kept in a clear glass bottle and well sunned before
being brought into use, or, in other words, exposed to sunlight for soma
hours. This will cause any impurities in the form of organic matter to
precipitate, so that same can be filtered out, which must be done.
The bath has now to be made slightly aeid, if not so already, and this
can easily be ascertained by testing with blue litmus paper, which should
slightly redden in about one minute. If it does not, add two drops of
pure nitric acid to the bath. The bath improves with age for this kind
of work, and can be strengthened when required by the addition of a
forty grain solution of silver nitrate. The strength of the bath itself
should not exceed this.
Sensitising the plate is the next operation, and this will take from
three minutes in summer to five minutes in winter. With regard to
apparatus, I would here recommend that the dipper be a broad glass one,
80 that the plate on immersion can be freely moved about for the first
minute or so without the chance of its falling off. This movement is
absolutely necessary to prevent uneven sensitising.
The plate should be withdrawn slowly, drained on a pad of clean
blotting-paper, and the superfluous solution wiped off the back. It is
DOW ready for the dark slide, into which it should be put in a nearly
vertical position, the corner from which the collodion was drained being
downwards.
I might here mention that this particular corner must always be kept
down, that is to say, during the sensitising and draining of the plate
after exposure till development.
About exposure I do not intend to say much, as it is such a thing of
circumstance ; but, as a guide, I might say thirty seconds will be found
about right for a negative of medium density, using stop f-S at mid-day
this time of the year, that is against a clear sky, reducing from half-plate,
and using the collodion as I have given.
DEVEL0P.MENT, &C.
With regard to developers and development a volume might be written,
but I think the present case will be better met by my giving you but one
formula and ft !eyf hints on working than by going deeply into tliis very
I
Supplement, January 0, 1803]
TitE BRITISH Journal of pitotoonAPilY.
eontroversial matter, eRpecially as my purpose this evening is more to
demonstrate tliaii talk.
The developer wliich I shall give you is the one I am about to. use
to-night. It is made as follows : — . -
Ammonia sulphate of iron 15 grains.
Glacial acetic acid \ii minims.
Water 1 ounce.
Alcohol quant, mij^.
This compound salt of iron and ammonia keeps well, made up, and gives
a very fine, rich, and transparent deposit — qualities bo essential tor this
work.
In . developing, the plate is, held in the hand, as in coatinR with
collodion. I might almost say that tbist itself is a coating operation in
which you eventually wash the coating off again.
About a drachm of developer is sufficient to cover the plate, and this
should b^ flowed from side to side by gentle rocking, and without letting
any go over. This, of course, will require a little practice at first. To
cause the developer to flow freely over the plate it is necessary to add a
drop or two of alcohol an ounce to it. This will have to be increased as
the bath gets older.
When the image has attained sufficient density by transmitted light
(by which it should be viewed during development), wash off the developer
without delay, and after a good rinsing fix in a bath of —
Cyanide of potassium 2o grains.
Water 1 ounce.
Being a deadly poijon, this, of coarse, has to be used with great
caution. The method 1 adopt is, I think, a good one. The cyanide
pour out into a lantern plate (dry) developing dish and immerse the platel
in a metal holder, which grips it by the edges, and in this holder I subse.
queotly wash the plate under the tap after fixing is completed, so tba
I have no need to touch the cyanide with my fingers at all.
Fixing is complete in a few seconds, after which the plate must be
washed immediately, or delicate detail may be eaten away.
If the tooe of the resnlting picture be not to your liking, it can be toned
to a simple black in a bath consisting of —
Chloroplatinite of potassium 3 grains.
Water 6 ounces.
Nitric acid S drops.
I think I have detailed to you a fair outline of this process, so will now,
with your kind permission, do my best to demonstrate something of what
I have been telling you, filling in details here omitted as I proceed.
You will see even from this outline that there are no instructions on
the box with the wet-collodion process. Nevertheless, with careful
working, perseverance, and Captain Abney's Instruction-book, all of
which are indispensable, it will be found by no means eo difficult to
master as a good many have been led to suppose. J. F. Stbvxms.
♦—
RECENT NOVELTIES IN LANTERN APPARATUS.
The Blackfriars Photographic Company, of Surrey-row, are represented
in lanterniana by a variety of lanterns, extending from the cheap tin
variety, which may be bad complete at a cost calculated to accommodate
the most exiguous purses, through various grades of quality, to the
most handsome and serviceable single and double mahogany-body instru-
ments, suitable for either oil or limelight. The Company, who are
agents for Griffiths' lantern slide making camera, also include slides and
accessories of all kinds in their lantern department.
We have received the Lantern Catalogue of Mr. W. I. Chadwick, of
Manchester. Therein the lanternist will find particularised a consider-
able variety of lanterns, details as to cylinders, regulators, gauges, ob-
jectives, condensers, carriers, lantern-slide accessories, saturators, oxygen
generators, screens, desks, tripods — ^and, iii fact, the entire paraphernalia
of the modern optical lantern, selected. with the skill and judgment which
we are ehiftled to expect from Mr. Chadwick's long practical acquaintance
with all that concerns the lantern. In addition to the lantern proper, the
lantern microscope and polariscope, and apparatus for scientific projec-
tions generally are dealt with. To the purchaser, Chadwick's catalogue
should be a useful guide ; to the student, a fund of information, as it
includes reprints of many of Mr. Chadwick's lantern papers.
♦ '■
LANTERN-SLIDE MAKING IN FOOCHOW.
At a recent meeting of the Foochow Cameia Club, Mr. Mencarini, the Hon.
Secretary, gave a lectare on this subject, in the course of which he said : —
Lantern shows, or, as commonly called, "magic lantern exbibitionc,"
have bcoomo lo very popntar, (hat I thought a demon«tr»tion o( h->«
these eDtertainments wt-ro made would be interesting lo you. I hsva
therefore come forward not as an inventor of aome " Meneirini pa>«nt, '
ba' simply as a narrator of what I have liamt raysalf of this fasoioalmg
pastime from books, periodicals, and a little eiperlenoe.
We all remember our younger days, when to be ttketi I y our psreota to
a magio lantern show was as great a treat a^ to be Kiven a pieoa of
"butter-scotch." How many times have we ga/id delighted on this«
large pictures, shovn us on a white sheet, and wnn lered hiw tliey «era
done, and what a respectful admiration we ha 1 for that man who eoald
show us such wonderful things? Well, now, any one, with but litda
work, can prod'ice thoie " mtgii pictures." '
Great are the alvantigo<iof a "lantern show;' it delights- snl instruct*
the juveniles more than at first thou {lit would seem. And so much am I'
convinced that it d >33 instruct th it. if I should have it in my power, I
should make it compulsary for every schiolinAHter to have a ma?ic lan-
tern, land give, a' least oice a w • k, an exhihilion, showirg S7ine of the
superior slides which otn b] p i ciated on anv. subject ieqa>red at a v.ry
smal cost. Oy further explaining the subjects, geoKiapliy, nitur<tl.
history, astronomy, &z., oiuld he taught, and be imir^ss-Hl mores' on •
young minds than by hour i of ponler'.ng over book^, which, in muiy
cases, are not understood, and which are repeated as by ptrrots.
Very much has certainly been done in this line; scientists and pnblio
speakers have been convince 1 of the tnormoos advantag-s there are in
using the lantern to illustrat j their papers. What woul 1 r qtiire a long
explanation, and then would not c:>nvey to the mind a perfei t i I'-a of thd
subject, with the aid of a ma,;ic lantern and a photographic lant'jrn sliip,
can be shown to a large audience one hundred times larger than nature,
and with all its details.
Photography has been rendered so very simple that I cannot understand
how every man or woman having a spare moment does not make his or her
own pictures. How mmy are the occasions when, if you had been able
to take a photograph, you would have bad pictures of place.^ dear to you,
and which are bound to bring agreeable recollections in days to come.
For a comparatively small sum you can purchase an ontfit, and surely
you can always find a kind friend who could explain the mysteries of tbii
most entertaining and useful of pastimes ? and I can assure yon that,
although it is many years since I dedicated my spare moments to phot >•
graphy, still I find there is such a fascination when watching the exposed
plate being developed, especially if the negative has been correctly expo.<ed,
and the development proceeds gradually and the result is a good brilliant
negative, I know not how to express the intense satisfaction it produces.
But I observe I have deviated considerably from the object of my theme.
I shall now come to the point.
Of course, the principal thing you must hive for slide-making is a giod
negative: this can be of any size desired, but should be, to give good
results, clear, cri.op, and full of detail.
There are two ways to produce lantern slides, one is by contact — that
is, the film side of your ncga'ive and the film side of the lantern p'ate ar j
filaced back to back in a printing frame, and exposed either to day or
amplight. Usually for tbis kind of work the neg-itives are on quarter
plates; but I have seen lantern sliles made from other sized pla'.ei when
only part of the nrga'ive was required.
The other way is th? most used, and this is by redaction with a copying
camera. Better re=ults are given in this form.
Most complicated and expensive apparatus are catalogued by home
manufacturers, but, ai yoi may see, my only appliance is sim-
plicity itself. A board, f jur fact long by twelve inches wide, to thi<
is screwed on peip^ndi ularly another hoard eighteen inches high, which
has an aperture ,a-g3 enouijh to hold a negative. Opposite this I
place the same ciimera I usnally tike my photographs witu. This is an
"Optimus" fullp'ate, long-focus instrument, lo which I attach a
Voigtliinder rapid wide-angle Euryscope, using a required size cairier in
my dark slide.
Having determine<l on the. focussing screen the proper distance be'ween
the negative and the lens, I firmly screw the camera on the boart*, mark-
ing the place, and so am saved the trouble of readjusting the cameia every
time it is required.
I prefer doing my slides in the, evening when I am at leisure. The
plates I use are Ilford Special lantern plates. I find these and the same
manufacturers' white labelled dry plates the best suited for our c imite. '
Wet-collodion lantern plates are preferred by some, and certainly they
possess their charms ; but dry plates have the advantage to be ready pre-
pired, economi!:ing much time, and are so cheap (one shilling a box of a
dozen plates) that I do not think it worth while messing about as in o!d '
davs with collodion, silver baths, Ac.
The exposure varies, of course, according to the density of the ne,;ative,
the light, &Q., but the average exposure is about two minutes by lamp-
light. . • : . '
To develop, any of the rocogpised formalis can be used, my advice
being to use the developer specially recommended on the box by the
maker.' I personally use Ilford hydroquinone 'developer, and I am very
satisfied with it.
Alter developing jind washiqg, a few minutes in an alum solution
hardens the film and clears pomewhat the high lights. Do not make the
hypo bath too strong, and wa.sh finally for about half an hour.
The glides can be finished by toning with either gold, platinum, oi
ss
THE BRITISH JODKNAL OF PHOTOGRAPHY.
[Supplement, January 6, 1893
araninm nitrate, but thia is not necessary if the exposure and develop-
ment are correct. Clouds are printed in whilst exposure is carried on,
but are very diificult to work. When the plate is dry it is mounted with
a cover glass, placing a lantern masli between the two glasses, and binding
them together with specially prepared lantern slide binding strips.
The magic lantern, or, as it is more pompously called, " the optical
lantern," can be lighted either with kerosine oil, oxyhydrogen limelight,
or by the new Aero Carbon Incandescent lamp. The picture is better
shown on a white wall, but fairly good results can be shown through a
thin shirting screen, as I shall presently do myself, showing you first
practically how to make a lantern slide, with the flashlight picture
made by our esteemed Vice-President,. Mr. Eentzsch, and then, After
exposing the resulting slide through my lantern, I shall follow on with
other slides, some of my own making, others purchased from home
makers.
SHIPPING ON THE SCBEEN.
Labi month, Mr. John Adamson, jun., aaya the Yaehttman, so favour-
ably known to all readers of the Yuchtsman through the instrumentality
of his splendid photographic yachting pictures, lectured in the Queen's
Booms, Glasgow, on "The Rise and Progress of Shipbuilding on the Clyde,"
for the behoof of the funds of the local branch of the Eoyal National
Lifeboat Institution. The lecture was illustrated by means of something
like 201 beautifully prepared transparencies. Many of these were made
from negatives of his own, which have now become famous far and near —
that is, direct negatives — while others were prepared from copies of carefully
kept and faithfully cherished old pictures and prints kindly placfd at Mr.
Adamson's disposal for the purpose by our leading ship and ysicht
builders and owners. Shown on a very large screen, and illuminated
by a very powerful limelight, they made as interesting objects of the kind
as the eye could well rest on, while Mr. Adamson's neat and apposite
remarks as the views passed before the audience, supplied all the in-
formation necessary for the purpose in the most agreeable manner.
The Clyde folks are very proud of their splendid river-steamer serviie
and all pertaining to it, and this seems to be well-known to Mr. Adamson,
for he showed an almost unique collection of views, setting forth their
history from the time of the Uomet and Inihixlfij^ihe latter built nearly
eighty years ago, at Fairlie, by the father of Mr. William Fife, sen. — to
the Columba and Lord of the Islex of the present day. Great attention
was also paid to the ocean greyhounds, both past and present, and few
hits of the entertainment seemed to take better than the exhibition of
gome most perfect views of some of the sumptuous interiors of the marine
palaces of the present moment. Mr. Adamson is very strong also, in
pictures of the huge sailing ships which the Clyde builders have been so
busily engaged turning out recently. Several views of one of these — the
negatives concerning which were taken when the ship was bowling briskly
to sea under full sail some fifteen miles westward of Ailsa Craig — indi-
cated a veritable triumph of the photographer's art. The yachting pic-
tures were simply delightful, and our entertainer is to be complimented
on his selection in this department.
Lord Provost Bell, one of Clyde's most accomplished and popular
yachtsmen, presided, and earnestly and eloquently he pleaded the cause
of the Lifeboat Institution, showing, as he went along, that Glasgow,
while a generous giver in connexion with many things, did not subscribe
nearly so liberally as she ought to this good cause.
The attendance was flatteringly large, and amongst the goodly gathering
were to be seen many of our foremost men, both in shipping and yachting
circles ; and Mr. James A. Small (a leading Clyde Corinthian), the Hon.
Secretary of the Glasgow branch of the H. N. L. I., must have been very
pleased at the success which attended the entertainment designed and
carried out for the benefit of the cause he loves so weU.
aantetrt (Querfesf*
A. Bix.— Spent Umes are useless.
V, Tbbino. — Beflectors are not often used for the purpose.
Alfred Pekl, — The electric lantern we then described was asbestos-lined,
Jj. AnBouR.— Mr. B. E. Beard of Alscot Road, Bermondsey, would
probably be able to make you a lantern to a special pattern.
Seneca. — The position of the light in relation to the condenser can easily
be ascertained by practical experiment.
C. PwMMBR.— You mean, no doubt, a vertical attachment. Apply to a
lantern optician.
W. A. Bawson.— Celluloid slides can only be shown by msana of a suit-
able holder or carrier,
Doubt. — ^Light the hydrogen jet to warm the lime and the lantern before
admitting the oxygen.
Lime, — Hard limes for mixed jets and soft limes for blow-through jets
are generally employed.
F. Petebs. — Possibly your dealer would be able to supply you with
coloured lantern masks and binders.
A. J. Fuller. — Better]consult your local gasfltter, who would probably
be able to supply you with what is required.
S. R. Fenwick, — Yes; printing-out lantern-slide plates are articles of
commerce. The Paget Prize Plate Company supply them.
Exchange. — Yes, we shall be pleased to throw open the columns of the
SupPLEiiEN'i to announcements of articles for exchange in connexion
with the lantern.
Oxide. — The only "impurity" likely to be present in the oxygen is
nitrogen — which means that you would be burning a mixture of oxygen
and atmospheric air. See leader on the subject elsewhere.
CoLLo. — Yes; the wet colloJion process is still extensively employed in the
production of ^commercial lantern slides. Possibly Mr. J. F. Stevens's
paper in the present Supplement will meet your desire to know how it is
worked.
M. Smiley.— There is certainly no advantage in the use of a seven-inch
condenser for showing lantern slides on the screen ; but if, as you say,
you propose using the same optical system for both projection and
enlarging, by all means select the larger condenser.
L. Neiohboue. — Special tests for the flatness of field of the objective are
unnecessary for the expert professional photographer, who can tell by
a glance at the image on the screen whether the objective defines as
well as he requires.
Ilex. — -The slides may be masked down to a very great extent a
picture of, say, an inch square being quite large enough for projection
under the circumstances you mention. The outside dimensions of the
plate — that is, 3J x 3J— i^ the only arbitrary size in connexion with
lantern slides.
Bev. p. N. W. — A complete exhibition with an oil lantern and, say, one
hundred to two hundred slides of general subjects might be arranged
for with the nearest lantern dealer for probably about two pounds.
The limelight might be possibly double the amount, but all would of
course depend on circumstances. Write to a selection of the firms
whose announcements you will find on the outer pages of the
Supplement.
We have received the price-list of Messrs. S. & 3. Mitchell, of Black-
burn. Therein the lanternist and those organizing lantern entertain-
ments will find information of much value.
Messrs. Sharp & Hitchmough, of Liverpool, have submitted to us
samples of their " Opaque Lantern Screens," which are prepared with a
special flexible waterproof material, perfectly white and opaque. They
are cheap, and should answer the purpose admirably.
The agency for the Askew oil lantern, one of the remarkable features
of which — as mvny of the msmbers of the Photographij Society
of Great Britain, the Photographic Club, and London and Provincial
Photographic Association will remember — was the extreme celerity
with which it could be set up in readiness for the first slide, the feat
b.iug accomplished by Mr. Askew on on3 ocoision ia less than five
minutes, has passed into the hands of Messrs. ;Newt jn & Co., of Fleet-
street.
The Charitable Lantern Entertainment Society meets on the second
Thursday in each month at 186 Aldersgate-street (Y. M. C.A,). The
following are the officers: — Vice-Presidents : 3. T. Helby, Esq.; Rev.
F. E. White, M.A. ; Walter Chetwin, Esq. ; Eov. S. F. Bridge, M.A.,
Surrogate ; William Roberts, Esq.; Edward Woodger, Esq., M.R.C.V.S.;
William Dixon, ^sq.— Committee : Messrs. S. G. S. Dicker, G. N. Foot,
J. H. Noel-Cox, A. H. Benham, H. Granville Dicker.— Hon. Secrctdrien :
Frederick Simmons, 158 Frances-terrace, Heme Hill, S.E. ; B. Foulkes-
Winks, 2 Pretoria-avenue, Walthamstow, Essex,
MONTHLY SUPPLEMENT
To rni: "British Journal oi- PiiOTOciRAi'HY."]
[/'eir.iar_y 3, 1893
THE LANTERN RECORD.
CONTENTS.
THK SHAPES OK l.ASTEIiN-SI.IDK
MASKS ;«
TANTKIIS SOTKS AND NKWS 38
SKIHAVSS' t.ANTEKN WITH PRTBO.
I.KIM I.KIHT AND ALCOHOL
CONDKNSKKS «
LANTKItN MKM« Bv (i. K lUKER. .. JU
LANTKIIX ■ SI.lDf! 'MRTHOD". Ilv
CATHAllINK WEED IIAHNKS ti
THE UNTEIIN SLTIlE AND ITS
llEr.AI'ONS TO AUT. By HESllY
.1. NEWTON
MDIINTINO LAHrEllN SLIDES. By
.lAMES BOSS
87
PaOI
SLIDES.
PRINTING OIT LANTEnN
By w. H. SHIHLKY »"
F,VBM LIKE ON THE SCREEN a»
ZOOPHAXOOUAPHY ON THE SCREEN
AT THE CHIOAOO EXHIBITION 8»
LANTERN SLIDES OP NORTH WALES BU
MOl'NTINO PASTE FOR LANTERN
SI.TDKS .1»
MAOXKSHM FOR LANTERN SLIDES.
Bv A. L. KIDEMII.LER 89
SLIDE MAKINO BV REDUCTION «
LANTERN QITERIK.S 40
BXCHANOE COLUMN M
THE SHAPES OF LANTERN-SLIDE MASKS.
The effective appearance of a lantern slide on the screen is so
largely dependent upon the exact shape which the picture
itself is permitted to have, that we arc surprised that this
point, unimportant though it may at first sight appear, does
not engage the thought and the attention of slide-makers more
than is the case. We use the phrase "permitted to have"
designedly, because not only is it evident to us that, in
numerous instances, a picture is spoiled by the unsuitable
shape of the mask, but that those shapes are cho.sen a great deal
at hap-hazai-d, while we arc inclined to think that frequently the
picture is selected to suit the mask instead of the mask being
chosen to harmonise with the picture, as mounts and frames are.
The shapes of slide-masks in use include the circle, the
square, the oval, the vertical and horizontal oblong, the
cushion, and the dome. The openings of these shapes vary
somewhat in size, especially the purely symmetrical sizes.
Indeed, the variation in the sizes of the openings is so great
that occasionally, when Inoking at a slide on the screen and
noting the proportions of the mask to the image, we are re-
minded of the immortal Falstaff's remark as to the halfpenny-
worth of bread and the intolerable quantity of sack. And this
without reference to the question whether the slide be made by
reduction or not.
Certainly large masks are useful as concealing the uninter-
esting or non-pictorial margins of a slide, but, taken in re-
lation to the full dimensions of the platp, they are an obvious
sign of weakness. The shape of opening most generally em-
ployed is, perhaps, the complete circle, which, however, to our
thinking, is not the most suitable shape to give a lantern
picture, inasmuch as one is not conscious of lor)king at a land-
scape, a building, a street scene, or, indeed, any view in circular
form. Painters seldom paint their pictures in circles, and
circular illustrations are not common, so that the slide-maker
has little or no artistic support on his side for circular masks.
In looking at a large number of slides on a screen, we have
heard people affirm that their eyes are Ifss strained the more
tlie screen is illuminated, and this, if generally the case,
wouM seem to indicate that S([uare or cushion shapes, with
tiie largest possible openings, are the better for common
use. As a rule, we should say that, for this and other reasons,
the more of a picture that could be shown the better. It may
be urged that the use of ditftrent-sizjd masks, permitting of
the deletion of uninteresting or inartistic portions of a slide, is
a positive advantage. This is undoubtedly so in contact work ;
but by other methods of exposing the lantern plate the subject
can be selectively treated, so that unsuitable parts thereof
need not be included in the slide, and masking down obviated.
Hence the circular opening need not bo a Kinr-i/im-non. , ''
The same objections to circular openings appear to uS' to
apply to the upright oval, although, used horizontally, it
accords more with the way in which a view h naturally seen.
For landscapes the horizontal oblong accords with the common
usage as to the shape of views, and to this, as well as to the
upright oblong, the square, and the cushion, there can be little
objection. Wo, however, reiterate our opinion that largo
openings are, where obtainable, to be preferred to small in
the interests of audience.<, eipecially popular audiences, to
whom plenty of illuminated screen area is, we have noticed,
more acceptable than much-maiked-down pictures.
Naturally wo are far from saying that, where the use of a
circle instead of a square can save a good slide which may
have some marginal defect, it should not be used ; on the
contrary, this strikes us as a legitimate use for such shape 1
openings. But defects at the edges of a slide are not more
fre(iucnt than central defects, hence we consider that the circle
is used more from want of thought as to its siiitjxbility for the
pur])ose. The dome is a shape which we seldom see used by
artists and illustrators ; and for lantern slides, and, as regards
what we should call naturalness of effect as applied to the
shape of a screen picture, we might class it with the cushion,
the circle, and the oval as merely assuring variety of effect.
Whether this is a desiiferatiim is open to question. Speaking
from our own experience, we should give jjrefcrence to purely
rectangular openings, as fulfilling every artistic requirement
and selected with due regard to the composition of the picture.
This would imply that the slide-maker, when making his slide,
shoulil pay soiu'J regard to the shape that would best .suit it on
the screen insteal of, as at present is cliitfly the Ciise, leaving
that point to be settled at the moment of mounting it.
LANTERN NOTES AND NEWS.
\Vk are often aslicd for a quick and simple metboJ of prefarinj; an
illustration— say, a writing or <lr»wiii'5 -for tlio lantern, without tlie
necessity of havinj? to copy it, and make a lantern slide. We huvo
given the method ticfore, but for the iiiformation of recent inquirers
wo here repeat it. Coat iliin plass wiih benzole varnish to which n
few drops of indiarubber solutiifii havo b'tn iiilded. The film dries
trani>parent, but it admits of the linest writin)? beiiij^ miido on it by
means of a steel {wn and India ink. Uy superposing the coaled glass
plain side on to an engraving or picture, an accurate copy of the out-
line may be made in a few minutes. This plan was orijjinally ^ul«
lished by the Lite W. H. Wo .dbury.
.'U
THE BlltTlSH JODMaL OF PHOfOGMl'H^.
[Supplement, February 3, 1895
Instances hare recently come to our knowledge where, at lantern
exhibitioD?, slides have been shown which were made from negatives
not taken by the individuals who liad prepared the sUdes. We believe
it is generally underotood that, where lantern slides are shown, the
exhibitor, by the fact of the case, is also supposed to be responsible
for the negatives. But where this is noc so the fact, in our opinion,
should always be stated, otherwise great risk of not unreasonable
charges of sailing under false colours is run. Lantern-slide making is
a fine art, of which the production of suitable negatives for the
purpose is certainly not the least important part ; and therefore,
independently of other considerations, the author of a negative has a
clear moral right to recognition by name where a slide made from
his negative by somebody else is shown.
* • • • #
Mr, Howabd Bbnham is apparently the owner of several skeletons
which he has turned to account by grouping them in amusing
attitudes, such as boxing, taking tea, singing, &c., and photographing
them. Lantern slides from his negatives were shown at one of the
Photographic Club's ever-delightful lantern nights a few weeks ago,
and we well remember the mirth and amusement they caused.
Singular to relate, when they were afterwards shown at the London
and I'rovincial Photographic Association, they did not raise many
smiles, and on AVednesday week, when they formed part of the
programme at the Photographic Club's Annual Ladies' Entertainment,
they (unless we were greatly deceived) scarcely gave unmixed delight
to a majority of the many ladies present.
* * • • •
By the way, at the entertainment in question, the accomplished
pianist, Mr. Kepps, as the slides were projected on to the screen, kept
up a running accompaniment of music in unison, as far as was possible,
with the nature of the subject. Thus, when some views of New-
haven Fishwives were shown, " Caller Herrin " was played, and so
on. Messrs. E. W. Parfltt and R. R. Beard worked the triple lantern
used on the occasion with the skill we should expect from the con-
junction of a clever amateur lanternist with a skilful professional.
* » • • ♦
Small tracings on paper or linen are occasionally utilised for pro-
jection in the optical lantern, and it may be useful to some to know
how paper suitable for the purpose may be prepared. Stout tissue
paper is brushed over with a mixture of equal parts of mastic varnish
and oil of turpentine, and hung up to dry spontaneously. Canada
balsam, thinned by turpentine, also answers the same purpose.
* * ♦ * #
To those lanternists who make their own oxygen by the chlorate
method, the following hints for obtaining it chlorine free, which were
recommended some years since by a contributor to the Almanac, Mr.
W. F. K. Stock, may be of service ;— 1. The mixture should be
finely ground, 2. Not more than one-tenth of manganese dioxide
should be used. 3. The gas is made to come off not faster than six
feet in twenty minutes. 4. Two wash-bottles of fortv ounces
capacity each are used. 6. An ounce and a half of dry' hypo to
be dissolved in the water in each bottle. Mr. Stock said that an old
fixing bath, somewhat diluted, could be used for the latter purpose.
* • • ♦ »
In connexion with the foregoing hints, recent analyses of commercial
oxygen in cylinders have proved that gross frauds or culpable
carelessness are habitually practised at the expense of lanternists by
some of those who retail compressed oxygen, so that, unless some
improvement takes place in commercial gases, we shall not be surprised
if lanternists find it worth their while to prepare their own oxygen
more largely than is the case at present. Our report of the meeting
of the London and Provincial Photographic Association, at which
Messrs. Grundy and Haddon's paper on the estimation of oxygen was
given, contains a great deal of instructive reading, which we hope will
not be without profit to those who have been indulging in the system
of adulteration which those gentlemen exposed in the course of their
demonstration.
* * • * #
As illustrating the strange ideas which prevail in some minds as to
the manipulation of compresied gases in lantern entertainments, Mr.
Birt Acres tells us that not long since, being about to give a display
with the lantern in the country, the Secretary of the Society informed
him that one of the cylinders to be used contained a mixture of
hydrogen and oxygen, and asked, most unconcernedly, whether it
mattered ? Mr. Acres said (no doubt grimly enough) that it did not
alter at all, so long as the cylinder were taken into the open air
and the contents thereof set free, which we believe was done.
Perhaps it would be well, as Mr. Acres suggested to us, if lanternists
about to give entertainments in strange places, and with gases pro-
vided for them there, always took means to test cylinders and bags
for the nature of their contents before turning the gases into the jets.
♦ • • • «
Why do not amateur slide-makers take more notice of the minute
defects which so often appear in their slides, and endeavour to remove
them ere encountering the " fierce light which beats upon " a screen f
An enormous proportion of the great many lantern slides we have
recently sat under would have been all the better if the negatives from
which they had been made had had their imperfections touched out,
a remark which also applies to the slides themselves. Recently, at a
lantern exhibition where Mr. Redmond Barrett was present with us,
that gentleman waxed eloquent over the wide field for the friendly
offices of the retoucher which the slides shown presented.
NELJHAUSS' LANTERN AVITH PETROLEUM LIGHT AND
ALCOHOL CONDENSERS.
Most commercial lanterns, says Ki-Non in V Amateur Photographe
are defective on account of the exiguous dimensions of the condensers.
They only illuminate an image three inches in diameter, while the
alcohol condensers invented by M. Neuhauss, having a diameter of
six and a half inches, project a much larger positive. A pair of lenses
of that dimension would cost at least fifty francs, and often have
surface defects, without mentioning the greenish colour of the glass,
which absorbs a great deal of the light. M. Neuhauss makes his
condenser as follows : — To a curved glass vessel of six inches diameter he
secures a plate of glass by means of an alcohol-resisting cement (such
as the " Crystal Palace" cement), and makes an opening in the curved
glass in order to fill the vessel with alcohol, reclosing the opening with
a piece of gummed taffeta, which admits of the escape of the gas
formed by the changes of atmosphere, and also prevents the loss of
liquid during the movement of the condenser.
J[. Neuhauss prefers alcohol to water on account of its higher
index of refraction, which approaches to that of the glass ; besides, the
alcohol keeps clear, and does not form air-bubbles even at a high
temperature. With water the bubbles adhere to the sides of the glass
and absorb a great desU of the light. Besides the two alcohol con-
densers, he employs a small plano-convex condenser, placed near the
lamp so as to shorten the focus of the former, and augment the
brilliancy of the light. To avoid the heating of the alcohol the con-
densers are placed in a box, and the plano-convex lens is secured to
the near side of the lamp. Experience has shown that the tem-
perature of the alcohol is only increased a few degrees even after
the lantern has been several hours in use. An ordinary petroleum
lamp with a reflector suffices, and for objective a portrait lens.
M. Neuhauss recommends for the screen one of paper of the kind
used for copper-plate printing, which he prefers to cotton or calico
screens. He adds that the whole lantern might be put together very
cheaply, as, with the exception of a suitable case and a few sundries,
the amateur already possesses the two most important parts of the
system — the objective and the petroleum lamp.
Although there is no novelty in the construction of the condensers
"invented" by M. Neuhauss, perhaps the few particulars of them
here given may be of service to those desiring to make such for them-
selves.
LANTERN MEMS.
Thk new railway rates are at present affecting lanternists in the
matter of charges for carriage altogether out of proportion to the
weight and value of the steel gas cylinders conveyed by the railway
companies, and it is a curious anomaly, that if sent by goods train a
forty-foot cylinder incurs the minimum charge of C». for carriage
Siipptemeut, February ii, lAiKi]
THE BRITISH Journal of i'IIotouiuimiY.
85
and "i.". for dclivorv, in nil lOd. for any cli>t«nce, as iif^ainat .'U. ."W.
for the same size cylinder sent by passoiij^or train, even if the journey
is l!(X) miles. In another instance the rates for a cylinder were 1«. 8rf.
only by passenger, and "w. for goods (without delivery).
• • • • •
It is sincerely to be hoped that some modidcation will soon be
inado in the new rates, for the coinpressed-jtas system has " caught
on " to such an extent that it is no longer a luxury to the few, but
indispensable to the majority of scientists, lecturers, and entertainers,
and, if the railway companies do not arrive at a reasonable " mean " of
charges, it will be incumbent on those primarily interested to take
up the case and make a collective or representative protest, or present
a memorial setting forth the advantages to the community at largo
and the encouragement of commerce the more extended use of com-
pressed gas is, while prohibitory rates will seriously hamper develop-
ment and be suicidal as regards their own interests.
• • * • •
Thb comparatively high price of chlorate of potash gives the com-
panies who produce oxygen gas by the patent process a distinct
advantage at the pnwent time, and which is not likely to be modified
if the cost of carriage is only reasonable ; but if forty feet of gas,
costing H.<. ill. retail, is to be charged 10s. for carriage, the advantages
of invention and the development of the compressed-gas industry are
likely to be crippled, for the cost of distribution of the gas from the
centres (works or agents) will be more than the gas itself — in fact,
in the case mentioned, makes the total cost oid. per foot, without
reckoning the return of empties.
• # # # «
FoRTUNATBLY, a loop-hole is left, and if all who send cylinders by
rail will for the present label them to go by " passenger train" the high
charge will be avoided. At the worst, however, the consumer will
not be paying so much as he used to in the early days of compressed
gas ; but, as it is a retrograde step, it must be, if possible, altered at
all hazards.
# • * « *
This little difficulty with the railway rates sets one thinking as to
what could be done if, by some such arbitrary action of the railway
companies, compre.«sed gas was not aviulable in tlie coimtry, and one's
thoughts naturally revert to the various methods of using oxygen
after making it from (for amateurs) the simplest of all plans — viz.,
heating chlorate of potash and oxide of manganese. Gas bags are
far too cumbersome, inconvenient, and risky, ever to be reinstoted, if
they can possibly be left where they are— "shelved."
• • • . • •
Now is the time for designing a simple gas-compressing machine
which should be capable of filling our cylinders to a reasonable pres-
sure— say, thirty to fifty atmospheres — and which any one could use,
and which did not require steam or other power beyond manual. If
one had a cylinder holding twenty-five feet of gas at 1:20 atmospheres,
he would, at thirty atmospheres, have six feet available for an enter-
tainment, and, if a forty-feet size, then ten feet of gas at thirty atmo-
spheres' pressure.
' » • • ♦ •
This machine would be invaluable in the colonies, India, and out-
of-the-way places, and also for institutions at home, where assist-
ance is at hand and the necessary time could be devoted to the pre-
paration and compression of the gas, but for the ordinary, and, to a
large extent, new cUss of lanternist that have sprung into existence
since the introduction of c/icap compressed gas ; nothing short of the
purchase of ready-compressed gas at a reasonable price, delivered by
rail or carrier at their houses or place of entertainment, will suffice.
• « • « *
If operators find the limes discoloured after using compressed coal
gas, they may know that the gas is not so pure as it should be. The
impurity is due to the chemical action on the inside of the cylinder,
which produces a reddish rust or deposit, and this, when very bad, is
driven through the jet on to the lime. It will sometimes cake in the
nipple of the jet and clog it up. Should there be any signs of dis-
colouration, instructions had best be given, when the cylinder is sent
to be refilled, to have it " burnt out ' before the fresh lot of gas is
comprnsKod in it. It is a gooil plan, on receipt of a cylinder of gas —
e»pecially hydrogen— to turn the cylinder upxide down, and open the
valve of the cylinder for a second, mi im to let the gaa drive out any
water ; of course, the key must only be turned on a quarttr of a
tarn, and off again at once.
• • • • •
BlABn's small-size automatic regulators have now been on the
market four years, and they enjoy at the prewnt time a unique repu-
tation for satisfactory working. That they are coniiatent in their
action, and are reliable, may be understood when it is stated that, of
over 40(X) sold, and in most cases continually used, only about one
per cent, have ever failed, and tliese in most cases from causes outside
the control of the inventor. In one instance the whole of the work-
ing part was choked up with dirt or mud, presumably from the fact
that the cylinder had been stood h(.>ad downwards, and, when the
regulator was fixed in afterwards, care had not been taken tfl
wipe it or get the dirt out. If the same plan was adopted in this
cose as mentiont;d in previous paragr.xph before fixing on the regulator
or connexions, the dirt would have] been blown out whera it could
not do any harm.
• « • • »
From time to time during minufacture, and as the result of experi-
ment, certain little improvements are invariably made in inventions,
and this regulator is not an exception to the rule, for the levers of
lazy-tong pattern connecting the top of bellows with the eccentrics
that close the valve are now considerably improved and made stronger,
and with almost mathematical accuracy. In its construction it has
also the merit of being easily inspected by unscrevnng the cover.
• • • • •
IIegabding the bellows of these regulators, users must remember
that everything has a certain life, and, as the bellows are made of
indiarubber, »ome day they will get weak and want renewing. I
would advise all who have had regulators over two years to order
through their optician or the agent who supplied them a reserve
bellows for each regulator, so as to have by them, in case of the one in
use hardening or perishing from the action of the gases used or the
temperature and climate to which they are exposed. If in any doubt
about the old one, on inspecting it by removing cover, have it replaced
at once with a new bellows, for the cost is a trifiing matter, some-
thing like two shillings each, while the feeling of security thus obtained
more than compensates for the trouble and expense.
• • • • •
Oi'AfjUE screens are getting more and more into favour, and
where they are placed permanently in a suitable position nothing
could be more convenient than the roller and lathe plan, as employed
for the drop scenes at theatres, the roller being, of course, at the
bottom. The whiteness, opacity, and smoothness of these screens
enhance the beauty and brilliancy of the photograph or picture pro-
jected on them to a considerable extent.
• • • • •
Thb mahogany-cased opaque screens recently introduced, in which
the top of the box is nicely made in two parts, form when turned up
the upright and support for the screen. It is most convenient for
small and moderate sizes ; the former, from four feet to six feet, are
mode with spring rollers, and the latter, up to twelve feet pull up
by means of cords and pulleys, the former being fastened to catches low
down on the outside of the supports. The screen is stretched quite firm
by a wind-up handle, and the same handle, when the cords are free,
wind the screen down (round the roller) into the box.
a. \\. Uakkb.
LANTERN SLIDE METHODS.
[Hobokan Oamon Olub.]
[Sinco her return to the United States, Miss Catharine Weed Barnefl
has, we believe, made a large number of lantern slides from her
English negatives, and is exhibiting them before various Societies.
The following paper, which she read a few months ago, will there^
fore be of interest as indicating her method of working. — Ed.]
There is a solid substratum of common sense in the prevailing
favour with which lantern slides are received. They have become
;!6
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[Supplement, February 3, 1893
nn almost essential requisite in these days to any lecturer whose
words admit of being made more impressive by adding the evidence
of sight to that of hearing. Strangely enough, people will believe
their eyes who doubt their ears. This fact being conceded, it remains
for me to give some faint idea to-niglit of the great stature to which
this worlv has grown, what it can be made to mean, and a little —
only a little — about how it is done. The old idea of the magic
ian'tern impresses those who give little thought to camera work with
an almost absolute conviction of its being a kind of trick, really
sleight-of-hand or magic. And when they are told that lantern-
slide work is a well-defined and not over and above easy branch of
photography, requiring constantly growing experience and thoughtful
care to accomplish good results, they smile indulgently, if they do
not actually say they doubt your statement. One of the strongest
reasons for slides being so popular is that so many more people can
thus enjoy a picture than when it is in the form of a print,
and still more that, with great care and trouble, it may be, one can
sometimes obtain from a poor printing negative a respectable slide.
This in many cases is valuable, as from it, if made by reduction and
properly strengthened, a good negative of any size can be made. The
objection that such negatives are usually blurred and indistinct in
outline can be largely overcome by making the image on the slide as
small as is consistent with clearness, focussing as sharply as possible,
timing very carefully, and using special pains in development. The
advantage is that, if such a negative is broken or injured, another can
be quickly made from the slide, and where it is difficult to photograph
the object over again — always best when that can be done — a camer-
ist need not be at the risk of losing a valuable picture. This often
means much trouble, but not necessarily great expense, and to lazy,
trust-to-luck photographers who seem to expect their pictures to
appear, like that described by Sam Weller, with " the frame and glass
on complete, with a hook at the end to hang it up by, and all in two
minutes and a quarter," I have nothing to say. It is always the
workers who are most anxious to learn, and trouble to them is of
little consequence when aiming at good results. In a recent volume
by A. R. Dresser, the distinguished English slide-maker, he strongly
advocates making slides in a copying camera, and it is gratifying to
have my own opinion confirmed by such an able worker, for I do not
like contact slides as a general thing. He goes to the extent of
recommending the process even with negatives as small as three and
a quarter inches square. Some of the advantages in this way of
making slides are that you can overcome defects in the negative,
leave out any part if wished, enlarge or reduce as desired, and, what
always seems miraculous to the uninitiated, make an exposure, de-
velop the plate, and make a slide from the wet negative in a very
short space of time, which is, of course, impossible by contact. It is
not necessary to have an elaborate outfit if you only have a good
short focus lens, but you must supplement it with a greater output
of brain force to devise expedients for overcoming deficiencies
in the camera, &c. In visiting a celebrated slide-maker's work-
room lately, I was ashamed of my own expensive apparatus when
examining the simple means he used. An old, discarded wet-
plate camera, slightly altered, an ingenious arrangement for using
any size negative, and a fine lens — the whole was simplicity
itself, and yet his slides are known wherever photography is — ■
and that is saying a great deal. A somewhat similar apparatus is
described in Mr. Dresser's book. I fully agree with the latter in
laying stress on the position of the appai-atus in the room, and noting
accurately the actinic force of the light at the time. It is not under-
stood by some how much exposure is hastened when snow has fallen,
and how very useful is a ground glass behind the negative, or the
reason for placing the negative film side to the lens (otherwise the !
image on the slide would be facing the wrong way), or the absolute
necessity for having the front of the camera square with the negative
— in other words, how very easy it is to fail and then blame instru-
ments, chemicals, maker or dealer, and not the worker. One special
object of blame is the plate, and each camerist has his favourite one,
not that it is necessarily in itself the best, but with it he accomplishes
the best work. It is, however, with some workers a case of Love me,
love my plate, and your judgment is sharply questioned if you are
not able to do so. On my saying to a friend once that I did not like
a certain make of plates, as the slides were too black and white, the
statement was positively, very positively, questioned, and I was
obliged to e.xplain in detail that, whatever my informant's experience
was, mine differed from it.
English plates are much slower than our own, four or five times as
long an exposure being requisite, which seems to bear out the theory
that in slide work rapidity is undesirable, as the average of English
slides are remarkably fine. As a rule, theirs are denser than ours,
but the shadows are generally clear. The American size, SJ x 4, has
been adopted by some English plate-makers, but tiie majority of tlieir
plates are inconvenient for our lanterns, being both for plates and
cover-glass square, solid, very substantial, and apparently made with
a glorious disregard of whether they suited any slide-carriers but
English ones. We claim our way is more convenient, as it allows
title and name of maker to be placed prominently on the cover-
glass, and gives more latitude iu matting. We also mount our slides
differently from foreign workers, and it would save much trouble if
some general agreement could be arranged in these and other photo-
graphic matters. I spoke recently in Brooklyn on certain slide deve-
lopers. It does not matter much which one is used if it is used
intelligently ; each has good qualities, but those are the best which
are simple as to formula, cleanly in working, and reliable in action.
I do not like the caustic alkalies, as they are too severe on the film and
utterly preclude anything like prolonged development, so essential to a
good slide. With eikonogen, my favourite developer, I use carbonate of
potash, saturate solution, and sulphite of soda in the eiko, which seems
to keep well, if it does darken a little. The suggestion was recently
made to me of using the new developer, rodinal, otherwise para-amido-
phenol, as an accelerator in eikonogen, and it was a success. Let me
urge putting acid sulphite in the hypo bath, and alwajs have a dish with
saturated alum and a little sulphuric acid near it. Keep the bromide
bottle " convanient," but not too much so, and use a dropper in the
cork. See that for all solutions and washings either distilled or, at
least, well-filtered w^ater is used. It is my custom to keep a piece of
muslin, filled with absorbent cotton, tied over the rose sprinkler on
my faucet, and it requires renewing every few days, as it gets black
with sediment. In cold weather the water from the pipes should be
warmed before use, else the chill will seriously retard development.
In my dark room is a gas-stove, and I generally, in winter, heat water
and put a little in the developer, but only just enough to slightly
raise the temperature, remembering one sad experience when 1 saw
the whole film slip off the plate. Over-timing, development only for
detail and subsequent intensifyings, keeping the lights pure and the
shadows clear, by judicious use of the alum bath mentioned, will give
an interesting variety of tones, which is a relief from the monotony of
the usual colour of slides. Uranium and other salts are also employed
in gaining variety of tones, but hand-painted slides must be excep-
tionally well done to be even tolerable. It is a curious fact that some
pictures show much better as slides than as prints, especially where
there are good distance effects ; and at a recent exhibition a com-
petitor who showed slides and prints from one set of negatives,
received a prize for the former in preference to the latter. During
my proposed photographic trip to England and Scotland this spring
and summer, when I expect to attend the annual Convention at
Edinburgh, I shall make a study of the English method of work, and
try to ascertain its true inwardness. But there is no earthly reason
why, with proper patience and perseverence, any one who can make
a good negative should not make a good slide. If prevented from
using a copying camera, he certainly can make them by contact in any
ordinary printing frame, but should back his plate with dark material,
as frames generally are lined with white canton flannel. I would j
then advise their being made by gas, magnesium, or electric light, ;
which can be readily controlled. Some workers prefer artificial light j
in any case. Many of the societies provide facilities for this work,
and I constantly wonder that it is not more widely taken up ; but it
is sadly evident that in every society a few members do the most of
this work. While the claim is made still, and very positively, that
a wet-plate slide is the only true one, all others being unworthy of
consideration, yet high authorities all over the country are beginning
to believe that just as good effects can be gained with dry ones. 1
do not offer those shown to-night as examples to be followed in every
particular, but as illustrating certain artistic and technical points.
The amateur, however, after going through all stages of the slide
fever with ready-made plates, sometimes becomes fired with an
ambition to coat his own plates. There are several ways of doing
this, and all, though not expensive, are more or less troublesome; ;
but the genuine camerist devoted to his work never knows when to
give up and, as I can testify, never hkes to own a positive defeat. It
is a source of regret to me that I am prevented by urgent editorial
duties from using my own emulsion closet. At present it is occasion-
ally used to dry carbon tissue, and then only at intervals. I cannot
understand those good people who wonder what there is in photo-
graphy to make its devotees so very devoted, when discoveries and
improvements are being made almost every day in its already wide
field. Perhaps this is the more strongly impressed on me from the
fact that so many instruments, chemicals, &c., are sent to an editor
for testing, and the various photographic periodicals, foreign and
American, fairly bewilder the novice with the extent to which the
work is being carried. One very tempting path is in the direction of
different printing methods, experimentinorwith new printing surfaces
and developers, and here is where there is boundless capacity for im-
Supplement, February 3, 1803]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
87
provement, wliile with slides there is less variety in the material
used, but a irreat deal in how it 19 manipulatt-d. Success is, how-
ever, iuipofsible, unless one thoroughly believes that what he is doinpf
is worthy of his best energies, no matter what the line of endeavour,
but that blindly sticking to it will never accomplish anything really
valuable. What is required is steady, wide-om-n-eyed perseverance
and cultivation, not merely of one's artistic ana technical vision, but
a perpetual post-graduate course in accurate reasoning. The scales
and weights on one's shelves then become something more than sense-
leas machines, and are as symbols of the wonderful balance and
delicate adjustment of the human brain. You will only get from
photojrraphy that which you give it ; but one can give a great deal,
and, if you make yourself believe that in it no art is possible, you
will certainly never find any. He who seeks will find. To succeed, you
must read intelligently, study carefully, believe it is worth while to give
your best attention to camera work and then translate your study into
practice, watching critically every step and cutting places for your feet
as do the climbers on the Alpine glaciers. No sudden flights of inspira-
tion will carry you very far, although inspiration is needed sometimes
to keep up one's courage. I wish to urge at the same time the
never being satisfied with one's work. Avoid that as you would
a pestilence ; it is fatal to further progress. Your satisfaction will be
like that of the five little green peas in Hans Christian Andersen's
story, whose own tiny pod was all the world to thijm. While
measuring yourself against others and learning to realise your own
shortcomings, you will often find, by the great law of compensations,
an unexpected balance on the credit side of your account, but it must
be fairly earned. This talk has not been intended for a strictly
scientific one, but only to show those of you who have paid little, if
any, attention to this subject, that it is worth being well considered
for the sake of the future before it and what can be made of it. Such
associations as the Lantern Slide Interchange are doing much in this
country and abroad to disseminate a great amount of knowledge,
scientific, artistic, and historical. The work can be made a valuable
adjunct in educational training if used to instruct as well as amuse.
It is fascinating work, and from personal experience I recommend it
to all camerists, men and women, believing there should be no sex in
photography, that each should bear the burden and heat of the dark
room, do the same work throughout, share equal criticism, and receive
the same reward. Catharine VVkkd Barnes.
THE LANTERN SLIDE AND ITS BELATIONS TO ABT.
[Photogrnphic ?ection of the American Institute.]
The subject which I shall treat this evening will be, in the main, the
relation of art to the lantern slide. That there may be no misunder-
standing of what I may say, or misinterpretation of terms used, I
will, in the first place, define, as fully as seems to me needful, what I
mean by the term artistic in relation to, and bearings on, the subject.
"A Definition ok the Tkum Art in relation to the Lantebn Slide."
1 shall try to avoid assuming a dogmatic position by asserting that my
way is the only way ; that all who may differ from me are ignorant and
idiotic.
The fact is, that the interpretation of the word art is very flexible, and
becomes quite apparent when we attempt to compare it with the inter-
pretation of the word science. In the latter we musi have certainty by
demonstration. In art, the element of certainty can hardly be said to
exist, except in the minds of the advocates or leaders of certain schools.
Modern art, in civilised countries is, in the main, the product of educated
and cultured sentiment, and sometimes, when at its best, compares un-
favourably with the artistic work of so-called Pagan nations.
In metallurgy the Japanese surpass, in artistic work, that of any
European nation or people, but in landscape drawing they are as con-
spicuous as a failure as they are a success with metals, pottery, por-
celains, and textile fabrics. This is due to their ignorance of a scientific
principle in nature, which is the arbitrary law of linear perspective ; and
this is about the only point where science and art clasp hands.
It seems to me that, in defining art, it should, as a rule, be done in
general, rather than in specific terms. There can be no specific rule for
colouring a landscape. A rule which would dictate to every landscape
artist precisely the same pigments, or compounds of pigments, to be used
invariably in colouring specific parts of the same view, vrould be im-
practicable.
The reason why this is impracticable is because one of nature's im-
mutable laws forbids it. Nature seems to possess the omnipotent capacity
of producing infinite variety in the same species, and she exercises this
power to the fullest extent in her production of the optic nerve in the
human being with sensation and perception. No two artists see or depict
with precisely the same colours the same view.
The methods of each arc as diotinct from the other as thtir hand-
writing, and is aa difBoult to counterfeit. The artist who saocoada in
repronentinR form and colour Bs the cultured majority «m it, ba«omw tb*
popular artist.
The Bensei which respond most readily to the allaremcnti of art ar*
■eeing and hearing. Such artistic effect* are usually distioguished m
"fine arts," to separate them from the " meohuiio^ sod oaeful arU."
The sense of seeing is the one involved mainly in the tabjaet bafora xu
this evening. Wuat charm] the tympanum, ii the harmoniouf blending
of atmospheric waves.
"The Sense or Seeixo."
At the present time I am not trying to iateresi yon through the avenue
of sensation, and am maKing no effort tj proinoe pleasurable aitiatio
sensations by draping my thoughts in eloquent laagnage, and presenting
them through an expert elocutionist, which would proJuso artistic eSect,
but shall address myself to the sense of seeing, which sense is the result
of waves of a much more subtle agent ttian tne atmospherio ware*, and
the sensation of colour is largely the result of the blending of these
ethereal waves, and whether the effect on the nerves be one of pleasure or
pain depends upon whether the blending be harmaniout or inharmoni-
ous, the same as results to the sense of hearing wh^n mastc.il notes fall
upon the ear, and whether the sensation be pleasurable or painful will
depend upon the fact of whethjr the atmoipberio wave* unite harmo-
niously or discordantly.
I hold that aaything which produces unpleasint or disagreeable sen-
sations cannot be artistic, and further, that which pro<luces pleasurable
sensations without prodncinf^ weariness is the most artistic.
Poi'ULAR Lantern Slides and hie Optic Nebve.
There may be artistic sensations produced by a loud clanging and
banging of musioal instruments, but the senses soon tire of it and seek
relief. The popular and orthodox lantern slide has just the effect on my
optic nerve which noisy music has on the nerves of my ear, and under
an hour's strain my optics become tircJ and rebel This should not be
so. The fault is of long standing and originated in the early days of
photography in consequence of certain notions entertainel by professional
photographers. Artists of that time treated photography with ridicule
and contempt ; a petty warfare was kept up between the artist and the
professional photographer. The photographer who could make a photo-
graphic picture became inflated with exaggerated notions of his import-
ance, and just in the degree of popular favour awarded to photography
the artist's jealousy was increased and expressed.
" Cleaii Glass a Fatal Dogma."
The mistake which the early producers of lantern slides made was the
ignoring and ruling atmosphere from the slide -ibiolntely clear glass
was the fatal dogma. This was purely a photographic notion and un-
artistic to the last degree. Aerial perspective is almost, if not <iaite, as
potential and necessary in a landscape painting as linear pcriipective.
The supreme effort of a landscape artist is to reproduce nature, and to
do this he must paint atmosphere. No photographer can make a perfect
negative of an out-of-door view without photographing atmosphere ; the
longer the distance photographed the more atmosphere. If a negative
should have atmosphere represented in order to be perfect, it follows
that a lantern slide made from such a negative to represent it should
represent all the atmosphere in the negative. If this be so, it follows
that a dry plate which will make a nooil negative will, with the same
careful manipulation, make a good lantern slide. This seems quite a
rational theory, although it is radically heterodox. Vet dogmatic notion*,
whether antique or modern, have to, in the long run, submit to modifica-
tion and change when .assailed by deimmlraUd facU ; and the slides
which I shall exhibit this evening will mainly be for the purpose of
demonstrating the correctness of the theory just advanced. These slides
have been made, as a rule, on the most sensitive plates in the market.
Special plates usually used I shall only exhibit for the purpose of ilia*
trating the point at issue.
I will not deny that there may bo case* where a very thin negative
without much contrast is nsed that a special plate wonld succeed better
than a quick plate ; but my way would be to strengthen the negative and
use the quick plate. The modern lantern slide has become one of the
most useful products of photography, and in its adoption to illustrate
lectures almost a necessity.
There is scarcely a limit to it* use in this field, and it frequently
happens that the viewing; of slides used on such occasion produce more
pain than pleasure because of defeats in their prod uction.
" Lastebn-slide Makinii a Healtuv Mental Exebcisk."
The amateur photographer of the present is a devotee of the lantern
slide ; after becoming able to make a respectably good negatirs hi* effort
36
THE BRITISH JOURNAL OF PHOTOGRAPHY.
fSupplement, February 3, 1893
is to make with it a good slide, and I would not say a word to discourage
him or her. Working at any photographic problem, in my opinion, is
healthy mental exercise. It necessitates contact with scientific problems,
which creates a thirst for more liKht, and inspires a longing and desire
to become more familiar with nature and her methods. The negative and
the positive are alluring lights that beckon the student on ; torches that
illumine the way ; prophetic voices that promise reward for diUgent labour
and patient toil. They are nature's representatives and they bring you in
close communion with some of her mysteries, and you are led to realise
that just out of your reach nature conceals a golden key with which you
could unlock some of her secret chambers if obtained ; and she points to
the past and shows that the ones who have obtained the magical keys
have been the diligent ones, who by toil have earned the privilege
of culling a few jewels from her great storehouse. I believe there is
nothing better for the ethical and intellectual growth than to become
interested in scientific and artistic studies. I would not say a word
which would tend to cool the ardour or enthusiasm of the investigator
of nature, but would use my influence, as far as possible, to inspire and
encourage.
The wondei ful advance made in the pf-esent century causes the question
to be frequently asked, in reference to the future, whether we have not
obtained about all of nature's most valuable secrets ; and if there is any
probability that the next century will, in any respect, be as wonderful as
the one that is passing away. From my point of observation my answer
would be that we have just commenced ; we have not as yet learned the
first letters of the alphabet which tells of the possibilities and powers of
human reason, and have not even entered the vestibule of the great
temple of knowledge.
There is everything to encourage those who are enamoured with the
investigation of the great problems that surround us on every hand.
What we know when compared with the unknown, is like a few grains of
sand compared with the sand on the shores of all the seas and oceans^
BO to the young or to the old I would say, go on, an infinite field is before
you.
Hbnry J. Newton.
MOUNTING LANTERN SLIDES.
[The Beacon.]
Wflt is it that while everything else in connextion with photography has
been advancing and improving, almost revolutionising, the mounting of
lantern slides is carried on to-day exactly as it was some thirty years ago,
when the method of mounting each slide in a separate wooden frame was
discarded, that is, discarded so far as photographic slides were concerned,
for I believe that the finer variety of hand-painted sets are still framed?
The present form of mounting, when skilfully done, and before the paste
begins to give way, certainly looks well, and the mounter who makes a
trade of it is able to do it skilfully ; but the amateur who only mounts a
few now and then rarely makes a neat job, and is anything but an
amateur in the true sense of the word, and would rather make two than
mount one any day.
I believe that the disagreeabilities incident to the present method of
mounting, rather than any difficulties in the way of making good slides,
deter many from turning their attention to that most delightful branch
of photographic work, and my object in this article is to urge the
adoption, not of a new method, but of one that has been again and again
proposed, but rarely adopted — one that will, when we get used to it, look
as well as the present method, be much more convenient in various ways,
and at the same time as simple as putting a letter into an envelope. It
is one also that only needs to be generally seen to be universally adopted,
and I have a strong hope that it will soon be so, as several of the British
dealers in lantern material have at length seen their way to make and
supply the mounts or wrappers, a step likely soon to be followed by those
on this side. But we need not wait for that, as the cutting of what I
would fain term the modern mount is such a simple matter that any one
can do it for himself.
The material and tools necessary for the making of the mounts is some
Ihinnish, tough paper^white writing, or " manila," will do — a pair of
scissors and a slide cover. Paper of a white or light shade is best, as the
slides so covered are easily seen in dim light, and suitable for writing on.
The paper is first cut into pieces of 4j x 3J inches, and then the clear or
opening is cut of any desired size or shape. This is probably most easily
done by folding the paper across the middle twice, first in the direction
of its length and then of its breadth. This slida cover is employed as a
straight edge, laid on the folded corner so as to permit two straight pencil
lines to be drawn, making, with the two folded edges, a square, either
upright or horizontal, of just half the size of the opening desired. Ivo
straight cuts along the lines, stopping of course at the point where they
join, will give, when the jtaper is unfolded, the desired opening ; or, if
rounded corners, cushion shape, be preferred, they are easily made by
making the cut continuous, simply turning the scissors round the corner,
cutting the while. Before unfolding the paper, it is well to snip off the
four open corners, diagonally across from the folded corner, so that, when
the flaps are folded over, the joints will have a mitred appearance.
On opening the paper thus cut — and two or three dozen might have
been made in the time it has taken to explain it — a compound mat and
binder will be found ready for use. It is only necessary to paste it, lay
the si ide and its cover, without anything between, in the centre, and fold
over and rub down the flaps. A single trial will show how easy it is to
both cut the compound binder and apply it, and after one or two trials,
with a tithe of the trouble, to mount as neatly and more conveniently
than in the ordinary way.
I have mounted slides in this way for years, and they were admired by
all who saw them; but fashions, like facts, are stubborn things, and ill
to ding. But, according to the wise man, there is a time for all things,
and perhaps the time for the combined mount has at last arrived.
James Boss.
PEINTING-OUT LANTERN SLIDES.
[Manchester Amatcnr Photographic Society.]
A FEW words from one who has put to the test the latest addition to the
many inventions for the benefit of the amateur may not be out of place.
I understand that print-out plates have been manufactured before, but
for some cause or other (which I have not been able to ascertain) they
were either not a success or were not sufliciently taken up to warrant
their continued manufacture.
Some nine months ago the present writer and Mr. Lees of this Society
had a conversation as to the possibility of coating a lantern plate with
the same emulsion as chloride printing-out paper, the outcome of which
conversation was that I wrote a letter to Mr. Howson, of the Ilford
Company, pointing out the advantages to amateurs to be obtained from a
lantern plate so coated.
In reply that gentleman pointed out that the course suggested was
impracticable, and that all advantages claimed for such a plate could be
obtained by using the Alpha lantern plate.
It is now, by the enterprise of the well-known Paget Prize Plate
Company, not only proved to be not impracticable, but actually an
accomplished fact, and my friends may judge of the enthusiasm with
which I got hold of a sample of the new plates to put their capabilities
to the test.
On proceeding to open my first box, I must confess to a feeling of fear
that there was too much white light knocking about, and I very nervously
looked around— by force o£ habit, I suppose — to see that everything was
safe. Of course, this was totally unnecessary, as the emulsion is so
slow that the plates may be treated just exactly as if they were chloride
paper; in fact, the only difference between the two is, that with an
ordinary printing frame the lantern plate must not be disturbed, but
should be judged by looking on the back instead of on the front, as with
paper.
This difficulty, however, will soon be removed, as the same company have
in course of manufacture a printing frame specially designed for printing
these plates and print-out opals.
The plate is very transparent ; so much so, in fact, that you have to
resort to the old dodge of breathing on it, to ascertain which is the
correct side.
In the printing frame, in this December light, it takes a fearfully long
time to print, even when printed in the sun, which, it is interesting to
learn, it is advisable to do.
In the comparatively short time I have experimented with the plates, I
find they must be printed more deeply than paper.
They come out of the printing frame a bright red, something like a
correctly exposed and developed alpha plate, the high lights having a
bluish cast.
Two formula are given for toning : one a combined bath, for which
the plates must not be previously washed ; and the other, a bath, followed
by fixing, before which the plates should be put in running water for
fifteen minutes, to prevent uneven toning.
I preferred the second of these for simplicity, as follows ;^
Sulpho-oyanide ammonium ,,,.,.• 30 griuns.
Chloride gold 2^ grains.
Water ,,,,, , 16 ounees.
Supplement, t'^ubruary 3, 180^1]
THE BiariSH JOUUNAL OF I'lIOTOOllArilY.
.«
Filing-
Hypo ,,...,i.i,„.. 8 ounces.
Water 1 pint.
Toning proceeds very evenly, and may be stopped at any time when
|tid);ed to bo a »atiiifactory tone by looking through the plate.
It must not be forgotten that these plates are intended for warm tones,
•nd I am nut sure that adecp blask can be obtained ; but of that we shall
soon learn.
There c.in be no doubt that the path o{ the amatetu \riU be made
tjnsiderjbly smoother by this new candidate for our favour, and I can
confidently recommend our members to give them a trial.
I see a decided advantage in a pi inting-out plate, for the facilities it
oilers for printing in clouds, all that i-t necessary being to print the land-
wape, and then cut out a paper mask to cover .same during the printing
itl of a cloud; we shall thuM gain iu two ways : — (1) our results will be
more certain, wrong exposures being practically done away with ; and (2)
ihe same plate will do for landscape and cloud.
The dark room and its aecampaoying disadvantages entirely removed,
And other advantages which such a plate must possess prompts ma to
prophesy a great future for the Paget printing-out lantern plate, and a
(^ater addition to the already numerous ranks of good lantern-slide
tnakers. W. H. Shirley.
FAim LIFE ON THE SCEEEN.
The Edinburgh Photographic Society held their first popular evening
for the session on Friday evening, January 27, in Queen-street Hall. Mr.
i. C. Oliphant, Vice-President, occupied the chair, and, in addressing the
meeting, said the audience would have the advantage of seeing among
others on the screen — on a much larger scale — the picture which had so
deservedly gained the silver modal at their recent Exhibition. The
lecturer, Mr. James Patrick, of Comiston-road, read the paper which had
been prepared by his sister, Jessie Patrick Lindlay, the well-known
Authoress, which was entitled " Round about the Farm," and which com-
prised about sixty views taken during the currency of last year, from early
Mnring to mid-winter, of the scenery, with the picturesque backgrounds of
trie Pentland Hills, and the surroundings of Swanston village and farm,
one of those cosy old-world claobans where thatched cottages and homely
kail-yards yet exist, almost within "a mile o' Edinburgh town." The
pictures were of the highest class indeed, in artistic choice of subject, in
the introduction of dogs, horses, cattle and sheep, still life and figures ;
they displayed that true power of seeing and selecting subjects which is
not so widely diffused as is the capacity of making a good negative and
the transparency therefrom.
A departure was also made from the usual, or rather a reversion to
what used to be the usual, method of showing the pictures by keeping
each subject on the screen continuously during the sometimes lengthy
description and necessary annotations on the various subjects. The
fnctures were all untouched in negative or transparency, and the aerial
•fleets happily caught, save in one solitary instance, where to a sunset
(ttbject there had been printed in a morning " mackerel " sky of a kind
rarely or never seen in the very early part of the day. One of the
most difficult of the series, the autumn portion, rendered the stack-yards
•nd straw with a truth of local colour that was almost deceptive. The
winter scenes were also exceptionally fine, and some of them, with the
dense loading of snow, gave a fine idea of the heavy fall. The Council
had for the first time in the Society's history imposed a charge for ad-
mission ; but, contrary to expectation, the large hall was quite.oomfortably
filled. Several appropriate songs were sung during the evening, and, as
indicative of their quality, were called for again.
At the close of the lecture, which was throughout deservedly cheered,
Mr. J. Barclay, Secretary, in the name of the Society, heartily thanked
Mr. Patrick and the ladies and gentlemen who had contributed to carry
through so very pleasant an evening. The lantern was worked admirably
and without a bitch.
ZOOPRAXOGBAPHY ON THE aCBEEN AT THE CHICAGO
EXHIBITION.
We have received the following official communication ;—
By invitation of the Fine Arts Commission of the World's Columbian
Exposition, Mr. Eadweard Muybridge will give at intervals, from May to
October, 181)3, in the Zoopraxographical Hall of the Exposition, a serieg
of lectures on the Science of Animal Locomution, especially in its relation
U) Dcsiiin in Art.
These lectures will be given nnder the auspices of the United States
Oovernment Bureau of Education, and will oe baaed on the elaborate
work— .f»i»i'i{ I.drnmntiiin -coTitalnliiR the reinlt* of the eleotro-pbolo-
graphic investiiratlon of the movementit of animals, made by llr. Mof-
briftgc for the University of I'ennsylvania.
From the investigations of Mr. Muybridge — which were oommenoed in
1872 — originatcil the science of /.oniiriirniiraphii, and leotore* and de-
monstrations on this subject have been given by the author at nearly all
the principal institutions of science, art, and education in the I'oitcd
States and in Europe.
It is a subject of the most profound importance to the scientist and tlie
artist, and has been universally recognised as of the greatest iotercit to
the general public.
Although it is probable that the present eerie* of lectures may not be
unworthy the attention of the philosopher, they will be free from techni-
calities, and adapted not merely for the instruction, but also for the enter-
tainment of popular and juvenile audiences.
The illustrations will comprise a selection of consecutive phasei of
movements by men, women, children, horses, dogs, cats, wild animala,
and birds, pliotographed while they were running, jumping, boxing,
dancing.gallnping, trotting, kicking. Hying, or engaged in other muscalar
exercises. Tiiey will be projected by the electric Tight on a large screen,
and, after an analysis, the sucuessivc phases will be combineJ, and pat
in motion with the semblance of actual life by the zoopraxiscope.
The differences between a true and a false impression of animal move-
i ments will be demonstrated by ilUtminated projections of the works of
I many eminent painters and sculptors of ancient and modern times.
LANTERN SLIDES OF NORTH WALES.
Before the Putney Photographic Society, on January 23, Dr. J. F.
Farrar in the chair, Mr. John A. Hodges, President of the West London
Photographic Society, read bis Icuture (illustrated by lantern slides) on
Rambles with a Camera iii North Wale* to those members and their friends
— about one hundred — who were present. No doubt this large attendance
was mainly due to the pleasing recollections of his lectare on Surth
Devon given before the Society last year. Mr. Hodges' graphic powers of
description, marked enthusiasm for Welsh scenery, together with his
quiet, dry humour, were thoroughly appreciated by an attentive audience.
It is quite unnecessary to say that the hundred slides illustrating his
remarks were of the best quality, showing true artistic feeling as well aa
perfect technique. For the information of any brother photographers
woo may wish to do good work in Wales the following particulars of the
route taken by Mr. Hodges may be acceptable : — Start from Lhingollen,
and follow the course of the Dee, past Bala, to Dolgelly ; thence, down
the estuiry of the Nawddach, to the sea at Barmouth, continuing the
journey by the Cambrian Railway to Harlech and Portmadoc. Leave
the train there, and proceed by coach to Beddgelert, changing there into
the Bettws-y-Coed coach. From that quaint and pictures [ue village go by
the North-Western Railway to Conway, Penmaenmawr, Bangor, and Car-
narvon. By taking this route no doubt much of the finest and most
beautiful scenery in North Wales could be visited in a tolerably short trip
of about a week or ten days.
MOUNTING PASTE FOR LANTERN SLIDES.
Foe attaching lantern elide bindings to the glass nothing is better
than bichromated paste, which u used for attaching paper to glass in
the manufacture of electric instruments, and which is a most useful
paete for many purposes in damp climates. It is made as follows : —
Hour '2 teaspoonfuls.
Water 4 ounces.
Bichromate of potash o grains.
The flour must be rubbed to a smooth paste vi-itb the water, then
placed in a saucepan over the tire and kept stirred until it boils. Add
the bichromate slowly, stirring all the time ; then stand to cool.
This paste must be kept in the dark, and used as soon as possible.
Soak the paper in it, and attach to the gl.iss, then place in direct sun-
light for a day. This sets up a chemical change in the bichromate,
and renders the paste insoluble. — Journal of the Photographic Society
qf JaiHiH.
♦
MAGNESIUM FOR LANTERN SLIDES.
tMinncnpolifl Cniuera Olnb.J
Trebb is certainly no better or more pleasing way of showing oar work
than by the use of the stereopticon and lantern slides.
A proof of this is that an announcement of a lantern exhibition will
nearly always draw a good-sized audience, and it is almost actually
necessary nowadays for a lecturer to make use of this means of iUus-
trating bis ideas.
40
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Supplement, February A, 1893
A number of our members have never made lantern slides. They have
probably never investigated the process far enough to see how exceedingly
simple it is, and I will endeavour to show you this evening one ol the
methods used. Lantern slides are made either by " contact " or by
"reduction" from the negative by means of the camera.
The contact plan is most generally adopted by amateurs because of the
ease with which it is done, and also from the fact that it can be done a
night. This plan is all very well when you have small negatives ; but,
even with 4 x 5, it would be better in the majority of oises to make the
slide by reduction, and with large negatives this is absolutely necessary.
The ordinary way of making slides by reduction is to place the negative
(film side toward the camera) in a north window, with a piece of grouod
glass behind it ; then put a lantern plate in your plate-holder, and, after
getting the proper-sized image on your focussing screen, make the
exposure, and develop the same as if mide by contact.
An advantage obtained in reducing is that a soft slide may be made
from a harsh negative, and by proper exposure and development a good
slide may be made from a negative so thin and flat, that it will not yield
a passable silver print. Another reason is thit it is practically impossible
to get perfect contact in a printing frame with the ordinary lantern plates,
while by copying ia the camera it is a very easy matter to make the
slides absolutely sharp. But in order to make slides by reduction we
must have daylight — at least, that is the general supposition. Not many
amateurs — in this city, at least — have much time to devote to this kind
of work in daylight, and I will demonstrate to you this evening how I
make slides by reduction at night, using magnesium ribbon for illumina-
tion. I have constructed a frame consisting of two uprights with two
grooves on the inside. The uprights are just far enough apart so that a
glass ten inches wide will slide between them, and they are twelve inches
high. In one groove I slide a 10 x 12 ground glass, and in the other I
place the negative. IE it is 10 x 12, it just fits ; if it U smaller, I put the
lower end in the groove at the bottom of the frame, and lower a strip that
slides in the side grooves down until it reaches the top of the negative. I
place this frame on the table, and draw the camera stand up facing it.
After once adjusting the height, it is hardly ever necessary to change it
for the same-sized negatives. I then focus as usual, using a candle
behind the ground glass to illuminate the negative. When everything is
ready, I cut off from three to six inches of magnesium ribbon, according
to the density of the negative, and hold it in a pair of pliers, light it at
the candle, and pass it rapidly back and forth behind the ground glass
and negative. The secret of success in this is to bo rapid and give the
whole negative equal illumination.
I made a few failures in this before I succeeded in getting the negative
evenly illuminated, but after a few trials it is very easy.
A. L. ElUKMILLEIi.
SLIDE MAKING 13Y EEDUCTION.
Before the Croydon Camera Club, on January 30, Mr. Gay Wilkinson gave
a lecturette, with demonstrations, to a numerous gathering of members on
Slide Making hij liediictiuii. Apart from the engaging readiness with
which the lecturer made clear all doubtful points raised by inquiring
auditors, the proceedings were chiefly notable for the primitive character
of the appliances used in obtaining those brilliant results for which Mr.
Wilkinson is so distinguished, and by his demonstration of how, with
very simple manipulatory means, he obtains the much-to-be-desired
skies in his slides.
BiNoxiDE. — It is considerably over twenty years since electricity was
employed for lantern illumination. Mr. Browning introduced a lamp
of that nature in 1868.
Mtc.v. — Yes, mica plates are now available for lantern-slide supports —
they might be used for pictures by the carbon process. They are,
however, rather expansive.
Gas. — Certainly not more than five feet of oxygen an hour should be
necessary for your double lantern, and thus a twenty-feet bottle should
last for two evenings' entertainment of two hours each.
J. F. Yoc.va. — The addresses of the Hon. Secretaries of the Charitable
Lantern Entertainment Society will be found in the last Suppi.emeni
in which you will learn all particulars of the Society's objects.
BESiNiNEn. — The slide sent is not clear enough in the lights for projection
purposes, while the detail in the shadows is not sufliijient. Join a
Society, and endeavour to leir.i what is required from the examples
shown.
C. WiNsroNE. — By using an alum trough to absorb the heat rays, the
inhabitants of your various samples of pond water will not receive their
quietus so quickly, and thus you will be able to keep them moving
about a little longer.
Mauk Laylani). — Hydrogen or common house gas is so easily obtainable,
that it is rarely worth one's while to generate it for oae's seli. How-
ever, as you ask us " merely as a matter of curiosity, and not because
you intend trying it," how it m.iy be obtained, we reply ; By the old
experimental zinc-aulphuric-acid method.
Di-CHuoic. — Special tinters for imparting sunset or moonlight effects to
slides may be obtained of lantern dealers. Usually, they include a
selection of colours, and are made to fit on the lantern front. The
coloured effects with the limelight as seen on the stage are proJu;ed in
a somewhat analogous minner.
N. Ohdish (Liverpool). — The gas to b3 rendered suitable for lantern
purposes should be enriched by a hydrocarbon, whidi may be effected by
allowing the hydrogen to pass through a metal vessel holding some
fibrous substance saturated with naphtha, turpentine, or benzjle. Two
flames so enriched will form a light of grcit brilliancy. There is not,
so fir as we are aware, any commaroial applianc: of this niture on ihe
market ; but, having given yoa the necessiry cjnJitions, any gai-fitter
wjald be able to wjrk out a suitable plan froji t'lis dssoriptioa.
ilantcni (©ucricjo.
B. Simpson. — An article on lantern shdea by printing out appears in
another part of the St;i'rLE>u;NT.
W. Tbessle. — Why not use a saturator ? This wil do away with the
use of cylinders and bags altogether.
A. PiivcE. — A table in the current Almanac supplies the information
requisite for calculating the distances. Tou do not state the length of
the ball.
P. C. R. — Possibly through condensation of moisture upon tl-ie condensers
or objective. Always let both be warmed before commencing the
entertainment.
S. Welsh. — The samples of cover-glasses sent are slightly yellow, and are,
therefore, hardly suitable for the purpose. The more colourless they
are the better.
E. L.— Gas cylinders are made by the Projectile Company. They,
however, only supply wholesale. The valving is done by the gas
compressers.
We have received the new Lantern Catalogue of Messrs. Archer it S )ns,
of 43-4',), Lord-street, Liverpool. It is a complete and comprehensive
guide for purchasers of lanterns and their numerous aoossjries, various
kinds of singles, biiinials, and triples being described and illustrated.
Special prominence is given to the " Ideal " single, which has met with
great success among lauternists. Some of its advantages are that it has
interchangeable lenses, and will show either in the smallest room at
home or across the largest hall, being equally suitible for the drawing-
room, schoolroom, lecture-hall, or microscopic, scientilic, and experi-
mental work, also for photographic enlarging. The body is of polished
mahogany, lined with iron, and thoroughly ventilated. There are
walnut-panelled doors both sides, fitted with brass shutter sight-holes.
The front is connected with the slide stage by means of a leather
bellows, same as on a photographic camera, which is much better than
the usual brass tubes, because (i) it is lighter, (2) more portable,
(3) cheaper, (4) easier to extend to and fro. This allows the use of
lenses from the shortest to the longest range, so that pictures can be
shown either close to the sheet or across the largest halls. The whole
of the front removes clear away for the use of scientific apparatus. The
bellows front is worked by a rack running the wjiole length o( the lantern
(in addition to the short rack on the object lenses). The object lenses
are mounted in cylindrical tubes, which slide in the rack mount, so that
they can be changed from one foci to another in an instant. Tuey are
fitted with double pinions, flashing shutter, and groove for tinted glasses.
The rack front is mounted on a loose wooden board, so that photo-
graphers can use their own lenses for enlarging. At the end of the
Catalogue, which omits details and prices of nothing required by
lanternists for ordinary as well as scientific projection purposes, will
be found useful directions for working lamps and lanterns, cylinder
notes, hints on mixed jets, the lantern microscope, &c. Messrs. Archer
have the advantage of practical aaiuaintance with the lantern. Inci-
dentally we learn from their Catalogue that they supply a special
biunial to the Sunlight Soap Works for projecting a picture ninety-two
feet from the screen, the lenses being capable of showing at a distanca
of 200 feet if required.
Sicljange (JTolumii.
E.xcliilnge magnesium clockwork lamp for burning ribbon for luntorn alidcs.-
Address J, B. StdKes, NeW-road, Soutlialnpton,
MONTHLY SUPPLEMENT
To THE " British Journal of Photography."]
{March 3, 1893
THE LANTERN RECORD.
CONTENTS.
PaOK
AHNOUNCEMENT «
A VISIT TO DRIN S OXYOKNWOBKS.." 41
LASTKRN NOTES AND NEWS «3
A ISEFl I. VARNISH V'OB NEOATXVE8
OK TRANSPARENCIES «S
LANTERN MEMS. By O. R. BAKER,... 44
SKIES IN LANTERN SLIDES. By
» HERBERT FRY «S
Paok
LANTERN MATTERS AT THE CAPE.
By C. RAY WOODS 45
FLEXIBLE METALLIC TUBINO FOR
THE LANTERN 4«
A NEW FOLDING LEVER KEY 40
LANTERN
PLATES.
SLIDES ON GELATINE
By H. E. FARMER 46
AN IMPROVED BLOWTHROUGH JET .
RECENT I..\STERN PATENTS
ANNOUNCEMENT.
L.\ST autumn, when we instituted this Monthly Lantern Supple-
ment to The British Jo urn a r- of Photography, it was our
intention to restrict its appearance to the winter months,
but the remarkable appreciation which this new feature has
obtained from readers and advertisers alike has decided us to
make it a permanent addition to the Journal, so that we have
now the pleasure to announce that a Lantern Supplement will
appear with The British Journal of Photography on the
first P>iday of every month throughout the year, without
intermission.
There are other, and perhaps equally important, reasons for
this step. Observation has shown us that while, among photo-
graphic societies and at public entertainments the o])tical
lantern during the summer months is not so largely availed of
as in the winter, its uses for enlarging by photographers
generally, for projection purposes among many sections of
modern scientists, as well as for private and individual employ-
ment in regards too numerous to specify here, are so slightly
diminished as to confirm our opinion that the lantern and its
cognates, with all the manifold points of practical and theo-
retical interest appertaining to them, are entitled to unremitting
recognition and discussion at our hundq. Mechanical, scientific
and artistic progress in lantern work may bo expected to pro-
duce constant development at all seasons of the year, which
would assuredly suffer if it did not find early representation in
these pages.
We take this opportunity of removing a misconception which
has arisen in regard to the " Lantern Supplement." It was, as
we have previously pointed out, projected a considerable time
ago, but circumstances delayed its appearance until last October,
when its immediate success not only provoked imitation but
instigated our contemporaries to devote more attention to
lantern matters than they had hitherto done. The " Lantern
Record," therefore, may claim to have stimulated, increased
interest in lantern work — an interest which it will be its aim in
future to sustai'i, support, and augment.
A VISIT TO BRIN'S OXYGEN WORKS.
A Talk with Mb. Kenneth S. Murray on Oxyoe.v.
Recent discussions and experiments relating to the purity of
the oxygon commercially supplied for limelight purposes have
invested the subject with great interest in the lantern world,
not only as concerns the methods by which it is prepared, but
also as to the sources whence it emanates and may be obtained.
Wo have, therefore, thought that some brief account and
details of the method by which oxygen is produced on a large
scale would be welcome to oiu- readers. It must be remem-
bered that, although this gas is in very large demand for
lantern illumination, it has several other uses and applications
of an extensive nature — medical, theatrical, industrial, <kc. —
which combine to render its production necessary on a scale
far in excess of what is required in photography, so that oxygen-
making at the present time ranks as quite an important
indu.stry.
Oxygen, by the chlorate method, is commercially produced
to a limited extent, and we believe that other systems are in
actual or imminent use, but it is tolerably safe to assume that
a preponderating percentage of the gas employed by lantemists
is prepared by the barium process. This is the patented pro-
cess of the Brin Company, which Company has several off-
shoots in the north of England and Scotland, and to the London
works of which we recently paid a visit. Here, under the
attentive guidance of Mr. Kenneth S. Murray, the engineer
and manager of the Company, we were enabled to gain a very
good idea of tlie elegant system by which the air we breathe is
made to part with its oxygon for the wants and uses of art,
science, and industry.
The Barium Proce.s.s.
The chemical text-books (Fownes, p. 364, tenth edition,
passim) inform us that Boussingault, a French chemist, pro-
posed to utilise the property which barium oxide, when heated,
has of obsorbing oxygen from the air, so passing into the
dioxide, and of yielding up the absorbed oxygen at a higher
temperature, for the inexpensive preparation of oxygen on a
large scale ; but, inasmuch as the barium monoxide gp-adually
lost its power of absorption, the idea seems not to have passed
permanently beyond the stage of a laboratory experiment.
Messrs. Brin, however, improved upon Boussingault by puri-
fying the air before it was brought into contact with the
barium, and by admitting the air under pressure, and ex-
hausting the oxygen under a vacuum. This also allowed of a
uniform temperature being employed in the peroxidation anc'
deoxidation of the barium.
The principles involved in the preparation of oxygen by this
method are, therefore, exceedingly easy to grasp, and it is in
their application tg the exigencies of commeicial producti^a
42
THE BRITISH JOURNAL OF I'HOTOGRAl'HY.
[Supplement, March 3, 1893
that the Brin Company have succeeded in perfecting some
highly ingenious machinery, which we saw in operation on
Friday last. Properly to appreciate and describe such ma-
chinery one needs the acumen of an engineer, and very
considerable space, and we must, therefore, herein content
ourselves by imparting simply a popular idea of it as we saw it in
action. The machinery room, engineer's shops, cylinder-testing
department, the compressors, jjasholders, furnaces, complete a
large installation at Horseferry-road.
The Machinery at Work.
The routine of the process begins with the pumping in of air
from the atmosphere, which is passed into a large receiver con-
taining caustic lime, and thence into a second and smaller
receiver (of caustic soda), the latter, to quote Mr. Murray, acting
as a check on the former in the removal of moisture and car-
bonic acid from the air. The purified air is then passed into
large pumps, where it undergoes slight compression, and finally
passes through a chamber for filtering out solid particles, and a
distributor placed on top of the furnace, into the retorts. The
large furnaces are built at an angle with the horizontal, and
contain on each side twelve inclined retorts, of cast iron, of si.v
and a half inches internal diameter, one inch thick and about
ten feet long. These hold between 2000 and 3000 pounds of
barium in small lumps. A temperature of about 1300° Fahr.
is obtained by the admission of primary and secondary air into a
coke furnace, the carbonic oxide found being burnt into carbonic
acid in the combustion chambers. By means of wall-holes in
the sides of the furnaces one sees the retorts at a dull red
heat. The heated barium abstracts the oxygen from the
purified air, and the free nitrogen escapes up through an
automatic valve, whence it passes out into the atmosphere.
At the end of five minutes an automatic reversing gear reverses
the working, a vacuum is created in the retorts, the air and
impure oxygen in the connecting pipes are blown away, and the
oxygen passes back through the pipes to a comparatively dis-
tant part of the works into the gasholder, which has a capacity
of 2000 feet.
In another five minutes the reversing gear is again auto-
matically converted, air passes into the purifiers, as before,
thence to the pumps and retorts, and so on, for every five
minutes of the day and night, Sundays as well as week days,
all the year round. The maximum volume of gaa capable of
being drawn off can thus be seen to be very large. At the
time of our visit only one of the furnaces and one set of
retorts were at work. As showing the longevity of the barium
oxide, Mr, Murray told us that in some of the retorts they
were still using barium which was first employed in 1886,
when the Brin syndicate started working the process. After a
time the barium is prone to cohesion, when it has to be taken
out and broken up.
From the moment when the air is pumped into the purifiers
until the pure oxygen leaves the compressor the process is
practically automatic, save and except such attention as even
automatic machinery must have. Of special value is this, in
that, when the air and impure oxygen are blown out of the
pipes, the egress of atmospheric air is prevented. In atmo-
spheric air there are, by weight, 23'1 parts of o.^iygen to 76'9 of
nitrogen, and by the Brin process about fifteen parts by weight
of the oxygen are taken up by the barium monoxide.
Compressing the Gas and Filling the Cylinders.
The gas from the storage holder passes directly into the
compresspv, Thk k of a three-stage type — that is, it has
three cylinders, each compressing the gas to a different pressure
and is driven by engine power. The gas from the holder
passes into a cylinder, in which it is brought to a pressure of
eight atmospheres, from thence it proceeds to a second cylinder,
where it is further compressed to thirty-two, and finally to n
third cylinder, where it is brought to 125 atmospheres.
Water is taken up by the gas as it passes into the cylinders
for which it acts as a lubricant. It is, however, separated by
gravity from the compressed gas before the latter is led into
the storage cylinders. The gas, while undergoing compression,
iscooled by the compressing cylinders being surrounded by water.
The working capacity of the compressor which we saw in
operation is 1000 cubic feet of gas per hour compressed to 120
atmospheres. Here were all sizes of the ordinary storage
cylinders being filled by an employe, for whose guidance a most
stringent set of rules to be observed as regards the working of
the compressor, and the Company's test stamp on the cylinders
he has to fill, is conspicuously placed ; ecpial rigidnoss marks the
rules which govern the reception of cylinders, from customers,
to be filled.
Testing the Cylinders.
The cylinders are tested by the hydraulic method to a
pressure of, we believe, about two tons to the square inch, or
double the highest pressure the compressed gas with which they
are filled is likely to exert on them. Briefly, the testing method
consists of holding the uuvalved cylinder, inverted, at the top
of a well several feet deep, in a collar of iadiarubber against an
outer surface of water. The hydraulic pressure is then exerted
by the usual means, and the expansion of the metal cylinder is
registered and read on a recording scale the indicator of which
is forced up by the displacement of the water surrounding the
cylinder. If upon relaxing the pressure the indicator fails to
return to its approximate zero point, the cylinder has per-
manently expanded and has not stood the test. Hard by, in
the same shed, is a small hospital, containing a few cylinders
which have failed under the test. All the cylinders are valved
on the premises, the lubricant employed being graphite and
plumbago.
The Purity of Oxygen.
At our request Mr. Murray allowed a test to be applied to a
small quantity of oxygen taken from the bulk actually in the
gas holder while we were present at the works. For this tost
the Hempel method (which our readers will find described in
Messi'S. Haddon and Grundy's recent paper on the "Estimation
of Oxygen") is habitually used. On this occasion the sample of
gas drawn from the holder showed, according to the test, that
oxygen was present in it to a j)ercentage of 93-4. Mr. Murray
informed us that his Company did not profess to supply a gas
containing less than seven per cent, of nitrogen, and that the
latter was seldom present in a greater proportion than as here
indicated. The supply of gas containing a lower percentage of
nitrogen than seven or eight — absolutely pure oxygeu in fine
— would, we understood, add immensely to its cost.
Most lanternists will agree with Mr. Murray and with our-
selves that a gas containing only some seven or eight per cent,
of nitrogen is everything that is required for projection pur-
poses. Some idea of the large volume of gas sent out from the
Horseferry-road Works may be had when we say that the
average weekly output is about 35,000 feet, or, annually,
2,820,000 feet.
The Illuminating Powers of Diluted Oxygen.
The frequent supposition that the illuminating powers of
oxygen are necessarily much affected by its dilution with jv
Supplement, March 3, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPH V.
4S
large volume of nitrogen, appear to have been contra-indicated
by the results of some dxporinients whicli Mr. Murray luade
with a saniplo of gas other than Brin's, containing nitrogen to
the extent of forty per cent., and one of tlioir own preparation,
having only somo seven or eight per cent. Two lanterns were
used, the conditions equalised, discs thrown side by side, and
other experiments made, with the result that Mr. Murray found
himself unable to detect much, if any differenco in the brilliancy
of the light f»iven ott' by the aid of the diluted oxygen as against
their own gas. The consumption of the former was, however,
much quicker than that of the latter, so that the real loss by
the use of heavily diluted oxygen would appear to have more
to do with the depletion of the lanternist's pocket than with
the degradation of his pictures on the screen.
Oxygen, unfortunately, cannot be identified by its trade-
mark, and, therefore, when having one's cylinders filled for one
by an agent, it is impossiljle for one " to see that we get "
nitrogen-free oxygen. It appears that some of the Brin Com-
pany's agents have recently been supjilying gases containing
large percentages of nitrogen, with the result that the Com-
pany have got an undeserved blame in the matter. Mr.
Murray, however, jthilosophically remarked that Brin's had only
suffered a little temporary harm, all their agents having come
back to them.
We were disagreeably surprised to learn from Mr. Murray
that many cylinders sent back for rofilliog contain oil, ikc.
By what we could gather from our courteous guide, we have
no difficulty in perceiving that the business of an oxygen-maker
and compressor caiTies with it rather above the average number
of small troubles, which require sleepless vigilance to obviate
and overcome. Mr. Murray is at present supervising the laying
down of additional oxygen-producing plant at Hudderstield,
Manchester, and Stoke.
LANTERN NOTES AND NEWS.
A coilHKspoNDKNl inquires if the Lantern Society is still in ex-
istence. Not havin<r for many months ^efeived any communication
from the Stcretary, we presume that the Society is no longer doing
active work in connexion with lantern matters.
• •#•*#
The slides to illustrate places to he visited during the Photographic
Convention of the United Kingdom, to be held at Plymouth in the
week commencing July a next, are now going the round among the
London societies. Mr. Hansford Worth, the Hon. Secretary of the
Devon and Cornwall Camera Club, asks for further applications for
the loan of them.
• • • • •
Mb. Waltkr Tylkb, of Waterloo-road, for whom, as the "Uni-
versal Provider " of Linternland, we entertain a respect not unmixed
with awe, intends to visit the Chicago Exhibition in the course of the
summer. Xo doubt during his stay he will keep an eye on lantern
matters in the States, with a view of picking up any unconsidered
trifles in the way of novelties for next season,
• • • • •
That is, if there are any lantern " novelties " to be met with in
America. From what we can gather by a study of the literature of
the subject, our friends across the water are somewhat behind us
here in lantern-slide work, quantitatively and qualitatively, the same
remark holding good with regard to the lantern and its accessories.
# # # # ♦
Os February 14, Mr. F. W. flindley showed bis now well-known
seres cf Irish slides at the Shoreditch Tabernacle. As illustrations
of life and character in remote parts of the Green Isle, these slides
are both instructive and humorous. Tu geuerali;je from the bootless
condition of many of the Bgure xubjecla — men, wom<tn, and childrm
—in Mr. Hindloy's slides, one is wnrranted in suppcning that the
trade of the bootmaker in somo district.^ of the dislretaful country i$
hardly less precarious than agriculture.
• • . • • •
.\i'HOP08of Mr.O. n. Baker's remarks in the last" Lantern Record '•
on the subject of the cost of tran.smitting gas cylinder.") under the new
railway rate.'i, wo heard of a ca.se wliere a ten-foot bottle, which,
under the old rates, cost one thilling and threepence for rarriuge from
London to Hastings, was, since the first nf Jnnunry hist, char;:e(l five
shillings and sixpence, an increase of nearly :!<)() per cent. ! The con-
signee protested against the charge, to the Railway Company, who
have asked him to let the matter "stand over,'' which means, no
doubt, that the Company, like other companies have had to do, will
revert to the old rates.
• f • • •
Thk other day Mr. T. Edgar i'emberton delivered, in the Court
Theatre, an anecdotal narrative, entitled, " The .Story of the English
Stage," before an audience of distingui.shed actors and actresses. The
lecture, we read, was illustrated by a number of portraits of leading
actors and actresses from the time of Shake.speare to the present day,
which served Mr. I'emberton as the text for a rapid runnin(>' com-
mentary. " Some of these screen picture.",' adds our authority,
" were excellent, but a few were marred by the insufficient size of the
sheet upon which they were thrown by the lantern, and others were
indifferently focussed." When a non-technical reporter is moved to
write thus of a lantern-slide display, we must conclude that it was
not so skilfully managed as it might have been. As an adjunct to a
lecture, good slides and a well-manipulated lantern ensure half its
success ; poor slides and incompetent lantern management, even to a
non-technical audience, detracts to a like degree from the sum of
pleasure or profit derivable.
A USEFUL VAtWISH FOR NEG.\TIVES OR
TRANSPAKEXCIE.S.
I.v the course of an article in the December number of the " Record "
on " Lantern Slides," I alluded to the use of a varnish composed of
celluloid dissolved in amyl acetate, but tince that artic-le was written
I have succeeded in making a superior varnish from ordinary pyroxjline,
dispensing altogether with the amyl acetate, which is not always easy
to procure.
The advantage of celluloid varnish over orJinary collodion is that
it sets and dries more slowly and gives a mora even film, owing to the
absence of the extremely volatile ether which is necessary to effect
the solution of pyro.xyline. Celluloid itself, consisting of pyroxyline
in combination with camphor, is more or lesi soluble in alcohol either
methylated or pure, especially if the liquid be heated, but I have not
been able to prepare a satisfactory varnish in this manner, partly on
account of the imperfect solvent action, though chiefly becau.'^e the film
when dry U opalescent.
The ordinary sheet celluloid employed at the present time as a
support for negeitive films, if dige.sted in common methylated spirit,
slowly swells and gradually dissolves, forming a faintly opalescent
solution which flows fairly well over glass, hut doej not give a very
even film. The addition of a very sm.vll pioportion of ether both aids
the solution and improves the character of the film as regard*
uniformity; but, uofortunately, it dries perfectly white and opaque,
and the only purpose to which such a preparation could be put would
be to form a dead black varnish for wood or brass Avork, for which it
answers remarkably well, requiring n > heat on its application.
It occurred to me that, by using ordinary pyroxyline in conjunction
with camphor, the solvent action of plain alcohol might be utilised
with, perhaps, better results than above stated. Accordingly, camphor
was dissolved in methylated spirit, and 1 1 this solution pyroxyline
was then added. At first it showed no signs of dissolving, but after
some little time it began to swell, and became transparent, and
eventually dissolved entirely, forming a bright, clear solution, that
flowed easily and smoothly over, the glasj, and dried with perfect
transparency, though very slowly, unless assisted by heat. Compared
with a coating of plain collodion, however, I could find ao gntt
44
TME BRITISH JOURNAL o'e PHOtOGkAt-HV.
[Supplemept, March 3, iS93
RdrantBge as a protective agent, while I tliink the collodion gave a
decidedly more even film, though, when examined side by side when
dry, there was not much to choose between the two.
The proportions of camphor and pyroxyline employed were one to
four, the camphor being first dissolved in a small quantity of spirit
in which tlie gun-cotton was digested until it was reduced to a viscid
mass, after waich more alcohol was added, until the 'quantity of
pyroxyline was about five grains to the ounce of liquid. The pyroxy-
line was Hopkinit Williams' ordinary, which, when dissolved in ether
and alcohol, forms a beautifully clear and structureless collodion.
Not bsing satisfied so far with the result attained, I cast about for
a better solvent that could be readily obtained of fairly uniform
quality; many solvents offer themselves, but they possess no advan-
tages over acetate of amyl, if indeed they are as good. I remembered,
however, some years ago expsrimeutiog with methylic alcohol, or
rather commercial wood naphtba, as a substitute for ordinary alcohol
or methylated spirit in the preparation of collodion; indeed, it was
claimed at the time that wood naphtha was, in itself, a perfect solvent
of pyroxyline without the assistance of ether.
Whether pure methyl alcohol does really constitute a perfect
solvent or not I cannot say, but it is certain that the crude article
known in commerce as " wood naphtha " will dissolve some kinds of
pyrcxyline entirely and easily, though others are only partially acted
upon, while, again, different samples of the liquid itself exhibit varying
solvent powers. The truth is, probably, that the solvent action depends
in a great raeasiire on the impurities contained in the commercial
naphtha, amongst which sre acetone and methyl acetate. The former
is well known to bo a solvent of pyroxyline, and the latter, judging by
the behaviour of the corresponding acetates of ethyl and amyl, may
with equal certainty be placed in the same category.
Used alone as a substitute for methylated spirit, the wood-naphtha
did not prove, on trial, to answer the purpose much, if at all, better
than the spirit in conjunction with camphor. But when a small
quantity of camphor was just dissolved in the wood-naphtha, it was
converted into an admirable solvent, acting with the particular
sample of pyroxyline I have referred to both quickly and perfectly.
With other kinds of pyroxyline, as well as papyroxline of the so-
called " high temperature " kind, that I happened to have about, it
■worked equally well as a solvent, but the results were Jiot available
for varnishing purposes, owing to a certain amount of opalescence
due entirely to the pyroxyline.
The same proportion of camphor — or perhaps a little less — to
pyroxyline as thiit mentioned previously answers perfectly, and the
strength of the solution may be varied from three to six grains or more
of cotton to the ounce, according to the kind of coating required. For
lantern slides the smaller quantity is preferable, but for negatives the
stronger film would perhaps be better. The varnish is poured on to
the glass in the ordinary way, and left to dry spontaneously in a
vertical position, or dried by heat, as may be the more convenient.
Under ordinary circumstances I have not been able to discover any
ill effect arising from the presence of the camphor in the film. I
have applied great heat without producing any effect whatever,
beyond causing a smell of camphor; but it may be worth trying
whether, when enclosed between two glasses, as in a lantern slide,
a high temperature may not cause a gradual deposition of camphor
on the covering glass, and consequent loss of transparency.
W, ]3. Bolton.
LANTERN MEMS,
Thb obnoxious railway rates are to be amended, and lanternists
will be pleased to learn that already the larger companies whose
lines run to the north and west have reverted to the old scale of
charges for gas cylinders sent by goods train.
# # # # ♦
By general consent, it seems to be admitted tliat the lantern trade
has been suffering this season, either from the general depression, or
over-production, and the increased number of dealers in apparatus.
AVhen every store, many of the large drapers, some of the athletic
outlitters, map-seller.s,toy-dealers,and others of outside businesses, take
to buying commercial lanterns, English or foreign, as the case mav be
and offering them for sale, it stands to reason that the legitimate traders
— i.e., opticians and photographic apparatus-sellers — must be affcted.
• * • « . #
Of course, in these days of free trade, it must not, I suppose, be
hinted that business should be in any way controlled, but most people
will agree with me that it is not reasonable to expect a hosier or toy-
dealer to understand sufficiently the technicalities of the optical
lantern and all accessories to be in a position to personally satisfy
himself and customers that what he is selling is really a scientific
instrument.
* # * * *
In pre-photographie days the mngic lantern could hardly be called
a scientific instrument, except in special instances ; but now, with
lantern sections to photographic societies in such numbers, and
lantern societies as centres for criticism and demonstration, anything
that does not approach perfection is discounted, if not tabooed.
# * * # •
One naturally, with all the varied designs of lanterns as catalogued
and advertised, asks the question. Is there a fashion in the optical
lantern ? If so, has the fashion changed during the last year or two ?
and, if so, in what direction is the change ?
* * » * ' *
No doubt, with technical education so much to the front, and the
optical lantern popular as a means of demonstration, the inquiry for
either scientific or practical slides has increased, and also some
modifications in design of apparatus become necessary, so that
physical an i other experiments can be readily made. The change
has been somewhat gradual, but, nevertheless, is decided. '
• # # # *
Rrcbnti.y a splendidly made jet gftve a little trouble by not pro-
ducing as much light as formerly, and on examination it was found
that the mixing chamber had become fused, and the discs and gauze
alternately placed had become clogged. It had been used with a great
pressure, and the orifice in nipple was the maximum size it was
thought could be worked.
» * # * *
In the result it was found that, notwithstanding "the mixing box
was already large, it was not large enough for the orifice used, and a
better light was obtained by a smaller aperture ; for as the pressure
increases the opportunity for mixing rapidly must also be available,
otherwise the gases blow right through the nipple orifice in somewhat
separate streams and do not give the b3st light, in fact approach nearer
the principle of the blow-through jets.
* •' • * *
In the old days of gas-bags the pressure was nothing like it is now
from the gas-cylinder and regulators, andpo the conditions of mixing
in the chamber were different. I remember the late Mr. Viles design-
ing a very free way mixing chamber and nozzle for use with bags,
and with excellent results ; but the same form when used now with
pressures representing twenty-four inches of water pressure (and in
one case I know of forty inches) it-'wbuld not be afall the best kind.
* * • ' "#''*•
The end of the month will bring the end of the lantern season
within measurable distance, hence it will be wise to give a thought
to the condition of the apparatus before it is put by for the summer.
All lime-dust must be removed from inside the body of lantern and
finger-marks carefully wiped off the brasswork.
♦ ♦ * * ■ »"
Should it not be possible to keep the whole of the apparatus
where the temperature \will be equable, and above •)0° Fahr., the
indiarubber tubing should be disconnected, and put away separately,
60 that it does not get hard and perish. A little furniture polish (or
sweet oil and vinegar mixed) should be rubbed on the woodwork
with a soft raj, and all stael parts of jet, &c., wiped over with an oily
rag, and afterwards by a clean rag.
» • * ' # ♦
Fob class demonstration, however, the lantern can be employed
right up to midsummer, if the limelight is used, and the windows of
room reasonably screened by blinds, and providing, of course, that
photographs and diagrams, &c., or objects not requiring the maximum
of light (such as the microscope), are eshibited,^ . A.^J 5.,.Bakb8,
Sopplemeril, March ;1, 18U3]
tltE imtTtsii JouiwaL or trtoToauAPHV.
4.<S
SKIES IN LANTEHN SLIDES.
TiMK was, when it was not an unusiuil occurrence to project upon the
screen at a lantern show, a transparency in which the sky was repre-
sented by the blank sheet. " Wc have chanj^ed all that,' as our pyro-
(fallic neighbours say in a wtjil-known proverb. Now, perhapii, there
ia a tendency to introduce skies too strong in clisroctur ; but, as this
article is to deal with the technical rather than the art side of lantern
slides, I must let that pass.
There are three methods of introducing, clouds, from a separate
ni!gative, into a lantern slide, vi/.. —
1. By printing them upon tlie cover gla:js either by C3ntact or in
the camera.
i. By combination printing in the camera upon the lame fflati at the
rent of the picture.
•i. Bv combination printina; upon the same jrlaos by contact.
It isinv intention only to describe the lirst method and the last in
this article. The first method because it presents the fewest dilficul-
ties in practice, the last became I have a little hobby of my own to
ride, and because I think I have found a useful and convenient method.
The tir^t way consists in piinting what I may describe as the fore-
ground of the picture upon one lantern plate, and the sky portion of
the picture upon a separate lantern plate, which latter is made to serve
the purpose of » cover glass. This appears at the firs', bluih to be an
extravagant way of setting to work, but it will not be found so in
practice. It will be apparent that there is a greater risk of
failure when two negatives are to be combined into one picture than
when all the image is to be secured lay one exposure only. By
making a separate exposure of each part, the risk of spoiling an
already good forsground by adding to it an imperfect sky is avoided.
More than this, for, supposing, by way of example, that this mis-
fortune has already happened, it is easily remedied by clearing off
the faulty sky image with a strong reducer, and then adding another
and a better sky upon a separate plate. So that, in this manner, if
the first way be not relied upon as a method in itself, it is, at all
events, a sort of pis allfr — a way out of the difficulty in default of
some other procedure which has failed. .Vs I am only 8ugge.«ting
methods of working, and not dealing with the routine of slide-making,
no instructions for exposure or development need be given, but the
following points are of importance, and should be carefully attended to.
First, as to the lighting of the sky negative — I mean the direction
from which the sun's light falls upon the clouds at the time of photo-
graphing. Be careful to select a negative in which the clouds are
lighted from the same direction as is the foreground. A sunset sky, a
magnificent effect of ita kind, looks ridiculous when there are cast
shadows in the foreground indicating that the sun was upon the left-
hand side of the camera at the time of making the negative. It may
be suggesting too much in these days of the ready-made, that every
one should make his own cloud negatives, but it is a most interesting
and fascinating study — that of cloud formations — and a pursuit which
may often be followed when landscape is out of the question. A
naturally lit sky negative secured, a reversed transparency must be
made of it if the cover glass .system be followed. The two films — that
on the foreground portion and the sky on the cover glass — being
brought together film to film for mutual protection, it ia clear that
the latter (the sky) will be looked at from the reverse- side to that of
the other, or foreground part of the picture.
Being thus viewed from opposite sides, viz., one from the glas* side
and the other from the film side, one of them, preferably the sky,
shoiUd be reversed, so that, by being placed film inwards, its appear-
ance when viewed that way is correct. This involves the making of
the sky transparency by copying in the c.imera, and not by contact.
If the sky negative be reversed in position in the copying camera, i.e.,
placed film side aicay from the lens, the resulting transparency will be
reversed as far as right and left are concerned, and that is just what is
required. Sky transparencies for the method by contact, then, are
impossible, unless a sky negative be available which happens to be
lighted in the opposite quarter to that obtaining in the foreground, in
which case it may be used, and being reversed in the transparency,
will be suitable "for our present purpose. Generally speaking, I
much prefer transparencies made in the camera. There is an in-
describable quality about them when shown in the lantern, which is,
nevertheless, an obvious one. It consists, I think, in the cri-^pness
due to the rays of light proceeding from the lens in the copying
camera with little, if any, diffu-sion, whilst in transparency or contact
work the light strikes "the negative in all directions and produces
a mild form of halation or blurring in the resulting transparency,
evidenced in the lantern as a lack of criapness, which does not, how-
ever, amount to " un.»harpness."
Unless the horizon line be very intricate it will be found most con-
venient to neglect the sky portion of the foreground and the fore-
ground portion of the sky when tnnkin)^ the tmns|>arencie!i. After
being fixed, washed, nod dried, those portions which ought to be
clear glass may be made so by a strung reducing bath, such as
Farmer's ferrieyanide of potasnuin and hypo. I am inclined, how-
ever, to prefer for thin pjriKwe a cvanide bath containing tincture of
iodine, as it leaves th-i gelatin < Him a better colour, and act4 mora
energetically. The following works well for this purpose : —
Cyanide of pota^ium 1(J() grains.
Tincture iodide of potassium 20 or :i() miniou.
Water I ounce.
The solution should hi applied to the film, when it it dry, with a
well-shaped sable brush. If found to act too strongly, the propor-
tion of water may be increased. It must ba uwd upon the dry gela-
tine film, for, if it be applied to the film when wet, the solution will
be found to run out of control.
I will now pass on to the third method, viz., printing both sky and
foregr.mnd upon one plate, and by contact. L->t me l^rankly say at
once that much more skill i.< required to work successfully upon the
once sensitive plate ; and that, whether it be by contact or in the
camera, and whether the two exposures be made by careful registra-
tion and developed at one time, or whether the way I prefer — viz.,
of exposing and developing the foreground, and then adding the sky
exposure — be adopted, still the technical difficulties remain. I advo-
cate, therefore, the method which I have already described, because
it is the easiest, and there is no advantage in choosing the more diffi-
cult way ; and it is the cheapest, and this is a happy coincidence. If
this b) not enough, I am also inclined to find it the most perfect
from a technical point of view, because the two portions, or rather the
sky, can be pared and reduced do wn to an indistinguishable joint. Yet,
with all these advantages, I shall be inconsistent enough topraise the
last, or third, method, if for no other reason than its presumed novelty.
But to proceed. In this method the chief factors are the careful
and, I ought to add, judicious shielding of the sky portion from the
action of light during the exposure of the picture proper, and also of
the picture portion — but this is not so important — during the im-
frinting of the sky. For this purpose a mask must be prepared, and
recommend that a print be made from the picture negative, and
that, after mounting it upon a piece of thin card (it need not be toned
or fixed), the line of demarcation between sky and picture be care-
fully cut with scissors or knife. Armed with the carefully cut maskj
an exposure by contact of the picture may be made, the sky being
judiciously shielded from light.
Development is proceeded with in the usual manner, and the plate
carefully washed. Now place upon it a sheet of clear, transparent
celluloid, such as is used tor cut films, or a piece of Eastman's rolled
film. Kub it down into contact, and be careful to remove air bells.
Dry the surface of the superposed celluloid, now ready to be placed,
with its attached plate, in contact with the sky negative. The
function of the celluloid film is simply to prevent the wet gelatine
film being brought into contact with the sky negative, which would
quickly spell ruin to it. A proper exposure can now be given to the
sky, the foreground being shielded or not, according as it is intended
to allow the developer to flow over the whole or only the sky portion
of the transparency. My usual practice is not to shield it, but to de-
velop the sky with a large camel s-hair brush, tilting the plate and the
containing developing dish at a convenient angle to prevent the de-
veloping solution covering the picture portion of the slide. This
simple expedient of an intervening waterproof film enables skies to be
put in by the double development process, which hitherto have in-
volved the necessity of working by the camera method. .As it is
quite ea.s3' in practice, an<l involves no further cost for apparatus, it
is, at any rate, worth a trial, which will, I trust, be as satisfactory to
my readers as it has been in my own hands. If the Editor thinks
there is any general interest left in it, I may describe the .second
method "in the camera " in another article. S. Ukbdbbt Fay.
— ^
L.ANTERN MATTERS AT THE CAPE.
Wk are enthusiastic here on lantern-.slide making. A goodly number
of the members of the Cape Town Photographic Club boast an oil
lantern, and at every meeting of the Club an exhibition of lantern
slides is given. I say at every meeting, but I should say at at least ten
out of the twelve ordinary meetin.'S during the year, and we generally
have one or two limelight night.«, when the public are invited. It
is always dark before nine o'clock here, even in mid summer, and
before half past nine the discussion has been disposed of, and the
slides appear on the screen. A selection of slides will be shown
publicly next week in Cape Town, and will then be shipped fo
England to go the rounds of the various societies and clubs. I daro
say you will find them a very mixed lot, but then we can say much
46
THE BRITISH JOURNAL OP PHOTOGRAPHY.
[Supplement, March 3, 1893
about the same thing with reference to the sets that came from
England to go the rounds hei'e. I have not seen Ihem yet, and have
perhaps no right to express even the very natural opinion just given.
Good, bad, or indifferent, a little outspoken criticism by the English
photographic journals will do us no harm.
Limelight.
We are still in the dark ages here. The old gas bags, and, alas !
that it should be so, retrogression to the blow-through jet. Careless
manipulation and too many cooks led to a disaster in Cape Town
with the mixed jet. The old story — hydrogen in the oxygen bag.
Now the proprietors of halls will not let the mixed jet be used. Up
country, where coal gas is unprocurable, and it takes a day's work to
make eight feet of hydrogen, the ethoxo light has grown into favour.
The Cape Observatory, however, is now to the fore. Here we have
an electric light installation, and the Philosophical Society recently
purchased a Serrin lamp. At a recent meeting, when Dr. Gill
exhibited some astronomical photographs, it was somewhat roughly
rigged up, and the current from a storage battery of thirty-two cells
turned on. With the dynamo, the arc light in the lantern is an
exasperating failure ; but, with a steady current, the light is fairly
free from jumps and of great brilliancy. Altogether, it was a success,
and wlien the lamp is properly fitted to the lantern, with suitable
adjustments for centering, we hope to do better things with it. A
gentleman here who has his own installation is getting a lantern wtih
electric lamp fittings from England. The arc light is to be used, but
I was as-ked by his electrical engineer what incandescent lamps it
would be advisable to try with it also. As I hope to be present at
the trial, I trust to be able to give you particulars later on. There is
tliis much to be said, that electric lighting is making greater stiides
out here than in England proportionately to the importance of the
two places, and referring also to its general use, and not to discoveries
and inventions, for which, of courre, we look to you. There are
fewer vested interests in the shape of gas companies, &c., in the way.
Some small suburbs of Cape Town are already lit by electiicity, and
Cape Town follows soon, the dynamos to be worked by water power,
and electricity supplied to shops and private houses. I venture to
think, therefore, that in its adaptation to the lantern we may get
ahead of yru, and any notes on the subject may be of service.
Harking back to the arc light in the lantern, I have one serious
objection to mske against it. The heat is great, and add to that
changing of slides, and incessant looking to the centreing, the
work is warm. Add further, as I experienced recently, the work-
ing of thirty or so moving comic and chromotropes in a darkened
room, fome twenty feet square, on a Saturday afternoon, the thermo-
meter standing at 86° in the shade, and seventy children and adults
present, and you will agree with me that Sheol would have been a
relief to it. The forty minntes it lasted took more out of me than a
walk up Table Mountain. Happily I had anticipated it, and put on
not my test clothes — they wanted wringing out after the performance.
The Lantebnoscope.
TLis is a handy little instrument, but I fancy that one of our club
members, Mr. Gracie, has intro-
duced a very obvious but great
improvement. Instead of a little
lens, he has introduced a large one,
a9 in the graphoscope, so that
two eyes may be used. Of
course, the instrument is a little
more bulky, but not remarkably
so.
Cutting Lantebn Masks.
Will this item be new ? I
have used the method some
years, hut it is so obvious, that
I am afraid it will be new only
to the few. I have always cut
my own masks, " to make the
punishment fit the crime," and
made my own templates, but the
difficulty arose in getting the
opposite curves symmetrical.
The template I use is only
half a template, and it is gradu-
ated (see sketch) for various
widths. The paper is folded, and,
when cut, ttie opposing curves
correctly balance one another.
C. Bat WooDt-, Photographic Aeeistant at the Caj e Ohservaiory.
FLEXIBLE METALLIC TUBING FOE THE LANTERN.
The United Flexible Metallic Tubing Company, of 96, High Holborn, is the
company from whom the flexible metallic tubing recently referred to by
Mr. Haes as suitable for use with the lantern maybe obtained. It consists
of long strips of metal, shaped to the required section by mechanical means
and coiled in a spiral form round a core to form the tube. The operations
are performed in a single machine, which produces the complete tubing
from the plain strip. It may be had of various internal diameters, in
steel or bronze, from five-sixteenths to one and a quarter inches, at six-
pence per foot upwards. The tubing is gas-tight, does not kink or smell,
and is so far flexible as to eoilin a circle of eight inches.
A NEW FOLDING LEVER KEY.
Bbin's Oxygen Company are just introducing a New Hingei Lever Key,
which combines the good qualities of the ordinary " piano," or Tee
Handle Key and the long Lever Key, without possessing their disadvan-
tages. The Company has hitherto discouraged the use of lever keys,
because even in the hands of experienced workers such power can inad-
vertently be exerted in closing a valve, 8» that the spindle is liable to
injure the valve seating.
The new key will render the opening of valves easier, and at the same
time permit of finer and steadier adjustment than is obtainable with the
ordinary "piano" key. The above sketch explains itself. 'She fall
leverage, as illustrated at B and C, is obtainable, if desired, for opening
the valve ; but, as the hhiije acts iifonly one direction, the key, when used
for closing the valve, is converted into the ordinary " piano" form, as
illustrated at A. The Company recommend the key to be used for
medical purposes, or where oxygen is employed direct from the cylinders.
LANTERN SLIDES ON GELATINE PLATES.
[Leytonstone Camera Club.]
OnB subject this evening is " Lantern Slides, and bow to make them."
This is a very wide title, considering the number of processes there are
by which they can be made ; but I only intend to treat of one of them
this evening, and that is the ordinary gelatine plate of commerce, leaving
the others, such as the wet-collodion, coUodio-bromide, albumen, &c., to
abler bands than mine.
Lantern Slides versus View Albums.
It has always been a matter of surprise to me how few photographers,
either amateur or professional, go in for lantern-slide work. Per-
sonally, I consider it the most fascinating branch of photography, espe-
cially for the amateur who may only go in for a quarter-plate camera, as
then it is simplicity itself ; for the man who works a larger size it certainly
is a little more difficult, but not a great deal. But, whether he use a
large or small camera, the pleasure is just the same, as he can occupy his
winter evenings, first in making them, and then by showing them in his
lantern (or some one else's) to his friends, for it is a fact that you can
get people to sit a whole evening and look at photographs on the screen
when they will get satiated after half an hour with an album of prints.
Another thing, he may have a dozen albums of views, but no one will
trouble to come and borrow them to look at (except perhaps on a few occa-
sions, for a coiversazioiie, when ten to one they will come back dirty and
finger-marked, and practically halt spoilt), and there they lie from one year's
end to another, a perfect waste of money and power. But let him make a
lantern slide from each of them, or, say, only the best, and he will soon
Supplement, March 3, 183.')]
THE BRITISH JOURNAL OF mOTOORAPlIY.
find that his pictures, which as prints in an album no one took much
notice of, nre now in great demand. A friend from roand the comer will
send a polite note requesting the favour of the loan of a few slides, as he
is going to have some friends. Tlien the sohoolnmster hears of it, and
borrows them to show the school children; and then the rector of the
parirth has a turn, and so on. Thus your picture, which only gave
pleasure to a few before, now does so to hundreds, and perhaps thousands.
The Suob and ith Usks.
What is a lantern slide? It is simply a print upon glass instead of
paper, to be viewed by projection from an optical lantern upon a screen
of more or less large dimensions, as by this means it is greatly enlarged.
A xiiie-qiiii-iiDii of a good slide is that it shall be perfectly sharp, in fact,
as sharp as needles; no fu/.ziness, rough paper, or diffusion of focus is
allowed here. A judge who would award a prize to a print from a dif-
fused focus negative would be "down on it like a cart of bricks " if you sent
in a slide from the same negative. Another condition of a good slide is
that it shall have perfect gradation, from the very highest light (which
only should be clear glass, and not much of that) to the deepest shadow,
so as to produce that softness of effect which, in my humble opinion, is
so desirable in a good .slide. I think that the days of the hard black-
and-wliite slide, of diamond mounted brilliance, are fast being numbered.
This brings us to the uses of a lantern slide. We have already spoken
of the pleasure side of the question, but that is not their only use. It is
as helps to instruction that they are already, and will in time become
more so, of the greatest use to man. In hospitals, colleges, schools, <6c.,
they are used to illustrate lectures in a maner that was impossible in the
old days with diagrams drawn by hand. I believe a good many hospitals
and colleges now have a dark room and apparatus attached for the
purpose of making slides of objects and diagrams to be used in the class-
room. To the lecturer in astronomy, botany, geology, dec, they are
simply invaluable.
Contact and Reucction Methods.
There are two methods of making lantern slides, first by contact, and,
secondly, by reduction in the camera ; the first is the most simple, and very
fine results are obtained by it ; but it is only applicable to small nega-
tives or small portions of large ones. For the whole of a quarter-plate, or
anything over, we must have recourse to our second method by reduction,
and it is to this that I shall chiefly refer this evening; but I will give a
short description of the method by contact first. In printing by contact,
it is as well to have a special printing frame, such as the one I have here
(.\dam3'). By means of this I can print from any portion of a negative,
from whole-plate downwards, and, once having selected the portion re-
quired, there is no need to readjust the frame, supposing that you want
more than one slide from the same negative. There is also no chance of
the plate slipping and thus getting scratched, which is very likely to
happen with the ordinary frame, it also prevents any light getting in at
the side of the slide. A lantern plate is taken and placed in contact with
the negative and exposed to the light of a lamp or gas flame for so many
seconds, more or less, according to the density of the negative, near to the
light if it is a hard one, and some distance off if it is a thin one. There
is one good thing about this method, and that is, that you can be pretty
sure of getting a good slide at the second shot if you don't manage it at
the first, as, the light being nearly a constant factor, it is only necessary
to give the next plate a few seconds more or less, according to circam-
stances.
But to come to our second method, by reduction in the camera.
By reduction I mean, to reduce the whole of, say, a 10 x 8 negative on to
the standard 34 inch lantern plate. Obviously this cannot be done by
contact, so we must use the camera. The 10x8 or any other sized
negative is placed in such a position that it is evenly illuminated, and
then simply photographed on to the lantern plate. The great drawback
to this is, that it is ahnost imperative that it be done by daylight, as the great
difficulty with artificial light is to get an even illumination over the whole
of the negative, unless you use a condenser, which is an exceedingly ex-
pensive item, as one large enough to cover a half-plate would have to be
about eight inches in diameter, and would cost about 51., and one twelve
inches in diameter would cost about 111., and that would only cover a
whole-plate, so that for most amateurs is out of the question. But, by
using daylight, it is a very inexpensive matter, providing jou have the
time and the daylight ; but that is the rub ; most of us have not much
time when daylight is available ; but for those that have, here is what
is required, and those that have not got it should make it by getting up a
couple of hours earlier in the morning (I know one man that makes the
majority of his slides by this mean-<), it will do them a lot of good in
more ways than one. Take a board about three feet long, such as the one
in front of me, and attach a frame t J one end of it to hold the negative, and
• imftll sliding platrorm to hold tb« oMoen. TbU b than to b* tMtai
on the frame of a window having a clear riew of the iky. This length ot
board is ((uite long enough to reduoe even (roin 12 x 10, if a foar-ineh
I lens is UHe<l. Two pieces of grooved wood orois the frame to support tb*
negative, and these pieces can be adjusted at any angle, so am to be abit
to correct any lines that are not quite plumb, the swing-back of the
camera being also brought into play for the same purpose. This board
can also be used for artificial light without a condenser, if intgnesinm
ribbon is need, and we will try a few exposares this evening. A piece ot
ribbon is burnt behind the negative, and is pasaed rapidly to and frd,
only pausing for a moment where any jrart mora dense th*n the re^t
requires more light, or strands of the ribbon can be strelche<l acrose k
frame behind the negative, having a double thickness opposite the part
that requirt-H it ; but this does not seem to give such an even illnminatioA
as the previous method.
The PliATE AND ITS DbVSLOHM ENT.
There is a choice of several varieties of plates to use, and I think they
are all as good as one another ; but it is better to stick to one make of
I pUtte, as then you can get a set of aliJes all about the same colour and
tone. I am speaking now ot black tones, bat for redi, warm brown, ot
purple, it is as well, perhaps, to use a chloride plate saoh as the Alpha or
Cowan's. Some of these colours can be obtained on the ordinu-y plate by
toning; with uranium for brown sepia or reds, and by developing with
pyro and carbonate of ammonia for purple ; for good^blacks nothing seemi
to beat hydro<iuinone, although very good shades uf black can be obtained
with ferrous oxalate, eikonogen, rodinal or amidol. The formula that I
use is the Ilford Universal, as follows : —
No. 1.
Quinol 160 grains.
Potassium bromide HO ,,
Soda sulphite 2 ounces.
Water to ; 20 „
No. 2.
Soda caustic 100 grains.
Water 20 ounces.
One part each No. 1, 2, and water, and for chloride plates, two part*
quinol, one part soda, and four parts water. With quinol there is no neces-
sity to use a clearing bath, as this developer does not stain the plate like
ferrous oxalate. The fixing bath, four ounces hypo to a pint of water, is
quite strong enough, and a fresh clean solution should always be used.
After the slide is fixed it should be well washed in running water for one
or one and a half hours, then dried in a place free from falUng dust, when it
is ready for mounting. When the slide is taken from the tank after washing
it is well to give it a final rinse under the tap and gently pass the finger
over the surface of the film. This will remive any particle of dust that
may have become attached to it.
ExrosuBE.
The matter of exposure is an awkward one to deal with, no two
negatives require the same, a very dense one on a dull day in winter at
11 o'clock may require anything from two minutes to twenty on an Ilford
Special, Fry or Paget Kipid, bat a njgttive of good quality and proper
density, say at this time of tbe year at U o'clock, with a bright cle.^r sky
about forty seconds or thereabouts, but it is mistly a case of trial and
error, if thirty seconds ha) baen found to} little, the next one, at forty-
five seconds, will perhaps be right. This may seem somewhat wasteful and
extravagant, but it is not necessarily so, you may use four plates before yoti
get a right exposure in the first negative that yon start with; bat this
experience will serve you well in the following ones, and you may go on,
and, with one or two exceptions, make a good slide at each exposare
afterwards. The great difficulty is, that the light is not a constant one,
especially when the sun is obscure! by clouds, so that, when retnming
from tbe dark room, you may not notice that the light is not so good in
consequence of a darker cloud than usual having crossed the sky ; this
means that the next plate will be more or less under exposed ; it is these
little things that throw you out and account for the pile of wastes that
come in so handy for cover glasses. While we are on the subject of ex-
posure it is necessary to point out that there are very few negative] but
what are all the better for a little jadicions shading of some pirt or
another — for instance, covering the landscape, while the clouds in tbe sky
print through, that is supposing that tbe clouds are thire to print; if not,
it is better to sun the sky down, by moving a piece of card up and down
in front of the negative, giving more exposure to tbe upper part of the sky
than the horizon. Again, in the case of an interior view, tbe win low will
be much more dense tha n the remainder ; this sboald be printed by
OBtting a hole in a piece of cardboard, ai>d holding it so that the light
4d
THE BEITISH JOURNAL OF PHOTOGRAPHY.
[Supplement, March 3, 1893
coming through the hole only on to the window will enable it to print
through ; then, when it comes to developing, these under-exposed parts
may be brought up, by the use of a stronger solution applied by means
of a brush, or, better still, by the finger tip, as the heat from the finger
helps the action of the chemicils in the developer ; this brings us to
another point in the matter of under-exposed (or apparently so) plates.
ToNiNo, Bedccino, &e.
At this time of the year, if the solutions are kept in a cold room, the
chemicals that compose them will refuse to act to their full power unless
they are raised to the normal temperature of 60' or a little over ; the
careful use of a jug of warm water at this time of year will make a great
difference in the number of thrown-outs ; but all these under and over-
exposed and under and over-developed plates need not be all wasted ; take
the under-done ones first, they can be intensified by bleaching with mercury,
followed by a twenty grains solution of potassium sulphide, which will give
them a somewhat brown tone ; and apparently they are permanent, as I
can detect no change in the slide that I will hand round, although I made
it Bome two or three years ago. But the most satisfactory way of improving
a plate that has been only a little under-exposed or developed is to tone it
with uranium ; as this also slightly intensifies it at the same time, very
good browns, reds, and sepia can be obtained with it, a solution of half
grain each of uranium nitrate and potassium ferricyanide and fifteen
minims acetic acid to the ounce will work well. Place the slide in this and
watch it, till it has gone some distance beyond the shade of brown that
you require and then wash it in water until all the yellowness has dis-
appeared from the white and it has come down to the desired tone; it
must not be washed too long or it will all disappear, as the salt that is
formed is ferrocyanide of uranium, which is soluble in water. If you
want a chalk red or Bartolozzi tone, continue the toning a little farther
and then apply a reducer, such as Howard Farmer's, of potassium ferrid-
cyanide and hypo; or, better still, Haddon's, viz., potassium ferridcyanide
five grains and sulphocyanide of ammonium ten grains to the ounce of
water, this will dissolve out all the silver and leave only the red uranium
image.
To come to over-exposed and developed plates, these may be reduced by
the last-named reducer, being very careful to watch it well, as it is very
rapid in its action. The plate must then be quickly and well washed,
and carefully dried, or otherwise the tears left on the plate will go on
reducing till it leaves a clean spot where it rested. Chloride plates, over-
toned with gold, can be improved by these means, by dissolving away a
portion of the silver and leaving the gold behind untouched.
Chloride Plates.
Ton will notice that I have treated only of the ordinary bromide plate ;
the chloride wants a different treatment entirely. Very beautiful tones
can be got both by simple development and also by toning with gold, but
the great drawback to the use of these plates for reduction in the camera
is their slowness. Life seems almost too short when you have to
use up the whole of one day in summer to obtain a half-dozen slides ; but
by contact it is another matter, an exposure of two or three minutes to a
good parafiin lamp, with a very weak quinol developer will give you all
shades of brown or red, according to the length of exposure and develop-
ment ; the longer the exposure, the warmer the tones. These can after-
wards be toned in the combined toning and fixing bath to very rich
brown, purple, or deep blue.
You will see by all this that there is a little more difficulty, perhaps, in
making a slide than there is in making a print in albumen or gelatino-
chloride paper, bat I think that the results certainly warrant the extra
trouble. I don't think that there is any process in photography that will
show the amount of detail that there is in a negative better than a lantern
slide, or any other sized transparency. There is one great advantage in
making a lantern slide of all jour good negatives, and that is, that if at
any time you break the original negative it is possible to make another
by enlarging from the lantern slide, which will be little, if any, worse
than the original.
A Question.
This brings me to the end of my paper, and I have only one more
thing to say, and that is to ask a question. Why is it, in all photo-
graphic competitions, the conditions in the lantern-slide classes imposes
that six lantern slides shall be sent in ? It seems to me distinctly unfair
that one medal to six slides should disqualify prints from the whole of
those negatives from being shown in competition where previously
medalled pictures are barred. It is infinitely more trouble to make a
^ood lantern slide than it is to make a print by any method that I know
of. If six prints are sent in, and six lantern slides from the same nega-
tives, if one of the prints secure an award, it only disquaUfies one of the
(lides ; but, if the slides secure the m$dal, it disqualifies the whole of the
prints. This should not be so. Of course one can quite understand tha
secretaries of exhibitions wish to get as good a show of slides as they
can, especially in numbers, which they might not be able to do if they
offered a medal for single slides. I think that this is a very good subject
for discussion by the forthcoming meeting of Exhibition Judges if it (the
meeting) ever comes off. H. E. Fabmeb.
♦ ■
AN IMPEOVED BLOW-THROUGH JET.
Messrs. Newtos & Co., of Fleet-street, have introduced an improved
blow-through jet with the Pringle "cutoff." The principles and action
newton's improveb-blow through "jtt
with"pringle cut off"
of the jet can be readily understood by the lanternist from the above
excellent cut.
RECENT LANTERN PATENTS.
PATENT COMPLETED.
A New Magic-lantern Slide.
No. 4668. William Havelock Mason, 8, H.irold-terrace, Hermitage-road,
Green Lanes. — Janvari/ 14, 1893.
The invention h.as for its object the production of a new magic-lantern slide,
whereby a drawing, writing, or other delineation is made, more or less gradually,
to appear upon a screen as though it were being drawn thereon.
In carrying my invention into effect, 1 take a saturated solution of saltpetre,
slightly thickened witli gum arabic dissolved in water, or a solution or prepara-
tion of other suitable intiamraable chemical substance or substances, and with
it I write, draw, or print any design, writing, or delineation upon an unglazed
paper, or other suitable substance, which is capable of burning away readily at
the parts where the solution is applied, but which will remain intact at the
other parts thereof.
I mount this prepared paper, or otlier suitable substance, as a magic-lantern
slide, a suitable form consisting of a cardboard "mount," having a square, or
other suitably shaped aperture therein, and of somewhat similar character to
mounts used for drawings, pictures, &c., on one side of which "mount" I
cement the prepared paper or other substance used.
Slides thus constructed are placed in a carrier in a magic lantern, fire is
applied to one or more points of the design, and it is then focusse(L
The said paper or otlier sub^an<'e )produces on the screen either darkness or
a coloured disc, according to the thickness, texture, and colour of the saiil
paper or other substance. Fire having been applied as aforesaid, the paper or
other substance prepared as before described Ijurns away at the parts drawn,
written, or printed upon with the solution referred to, but remains intact at
the other parts thereof. Tlie result is that the design so wiitten, drawn, or
printed as aforesaid is more or less gradually rejiroduced on the screen in white
upon a black or coloured ground, according to the nature of the paper or other
substance used.
I would here remark that the lines of the writing, drawing, or otlier delinea-
tion are preferably made as continnous as possible, in order to avoid the
necessity for apjilying fire thereto at any inconveniently large number of
places ; but, in order that the ground may be retained flat when the in-
flammable composition forming the design has been consumed, I make a
suitable number of sjiaces in the design so as to leave at inte^val^ unconsumed
cross pieces, which connect the various parts of the ground securely together,
and thereby prevent any part thereof from falling out of focus. I would also
remark that other suitable solutions or preparations of inflammable material
may be employed in lieu of the preparation of saltpetre herein referred to.
The claims are : — 1. A magic-lantern slide consisting of a sheet of unglazed
paper or other suitable material, on which any desired design or matter is
written, drawn, or printed by means of a solution or preparation of saltpetre
or other readily inflammable material, substantially as lierein described and
for the purpose stated. 2. A magic-lantern slide in which a design or other
matter is drawn, written, or printed on a suitable ground with a solution or
preparation which is readily inflammable, substantially as herein described and
for the purpose stated.
♦
Before the Bristol and West of England Photographic Association, on
February 2t, Mr. E. Brightman in the chair, Mr. Gwyer showed a new
oil lantfrn he is patenting, which gave very nearly three times the light
of a gcod oil lantern matched against it. This result is obtained by a neW
system of concentrating three wicks, using common paraflSn, and an
ingenious shafting for draught. The lantern worked without any smell.
" Lap'ern Queries " are unavoidably held over.
MONTHLY SUPPLEMENT
To THE " British Journal of PnoTOGRArHY."]
[Afrilj, 1893
THE LANTERN RECORD.
CONTENTS,
VMM
tASTERN NOTES AND NEW8 4B
OUTTINO LANTEBN MASK. By W. B.
BOLTON SO
IiAKTERN MEMS. By O. B. BAKER.... M
THE GENESIS OF THE REQULATOR.
By B. R. BEARD M
HOW TO COLOUR LANTERN BLIDKS.
By GEO. 11. HOPXINK 3g
BK.UID 8 NEW CL'IOl.1.' JgT 53
Ftol
THE LANTERN IN JAPAN M
PHOTO-MIOROORAPIiy, By A. D. O.
8HELLEY, B.E 63
THE SIMPLICITY OF LANTERN-SLIDE
MAKING. I)y H. S. NUTT M
POMPEII ON THE LANTERN SCREEN SO
THE LANTERN IN TASMANIA Hi
lANTERN QUERIES 50
BEOEST L.VNIEHN I'AIESTS
LANTERN NOTES AND NEWS.
Mb. Waltkb Tyler, of ^^'aterlao-road, has kindly promised to give,
early in the ensuing season, a Lantern Entertainment, in aid of the
funds of the Pliotographevs' Benevolent Association.
• * « * 4
O.N' the occasion of the Leicester Society's Exhibition a fortnight
ago, Mr. H. Pickering, tlie Hon. Socretary, was ngreeably surprised at
the receipt of a testimonial from his fellow-members in recognition of
his services to the Society. It took the form of a handsome lantern by
Alessrs. Archer & Sons, of Liverpool. By the way, Mr. W. J. Archer
informs us that he, too, is " off to Chicago." " Are you going to
Chicago ? " is a question as frequently asked just now in the photo-
grapliic world as Messrs. Pears' " Good morning ! have you used
Pears' soap ? " is in the newspaper advertisements.
• « • « «
\Vk learn that nearly 2000 lantern slides were examined and tested
recently by Messrs. F. C. Beach, William II. Rau, and Dr. G. Hunter
Bartlett, the Committee of the American Lantern Slide Excliange.
Over eight hours were spent in the work. Fifty per cent, of tiie total
were sorted out as passable. Many of the others were marked with
a letter showing the reason for rejection, and returned to the clubs
from which they came. The slides have been arranged in nine sets,
and there is also a set of English slides. The sUdes are already going
the rounds of clubs in the Exchange. • The defects in most of the
slides rejected were from under-exposure and too short development.
This is a lantern story — and a true one. At a popular place of
entertainment, not a hundred miles from Sydenham, an elderly
gentleman of respectable appearance one day presented himself for
admission, when, to his surprise, the money-taker turned to an
adjacent officer in blue, and .said, with a laugh, " I say. Bill, look here ;
we know this man, don't we ': " " Know him," replied Policeman X,
grinning ;" rather. Why, he's quite a notorious character ! " "What
do you mean ? " demanded the visitor, in mingled astonishment and
annoyance. " Oh, you'll do," .said the money-taker ; " but we've seen
you too often for that sort of thing, you know." " I should think
so," chimed in tlie policeman ; " why, we've had our eyes on you
• very night for the last fortnight." The elderly -visitor looked
amazed, " I've never been in the place in my life before," he gasped,
and tlien the policeman and the money-taker burst into loud laughter,
to the utter discomfiture of the other. When they had had their
laugli out, they explained that they had seen the elderly gentleman in
uniform on a big white sheet — and then a light dawned upon him.
It seems that, like Mr, Bumble, he viti» a " public character," and
that he had been (in his picturesque oflicial panoply) photognphed,
" lantern-slided," and projected on the screen at the nightly Lantern
Entertainment. .Vnd so all ended happily,
• • • • •
Ojf Tuesday evening, March 28, the Photographic Society of Great
Britain indulged in the mild frivolity of a Lantern Evening— just like
the smallest and humblest of its adopted children. But it was quite
an accident. Mr, Fi-ed Hollyer was prevented by illness from giving
his promised demonstration of Platmoty])e, and so at the last moment
the bill had to be filled by a scratch collection of slides. And very
good slides they were too, chiefly of Yorkshire scenery, and contri-
buted by the Leeds Photographic Society. The chilling solemnity of
the Parent Society's meetings might, in the winter months, be very
well relaxed in the interests of the younger members by an occasional
Lantern Night.
* • • • •
Wbiti.vg of the keeping properties of oxygen in cylinders, Mr.
C. T. Milligan, in the Exhiliitor (Philadelphia) eays : ^" Our plant of
tanks is in constant use, and consequently has not given ua much
opportunity to test this subject thoroughly, because new gaa is
pumped into them perhaps once every week ; but we remember that,
some years back, a gas tank turned up that had been out of onr
possession for at least two years. It had been sent away with oxygen
in it, and had been stored away out of sight, we cannot tell exactly
how long ; but we remember when the valve was opened, it was
evident, from what was blown out of the valve, that some insects had
made their nests inside." Insect cultivation in o.xygen sounds a bit
out of the common. We always thought, and it certainly is taught,
that life could not be sustained in an atmosphere of oxygen.
• * • • •
Mn. Milligan has been, he says, experimenting in the direction
of doing away with regulators, and, after studying out the subject for
some time, tried the experiment of connecting the gas tanks having
great pressure, with the lanterns direct. Ho found there was no
difficulty whatever attending the trial, and that, with a single lantern,
he could just as readily connect with a cylinder having eighteen
hundred pounds pressure as one having twenty or thirty pounds
pressure. There is no more skill required in operating one than the
other, and no more danger in using one pres-sure than in using the
other. The regulating of the supply of giises is done at the gas
tanks tlie same iis it is done with the lower-pressure tanks. The
next experiment was with a pair of lanterns and with a dissolver.
lie took a pair of tanks, each having eighteen hundred pounds pressure,
with no regulator, used his ordinary high-pressure dissolver that is
attached to the lantern, connected the dissolver with the tanks by
ordinary rubber tubing, and was enabled to get perfect dissolving.
He found, he states, that it was better dissolving than with the
lower pressure, and this result merely corroborateil thy theory on the
subject which led to these experiments.
• • • • •
TiiR results of the foregoing experiments justify Mr. Milligan, be
says, in condemning all regulators. He thus meets possible objections
to this condemnation : " We imagine that the first answer to our
condemnation will be that the regulators make a uniform supply of
gas all through the exhibition, Our (gnawer to this is, that the very
50
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Supplement, April 7, 1893
fact that the tanks being smaller, and the quantity of gas used at any
one time being the same with either form of tank, that the smaller
the tank the more uniform the flow will be during an exhibition.
Therefore, from a small tank we expect a uniform flow. This is
true when the pressure is high. The higher the pressure the more
uniform the supply. We advise that regulators be thrown aside."
* « * « «
Froh a letter published in the JonsNAL this week it will be
observed that the Plymouth Convention slides have been lost in the
course of their wanderings among the various photographic societies
desirous of seeing on the screen, pictures of the places to be visited
next July, We hope the missing set will be recovered.
CUTTING LANTERN MASKS.
Thb size and shape of the mask employed is often a matter of far
greater importance tlian the producers of lantern slides appear to
think, as in very many instances an otherwise good picture is spoilt
by having too much foreground or sky included, owing to the regular
size of mask not suiting the particular subject. Besides this, when
working from such sizes of negatives as, say, 8 x 5, it becomes abso
lutely necessary, if the ordinary masks are used, to waste nearly
half the subject, with the result, very often, that the composition is
altogether ruined.
The manufacturers of lantern requisites have not yet come to fully
recognise the difficulties ariang from the difference in shape of the
lantern plate and most of those in general use for landscape purposes ;
but, even if they did their utmost in the direction of supplying
masks in variety, it would be impossible to meet the lequirements of
every individual picture or to provide for every contingency that
may arise. Many amateur slide-makers are fully awake to the de-
sirability of suiting the shape of the picture to the subject, and cut
their own masks, but by far the greater majority are content to rely
solely upon whatever may be put into their hands by the manu-
facturers.
The trouble attending the production of one's own masks is not
great if the matter be taken systematically, and the result is then
quite equal, with a little care, to the commercial article ; but to have
to turn to without proper appliances to cut half a dozen masks of
different shapes and dimensions is neither an easy nor a satisfactory
job. I have seen a whole evening spent in the task of cutting the
masks for and mounting three or four slides which would not lend
themselves to the ordinary shapes, when the same amount of time
and labour devoted to the means for cutting the masks would have
rendered the operator practically independent for all time.
For general purposes, especially where only one size of negative is
made, three or four standard sizes will generally suffice. For instance
suppose the negative be 7i x 5— a rather awkward size for lantern
purposes — three or four fixed openings in addition to the square,
measuring two and seven-eighths or two and three-quarter inches, as
may be preferred, in the longest side and narrowing by eighths, will
cover almost every pictorial requirement ; and it will only be very
extraordinary subjects, such in fact as will scarcely be worth making
into lantern slides, that will necessitate any further departure from
the square.
In the last number of the Record, Mr. C. Ray Woods described his
method of cutting odd-shaped masks by means of a half template
graduated for different sizes, and this plan answers admirably where
a great variety is required ; but, it we decide to adhere to a few fixed
shapes, it is, I think, an easier plan to have a set of complete tem-
plates cut in zinc. Any zinc worker will cut them accurately from a
paper pattern for a few pence a piece, or it will not greatly overtax
the skill of a moderately " handy " amateur to do them himself. If
he be a fret-sawer the job will be a comparatively easy one, the
opening being cut nearly to the previously marked outline with the
saw, and carefully finished off with a fine file.
If a fret saw or " piercing saw " be not available, the procedure is
rather different. Suppose it is an ordinary " cushion "-shaped aperture
we wish to make, the first step is to draw ftn outline of the dimensions
required, but with rectangular instead of round corners, then, taking
a common carpenter's three-eighth centre bit, accurately mark the
four points at which it has to be worked to clear out the corners, and
bore the four holes, which is easily done in the soft zinc. Next lay
the zinc on a surface of hard wood or iron, and, with a mallet and
carpenter's chisel, cut through from corner to comer of the rectangle
between the holes, dividing the metal into four triangular pieces.
Finally, with a strong-bladed knife or the corner of a chisel, score
partly through the straight lines of the outline, joining the four circles
on both sides of the metal until it is thin enough to break off on
gently bending to and fro, and finish off with a fine, flat file or a
piece of emery cloth wrapped round a flat piece of wood. A dome-
shaped template is rather more difficult to cut without the saw, but it
may be chipped roughly to shape with the chisel, and finished off with
a half-round file, the finish being given with emery cloth.
Such a template will last for a very long time, and, if used with
one of the " American " print-trimmers, will cut a mask in every way
as perfect as those purchased. The trimmer, however, must be one
of the real American make, not the cheap imitations now on sale
with revolving cutter the size of a sixpenny piece, and requiring
almost a circus ring in which to revolve. The cutter of the real
" Robinson " trimmer, too, is pivoted in the same manner as a glazier's
diamond, which greatly facilitates its going round corners or curves ;
in fact, with one of these, a circle, oval, or cusliion-shaped mask can
be cut in a single stroke without stoppage, which is not the case
with the fixed cutter.
Some few years back there was described in the Scientific American,
I think, a method of making a die or cutter for stamping out masks
in a single operation. This, though extremely useful where large
numbers of one size are required, is rather too elaborate for the pur-
pose of only occasional use. However, it may be useful to some who
probably have not seen it described. A block of hard wood is first
carefully worked to the exact size and shape of the opening required.
A piece of old clock-spring is then obtained, punched with holes at
regular intervals, and, while hot, bent round the wood block, made
to fit accurately, and fixed in position by means of screws. The ends
of the spring are made to meet as accurately as possible, and the
edge sharpened, when a really efficient cutter for light work is pro-
duced. I made one at the time the description appeared, and was
astonished at its efficiency.
This, however, is of no use except for the one size, but corner
cutters or curves n be made on the same principle. A better plan,
however, for cusliion masks is to substitute a hollow punch such as
those used for cutting gun-wads, only smaller, and proceed in pre-
cisely the same manner as described for cutting the template. Still
simpler, let an opening of the size desired be cut in a sheet of stout
cardboard, but with rectangular corners. On a block of hard wood
or other suitable surface lay half a dozen or a dozen sheets of the
paper from which the masks are to be made, and over these the card-
board shape or guide. Get an assistant to liold this firmly, while
with the hollow punch just mentioned placed in each corner of the
guide in succession four circles are cut out, forming the corners of the
cushion. Then, either using the cardboard still as a guide, or prefer-
ably treating each mask separately, with a sharp penknife and
straight edge complete the outline by joining the circles, and a series
of masks vidll be obtained that will be difficult to beat if proper care
be taken.
This plan is, of course, available for any shape or size, and if the
cardboard rectangle be only truly cut it is impossible to get the
cushion corners out of square or to introduce any irregularity, and
the circles then form an accurate guide for the subsequent application
of the straight edge.
The methods I have given are more difficult to describe than in
actual use, and, if the subject seems trivial to some of the readers of
the Record, I dare say there are others who have experienced the
difficulty of cutting odd-shaped masks. W. B. Bolton.
LANTERN MEMS.
Thbbk was much to interest photographers at the meeting of the
Royal Meteorological Society, on March 1.5, when Professor
Shelford Bidwell, F.R.S., gave a lecture on " Some Meteorological
Supplement, Ai>rU 7, ItiO^]
TllE BRITISH JOUUNAL OF PlIOTOOiUHlY.
51
I'roblems," and illustriited the same by experimontg. As the optioul
lantern assisted in the demonstrations, some description of the part it
phtyed may bo a tit subject for the Lantrrn Kecobd.
• • • • •
As many of the experiments were shown in a fairly Uf^htod
room, and the projection of tlie photographs was quite clear to a
largo and representative audience, it may be said, with n'oson, tliat
the optical lantern, as far as lectures and class-room work is con-
cerned, is quite a.s useful in summer as in winter, la this instance
the lantern was not only used for ordinary projection, but for illumin-
ating' chemical and other apparatus, and making visible the results of
the experiments.
• • • * •
Afteu showing electrification produced by evaporation and by
friction of dust, many photographs of lightning ilaslies were exhibited
as well as pliotographs of electric sparks, and by means of suitable
connexions and apparatus the projection of a Leyden discharge was
performed, and its resemblance to lightning made manifest. The
phosphorescence of the air was clearly shown by means of an
electrically connected board, covered with Balmain's luminous paint,
and also by the revolution of a vacuum tube.
Some idea was given of the duration of a lightning flash by means
or a lotAting colour disc. This was of the usual " Newton disc "
order, with successive sections of seven colours, and was made to
revolve at a rapid rate, so that only a grey colour was seen on the
dbc. When the electric spark illuminated this disc the coloured
sections were distinctly seen, and it was stated as a result that the
duration of the flash must be less than 1' 10,000th part of a second for
this to be seen.
• • • • •
Tub value of pliotographs of lightning flashes was clearly shown,
and many optical effects illustrated by the different pictures, the so-
called ribbon lightning being clearly traced to a movement of the
camera, and certain dark streaks in the sky of zigzag or branchUke
pattern were due to complementary impressions on the plate following
a comparatively long exposure when photographing the lightning
flash. In some such way as we get a complement by looking at a
bright window, and then closing our eyes and looking away we see
dark for the light of the glass windows and light for the dark sashes.
• » * • •
Many other effects, such aa the flicker of Ughtning, the efliciency
and non-efficiency of lightning conductors under certain atmospheric
conditions, the production of two forms of lightning discharge on
I'rofessor Lodge's plan were illustrated by the convenient electrical
apparatus, in the capable hands of the lecturer and his assistant,
wliile the optical lantern was again requisitioned in illustrating why
tliunder clouds are dark ajid large raindrops fall during a thunder
shower.
• * * # *
The first was shown to be due to the electrification of vapour, for,
by means of a spirit lamp and vessel of water, with a bent tube
(twice bent at right angles), a jet of steam was projected on the screen,
and, at first, looked quite clear, in fact, only just showing by the
flicker or waving of the air; but, directly it was electrified by means
of a rod charged from the Leyden jar, it assumed a blackness on the
screen that was very decided, and each successive contact or with-
drawal of the rod produced alternate clear or opaque projections,
• * • • #
Thk electrification of water showed that while a jet of water, after
rising, fell, as one naturally sees it in a fountain, with a certain
amount of spray, when it was electrified the drops coalesced and came
down remarkably solid. The projection of this spray was managed
by shadow on the screen, the rays from the lantern illuminating that
part of the fountain which had been arranged on a table in front of
the lantern.
• • • • •
After demonstrating that dust in the air was essential for the
condensation of water vapour, and that the colour of the sky was due
to refracted rays and not direct rays of light, a pretty and fitting
conclusion was made to the lecture by the performance of CsptAia
Abney'a experiment illustrating the formation of auoMt colours,
• • • • •
Fon those who have not seen this interesting efTect I may mention
how it is performed. An opaque scrocn ia placed in front of tlie con-
denser witli a small aperture hi it that can be focuseed on the screen
to resemble the sun. A trough is placed on the stage of lantern
having some liyposulplute of soda; on this is poured dilute hydro-
chloric acid, and, as the solution is stirred, the disc on the screen
changes colour from bright yellow to orange, and, finally, to red.
• • • • •
A FBW words respecting the lanterns used. They were quite
simple, without any pretensions to appearance, but had arrangements
Vliereby the front could be withdrawn from the (ttage for the in-
sertion of tubes, troughs, or apparatus. If one had been disposed to
criticise, one would have said they were^too simple for ordinary pro-
jections wliere the apparatus is placed between the audience and the
screen, for until something was improvised to stop it the light
streamed out at the back of the lantern into the eyes of a number of
gentlemen in that: part of the lecture-haU.
• • • • •
This shows the value of having a curtain at the bock of the
lantern, for one can never tell in a hall or room what will be the
most convenient place to fix up the apparatus. And again, viewed
simply as an optical lantern for projection of photographs, the near-
ness to the screen and the considerable tilt or angle of the front pre-
vented square pictures being rectangular when projected on the screen.
They were considerably broader at the top than bottom. With so
mucli of interest and so many experiments brilliantly performed, one
hesitates to say one word that may be considered disparaging, and my
only idea in mentioning it is, that if a lantern cannot be elevated so
that the beam from it is nearly at right angles to the screen, then a
greater distance must be arranged for placing the lantern, that is, to
project ordinary photographs, if one desires to get the best results all
round.
• • • • •
This lecture of Professor Shelf ord Bid well's was so full of interest
that I would advise all who possibly can to get a copy when it is
pubUshed, as I hope it will be, in the Journal of the Royal Meteoro-
logical Society ; and should it be possible to arrange a repeat, say at
the Society of Arts, a great treat will be in store for the members and
friends.
• • • • •
Thb field open for the Optical Lantern is a large one, and almost
all the sciences can by its aid be taught, and demonstrations made to
large or small audiences of so much practical value that would not
have been possible before photography was simplified and the intro-
duction of compressed oxygen and hydrogen had made the limelight
the simple, clean, and of course powerful light it is, so convenient to
hand. Medical and surgical subjects, chemistry, electricity, astronomy,
geology, botany, optics, and physics generally can be shown, or
phenomena and laws demonstrated, by photographs or actual experi-
ments, and it is only for exact requirements to be known for apparatus
to be forthcoming to aid to this end. G. 11. Bakf-b.
THE GENESIS OF THE KEGULATOR,
As no one seems to answer a recent correspondent's question re the
first compressed gas regulators, possibly the following notes on the
subject may be of interest.
The first regulator that came under my notice was in 1882-3 ; it
was introduced by Messrs. I'exton & Ash. The construction of this
was the ordinary Bourdon gauge tube, the movement caused by the
deflection or straightening with the pressure 8ubmitte<l was taken
advantage of, and, by attaching to the free end a lever connected to a
screw valve, the condenseil gas was to be controlled ; but, forty years
back, both French and German patents were taken out for a reducing
valve for condensed gases, such as carbolic, but evidently did not
answer, as they were never worked, I think I am right in saying
63
tilt BRITISH JOIJRi^AL OF PHOtOGJR.At'HV.
[Supplement, April 7, 1893
that the first effectual automatic regulator was produced hy Oakley &
Beard in 1884, but owing to its hulk never met with much faTour.
This was followed by Clarkson's bellows-regulator, worked much
upon the same principle, having a lever instead of the central differ-
ential screw spindle, possibly the outcome of Mr. Hepworth's miniature
gas bag and pressure board connected with the lever key of cylinder
direct. I also heard of Mr. Mellor having a gas-regulator which he
worked by a column of water about twenty inches, but have never
ascertained the exact working.
The next regulator was Beard's (small size) of present-day pattern.
This was at once seen to meet every requirement, being extremely
portable and the working parts being protected. In manufacturing
these instruments it was soon seen that a moving valve upon its seat
could not long be kept sound, and hence the life of a regulator which
depended upon the soundness of its valve was very short. With the
lazy levers in conjunction with the two eccentrics any amount of
leverage upon the valve could be obtained, and absence of friction
upon the valve seat greatly prolonged the life of the regulator. It
was evident that a direct-acting valvo (that is, a valve which has onfy
vertical movement) is the best kind for automatic regulating valves
for high pressures, or, where lower or very accurate and even pressure
is required, the pressure could be stopped down, as it were, from one
regulator to another (see patent specification). After the introduction
of this form others quickly came into the market, all more or less
following upon the same lines.
The first to follow was Messrs. Clarkson & Spurges duplex
regulator, an analysis of which soon reveals the bisection of the
eccentric arrangement, viz., only one eccentric with a compound lever
attached to the bellows, in the high-pressure chamber ; this is again
stepped down by a secondary valve which is attached direct to bellows-
cover.
During this time Henry Brier, of the Scotch and Irish Oxygen
Company, was working at this metallic bellows-regulator, and, I should
think, might have been on the market long before had it not been for
the difficulty of manufacturing the bellows. The principle of the
regulating mechanism is the straightening of a bent rod, the valve
bemg pressed against its seat by the end of a broken arm, as it were,
the shoulder being the fulcrum, and the elbow, connected with a rod
from the movable bellows-cover, the hand pressing the valve — a
very ingenious arrangement, and it will be seen, as the straighter
the arm gets, the more power is exerted upon the valve, without in-
creasing, to any very great extent, the pressure in the bellows.
Suiter's valve was next put upon the market. No multiplying
leverage was employed, the spring of the metal diaphragm acting as
the movement for the controlling valve, the valve being attached to
the diaphragm direct, exactly similar to the well-known Bickerdike
diaphragm regulator for house gas, the diaphragm being metal in
place of leather. Since, an improvement upon this has been intro-
duced, and a lever employed ; the valve in this shuts upon the gas.
By the above it will be seen that all the valves now in use are
vertical-acting, only being pressed upon their seats by the various
mechanism employed by the gas-inflating bellows or diaphragms.
I may, in conclusion, remark that the life of a regulator is de-
pendent upon the property the valve has of remaining gas-tight.
K. K. Bkard.
HOW TO COLOUR LANTERN SLIDES.
[Scientific American.]
NoTuiNO is more interesting and satisfactory to the amateur photographer
than to place upon the screen, by means of a good lantern, the results of
the summer's work ; and, while it may be questioned whether anything
can be more desirable for projection than a really first-class, well-toned
lantern slide, yet experience proves that the majority of people who enjoy
an evening with the lantern are pleased when a well-coloured slide is
shown.
A suitable subject, carefully printed and artistically coloured, when
reflected from the screen, strongly resembles a huge water-colour picture,
the great difference between such a picture and a water colour being a
Buperabundance of detail, which is inherent in photographic pictures and
which is not desirable in a water colour. A photograph can be made
which will answer admirably for colouring which would not be satisfactory
as an uncoloured picture. Such pictures are taken through a large
diaphragm or with full opening. The foreground is made sharp, while
the middle distance and distance are softened down by being a little out
of focus ; however, it is not advisable to try to make negatives expressly
for coloured pictures.
The print for colouring should be moderately light and without great
contrasts. Inky shadows are to be avoided, and it is well to vignette oft
the distance to give atmosphere. The sky should be transparent, unless
cloud effects are to be shown. While specks and pinholes are very
damaging to an otherwise fine lantern sHde, they entirely spoil a picture,
for colouring. In a picture well broken up, as in a woods scene, where
little sky appears and when there is no placid water, these small defects
do little harm ; but, in a sky or in a clear lake or pond, they can never be
concealed or removed so as to be unnoticed, so that the first requisite for
a good coloured lantern slide is a good print of the proper intensity, and
with transparent lights. The second requisite is a knowledge of colours
and colouring, and the third and last thing needed is an assortment of
colours and brushes.
With regard to the slide itself, it might be mentioned in passing that
anything which tends to harden the film in developing, fixing, or after-
treatment, interferes with the free working of the colours. For instance,
alum in the fixing bath, intensifying and reducing solutions aU tend to
harden the film, and prevent the free absorption of colour.
The first operation in lantern-slide colouring is to soak the plate in
cold water until the film will absorb no more ; then, while it is still wet,
go over the entire surface of the film with a thin wash of warm colour,
which may be either yellow or pink, depending upon the subject. This
kills the chalky whiteness of the high lights, and gives the entire picture
a warm and desirable tone, even though the wash is not sufficiently
strong to be detected when the picture is thrown upon the screen.
The colours used for this purpose are transparent aniline colours, pre-
pared for colouring photographs. They are labelled brown, blue, violet,
fiesh, orange, green, and so on. The ordinary aniline dyes may be used
instead of the prepared colours, as they are practically the same. The
manipulation of the colours is the same as in water-colour painting.
The film is kept wet continually, from the beginning to the end of the
operation, but, after the broad washes of the first warm tint and the final
sky colour, the water lying on the surface of the film is allowed to dry oS
leaving the film still swelled and wet, but without the surface water.
The prepared colours can rarely be applied to the slide without being
reduced with water. Sometimes the best effects are produced by mixing
different colours before applying them, while in other cases the effects
are secured by separate washes of different colours, superposed. Each
wash of colour sinks into the film, and is not removed by a subsequent
wash.
Although an easel, or suppo rt something like a retouching frame, may
be useful, the writer prefers to hold the slide in the hand, as shown in the
engraving. The wet plate is held in a slightly inclined position in front
of a lamp provided with a plain opal or ground-glass shade. The write,
prefers artificial light for colouring, as the pictures are to be shown
generally by artificial light, which is yellow. If the pictures are designed
for projection by sunlight, it is undoubtedly better to colour them in day-
light.
The first wash is preferably put on while the slide is held in an in-
verted position, and while it is still flowing the blue is added for the sky
— at first very light, near the horizon, increasing in intensity toward the
top of the slide. After this wash is set, and superfluous water has
evaporated, the water accumulating along the lower edge of the plate is
removed with the fingers, and the slide is turned right side up, when the
extreme distance, whether it bci mountain or foliage, is covered with a
light wash of blue, and this wash is brought well down toward the fore-
ground. If the blue appears cold, it can be toned down by a very light
wash of yellow or red. Trees in the middle distance can now be gone
over with a light wash of orange, or orange with a little of the flesh
colour or pink added. When near the foreground, a very light wash of
green is applied to the foliage, but the raw green of the colour set cannot
be used for this ; it must be modified by the addition of orange or of
brown. If, when applied, the green appears too cold, it may be toned
down by a light wash of brown, of orange, or ilesh colour. It is desirable
to produce variety in the foliage.
Rocks in the distance are washed with blue, and the colour is subse-
quently modified by washes of red or brown. Trunks of distant trees
and some rocks may be left nearly the original colour of the photograph,
but near rocks and tree trunks may be tinted with brown, blue, or warm
green, and subsequently modified by washes of green, red, brown, yellow,
or orange.
It is useless to trace the smaller branches of trees and shrubs, and it
is rarely necessary to deal with single leaves or blossoms ; when this must
be done, a jeweller's eyeglass is required, and fine, small brushes are
used, great care being taken to keep within the outline of the object being
coloured. In all this work the artist does well to remember that the
colouring is to stand the test of great magnification and strong light.
!
Supplement, April 7, 1898]
TilE BRiriSH JOURNAL OP PHOT'OGUAPliY.
M
The plate is apt to dry oat in some plaoos while the oolonring is going
on at other places. As oolonring cannot be successfully done on a dry
surface, it is important to wot the surface betoro proceeding. This is
done by applying water with a soft oamel's-hair brush. After the surface
water has disappeared, the colouring may proceed.
It is obviously impossible to mention every modification of colour that
may be produced by mixtures and washes. This is something to be
acquired by practice. The writer uses very few colours— rarely more than
the following : blue, green, brown, orange, flesh, rose, and yellow. The
last is a strong colour, which nmst be applied with caution. Green and
blue are also strong colours, which can never be applied without the
admixture of a warm colour, or a subsequent wasli of the same. Brown,
in different strengths, has a large application. It is useful in toning
down bright greens, for rocks, tree trunks, earth, *c. A wash of blue
over the brown produces a different but useful grey.
The principal points to be observed are : to keep the plate always wet,
to use light washes, to modify colour by subsequent washes, and, in work-
ing up details, to preserve the outlines.
Should a small area be over-coloured, the colour may generally be
partly removed by means of a soft brush charged with clean water, the
brush being gently and repeatedly passed over the spot. The brush is
frequently washed during the operation. When the broad washes show
streaks, or when the entire slide is too highly coloured, or the effects are
unsatisfactory, the only remedy is to place the slide in cold water, and
allow it to soak, with occasional changes of water, until the colour is
partly or entirely removed.
It is well enough to bear in mind that a coloured lantern slide bears all
the colour that is to appear on the screen ; consequently it must be more
highly coloured than a transparency for direct vision. On the screen,
however, a picture is better under-coloured than over-coloured. It will
often be found that prints which are too light and flat for use as plain
slides answer very well when coloured, and pictures which are too dark
for use as plain slides may be tinted with blue, and presented as moon-
light scenes.
[jJBmshes for this work should be of the best ; quality, very soft and
pliable ; and such as are used for working up detail must have a fine
point.
This method applies to portraits and figure pieces.
The coloured slides are generally mounted in the same manner as the
plain ones. If, however, the highest perfection is sought, thin plate glass
is used for the sensitive plates, and glass of the same kind is used for
covers, the cover and coloured picture being cemented together with
Canada balsam. Made in this way, the slides are more transparent ; but,
in view of the extra trouble and expense, the improvement over the un-
cemented slides is hardly sufficient to warrant the general application of
this method. Geo. M, Hopkins.
BEARD'S NEW CUT-OFF JET.
Mr. B. B. Be.u<d, of C2 Alscot Boad, Bermondsey, SJ!., has recently
brought out a new jet. The connections for supply are as nsnal H and 0,
and the regulating screw-down valves A for oxygen and B for hydrogen.
The index arrows show their method of adjusting. The lever L is
attached to the cut-off plug, and the dotted line shows the position when
gases are cut off, it being stopped by coming in contact with the by pass
adjusting screw C. The jet-holder D is a soUd, having the pear-shaped
hole for securing rigidly to the pin of ordinary lantern trays. The
mixing chamber and nipple are constructed with the greatest care to
obtain the best possible light combined with quietness and economy.
THE LANTERN IN JAPAN.
Amono the pleosanteat entertainments of the winter MMoa in Tokoham*
are the lantern meetings of the I'hotographio Boeiety ot Japan, and in the
past many an enjoyable evening haa been spent by the memben and their
friends in Kiers-buildings, while the work ot the year haa paned in re-
view through the agency ot the magio lantern and Ita attendant loreen.
The ubiquitous cameras of the society have penetrated almost ererywhere
in Japan, from the Kmporor'i chryaanthemom garden to Uyeno's cherry
groves and Ginza's bustling thoroaghfare ; the didnteet bita of land and
seascape, charming moid and ancient temple, have been eaoght in their
loveliest aspects by them, to be enshrined for the benefit of the stay-at-
homes in collotype, platinotype, bromide, carbon tissue, or beautifully
coloured positives. Perhaps the views which recently evoked most
applause were the exquisite moonlight scenes which came from Mr.
Kajima's collection. They were delicate pieces of art workmanship, and
their rare technique was undeniable. Another set which ran them eloie
in beauty and vividness were the yachting plates taken by a Yokohama
amateur. Professor Barton exhibited several of his famooa riews of vol-
canoes, their exteriors and craters, and some snow scenes. Oreat hilarity
was provoked by tlie " combinations " and " subject " pictnres, many of
which were running over with kindliest humour. The quaint idyll of
" The Three Old Belles of Tokyo " was a delicious story without words,
but it spoke ill of the morality of one that she sat with unconcealed glee
with five aces in her hand at a quiet game of poker ! The lots of her bed-
room clock, at the pilfering hands of a gentleman of the night, was, how-
ever, a sufficient punishment for this trifling misdemeanour on the part
of a dear, comfortable, old soul. Altogether, the audience were well
pleased, and the society are to be congratulated on the successful result
of the evening.
PHOTO-MICROORAPirr.
rAmateur Photographic Hociftj of Madraii.]
1. TuK representation of microscopic objects was one of the earliest
applications of photography, and even as far back as 1H03 fugitive pboto-
micrographic impressions on paper and leather were obtained by Sir
Humphrey Davy and Wedgewood. At first great things were expected
from the new power thus brought into play, but as results fell short ot
anticipations the process came to be looked on with a certain amount of
disfavour. Now, however, that a juster appreciation of the capabilities
of photography prevails, this manner of delineating microscopic objects
is much used, and many beautiful photo- micrographs are existent,
showing a|delicacy and fulness of detail which could. not have been
obtained by any other process. In a short paper like the present it is
only possible to deal with photo-micrography in a very sketchy way.
2. Some sUght knowledge of the microscope is necessary before any
attempt can be made to use the instrument in conjunction with photo-
graphy, and of course before any really good work can be done a con-
siderable amount of facility in using the instrument and in the manage-
ment of light must be attained. However, as very little practice, and a
not expensive outfit will enable many interesting photographs to be taken,
it is hoped that beginners may not be scared by the imposing outfit
recommended in the catalogues of many dealers in scientific instrn-
ments.
3. The picture of a microscopic object shoold show all the| details with
as perfect distinctness as po.ssible, but where the object to be represented
has any appreciable thickness, the whole of the details are only visible
through the microscope by successively changing the focns of the instru-
ment to suit the principal planes of the subject. A microscopic illustra-
tion is consequently a diagram showing as if they were simultaneously
visible, details which can only be seen at different focal distances. These
requirements impose a limit to the application of photography, for if we
attempt to change the focus of the microscope during exposure a confused
negative will be the only result. It is therefore obvious that the flatter
an object is the more suitable is it for photographic reproduction under
the microscope, and that it is hopeless to try and take in one operation a
subject having much relief. The greater the magnification employed,
the more limited is the depth of focas, that is, the thinner is the portion
of the object clearly visible at one time. Hence, irrespective of the diffi-
culties in the manipulation of high powers, a flat object is the easiest to
photograph, where the structure can be properly shown under low magni-
fication. Good photographs can however be obtained under very great
amplification with skilled manipulation and suitable lenses, for the rea'ion
that high power subjects are very thin, and that one position of focus
embraces all the planes necessary for serviceable representation. The
most satisfactory field for photo-micrography lies at the extremes of
amplification from, say, magnifications of 20 to 70, and from 500 to 1500
diameters. Subjects requiring objectives of a quarter to one -sixth of aa
54
THE URITISH JOURNAL OF PHOTOGRAPHY.
fSupplemont, April 7, 1893
inch focus for their examination will probably be found the moat difBcult
to photograph.
4. Although medium power objects cannot be photographed to advan-
tage in one operation, it is, of course, possible to take a series of negatives
of the most important planes and combine the results into one picture.
In delicate subjects this is not very easy, but it is worth trying, especially
if the operator has facility in drawing. Another method adopted with
success consists in painting out on the negative the indistinct portions,
and taking an under-exposed print on smooth bromide paper. This
positive is used as the basis of a diagram which can be filled in by hand,
and which, when worked up in Indian ink and pencil, presents the appear
ance of an elaborately finished drawing. A treatment of the difficulty,
which has been recommended by some authorities, is to take in the first
instance a photograph under a low degree of magnification, and afterwards
enlarge it by any ordinary photographic copying process. This method
has the advantage of shortening the time of exposure, but necessitates
the focus of the original negative being extremely sharp.
5. Photography as appUed to microscopy is further complicated by the
differences in transparency, and the great contrasts in colour which are
frecjuently present in the same object. In ordinary photography, the
first difiiculty is not met with, as objects are illuminated by rcHected light
and variations in opacity do not influence the quality of the negative. In
the microscope, however, the majority of preparations can only be viewed
by transmitted lighted, that is, light which passes through the object, so
that the resulting negative is very largely ailected by the colour contrasts,
and the variations in transparency of the subject to be photographed.
The yellow colour of many anatomical specimens so interferes with the
transmission of light as to almost preclude the possibility of making a
photograph. Again, the thinness with wliich modern sections are usually
cut renders them too actinically transparent to be photographed with
low powers, but, at the expense of prolonging the exposure from three to
four times, this may be overcome by the interposition of a screen of
yellowish-green glass. Where great differences in colour are present in
tlie same preparation, or where non-actinic colours, such as deep brown,
prevail, orthochromatic plates offer decided advantages. Many dark-
ooloured objects, such as insects, may be bleached by prolonged maceration
in turpentine, while sections of dark woods may be treated in nitric
acid.
6. The only absolutely essential apparatus required for micro-photo-
graphy are a few good object-glasses, with some type of stage and illuminat-
ing jurraugement, and some form of camera or its equivalent, whereby the
picture formed by the objective may be received on a sensitised plate. A
very large number of arrangements have been devised to meet these re-
quirements, but it is impossible in this paper to do more than discuss them
in a general manner. It will be convenient to consider photo-micro-
graphic apparatus as divided into four classes as under :—
[a). The attachment of a special camera to an ordinary compound
microscope.
(fc). The combination of an ordinary camera with a compound micro-
scope.
(c). The substitution of a dark room for the camera and the use
either of an ordinary compound microscope or a system consist-
ing of stage, objective, and mirror.
(d). A combination camera and microscope forming one piece of
apparatus.
7. A very simple method of effecting the first arrangement (a) Is by
attaching a pyramidal light tight box to the microscope, the small end of
the box fitting closely to the eye-piece, and the large end being adapted
in the usual way to take a focussing screen and a dark slide. The
focussing is effected by the adjusting screws of the microscope, which can
be used either with the body horizontal or vertical.
8. The second arrangement (/)) is still easier for all who possess an
ordinary photographic camera. It merely consists in the insertion of the
eyepiece end of a compound microscoxJe placed with the body horizontal
into the lens aperture of the camera. The space between the microscope
and the woodwork of the front must be carefully closed to exclude light.
When working with lamplight, any black cloth packed well into the space
will answer all purposes. The eyepiece of the microscope may or may
not be removed ; it is simiiler not to do so, as its presence permits of a
short camera being used, and the focussing screws of the microscope
remain within reach of the hand. Most of the well-known microscopists
recommend the removal of the eyepiece, as its use involves a loss of light,
but in this case some mechanical arrangements must be devised to actuate
the focussing screws which will not be in reach. Dr. Woodward, in place
of the eyepiece, employs a special combination, which he calls an achro-
matic concave. Dr. E. Neuhauss has found that the ordinary eyepiece
can be used instead of a projection ocular for throwing the picture on the
focussing screen. The lenses of the eyepiece are separated a little distance
and an additional diaphragm is fitted on. The arrangement is simple, a
paper case or tube, 2J cm. long, is fitted on to the brass tube, the internal
diaphragm remains in its original position, while the new one is fitted
over the eyepiece by means of a short movable tube. The nearer the
objects to be photographed are to the focussing screen, the further must
the lenses of the eyepiece be removed from one another.
9. The third arrangement (c) may be exemplified by the plan adopted
by Mr. Wenham, who dispenses with a camera and uses instead a dark
room. This room he closes with a shutter having a circular aperture
three inches in diameter ; upon the outside of the aperture is placed a
reflector of same type, which can be actuated from inside the room. The
microscope body is arranged horizontally on a table or bench, so that its
axis, if prolonged, would pass through the centre of the hole in the
shutter. The object to be photographed is suitably placed on the stage
of the microscope and near to the inside of the aperture, the light around
the stage being cut off by a black cloth. A vertical stand, grooved to
carry a sensitised plate or a white card, completes the arrangement. The
enlarged view of the object to be photographed is first projected on to the
white card and focussed, the light is then cut off and the sensitised plate
is inserted in the grooves which held the card. The plate is then exposed
by readmitting the light for the necessary time.
10. The fourth arrangement [d) need only be briefly referred to. A
stage with mirror and objective is attached to the front of a special
camera provided with necessary fittings for adjustment.
11. The next point to be considered is illumination. The sun, the
electric, oxyhydrogen, magnesium or zircon light, and the ordinai7
paraffin or petroleum flame are tlie usual sources of illumination.
Of these the majority of operators prefer sunlight, but in using it
with any form of condenser care must be taken to guard against
the intense heating effects of the rays, which are liable to injure the
object, and even in the case of high-power objectives to uncement the
lenses. In the case of subjects requiring long exposure, it will be neces-
sary to supplement the apparatus previously enumerated by a holiostat in
order that tlie solar beam may be reflected in a constant direction ; with-
out a heliostat rapidity of impression is absolutely necessary for the most
perfect definition. Various devices have been resorted to for overcoming
the heating effects of the condensed solar rays, the most common plan
being to reflect the light through a cell filled with a solution of sulphate
of copper, the blue colour of which filters off the heat rays while allowing
the actinic components of the solar beam to pass through. Another plan
is to break up the light by means of a large prism of wide dispersion and
then intercept the rays of the red end of the spectrum. In this way the
defeets of chromatic aberration may bo avoided, and a more perfect defi-
nition obtained. A very ingenious method, proposed by Mr. Beade, for
using his hemispherical condenser with a solar condenser, is given Hoto
to Work with the MicroKcnpe, by Dr. Beale. The rays furnishing light and
those giving off heat having different degrees of refrangibility, we have
here the cone of light rays formed within the cone of heat rays, so that,
when these rays cross the axis their respective positions are reversed.
The hemispherical lens is so arranged that it is separated from the prin-
cipal focus of the heat rays by its own focal length, when the principal
focus for light will be found at a greater distance than that for heat ; the
heat rays will thus be rendered parallel , while the light rays will converge
to a second focus furnishing an intense light unaccompanied by heat.
The same object is effected by Dr. Woodward by placing an achromatic
lens at such a distance from the achromatic condenser of tlie microscope
that the solar rays are brought to a focus and begin again to diverge before
they reach the lowest glass of the condenser. This method is so success-
ful that enough light can be obtained to give excellent definition on a
cardboard screen under a magnification of 5000 diameters.
12. When using sunlight, it will sometimes be found that diatoms and
soft tissues, when illuminated with paralled rays, will produce interfer-
ence lines. A ground-glass screen, preferably greased, interposed
between the mirror and the condenser, will remedy this inconvenience.
The electric light, by exaggerating the effects of light and shade, is well
suited for delicate objects possessed of little contrast. In using this
illumination the pencil of light should be first rendered parallel by means
of the condenser usually supplied with electric lamps for this purpose,
and then condensed, as with solar light. The electric light is said, by
some authorities, to be cumbrous, unsteady, expensive, and troublesome,
but these remarks would appear to be directed against the arc light, as
the incandescent lamp seems free from these objections. The magnesium
and oxyhydrogen lighl s are of special service in photographing soft
tissues, and, no interference phenomena presenting, the greased glass
Supplement, April 7, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
U
screen can be dispensed with. The light is concentrated on to the lower
lens of the achromatic condenser, and the ammonia-sulphate coll should
invariably be used. The fumes of magnesia, which give trouble by tlie
deposits on surrounding objects, may be collected on a muslin chimney,
made by covering a spiral wire column five feet long, the cloth being
folded in similar fashion to the bellows of a camera. The zirconia light
is produced by placing in the ox.vhydrogen flame a mass, made by strongly
heating, in an iron mould, a paste composed of ziroonia, mixed with a
solution of hoi'ocic acid. This illumination is even more brilliantly
luminous than limelight. Zirconium is very resistant, and gives a
regular, steady flame. It will be found, however, that petroleum light is
sufficient for almost all purposes, and any good lamp may be used, but
the ordinary microscopic lamp, which can be raised or lowered bodily,
will be found most convenient. A very intense illumination may be
obtained from paraffin oil by using it in a triple- wick lamp, with a con-
denser to parallelise the raya This pencil will, of course, have to bo
rendered convergent before it enters the optical portion of the microscope.
With all lighting, the achromatic condenser must be carefully centered, as
otherwise unequal illumination will result. After centering, the condenser
must be moved bock until the field is uniformly lighted.
13. Certain objects, such as diatoms of close striation, require the use
of very oblique light, which can be obtained in the following way, given
in Davis's Practical Microicopy : "A parallel pencil of solar rays from
the heliostatand plane mirror is intercepted by a blue cell and diaphragm,
which only allows a circular pencil of half an inch diameter to pass.
The light enters parallel to the optic axis of the microscope placed in the
usual position for photography, but at a lateral distance to the right or
left of three inches. If the light is intercepted by a large achromatic
pritm of a focal ength of about three inches, the desired' obliquity can be
obtained without difficulty. The best result is obtained when the rays
are concentrated to a focus upon the object, and it is indispensable that
the stage of the microscope should be as thin as possible. The illumina-
tion thus obtained is in general sufficient to produce negatives by the wet
process up to 2500 diameters, with three minutes' exposure."
14. The magnified image of the object to be photographed can be
focussed by projecting it on to a white screen, or on to a ground or plane-
glass plate, or by examining it with the ordinary microscopic eyepiece.
The ground glass usually supplied with the camera is too coarse for fine
focussing, and should be reground with the finest emery and water, or a
focussing screen may be made by coating an ordinary glass plate with the
following varnish recommended by Davis : —
Gum mastic 40 grains.
Gum sandarac 160 „
Ether 4 ounces.
Benzol l-i >»
This varnish is not easy to apply, as even the heat of the fingers is
sufficient to make the coating immediately over them dry with a smooth
instead of a matt surface.
If a piece of plate glass be used, the image is viewed by a focussing
glass or eyepiece held against the plate glass, the focus of the lens corre-
sponding exactly with the anterior surface of the plate. The simplest,
and I believe the best, method of focussing is to use the ordinary low-
power eyepiece inserted into a series of apertures in a thin wooden board
Substituted for the usual ground glass, care being taken that the diaphragm
of tlie eyepiece is in the exact position that will be occupied by the film
side of the sensitised plate.
15. In connexion with focussing it is to be noted that, objectives being
over-corrected, it frequently happens with low and medium powers that
the actinic and visual foci are not coincident. The result of this is that
a blurred and indistinct negative may be obtained, although the image
viewed by the eye when focussing showed perfect definition. This draw-
back can be remedied by having the objectives specially corrected for
photography, or by withdrawing the object-glass after focussing a certain
amount determined by experiment. The number of turns of the fine
adjustment screw necessary to get the chemical focus is easily obtained
by developing a negative taken at the best visual focus, and then with-
drawing the objective till the image appears to the eye as indistinct as it
is on the negative. I append the amount of correction required by various
objectives, which have been extracted from Beale's and Davis' works.
Beck
Dancer
IJ inch iV'
ij inch 5 J;,"
.,% inch T^zi
2 inch 5^5
J I inch nil
Browning 4 inch rJj
„ 1 inch 4^5
„ i inch J ahsT!
„ ^ inch nil.
„ I inch nil.
In Beok'g recent Mttalognea, however, It la itfttad that tb«M maken'
objectives oan be used without alteration, the two foci being lo newly
coincident, and, as far m my Umited experience goee, I can *ab«t*oti»le
the statement.
l(i. As in ordinary photography, many auert that the wet proeew giTea
results superior to the dry, but I much doubt tliia. If there U any dif-
ference it is so slight that only an advocate of the wet plat« can detect It.
Gelatine plates should not be over-exposed, especially in the CMC at
delicate work, or all the finer details will be loet. No precine direetiou
can be given as to the time of exposure neoeaeary for the production of a
good negative. The exposure is largely dependent n|)on the quality of
illumination, but even more so upon the nature of the object. By direct
sunlight, with a not too dense subject, under the strongest magnification
and sufficient weakening of the light by a filter a few leoonds should
suffice. Opaciue objects illuminated by reflected light require a much
longer exposure than transparent subjects with transmitted light, and
the difficulties in focussing increase rapidly with the magnifying power.
As a guide to exposure I extract from Davis' J'raeticnl Microtcopij the
following table relating to Mawson & Swan's " fifteen times " plates : —
Subject.
Kxpoorea.
Objective.
With mleroMop*
Uap.
With a tripUziraa
or Mcioiitiooii
lamp.
4 inch
2 „
1 „
J ..
i ..
k ..
Wing of blow-fly
Proboscis of do
Do. do
Glass crystal
Section of deal
Podura scale
Fleurosigma attenuatum ...
6 seconds.
60
70 „
60
7 minutes.
10
16 „
3 seconds.
10 ,.
20 ..
30
2 minutes.
n „
In recent years instantaneous work has been taken up with a view to
photograph moving organisms, and exposures from one-twentieth to one-
two-hundredth of a second are reported to have been satisfactorily given
with immersion lenses. Formerly infusoria, &e., were rendered stationary
by killing them with an electric shock. A flashlight recommended for
instantaneous work is produced by the ignition of tlie f ollcwing mixture
which gives a flash lasting from one-fiftieth to one-thirtieth of a second : —
Magnesium 30 parts (by weight) in powder.
Chlorate of potash 60 „ ,, „
Sulphide of antimony 10 „ „ „
The combustion of this powder is effected in a metallic tnbe closed at
one end and provided at the other 'with a glass plate and diaphragm, the
aperture of which corresponds accurately with the diameter of the illu-
ninating lens. Within the tube, and on a level witli its central point, is a
metal plate upon which the powder with a piece of touch paper is placed.
The latter is ignited through a slit in the tube closable by a shutter.
The tube is further provided with a very long chimney.
17. With long exposures it is very essential that freedom from vibra-
tion should be secured, and this is a matter of considerable difficulty.
Dr. Woodward used to isolate his apparatus from the floor of the room
by placing it on solid concrete pillars built up independently from the
ground, but even this was not always satisfactory. However, long ex-
posures can be made, and photographs of phosphorescent bacilli have
been taken by their own emitted light with an exposure of thirty-six hours
or more.
18. As regards development, the same rules as apply to ordinary
photography hold with photo-micrography, but in fine work it is not
advisable to push development too far lest the more delicate details
should be lost. There is no object in giving recipes for developers, as it
will be best to adopt the formula which the operator is in the habit of
using for ordinary work. A. D. G. Sheluey, Captain, B.E.
♦
THE SIMPLICITY OP LANTEBN-SLIDE MAKINO.
[Antbony'i Bi>Iletiii.|
Mixn has been written on this subject, and from the constantly in-
creasing interest shown in their production and use it would seem as it
there was plenty of ground to be covered. In all the publications con-
nected with the photographic art that have been iMoed, the nutnipnlation
S6
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
Supplement, April 7, 1893
of the lantern elide has been very lightly touched upon. I know a case
where most elegant examples were shown, and those who enjoyed seeing
them declared that the party who made them had a secret process he
would not divulge, hence there was no use asking him. Not being
blessed with timidity to such a degree, I questioned the gentleman, and
he promptly replied, " There is no secret whatever in the manner in
which I make them, as I used the lantern-slide plate, a ready-mixed
developer I get from , and fix them in hypo the same as any other
party. The only secret to the entire process is the use of brains." Like
all other good things, to obtain the best results, care must be used and
operations closely watched. The best mode for a beginner would be to
take a good average negative and use no other until he is satisfied he
can produce from it as good a slide as it will yield. In the trials will
enter different exposures and various strengths of sundry developers.
Take one of these developers as recommended bylsorao one in whom
you have confidence, and do not change until you are convinced that
you have as good a slide as can be produced by the method employed.
The great stumbling-block will be the time of exposure. If over-
exposed, you will find that before you secure'suftieient density your skies
will be greyed over or filled up. If too short a time has been given, it will
develop up to a certain point, and before you have sufficient detail it will
be too dense in parts and then stop, refusing to go farther, and continued
forcing strains the slide. Experience as to the time for each negative
(and you rarely have two just alike) can only be gained by practice. Do
not attempt to rush them through too quickly, but take your time. Six
or eight really handsome slides are better than so many dozen poor ones.
A good rule for a transparency developer is : To your normal developer,
as used for negatives, add an equal bulk of water, and to every six ounces
of this solution add five drops of a saturated solution of bromide of
potassium in water. In developing a negative, you make your developer
give way to the negative, i.e. , weaken or strengthen as required during
development ; but in making lantern slides, it you use judgment in print-
ing them, you can use the same developer for a large number, having six
or nine in the same tray at once undergoing development. The fact that
there is more latitude in the exposure of a transparency plate is of great
assistance, and often prevents what would be a total loss if a quicker
plate were used ; but the true exposure is always the best, and, with care
and judgment, there is no necessity of losing one plate out of several
dozen.
Printing by contact is by far the easier method, and if the plate admits
of such I would always so print them. It liappens often, however, that
larger negatives are to be used, and for this purpose very handy cameras
are in market, called "copying, enlarging, and reducing cameras."
They are, in fact, so handy for the amateur in many ways, that no well-
regulated establishment is complete without one. They are so arranged
that the negative is placed in one end, the lens in a centre compartment,
and the holder on the rear end. By varying the distance between the
negative and lens, the amount of subject shown in the large negative can
be varied at will, and I have made three distinct slides from one 5x8
negative, by taking diiiferent parts at a time. Care must be taken that
nothing will be opposite the negative that would be photographed through
it. If the camera cannot be so pointed that you have a clear sky for a
background, put a screen covered with smooth white tissue paper two
feet distant from the negative. This will destroy all lines and shadows.
Use a small diaphragm in the lens in order to secure the sharpest results,
and you can judge of the time as readily as when printing by contact,
only it will probably be minutes, where before it was seconds. These
minutes can be employed in looking at those developing or fixing, placing
another plate in your extra holder, and selecting the negative for sub-
sequent exposure. In fact, you need never be idle. I have covers for
my trays, to enable me to turn on full gaslight and work at other things
during developing, fixing, A'C.
Exhibiting the pictures on the wall or screen during the winter evenings
is the most enjoyable part of photography, and prints on paper, even
from the same negative, pale before the lantern slide. If you have not
tried it, do so at once. You will never regret it, and you will find there
is no mystery in the production of them, but endless enjoyment, both for
yourself and friends. H. S. Nutt.
POMPEII ON THE LANTERN SCREEN.
At the Bath Photographic Society a Lantern Evening was given on
Wednesday, the 22nd ult., at the Royal Institution, when Mr. Austin J.
King, president, gave anill ustrated lecture entitled " Some Memoirs of a
buried City " (Pompeii). The chair was occupied by Dr. G. Norman.
The Secretary' announced that the lens to be used that evening for the
projection of the lecturer's slides was of a new pattern, manufactured and
forwarded for the occasion by Swift & Son, Opticians, London.
Mr. King dwelt not only with the existing buildings of Pompeii, of
which many photographs were exhibited, but also witli the numerous
bronze articles of household and domestic use which have been found in
the course of the excavations. With the aid of these and of plans of the
Roman houses and villas he attempted to show what manner of men and
women inhabited Pompeii, and how they lived their lives. The streets,
the temples, the theatres, the amphitheatre, the palaces of the rich, the
hovels of the poor, the baker's shop, the public bakery, the inn, the wine
bar, the baths, were made to tell their story. Some pictures were from
photographs by the lecturer, others from drawing of Gill's restoration,
and others again were descriptive. The audience was a very appreciative
one, and followed the lecturer closely through his account of what had
been based upon what lliere still is. All agreed that not only is Pompeii
just the place where good photographers would like to be sent to, but that,
without the aid of photography, the great treasure of this marvellous
City of the Dead would be lost to nineteen-twentieths of those who now
revel in the archeeologioal and ethnological treat which the excavations
have provided.
The Chairman very cordially thanked the lecturer. Mr. King, he said,
was always doing something for the Society, and this last entertainment
had afforded them a better opportunity of studying the subject of the
buried city than it had been bis (the Chairman's) privilege to witness
hitherto.
THE LANTERN IN TASMANIA.
At the last meeting of the Hobart Photographic and Art Association a
very large collection of lantern slides was exhibited. Messrs. E. Ash,
G. Hull, H. J. Buckland, C. Gruncell, Rev. J. T. Piercey, Russell Young,
F. J. Paterson, W. K. Morris, and N. Oldham contributed slides. The
lantern was managed by Messrs. W. K. Monis and N. Oldham. A col-
lection of coloured slides by Miss Hope and Miss Minnie Smith were also
exhibited, and proved that these ladies will soon be able to produce
coloured slides of an excellent quality. A large quantity of members'
work was placed upon the table, including crayon drawings by Miss Hope,
photographs by Messrs. Clayton and Hull, oil painting by Miss Minnie
Smith, and a new lantern slide making camera by Mr. H. Downing. At
the conclusion of the meeting Mr. Russell Young offered a prize for the
best painted lantern slide, open to any Association member.
Eanterii (Bntxita,
F. R. — The slide sent is far too dense for projection. Try again, and do
not force development so much.
L. Morris.— The optics of the lantern are fully dealt with in the editorial
article in the Ai,>rANAC for 1888.
W>r. Stranoe. — From a circular just received from Messrs. Wilkinson 4
Co., of Holmeside, Sunderland, we observe that they make a speciality
of lantern-slide painting. Put yourself in communication with them,
Lantebno. — Yes, the " Lantern Record" will appear during the summer.
Barium.— The barium is heated to about 1300° Fahr.
C. (Balham). — Thanks. We have read the article in the Ikiily Telegraph
on " Magic Lanterns and their Users." It is evidently written by a
non-technical journalist, although the information it conveys is, in the
main, correct.
Simplex. — The crystallisation on the slide is probably due to imperfect
fixation. We have met with wuch oases as you cite on several
occasions.
J. — The heliochromosoope, bo far as we are aware, is not yet obtainable
commercially in this country. Mr. Ives is, however, we learn, making
arrangements to that end.
RECENT LANTERN PATENTS.
PATENT COMPLETED.
ISIPBOVEMENT IN LiMKLItiHT .IkTS.
No. 5541. David Wiluam Noakes, 23, Nelsaii-.street, Oreenwieli,
Kent— Feheuaii/ 18, 189:J.
When the lime jet is used as a radiant, either .singly or in coiijiiiiction with
optical instruments, it is de.'irable to obtain the utnicst intfiisity of liglit.
Hitlierto limelight jets have been constructed with one mixing chamber only,
into which hydrogen and oxygen, or oxygenated ether and oxygen, or other
.suitable gases, are introduced by means of separate comhiits. After couiing
together and mixing as far as possible in thi.s single chamber, tbey issue from
tlie outlet, and being lit impinge upon a piece of lime, heating it to incau-
de.sceuce. The more intimately the gases can be mixed, the greater the state
of incandescence that can be produced. In my invention the gases are more
intimately luixed l)y using two chambers in lieu of one, which to suit exi.'-tiug
apparatus are preferably constructed one within the other and conical in section,
altliough for some requirements it might be necessary to Bi-jiarat(! tlu^ cliamber.s
or alter their sectional shapes,
MONTHLY SUPPLEMENT
To THE " British Journal of Photography."]
lAfay 5, 1893
THE LANTERN RECORD.
CONTENTS.
Paos 1
UHTEBN NOTES AND NEWS 17
IIION CAKBONYL IN COMPRESSED
SAS. By bEWIS WBIQHT 58
SOUBLE PKINTINO FOB TRAN8-
PABENCIB8 OR ENLARGEMENTS.
Bj W. B. BOLTON SO
ANTERM HEMS. B7 O. B. BASER.... dO
THE DISBOLVEB.
OXLET
By
Paou
rERRKBS
ea
THE " N. Jt G. HAND CAMERAS ««
ARCHER'S "COMBINED" HAND OB
STAND CAMERA M
RECENT LANTERN PATENTS ••
LANTERN QUERIES M
LANTERN NOTES AND NEWS.
" At the recent Exhibition of the Manchester Amateur Photographic
Society," says the Society's organ, the Photographic Record, " among
the many interesting slides was one — taken as a snap-shot — of a group
of four editors of the photographic journals engaged in friendly chat
with each other, and evidently quite innocent of the fact that they
were being made into ' copy.' They had been attending the Photo-
graphic Convention at Edinburgh." That slide should be preserved
as a witness of the amicable relations that subsist between photo-
graphic pressmen, of which testimony is not altogether unneeded.
* # * ♦ ♦
Befoue the Society of Architects, on April 20, Mr. William
Allport, F.S.I., read a paper on the Use of Photography in its
Relation to Architecture, in the course of which he touched upon the
uses of lantern slides for projections of architectural subjects : — " As
to the use of photography in connexion with lantern slides for
demonstrations of architectural subjects, the illustrations we have
seen this evening fully show what a powerful agent and adjunct it
has proved to be in connexion with photography in the development
of architectural art, and in the illustration of such papers as are
given from time to time by this Society. It is even adopted by an
eminent bishop as the most efficient means of making an impression
on his flock. His practice is to prepare clear, terse, short sermons in
simple language ; photographs of these are then taken, and put on to
lantern slides and exhibited through the medium of the lantern to
his audience ; and he states that he finds this manner of discoursing
to be far more telling, impressive, and attractive than when it had
been vocally delivered ; that the same practical effect equally applies,
if not more so, to lectures on architecture, must be admitted by all,
especially as when on the same slide examples can be shown side by side,
specimens of good and bad design or construction, thereby impressing
upon the minds of the students facts and matters of importance in a
manner that no other process, with the Uke facility, can give with
accuracy."
• • • • •
SiNGLB limes for the lantern, each packed in hermetically sealed
tubes, can now be obtained from our local dealers, says the Photcy-
ffraphic Gazette. This innovation has been introduced at the sugges-
tion of the Committee of the West Surrey Society, and will be best
appreciated by those who have experienced the trouble and loss en-
tailed in keeping the larger quantities usually put up by dealers.
We concur in the last remark, and regard the hint as one which might
with advantage be taken by dealers at large.
• • • • •
Thb optical lantern of the Society of Arts was put to conmderable
use during the Camera Club Conference on April 12 and 13, no fewer
than five of the papers being illustrated with ilide«, some of which
being only of diagrammatic interest were shown with as much locceM
in the afternoon as others were in the evening.
• • • • •
In no class of photograph does the blurring or halation of the image
stand out with such disagreeable prominence aa in a lantern slide
projected on to the screen. During the past winter we ww many
otherwise good slides marred by this defect, which may be so easily
avoided by backing the negative plate, that we should have though*
few photographers taking pictures with a view to making lantern
slides from them would neglect it. Now that the subject of halation
and its remedies — including the use of multiple-coated films, such as
the Sandell plate — is a topic of much discussion, and seems likely
to remain so, it is to he hoped that lantern slides showing halation
will be subjected to more criticism and objection than has been the cms
hitherto, and that an improvement La this respect will result.
• • • • •
Tee safe packing of a large number of lantern slides for constant
circulation among, say, the various photographic societies, is a subject
of no little importance, and one that demands more care and considera-
tion than may at first sight seem necessary. The number of negatives
in twos and threes which arc constantly reaching this office in a pul-
verulent condition, through bad packing, makes one tremhle at the
thought of what would happen to a collection of 100 or 150
lantern slides if packed according to the same free-and-ea^ system,
which so many adopt. Mr. K. Child Bayley, of the Photographic
Society of Great Britain, who has charge of several ever-drcnlator
sets of slides, contributed by affiliated societies, and who feels the
need of a safe system of packing, informs us that he proposes adopting
the following method : — The slides are first packed closely together in
a strong box lined with strips of rubber, the box having a shut-over
lid, the bottom of which is lined with rubber, which, when the box is
closed, comes in contact with the tops of the slides. The latter are
thus securely held in a casing of rubber. This box is then placed in
an outer box, strongly iron-bound, and having a sliding lid secured or
opened by means of a single screw. The opinion of those having ex-
perience of the transmission of large numbers of lantern slides, on
this or any other plan that may have been found satisfactory, wonld
no doubt interest many.
• • • • •
LooEiNo in at the lantern-slide entertainment in connexion with
the Crystal Palace Exhibition on Saturday evening last, we found a
large audience evidently enjoyini^ a miscellaneous collection of slides
that was being 'shown, several slides from frenagraphs (we believe
that is the correct term for negatives taken in Messrs. Beck's ingenious
Frena camera) securing much applause. By the way, in our notice of
the Exhibition on .\.pril 14, we omitted mention of the fact that
the series of enlargements from frenagraphs which Messrs. Beck had
at their stand were made by Mr. F. A. Bridge.
• • • • •
The lantern in use at the Crystal Palace was a hiunial by Measit.
W. Watson & Sons, and at the time of our visit it was working
smoothly and evenly in the hands of Mr. Wollaston. It was fitted
with a pair of Mr. R. R. Beard's new cut-off jets (which we deacribad
at page 53 of the " Lantern Record " for .'Ipril 7), and the same
gentleman's safety dissolver, suggested by Mr. W. Brooks some time
58
THE BRITISH JOUKNAL OF PHOTOGRAPHY.
[Supplement, May 5, 1893
ago, and identical in pattern with that which had heen in use with
interns previously used. Mr. Beard had also provided extra large
limes for the jets. , • •
Fori the information of those of our readers who have never
attended a Lantern Exhibition at the Crystal Palace, it should be men-
tioned that the distance from the lantern to the screen is 110 feet,
and that the available size of the screen is about thirty feet square-
that is, the dimensions of the proscenium. This large screen was one
of the Mason & Payne kind.
• • • * *
Thk plant for supplying the gases for use in the optical lantern in
the theatre at the Crystal Palace was laid down at the time of the
first photographic Exhibition, and being, we were informed, such as is
commonly adopted at most theatres, and at the same time specially
designed for use in lantern shows, it looks as if the Company con-
templated making this class of entertainment a permanent feature of
the Palace. Mains are laid on to the stage for limelight purposes, as
well as up to the lantern gallery, both being available at any moment.
The gasholders or tanks are situated in the basement, and are of a
capacity of 100 feet each. The hydrogen is drawn from the main ;
the oxygen-holder is filled from high-pressure cylinders.
• * • • •
AxTHOiTGH the apparatus section of the Exhibition was, as we said
at the fijst onset, very small, we were pleased to learn that several
of those who did exhibit were rewarded for their enterprise. Mr. J •
D. England (who showed negatives on celluloid, lantern transparencies,
&c.), the Cresco-fylma Company (whose elegant and simple process
of enlarging negatives and transparencies was in course of constant
demonstration and attracted much attention), and other exhibitors,
assured us they were pleased with the result of the three weeks
exhibit. Great interest also seemed to be excited by Messrs. Beck's,
Messrs. Theobald's, Messrs. Noakes', Messrs. Platte & Witte's and
other exhibits, all of which were connected with the optical lantern,
more or less. Indeed, but for the lantern exhibits and cognates, and
the lantern-shde entertainments, which always tickle the pubhc taste,
it is appalling to think what would have been the fate of the
Exhibition as a whole. So, Crystal Palace Exhibition of 189.3,
au revoir or farewell — which ?
IRON CARBONYL IN COMPRESSED GAS.
So many readers of the Journax, possess a competent knowledge of
chemistry that I am not without hope we may obtain from one or
other of them assistance in the matter described above. This I have
no hesitation in saying is now found the principal practical nuisance
and drawback in the use of cylinders for the mixed jet, whilst I am
not satisfied that it is altogether free from danger. It is in that hope
I wish to direct more special attention to it.
Users of oxygen alone are never confronted with this difiiculty ;
but those who use compressed house gas, as the use of this in
cylinders has also extended, have been finding, again and again, that
the gas as it issued from the jet was often " impure.'' In many
cases, before the oxygen is turned on, the small flame of gas will
smoke greatly, and after a little time the lime or other incandescent
body appears where played upon of a deep red colour, so deep some-
times as to be nearly black. The colour in itself does not seem to
matter much, and, according to the usual laws of radiation, a black
line, if one could be made, should give more light than the white ;
but in a pronounced case of this impurity the light does suffer most
woefully. The Editor will personally remember that on a recent
occasion, when verbally discussing this matter, another operator told
ua how, on more than one occasion he had been utterly baffled by the
impos^bility of " getting a light." I have never found it so bad as
this, but serious loss of light has been experienced frequently. In
fact, but few readers who use the mixed jet from cylinders will not
be able to bear out from experience all the above.
Till lately, so much was all that was known ; but in 1891 Mond
and Quincke followed up the discovery of nickel carbonyl by that of
iron carbonyl, similarly formed by the action of carbonic oxide upott
iron. Roscoe and Scudder found that " water gas " compressed in
steel cylinders formed the same compound. Finally, Mond and
Langer obtained two different iron carbonyls in a state of purity,
having the formulse of Fe(C0)5 and Fe(C0)7. They were able in on»
day to prepare about one grain of viscous liquid carbonyl from 10&
grains of finely divided iron. It differs from nickel carbonyl in being
much less volatile, distilling at about 102° C. The consequence of
this is that in some cyUnders not only is the gas " impure," but liquid
carbonyl itself is deposited in the shape of an oil, which will run out
of the valve if the cylinder is inverted when empty. Instances of
this have been observed.
Besides the loss of light caused in this way, I have hinted that the
formation of carbonyl map not be free from danger. For it is clear
that the metal is acted upon and diantegrated ; and the question is,
to what extent ? Unless confined to an infinitesimal degree — which
I am by no means sure of — the metal may be in time so thinned or
become so spongy as not to be safe under the pressure. This side of
the question especially needs careful investigation. But the mere loss
of light is bad enough, and the practical question is, Can anything be
done to either prevent, or, at least, greatly diminish the evil ? Here
I hope for help from some who have more chemical knowledge than
I can pretend to ; still, I add what suggestions occur or have been
suggested to myself.
1. A chemical friend, alluding to the recently discovered but now
well-known fact, that perfect dryness prevented chemical action in
gases, suggested that, if a hydrogen cylinder were dried out by heat
before pumping, and the gas dried by passage over calcium chloride,
in the ordinary laboratory manner, whilst passing to the cylinder, the
evil would probably be diminished. It is possible, but I have doubts
whether it would be practicable. Only practical pumpers could
decide that question.
2. Gas is commonly called carhuretted hydrogen. It does not,
however, appear that the carbon thus combined with the hydrogen
does the mischief. Rather it seems the portion of carbon monoxide
present in the gas which is responsible. This looks to me more hope-
ful, and 1 do not think it should be impossible so far to purify
the gas before compression as to separate the carbonic oxides from
the truly inflammable gases. If the gas can be thoroughly purified
from both carbonic monoxide and dioxide, I believe the evil will
cease, and it is not even certain that dioxide causes any.
3. If this is not feasible, the question will occur whether soma
hard varnish cannot be found which will resist the gas under pressure,
and chemically protect the steel of the cylinder from contact or
chemical action. Surely this should be practicable ; and, if so, such a
varnish or coating could be readily melted over the inside by heat
before the valve was screwed in.
4. High temperature greatly facilitates the action ; therefore,
keeping the cylinder cold under pumping should be caref uUy attended
to.
The above, I am sorry to say, exhaust my stock of suggestions. It
has appeared to me that this formation of carbonyl has increased
since the improved steel cylinders came in ; and it may possibly be
that steel (iron already combined with carbon in another way) may be
more readily acted upon; but there is no doubt that iron itself is
attacked. 'There is also no doubt at all that a given cylinder goes on
getting worse than at first, and that some are worse than others. It
is also, I have reason to believe, fairly certain that stale gas pumped
(aa from a store gasometer some time filled) is worse than fresh. I
think the first fact is explained probably by a film of grease, or some
other protective varnish, accidentally protecting some cylinders more
than others (again pointing to a varnish) ; and the second fact by the
gradual formation in stored gas (of which there is some evidence) of
more free carbonic oxide.
Be all this as it may, the only practical palliative I know at present
is to use gas (if one have influence or power to get it) fresh pumpe
to use it new, or fresh, and not keep any ; and to use a " necky "
cylinder. To keep the gas in cylinder seems to make the latter get
worse and worse ; better let it go. This objection to " keeping " gas
is one of the greatest nuisances of the situation. Altogether, no more
pressing problem demands solution at the hands of the compressed gas
industry. Lewis Wbight.
Supplement, May 5, 1893]
THE BRITISU JOURNAL OF PHOTOGRAPHY.
DOUBLE PRINTING FOR TRANSPARENCIES OR
ENLARGEMENTS.
Thb simple operations of printing in a sky to a traDS))arency or
enlargement, of taking out one portrait from a group, or even of
(uccessfully vignetting a single figure, althougli perfectly easy in
theory, are sometimes very troublesome, if not really difRcult, in
practice, owing to the want of a little system. The following plan,
whicli I have used for some years, while thoroughly efficient for the
purpose, entails very little initial trouble and a minimum of skill in
its working.
It is simply an elaboration of the rough-and-ready method of
vignetting by holding a card with an aperture in it between the lens
and enlargement during exposure, the screen in this case being held
in a frame provided for the purpose. Even in simple vignetting
much of the effect depends upon the proper centering of the picture
and the vignetting screen ; but when, as in the case of double printing,
an irregular outline has to be rather closely followed, the importance
of this point is vastly increased, and it ii just the difficulty of
accurately masking the various parts of the picture by hand work
that constitutes the trouble. When, however, a properly centered
frame is provided in which to fix the screen, the latter may be placed
in any desired position along the axis of the lens, and any degree of
sharpness or the reverse of the outline secured without losing
centrality.
The precise mechanical details of the screen are unimportant, and
will depend in some measure upon existing arrangements. When the
enlargement is made upon an easel running on a tramway, the
vignetting screen, as 1 may call it, may consist of an additional frame-
work running upon the same lines, or, if preferred, the arrangement
may take the form of an attachment to the enlarging lens itself. Such
a one, which answered my purpose very well some few years back,
consisted of the discarded mount of an old whole-plate portrait lens,
which was attached to the front of the enlarging camera behind the
lens, or between the lens and the enlargement. In place of the cap a
series of wooden frames was made to fit on to carry masks of different
sizes, and the rack and pinion served to give the necessary motion for
securing accuracy of adjustment and softness of outline.
The capability of thus altering the position of the screen smoothly
and easily, and preferably by mechanical means without losing
centrality, is one of the most important features in the arrangement,
as it not only greatly helps in the adjustment of the screen as already
mentioned, but is absolutely necessary in preparing an accurately
outlined screen, upon which, of course, depends the success of the
operation. In simple vignetting this is, of course, of comparatively
little moment, as all that is necessary is an aperture of oval or
irregular shape placed sufficiently out of focus to give a softened edge
to the printing. In blocking out a sky, or a figure, or other object,
however, the case is different, as the exact outline must be closely
followed in cutting the mask, which must be so placed that it just
cuts off the requisite portions of the picture without showing too
abrupt an edge on one side or too much diffusion on the other. To
make such a mask may at first sight appear extremely difficult, but it
is really the simplest matter in the world if properly taken in hand.
In some respects the simplest plan of all is that adopted in blocking
out the background of a negative for direct printing, namely to cut
out the outline for a silver print as carefully as possible with a sharp
penknife. If such a screen or mask be placed exactly the same
distance from the lens as the latter is from the negative, and accurately
centered, it should be in the proper position, and only requires a
slight motion to and fro during exposure to give the desired softness
of edge. But with this arrangement there still remains the difficulty
of getting the mask properly centered, whereas, by following the plan
I have to describe, the task is performed automatically.
In making the mask I use the travelling framework itself as the
easel on which to make a tracing of the outline. Although not abso-
lutely necessary, it is convenient to adhere to some definite proportion
in the relative dimensions of the negative and the mask, if only that
it obviates the necessity for any wide range of motion of the
screen. The mask may be the same size as the original, it may be
smaller, or it may be larger, as may be preferred. I use myself a
fixed proportion of two to one, the mask being twice the dimensions
of the negadre. A piece of thin p*per is attMshed to the traTolIiay
frame in such a manner that it can be taken oB if daatred and re-
stored to exactly its original poaition ; than, rcKanUaw entirely of the
dimensions of any sabsequeot enlargement, the temporary eaael ia
placed in position, and accurately focosaed for an enlargement to two
diameters, and the required outline is then carefully traced witli a
pencil upon the paper, and cut out with a sharp penknife.
It is obvious, that if thu travelling vignetting frame is Accurately
centered and moves truly in the axis of the lens, the mask so prodooed
will also be correctly centered, and only required adjusting to the right
position between the lens and enlargement to secure the neceaearT
softening of the edge. The exact position should be, with the dimen-
sions in question, just twice the distance from lens to mask aa between
lens and negative, this rule holding good whatever may be the
dimension to which the negsitive is enkrged. Observe that it is not
a fixed position, but will vary with each degree of enlargement,
although the dimensions of the mask remain the same ; thus, in oaing
a six-inch focus lens, and making an enlargement up to four diameten,
the correct position of the screen would be fifteen inches from the
lens, while, if the enlargement were to, say, nine diameters, the dis-
tance would be only thirteen and one-third inches. However, it is
not necessary to resort to such calculation in practice, since the eye
will be the best guide, provided the mask has been correctly made.
For some purposes I have used in the travelling framework zinc
plates with central apertures to which to attach the cut-out paper
mask. A mere bordering of zinc resembling a ptuie-partout, to which
the paper may be gummed, is all that is needful, and this should be
80 arranged that it can be replaced in the wooden frame in exactly
the same position. This is easily effected by drilling three holes in
the zinc to correspond with a similar number of pins in the frame.
There are, however, cases in which the zinc plate is useless, as
for instance, when a central figure or object has to be masked while
a background or landscape is being printed on to the margin of the
picture. Here there is nothing for it but to stick the figure mask on
to the centre of a sheet of glass, which shotdd, of course, be as free
from faults as possible, since the image has to pass through it. In
preparing such a mask in all probability both portions will be wanted,
that is to say, both the figure cut out and the surroundings from
which it is cut ; or in the case of a landscape, probably both the land*
scape and sky portions will be required for separate use.
In such instances I proceed as follows in the preparation of the
double masks, which require to register not only with the negative,
but with one another. For this purpose the wooden framework
should be provided with a sunk rebate, accurately cut and finished
into which specially cut squares of glass fit neatly. The glasses
should be preferably ground at the edges so aa to fall readily into
exactly the same position in the rebate. One of the glassee being
placed in position, a piece of paper of exactly the same size is laid on
it and the outline traced. After cutting the mask, the two portions
are laid upon the glass in the rebate in proper position, and the
marginal or landscape portion having been gummed is made to adhere.
Then the other portion, the figure or sky as the case may be, while
still in position is touched with gum on its upper surface and another
piece of glass laid carefuUy down upon it and pressed into contact.
If this is properly done, the result will be a fair accurately registering
mask, by means of which either portion of the negative may be
covered at will.
It is beyond the intention of this article, even if space permitted,
to go deeply into the details of the application of this contrivance,
but many suggestions will present themselves in connexion with
vignetting, double printing, and even with combination printing, from
a number of negatives. I have dealt more especially with the appli-
cation to enlarging, but with a little variation the plan is equally
applicable to the production of lantern slides by reduction in the
camera, in which case the masks may be applied either inside or out
of the instrument. It is, however, scarcely necessary to enter into
details here. W. R Bolton.
Mb. Alfbkd H. Saundxhs, of Mount Pleasant, Brierley HIU, has tent
US bis prioe-llst of lantem-slide making and oolouring. For the lormer
Mr. Saunders employs the wet- plate process. The prices appear to be
moderate.
60
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Supplement, May 5, 1893
LANTERN MEMS.
Etheb and other paturators have for some years past heen
matters of interest to lantemists, and considerable ingenuity has
heen displayed in the design of new forms, or development of old
ones. Among names associated with work in connexion with the
same, one remembers those of Broughton, Hardwich, Ives, and
the late Albert Scott.
The latest form of saturator is that combined with a jet — the in-
vention of Mr. Lawson, and members of the Lantern Society had at
the last meeting an opportunity of seeing it worked practically by Mr.
Hay Taylor with every appearance of success, the light, as most
lantemists are aware, when oxygen gas is passed through ether or
benzoline, being brilliant, quiet, and steady.
« * * • •
From the remarks made after, it would appear that saturators
generally have to live down a questionable reputation, and, on the
principle of " Give a dog a bad name," nothing but practical proof
over an extended period will cause lantemists and the public to have
thorough confidence in the oxy-ether light.
« • « * *
Pebsonally I have always thought the light a useful one, and,
under certain conditions, almost indispensable, while in my own
hands, and those of my friends it has been quite successful. It has,
unhappily, come under notice on more than one occasion that others
have not been so successful, as testified by destroyed apparatus, &c.
*****
That it is a light that can be indiscriminately used with some of
the forms of saturators on the market will not be admitted by many ;
but, surrounded with safeguards, it no doubt can not only privately
but in public (especially for single lantern) be employed with success.
I have used the Broughton-Hardwich ether saturator and compressed
oxygen in the field for special purposes of limelight work, and moved
the apparatus about during operation, but a similar apparatus in the
hands of those for whom it was purchased quite failed.
• « * * •
Then, again, I had occasion to adapt a similar oxy-ether light,
with saturator, to a triple lantern for use in South America, and it
not only answered perfectly here, but on last hearing from the owner
continued to do so ; hence the conclusion is that, the more the diffi-
culties are made known and overcome by apparatus being perfected,
the more certain will the satisfactory working of the light become.
• * ♦ » *
Fob dissolving with the regular forms of gas dissolvers, such as
those known as " universal," the " Star," &c., certain modifications
have to be made, so that the light does not pop out ; and, as the
action of dissolving causes an accumulation of pressure on the supply
side, and an exhaust to a certain extent on the other, pumice chambers
immediately under the nozzle of the jet are, in my opinion, absolutely
necessarv.
• • * • •
AxTHOUGH in the case referred to ordinary dissolvers were em-
ployed, I should strongly advise that double plug dissolvers be used as
a general rule for the oxy-ether light, so as to keep the saturated
gas quite distinct from the pure oxygen. With old patterns revived
and new ones introduced there will be no difficulty in selecting one
suitable for the purpose.
• • * * »
Photogbaphebs know well the nature of sulphuric ether, but for
all that it is not always kept under control, and whether in its
stoppered bottle or in the saturator too much care cannot be exercised
to ensure that none escapes. As to the quality, there must be no
question about that, it must be the best, and best only, somewhere
about '770 specific gravity (-760 or -760 will answer), the filling to
take place in the open air, or in an outhouse away from any light or
fire. All washers to be periodically tested or changed so as to ensure
perfectly tight joints, and each indiarubber tube kept to its own gas
(oxygen or saturated).
Fob England, and wherever both hydrogen and oxygen gases can be
obtained compressed, I should always prefer to use the two gases ;
and, as house gas is so much easier for the companies to get and com-
press in lieu of pure hydrogen, there is no reason why that should
not be continued to be used, providing (and this is where the {f comes
in) they have it purified before compressing,
* * * • •
The price charged for compressed house gas should be ample to
supply a practically pure gas, and it is not enough for the oxygen
compressors to shield themselves behind the excuse that the com-
pressed house gas is only supplied to oblige the customers who use
their oxygen (as I once heard stated), for without hydrogen for lime-
light work (as at present mostly employed) oxygen would be little
or no use. Probably, by some arrangement with the large gas com-
panies, a specially good quality of gas could be supplied for com-
pression.
* * * • •
A NEW use has been found for the old lantern favourite of child-
hood's days — the " chromatrope " — which has been introduced in
the now popular serpentine dance. With a dark cloth background
the dancers in their ample skirts gyrate in the rays of the limelight,
constantly changing in colour with all the prismatic hues and its
effectiveness, and then when a number of jets below the stage are
sending up clouds of steam to surround the dancers and create a weird
effect, the chromatropes from the lantern in the front of the stage,
and hidden from sight, are projected on the dancers and revolved.
* « * « •
Pattebns for the chromatropes have been selected that lend them-
selves to effective contrast, among them being a pattern that produces
a serpentine twisting of the design, while others are of the stereo-
typed patterns. In all, I believe, five lanterns are employed at the
Canterbury Theatre of Varieties, where this innovation occurs in
Satan Junior, by Charles Lauri, the clever pantomimist of Drury-
lane renown. G. R, Bakbe.
THE DISSOLVER.
L
Stbictlt speaking, the lantern season was over, for April had come,
when the Society's biunial and gas bottles were usually consigned to in-
activity until the shortening days of the autumn should release them
from their imprisonment in the big cupboard of the old-fashioned room
which the Society rented at " The Flat Iron and Sugar Tongs." This year,
however, an extra lantern night, to take place in the middle of April, was
decided upon. Mr. Samuel Skinner had proposed it, Mr. WiUiam
Poddleton had seconded it, and the proposition was carried unanimously.
So said that unimpeachable witness, the minute book.
But there were several circumstances connected with this extra lantern
night which the minute book did not record. For instance, had the
worthy Honorary Secretary instead of making the contents of the sacred
volume a bald, exact, and colourless resume of the Society's proceedings,
imported a thread of explanatory and vivifying narrative into it, it is
quite certain that he would have mentioned the Interesting fact that this
was the first time that Mr. William Poddleton had seconded anything
that Mr. Samuel Skinner had proposed at the Society's meetings.
Yes, Skinner and Poddleton had agreed at last I Wonderful ! and not
merely agreed — but over a lantern matter ! That was the astonishing
part of it. The Society, so to speak, would have rubbed its eyes with
amazement at beholding Skinner and Poddleton in accord over anything,
but that they should be of one mind as regards something directly or
indirectly associated with the optical lantern was a phenomenon of such
an extraordinary nature that the Society gasped and wondered what
would happen next. Momentarily recovering their surprise, however,
members held up their hands in favour of Skinner and Poddleton's pro-
position ; and, when the Chairman declared it carried, and the members
looked curiously at Skinner and Poddleton, who sat glaring at each other
with hatred gleaming in their eyes and illuminating their faces, they in-
stantly took in the position of affairs, and chuckled with the enjoyment
of anticipation. For lively times were in store at the extra lantern night,
as Skinner and Poddleton were, of course, going to have a heated and
bitter wrangle over the merits of their respective slides. There was
always a great deal of fun to be extracted from the photographic quarrels
of Skinner and Poddleton, and, doubtless, there would be no exception to
Supplement, May 6, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY.
the rule on the extra lantern night. Nay, linoe Skinner and Poddleton
were the inHtigators of the extra lantern night, might it not be aMomed
and hoped that some special attraction in the shape of a row of hitherto
onapproached piquancy would be forthcoming? Assuredly. So the
Society smacked its lips at the delightful prospect before it.
n.
Mr. Skinner and Mr. Poddleton were not exactly, in their two selves,
the Great Mugglcsby Amateur Photographic Society, inasmuch as the
Society had a total membership of thirty-six, but it is quite fair to say
that of that number thirty-four counted for so little by themselves, they
would have been incapable of sustaining the existence of the Society,
which, but for Skinner and Poddleton, must inevitably have died of in-
anition. The happy pair bore the same relationship to the Society, as a
whole, that oxygen does to nitrogen in atmospheric air — they were simply
diluted by the other thirty-four, whereas the thirty-four, without the
other two, would have been in just about the same position as nitrogen
would be for breathing purposes without oxygen.
Still, the other thirty-four members of the Great Mugglesby Society
•were not, as you might have imagined from what I have just said, all
padding, in a photographic sense. Oh, dear no ! there were some really
good photographers among them, with a great deal of sound technical,
and artistic knowledge, which is more easily conveyed in words than
works, although not, perhaps, with so much conviction. They talked
and read papers at the meetings, showed results, asked questions, spoilt
as many plates and made as many lantern slides as, perhaps, any other
foor-and-thirty amateur photographers chosen at random ; but, after all
«aid and done, they were but a mere pack of minnows round those
.dominant Tritons, Skinner and Poddleton.
For Skinner and Poddleton were the authorities of the Society, and,
like most authorities, they did not leave those about them in ignorance
«f the fact. Skinner was one of the last to be converted from collodion
to gelatine ; Poddleton was one of the first to adopt the newest dry-plate
process. Skinner swore by pyro ; Poddleton tried every new developer
as it came out, and instantly became its oracle for the benefit of the
Society at large. Skinner cherished a deeply rooted sentimental loyalty
lor albumen paper ; Poddleton went into ecstasies over platlnotype.
Skinner declined to consider the feasibility of any process coming up to
■coUodio-bromide for lantern-slide work ; Poddleton averred that he could
not tell the difierence between good gelatine slides and those on
<!ollodion.
What Skinner recommended Poddleton denounced, and what Poddleton
suggested Skinner tried to improve on. They were both endowed with
the unfortunate defect of loquacity, so that now and again there were
some warm discussions between them. Singular to say, when either of
them absented himself from a meeting, flatness and inertness charac-
terised it, and once, when both were away, it really seemed as if the
members were incapable of sustaining a discussion, and, although neither
Skinner nor Poddleton was liked, it ultimately came to be recognised
that, without them, the Society would be shorn of its chief sources of
vitality. And, as Skinner and Poddleton knew this just as well as the
other members, it raised their self-conceit and mutual dislikes to a
glorious extent.
III.
It was not, perhaps, an ill-natured feud ; for, as Great Mugglesby is a
large town, and as Skinner lived at one end of it and Poddleton at the
other, they seldom, if ever, met in private life, and, in point of fact, had
nothing whatever in common outside photography ; but, photographically
speaking, they regarded each other as arrant quacks and asses, a state of
feeling possibly largely born of jealousy, and, no doubt, liberally nourished
by resentment. It began at the very first meeting of the Society. Skinner
showed a negative with transparent spots upon it, for the purpose of
eliciting the cause of them. Poddleton incidentally observed that the
subject — a rustic scene— -was not sharply focussed. Skinner, who had a
leaning towards diffusion of focus, retorted that he was not a map-maker.
Poddleton opined that it would be to the advantage of photography if
"map-making" were a little more prevalent than it was. Skinner said
it was a matter of taste. Poddleton said it was very bad taste. Skinner
said Poddleton didn't know what he was talking about. Poddleton said,
" Sir, to you I " And thus the seed of strife was sown, and the Great
Mugglesby Society was assured a career of liveliness which was a capital
preventive of somnolence, although, perhaps, no great help to photo-
graphic science.
So matters ran on during the three years' existence of the Society, the
acute stage of the great Skinner and Poddleton controversy being, of
course, reached in the.winter months, when the lantern nights were on.
Thay were both great «a ilidM, and wan iadaad elattr workcff, tat w
prejadioed one against the other that, no matter bow axoallant the oae'a
slides were, the other with Insnnnoaatable obatinaey ra/ased to be pat-
fuaded of the fact, and oontinnad to find (anlta when none in nilitj
existed.
" These," the aiaiitant lanternist would lay, aa be aame to them, " are
Mr. Poddleton'a alidea." Then the semieirole of members seated in
front of the soraen would nndge each other and " ahem 1" and Bkinner
would fol I his arms and fix his gaze on the sheet with a remorsafnl smila
and compressed lips.
When the applause on the first slide had sabsided — for Poddleton waa
really a good worker — Mr. Skinner would ask, in a lone of assumed
amiability, whether Poddleton had his camera quite straight when.he waa
taking the negative ? Now, if there was one thing more than another
upon which Poddleton prided himself it was taking his pictures " plumb,"
all his cameras being most profusely studded with spirit levels, so that be
was absolutely independent of that fallacious instrument, the eye.
Mr. Poddleton's retort, which waa always allowed a free field by the
other members, who never interfered between Skinner and Poddleton
except to keep the apple of discord plainly apparent to both of them,
would be not altogether nntinged by personality.
" Was Mr. Skinner sure he could see straight ? "
" Mr. Skinner would confess himself unable to do so after looking at
Mr. Poddleton's distorted photographs. Had not Mr. Poddleton rather
over-developed the next slide ? "
" Mr. Skinner liked a full range of gradation ; some people had an
inexplicable love of want of contrast."
" The next slide had a bluish tone in the shadows, and a distinct red
colouration in the half-tones. How did Mr. Poddleton acooont for
that?"
"Mr. Poddleton would not attempt to account for anything of the
existence of which he was unaware. Some people could not d ■'*■♦' "g^***?
between monochromatic and polychromatic effects. Colonr blindneaa
was a deplorable disease in both positive and negative form." And so on.
Mr. Skinner's slides would come on in due coarse, and then it would be
Poddleton's turn.
" Mr. Poddleton would like to know if the clouds in the first slide were
in the negative ? "
" They were," from Skinner.
" Then perhaps Mr. Skinner would be good enough to explun, for the
benefit of the members at large, what peculiar phenomenon in natnie
was responsible for the clouds being lighted from one side of the picture
and the landscape from the other?"
" Mr. Skinner waa not responsible for the freaks of nature."
" The next slide was rather dense ; would Mr. Skinner like a little
more gas?"
" Mr. Skinner would like a little lest gas from Mr. Poddleton."
" What developer did Mr. Skinner use that be should have got that
disagreeable brownish-reddish tone ? "
" Pyro and carbonate of ammonia."
" Did not Mr. Skinner think he could have got a better result with a
mixture of eikonogen, hydroqninone, amidol, metol, and glycin, well
restrained, and containing an alkaline carbonate and hydrate?"
" Mr. Skinner had more respect for his coUodio-bromide emulsion
than to subject it to the noxious influence of such a fearful and wonderful
hotch-potch."
From these sparsely culled amenities of the lantern meeting the reader
can easily see what a capital fund of amusement the general body of
members derived from the rivalry of Skinner and Poddleton. Sometimea
they took sides ; not, it must be confessed, from any conviction that in
so doing they were obeying the dictates of a reasoning instinct, bnt
simply to keep the game alive between the disputants ; for, althongh
Skinner and Poddleton were good enough photographers, and had a
useful historical and practical knowledge of ancient and modem pro-
cesses, the other members were in most respects their equals in skill, so
that the authority they enjoyed was more fictitious than real. In secret,
therefore, as the reader vrill have guessed, Skinner and Poddleton were
laughed at by their fellow-members, notwithstanding the fact that those
two gentlemen were the chief instruments in holding the Society
together.
IV.
So far, however, the breach between the two opponents had nerer
widened to anything like an extent which would not admit of being
bridged over ; but, in the nature of things, such a crisis was bound to
arise. It arose, and in this way.
There was to be a lantern-sUde competition for a challenge cap^amoag
63
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Supplement, May 5, 1893
the photographic societies of the county of which Great Mugglesby is the
chief town, and naturally the Great Mugglesby Society were among the
competitors. It was arranged that the slides to represent the Society
should be chosen by the vote of the members upon those shown at a
lantern evening to be devoted mainly to the purpose of selecting a repre-
sentative set. Most of the members sent in collections, and among
them were, of course, sets from Mr, Samuel Skinner and Mr. William
Poddleton.
The method chosen for ascertaining the opinion of the meeting on the
individual slide was the highly simple one of counting audible votes for
or against. Thus, when a slide was on, there would be a mingled chorus
of " Noes " and " Yeses " from the members, just as they might consider
the slide good enough or not to represent the Society. Then the Chair-
man, if the preponderance of opinion was not sufficiently marked one
way or the other, would count the votes and declare the result accordingly.
Mr. Skinner's slides were so good that they were instantly greeted with
applauding " Yeses." Poddleton was silent throughout the passage of
his rival's slides across the screen ; but when the last of them had been
shown his voice was heard, in a distant corner of the room, saying, "Mr.
Chairman!" A hush fell upon the members, who turned with smiling
faces to where Mr. Poddleton was sitting. The fun was about to
commence I
" I should like to ask if it is not understood," said Mr. Poddleton,
sweetly, " that slides entered for this competition should be from the
slidemaker's own negatives."
" Of course," said the Chairman.
" Decidedly," said several members.
" It states so in the rules of the competition," added the Honorary
Secretary. The Honorary Secretary was always strong on the rules.
" Then I take it, sir," continued Mr. Poddleton, in honeyed accents,
" that Mr. Skinner's slides are ineligible, as they are not made from his
own negatives. Mr. Skinner said in this room, only a month ago, that
he had no experience of photographing in Norway ; so how did he manage
to take these pictures there? Has he been there' during March, and
obtained summer effects?"
"I — I — beg pardon," stammered poor Skinner; "the negatives were
lent me by a friend. I forgot to mention it, and— I — didn't know — I -I
— I — didn't remember the rule the Chairman refers to. Of course — oh,
of course — the slides are ineligible. So, take 'em out, by all means."
So the slides were taken out, much to Mr. Poddleton's delight and the
chagrin of Mr. Skinner, who enjoyed nothing so much as favourable com-
ments upon his lantern-slide work. The sharp-eared Poddleton had
clearly scored a very good point against his rival, although the feeling of
the members was one of regret that he had announced his discovery as
to the authenticity of Skinner's negatives in so public a manner. It was
evident that there was something more than mere superficial rivalry
between the two men that urged Poddleton to take such an extreme
course against Skinner, and whatever doubts on the subject may have
existed in members' minds were removed later in the evening when Mr
Poddleton's slides were put on ; for whether it was resentment or morti-
fication alone, or a combination of both, the members could not tell, but
Mr. Skinner, for the first time in the history of the Club, was quite silent
while the Poddleton slides were passing through the lantern yes, quite
silent. He looked at them as critically as anybody, but said never a
word. Everybody expected an angry outburst of cantankerous criticism
upon Mr. Poddleton's slides, or, at least, a fusillade of " Noes " as they
were shown, and nobody more so than Mr. Poddleton himself.
When all the slides had been shown, and the meeting was concluding,
a further surprise was sprung on the members. Mr. Skinner rose, un-
naturally self-possessed and cool.
" The lantern meetings throughout the winter have been so rery
successful, Mr. Chairman," he remarked, quietly, "that I'm sure
we are sorry they are over. As it is possible that members generally
may like to have one more lantern night in the semi-winter month of
April, I beg to propose that an extra lantern night be held this day
month."
" I second that," said Mr. Poddleton.
The surprise of the members at this unexpected partnership of the two
old foes was not so acute that it prevented them from acquiescing in the
suggestion, and so it was carried. But after the meeting, and for days
following, the temporary coalition of Skinner and Poddleton was the
theme of speculation and discussion.
Y.
Mr. Skinner was a flourishing dentist and a bachelor ; Mr. Poddleton
was a partner in an extensive grocery business, and also unmarried. As
I have said, outside the Society's meetings and outings there was no bond
of intimacy between them, and, except on these occasions, they seldom
met. During the last few weeks, however, they had stumbled across
each other several times, the frequency and circumstances of their
meetings arguing that they had both suddenly contracted an absorbing
fondness for the drama, for it was at the Great Mugglesby Theatre Eoyal
that these meetings took place.
The Great Mugglesby Theatre was run on the same system as most
country playhouses, that is to say, a different entertainment was given
every week, provided by travelling companies. For the last few weeks,
however, the theatre had been occupied by a company organized by ths
manager himself, and it was during this " stock season " that Mr. Skinner
and Mr. Poddleton, who had hitherto only visited the theatre at distant
intervals, began so generously to patronise the local temple of the
drama.
Melodrama of the conventional or Adelphi type was the bill of fare,
varied in style, although not in nature, from week to week at the Great
Mugglesby Theatre, and it was " interpreted by the most powerful com-
pany ever got together in the provinces, including the celebrated London
actress. Miss Melpomene de Vere." Gifted and beautiful as Miss De
Vere possibly was, nobody in London had ever seen or heard of her.
There is nothing to be surprised at in this ; parallel cases by the hundred
abound.
Miss De Vere's histrionic powers do not concern us, although Skinner ■
and Poddleton thought her a great actress ; but they, poor fellows, were- ■
blinded by her beauty, and, therefore, became quite incompetent to
criticise her. She was, undoubtedly, a good-looking and charming young
person, and better men than Skinner and Poddleton might have been
excused for losing their hearts and heads over her. But this is not a
love story, so let me skim through the sentiment quickly. Skinner and
Poddleton soon learned, as gallants will, that they were rivals for ihe
favours of the one divinity, and therefore they would have assassinated
each other, had they dared.
The extra lantern night arrived in due course. The Society had several
visitors, and the room at the " Flat Iron and Sugar-tongs " was well
filled. A numerous collection of slides was shown, and altogether the
affair — at any rate, in its earlier stages — passed off very well.
Mr. Skinner's slides were much admired, and it seemed that, as if in
atonement for his error of judgment in having shown slides from an-
other man's negatives at the last meeting without acknowledging that the |
originals were not his own, and also, probably, to convince his fellow- j
members that his own powers of negative-making were not in any way ]
inferior to his friend's, he had, during the past month, made an earnest
effort to utilise his undoubted cleverness in photography to its best ad-
vantage. The slides he showed were voted perfect in technique and
pictorial quality. They were from a series of negatives of the scenery
round about Great Mugglesby, which, although the trees were as yet
nearly bare of leaves, afforded many opportunities for the production of
pretty views, in which lake, river, wood, meadow, and hill could be in-
cluded with the happiest artistic effects.
As Mr. Skinner's slides were being shown, it dawned upon the members
that he had recently taken a new departure in landscape photography —
that is, for the first time he had introduced figures in landscape. To be
more correct, only one figure appeared throughout his series of slides ; it was
the person of a delightfully dressed lady, and it is due to Mr. Skinner's
artistic instincts to say that she was so placed in each of his views as to fit
well into the picture, and assist the composition. In one she was standing
by a rustic stile, looking out upon the landscape ; in another, walking
under a row of trees ; in another, looking up at a bird ; and so on.
The last of Mr. Skinner's slides was a portrait of the lady herself. It
was greeted with great applause, as much for the beauty of the original
as for the delicacy of the picture. Then members nndged and whispered
each other, and wondered what Mr. Skinner had to do with Miss Melpo-
mene de Vere that he should have had so many opportunities of including
her in his pictures. Some admired his boldness in showing them ; others
condemned it; but all were surprised and jealous at his success.
Mr. Skinner looked across in the semi-darkness to Mr. Poddleton with
an expression of countenance that betokened a feeling of triumph ; but, if
he could have seen the latter gentleman's face, he might have been sur.
prised to find how unmoved and reposeful it was, under what Mr. Skinner
evidently looked upon as conclusive proof that he (Skinner) was the swain
upon whom the fair De Vere had deigned to bestow her choicest smiles.
AJai Mr. Skinner would have seen something more if the gas had been
turned up ; he would have seen that among those who examined his
pictures one gentleman, a visitor, who had been introduced by a friend, a
member, did so with rapt interest ; and he might have noticed that when
the portrait appeared he turned to his friend and asked him who had taken
the photographs, and that, on being informed, he asked where Mr. Skinner
Sappleoient, May 5, l^H]
THE BRITISH JOURNAL OP PUOTOORAPUY.
•8
IWed, and was also told. To say that the real state of the oaa« had
dawned on the members at large would, perhaps, be alleging too mooh ;
bat nndoubtedly an inkling of it was abroad, so that, beaxing in mind the
tigniflcant fact that Poddleton had seconded Skinner's snggestion for tlie
extra lantern night, the former's slides were anticipated with much
eagerness and curiosity. When they at length appeared, members were
not disappointed.
Melpomene de Vcre pervaded Poddleton's alidee as she pervaded
Skinner's, but to a greater degree. Of Skinner's pictures she was but
a part, of Poddleton's she was the whole. Poddleton, in fact, had photo-
graphed the De Vere at his own private stndio in all her characters, and
in a variety of attitudes and poses ; and amidst all the applause that
greeted the pictures it was somehow felt that Poddleton, having been
admitted to the privilege of photographing the leading lady of the Great
Mogglosby Theatre in character, had beaten the rival for whom she had
merely consented to pose in his landscapes. Unable any longer to re-
strain themselves, members laughingly cheered Poddleton, cheered his
slides, and cheered Miss Melpomene de Yere. Some of them asked
Poddleton "when it would be," others requested to be favoured with a piece
of cake, some inquired when he was going on the boards, and indulged in
other pleasantries of a like character, which he took in the best possible
part. In tlie midst of all this hubbub. Skinner contrived to escape from the
room. As he left the hotel he encountered the visitor who had been so
anxious to know who had taken the landscape photographs in which Miss
Melpomene de Vere figured, and who, besides, when Mr. Poddleton's
studies of the lady in character appeared, exhibited a similar degree of
curiosity as to who he (Poddleton) was and where he lived.
The dejected Skinner went home to concoct schemes for outwitting his
rival before it was too late ; the stranger betook himself to the Great
Mugglesby Theatre, and was just in time to witness the last act of the
play in which Miss De Yere was appearing.
VI.
Klated with having publicly shown his rival that he had made further
progress in the good graces of Melpomene de Yere than Mr. Samuel
Skinner, whose outdoor photographs with the lady in them antedated
Mr. Poddleton's studies of her in character by some three weeks, and,
therefore, were held by Mr. Poddleton and the members of the Society as
adducing conclusive proof that Mr. Skinner had lost ground in the con-
test, Mr. Poddleton, when the lantern meeting was over, hurried off to
the Great Mugglesby Theatre, burning to tell the fair De Yere what ad-
miration of her his slides had evoked, and calculating thereby to advance
yet another step towards the goal he had in sight, which was the con-
version of the lady's name into Poddleton.
When he reached the theatre the performance had concluded. He
sent in his card to Miss De Vere, hoping to catch her before she went
home. The messenger returned, to say that the lady could not see Mr.
Poddleton that evening, and that gentleman had perforce to depart, with
the intention, however, of repeating his visit on the following day, which
he begged the messenger to intimate to the lady.
Interesting and exciting as the play was in which Miss De Vere had
that evening sustained a deeply emotional part, and which bathed the hand-
kerchiefs of the female section of the audience with lachrymatory
moisture, it was dwarfed in human interest by the short, but stirring,
drama of real life in which she suddenly found herself engaged shortly
after the fall of the curtain that same evening ; for, when the play was
over, the stranger who had been present at the Mugglesby Society's
lantern entertainment quickly made his way round to the lady's dress-
ing-room, and demanded and gained admission by the inalienable right
of his relationship towards Miss De Yere.
Her sternly sorrowful husband stood before her. The tears that rushed
to her eyes were real ones, and her kneeling, supplicating attitude sprang
from true, and not simulated, repentance. Six months before, the young
couple had quarrelled over a mere trifle, and the man, as men sometimes
do, had spoken words of blighting harshness, that had stung the girl into
leaving his house and seeking a living by the aid of her undoubted talents
on the provincial stage. To do her justice, her triflings with the amatory
Skinner and Poddleton had nothing more serious at bottom than the
liarmlesa vanity of her sex and profession.
In a quarter of an hour the marital quarrel was at an end, and an
hour later husband and wife were comfortably seated in the midnight
mail for London, and " Miss Melpomene de Yere " had said " Good bye "
to Great Mugglesby, to the footlights, and to the role of model for
amateur photographers for ever.
Mr. Vincent Crummies, the ingenuous theatrical manager of the pages
of Nicholas Nickleby, wondered, on a memorable occasion, when he saw
mention of himself and his doings in a country paper, " Who put such
things in print? " and, la a Ilka degree, the Nme feeling of wondwnMOt
survives In many breMt* to this day, and ramaini •• % tribute to th«
energy and imartneia of yout modern joumaliit Two day* later lb*
Oreat Muggluby Fret Prut oama ont with a aenutionally worked-op
article, which Mugglesbyites in general, and the memben of the town'*
Photographic Society in particular, read with feelings of peenUar intewet.
" A Magic Lantern Komanoe " leaa the beading of the urtiele, and it*
sub-titles were : " The Runaway Aotreee and the Amateur Photograpbera I "
" Two Photographic Bomeos and one Juliet ;" " Mr. Samnel Skinner and
Mr. William Poddleton idealise the Goddess of the Theatre Boyal in their
Photographs;" "The Photographs are shown on the flereen ; " "The
Lady's Husband is accidentally present, and disoovers the Wbereaboots
of his Long-lost Wife ; " " Husband and Wife Meet ; " " A Beoonciliation ; **
" The Boards will know the Lady no more ; " " Mr. Skinner and Mr.
Poddleton have taken a Holiday for the Benefit of their Health."
The article contained a highly embellished account of the events which
have been detailed in the foregoing narrative, with several reportorial re-
flections on the ways and wiles of amateur photographers, and the im-
portant part played by the camera in modem affairu-de-eaur. Needless
to say, it created a great sensation, and drew down upon the Society, and
upon its members, no end of banter, which survived for more than the
traditional nine days. How the affair got into print remains a mystery
to this day, but a clue to it may be found in the circumstance that the
treasurer of the theatre was very friendly with one of the staff of the
Free Press, who had a friend who was a brother of a member of the
Society ; and that, in all probability, the article was the result of a con-
ference between the three of them.
♦ * * ♦ ♦
Mr. Skinner decided to look after a branch of his business in a neigh-
bouring town until the affair blew over, and Mr. Poddleton took a spring
holiday with the same object. On the next meeting night of the Great
Mugglesby Photographic Society nobody turned up, and it was decided,
in consequence of these events, to suspend its meetings until the follow-
ing winter ; but, when the winter came, only a handful of members were
found to have preserved their allegiance to the Society, and, as Skinner
and Poddleton had forsaken it, it was finally dissolved. It will be a long
time before anybody starts a new photographic sooiety at Great
Mugglesby. FsaaBBS Ozun.
THE " N. & G." HAND CAMEBAS.
Messrs. Newman & Guabdia., of 71, Farringdon-road, informed us, on a
recent visit to their establishment, that the fine weather we have been
having lately has made them extremely busy with the hand cameras they
have recently introduced. Powerful as the weather is in influencing
business, we should be inclined to attribute not a little of the success
which the " N. <fc G." specialities are meeting with to the excellence of
the material and workmanship employed, of which we were able to judge
from an inspection of all the innumerable parts and cameras in various
stages of construction that were shown us the other day.
The No. 1 Standard pattern " N. <1- G." Hand Camera embodies many
of the ingenious ideas of the firm, to which we referred in the course of a
former article. It is fitted with a Wray rapid rectilinear lens and iris
diaphragm, and an automatic self-cap in front of the lens. The shntter,
which works between the lenses, has an hermetically closed regulating
cyUnder, effectually preventing all possible entrance of dust, and a pneu-
matic regulation, giving automatic exposmres varying from } to ^i, of
a second.
Both pneumatic and hand releases are provided, and the shntter ■
noiseless in action. The setting knob is arranged at the top of the
camera, and it always indicates the poeition of the shutter. All the parts
are of metal, and the whole working mechanism is fitted on a single plate.
64
THE liRFTTSH JOURNAL OF PHOTOGRAPHY.
[Supplement, May 6, 1893
The camera has the well-known detachable changing box for plates or
films, two view finders, a central rack and focussing scale from two yards
to iiinity, celluloid focussing screen and rising front, and is so oon-
Btructed that every part can be got at for cleaning, the shutter set and
released, and all adjustments made from the outside without opening the
camera. The camera can be focussed and used on the stand in the
ordinary way, and is covered with black morocco. The N. & G. Standard
pattern is undoubtedly the perfection of what a working band camera
should be, and from the point of view of the photographer anxious to have an
efficient instrument is a veritable luxury. Its movements and minntim
appeal to one as very elegant.
There are in all six " N. & G." patterns, the one described being No. 1.
" Standard " pattern. No. 2 has the addition of a cross front and double
extension ; No. 3, the addition of a swing back ; No. 4 folds and collapses
to half the usual length j No. 5 is a stereoscopic camera, and has a
rising front, double extension, special shutter, special changing box, level,
and can be used either for stereoscopicor single quarter-plate pictures.
No. 6 is a twin-lens camera, and is practically a " Standard," with a
smaller camera on the top showing the identical image taken. This has
the " N. & G." folding device for
accurate focussing, which consists
of a cone attachment over the focus-
sing screen, upon which the full-
size image is projected, fine focus-
sing being obtained by means of an
eyepiece fitted to the cone.
The stereoscopic camera is a par-
ticularly handsome instrument, and
the twin-lens perhaps the most
effective pattern of its class.
Among Messrs. Newman & Guardia's other novelties are the "Eiffel"
stand, a very light, slender, but rigid stand for hand cameras, and an
adaptation of the familiar changing back for taking twenty-four films in
sheaths. This changing back works very smoothly and easily. The
Nydia Pocket Camera will shortly be on the market. This is a folding
camera, having all necessary movements, which with a dark slide packs
np to a thickness of about one and a half inches, and, from the model we
saw, is likely to be extremely popular. We were also informed that facili-
ties will be given for adapting the N. & G. " Celeritas " shutter, which Mr.
Medland, Captain Hayes, and other well-known workers employ for their
photographs of animals in motion, to the Standard hand cameras as re-
quired. This shutter works between the lenses at j-J-^ of a second on an
inch aperture, an aluminium plate ■:^ of an inch thick being driven
by a very strong spring, the impact on the release being so great that
great care and strength of construction are necessary in order to prevent
the shutter from smashing itself up.
Messrs. Newman & Guardia's specialities are of a high order of merit,
and evince not only much ingenuity in their inception, with every regard
to the requirements of the photographer, but that which appeals to all
lovers of good apparatus — excellence and finish of construction.
THE "ARCHER" COMBINED HAND OB STAND CAMEBA.
Messbs. Abcheb & Sons, of Lord-street, Liverpool, are placing on the
market a " combined " hand or stand camera, which has a double exten-
sion to a maximum of twelve inches, leather bellows with side rack and
pinion, rising front, and double swing, together with a reversing back and
* ?°''i5 ^^""8 back working from the centre. Double dark sUdes are
used. The camera is fitted with a revolving head in the baseboard for
tnpod, as well as finder and focussing index. A celluloid focussing
J^'^^^^ifaJsofitted to the camera; the lens, shutter, and stand being at
tne choice of the purchaser. The workmanship throughout is of the
highest class.
iwu^ *^°* ^ °*®° '^* *® "Archer" hand or stand camera has
au the movements which are demanded in the latest forms of hand
camera, which it may be desired on occasion to employ on a stand.
RECENT LANTERN PATENTS.
PATENTS COMPLETED.
Impbovements in Appabatds for Printing and MonNTiso Lantern Slidbs
AND Transparencies.
No. 5977. Jambs Robson Rkndell, Whinside, Whalleyroad, Accrington. —
March 25, 1893.
The first part of my invention is a frame for printing lantern slides and trans-
parencies. I make two frames of wood or other material. In one of these,
which I call the bottom frame, there is an opening, square or otherwise, in the
case of lantern slides, three inches square. la the other or top frame an open-
ing is made a little larger than the opening in the bottom frame ; in the case
of lantern slides three and a quarter inches square. Through this hole a
sensitive plate can pass.
These boards or frames are held in contact by springs, in such position that
the openings are exactly opposite each other, so that when a negative is placed
between the two boards it is kept firmly in position.
At one end of the top board a lever is fixed, by means of which the top
board may be raised so as to insert a negative between the two boards in any
position that may be required.
On the top side of the top board, a wood or metal back is attached by a
special form of hinge. This back fits exactly into the opening of the top
board. This back is kept in position by a spring, as usually used in printing
frames. These boards are covered with cloth, or other suitable soft material,
on all parts which come into contact with the glass plates.
To cut round masks to be used in the printing frame, or for mounting
lantern slides or transparencies, I make a pad of wood or metal, flat on the
under surface. This pad has a round hole running through its axis at right
angles to the under surface. In this hole a rod of circular section, and fitting
the hole, is placed. It projects from the pad on the upper surface. A radial
arm is attached to this rod by a hinge or a spring. On the radial arm slides
another piece of metal, carrying a circular cutter of steel, the plane of the
cutters being at right angles to the direction of the radial arm. A scale is
engraved on the radial arm, so that the cutter can be placed at any required
distance from the centre.
An Improvement in the Production of Names, Titles, and other In-
scriptions ON Photoqraphic Prints, Transparencies, and Lantern
Slides.
No. 20,156. Adam Gray, 142, Mercers' -road, Tufnell Park, London.—
March 25, 1893.
Heretofore the production of names, titles, numbers, or other inscriptions
upon photographic prints has been effected by writing, painting, or printing
in reversed characters on the photographic negative itself, which is a difficalt
operation, requiring special skill, and is freqiiently unsatisfactory.
The object of my invention is to enable such names or other inscriptions
to be produced from ordinary type, so that in printing from the negative
the name or other matter in question will appear in clear, sharp, white
characters upon the photographic print as a ground without necessitating any
retouching of the negative, or of the photographic print, transparency, or
lantern slide.
The invention consists in printing from metal or rubber type and with a fatty
or transfer ink, such as is used in lithography, the name, title, or other matter
upon a gummed or otherwise prepared transfer paper, and in transferring the
impression to the photographic negative in the following manner: —
The part of the negative which is to receive the transferred impiessiqp
must be prepared by rubbing the unvarnished or varnished surface of the film
with powdered resin in the same way as for retouching, so as to give the surface
a " tooth," to enable it to retain the ink and present a sharp and well-covered
impression.
The transfer impression, of which the ink is still moist, is then to be laid
face downwards on the prepared surface of the negative, and pressed into close
contact therewith by rubbing the back of the transfer paper with a scraper or
other instrument by which a uniform rubbing pressure can be applied, so as to
cause the impression to be transferred to the negative.
The transfer paper being then stripped off, charcoal, bronze, or other powder
is then to be applied to the transferred impression, in order to render the
characters opaque, after which the negative should be varnished, whether
previously varnished or not.
The operation is the same for lantern slides as for negatives, except that,
whereas for ordinary photographic negatives the type used in printing the
transfers would be similar to ordinary typs, so that, when the impression is
transferred to the negative, the letters will be reversed, whilst for lantern slides
the type would be reversed as regards direction, so that, when transferred to the
lantern slide, they will be presented the right way for reading.
ILantetn Ouerg.
Micro. — You seem to have complied with all the necessary conditions
required in photo-micrography, and we can only conjecture that the
want of sharpness is due to vibration of the floor of the room in which
you used the apparatus. It should be employed in a room entirely
free from tremor — say, a stone-lined apartment in the basement.
We understand that lantern slides are to be made from the picttues
shown at the recent " Sandell " Exhibition, and that Mr. Sandell will be
willing to loan the slides to photographic societies.
MONTHLY SUPPLEMENT
To THE " British Journal of Photography."]
\June J, 1893
THE LANTERN RECORD.
CONTENTS.
PAdl
XJINTEBN :N0TE8 AND NEWS 65
ORTIIOCHROMATISM APPLIED TO
PHOTO -aiCROOKAPHY fi>
LANTERN MEMS. By Q. R. BAKER.... 67
TRANSLl'CENCT OF IMAOE IN LAN-
TERN SLIDES. By W. B. BOLTON .. «7
XENDINO BROKEN SLIDES ee
Paoi
PHOTO - mCROORAPHT WITH ARTI.
FICIAL LIGHT. By PROCELLA 6!)
HOW I MAKE LANTERN SLIDES.
HENRY J. NEWTON
By
70
COLOURED LANTERN SLIDES 71
STEWARDS NEW OPTICAL PROJBC'
TION LANTERN 7J
LANTERN NOTES AND NEWS.
A FLASHING light for marine purposes, the device of Professor
Schevin, has, it is stated, been adopted by the German Admiralty
The light is produced by running finely powdered magnesium through
a benzoletted air flame. The flashes are said to be visible even by
day, and at over six miles' distance. The light is equal to 400,000
candles, and will be specially useful in foggy weather.
« « * « «
Wk read that " the Parisian Photographers' Benevolent Association
is making arrangements to open a kind of photographic theatre. The
idea is to photograph the actors at intervals during a performance,
and, afterwards, while the photographs are projected on the screen,
a reader behind reproduces the dialogue. With good photographs
and a clever reader, there is no reason why such an entertainment
should not be a success" — or a failure, which ?
• • • • *
On September 4, Mr. F. W. Edwards lectures before the South
London Photographic Society on Heminiscencea of a few Eminent Men,
with lantern illustrations. A lantern lecture on the fathers of
photography, and those who have materially contributed to its
technical advancement by their experimental work, should be of great
interest to young photographers. There should not be any insuperable
difficulties in the way of securing a set of portrait transparencies to
illustrate the lecture, which might be made the vehicle of a deal of
useful technical and practical knowledge.
* • • • •
As evidence of the useful work which the affiliation Committee of
the Photographic Society of Great Britain is doing, it may be men-
tioned that the sets of slides which the committee places at the dis-
posal of affiliated Societies, have sometimes during the past winter
been in request as many as four or five times a week.
• • • • *
Thb last Lantern Night of the season of the London and Provincial
Photographic Association was held on Thursday, May 18, when, in
addition to some admirable slides by Mr. C. H. Cooke, a collection by
Mr. T. E. Freshwater from negatives taken at the Tower of London
was shown. These were of very great interest, many of the principal
features of the grim old fortress being represented, such as the
Kegalia, the Armoury, historical sets of nrmour, the " Little Ease,"
and spots associated with Kaleigh, Queen Elizabeth, and other cele-
brated personages. Mr. Freshwater tells us that it is exceedingly
difficult to get permission to photograph at the Tower.
• • • • •
It is not easy to tell with certainty in the dark room which is the
coated side of most sensitive surfaces, and especially is this the case
■with lantern plates ; with glass plates, celluloid films, and bromide
papers the difficulty is only one degree leas. To simplify the matter.
Mr. W. I. Chadwick has suggested to us that if at the top right-hand
corner of the plate, film, or paper a portion of the support was cut
away so as to be readily detected by the finger in travelling round
the edges, no mistake could ba made, as it would then ba known that
the coated surface yvas towards one.
• • • • •
The chemical composition of the mantle in the new Auer incan-
descent lights has lately been discussed. The substance deposited
on the cotton web consists of the oxides of metals of the cerium and
zirconium groups, which exist in various minerals, for the most part
iu combination with silicic acid. The oxides are extracted from the
minerals, and di8.solved in nitric acid. This solution forms the bath
in which the cotton web is dipped, and impregnates the latter bo
thoroughly that, on drying and burning, a finely meshed mantle of
the oxides remains.
ORTHOCHROMATISM APPLIED TO PHOTO-MICRO-
QRAPHY.
BfCFOttK the SoBii5t(5 Fran^iise de Photographie, on May 5, M. Mon-
pillard read a paper on this subject, in the course of which he said that
the design of photo-micrography is, given an object invisible to the
naked eye, to obain an enlarged igaage of it, scrupulously accurate
both in form and detail. Nothing is more easy in the case of colour-
less objects, such as diatoms, sections of bones, &c., the great per-
fection of modern objectives permitting of the obtainment of great
sharpness and detail of image. It is not equally so when the objects
are coloured, either naturally or artificially, and it may be said— for
experience has proved it to be so— that all colouration degrades the
perfection of the photographic image obtained with ordinary gelatine
plates, so that, if the object be of a blue or violet colour (the most
actinic colours), it stands out badly from the ground, and has its
details poorly rendered. On the other hand, if it is yellow, orange, or
red, the object is vigorously rendered on the ground, but the details
bathed, as it were, in a light that is powerless to affect the sensitive
salt, will, if the object be green, be very small, and less so with yellow
and red.
In all cases, the employment of orthochromatic plates requires
also the use of coloured screens.
Orthochromatic Sbnsitivbnbsb.
Though commercial orthochromatic plates are sensitive for the green
and red, and generally give satisfaction, M. Moupillsrd says that,
for scientific purposes, he prefers ready-orthoohromatised plates,
which, when used shortly after preparation, have a maximum of
sensitiveness to the luminous radiations. The operation of ortho-
chromatisation demands only elementary care. The dark-room lamp
should have two thicknesses of deep ruby gkss, the flame being re-
duced to as small a degree as convenient during the bathing of the
plates. After the plates are bathed they are passed through three
dishes of distilled water, and are finally dried in a drying cupbocrd
containing a vessel in which calcium chloride is placed.
For photo-micrographic purposes, the following colours give the
best results : —
1. Erythrosind (for green-yellow; yellowjand yellow-orange).
2. Cyanine (for red-orange and red).
66
THE BIUTISH JOURNAL OF PHOTOGKAPHY.
[Supplement, June 2, 1893
M. Monpillard says the following formulje hare given him satis-
faction : —
Erythrosine.
(Stock Solution.)
Erythrosine 1 part.
Distilled water 1000 parts.
Sensitising Bath.
Stock solution of erythrosine 4 c.c.
Water 100 „
Ammonia 05 „
Cyanine.
(Stock Solution.)
Cyanine 0'2 part.
Alcohol (at 96*) 100 parts.
Only a small quantity of the solution should be prepared, and it
should be kept in the dark.
Sensitising Bath.
Stock solution of cyanine 4 c.c.
Water 100 „
Alcohol (at 95°) 5 „
Ammonia 1'5 „
The plates are immersed in either of the foregoing baths for two
minutes, and are then washed and dried as directed.
Ebythbosine and Cyanink.
Plates bathed in both erythrosine and cyanine are rendered sensitive
to both yellow and red. The iirst bath consists of
Stock solution of erythrosine 20 c.c.
Distilled water 80 „
After two minutes' immersion the plates are washed in two waters,
and are then bathed in the cyanine solution given, washed, and dried.
Plates so treated are, it Ls pointed out, very much slower, but this
is no disadvantage in photo-micrography, and, on the other hand, they
do not fog in development, which frequently happens when, to raise
their general sensitiveness, the orthochromatising bath is preceded by
an alkaline bath.
CoLOOBED' Screens.
Coloured screens may be used either in the form of stained collo-
dion, or, preferably, a small glass trough with parallel faces may be
filled with either of the following solutions : —
(1) For Light Yellow Screen.
Neutral chromate of potash 1 gramme.
Water 100 parts.
(2) For Deep Yellow Screen.
Neutral chromate of potash 5 grammes.
Water 100 parts.
(3) For Orange Screen.
Bichromate of potash 8 grammes.
Water 100 parts.
(4) For Red Screen.
Erythrosine 0-2 gramme.
Water '. 100 parts.
No. 1 weakens the blues and yellows; No. 2 extinguishes them
No. 3 cuts off the blue ; No. 4 accentuates the action of the red.
With these coloured screens, and having sensitised the plates for
given colours it will be easy to obtain in their true values reproduc-
tions of objects coloured or uncoloured. It is necessary, however,
that the focus and the exposure should be made' in the same mono-
chromatic light, corresponding to a determined spectrum colour ; this
method of working assures the perfect sharpness of the image, inas-
much as the chemical focus is corrected. For this reason it is desirable
^o avoid, in exposing on one object, the use of screens of two different
colours, except in the case where, ou account of the presence of a deep
red, it would be useful to prolong the exposure.
The plates, after treatment with erythrosine and cyanine, being
sensitive to the red and blue, it is indispensable, to give the image its.
maximum of effect, to illuminate the object with a yellow or orange
light, arresting or moderating the action of the actinic rays, and
leaving free to pass the radiations corresponding to the colour of the
object, if that is green, yellow, orange, or red. The following table
will give an idea of the employment of coloured screens with plates
sensitised with cyanine and erythrosine.
Colour.
Blues 1 deep .
or >
violets I pale .
Objects in Monochbomb.
Sensitiser.
Erythrosine . .
Screen.
Pale Yellow
^ f Greens
S I Yellows
B I
Yellow-orange
Orange-red
Red
Erythrosine
Deep yellow or orange
Deep yellow or orange
O (^ Deep red
Cyanine Deep yellow or orange-
Orange, red
Coloubed Objects.
Colour. Sensitiser.
.2 f Green and yellow Erythrosine..
•j3 £ I Green and red ) -c. iv •
II <| Yellow and red 1 Erythrosine..
la "o I Green and red j Erythrosine
2 l^ Y'ellow and red j and cyanine . .
••= s .
O 00
2 R S
Blue or violet.
= "S^
with yellow
° 2 s ,
<c o
.2 §c
Blue or violet,
o « ca
with red
<^
k-
1
Erythrosine
> Cyanine
Screen.
Deep yellow
Deep yellow or orangey
then red
Deep yellow or orange
f Light or deep yellow, or
J orange, according to
I the intensity of tha
L blue or the violet
f Same screens ; in case
J the red is very deep,
] continue the exposure
l^ with a red screen
At first sight it might seem abnormal to attempt to photograph an
object of a blue or violet colour with an emulsion sensitised for
yellow, but M. Monpillard says nothing is more rational. It will
suffice to obtain an image showing vigorously, with the shadows and
half-tones well rendered. Now, with an emulsion which is par-
ticularly sensitive to the blue and violet, the object in question will
appear so luminous that the ground will be slightly lost, and the half
tones wiU not come up well. The interposition of a yellow or orange
screen will retard the luminous impression by neutralising the rays
emanating from the blue or violet parts of the object ; but, the
emulsion not being sensitive to the yellow, a general cutting off will
result both for the ground as well as for the object, and the image-
will not have gained. Retaining the same screen and substituting for
the ordinary plate a plate sensitised for the yellow, the ground will
be forcibly rendered, while the blues and the violets, partly reduced
by the coloured screen, will act with less rapidity, and will be
rendered on the plate in their proper value. In a word, the plate
sensitised for the yellow will reproduce the object as if it were gray
and black on a white ground.
Where an object combines both red and yellow colours, it would be-
possible, at a push, to obtain a true rendering with a plate sensitised
for yellow by commencing the exposure with a yellow screen, and
continuing for the red with a screen equally red ; although, for the
reasons already given, the substitution of one screen for the other
would endanger the sharpaess of the image. It would be better to-
sensitise for red and yellow, and according to the intensity of the
former expose with a deep yellow or orange screen. If blues and
violets are found in the presence of yellows, oranges, or reds, it would
suffice to use a plate sensitised for the least actinic colour (yellow or
red), and, as the plate is, of course, sensitive to the blues and violets,
a yellow screen, pale or deep, could be used according as the more
actinic parts of the object are more or less coloured.
For development the author recommends hydroquinone with an
alkaUne carbonate and bromide, and the use of a feeble light in the
dark room.
Sapplement, June 3, 1893]
THE BIUTISH JOURNAL OF PHOTOORAPIIY.
67
LANTERN MEMS.
Thb employment of triple lanterns for optical projections will receive
a further impetus if Professor Ives' anticipations are realised, and he
is able in the course of a year to publish details and instructions for
producing his " Ohromograms," as he stated lie hoped to do when
giving his lecture before the Society of Arts in May.
• • • • •
That Professor Ives has not been idle during the past twelve months,
and since he first was able to project photographs in natural colours
before a London audience, the illustrations the other evening amply
showed, and it would be ditGcult to realise anything more natural,
and at the same time beautiful, than the representation of fruit be
was able to project on the screeu, the colour of the grapes, pears, &c.,
being perfect.
« • • * •
That the result was not due to the aid of the artist with brush and
colours was readily shown, by placing an object in the rays coming
from the lantern (between it and the screen), when the shadow of the
object on the screen had each of its three images a separate colour
corresponding to the colour screen on each of the three lantern fronts.
The colours — red, green, and blue violet — when combined very nearly
approached to perfect white light.
• • * • •
No doubt details of the optical arrangement will be published in due
course, and then one can better judge how far existing apparatus can
be used for it ; but, as perfect registration formed a special feature of
the apparatus, there should be no difficulty in arranging the better
class of triple lanterns for this purpose, especially as there are three
distinct photographic pictures to produce the one chromo projection
on the screen.
• • • • •
These pictures, or rather photographs. Professor Ives calls chromo-
grams, and are taken in a camera having three lenses of the same
focus so as to be identical for size, and in each one the light has to
pass through a colour screen before forming an image on the sensitive
plate. Although to outward appearance an ordinary photograph
certain colour rays having been stopped back by the colour screen and
others allowed to pass, each photograph is differently effected, and
when suitably aided by other colour screens at the time of projection
the original colours of the object photographed appears, and that with
great brilliancy.
In the demonstrations referred to the Society of Arts electric light
lantern was used, and the one-arc hght made to illuminate all
three pictures. This and the method of registering the three photo-
graphs so that they superimposed on the screen seemed most ingenious,
it being understood that refraction and reflection from plates of glass
both helped to this end. Perhaps an illustration of the arrangement
will be published, when the plan will be understood.
* • • * •
With electricity being daily extended as far as area of distribution
goes, no doubt in a few years ten persrms will have command of
current where one has now, and for small projection the incandescent
100 candle power lamps will supersede oil lamps in the optical lantern,
while for special work of scientific demonstration the arc electric
lamp will replace the limelight ; not, however, for ordinary views and
photographic projection so much as for the lantern microscope,
polariscope, spectrum analyses, and colour experiments.
• • # • •
Now is the time for the invention and introduction of a simple
automatic "focus" keeping arc lamp that can be sold at a moderate
price— say &. or thereabouts — and that will give a naked light of oOO
to 1000 candle power. It should be fairly portable, and liave its
adjustment for centering, &c., self-contained, so as to obviate the
necessity of an expensive centering table. Several have been invented
during the past twenty years, but none of them seem to have stood
the test of trial for lanternists' use excepting the Siemens and the
Brokie lamps, and these are both somewhat too expensive for general
adoption.
Tun Untem,a8 a meont for adrortUemmtiMeoM itill to And Urcnr,
for, while the miniature lanterns can be teen at work daily at soma of
the underground railway stations and in other " dark pUcm," tboM
overhead in the Strand and Oxford-street attract small knuttof poopla
when slides of average interest are being shown, while crowds oon-
g^gste when something funny is on that app<!aU directly to th«
mirthful proclivities of the juveniles. I noticed in the papers, in on«
instance, neighbours that had been unneighbourly on account of the
crowds shook hands in the Law Court, and were friends once more, it
being understood that,the advertisement of the one was not to be to
the detriment of the business of the other.
• • • • •
LiMRLiQHTa have been in general use this Whitsuntide by lignallen
of the volunteers, who have formed a chain of stations, and have kept
up communication, by means of messages flashed by the Moorse code,
from the South Coast over the Sussex Downs to Caterbam, and thenoe
on one side to Aldershot, and the other to Chatham, showing that, in
the case of an invasion and the telegraph being cut, communication
could be kept up with our g^at military centres by night, while in
the daytime flags and the heliograph enable messages to be sent m
often as desired.
• « • • •
A (KX)D joke occurred at the preliminary practice when making
oxygen gas to use from bags, as is still done by those who use the
same outfit as the Government adopt. The retort, purifier, gas bag,
&c., were all ready, and the fire was about to be lit t^) make the gas
when the officer in charge of the signallers was approached by a
weather-beaten soldier attached to the headquarters, who, after
saluting, said, " Bag pardon, sir, I have had the stretcher put handy."
There was an ambulance attached to the corps, and as there had been
some considerable fun about the blowing up of the place and the
danger of making oxygen gas, and whether the safety valve of the
oxygen retort was all right, he had taken it seriously, and thought
there must be more danger than facing the enemy in battle. How-
ever, all went well, and the gas was made safely, and the old soldier
had nothing worse to do than (as he said) " I suppose I can put the
stretcher away now, sir ? "
• « • • •
In my " Lantern Mems." of last month I put '770 as tile specific
gravity of the best sulphuric ether, by a clerical error, instead o( •717.
The heavier kind, such as '750, is very strong-smelling, and '7:20 is
the densest that can be used for oxy-etber limelight with satisfactory
results. U. R. Rakrb.
TRANSLUCENCY OF I.MAGE IN LANTERN SLIDES.
After the usual technical points on the character of a lantern slide,
such as correctness of gradation and clearness of lights, tone, or colour,
is considered the one which adds most to the perception of the whole.
But colour alone is of no vnlue unless the deposit forming the image
is of such a character that its colour is transmitted to the screen, in
other words, the deposit must be to a certain extent transparent, or at
least translucent. The silver forming the image in fact has to play
the same part in a photograph that the pigments do in a painted slide,
and no one, I imagine, would be foolish enough to employ opaque
colours in painting a picture to be viewed by transmitted light.
It often occurs that a slide, or series of slides, that to the eye
appear in every way satisfactory, cause nothing but disappointment
when thrown on the screen, the cause being very likely set down as
too weak a light, or perhaps to the slides being too dense. In ft
certain sense the latter may be true, though not altogether so, for if
the image be formed of a purely divided and semi-tranvlucent deposit
and be in correct gradation, there is scarcely any limit to the general
density that is allowable. But when the material forming the picture
is coarse and opaque a comparatively thin layer of it suffices to stop
the transmission of light, and although to the eye there may be a
certain amount of gradation apparent, in the lantern the half tones
and high lights are practically equal.
The same remarks apply not only to lantern slides, but quite as
forcibly to negatives that are intended for enlargement. For this
purpose, as is well known, the best kind of negative is a moderately
68
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Supplement, June 2, 1893^
thin one rich in detail ; but if that detail be composed of an opaque
material that stops the light too powerfully, the negative is of no
value for enlarging, though it may print well in the printing frame
and in strong light. On the other hand, provided the image is trans-
lucent, a negative of considerable density — that is, a slow printer —
will enlarge well if only a sufficient exposure be given.
The causes of want of translucency are various, and may be due to
or found in the plate or film itself, or may arise from the method of
development. In the old wet-collodion days the film, although dis-
tinctly granular under the microscope, was not sufficiently so to show
any structure when enlarged only to the dimensions necessary in
lantern practice ; besides, the material constituting the sensitive film
did not go to form the developed image— the latter being entirely
deposited by the developer— although, if of an abnormally coarse
nature, the silver in the film might to an extent govern that deposited
in development. According to the developer employed, and, almost
as a necessary consequence, to the exposure, so would the deposit be
dense and opaque, or fine and translucent ; in fact, in using the wet
collodion process, the translucency or otherwise of the image depends
almost wholly upon the exposure and development. If a full exposure
be given, and pyro or well-restrained iron development be adopted,
there will not be much wrong with the result ; but, in case of under-
exposure and forced development, the silver will be piled on in too
coarse a form, with the consequence that the image is opaque and
hard.
With the advent of collodion emulsion, or, indeed, of dry plates
with allialine development, the circumstances were altered, for now
the image was formed out of the material contained in the film, that
is to say, the silver forming the sensitive surface was itself reduced to
form the image instead of merely forming the nucleus upon which
metal was deposited from outside sources. Then the film itself began
to play an important part in the question of translucency, and from
the fact that the particles of silver, in collodion emulsion films es-
pecially, attain an extremely fine state of division, these have long
enjoyed a high reputation for lantern-slide work.
But, although in such films we start with a finely divided and
translucent basis to work upon, it by no means follows that it is im-
possible to produce opacity of image. On the contrary, nothing is
easier, for the slightest under-exposure, giving rise to the necessity of
forced development, will inevitable tend to destruction of the trans-
parency of the image. When it is borne in mind that the leaning
towari under-exposure is far greater with collodion dry plates than
with gelatine, or even wet collodion, the balance of advantage pos-
sessed by the former in virtue of their finely divided films is, perhaps,
not very conspicuous.
Another element that contributes, in conjunction with development,
to the production of translucent (or the reverse) images on collodion
films ii the organic character of the pyroxyline used, or the means
adopted to confer such qualities where they do not exist naturally.
The more organic the sample of pyroxyline, as a rule, the greater the
tendency to opacity of image, and vice versa ; while, of the various
means adopted to make density with an " inorganic " sample of
cotton, those which tend most to its disintegration or destruction —
such as nitric acid and free silver in the emulsion —are the ones
which tend to the same result.
But, outside of development proper, it is quite possible to greatly
modify the character of the image, and to rob it of any claims to
translucency it may originally possess. This is frequently done in
intensifying or toning two dissimilar ends, which are frequently
attained by similar means. Indeed, most of, if not the whole of, tlie
methods of toning applicable to collodion transparencies are equally
available, with little or no modification, for purposes of intensification,
Perhaps I should have said that the methods of intensification are
equally available for toning ; but, if I did so, I should have to include
toning methods which are objectionable on the very ground I am
discussing their destruction of the transparency of the image.
Amongst these I class most, if not all, of the methods based upon
the bleaching of the image, and subsequent reduction by a second
agent. Whether the bleaching agent be mercuric chloride, cupric
chloride, or bromide, the final result appears to be a filling up of the
pores of the film, or the interstices between the particles of silver in
the original image, with fresh matter that converts transparency into
comparative opacity. Bleaching with bichromate of potash and a
soluble Jbromide or chloride is not necessarily followed by the same
result, as no new matter is added to the film ; the metal is simply
reconverted to the haloid state, from which it is again reduced by any
suitable developer.
The best and ablest intensifying process— with acid pyro and silver
— is also one of the best for toning if properly conducted, bat the pre-
cautions to be observed are just the same as in successful intensifica-
tion, namely, to add the silver slowly and in as small quantity as
possible. If the silver be added too quickly or too freely,
not only will the deposition be rapid, coarse, and opaque, but the
colour will also be bad, while by adopting the reverse tactics, although
it takes a little longer, the results are in every way satisfactory, and
I know no better colour, nor " juicier " (to use the old phrase) image
than that produced on collodion by pyro and silver properly used.
Salts of uranium in conjunction with ferricyanide of potassium,
have been much recommended of late years for toning bromide prints,
and have also been applied in the same manner for lantern slides,
both in gelatine and collodion. For the prints I find no objection
when the desired tones are given, because any want of transparency
of the image is of comparatively little importance ; but for slides I
consider the plan utterly unsuited. I have seen slides so toned that,
to the eye, were as a newly baked brick ; but, on the screen, black,
heavy, and totally wanting in half-tone and gradation One of the
best methods of toning for collodion slides, especially where a little
intensification is also desirable, is that with sulphide of ammonia or of
potassium — I prefer the former — as it has absolutely no tendency to
lessen the transparency of the image. I hesitate rather to recommend
it for gelatine owing to the immense amount of washing necessary
before and after use.
With gelatine plates we have another difficulty to reckon with, and
that is in the coarseness or granularity of some of the plates them-
selves. At the present day, however, I presume the purveyors of
lantern plates take care to avoid this fault, but it is very certain that
the plates of to-day are none of them so fine in " grains " as those of
twelve or thirteen years ago. I have negatives of that date, that, to
quote the old expression, " are more like a stain than a deposit."
But with the finest plates it is very easy to spoil them in development
by using too strong a developer especially of pyro. Strong pyro in con-
junction with a full dose of alkali will " block up " and spoil any film
whatever the exposure may be. But pyro is the one developer that
gives any power in altering the colour of image ; its newer rivals,
admirable as they are for cleanness, give only black tones, but these
prove generally acceptable, chiefly, I believe, because they are not
opaque.
Of toning methods for gelatine plates I know none better than
bleaching with bichromate of potash and hydrochloric acid and re-
development as a chloride plate. The same range of colours can be
obtained and the same fineness and transparency as with the chloride
lantern plates provided the process is carried out carefully upon a
good plate to start with.
If more attention were paid to ths transparency of the slides shown,
there would be fewer bad ones than is the case at present.
W. B. Bolton.
I
I
MENDING BROKEN SLIDES.
In a communication to the Photo Beacon, Mr. Charles Preston gives
the following method of mending a broken slide. He says : —
" It was a picture I was anxious to possess, and could not get
another copy. Examination showed that the binding strip adhered
firmly to tne splinters, and that when the splintered cover was care-
fully removed bit 'by bit, the matt simply consisted of four strips of
paper pasted on the picture, keeping the pieces firmly in position.
" The picture was laid face up on a piece of thick plate glass, and
gently warmed in the kitchen oven, after which a small pool of
Canada balsam was poured on the middle, and the picture, still on
the glass plate, returned to the oven till something like air bubbles
began to rise. It was then removed, and a cover glass, which had
been warming in the oven, was laid on the pool, and gently pressed
down so as to spread the balsam completely over the picture without
enclosing a single air bubble.
" A second piece of glass was then laid over the cover glass, pre-
Supplement, Juno '2, 189'*)]
THE BRITISH JOURNAL OF PHOTOGRAPH y.
fl»
•viously covered with a piece of paper, the whole turned upaide down,
and the first piece of glass removed and carefully cleaned of a trace
of balsam that had found its way through some of the cracks. The
slide was then covered with a piece of paper to prevent adhesion, the
4{la«3 replaced, and tlie whole set aside to harden, which waa tho-
roughly effected in a few days, after which the superfluous balsam
round the edges, and a trace from some of the cracks, was removed
by a rag moisted with turpentine.
" It was considered advisable, although not absolutely necessary, to
place a cover glass on the outride of the picture plate, and the whole
was bound in the ordinary way.
" To say that the slide is as good as before it was broken would
-not be strictly true, but it has been shown among others, and so little
is the damage apparent that the spectators did not notice anything
peculiar about it."
PHOTOMICROGRAPHY WITH ARTIFICIAL LIGHT.
PHOTOMiCKoaHAPHy hos been practised by me, more or less, for the
last twenty years, and with varying success. My avocations do not
permit of my having the advantage of using sunlight, and it is there-
fore necessary to use artificial light of some kind. For many years
I had to be content with the light of a paraffin lamp. This light,
even with the assistance of the best condensers, is not satisfactory, as,
from the lengthened exposures required, the results are uncertain.
With high powers, the long exposure almost renders it impossible to
get good results. The light seems to become diffused over the plate,
and the resulting negatives are poor and weak. In my case limelight
was out of the question from the cumbrous nature of the apparatus.
About five years ago I began the use of magnesium ribbon as the
illuminant, and I have found it so satisfactory in every way, so
simple in the use in the way I use it, and the exposures with it so
rapid, that, even with high powers, what required formerly minutes
with a paraffin lamp may be got in as many seconds with magnesium.
As is well known, magnesium light is peculiarly rich in those rays
which most affect the sensitive plate, and is, therefore, one of the
best to use for that purpose. The use of magnesium has been so
satisfactory to myself that I have thought it would be of use to many
others were they made aware of the benefits to be derived from it,
and the particular way in which I burn it made known. I find, from
the American Science Keview, that magnesium was tried by the late
Colonel Dr. Woodward, but he burnt it in a special lamp. Alagnesium
lamps are always unsatisfactory. I have tried many of them, but
always found the driving arrangement either pushed the ribbon out
faster than it could be burned, or too slow, and the light went out.
A Mr. Johnson described in the Popular Science Review, as long ago
as 1864, his method of using it. It is not, however, quite the same as
the method I use. I only became aware of Mr. Johnson's paper during
the course of last summer.
I have, for a number of years past, made for myself and others
a number of photomicrographic apparatus of various forms, but, after
a lengthened experience, I have come to the conclusion that the one I
am now to describe is the simplest and most satisfactory I have tried.
It has no useless parts, and is so easily manipulated that any one, with
a very slight experience, may acquire the skill to take very good
photomicrographs in a reasonably short time by using magnesium.
To use majrnesium ribbon for this purpose, it is absolutely necessary
that the light should be in the optic axis of the microscope, and in
the arrangement I u-e this is obtained once for all, so that no diffi-
This view staowg the abutter moved rouud naHy for exposure. A
book or any other article of proper heiirht is placed bcneAth the
oamera bellows, to keep it straight and previ-iit any of the fii^ld of
view being cat off.
culty is experienced in repeating exposures indefinitely. With this
view, it is necessary that the apparatus should be d-scribed somewhat
minutely to enable it to be understood. The illustrations will show
very clearly, with a little explanation, the construction of the |
apparatus.
The ba.seboard is 40 inches long by 7 inches broad, and is made i
of yellow pine 1^ inefaea thick. I prefer yellow pioa, well immmammi,
to any other wood, oa it ix lighter and itiffer than mabtinny or
any of the hard wooda, and, when sUined with bichromate o? potach
and expoaed to sunlight, takes a fine dark colour. Tbia length U,
perhapa, rather shorter than I would like: four feet OTer all woald
be better, and would satisfy all requiremenfa. The baaeboard baa
two strips of pine, half-inch thick and aeven-eightha broad, screwed to
the upper surface, at the sides, as guides for the rest of the appwMua
to slide to and fro within. The end of the camera which carrie* the
dark slide is screwed down to the baseboard by long screw* from
beneath, thus making it us rigid aa possible. I prefer thia form in
that in which this end of the camera is made movable, aa one geta
more comfortably at the screen when focuaaing a very important
matter. The front end of the camera is made to move backwards
and forwards, and on the front of it is the flange, info which the tube
Side view showing hole in hoard 'carryini^ exposure ihatter with
lamp in position for arranffing object. A email box markad X u
placMMl betwe«n the upright board and microscope to catcli magneiiQiB
oxide.
screws which connects the camera with the microscope. The flange
takes a portable symmetrical lens, when the camera may be used for
other purposes. The bellows is thirty inches long. The sliding of
the camera front, and also the block which carries the microscope, is
much facilitated by gluing to each side of their under surfaces lengths
of velvet ribbon, as used by Zeiss. The camera only takes quarter-
plate size, and the centre of the coimecting tube and dark slide are
placed about six and a half inches above the surface of the board
which carries the microscope.
The microscope I use is one which I made specially for thia work.
The body consists of a triangular bar of gun metal, eight inches long,
measuring one inch on each face, and it is rigidly screwed down on
the top of two A's, which again are screwed to the wooden block on
which they stand by four screws from beneath, one into the broad
flange of each foot. The stage is carried on a saddle, which movee
backwards and forwards by a large pinion head on the left-hand side,
working into a rack on the under side of the bar. The instrument
has in this way great steadiness. The only drawback is that one baa
to turn the pinion head the wrong way to bring the stage up to the
object-glass, but practice overcomes this. The cross arm, which
carries the optical part, is made on the Koas model, and is firmly fixed
to the triangular bar by a strong screw. The fine adjustment is a
very delicate one. The lever is one of the first order. The fulcrum
upon which it works is placed about a quarter of an inch from the
front end, while that portion of it behind the fulcrum or pin is about
one and a half inches. The screw is one of 100 threads to the inch,
and in this way one whole turn of the screw is equal to the .Jj of an
inch. As the button head of the screw is a large one, it is possible with
the hand alone to turn it as little as the ris part, and so move the tube
the jtJtjj of an inch. For low or medium power this is much too
fine, and I have another screw of half the pitch, which can be readily
substituted for the finer one. The end of the lever raises or de-
presses the fine adjustment sliding tube by impinging on a small pin
screwed into the tube through a slot in the brass of the cross arm,
which pin also prevents the tube turning round. The fine adjustment
tube has bearing-" three and a half inches apart. The tube is ground
truly round, and highly polished, and after the rings in which it
works are turned to size, they are tinned, which seems to make the
tube slide more easily and smoothly. The microscope tube is simply
pushed on the outside of the fitting on which the fine adjustment tube
works, which fitting is turned to size. The microscope tube is one
and F. quarter inches in diameter, and it has an adapter to talce Zeiss
eyepieces for adjusting the object, and another one, with a diaphragm,
to connect with the camera tube. This adapter has an outside ring,
and, as the microscope tube is immovable, no other light-tight connexion
is needed.
As the microscope is rigiilly fixed to the board, and adjustetl once
for all to throw the image in the centre of the plate, no after adjiist-
raent for coUimation is required. The stage is an old one of .Andrew
Ross's, which was on microscope No. 1773, and which, I understand.
70
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Supplement, June 2, 1893
was round the world with the Challenger. The photographs do not
show a focussing rod, as I had to take it oS for another apparatus
I was makinfi; of the same kind. I use for it a three-sixteenth round
iron rod, with a large button on the canr.eia end. This rod turns in
bearings made of the screwed ends of brass rings. A linen thread is
passed round the rod several times opposite to the fine adjustment
button, over which it is placed, and which has a V ;jroove for the
purpose, and a half-ounce weight hung on the end, which is more
than sufficient to turn it. The upright board beyond the microscope
carries the exposure shutter, and is rigidly screwed down to the board
which carries the microscope. This upright board is pierced with a
hole about one and a half inches in diameter opposite to the centre of
the optical combination of the microscope, and it carries behind it an
oval-shaped shutter, in the centre of which, at the broad end, is an
inch of three-sixteenths brass tube.
The arrangement of this shuttar and tube requires some attention.
The ordinary microscope lamp is placed behind the Jupright piece
beyond the microscope, and the shutter is held in position by meams
of a hand vice. (Zeiss) 70 mm. apochromatic object-glass is
screwed into the microscope. This glass, although stated by the
maker to be of 70 mm. focal length when used in the microscope
above described, the tube of which is about eight inches long, requires
four and a half inches from the front of the lens to the object. The
small brass tube in the shutter may then be placed exactly in the
centre of the optical combinations in the microscope by shifting the
shutter abont till this takes place, the lamplight clearly showing
when the shutter and tube is in the light position. A screw nail is
then placed through the small end of the shutter as a pin on which it
turns, and another small one screwed into the upright on which it
turns for the larger end of the shutter to rest on when exposing. One
of the photographs will show the shutter turned a.«ide, and the other
the shutter in position for exposing.
When about to take a photograph, the board carrying the micro-
scope is slid along to the end of the baseboard and the front of the
camera slid back to the other end. A microscope lamp is placed
behind the hole in the upright board, and a slide placed on
the stage. The operator sits down on the left-hand side of the
instrument and by means of the adapter eyepiece he arranges
the object to his satisfaction. The connecting adapter is then
placed in the tube, the front of the camera brought forward and
connexion made. Both the microscope board and front of camera
are firmly fixed with the pinching screws shown in the photographs,
a correct focus is obtained either by the hand, or fine adjustment
button, or by the focussing rod and weight. After the plate is put
in the slide, the lamp is withdrawn, the shutter moved round into
position ready for the exposure. Suppose we are using a Zeiss
AA object-glass of 27 mm. focus, with a length from stage to
screen of thirty inches, without an eyepiece, a short piece of magne-
sium ribbon is pushed through the tube in the shutter, and less than
a quarter of an inch of the ribbon is burned after being lit with a
match. This is more than enough to give a dense negative ; and if a
light filter is used — say, a piece of deep orange-coloured glass, to
counteract the effects of an eosine-stained slide — one and a half inches
of ribbon gives fine dense negatives. When using lower powers,
such as three-inch and two-inch objectives (by Wray), I find that I
cannot, with from thirty inches to three feet of camera, give suf-
ficiently short exposures when no eyepiece is used. It will be noticed
that I have not said anything about a condenser.
When the preparation is of sucli a character that the objective shows
all the necessary detail, I never use a condenser, as I find that with
magnesium the light is so powerful that everything one wants can be
got without one. When, however, it is necessary to produce shadows
on the object to allow the lens to reveal the finer detail of diatoms, a
condenser is used. Even then, with a very small oblique aperture in
a chromatic condenser of my own construction, I have got beautiful
negatives by burning only from eight to ten inches of ribbon with
objectives as high as is of an inch.
Using, say, a C object-glass by Zeiss, of SO", I get very fine nega-
tives by burning only from two and a half to three inches of ribbon
with a camera length of three feet, using, of course, no eyepiece and
no condensers of any kind. The two negatives sent herewith of a
aection of the lung of a cow ill with the so-called corn-stalk disease
and of another ill with pleuro were both done with this lens in this way.
I also send two transparencies of Navicula spectabilis, a diatom
measuring jrjs of an inch in length; one taken with a Zeiss four-mm.
apochromatic and projection eyepiece No. 2, and the other with a Zeiss
water immersion apochromatic 2-6 mm. and same projection eyepiece.
Both of these were photographed without any condenser. The mag-
nesium was simply burned in front of the slide through the small
tube. I used less than ten inches of ribbon in each case.
It is not necessary for one to multiply examples to show the im-
mense benefit to photo-micrographers by the use of this light. The
rapidity of the process, and the simplicity of the apparatus, are its
best recommendations. Those interested in its practical results will
see these exemplified in a paper by Professor J. M. Macfarlane, of the
University of Philadelphia, formerly of Edinburgh, in the last number
of the Transactions of the Royal Society of Edinburgh, on the
hybridisation of plants. The whole of these photo-micrographs were
taken by Professor Macfarlane himself by means of an apparatus I
made for him, the same as that above described, and the exposures
were made in the same way. Professor Macfarlane had had but a
limited previous experience in photography, but with magnesium he
had no difficulty in getting the results he wanted with a minimum of
time and trouble. I have, perhaps, explained the detail of the appa-
ratus more fully than desirable, but I have been induced to do so to
make everything plain.
I never use any but Ilford ordinary plates, and have no difficulty in
getting the results I desire with them.
It is not, of course, every one who can afford to set aside a special
microscope for this work. Indeed, that is not necessary ; but if the
microscope is to be used for other purposes, care — the utmost care —
must be taken that each time it is used for photo-micrography in the
way I have described to have the small exposing tube exactly in the
centre of the optic axis, otherwise failure will result.
There is another point to which allusion may be made, viz., photo-
graphing objects with polarised light. Of course, the Nicol prisms
stop a very large portion of the light, but with magnesium no
difficulty will be experienced, as another inch or so of ribbon is only
required to give the density required.
I have been induced to publish this method of using magnesium by
the fact that some of those who are recognised as good workers in
this line still use oil lamps and a number of condensers to intensify
the light. Reference may only be made to the report of the meeting
of the Royal Microscopical Society in October last, as showing how
both time and trouble may be wasted by using an inferior light. No
such failure is possible with magnesium. As its manipulation is so
simple in the way I have indicated, it would seem to be the light
which all photo-micrographers must sooner or later resort to in the
future, if tl\e best results are desired with the least amount of trouble
and also expense. Pbocklla.
♦
HOW I MAKE LANTEEN SLIDES.
[Photographic Times.]
In the first place I wish to define my position as it may stand related to
what I have to say on the subject of this paper. I wish it understood
that I am simply relating my methods, making no claim of superiority
over others. I am familiar with the /act that a given formula for almost
any photographic work will not produce uniform results in the hands of
different operators. The question why is an interesting one, but cannot
be discussed at this time, as it would furnish material alone for a lengthy
article ; it therefore must suffice to simply note tlie fact as a reason why
it is not expected that every one who attempts to try my way will succeed
in obtaining the same results. In the Photographic Times of December
23, 1892, was published a paper which I read before the Photographio
Section of the American Institute, which I illustrated with seventy slides,
made in the way I am about to describe, and the unanimous verdict of
those who heard the paper and saw the illustrations was, that my position
was correct, and the illustrations wece superior to the generally accepted
slide, inasmuch as they gave artistic effects. I refer to this as presenting
sufficient evidence that I work my way successfully, whatever may be the
result in the hands of others.
The first thing to be observed in the production of a lantern slide is
cleanliness. So many otherwise good slides are ruined by appearing on
the screen as if a pepper-box had been partially emptied over either the
negative or slide when wet, so the first thing to do is to see that the
negative from which a slide is to be made is perfectly clean ; if the
negative is not clean, and cannot be made so, do not use it. Use only
clean negatives. The next most important element in this class of work,
as well as in all photographic manipulation requiring development, is the
developer. For several years I have been using caustic alkalies in most of
my experiments. After introducing to the photographic fraternity the
carbonates of soda and potash as a substitute for ammonia, I turned my
attention to experimenting with caustic alkalies, and published some
results in the International Annual, for the year 1888. In that article I
gave an account of some experiments obtained with lime water. About
two years after this publication, my attention was called to the sacoherate
of lime by Mr. Easterbrook, I think it was, who had a formula for its use
printed on a card, one of which he gave me, but which I lost before I had
Supplement, June 2, 18!W]
THK HRITISH JOUKNAX. OF PFIOTOOKAPHY.
7t
tried it. I mention this because, if the formula wliioh I have worked out
is, in the main, like the one he gave me, he will be entitled to the credit,
it any is due. Suflice it to say, that I have used the saccharate of lime
mainly for the last two years, both for negatives and positives.
My way of preparing it is to put into one gallon of water one pound of
granulated sugar ; when this is dissolved, it is used to slack a quantity of
quick-Iiine.
Two or three pounds will be more than will be dissolved. When the
water has become saturated, you will have about five ))intH of the solution,
which should show about sixty-two grains to the ounce by the hydro-
meter.
Allowing eight grains for the sugar, you have remaining fifty-four grains
of Ume to the ounce, which is about four times the quantity in ordinary
lime water ; this, however, reduced to less than fifteen grains to the ounce,
is much more energetic than plain lime water. This solution is slightly
coloured by the heat evolved in its production on the sugar, and should
be about the colour of pale sherry.
How to use this solution to prepare a developer will depend upon what
effect you wish to produce, whether it be a negative or a positive, or
whether the plate to be used is very sensitive or the opposite, and whether
the exposure will be instantaneous or time.
For the development of a lantern slide on a very sensitive plate, I use
one ounce of the lime solution, and three ounces of water, dissolve in
this twenty grains to the ounce of glucose, or, in other words grape sugar,
the most convenient form in which it can be found is in any candy shop
by the name of rock candy. Maple sugar will answer, or twenty minims
of honey, whether natural or artificial. The addition of grape sugar
renders the use of a bromide unnecessary, and assists in producing in-
tensity, which is more diflicult on a very sensitive plate than on a slow
and specially prepared plate. The next thing to add is sulphite of soda-
fifteen grains to the ounce. This will cause a little reaction by converting
some of the lime into an insoluble sulphite, which will give the solution
a milky appearance ; it will soon settle, however, and leave the solution
clear. You need not wait for this, however, as it exerts no injurious effect
on the plate. When the sulphite is dissolved, add four grains of hydro-
quinone. When this is dissolved, the developer is ready for use.
It can be used repeatedly until all used up. If any is left over, do not
return to the bottle containing that which has not been used, but put it
into a bottle especially for old developer. By constant use it becomes
charged with the bromide released by the decomposition of bromide of
silver in the sensitive film, and becomes slower in its action, but will
develop just the same if about double the time of exposure is given.
A Uttle fresh developer added restores its activity. I have made beautiful
negatives with the old after standing all winter in the cellar of my country
home.
For landscape, and general out-of-door work, two grains of hydroqni-
none is all that is necessary, and for a specially prepared plate for lantern
slides, one or one and a half grains will be found sufficient.
My comparative experiments with amido are incomplete ; the most
serious charge I have against amido, as compared with hydroquinone in
the form in which I use it, is that it lacks the keeping qualities of the
latter. The best results of my experiments, as far as keeping qualities
are concerned, are as follows : —
Water 1 ounce.
llock candy 20 grains.
Sulphite of soda 20 „
I would say here that I use the granulated sulphite, and my samples
are quite alkaline. To neutralise the alkaline property in twenty grains
I use five minims of formic acid, then add two grains of amidol, and it is
ready for use, and is a powerful developer. This is the only form of
amidol that I have tried where a bromide was not necessary. As soon
as the weather will permit I shall give it the final comparative test by
instantaneous exposure. This developer will produce beautiful lantern
sUdes. I apprehend, however, if a trial should be made the next day
with the developer which had been used the day before, that the hydro-
quinone would prove victorious. In developing a lantern slide on a very
sensitive plate the developer should be constituted so as to produce the
necessary density in the least possible time.
In slacking quick-hme the product is, in fact, calcium hydrate. I
have tried various quantities of sugar in given quantities of water, and
have evaporated these solutions to dryness, forming salts which, being
dissolved in water, formed, when treated as above described, the same
developer and as effective. In this form it becomes a commercial article,
and I am informed that this salt is for sale by a wholesale druggist on
Third avenue. In one experiment, in making saccherate of Ume, I used
rock candy, one poundHoone gallon of water, and from the comparative
tests so far made, aftt inoUnad to give it the preference ovsr oana »anu.
It frequently happens that a slide, or a negative wban oonplctad, is not
as intense as might be desired.
With me it is the exception that I do not strengthen a negative or
positive, and may sometimes reduce them ; my method of intenaifyinct I
published many years since, but on scoount of the prejadice a^ainiit tiie
use of mercury, and a misapprehension of the chemical nature of the
iodide of mercury, some chemists disoouraged its use. It is prepared by
dissolving in 10 ounces of water 00 grains of mercury bichloride; in
another 10 ounces of water dissolve 180 grains of iodide of potaiih, or 17&
grains of iodide of ammonia, whichever may be most convenient.
When dissolved, pour the iodide solution into the mercury solution.
The iodide of mercury will immediately be precipitated in the form of a
red powder. This is iodide of mercury, and is soluble in hyposulphite of
soda, and by some has been recommended in such solution, but if used
in this form will in time destroy the negative treated with it. The iodide
of mercury is also soluble in a solution of either the iodide of ammonia
or potash, and the formula which I have given contains sufficient iodide
to dissolve all of the iodide of mercury formed, and leave a small amount
of iodide in excess.
In this form it is ready for use, and will keep indefinitely, and, as only
the mercury is taken up in the process of strengthening, the proper
equilibrium can be restored at any time by keeping a saturated solution
of the mercury salt always on hand. When the mercury becomes depleted,
which will be indicated by its working slow and weak, add a small
quantity of the solution of mercurial chloride, and the red iodide formed
will soon be dissolved by the excess of iodide. If by putting in too much
of the mercury more of the iodide of mercury is formed than can be
dissolved, add crystals of some iodide sufficient to make the solution
clear. A plate should not be put into the solution while any of the iodide
of mercury remains undissolved, as it would fill it with pinholes.
The negative to be strengthened should be thoroughly fixed and dried.
The action is quite rapid, and care must be taken not to get too much
intensity ; if, however, you should, the ordinary reducing agents will act
as on ordinary negatives. In the process of strengthening a gelatine
plate in this solution some iodide of mercury combines with the gelatine
Emd cannot be washed out. You can determine this by washing a pkte
after strengthening and letting it lay for half an hour in a dish of clean
water ; in this time the plate will have turned to an orange colour by
reflected Ught. By this it becomes apparent that this must be fixed out ;
but this iodide of mercury is not soluble in an iodide solution of ammonia
or potash, but is instantly dissolved in a solution of hypo, and therefore
should always be fixed in hypo for at least thirty seconds. As the plate
has been dried and is hard, the hypo does not penetrate the film, and can
be washed off in a few minutes under the tap. A plate so strengthened
is, in my opinion, absolutely permanent. I can show many plates as old
as the gelatine process, and some from which several hundred prints have
been made, without any signs of change or deterioration. Some of the
leading professional photographers of this town, to whom I have given it,
have used it for years, and would not be without it. To prodnee a super-
lative negative or positive, the force of the developer used must corre-
spond exactlij to the needs of the exposed plate. My method of making
a negative from a time exposure is to expose the plate double the time
necessary for a new developer, and commence with my old developer. I
have another graduate glass with old developer, containing a small
quantity of new developer. What I mean by new is that which has not
been used, and another glass containing new developer ; thus equipped, I
feel my way until I determine just the requirements of the exposure. In
this way I am always sure, with a good plate, to secure a negative as i
perfect as possible under the circumstances. Hembt J. Nbwtov.
COLOURED LANTERN SLIDES.
Tbe beauty of a coloured lantern slide is, of course, in direct proportion
to the care, precision, and taste shown in applying the colour. I hav
felt so disturbed by the crude, raw, and fantastic work which is exhibited
upon screens, says Mr. L. C. Laudy, in the Photographic Times, and am
80 confident that work of a superior quality could be produced by many
who are possessed of correct judgment and some natural facility in the
use of a brush, that I beg to say a few words in relation to this interesting
subject. Tbe slide-makers and lecturers are in need of good colonrists,
those, too, who can combine the knowledge of technique with the diaoem-
ments requisite for producing truthful and artistic results. As also I
have frequently received letters in reference to this subject, I believe that
some simple directions would be very generally useful, and might lead
some thoughtful person into the cultivation of this beautiful art, which,,
to-day, is perhaps less occupied than any other field of employment.
7fl
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Supplement, June 2, 1893.
At the outset, have the transparency or slide which you propose to
colour of very good quality, as good, in fact, as it can be made, sharp,
not too dense, and with perfectly clear high lights. In the second place,
procure the proper colours, and insist, in getting them, to receive only
such as are warranted and made for this purpose. The artist can employ
water or oil colours, but the former are more generally used in this
country, and perhaps can usually be more readily obtained. The article
needed is the Tube Transparent Water Colours, put up by G. Eowney
& Co., of London, and which have printed on their label " For Glass
Painting." This direction is very essential, as other moist water colours
prepared by this firm are not transparent, and would be utterly worthless
in work of this character. Almost any dealer in art material will order
them, and will also furnish a list of the colours needed. I have had my
attention called to the unpleasant experience of some colourists in not
receiving what they order, and meeting with a very objectionable inclina-
tion on the part of dealers to supply some substitute. In all such cases
insist upon the genuine material, as the results the artist aims to secure
cannot be reached without the very best colours and the most flawless
slides.
The slide or transparency having passed inspection, and the proper
colours having been obtained, flow the plate with any good negative or
positive spirit varnish, and then prepare the colours. The colours should
be pressed from the tube in small quantities upon a clear glass ; the best
way, perhaps, is to take out the ground glass from a retouching frame
and substitute a clear plate glass, upon the upper part of which, in one
or two rows, squeeze out a very small quantity of the colours to be used.
In this way waste is avoided. Then place the slide to be coloured, after
having it varnished and well dried, on the plain glass, resting upon a
strip of wood, in the same position as that assumed by a negative when
it is retouched.
Procure good sable-hair brushes provided with fine tapering points, and
also one or two flat ones, about one-quarter of an inch broad. Let them
be of the best quality. The colourist provides himself with a cup of clear
water in which he moistens his brush, and then, dipping it in the moist
colour, and avoiding filling his sable with too much pigment, begins the
application of the tint. Begin with the sky in a landscape, as the effect-
iveness of a landscape picture depends greatly upon the perfection, soft-
ness, and graded colour of the sky. The treatment of the sky can be
varied according to the effects desired, and the artist may be led into the
most successful imitations of nature. For ordinary broad daylight effects
commence with blue at the top and wipe a line of colour clear across the
upper part of the slide and bring it down near the horizon, when a little
yellow is brushed across the slide down to the land line. The mingling of
the edges of these two coloured zones must be nicely done, and for this pur-
pose stipple the outline of the two sections with the second or third finger
of the right hand. This blending along the line of contact can be very
successfully accomplished after a little practice. Should the colours
seem a little too dry for manipulation, breathe on the slide a few times,
and the operator will be surprised to see how attractively he will be able
to stipple or blend the two colours together, and let him continue the
breathing as often as necessary, as these colours, ground in honey and
glycerine, soften naturally to this treatment. He can thus secure a
clear and soft sky. For sunset effects use below the yellow a thin streak
of red and stipple as before until it is pleasantly blended with the over-
lying yellow. If, in the application of these sky colours, steeples, towers,
mountain summits, houses, or trees have been covered with colour, they
can be readily cleared with a clean brush and a little water. After these
cleared parts are dry, proceed to the body of the slide and colour the
foliage, ground, rocks, and building, as near to nature as possible,
avoiding too deep greens, as this colour shows intensely through the
lantern projection. For snow and ice scenes use a very slight tint of
azure blue. There is in all cases no shading, simply smooth even washes
of colour, as the shading is already furnished by the photograph.
In regard to moonlight effects, it must be strongly recommended to
omit the painting in the slide of an artificial moon, or, more properly,
clearing a spot for this unnecessary luminary. In selectmg a slide for
moonlight effects, choose one with strong contrasts, deep shadows and
bright high lights. Frequently a blue wash over the entire picture, care,
fully removed with a brush and water from the high lights, produces
excellent results of this character, while a few red spots in windows or
street lanterns will enforce the expression of a moonUght scene. Some,
times a sombre sky of a grey tint and properly stippled will produce the
night effect quite perfectly. In colouring dresses, &c., brilliant colonrs
are generally most effective and pleasing.
When the slide is finished, it wiU be dry in a few minutes, then flow a
spirit Varnish over the surface, drain, and set aside to dry. Then put on
a mat of fair thickness, cover and bind in the usual manner. This mode
is the most simple, practical, and effective. The second method, by the
use of oil colours, requires much practice and experience, and is much
more tedious and slow, and may be treated in another article.
In conclusion, I may suggest to make the reflector in the retouching
frame a sheet of white cardboard instead of the ordinary mirror. Sit near
a window in painting, without sunlight, and in every way avoid dust.
Too much care cannot be taken in this last regard, as the prettiest and
most painstaking efforts may be ruined by the intrusion of grains of dirt
and floating hairs.
Let the novice practice first upon simple subjects, and by modesty in
colouring reach a high ideal. So much rubbishy painting is extant,
harsh, wild and sensational colouring, that, while the field is an open one
to new aspirants, it is to be hoped that those who may be led to colour
lantern slides from these remarks will try to restrain that childish
appetite for lurid and glaring effects, and be guided by a chaste and
educated taste.
The field of lantern-slide colouring is an excellent and tempting one.
It can be made a profitable one. Of course, there are difliculties to be
overcome but practice will gradually dissipate them, and, when the art
is acquired, it will be found deUghtful in itself, and lucrative in its
results.
STEWABD'S NEW OPTICAL PEOJECTION LANTERN.
In this lantern, Mr. J. H. Steward, of 40G, Strand, has introduced several
points of novelty. The condenser is a triple form, and is made to sepa-
rate, so that a short or long focus can be obtained at will, and the front
lens of the combination can be supported on the ledge of upright as the
condenser for the vertical attachment.
The bellows removes entirely
grooved uprights, it an open
body tilts so that objects
so
table can be illuminated ; it
the baseboard for any special
mental table adjusts up and
runner permits of its being
position from the condenser,
ner and mount can be removed
is required for the purposes of
by sliding out of the
front is required. The
such as fluids on the
is also removable from
work. The experi-
down, and the slotted
placed at any suitable
The whole of the run-
if an open baseboard
special experiment.
The rackwork extends the whole length of the board, and the double
pinion permits either upright to be moved to the most suitable position.
Clamps are provided so as to fix the upright when using the vertical
attachment, or for securmg rigidity for the support of the objective. The
front rises and falls, and adjusts laterally, so as to give facilities for
centering, especially when using an oil lamp. The objective can be used
for either ordinary projection or the vertical attachment, or two separate
lenses, of different foci, can be employed.
As a useful means of enabling a lei-turer to apprise a lantemist when to
change a sh.le, &c., Mr. W. I. Cliadwick, of St. Mary's-street, Manchester,
supplies a small metal clip affixed to a wooden support, which, when slightly
pressed by the thumb, emits sufficient soudJ for conveying the necessary
MONTHLY SUPPLEMENT
To THE " British Journal of Photography."]
\/uly 1, 189J
THE LANTERN RECORD.
CONTENTS.
Paob
UNTEBN NOTES AND NEWS 7S
UETOL AS A DEVELOPER FOR
TRANSPARENCIES AND NEGATIVES
FOR ENLARGEMENT. By W. B.
BOLTON 74
LANTERN MEMS. By G. R. BAKER.... 75
^IIE INCANIIESCENT ELECTRIC
LIGHT IN THE LANTERN. By
a BAT WOODS 76
Paob
INDDRATION OF THE OKLATINK
FILM-A SUBSTITUTE FOR VAR-
NISHING. By W, P. JKNNEY, Pk.D. n
LIGHTHOfSE ILLUMINANTS. By
WM. P. ANDERSON 77
LANTERN SLIDES IN SUMMER 7«
CHABWICK'S LANTERN SPECIALITIES 78
THE OFFICIAL PHOTOGRAPHER AT
THE WORLDS FAIR W
IJINTERN qUEBIBS W
LANTERN NOTES AND NEWS.
At a special meeting of the Lantern Society, held recently, it was
resolved that the subscription for all members should in future be ten
■shillings a year. Subscriptions are due on October 1, and uiembers
joining between now and that date pay no further subscription until
October 1, 1894.
* * • « •
Altuouoh Lantern matters are necessarily quiet at this time of
the year, the preparation of novelties for the coming season must
obviously engage attention a little while beforehand, so that we liave
no doubt manufacturers and the trade generally, notwithstanding the
fineness of the weather, are already devoting a portion of their energies
as a provision for the future. Messrs. Archer & Sons, of Liverpool,
inform us that early in the autumn they will be putting a species of
double jet on the market, one lime only being employed as with the
•ordinary jet.
Messrs. Shaup & Hitchmouoh intend sending out a lantern
•which, according to a few details of its construction, will lack nothing
on the score of portability. It will close up to eight inches by eight,
inches by six inches, and will give such an e.ttension as will allow of
a fifteen-inch lens being used. Another of its features is to be that it
•will open out instantly. It is designed to take Lawson's Saturator.
The stage will be made adjustable so as to tilt and centralise the carrier,
.and when in position will fix it permanently by means of a screw.
• # • • •
Mb. Sharp informs us that he worked Lawson's Saturator all last
winter with perfect success, this, doubtless, being one of the reasons
why the portable lantern above mentioned is to be adapted to take
it. When using a lantern, it is Mr. Sharp's practice to have the
cylinder suspended on the tripod, which is thus steadied, the arrange-
ment simply consisting of three stays and a ring for the cylinder.
This stiffens as well as steadies the tripod.
• • • • •
We have heard it said, and we have sometimes thought, that the
man who takes the lantern at a public entertainment is something
like the engineering staff of an ocean liner ; he does all or most of the
hard work, and, being neither seen nor heard, does not come in for
his legitimate share of the credit, as the lecturer doec. An experience,
possibly not small, of public audiences has persuaded us that in nine
<!a8e8 out of ten it is the gentleman with the voice whom it i-i thought
should deserve the applause, while the poor lanternist is left out in
the cold. Where the entertainment is a gratuitous one, the concen-
tration of all the glory upon perhaps the less-deserving partner is all
the more calculated to test one's powers of philosophic endurance.
In the following instance, however, it pointed the moral of not
hiding one's light under a bunhel, which wa.<j not lost upon the
individual most desirous of profiting by if. A friend of ours wu
solicited by the vicar of a remote country parish, without contider*-
tions of payment, to provide an entertainment on a quasi-sacred topic,
and the invitation was cheerfully complied witli. S. good set of
slides and an interesting book were provided, and our friend worked
the lantern himself while the clergyman gave the book. The enter-
tainment was a most successful one, and at its close a " hearty vote
of thanks," as tlie society reports have it, was pa«ed to the vic«r for
the exhibition, and graciously acknowledged by him. Our^rieod who
had provided and conducted the entertainment gratuitously was quite
ignored, and had the piquant pleasure of beholding the vicar appro-
priate all the credit and praise for doina^ next to nothing. " Hence-
forth," said our friend, " wherever po'isible, my place is at the screen!
I don't see the fun of that kind of self-sacrilice."
Lantern-sliob competitions are so popular among amateur photo-
graphers, that for their proper and successful conduct .some universally
recognised rules are much to be desired. The method sometimes
employed of simply judging slides by ocular inspection is not so
satisfactory as could be wished, and we are glad to notice that the
recent meeting of Judges convened by the .Vlfiliation Committee of the
Photographic Society of Great Britain recommended that no award
shall be made for a slide without its having been projected on the
screen. This is as it should be. Also to the point, in this connexion,
is another recommendation that no production from the same
negative, whether ordinary print, lantern slide, or otherwise, can
receive more than one award.
« • « • •
TiiR optical lantern jras greatly in evidence at the Convention, in
spite of the summery sifrroundings of the gathering. A display was
given on the opening night ; again on Wednesday ; Mr. Cunningham's
marine biological slides were to have been shown on that night, and
Dr. C. L. Mitchell was also down to read his paper on " Lantern-
slide Making." This is no inconsiderable tribute to the popularity of
the optical lantern among the phctographic bigwigs and others
assembled this week at Plymouth.
• • • • •
The admirable paper on" Standard jScrew Attachments for Lenses,**
&c., which was recently read before the Photographic Society of
Great Britain by Mr. W. Taylor, of Leicester, gained not a little in
lucidity from the use which was made of the optiC'il lantern to show
the meeting diagrams illustrAtiiig the delicate points of screw manu-
facturing and economy involved. As an adjunct to the imparting of
information on various departments of photography the optical lantern
enjoys an increasing degree of. favour.
• • • • •
A MONTH or two back wi> ventured to hazard the opinion that our
friends on the other side of the .\tlantic were somewhat behind us in
the quality of their lantern-slide work, &c. Mr. .Milligan, of Tke
Exhibitor, quotes our opinion, and at the same time prints a letter to
him from the Rev. W. II. Clagett, dated from " Gla-gow, Scotland,"
in which he says : " By the above address you will see that I am in
74
THE BlilTISIl JOUilNAL OF rHOTOGRAPIIY.
[Supplement, July 7, 1893
Scotland. I want to get a number of slides of English subjects, but
find it difficult to get good coloured slides here, as a rule they do not
compare with American slides." This inspires our cmxfrere with the
tu guogue allusion to the " beam in the brother's eye." The " Rev. W.
H. Clagett's" difficulty in obtaining here good coloured slides of
English subjects is open to explanation on several grounds, among
which we are sure our readers would not permit us to include the
one that such slides are not to be had.
METOL AS A DEVELOPER FOR TRANSPARENCIES AND
NEGATIVES FOR ENLARGEMENT.
Op all the new developers introduced during the past few years none
have gone so near displacing pyro as metol— indeed, I fancy it will
only be a question of time for it to supplant all the rest. So far as
my own experience goes, which, though necessarily short, has extended
to several dozens of negatives exposed under almost every variety of
circumstances, there is nothing that pyro will do that cannot be done
in better style with metol. It seems to be absolutely free from any
tendency to stain the shadows of the negatives, and that is a point on
which hinges the only fault that can be found with pyro. Even
when the acid-alum bath is systematically used, it is impossible with
some plates to obtain shadows free from some slight yellowness, but
with metol I have never yet seen the slightest symptom of colour.
The rapidity and yet regularity of action of metol is another strong
point in its favour, as, even when used with a fairly large proportion
of bromide, it brings out the picture with greater rapidity than pyro ;
when employed without bromide, if there is the slightest over-
exposure, it is almost too rapid for proper management, for which
reason I prefer to invariably use a small quantity. On first using
metol I was inclined to think that pyro oflfered greater facilities for
the treatment of cases of over and under-exposure, but a closer
familiarity with its action, and especially with the addition of
bromide, has led me to believe that it is in every respect as elastic as
the latter. If employed without bromide, there is a strong tendency
in forcing for detail an under-exposed plate to produce veil, or even
fog, before the detail is obtained ; but under the restraining influence
of bromide, and by the exercise of a little patience, I thinls even better
results can be got from a short exposure by metol than by pyro. In
instances of over-exposure the free use of bromide is, of course, com-
pulsorj', owing to the extremely rapid action of the developer, and I
prefer to rely mainly on the checking action of bromide rather than
to dilution of the developer, although this may sometimes be resorted
to with advantage in addition to the bromide.
I have said that I have met with no symptoms of colouration of
the shadows of a negative when using metol, but I must make a
slight reservation in favour of two of the finest specimens of "green
fog " I have seen for years. I do not blame these on to the developer,
but solely on to the plates, for the conditions under which they were
produced were entirely normal, and I mention the case only to put on
record the fact that green fog is producible with metol, and, more-
over, in conjunction with sodium carbonate. Plates that show green
fog badly with pyro and ammonia are generally free from it when
one of the carbonates is substituted for the ammonia, and these have
come to be looked upon as almost a panacea for the evil. But my
two examples were both obtained with carbonate of soda, and that
the plate was to blame is, I think, proved by the fact that in one case
while there was no attempt at forcing, the exposure being quite
" normal," the result was obtained with the same quantity of solution
that produced, both by previous and subsequent development, images
perfectly free from green fog.
I may remark that, although the fog was most pronounced by
reflected light— so much so, in fact, as to show almost as a negative by
reflection— only the very faintest and scarcely perceptible tint of pink
was apparent in looking through the plate, which was a most excellent
printer, and suffered not the slightest from the fog.
But, perhaps, the greatest advantages in the use of metol will be
fonnd in a direction inwhich the readers of the "Lantern Record" are
most especially interested, namely, in the production of lantern slides
»nd of negatives for subsequent enlarging ; and this, of course, brings
the whole body of hand-camera workers into participation. For
lantern slides, not only in the clearness of the lights, but the colour of the
image, metol gives a purer and better black than can be obtained by any
other developing method with which I am acquainted. Ferrous
oxalate, in colour, runs it very closely, but it is entirely out of the
running when transparency and gradation are considered. Indeed,
two transparencies, developed with metol and ferrous oxalate respec-
tively, present quite as great a difference as a highly enamelled and
an entirely matt surface print.
In the last number of the " Record " I made some remarks upon
the advantages of translucency of image, both in lantern slides and in
negatives intended for enlargement. It is in these two departments
where opaque or non-translucent images will make themselves most
seriously apparent ; but it is obvious that for any style of printing
the gradation must be materiallj' alTected by the translucency or
otherwise of the deposit forming the negative image. The image
produced by metol is remarkable for its delicacy of gradation ; but
whether this is due to the production of a wider scale, or to a
larger number of steps in the existing scale due to the translucency of
the image, I cannot decide. Certain it is that a good metol-developed
negative seems to contain a larger number of gradations between high
light and deep shadow, and to be capable of reproducing them, which
is of greater importance, than any other sort of negative I have seen.
The nearest approach is to be found in some of the earlier pyro-
developed gelatine plates, in which a peculiar softness of gradation
was produced by the excessively fine state of division of the bromide
of silver. But these negatives would be handicapped in a competi-
tion with metol by the comparatively yellow colour and the conse-
quent prolongation of time in printing.
It is a most noticeable fact in connexion with metol-developed
images that, although apparently thin, they possess great printing
value. The perfect freedom from stain, combined with the excellence
of gradation, produces this result, which further means great rapidity
in printing; and it is not unusual with some of the more rapid'
printing papers to obtain a fully exposed and vigorous print in two
or three minutes, where on albumen paper, and using a pyro-developed
negative, possibly twenty minutes or half an hour would be required'
in the same light.
An image of this character is, of course, admirably suited for
enlarging from, because, in addition to the fine gradation it gives, the
gain in curtailment of exposure is of especial value, particularly when
artificial light is employed. The combination of delicacy, trans-
lucency, and at tl)e same time vigour — I say notliing here as to
colour— is also of marked value in a lantern slide in obviating the
necessity for a very powerful light, for, although a strong dense slide
absolutely requires a correspondingly powerful illumination, a ffOoS
thin slide will show well with almost any light.
I need not go any further to show the value of metol for the special
purposes indicated, but will conclude with what I have found to be
the most convenient formulse, simply premising that, under the head
of convenience, I class as a not unimportant condition that the
figures shall be readily divisible and easily remembered, which is
scarcely the case with the formulae issued by the manufacturers of
the new developers.
For negative work, the two-solution formula that I gave at page
323 of the Journal will answer well, but it is improved by the
addition to solution B of a little bromide, and also, for the sake of
ready calculation, by the increase of the quantity of soda from the
somewhat indefinite "two ounces" to 1000 grains. The formida
will then stand : —
A.
Metol 120 grains or 6 grains.
Sulphite of soda 1200 „ „ 1 drachm.
Water 20 ounces „ 1 ounce.
B.
Carbonate of soda (crystals) 1000 grains or 50 grains.
Bromide of potassium .... 20 „ „ 1 grain.
Water , ^[20 ounces „ 1 ounce.
For use, take one part each of A and B, and dilute witli from one to
two parts of water according to circumstances. The more concen-
Supplement, July 7, 1898]
THE BRITISH JOURNAL OF PIIOTOORAPUY.
76
trated aolution gives greater density, and different plates i«quire rerr
different trt>fttmt>nt in regard to dilution, as well tig in the proportions
of the two solutions. The above, however, will be found to answer
with n)ost good plates.
For transparencies the proportion of bromide may be doubled with
advantage, and, as it is comparatively easy to secure uniformity of
exposure, a one-solution developer may be prepared consisting of
Metol 120 grains or 6 grains,
Sulphite of soda 1200 „ „ 1 drachm,
Bromide of potassium .... 40 „ „ 2 grains,
Carbonate of soda 1000 „ „ 50 „
Water 20 „ „ 1 ounce,
dissolved in the order named. For use, dilute the part with from one
to three parts of water. For line work or where great density is re-
quired, two parts (if stock folution to that of water. The "one-solu-
tion " stock solution may be used for negatives if preferred, the
bromide being reduced to twenty grains instead of forty, and the part
of solution being diluted with two or three of water.
Personally I prefer ammonia to carbonate of soda; but the undoubted
convenience of the latter renders it a general favourite, hence I give
above formula. W. B. Bolton.
♦
LANTERN MEMS.
With the thermometer standing between 70 and 90 degrees in the
shade on a June day, it requires some great attraction or special
enthusiasm and love for work to shut oneself up in a semi-dark room
at four o'clock in the afternoon ; but, when a number of professors and
gentlemen of the press and others interested in science can leave the
fresh if somewhat hot air of the London parks, and, ignoring the
gaiety of Piccadilly in the height of the London season, turn into the
rooms of the Royal Society, it is not difficult to understand something
unusual is to be seen or heard.
The fact is, a rehearsal or private view of the lantern portion of
the exhibits for the conversazione in the evening is to take place,
including an exhibition with the lantern stereoscope, and also of
photographs of the eclipse of the sun and the instruments used by
the members of the expedition, in addition to some photographs of
mountain scenery taken at very high altitudes. As the lantern
stereoscope was the piece de resistance as far as I was concerned, I
will say a few words about that first, for it is one of the ideas that
have occupied the minds of men, and who have been striving to
realise it for years past.
Dksceiptions and drawings of the apparatus used have already
appeared, and so I do not propose here to give a detailed description
of Mr. John Anderton's invention, but express my own opinion of
same and impressions of the results obtained by polarising the two
halves of a stereoscopic transparency.
This is done by cutting the stereoscopic photograph, and mounting
the right and left half separately in carriers, and placing them in the
two fronts of a biunial or in the stages of any pair of lanterns, and
projecting them on the screen so that they appear as one (or nearly
so) to the audience. In front of each nozzle or objective is placed
what is known as a bundle of glass, placed at the polarising angle, and
the separate plates arranged to prevent blur from refraction.
The effect of the combined projection is not pleasing to the un-
aided eye, for there is naturally considerable confusion, due to the
pictures forming the stereogram being taken from different points of
view, and therefore not including the same amount of subject in each
half ; but, when the polarising is completed by analysing the light,
the same as usually has to be done in ordinary lantern or micro-
polariscopes, then a marvellous change takes place.
Tbh •oalytn' is quHe novel in its appHeatlon, for It Is not tttadiad
to the instrument, but is in the form ol • binocular, and held ap to
the eyes. Each of the audience mutt have one, and the bast efleet
is obtained near about the centre of the room, or rather somewhita
near the optical axis of the apparatus. The analyser nuty be nade
of two Nicol's prisms, or two tourmaline plates ; but in this case pi»-
ferenoe was given, on account of economy and the difScultv of (retting
large Iceland spar prism or clear tourmalines, to moderato-tiiMi gUuis
bundles set at the proper angle, so that light after iiolariiation pasaea
in one position and is stopped at right angles. Hence it follows that,
if one of the halves of the stereogram is polarised in a vnrtical plane
and the other half in a horizontal, and the binocular analyser
arranged to pass verticaUy, and the other horizontally polarised rays,
the observer will only be enabled to see one picture with each eye,
and this the corresponding one right or left, as ths care may be, the
same as he would in the hand stereoscope to get stereoecopic viMon.
• • • • •
Although there may appear eight legs on the screen for a qua-
druped to the unaided sight, the superfluous legs disappear when the
binocular analyser is held to the eyes, and the animal stands out with
marvellous stereoscopic effect. The illumination of the picture on
the screen, considering the amount of stray sunlight coming from the
Venetian blinds at the window, was by no means bad. •
This stereoscopic effect is altogether different to the very fine
results sometimes produced from ordinary lantern transparencies by
strong contrast of light and shade, and which have such a pleasing
effect on an audience, in that the space between foreground and dis-
tance is so real and great solidity apparent everywhere objects are
portrayed.
Thr important part played by the screen may be gathered from
the fact that a professor, well known for his researches in optics and
electricity said that stereoscopic projections had been his constant
dream for years past, besides causing him to resort to practical experi-
ments, and after trying polarisation of various kinds he was baffled
because the screen he used (linen or surfaced opaque material as
ordinarily employed) only returned him the two images aa projected,
and not the one stereoscopic projection required and now accom-
plished.
• * • • •
The screen used at the Royal Society looked from the distance as
if faced with parchment, but it is stated to be a silver-paper-faced
screen. It is, however, certain that something of the nature of a
reflector must be used to send back the polarised beam to the eyes of
the audience, for, with an ordinary surface absorbing the light, there
would be no visible polarisation ; but how would a transparent screen
do with the audience on the other side P
This opens up a very enjoyable field for experiment and it is to be
hoped that the inventor (Mr. John Anderton) will shortly see his way
as patentee of the system of putting the adjuncts on the market for
adaptation to all existing biunial lanterns so as to reap the benefit of
his labours ; for there is nothing whatever to prevent, in my humble
opinion, any one using polarisers as described or adapting analysers to
their use for the purpose of amusing friends, providing in doing so
they do not attempt to make money by entertainments or offer the
apparatus for sale.
Some wonderful specimens of photographs of glacial scenery were
those taken by Mr. Wm. Conway in the Karahoram Mountains,
Kashmir, India, those at the great height of 22,500 feet being from
the summit of " IMoneer Peak " and others known as the Qokien
Throne, Maderbrum, and Gusherbrum, with K. 2, being probably
the highest group of mountains in the world. So interesting were
these that one regretted the time allotted to each lecturer did not
permit of their remaining on the screen very long.
76
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Supplement, July 7, 1893
The Daiiy Graphic, which one looks for regularly of a morning as
one does one's breakfast, is to be congratulated on the information it
gives on scientific subjects, for not only did we have at the time it
was of interest good illustrations and descriptions of the apparatus to
be used during the eclipse of the sun, but since then of the work
done by the expedition ; and, comparing these with the photographs
shown at the Royal Society's soiree by the electric lantern and
explained by Professor J. Norman Lockyer, F.R.S., one sees how
accurate as well as interesting these particulars are.
» • * * *
As lately as the first of July we are shown how the optical lantern
and technical education and industries go hand in hand. The " Bee
Van," built to be suitable for travelling round the country from
\-illage to village, after demonstrations in daylight are given by
experts in bee-keeping as to hiving and transferring a swarm of bees,
is converted into a lantern van, the end holding a transparent
screen, the limelight projecting on the screen the photograph
illustrative of bees and hives, &c., and the natural history and value
of bees explained, not only for honey but for fertilisation of flowers
and fruit. '"
• • • • _ •
I SHOtiLD have liked to have referred again to sulphuric ether and
"Free Lance's" kind reference to my previous Mems., but must leave
it over for next month, or some period before the winter session
commences, as just new I am reminded by visions of ether of another
kind, from preparations for a life under canvas for three weeks,
where, with fresh breezes from the Surrey hills bringing its pure
.ozone, I trust not to be troubled by any thoughts of comparative
smells of sulphuric or any other chemical ether, but get the necessary
health and vigour to go into lantern matters practically as the season
comes round. I trust that my readers may enjoy their summer or
autumn trip, of which one is reminded this week by the meeting of
the Photographic Convention at Plymouth. G. R. Baker.
THE INCANDESCENT ELECTRIC LIGHT IN THE
LANTERN.
Whilst lanternlsts in England have been enjoying the latest modern
conveniences in the shape of compressed gas, gauges, &c., the worker
in the colonies has had to put up with all the old cumbersome system
of gas bags, pressure boards, &c., not, too, without accidents in this
part of the world, so that insurance companies have put resti'ictions
on the method of using it. Happily the time is not far distant when
the larger centres of population — nay, even some small towns which
in England would rank as mere villages — will have the means of
putting their pictures on the screen with no more trouble than that
mvolved in coupling a switch or two. When a suburban village is
lit with electricity, and the church is illumined in the same manner,
as is the case within two miles of where I ^ra now writing, it is
reasonable enough to look to that source of light to make our lantern
shows a very simple matter. Electricity is making its way here,
where coal is dear. Messrs. Siemens Bros, have undertaken a contract
to illumine Cape Town by electricity derived from water power, and
before many years are over every building of importance and many
private houses will have it laid on.
The arc light is troublesome and unsteady in the lantern, even
when used with every convenience at hand. Within the last few
years incandescent lamps have been made specially adapted for lantern
use, but one hears very little of them. It is not every one who has a
private installation, and electricity as an illuminant has made com-
paratively little headway in England. Sooner or later it must come,
and hence a little experience with the incandescent lamps in question
may be of interest.
In company with Mr. Torrance, an electrical engineer well known
in Cape Town, I visited the house — at Newlands, on the mountain
side — of Mr. Rudd, of British South Africa Company fame. I took
my own lantern with me, and some of my most familiar slides. The
lamp we were to try was an Edison-Swan "Eocus" lamp, to give a
light of 200 candle-power with a voltage of lOO, such as could be got
with fifty storage batteries of two volts each. The globe enclosing the
filament is about five inches in diameter; the filament is a flatted
spiral of about four turns, the breadth of the filament being about
one-sixteenth of an inch, and the whole space covered by the spiral
being about one inch by three-quarters — rather a large surface com-
pared vrith the limekght, but small compared with the oil-light.
Looked at edge on the spiral would be about three-quarters of an
inch by one-quarter ; but as the light given out in that direction is
comparatively small, the very first time the current was turned on
told us that we were to use it broadside towards the condenser. We
suspended the lamp in the lantern in a very primitive fashion, by
coiling the conducting wires over a metal rod stretching across the
lantern, and steadied it with a wire rod and ring encircling the
pointed end of the glass bulb, which was, of course, downward. A
few trials up and down, to right and to left, and to and from the
condenser, gave us the right position, and there we fixed it. As the
glass bulb or globe was then but little more than a quarter of an inch
from the surface of the condenser, it was evident (let me italicise this
point) that no lamp of higher power could be used in an ordinary
lantern with four-inch condenser unless the greater lighting power was
obtained without enlarging the containing bulb. Mr. Torrance in-
formed me that the batteries would soon want recharging, and that
we were only working the lamp at ninety-eight volts, a Uttle below
the voltage for which it was made, and therefor* at a slight dis-
advantage.
In describing its practical value under those conditions, I wish to
be as explicit as possible, and to leave no uncertainty in the mind of
the reader. Let me therefore state what I consider good lighting
with the oil lamp. My own lantern, wicks properly trimmed, best
oil used, top of chimney carefully adjusted, lantern allowed to warm
up, flame high, but not to smoke, working under the best conditions
in short, satisfies me with a full size two and seven-eighths inch square,
enlarged up to six feet square. My lantern is a little inferior to
some, and a little superior to others. I am familiar with most
patternn, and mine is a fair average sample. A si.x-foot picture,
not circle without carrier, satisfies me when it is working at its best.
Others may try eight, nine feet, or more, but I like a well-lighted
picture with a clean slide.
Now, first we tried a picture of eight feet, and I considered the
lighting equal to what I get with my oil lamp. We reduced the
size, however, to a little under seven feet, and liked it so well that
we left it at that, and proceeded with an exhibition. I may say, that
before the carrier was put in, we got a perfectly illuminated circle,
no unevenness, and no bright or dark streaks, in spite of the gridiron-
like shape of the incandescent filament. The reader will, however, be
surprised to hear of one defect, the great heat thrown out. Of course,
I am not one of the uninformed public to expect no heat with the
light, but I was certainly surprised. Whether the vacuum was not
good, or whether the heat was no greater than might have been
expected from a lamp of 200 candle-power, I will not venture to say,
but the mahogany casing of the lantern got hotter than it doe.s with the
oil lamp, and some pent up fumes of damp and oil escaped into the air.
The use of an oil lamp means, however, a great circulation of air in
the lantern. With the electric lamp the circulation of air is practi-
cally nil. Practically nil, also, is its heating power on the air of the
room, and literally nil its power of rendermg the air impure. The
fumes already mentioned would not have occurred with a new lan-
tern ; but the heating of the lantern I particularly mention, as good
workmanship in the woodwork must be looked to.
The result of the trial was, so far, satisfactory. Had the dynamo
been running we could have done more. As already stated, the lamp
was working at a disadvantage. By increasing the intensity of the
current beyond 100 volts a more, brilUant light can be got, only the
lamp will be destroyed sooner. If, however, this is not carried too
far, the danger of a lamp giving out in the middle of an exhibition
is not great, and is quickly replaced if a spare lamp is at hand, nor is
the extra expense involved in the more rapid consumption of the
lamp a serious one. By increasing the current to 110 volts the light
may be increased fifty per cent., nor is this the only advance that
may be made. The greater portion of the light given out by the
lamp is given out in two directions ; one half of this goes to the con-
denser, the other half is thrown to the back of the lantern, and much
of it might be saved by a reflector.
Concerning reflectors, as usually met with in the optical lantern,
they are simply a delusion and a snare. Whilst they do not greatly
increase the available light, they are one of the prime factors m pro-
ducing the bright ribbons of light shown on the screen. They are
frequently in the wrong position, and often of the wrong curve. The
curve is really a difficult matter to fix on where a large body of flame
is concerned. The luminous film in the lamp referred to is not
outrageously large, but if the makers can reduce its size, we shall
have much to be thankful for. Given a luminous point, the question
of curve to the reflector is a simple one ; it should be purely spherical,
and the point of light should be situated at the centre of curva-
ture. Then every ray from the point will strike the reflector perpen-
dicularly, and be reflected back to the point. If the point is trans-
Supplement, July 7, 1893]
THE BRITISH JOURNAL OF PHOTOGRAPHY,
77
parent, then tliroiigh the point on to the condenser, nroperly reinforcing
the rays which the condenser receives direct. Ana here it is that the
incandescent lamp lends itself well to lantern work. All that ia
necessary is to deposit a film of silver on one half of the bulb. A
large portion of tne otherwise wasted light will then find its way
bacK through the gridiron-liko spiral, and should not cause much, if
any, unevenness of illumination on the screen. We shall see. I
impressed this matter on Mr. Kudd, and feel perfectly confident that,
what with a silvered lamp, and what with slightly increased voltage,
a ten-foot picture will be simply a matter of drawing the lantern
irom the wall and turning a switch. C. Uay Woods,
Photo. Atsist., Royal Olaervatory, C. O. H.
♦
INDURATION OF THE GELATINE FILM— A SUBSTITUTE
FOR VARNISHUfQ.
The following formula has been used for two years, and found to give
■uniformly good results : —
Alum 2 ounces.
Tannic acid 1 drachm.
Water 10 oimces.
The negatives, after fixing and washing, are immersed for three or
five minutes in the above solution, rocking the tray to ensure uni-
formity in action. The colours of the negative become darker, the
appearance more brilliant, and the surface of the film glass-like to the
touch. The negative is washed for fifteen minutes and dried.
The induration should not be prolonged beyond the time given, lest
the adhesion of the film to the glass be destroyed. It is impracticable
to intensify an indurated negative.
Treated in this manner, the gelatine film is nearly waterproof, so
much so that water may be poured over the plate and wiped off with
a cloth without injury. Indurated gelatine is transparent and slightly
■elastic, resembling parchment in appearance.
The indurating solution may be used repeatedly until the strength
is exhausted. The employment of induration with films that it is
•desirable to strip from their supporting surface is suggested.
W. P.J ENNKY, Ph.D.
•*
LIGHTHOUSE ILLUMINANTS.
[Sciencfl.]
In Science for February 6, 188-5, a sketch was given of the progress of
lio-hthouse illumination in Great Britain and Ireland, together with a
short description of the strongest lights and apparatus utiUsed up to
that time. Since that article appeared the conflict between the advo-
cates of electricity, mineral oil, and gas, respectively, has not de-
creased, nor has any settlement satisfactory to all parties yet been
reached. The matter has on several occasions been brought before
the Imperial Parliament, and in February last some further corre-
spondence on the subject was laid before the House of Commons.
A consideration of some of the points lately elicited will be an
interesting addition to Mr. Kenwards notes on lighthouse apparatus
in Science for April 21 last.
The lighthouses of the United Kingdom are under divided control :
the English lights are managed by the Trinity House, the Scotch
lights by board of commissioners, and the Irish lights by a separate
•comtni.-sion— all under the general direction of the Government Board
of Trade, and each anxious to maintain lights of the highest efficiency,
almost regardless of cost. .
The English authorities, from the observations made in 1885, are
satisfied of the superiority of electric arc lights where the highest
possible power is required, and consider oil Ughts the cheapest and
most easily manajred for ordinary purposes. The Scotch commis-
sioners endorse this view of the case ; but the Irish board seems to
favour the use of illuminating gas. . , „ . . .„
The chief opposition to the decision of the Enghsh Trinity House
appears to be instigated by Mr. John K. Wigham, of Dublin, the
inventor of the (jas svstem. He claims that he did not get fair play
in the trials of 188o, 'because a rule was adopted restricting the size
of the lenses and lanterns within Umits that prevented him from
obtaining the best results from his gas lights. Since that time he
further claims that, by enriching common gas with hydrocarbon, a
greater amount of light can be obtained from it than from the richest
cannel-coal gas. Actual experiments have shown that cannel-coal
gas has an illuminating power of twenty-eight candles, nearly double
that of ordinary Newcastle coal gas— sixteen candles. By passing
the ordinary gas through the vapour of solid naphthaline, or albo-
carbon, a perfectly safe and inexpensive material, it is enriched with
hydrocarbon to such an extent as to give double the illuminating
power of cannel gas. He alio wiggMta, m an improreownt in lifrht-
noiue illumination, placing lenaee m w to form • qiMdrilatBral or
trilateral figure, which would permit the uie of ientee of much larger
illuminaUng surface and of much longer focal diatanoea than la
possible witli the six, eight, or even lixtMD-Mded lenticular apparatua
heretofore used, thereby immensely inereaaiag the illuminating power
of the lighthousea.
Mr. Wigham has had a lens of long fotiiu made, with a bull's^e or
central portion nineteen inches in diameter, and two concentric nng«,
one four inches and the other four and a half inches wid>-, (c>ving a
total diameter of thirty-six inches, all in (me piece. T' ir-
rounded by a belt of prismi two feet ten inches wide, < >t
ten rings, outside of whicli is a third portion, consisting ut ....... ....^»
of totally refiectiiig prisms, partially Hurrounding the aeoond portkm,
so as to complete a lens about ten feet ten inches wide by about eight
feet high. In the focus of this lens is placed an " intensity " bumar
composed of 148 fish-tail jets, grouped to bum the enriched gaa,
which, when lighted, forms a sohd flame of fourteen inches diameter
by ux inches high. The illuminating power of the burner is calcu-
lated to be about 8500 candles, which should ^ive an actual intensity
of light through the lense.t of about 2,.100,OOU candles. Experimenta
made with this apparatus showed splendid results at a distance of
six and a half mUea. In full moonlight the beam cast a strong
shadow, and was very large and dazzlingly bright, reducing a neigh-
bouring first-order fixed light to what seemed by comparison a remote
and feeble glimmer.
The case for and against gas as a lighthouse illuminant seems to be
as follows: — Its advantages are facility in increasing or decreasing
the power of the light to suit the various states of the atmosphere,
and also speed and sharpness in eclipsing lights by cutting off the
supply of gas, and thus occulting them, while at the same time saving
the iUuminant ; as wt- 11 as the fact, that where gas is used for illumi-
nation it can be utilised at a minute's notice to operate a gas engine
in connexion with a mechanical fog alarm, while with any other
source of power delay must occur in putting the fog alarm into opera-
tion. It IS further claimed that the larg^ size of the gas fiame, giving
an unusual number of extra-focal rays, has a better enect in illuminat-
ing a large area of fog, and consequently makes the light more readily
visible.
The weak points of gas are the difficulty of manufacturing it at
some isolated stations, and also the necessarily large size of the flame,
which involves the use of very large lenses, and a long focus, to pre-
vent a wasteful distribution of extra-focal light.
The arrangement of illuminating apparatus proposed by Mr.
Wigham for a most powerful light is a battery of four giant lenses,
surrounding a central burner, intensified by having similar lenses
with additional burners arranged one over the other in three tiers, or
" in triform." To accommodate such an apparatus would require a
lantern with glazing at least twenty feet in diameter by twenty-four
feet high. The lenses alone would cost 8400/., an expenditure which
would only be justified by the necessity for an exceptionally powerful
light.
Mr. D. A. Stevenson, Engineer to the Northern Lighthouse Board,
in a report on electric light as an illuminant, claims that the com-
plaints against the penetration of this light in fogs are not well
founded, and that many criticism? of its power are due to prejudice,
partly owing to the persistent way in which it is decried as a light-
house illuminant by certain writers to the press, partly from a mis-
understanding of the fact that, being very rich in the most refrangible
rays of the spectrum, that is, very white, it sufTersa greater per-
centage of diminution in passing through fog than oil or gas light,
which is redder ; but, nevertheless, owing to its enormously greater
initial power, the electric light is always a better penetrator of fog
than the others. He claims that sailors, on their ordinary courses,
are never in a position to form an opinion of the subject that is worth
anything, because they cannot see different lights in the same con-
ditions of atmosphere. He adduces observations, made by keepers in
his service on each other^s lights, which go to prove that the electric
light is in all cases the more powerful. These are observations from
one station burning an oil light to another electrically lighted, and
the reverse. Three pairs of such stations are instanced, in every case
the electric light being visible in fog that totally obecured the oil
lamp. Wm. p. Andrusos,
Chief Engineer of Marine Departntent, Ottawa, Qaiaim,
Mb. F. F. Wbbks, of 21, Thorpe-road, Forest Gate, optical lantem-
fllide designer, baa sent us particulars and prioe-list of his specialitioa.
Established since 1876. Mr. Weeks devotes himself to original hand-
drawn designs, lecture seU, effect slides generaUy, comic slides, Ula
model sets, iSro.
78
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Supplement, July 7, 1893
LANTEEN SLIDES IN SUMMEB.
[Canadian Photoprapliic Journal.]
Why do I select this subject on which to give a little good advice to my
amateur brethren in the April number of the Journal, a time when those
who possess lanterns and are interested in lantern work are thinking
about laying them aside for the season ? Well, it comes about in this
way. I have, during a pretty long intercourse amongst lantern-loving
and slide-making folk, become the fortunate possessor of a tolerably large
collection of shdes, gathered from " A ' the airts, the wind can blaw,' and
includbg almost every oonceivable subject. During the recent gloomy
winter that will now soon be away, it occurred to me that I could do
something to break its monotony to the villagers amongst which my lot
is at present cast, by occasional lantern exhibitions, and the first attempt
was so successful that they were repeated weekly, to, on each occasion,
as many as could be packed into the largest room of the house ; and bo
thoroughly were the pictures appreciated that many drove, or rather
sleighed, again and again distances varying from two to four miles.
Now, with such an audience — perhaps, spectators would he the better
word — it is not always the best pictures, either artistically or technically,
that are most highly appreciated, although I noticed that even with them
glaring errors in composition had a dampening effect ; but one thing was
particularly noticeable, viz., the enthusiasm evolved by recognisable bits
of local scenery, snap-shots at children playing in the village streets, or
pictures of the various operations incident to the farm, with which most
of them were practically acquainted.
If, as I suppose it may be taken for granted, the average amateur
photographer derives as much pleasure from the exhibition of his work
as he does from its production, he may increase that pleasure a hundred-
fold by making a lantern slide from each suitable negative and either, or
both, showing them himself or lending them to others who may have
cirportunities of doing so.
But although the making of lantern slides by camera copying from
tegatives of any size, or suitable portions of any negative, is a simple
affair, I know very well that for various reasons it will be adopted by
only a very few, while the mistakenly supposed to be simpler and easier
printing by contact would be employed more than it is if the average out-
put of negatives were generally suitable.
Here, then, is the raison-d'etre of this article! An earnest plea to the
amateur photographer who would secure for himself a happy winter by
making others happy, to begin now the preparation for that desirable
consummation, by seeing in every pretty bit or interesting group a pos-
sible slide. Those who oonfjae themselves to sizes not exceeding 5x4,
need do little more than see that they focus carefully, as there are few
negatives of that size that may not be utilised by contact printing ; in-
deed the same may be said of sizes up to 8 x 5 as made by probably a
large majority of the amateur fraternity, their object apparently being to
get as much as possible into the plate. Negatives of the kind illustrated
in my January article, that not only bear but need heroic cutting down,
are, of course, available, but such wilful waste is not to be commended,
and the more nearly negatives from 5x4 upwards approach perfection
artistically the more they become unsuitable for slide-making by
contact.
The remedy is obvious. Of every suitable subject make two negatives,
one from which to print by any of the ordinary methods, occupying the
whole of the plate, not with scattered masses of uninteresting, or more
frequently actually injurious and distracting material, but only with the
principal subject and its necessary adjuncts, never forgetting that in all
probability tlie beauty and effectiveness of the picture will be in propor-
tion to the siraphcity of the composition.
If the photographer is thoroughly satisfied with the composition, all
that he has to do in exposing a second plate lor lantern-slide purposes is
to move back to such a distance that the whole will be included in a
pencil-marked opening of about three inches square on the ground glass.
But the impecunious amateur, or the careful amateur whatever may be
his financial position, will not waste forty inches of plate where fourteen
will answer the purpose as well or better, and those of them at least who
employ double dark slide or plateholders, will furnish each with a kit or
carrier for a 4J x SJ plate on which to make the slide negative. This, at
least, is how I managed before I adopted reduction in the camera ; and,
although, on the whole, better results may be got by that method than by
contact printing, I have many contact slides that not even an expert
could distinguish from my best made by the camera.
I may add, that to prevent mistakes the dark slides should be
ntmabered on both sides, and the large plates put, say, in the odd, and
the small ones in the even numbers. John Ci.AitEE.
CHADWICK'S LANTEEN SPECIALITIES.
Prominent among ithose whose theoretical and practical knowledge of
projection photography has helped to elevate the optical lantern to its
present height of favour is Mr. W. I. Chadwick, of Manchester, with
whose name, as our older readers are aware, many valuable writings on
lantern matters that have appeared in The British Joursal of Photo-
graphy during the last twenty years are identified. Some fifteen years ago
these writings were in a measure concentrated in book form : the Ulagic
Lantern Manual, a little work in which Chadwick gave what was then
a highly useful fund of practical information, and most of which, not-
withstanding the mild revolution which compressed gas, gelatine plates,
and other recent advances have effected in applied lantern work, remains
of enduring value to this day.
Mr. Chadwick's skill as a lantemist in ordinary slide projection, as well
as in the somewhat more involved and difficult branch of scientific pro-
jection embracing photo-micrography, optical and scientific phenomen
generally, is often called into requisition andjappreciated in the North of
England, and, it need hardly be said, stands him in good stead in the
conduct of his business, besides being freely placed at the disposal o
those who ask for it. In the field of lantern work which Mr. Chadwick
has commercially occupied for the last few years, this well-cultivated,
practical knowledge has accompanied him, and] its influence can be
plainly traced in his numerous lantern speciaUties, a few of which it is
our present purpose briefly to notice.
Supplement, July 7, 189;)]
THE BRITISH JOURNAL OF PUOTOORAPHY.
79
The type of lantern which Mr. Chadwiok faTOurs has the initial merit of
simplicity, and dispenses " elaboratoly polished brass slide stages with
spring plate," " brass atuds and milled heads," " telescopic draw tabes,"
the objection to the latter being that rigidity is {re(|uently imperilled.
The " No. 2 " optical lantern is an evolution from the " Perfect " form
introdaced a few seasons ago, and may be briefly described as follows :
(The illustration shows the lantern with Leach's lantern microscope and
polariscope attachment, to which we shall advert ; the lantern, however,
is that ordinarily used.)
It has a metal body, with doors on each side and a flat top, convenient
for warming slides or apparatus. The slide stage is open at both sides
and top. The objective holder is an upright (which by preference should
rest upon the top of cabinet or on a table), attached to which is a long
guide sliding in grooves in the polished wood base. It may be extended
to suit the longest foci objectives, and is^erfecily rigid at its greatest
extension. The space between the condenS3r or slide-carrier and
objective may be left open, as shown in the illustration, for projecting
scientific apparatus and experiments, the application~of the verticfJ
attachment, and for use with the lantern microscope and polariscope.
Light in the room, by reflection from the lenses, is cut offjor closed in
by an opaque velvet curtain, which is provided with suitable " drawings"
to slide on two brass rails hinged (or socketed) to thejbody of the lantern
and projecting forward. When not in use, these rails may be turned back
to lie fiat with the body of the lantern.
The lantern takes either limelight or any standard oil^amp, the three-
We may here panM to qnote Chadwiok as Ml onoompromMog oppoiMn*
of mixing ohamben, which he contends do not prarml UMinR or ro«rlsg,
which he attribntea to defectively constmcted nozzles.
The lantern is fitted with the now well-known triple flondciuwr. TIm-
objectives are supplied with foci varying from four to twelve inehMi,
Each combination is in a separate tube, which !■ made tn MAm in th«
rack front, and can be changed from one to the other instantly without
nnscrewing the front. The focal length of each objective is engraved on
the monnt.
The lantern packs in a box or cabinet of pina, vmniibed black, wHb
door on side, and the necessary fittings for extra objeetWe«, carrier, and
lime case. When the lantern is In use, it can be plaeed on the top of
the cabinet, and the door pushed into two grooves, to fom a convenient
shelf for slides and apparatus. The whole can also be mounted on k.
tripod stand. In the next illustration we show a tripod stand snpplisd-
for the purpose. More often than not, this nseful and one would think
necessary adjunct finds no place in the lanternint's outfit, a makeshift
arrangement of boxes and tables being frequently ma<le to do duty for it.
This tripod has the power of adjustment to work at various heights,
either at standing height or at five to nine feet high when the exhibitor
wishes to show over the heads of the audience. At A the stand can be
adjusted to a height of from four to five feet, and at B it will stand
nearly double that height. In order to alter the stand from single to
doable height, the screws at C are taken out, and the last joint of each
leg, D, is turned down, and the screws, C,
replaced. Each leg is pointed at both ends.
From an inspection of the front of the No.
2 lantern as shown in the first illustration it-
will be apparent that a vertical attachment,
for showing on the screen objects in a hori-
zontal position, such as fluid suriaces, cohe-
sion figures, camphor motions, magnetic and
other experiments, can be easily applied to it.
The one supplied by Mr. Chadwick is made
in walnut with mirror and five inch plano-con-
vex condenser, six inch water-condenser, glass
disc, and adjustable slide for carrying the ob-
jective.
The photo-micrograph camera, as here
shown, extends to thirty-six inches on a.
sliding baseboard, and has fine rack-and-
pinion adjustment, dark slide, and two focus-
sing screens, one plain and the other ground.
The lantern microscope, which is shown
attached to the lantern in the first illustration,
is that known as Leach's. It is fitted with raok-and-pinion move-
ments to both sub-stage and objective-holder, and fine screw focussing
adjustment ; all the necessary fittings for entirely rotating the polarising'
and analysing prisms of the polariscope, compound wheel of diaphragm*,.
wick Kefulgent lamp or Stock's patent four-wick lamp being equally well
applied.
Having examined the lantern as sent out, and being favonred with a
projection demonstration when in use, we can confirm what is claimed
for it on the score of simplicity and efficiency.
The Chadwick Jet has several mechanical adjustments which are a
great convenience to lantern workers, and its advantages can be
appreciated from the following short description of how it is used in actual
operation. The top milled head permits of the adjustment of the jet
sideways ; the one projecting beyond the tap rotates and raises tlie lime ;
the milled head beneath it elevates and lowers the jet, and the milled
head shown by the dotted portion below the stage is attached to a pinion
head extending through the lantern body, and racks the jet in and out.
concave sub-stage field lens, two sub-stage condensers. Barlow-lens-
amplifier, three objective adapters, the whole being fitted in' a poliabed
mahogany cabinet, with water trough.
In Chad wick's Slide Catalogue are given particulars of a large ooUee-
tion of slides for sale or hire, many of them being made from bis own
negitives. These include British scenery, foreign scenery, tpopulor
science, humorous stories, and the customary religious subjects, which
find so muuh favour with clergymen and otliers who make {use of (the
optical lantern tor imparting Biblical and sacred knowledge to Itheir
fiocks. The Lantern Catalogue is prefaced by a few words of practioal
adrice to lantern aspirants, the worth of which is in the inverae,propar-
tion to its brevity. One piece of advice we should like to ^see more-
frequently borne in mind by lantern-makers and lantem-usen. It i*.
80
THE BKII ISH JOURNAL OF PHOTOGRAPHY.
[Supplement, July 7, 1893
'this : " If the reader decides to purchase an oil-light lantern, let it be so
-constructed that limelight can be supplied at some future time without
Alteration." All the oil lanterns catalogued by Chadwick are so con-
structed, and the list further includes particulars of lantern accessories
generally, selected with the judgment we shotUd expect in such a case,
and entirely unencumbered with many of those useless and obsolete
appurtenances to lantern work which are contained in so many catalogues.
Yet a third catalogue of scientific apparatus for optical projection is
devoted to polariscope accessories and illustrated descriptions of the
apparatus and objects required in scientifically instructive and enter-
taining experiments. Finally, another pamphlet gives a tersely written
and clear little guide to lantern-microscopy and photo-micrography.
The lantern specialities of Mr. Chadwick are conceived with a leading
desire to combine simplicity with eificiency, and those undertaking pro-
jection work would in his hands be sure of safe and practised guidance.
For almateurs this is a recommendation of special value.
THE OFFICIAL PHOTOGRAPHER AT THE WORLD'S FAIR.
[Chicago Tribune.]
Mb. C. D. Abnold, the official picture-maker, of the Exposition, posed
yesterday as a bigger man than Director-General Davis, the National
-Commission, and the Board of Control. He defied the authority of all
these, and a permit which the Director-General had issued to a publisher
to take photographs on the grounds he coolly placed in his pocket and
refused to return it to its rightful possessor. The fact that it was signed
by the Director-General made no difference to Mr. Arnold, and the bearer
of the permit was arrested, and, in order to prevent the confiscation of
his private property, hurriedly left the grounds.
Mr. Arnold and Harlow D. Higinbotham, son of President Higinbotham,
are jointly the possessors of the photograph concession for the grounds,
-and a concession out of which the Exposition Company expects to reap
at least §250,000. Of the net proceeds of the concession Mr. Higinbotham
and Mr. Arnold are to receive 10 per cent, each, besides a salary of .S2000
■each per annum.
Mr. Albert Brodie Stone was the owner of Director-General Davis's
permit. Mr. Stone is the editor of a souvenir volume of the dedication
exercises last October. The volume was authorised by the Ceremonies
Committee, the Board of Control, and the Ways and Means Committee of
the local directory. Mr. Stone, it is understood, is to pay five per cent,
of the receipts from the sales of this volume to the Exposition Company.
In order to enhance the value of the work, Mr. Stone desired to secure
some views of the buildings with which to embellish it. In accordance
with the action of the National Commission and the Board of Control, he
asked Du'ector-General Davis for a permit to take the pictures. This
permit was granted June 2, and yesterday Mr. Stone, accompanied by
Mr. C. S. Pinter and two photographers, visited Jackson Park. Mr. Pinter
and the photographers were sent to the pier at the south-eastern portion
of the grounds, and were taking photographs of the peristyle and other
" structures when one of Captain Bonfield's detectives approached Mr.
Pinter, and asked him if he had permission to take photographs. Mr.
Pinter said he had, and produced the order from the Director-General.
"I guess that won't go," said the detective, after examining the docu-
ment. " You wiU have to go before Mr. Arnold, and get a permit from
him."
"I am not violating any rules," replied Mr. Pinter, " and I will not go
before Mr. Arnold. If you wish to take me before President Higinbotham,
Director- General Davis, or any other official, I will accompany you, but
Mr. Arnold is not an officer of the Exposition."
" I guess there are guards enough here to take you before Mr. Arnold,"
was the response of the detective, and thereupon he called two Columbian
guards. AU the violence necessary was the laying on of hands, and then
Mr. Pinter was marched by the detective to Mr. Arnold's office, where,
somewhat in the character of a magistrate, he passed upon the case In
relating the circumstances here, Mr. Pinter said, yesterday afternoon •
" Mr. Arnold asked me wliat right I had to take photographs without a
permit from him. I told him I had a permit from Director-General
Davis. He asked to see it, and, drawing it from my pocket, I handed it
to him. •'- * — ij - - 1 -. , .. . _. «-
in
,give
more right than he would have to ray watch. He said that was all right
and kept the paper. '
" I was next walked to Captain Bonfield's office. The captain was out
a^d I explained the situation to his sergeant and asked him what right
his men had to arrest me and haul me about the grounds without any
■warrant of authority. I further asked him what he wanted to do with
me. He said ' Nothing," and told me to go. Thereupon Mr. Arnold
asked for the plates, and an officer was sent back to the pier for the two
cameras and the photographers who had been left there under guard
When the instruments were brought to the photograph building, Mr.
Arnold told me that if I would destroy the plates I could go. I told him
I would do nothing of the kind, that they were private property. He
reached for me, but I warned him to be careful, and then he withdrew
and we left with our cameras."
Director-General Davis, when informed of the action of photographer
Arnold, declined to make any further statement than that his orders would
have to be obeyed. Mr. Stone, Mr. Pinter, and members of the National
Commission's Committee, which investigated the photographic concession,
called upon the Colonel, and will to-day present their case to the Council
of Administration.
This photographic concession, which permits Mr. Arnold and Mr.
Higinbotham to charge illustrated newspapers S2 a day for the use of a
Kodak, and so much for pictures of larger size, has caused a great deal
of annoyance, and yesterday's arrest will be used as a test case to discover
whether Mr. Arnold or the Director-General is the greater in Jackson
Park.
The concession for the exclusive right to take pictures in the park was
not granted until a few months ago. By the approval of the Executive
Committee, April 5, 1893, Harlow D. Higinbotham was let into the
benefits of the concession by the following resolution : —
" Resotved, That tlie Ways and Means Committee does hereby recommend
that Harlow D. Higinbotham be appointed Official Photographer jointly with
C. D. Arnold at the same compensation, viz., a salary of saOOO per year and
ten per cent, net of the receipts of the Bureau of Photograjjhy after deducting
all costs, charges, and expenses, the powers and duties of Mr. Arnold and Mr.
Higinbotham to be equal and co-ordinate, and to be defined by a written con-
tract fixins; the details of their rights, powers, and duties, the execution of
which shall nullify this resolution."
"I understand," said Mr. Stone, yesterday afternoon, "that Herbert
Booth King, a photographer of New York, offered 152-50,000 for the con-
cession, and also to bear all expenses. This offer was made several
months before the concession was granted to the present owners."
Official Photographer Arnold, before whom Mr. Pinter was taken, came
forward, cool and smiling, to explain the circumstances.
"In the first place, I think Mr. Stone is a fool," he said. "One of
the detectives found his man down near the Casino with a camera, and,
as he had no permit from me, they simply gathered him in, that's all. If
I_ understand anything about tlie facta, I am the only man who is autho-
rised to issue permits to photographers on these grounds."
" But how about the written permit of the Director-General ? "
" He showed it to me and I put it in my pocket, and I've got it yet. I
took the plates from the camera and exposed them to the light, so that, if
any views have been taken, they are spoiled now. Stone was around
here, talking about getting out a writ of replevin for the plates, but I'm
not at all alarmed. Now he is beginning to talk about compelling me
to give up the Director-General's order."
" Did not the Board of Control pass a mandatory order upon yon to
allow representatives of illustrated papers and periodicals to make photo-
graphs of the grounds and buildings?"
" I don't know anything about a Board of Control, and never saw its
order. Somebody told me something of the kind was printed in the
papers, but I never paid any attention to it."
" Did not the permit of the Director-General expressly state that Stone
was to make views solely for the purpose of illustrating his souvenir
volume ?"
" I believe it did refer to him as a publisher or something of that kind,
but I didn't pay much attention to it. I know what belongs to me and I
mean to have it at all hazards."
" Was Mr. Pinter put out of the grounds?"
" No, he stayed here watching liis instrument for several hours, and
finally took it away with him."
It is extremely probable that inside of two weeks Mr. Arnold will no
longer occupy tlie proud and exalted position he now holds. One of the
men high in Exposition affairs said last night : " Mr. Arnold's concession
and its management have been so detrimental to the Fair and its in-
terests that we have been discussing the advisibiUty of paying him a
bonus and letting him go. We recognise the necessity of making other
photographic arrangements, and to-day's occurrence will, in my opinion,
only precipitate the inevitable."
Hantcrn (Queries.
Mat. — There is nothing novel in the idea of a combined mask and binder.
Several such are obtainable commercially.
F. Penton. — Consult the advertising pages of the Lantekn Record, where
you will find the announcements of several who colour lantern slides.
C. Snklling. — Try the effect of reducing the slide with Faimer's solution
(hypo and ferridcyanide of potassium). You must be careful, however,
that the reduction does not proceed too far.
E. Baoster.— Mr. Baker, in his "Lantern Mems" last month described
how the effect at the music hall referred to is produced. It is also
employed at several theatres in Paris where the " serpentine" dance is
given.
MONTHLY SUPPLEMENT
To THE "British Journal of Photography."]
lAN^Hst4, 1893
THE LANTERN RECORD.
CONTENTS.
Paos
LANTERN MOTES AND NEWS 81
MAKINO TRANSPARENCIES AND EN.
LAROKMENTS WITHOUT A CON.
DENSKR. Bv W. B. BOLTON M
LANTERN MKilS. By O. R. BASER.... Wl
80MK XOTFS ON AMERICAN AND
ENGLISH LANTERN PRACTICE. By
EDMUNn STIRLING M
RURAL TECHNICAL EDUCATION AND
THE LANTERN. By ALFRED
iWATHJla KS
Paoi
opaque lantern 80bebn8 w
colo0r photoobaphy 86
how to take stereoscopic nega-
TIVES 67
COPYING PHOTOORAPIIB BV ARTI.
FICIAL LIGHT. By K. W. PARHOTT . S8
THE LANTERN IN SCIENTIFIC STAGE
EFFECTS 88
LANTERN QUERIES 88
LANTERN NOTES AND NEWS.
Apbopos of stereoscopic effect on the screen and means suggested for
obtaining it, it is interesting to note that the late Mr. Thomas Sutton
sugg-ested the projection side bj- side upon a large screen (by
means of a pair of lanterns) of the two views composing the complete
»if leoscopic slide, and then getting them merged into one by the aid
of a pair of prismatic spectacles, which were to be ui^ed by each
person present. The effect, when tried, did not come up to expec-
tations.
* • * •
Anothkr plan propoted by a French experimentalist, as follows,
may also be recalled. With a pair of dissolving lanterns, both
images were simultaneously thrown on the same disc. This produced
confusion in several parts, but a cap with a red glass was placed upon
the objective of one of the lanterns, another cap with a green glass
being attached to the other. The spectator now examined the con-
fused picture on the screen through a pair of spectacles, one eye pro-
tected with the red, and the other with the green glass, the resul*
being that the eye protected by the green glass saw only the image
projected from the green lantern, the red covered eye doing the same
for !<< colour. The combined image composed of the two colours —
each complementary to the other— formed a true stereoscopic picture,
not a very brilliant one, but otherwise perfect.
# • • •
In exchanges, says an American contemporary, we frequently find
suggestions in regard to lantern-slide mats, and it is scarcely a wonder.
The " regulation price " is altogether too much. Moreover, the sizes
do not seem to be just what they ought to be, and the "gilt lines''
which recommend them so highly are anything but desirable on
account of the bronze which sifts off between the slides and the cover
glass. Mr. Humphrey, in the Photo-American, makes a suggestion
which appears to be good. He marks the size of the opening wanted
on a piece of thin wood (cigar box fills the bill) and with the papers
clamped between this and another piece saws out the mats with his
bracket saw. A paper that is white on one side and black on the
other for mats, together with white binders, assists considerably in the
manipulation of the lantern.
In a treatise on optics, published at the comparatively recent date
of 1835, the optical principles of the lantern are di8cu.ssed and dis-
missed in the following paragraph : "The magic lantern: The con-
struction of this instrument is precisely similar to that of the solar
miscroscope, except that the object is illuminated by a lamp placed
behind it in a box instead of sunlight. The objects are generally
grotesque figures of men, devils, 4c., and are thrown upon a white
wall or sheet."
• » • • ♦
Wb understand that Messrs. Newton & Co., of 3, Fleet-street, are
supplying lantern slides from the negatives taken by Mr. VV. Saville-
Kent to illustrate his lately published book, The Great Barrier Reef
of Australia. From the collotype reproductions it is evident that the
negatives, of corals and coral reefs, pearl and pearl shells Beche-dt-
Mer, and the marine fauna of the Barrier Region, are of great beauty,
and should make equally beautiful slides of interest to others besides
biologists, &c
• • • • •
A NBW system of lighthouse signals has been tried experimentally,
the idea being that, with a system of shutters to cause flashing lights,
a number may be designated as far off as the light can be distinctly
observed, and by reference to a " port book," the light-houses being
all numbered and recorded, the master of any ves-iel approaching the
coast at night could ascertain for certain what locality he was in.
Some consider that this would be a more unmistakable system for the
recognition of lights than the present style of so many dashee per
minute or differences of colour, height, &c.
• • • • •
Thb South Amtralian Photographic Journal has the following
reraark-s in reference to the dilatoriness of certain societies in con-
tributing lantern slides to a projecte<l set for transmission to
this couutry : — " The Intercolonial Slide Exchange is not progressing
a.s rapidly as we anticipated when the invitation to contribute to the
collection was given in these pages. The Photographic Societies of
New Zealand and Tasmania are slow in responding -we are at a loss
to understand why they do not do so — but, having been asked to fix a
date on which the slides m.iy be forwarded to London, it becomes
necessary to obtain definite replies from each Association. The South
Australian Society is collecting lantern slides with a view to sending
a set, first to the Australian Societie.s, and then forwarding them or.
to England ; but they are quite willing to fall in with our idea, and
to subscribe the required number of slides, together with a full de-
scription therewith. Surely no hesitation is needed for other Societies
to follow their example ; all must be aware that united action is re-
quired to make the collection worthy of the Land of the Qolden
Fleece."
• • • • •
As an outcome of the Edinburgh Convention, held last year, a
large crop of lantern slides resultetl, Newhaven fishwives figuring on
the screen at the lanteru nights of several London Photographic
Societies with a frequency that very nearly begot a feeling of
monotony. From all accoimts, though the number of hand cameras
at Plymouth was large, it does not appear that a gpreat deal of photo-
graphic work was done. Nevertheless, the peculiarly festive nature
of the gathering gave opportunities for the hand camera's facility in
securing amusing groupings and situations, which, if shown on the
screen, would doubtless be productive of great uurth. The ease with
which, in these matters, the bounds of good taste can be pasMd should,
however, give the flidemaker, anxious to raise a laugh at the expense
of somebody else, a little caution in the choice of lua screen subjeo.a
82
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Supplement, August 4, 1898
DuBiNG the exhibition of the Photographic Society of great Britain,
the lantern exhibitions form such an exceedingly popular item with
the general public that it is to be hoped those Societies and individuals
who have been appealed to for loan sets for display will not fail to
gupply them. The summer has, on the whole, been an excellent one
for outdoor photography, so that, no doubt, any number of good
negatives have been obtained suitable for reproduction for projection
purposes. We may just hint that, possibly a little variety in the
choice of subjects would be welcome, most sets having an undue
preponderance of landscape and architectural views.
• • » » •
Of the new developers, glycin seems to us to have special recom-
mendations for lantern-slide development, its clearness, evenness of
action, and richness of tone marking it out as eminently suitable for this
kind of picture. Experiment would, doubtless, point out a ready way
of accelerating its rapidity of working without impairing its good
qualities.
MAKING TRANSPARENCIES AND ENLARGEMENTS
WITHOUT A CONDENSER.
Many amateurs are deterred from attempting enlarging or the pro-
duction of lantern slides in the camera by the want of proper
apparatus and the supposed necessity for a condenser of considerable
dimensions and great cost ; but in reality very satisfactory results can
be obtained with the simplest and least costly of appliances, if intel-
ligently applied.
Of course, the possessor of a lantern is in many cases in a position
to make enlargements at any rate from quarter-plate negatives by
artificial light, but the vast majority of optical lanterns for projection
purposes have condensers too small even for this, and there is, there-
fore, no other alternative than to use daylight, which, in turn, involves
the fitting up of a special enlarging room or camera at some cost and
inconvenience.
By far the greater number of amateurs, too, are so placed that the
hours of daylight are not available for the purpose except at rare
intervals, while the evenings are, if only the means of utilising them
were available.
Many plans have been put forward from time to time for securing
evenness of illumination without a condenser by the employment of a
number of different lights placed behind a translucent screen, in order
to blend and diffuse them ; but, apart from the great heat given off,
and the diBiculty of securing uniformity in the lights themselves, the
results have never been eminently satisfactory. A single light of
great intensity employed in a similar manner with a diffuser presents
the difficulty, that it is next to impossible to subdue the extra
brilliancy of the centre of the illuminated screen without placing it at
such a distance from the source of light that most of its power is lost
or wasted. Cutting off the direct rays of the illuminant by means of
an opaque, or semi-opaque, disc has been tried to obviate the last-
named difficulty, but this has been in connexion with a parabolic
reflector, which is in itself an expensive piece of apparatus and difficult
to obtain.
The necessity for such a reflector is, however, imaginary,
for very satisfactory illumination can be obtained with no more
elaborate an appliance than a billiard lamp shade, if it be properly
used. I do not mean that the best results can be got with such a
reflector, I mention it simply as the type, but by constructing one on
the same lines with a definite object in view the illumination is all
that can be desired for practical purposes.
The points to be considered are, first of all, the light to be used ;
then the material, shape, and dimensions of the reflector, the position
of the light, and the size and position of the opaque discs and of the
translucent screen. As regards the light, nothing seems better or
more convenient than magnesium ribbon, on account of its actinic
value, the comparative absence of heat, and the compactness of the
apparatus required for its ignition. Its price nowadays, too, is so low
that it is practically as cheap as gas or paraffin, especially when its
convenience is taken into account.
The reflector may convenientjy be of tin, and could be made of
suitable dimensions by any worker in sheet metal for a shilling or
two ; but, if the amateur prefers to manufacture it himself, he can easily
do so out of stout cardboard or paper pasted in successive thicknesses
until a sufficiently stout shell has been formed. The precise details
of procedure I will describe presently.
The shape, however, is the most important point, for on this, taken
in connexion with the position of the light, disc, and screen, will de-
pend the character of the illumination obtained. If a rough diagram
be made upon paper, showing the section of a conical reflector,
with the light and disc in position, it will be found, by tracing the
direction of the rays, both direct and reflected, that there is one
position for the translucent screen, which is the best for that par-
ticular set of conditions. It is not necessary to adhere to any par-
ticular shape or dimensions ; but it must be understood that, whatever
they may be, there is only one proper position for the screen. I will
attempt to explain this as briefly as possible.
It will be found, on tracing the direction of the rays proceeding
from the illuminant, that a portion of them fall directly on the screen,
a portion strike the reflector, and are thence thrown on to the screen,
while still another portion are arrested by the opaque disc, or fall on
portions of the reflector where they are practically lost. If the screen
be placed too close to the light, a shadow of the opaque disc will be
formed in the centre, and probably it will show two distinct zones of
lighting — the direct, at the edge of the screen ; and the reflected, mid-
way between that and the centre spot. As the screen is moved
further away, however, the central shadow grows gradually less, until
a point is reached at which it disappears, the reflected rays gradually
overlapping the opaque disc until they meet in the centre. At the
same time, the bright zone of direct illumination grows larger ; but
this we have nothing to do with, as it is only the reflected rays that
can be relied upon for equality of illumination.
It will be seen, then, that, according to the position of the light
and screen and the angle at which the sides of the cone meet, we
can calculate, by means of a diagram, precisely the size and all other
details for any purpose, but space will not permit of my entering
very fully into that part of the question. Generally speaking, though,
it will be found tliat, the relative position of light and disc being
the same, the sides of the cone must meet at a more obtuse angle in
proportion to the size of the available disc required ; and, further, as a
matter of necessity, the shallower or more obtuse the reflector the
larger it must be.
I will give two instances. Suppose the light to be placed 3 inches
from the point at which the apex of the cone would be if it
were complete, and a .3-inch disc be placed 2 inches in front
of it, a reflector whose sides meet at an angle of 90° would have to
have the screen placed 9; inches from the apex or 65 inches from the
light, perhaps practically a little more. The total diameter of the
front of the reflector would then be about 19 inches, and the available
circle of equal illumination 9 inches, or enough for a half-plate
negative. If a larger circle of illumination be required, the angle
may be increased to 120°, when, keeping the light and disc in the
same relative positions, the screen would have to be 14 inches from the
back of the reflector, which would entail a total diameter of about
4 feet, with a circle of illumination of 15 inches, or nearly sufficient
to cover a 12 x 10 plate.
Such a large reflector is, of course, out of the question, but it is not
necessary that it should be so constructed. Even supposing the screen
to represent a circle of 4 feet diameter, only 15 inches of that is of
any practical use, and if the reflector be limited to the latter dimen-
sions, and placed at the proper distance from the translucent screen,
every purpose will be served. But the space between the reflector
and the screen should in this case be covered in with blackened
material, to prevent irregular reflection from the work bench and
surrounding objects, and while this task is being performed it is worth
while doing it properly, so as to reap every little advantage that is to
be gained. If a rough cylinder of cardboard or tin be placed between
the reflector proper and the screen, of sufficient length to bring the
latter into proper position, it will arrest and throw on to the screen
much of the light that would otherwise be lost, and thus increase its
working value.
I have spoken of making the measurements from the apex of
the cone, but in practice the back of the reflector iinll always be
Supplement, August i, 18dd]
Tttfe BftttlSft JotRKAL Of PflOtOORAKtt.
M
cut off as in an ordinary lamp sliado. A certain portion imme-
diately surrounding the apex is always useless space, the light it
reflects falling behind tlie opaque disc, and this part may thoreforo
be cut away to permit of the insertion of the lamp and ventilating
tubes should such be deemed necessary. These may, in fact, be
so placed as not to interfere with any portion of the useful re-
flecting surface. The " lamp " I use consists of two brass tubes
arranged in a somewhat similar manner to those of an oxyhydro-
gen jet, the one carrying a cotton wick soaked in spirit, the other
a strand of magnesium ribbon driven from the back between a
pair of rubber-tube covered rollers, in the same way as the useful
Uttle magnesium lamp introduced by Mr. F. W. Hart some years ago.
The inside of the reflector should be painted dead white, what-
ever material it may be composed of, as the illumination is far
more even than is the case from polished tin. The screen may be
of ground glass for small sizes, or tissue paper or tracing linen
for larger; but the latter is rather too transparent in a single
thickness.
Those who wish to make their own reflector may be glad of a plan
for cutting the cardboard or other material to the proper shape to
form a cone of the right dimensions. First plot out on paper, to scale,
the section of the reflector and find the position of the screen. Measure
the distance from the apex to the margin of the screen — that is to say,
the side of the reflector, and strike a circle with that distance as
radius. Next measure the diameter of the screen, and, having
calculated the circumference of that circle, measure it off on the
circumference of the larger one, and cut away the section representing
the remainder. If the two edges be brought together and carefully
joined, the desired cone will be obtained. Before joining up, liowever,
a circle should be cut from the centre to join the back opening. It
then only requires strengthening by the addition of successive layers
of paper or card.
It is not to be supposed that a reflector, such as I have attempted
to describe, gives absolutely uniform illumination, or even as near an
approach to it, as a well-worked parabolic reflector; but in actual use,
if it he put together with due regard to the points I have indicated,
it is difficult within the limits of permissible error — or latitude — to
find any serious fault with the results obtained photographically.
Theoretically, of course, the illumination ia a little stronger in the
centre of the screen, but in practice the difference is inappreciable.
W. B. Bolton.
LANTERN MEMS.
I HAD hoped this month to have given some particulars of the optica
lanterns on exhibition at the Chicago " World's Fair," for a friend
who has just returned has been good enough to place his note-book at
my disposal ; but, unfortunately, there is nothing in this respect to
chronicle, for the Optical Section of the Great Britain Exhibits is in
such an out-of-the-way place, and so poorly representative when
found, that there is little to see or to repay one for such a long
journey.
• • • • •
As the traveller is a member of a well-known optical firm, and during
his hurried visit for pleasure really tried for three days to discover all
that was noteworthy in optical and meteorological exhibits, there
must be a screw loose somewhere for so barren a result, and it will he
of interest if some other visitors to the "greatest Exposition the
world has ever known " can enlighten lantemists who are not so
fortunate aa to be able to visit the United Stat«s this year, what
they have seen that shows novelty or advancement in the optical
lantern or optics generally.
No doubt the heavy duty of forty per cent, or so has had the
effect of stopping many English (and Continental) makers from
exhibiting ; for the time occupied in getting out and home, even if a
lengthened attendance was not contemplated, is enough to contend
with, without being debarred from doing business with sales of
duplicate exhibits on account of the prohibitory duty.
Umlbw there haa been a decided alteration of idea* Ut«lj, tlia
fashion with American lanternist* doea not give the Kngliab ityU of
optical lantern and dissolving-view apparattw much chuiM is tha
States, for different models altogether are adopted for the " Btecao^
ticon," as they call it ; and as in many other itutruments, notably
surveying instruments, microscopes, kc, it tmkek a long time to get
popular ideas modified so as to accept new, and what are tapponed to
be improved patterns, in place of those that have become faatliw.
In fact, nothing short of a " boom " produced by some special ineeeM
of illustrated lectures will do it, as far as the lantern ia concerned.
• • • • •
With the perfecting of the stereoacopic lantern invented by Mr.
.\nderton, or, should ( say, its development, so that there ia no
reasonable limit of size of picture producible, and that % very large
audience can witness in ease and comfort the pictiirea ao marreUooaly
rendered solid by means of polarisation, a new era may be created,
and English models made more acceptable to our .\merican cousins.
• • • • •
I AM indebted to the inventor for some extra information respecting
the lantern stereoscope ho has courteously sent me, in which he aays
he is now making arrangements for supplying the parts necessary for
converting ordinary biunials into stereoscopic lanterns by the ad-
dition of polarisers, silver-faced screens, and the analysing eyegliawia
• • • • •
Rkgarding screens, Mr. Anderton reports he has tried many
transparent materials, and has discovered only one that does not de-
polarise the light ; and this possesses three serious drawbacks, it being
expensive, unportable, and lacking in brilliancy. This being so, he
has decided only to have silver-faced screens made.
• • • • •
Thb making of the eyeglasses, or analysers, that each one of the
audience has, to view the pictures on the screen and get stereoscopic
effect, has given an immense amount of trouble. In fact, giving his
own words, " I have made thousands of experiment and trials, and
although they are now of simple construction, 1 rather fancy that an
ordinary amateur would find it extremely difficult to make them.
Very much depends upon the analyser, and I have spent countless
hours in trying to produce them at a low price, and in this I have
succeeded."
• • • • •
As the makers, Messrs. Field «fc Co., have always co-operated with
the optical trade in placing on the market any of their specialities,
lantemists who think of trying this addition to dissolving apparatus
will do well to get their optician to supply Messrs. Field with the
necessary sizes and information, that there may be no chance of
failure, for Mr. Anderton justly says, " with low price, there will be
little inducement for amateurs to make them for themselves, and lesx
chance of the lantern stereoscope getting a bad name." Personally, I
know the value of a good " send-off " with all new inventions, and the
effect of reports of practical trials by experts on the popular mind.
• • • • •
DcTBiNO this mouther next, lantemists should make up their minds
what alterations they intend to make in their apparatus, so that they
may be ready in good time for the lantern season. If the body or
brass work requires renovating, it is better for it to be done before the
Inntem-makers get busy, and, if all goes well, they should be by
October.
• • • • •
Nbw designs in limelight jets and electric light lamps are on the
tapi*, and they will be matured sufiiciently for full particulars to be
published next month. It will therefore bo well for those that con-
template radical changes in appar.itus to hold their hand for a short
space, for something worth waiting for will be announced by a well-
known firm of lantern-makers.
• • • • •
OuB friend " Free Lance "* referred to my remarks on sulphuric
ether as to specific gravity anil smell. My authority as to the denser
kinds being strong-smelling was the well-known firm of Messrs. Alfretl
White k Sons, and by their list I see they have ^tlther. Sulph.
Methyl. 750 '730 '73o, washed redistilled, and what they recommei d
84
THE BRITISH JOURNAL OF PHOTOGRAPHY.
[Supplement, August 4, l8t)S
for the Oxy-ether Limelight 'TSO, or Anaesthetic -717. These latter
are specially marked on the list they gave me for the purpose of
lantern operators. Messrs. White will be pleased to show "Free
Lance " their various samples, and explain how they get the light
kinds of methylated ether practically free from smell.
m » * * *
As photographic holiday-makers are availing themselves of all
opportunities to get pictures, no doubt the coming lantern season will
be enriched by a large addition to the lantern sets. I saw several
enthusiastic amateurs busy with hand or stand cameras at Bisley
Camp, taking the groups of the Headquarter Staff from Aldershot,
the Queen's Prize-winner, Miss Leale the lady shootist,' and also
pretty bits of scenery on the canal close by. No doubt photographs
in which life is depicted are always appreciated, and the improvement
in sensitive plates and apparatus make this possible and easy.
G. R. Bakkb.
SOME NOTES ON AMERICAN AND ENGLISH LANTERN
PRACTICE.
[Photographic Society of Philadelphia.]
In a recent issue if the " Lantern Rbcobd," a monthly supplement
of Thb Bbitish Joubnal of Photosbaphy, devoted to the
interests of the optical lantern, the editor, in referring to the visit
of a London dealer to the United States, and his probable intention
of keeping an eye on lantern matters here, with a view of picking
up any unconsidered trifles in the way of novelties for next season,
added, " That is, if there are any lantern novelties to be met with
in America." The writer went on to say that, from what he " can
gather by a study of the literature of the subject, our friends across
the'Jwater are somewhat behind us " with regard to the lantern
and^its accessories, both in quantity and quality.
I have been struck by another English opinion of American
lantern matters, which is implied in the selection of an illustration
for Mr. Lewis Wright's admirable work on Optical Projection.
This is a cut of a lantern which Mr. Wright would have his
readers believe is an American type of lantern, but which, so far
as my knowledge goes, is about as far from being a fair illustra-
tion of lanterns used in this country as could well be imagined.
It is of a clumsy, antiquated pattern, cloth curtains taking the
place of back and sides, and is such a box as one might have
expected to find in use thirty years ago — if then.
My purpose in calling attention to these matters is not so much
to defend American lanterns as it is to bring to your notice one
or two points in American and English lantern practice, and to
account, m part, perhaps, for adverse opinions such as have been
quoted. There is no question but that we are far behind our
English friends in the matter of lantern literature; so far behind,
in fact, that I am led to wonder whether the writer in The
Bbitish Joubnal of Photoseapht did not form his judgment
from the absence of a lantern literature rather than from an
actual reading of it ! Not only do the English lantern men enjoy
the advantages of an excellent monthly journal devoted exclusively
to this subject, and also ably conducted lantern supplements to
two of the best of the photographic periodicals, but the journals
all devote more or less space to lantern matters.
On the other hand, here in the United States, with the ex-
ception of a little quarterly, issued with more or less regularity in
Philadelphia, we have no lantern journal, and the American photo-
graphic papers give their readers far less lantern news than its
importance and its close association with photographic work would
seem to deserve. I cannot think that this is because there is any
less interest in the optical lantern in America than in England,
or that, in this country, we fail in any respect to recognise the
great importance of the lantern as an aid in educational and
scientific progress.
It would be impossible, I imagine, to get at any statistics which
would enable us to make a comparison of the number of lanternists
— to borrow a modern word^as of the number of lanterns in use
in this country and England, but it cannot be that we are very
much behind in these respects. The only explanation will be found,
I fancy, in the fact of the " magnificent distances " over which our
population is distributed, and the difficulty of frequent comparison
of notes on details of practice ; and in the further fact that, in
America, a far larger proportion than in England of those who
use the lantern are busy men, who take it up as a recreation or
in connexion with other lines of work, and who have not the time
to iniulge in the reiinements of detail which, to judge from the
literature of the subject, are so dear to the hearts of English
lantern men. (I do not wish to imply, however, that one can
become truly expert in these matters without attention to detail.)
To leave the question of the literature of the lantern, my observ-
ation of American lanterns leads me to believe, as already indi- j
cated, that our type of lantern is very unhke that selected by Mr.
Wright for illustration. His book is so valuable, and, with itsj
companion volume on Light, has been of such great help, that 1 1
cannot but hope that this blemish will be removed in any future]
editions which may be issued. It is but fair to say that the '
author had particular reference to lanterns for scientific projections,
but even in that case the type shown is no more American than
it is English, French, or German.
Without attempting to say what is the American type of lantern,
if such a thing exists, I have been struck in " the study of the
literature of the subject " — in this case the catalogues of the makers
— by the fact that American lanterns tend more and more to por-
tability, and that, except in rare cases, where the lantern does not
have to be moved, we are fast drifting away from the massive
structures of mahogany, and walnut, and brass, so popular among
our friends on the other side. When dissolving views and " effects '
were novelties, the general public, knowing less of the methods
employed than they do to-day, looked with a certain amount of
awe and wonder upon the lantern and its operator, a feeling which
was systematically encouraged. Details of working were, for a
time, profound secrets, and there was therefore some reason for
the ponderous and showy apparatus. To-day, so far as the show-
ing of views is concerned, the ideal to be reached by the lantern
operator, according to my view, is to have everything work so
smoothly and perfectly that the audience will not know, so to
speak, that there is a lantern in the room. How far from reach-
ing this ideal most operators are, it is needless for me to point out.
For scientific projections the heavy type of lantern is unsuitable, so
that in the adoption of more portable forms I think we are ahead. A
glance through the catalogues of five or six representative makers
here and in England wiU show what I mean.
In the production of oxygen by cheaper and better processes, and
in the adoption of the drawn steel cylinders and their accompanying
appliances, it must be admitted that we are compelled to take second
place. But there is a curious fact in this connexion which is very
striking. Prior to the introduction of pressures of 1800 pounds, gas
tanks in which the gas was compressed at from 200 to 300 pounds
were in much more general use in America than in England. Here,
for the past decade at least, gas bags and blow-through jets have been
almost unknown, while in England they were and are frequently met
with, particularly among professional operators. These gentlemen
prefer the clumsy and troublesome bags because of the slightly
greater expense of compressed gases, while in the United States the
vastly greater convenience and safety of cylinders is regarded as
overweighing every other consideration. Furthermore, those who
depend on the use of bags on the score of expense seem to take no
account of the element of time, as if that was of no value, nor of the
uncertainties and danger attending the process of making oxygen.
They tell us " there is no danger with bags, in experienced hands ; "
but this very qualification, "in experienced hands," upsets their
argument. If we had to devote the same time which they do to the
preparation of the gas, and were obliged to build barricades around
our cylinders as a safeguard against possible interference and a
disastrous explosion ; if we had to test the contents of each tank
before the opening of an exhibition, and suffer the other inconveni-
ence>i which the advocates of bags submit to, then and only then
would the difference in cost be worth considering, even though we are
" not all millionaires."
It is also to be noticed that, while in England the so-called " safety
jets " are listed in every catalogue and are recommended to beginners
Ijy all the text-books, here in America they are almost unknown.
Few, if any, dealers keep them, and I remember some years ago when
I used such a jet here at the Society it was examined by the members
quite as a curious relic of the past.
While it does not do for any one to stop work, and rest on past
laurels, American lantern men have no reason to be ashamed of their
record in this connexion. Our English friends have given full recog-
nition to work of Mr. Marcy, of Philadelphia, whose oil lamp, intro-
duced twenty-five years ago or more, is the type upon which nearly
all oil lanterns have since been based, and who by this invention
probably did more than any other one person to popularise the magic
lantern. And we also know what has been done in the field of
optical projection by our own member, Frederic E. Ives, not only in
connexion with the ether saturator and his folding lantern, but in one
of the details of his greater invention — Composite Heliochromy.
Supplement, August 4, \8Q3]
taE BRITISH JOUKNAX. OF PHOTOOKAPHY.
U
The purpose of thin very hasty and crude communicattun has
simply teen to emphasise the fact that, while we gladly recognise our
indebtedness to England in matters of lantern practice, we also in
America have contributed our share ; and, if visitors from abroad
this summer fail to find any novelties in minor apparatus, they will at
least see a marked improvement in the stylo and form of the lanterns
themselves. But, after all, the matter of size and form is one of
taste, and I have but expressed my own preference, and that of most
American lantern men, as I believe, for tne lighter and more compact
forms. If Englishmen like the formidable specimens of the work of
the cabinet-maker and the metal-worker, well, to quote Abraham
Lincoln, " that's the sort of thing they like."
Edkund Stiblino.
RURAL TECHNICAL EDUCATION A-ND THE LANTERN.
In the last issue of the " Lantkbn Rkcord " Mr. Baker makes
reference to the use of the lantern in connexion with the tour of the
Herefordshire Bee Van, supported by a grant from the County
Council. As I have had the arrtmgement and making out of this
matter, and as I think that outdoor technical instruction with the aid
of the lantern on summer evenings is a new departure, a few details
may be of interest to readers.
The general plan adopted is to send a properly equipped travelling
van from village to village giving lectures and practical instruction in
bee-keeping at each place.
In the afternoon the expert gives a demonstration in the garden of
some local bee-keeper, illustrating the method of subduing and hand-
ling the little insects.
About 7.30 in the evening a practical talk is given, illustrated with
examples of modem bee-keeping appliances. Then, as the shades of
evening fall (about 9 o'clock, as the work is done only in the summer
months), a transparent screen is let down in the open end of the van,
and a short lecture on the natural history of the bee and some im-
portant points in practical management is given.
The van, built to order early in 1892, is a one-horse one, about
11 feet long and 6 feet wide, thoroughly ventilated at the top, and
fitted with sleeping bunks. In the front is a central door. The back
ends lets down, like the tail-board of a wagon, to form a lecturing
platform. The end of the van is, therefore, perfectly open, and in the
open end a muslin screen is let down from an ordinary blind-roller.
The lath at the bottom of the screen catches under two deals on the
floor, and three tapes on each side strain it tight. The lantern is
placed in the open doorway, about 10 feet 6 inches from the screen,
and a picture a little over 6 feet is shown. A 40-feet cylinder of gas
is used with Beard's regulator. A TurnbuU's spirit jet is used with
great success, hardly a hitch having occurred in the two seasons'' use,
although the instructor had never seen a lantern at work before
starting. With this jet the spirit reservoir is inmde the lantern, a
good deal depends upon the careful opening out of the wick, which by
the way is not even charred. The jet is charged from a quarter pint
measure of spu-it, which lasts for the lecture of about 40 minutes
(25 to 30 slides shown), and any residue is always thrown away.
About 2 feet of oxygen is used for each lecture. The lantern lecture,
which is always given as near the centre of the village as possible,
always draws gocd and attentive audiences, considerably larger this
year than in the first season when the work was less known.
The slides shown are all my own photographs from nature (I have
been making up the set for some years), such as queen, drone, and
worker bees on one and on separate slides, every stage of the develop-
ment of the bee from the egg to perfect insect, queen cells, photo-
micrographs of different parts of the bee, some special photographs of
fruit blooms to illustrate the u.se of the bee in fertilising them, various
operations in bee-keeping and illustrations of various apphances.
In the course of some years' experience in lecturing on the subject,
I have found the need of impressing certain first prindples by pic-
torial means, and have therefore devised pictorial mottoes for the
purpose, such as " Never kill the bees," " Give room to get honey,"
" Don't let your bees starve," " Bees bring fruit," & 
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